Unreal Engine 5 for Architecture - 2023 Full Beginner Course

thank you hello hello hello and welcome welcome to Unreal Engine 5 full architectural rendering course I'm getting and I will be your teacher for this whole journey of us creating the you know both architectural visualizations as well as architecture renders from start to finish in Unreal Engine 5. so to begin we of course need a model uh architectural model and I have one in Rhino that that was then in Rhino and I will be using that if you want this particular model to follow along precisely step by step then consider supporting the channel on patreon because I just put up every single thing that I create and I use for for my patreon supporters but you don't need this model to be able to follow along you can use your own so while this is a rhino model you will be able to follow along even if you have you know your 3D model in 3ds Max or Cinema 4D Revit what's SketchUp is popular right in any other software so if you're that kind of a person that does not use Rhino that came out wrong doesn't matter then just skip ahead to the export stage but for Rhino users stay a while and listen so in terms of preparing the model 4 Unreal Engine rendering there are not that many things to do you need to make sure that you are in centimeters rather than millimeters that your units are centimeters so I'll just type in units enter because Unreal Engine uses centimeters as its base unit right and after typing in units I'll just go to model units and instead of millimeters I'll use centimeters like that hit OK asks me would I like to scale the model uh I believe it's a no so I'll press no and then just to make sure I will measure you know one of these elements to to see if I didn't mess up so for instance what's the thickness of this roof distance from point to point 200 centimeters that is a bubu that's a mistake so apparently you do need to scale really quickly control set units Ctrl set to undo units back to centimeters hit OK and this time I will press scale model by 0.1 I will press yes we wait for it a bit oh there we go got scaled and now if I measure this this should be 20 centimeters exactly well almost I I think I misclicked but it is very close to 20 centimeters now you will notice uh that all of my soft edges that I have created for instance let me isolate this one out you can see that my geometry and the actual produced mesh are two different geometries right so this is due to the property in Rhino that's called Edge softening if I select my geometry and I go to properties Tab and I click on this Edge softening icon right here click here I can choose to have this kind of a chamfer this chamfer is very good if you are rendering with inside of rhino if if you need it inside the Fryno because um it creates these kind of chamfers that catch light and typically you have like a three millimeter chamfers that are very very kind of small and they just kind of catch a glimpse of you know reflected light which makes the any kind of geometry more believable we don't need that we don't need that so I will untick this and actually I will just show show all of the objects select everything in my scene go to air softening and untick The Edge softening for all of my objects once that is done I can click Ctrl s to save and just really quickly I will I will have this saved once this is done I will start talking about the layering because it's quite important in Rhino too have all of your objects in correct layers and and to have a pretty clean system because that will make your life much much easier later down the line in Unreal Engine once you will start applying materials because materials apply to objects per layer basis which means if I go to layers here you can see that all of my layers are named according to the materials that will be used for those layers so what's a good example yeah I guess glass right so these plates right here they're just glass and if I hide it that's my you know that's my glass layer once I'm in Unreal Engine I will just be able to apply the glass material onto every single object that is within the glass layer so make sure that you structure your layers in this way and I would also suggest just coloring the layers in different colors just so that visually it's easier for you to understand you know what's where and what are you dealing with in in your model um just really helps out visually so you can see that all of my layers have different colors here all right with these steps done your file is kinda ready to go honestly I mean there are a few more things that I might note but I will talk about them a little bit later well look let me do one one last thing lights let me select the objects of the lights layer so lights that are created in uh will this be better no it's not never mind lights that are created in Rhino these are just rectangular lights that are created in Rhino transfer to Unreal Engine and can be used as light sources in Unreal Engine so you can preemptively create lights right to do so you just go to was it rendering tools no it's not uh or was it no yes yes it is rendering tools create rectangular light and I have just created these planes on my elements right here right so a little bit of accent lighting that will be shown um just to kind of give you an idea of how how the lights transfer besides that most of the lighting can be set up or is you're able to set up even this kind of lighting in Unreal Engine right so if you don't have any lights don't worry about it it's fine now we can move on to exporting exporting is done with a plugin that's called Data Smith and as you can see the plugin can be installed to 3ds Max Cinema 4D Revit SketchUp all of these programs right so this is where all of the people who left you know at early on in this course in this video now we're coming back and then learning about this because the the pipeline so to say is going to be very very similar from here on out right for all of these users so you just downloaded the data Smith plugin you install it on your on your machines and for different softwares it's going to pop up in a different way but for Rhino users it's just going to be this kind of a table uh let me just clean up the the background there we go it's kind of a table that has five buttons in it right and you can just click on the top toolbar here and drag and drop it in to any portion of the of your screen let me just scooch D5 and v-ray away or now and yeah so we have synchronize toggle Auto synchronization connections export 3D View and messages um I will go through these once we start actually exporting into Unreal Engine but before we do that we need to run Unreal Engine and actually set up the the scene there right for for us to get the file in so let's switch to Unreal Engine all right so in terms of Unreal Engine 5 there are a few versions for us to choose from at least at the time of the recording if I go to my epic games browser go to Unreal Engine click on Library you can see that I have two engine versions installed one is 5.1.1 which is the currently at the time of recording stable version and 5.2.0 which is an you know a newer but unstable version still in development so just to increase the longevity of this course I will be using 5.2.0 but you can choose either one um for it for yourself because the menus are going to be exactly the same between the two so click launch for you if this is your first time launching Unreal Engine it's going to take a little bit longer than for me maybe a minute or so but eventually you'll be you you will receive this this kind of a window you will be presented with this window called undrill project browser the project browser enables you to either open alt projects or create new ones from templates and we have five templates to choose from and a few sub templates there simulation I'll go bottom up a simulation and it has like a simple little explanation for each of these I will not read them for you we have cars Automotive or product design we have architecture templates we have film and video templates and we have video game templates and I personally would say that um the the architecture template is most likely the the best way for us to to start our project with the best way like it's the best template to start our project with but in terms of sub templates um I would not go for Arc this just because it has a lot of trash that you don't really need like it's it's very good if you're in it on your own and trying to understand what's going on with the Unreal Engine but I'm here for that so instead we will start with a blank template and I will explain you know different components uh within Unreal Engine verbally rather than you having them presented to you in a template you know as a tutorial so we choose blank template we go for project location um that's the default one for me is fine and the project name is going to be just YouTube uh course and I'll hit create once I've done that it's going to start calculating the global shadings uh Global shaders and compiling them and you can see it's it needs to go through like a thousand of them this typically takes between 20 seconds or and then like 20 minutes and I don't understand why that range is so different it seems like for me right now it's gonna take closer to 20 seconds so we're happy with that while this is loading I'll talk really quickly about Unreal Engine itself so Unreal Engine is a video game engine right so it's not restricted to just rendering or animation creation it can have more functionalities right it can do virtual reality it can you can make games and and in a very very broad sense of the word games interactive environments right so because of this I feel like Unreal Engine 5 is the strongest possible design representation tool that you can learn period no no questions about it there is not a single other tool that can be stronger than this with that being said it is a hard disk the hardest representation duel that you can learn right so there's there's of course a trade-off now I can see that I need to move myself somewhere here just so that we are not blocking anything right um I know that some people don't like a talking head and While others prefer a talking head and statistically speaking more people prefer a talking head so I'm staying I'm staying in this viewport I'm I'm just gonna try to make sure that I'm not blocking it anyway in terms of what you see now with the project loaded in it's um uh pretty straightforward you have the viewport on the big window here if you right click your mouse in the viewport you can look around right click and hold you can look around um if you right click hold or I don't think yeah you do if you right click hold and press W you're moving forward as backwards a left d right wasd movement like in video games right so you're flying around then you have q to go down and E to go up right so your piloting your camera this way um if you're not used to this it's gonna come to you really easily really quickly I would give it like 20 minutes an hour maybe and you will start getting the feel of it and in a day or so it's gonna feel quite quite natural um I understand that Revit users and so on are much more used to scroll wheel which can also be done in Unreal Engine to zoom in zoom out and but unfortunately I mean yeah it's it's a little bit a little bit worse than just wasd in terms of the viewport itself there are a few settings that you can change right so let's go from top left and let's just look at all of the different settings um that you have within the viewport so if I click on the furthest top left icon here you can see that there is this real time button the real time button enables you to turn off any animations that are currently being simulated or playing in the viewport if your computer is really checking along and not having a good time you can just turn off the real-time animations and then the the clouds stop being clouds and they just freeze I believe I really hope that now if I turn this back on yeah they're moving okay thank God okay the the clouds are moving uh right so those those kind of animations it builds up really quickly once you have trees and wind yeah those kind of simulations really take a toll on the graphics card right so that's that's one very good thing to have show FPS this tick mark right here show FPS shows you the how many frames per second are being generated right so I would suggest like anything above 30 frames per second is decent is fine unless you're doing virtual reality then then you need like 90. for people not to get seasick or motion sick but like 120 frames per second is a complete like Overkill so you would need to start optimizing your scene if this number drops below 30 and it's gonna turn red so you will notice so that's uh frames per second there's more statistics that you can look at but let's not get into it too much right and in terms of all of the different um in terms of all of the different settings that you can go for and that you can choose especially advanced settings I will not be covering them as much because I feel like this needs to be like an intro course and this would take just too long we don't want like a 12 hour course again the last one that I will kind of show you is field of view where you can change the the angle of the camera right um don't mess with this because every camera that that is in the scene can have its own unique field of view so the viewport camera that you're using to navigate in the viewport does not need to change it does not need its own field of view so don't mess with that now here under perspective you can change to top bottom left like to different angles as well as you can change the camera to the actual actor right of your um sorry to actual cinematic camera actor so you can either go for perspective just general perspective view or you can go for top uh right left probably should zoom out right like that or you can go just for the cinema actor wait wait for it it's gonna it's now freaking out for some reason why is it so bright it doesn't matter it doesn't matter I'm Gonna Keep it the the way it is all right I I think we are uh still are we piloting this no we're not okay never mind uh so um in in terms of the different views you can switch through them here there's also a possibility to switch to cinematic View uh which takes a while to go in but cinematic view hides all of the you can see the boxes for like the different volumes and so on all of the helper geometry that is actually not geometry is hidden in the Cinematic view default viewport shows you you know all of the different icons and different things that you have in the scene that are not necessarily geometry so that that's a thing then in terms of lit um here you have like different previews of the viewport of how the viewport is shown so you have the Shaded which is lit the viewport basically if we have any kind of a I guess we should create like a apologies I'm jumping back and forth but I I really want like a box in here to show the difference between lit and unlit so let's create a box um and after we've done that I will I won't explain anything else about the box but let's first create the box to do that you click on this little icon right here quickly add to the project icon bam you go to basic I lied you go to shapes and you create a cube that's it that's that's the cube and it's placed at zero zero zero I believe no it's not doesn't matter hey you can just move it around and click anywhere else and you have a cube if you want to focus in to the cube right if let's say you're very far away and you don't want to like navigate to it you can just select the cube and type in or just press f f for focus and now your your kind of your camera immedially focuses on the object right so now back to lit and lit um we have our little Cube here and we have our lit option so if I change this to unlit you can see that now all I can see is the textures and there's no Shadows No Light No no nothing right it's just textures um for those of you who are working with laptops this uh at later stages of the project uh this is going to be the preview mode that you will be using more uh simply because it's going to be faster let preview mode usually um you know starts suffering also why is my frame counter not showing up I want to see it there we go there's also wireframe mode but I I don't know I don't use it right um and I mean I say also wireframe mode there's so many different modes that you can see here there's the lighting only mode so basically no textures there's detail lighting only mode there's Reflections only mode right so everything is Chrome there is um what's a good one optimization now there's a path tracing mode that is now going to take a while to start up it's basically path tracing is a non-real-time rendering um preview that actually renders the scene like it it traces the Rays of the scene so this is the most accurate rendering method that you can have I would suggest not using it honestly because the future of architectural visualization is Real Time rendering and real-time Ray tracing rather than path tracing um all right and let me show you something cool so let's say nanite overview nope really now it's not gonna show me and second oh I think maybe I have nanite turned off so maybe Lumen overview yeah so you can have like different um optimization windows that will help you understanding how is the light calculated right and what kind of layering comes into getting the light going in terms of nanite I will need to look into that because we definitely want nanite in our scene I will talk about nanite in a second I'm switching back to let mode because that's what we will be using most of the time then we have the show basically what kind of things do you want to see in your scene you want to see most of that uh you don't want to see Collision keep it as default is what I'm saying keep it as default then on the right hand side top right hand side we have our um Gumball I guess in Rhino it's called Gumball but like a move rotate scale gizmos so if I select my box by default you can see it's set to move there's also just object selection tool right just a mouse but if I switch to move then I can move it if I switch to rotate I can rotate it if I switch to scale I can scale it scaling in all three directions done by clicking and dragging on the top uh sorry on the middle box if you want to scale it in One Direction you drag it on one of these axes right something like that apologies foreign there we go then we have this weird icon right here that Cycles between Global and local coordinate systems what it means is that if you rotate your objects see like that and let me just move it up you can see that now after the object has been rotated the axes don't align the movement X is not align with the object that's because currently this is set to a global coordinate system if I click on this now you can see that the axis aligned and that's because the coordinate system is set to a local one of this object right so now the XYZ axis are rotated according to how the object was rotated quite a handy tool then we have the object snapping to surfaces tool which does not up there we go let me do that again so if I uh click the surface snapping if I tick mark that tool right like so uh it's going to um catch like any object that you drag is going to catch um what's the word oops um the surface either underneath or next to it and it's going to snap to the surface just like so all right are useful for foliage and so on but not really useful for anything else so usually we have this turned off Surface snapping off unless we need it then we have grid snapping and if you click on the number that's the increments in centimeters in terms of the grid snap so you can see now it's moving every 10 centimeters if I increase this to 500 right much much larger step size back to 10 centimeters and then you can turn it off all together then we have the same thing with the angle snap and the scale snap so angle snap every uh 10 degrees scale snap every 0.25 like the factor 0.25 of scale and then we have the camera speed setting which is basically you click on the camera speed and you change it to let's say eight now as you're navigating you're flying real fast all right if you switch this to low 0.00.033 you can see how slow you get so usually you work with values around one because that's like normal human scale and if you need to do some really detailed work then you do like 0.0 or 0.1 or something like that that's the camera speed and then if you want more than one viewport you just click on this icon you get more than like all four viewports and you can work on them individually it's weird that they kind of influence one another anyway um I would suggest working on a single viewport uh this whole uh this whole project as will I right so that's that's that about the viewport itself all of the objects that are listed in the viewport uh or that are shown in the world that are populating the world not just geometries but also like fog and the north arrow thing and this post-processing volume box here and the cameras all of them are listed in this outliner that is in the top right corner so so you can see the floor the cube that we've created and then so on right um so it's quite um quite a good thing to just see the outliner and be able to uh create or not create select select the objects within the outliner so make sure that you have that kind of cleaned up I believe if we press the play button now yeah if if you press the top play button then you will be presented in a view of how it would look like if an exe file would be exported so the play button is here in the top uh we will not be pressing it a lot uh during this whole tutorial or course maybe at the end I will show you a few neat little things that you can do with it but for now we will uh stay away from it the reason why I pressed it in the first place is because I saw here the player start icon which usually tends to spawn that that's that's where you start the game right where when you press play you are born so to say into the world uh in that particular location right of player start anyway if I select my box right now um I can see that it gets highlighted in the outliner and also I get this details panel shown to me and the details panel um basically has everything uh there we go every single setting that this particular geometry might have right or or could could have uh starting with the actual geometry itself what kind of geometry is it um ending with you know like the mass how heavy it is what kind of sound does it make when the footsteps step on it like a bunch of different different things including the materials so I can switch materials by just changing the material here we'll be working with this particular thing quite a lot all right so that's that's the details and you can see the details are unique per every object right so every object has its own so some details uh for instance if I let's go back to cube here I can change the location just from this panel alone without actually needing to use the the arrows right so I can type in the coordinates in which I want my object to be I can also type in the scale at which 20. at which I want this object to be right like that all right then also we have a world settings tab right here the world settings tab you don't mess around with because it's very easy to mess things up and usually you just go to you go into it when you definitely need to change something right that's that's the rule so don't don't mess with it just yet let's go back to details tab now um I think we are ready we are ready to import our model into this into this file so you can either um you can do two things you can either create a new level because now we um this the Wii and real engine works is in levels right so you can have in one project you can have multiple levels with multiple um how do you say architectural visualization objects or projects sorry so in in one Unreal Engine project you can have multiple architecture visualization projects right in form of levels which I think we should do I think we should create a new level so let me show you how under content drawer here in the bottom this is basically everything that you have in your like all of the resources all of the files everything is going to be located in this content drawer so trees materials textures levels blueprints I'll talk about blueprints in a second and so on everything is located here and actually will have its own little folder and uh your documents folder on Windows so this is a very important window I guess to have all right so what we will do with it with content browser opened I will click on this doc in layout button like that and if it doesn't dock here in the bottom for you then you can just click on the content browser name here click and drag and you can dock it to anywhere honestly where wherever you want but I will be docking it just too right here to bottom of the window content browser all right so how do you create a new layer uh yeah how do you create a new level uh to do that I will actually just first create a new folder rather than a new level so under um you can see here all content are with default so under content under here under this folder I will create a new one so I will just right click anywhere and you choose new folder I'll just name it uh levels levels and now you can see under content we have arcvice default which is you know the stuff that Unreal Engine created and we have our levels folder that we have just created in this folder I will create a new level so you right click again and you choose level that's as easy as it is level and we call it uh building one building one something like that right so this level is created great now I need to open it I need to run it so I'll just double click on it it asks me to save the old level before I can open a new one that's fine save selected we're fine with that and now a new level is open it's going to be completely black because we don't you can see here we have absolutely nothing in our outliner right so there's no geometry there's no light there's no nothing so what do we do well the first thing to do is actually to get some geometry going right and to do that we can either import start importing our building or we can um one second I need coffee or we can create just as I did with the Box quick add to the project shapes Cube or sphere let's just add the sphere right if I click anywhere on the screen outside of the where the sphere is you can see that it's still pitch black and that's because well there's no light right so our sphere is just in the middle of Darkness uh if I change this to from lit to unlit now I can actually see where the sphere is so it's actually not that big of a deal that we don't have light I think at this point it's uh we can just import our project and then we will create light for the project or should we do it other way around perhaps let's do it other way around like all right let's first create light for this sphere so that the lit works and then we will import the project yeah I think that even though I work opposite way I first get the geometry and then create the light I think for you visually it would be easier to first see the actual the actual sphere right so to create the light it's actually very easy in Unreal Engine you do you need to go to window and choose environment light mixer this is like a very very useful tool that for some reason people don't really use I don't know why but it's super useful to create lights environment light mixer like that opens up a new tab right here which I will just drag and dock it oops dock it right like so so now I have content browser here environment light mixer here two tabs so to create a light condition in our scene we need to create a skylight which is basically Bell our environment light then we need to create atmospheric lights we need to create Sky atmosphere so now we have the sky we need to create volumetric clouds and we need to create height fog that's it we have ourselves a little bit of a or light situation going on now in terms of and you can see that all of them are are kind of created apologies all of them are are created uh right right here right so the only uh one that I'm not so sure about is no the Skylight is actually fine just wonder about this fear one second seems like the sphere is not really happy with the like the shadow of the sphere is still very dark which we will need to keep an eye out for maybe the exponential height Focus that hasn't kicked in or something like that but this should be the correct way of how to do it I've never had problems with it so I will trust trust the process so to say trust the process at this point I will delete the sphere because we don't need it we have our nice environment in which we can actually import our building so let's do that um one one last thing sorry before we do that uh I want all of these little icons that are the directional light and the exponential height fog and the sky atmosphere like all of these different icons that represent different uh lighting conditions right I want them to be maybe this one is ooh don't do that um I want them to be grouped here so that I can just just kind of condense them into one one folder right here so I'll just right click in my outliner create folder name it light um an environment select all of these lights drag and drop them in minimize that's it now now they can live there happily ever after if I want to I can go back in here select all of them and just drag them away from my zero zero zero coordinates that is going to be populated with the building so now finally we can import our building I will prepare a folder so I'll go back to content and I'll create a new folder um new folder called let's say geometry geometry open that one up and inside of geometry folder I'll create a new new one called building one um underscore data Smith and my data Smith like import from Rhino will live inside of this folder so content geometry building one data Smith now back in Rhino we need to synchronize the the file with Unreal Engine right so so that the geometry that we have here actually gets linked uh create like a live link is created between the geometry that we have there into here um into our building one data Smith folder there are two ways of how you can do that either a live data link between Rhino and data Smith so every time you or Rhino and unreal so every time you change some geometry and you move it around and so on it gets updated inside of Unreal Engine or you can do a static export which is just a the current state of your project is exported into Unreal Engine and it's not Dynamic anymore right um I can show you both ways of how to do this but in my opinion the a much more stable way is actually to do it stat is static right especially if you're sharing your data Smith file with other team members then this becomes much more of a foolproof thing that you don't mess up as much with lack of convenience of it being Dynamic so if you want to change something you would actually need to get in there and change it manually layer down the line or re-import it manually later down the line um I will show you both both ways of how to do this wait but I will choose the static one later so the real time link between Rhino and or any software that you have and um unreal is done by creating a it's kind of a data Smith direct link import right so if you don't if you don't see this and they're quickly added the project data Smith direct link import or if you don't see data Smith all together that means you need to First install a plugin and you install plugins into Unreal Engine through settings plugins setting stop right corner by the way plugins and here typing in data Smith and make sure that your tick marking data Smith CAD importer rather than data Smith for Cinema 4D importer actually you can use all of these logistic Mark all of this and it's going to work but the cad importer is actually the one that we will be using that's used for rhino right once you text Mark that it's probably going to ask you to restart uh Unreal Engine do that and then you will be good to go so once it's installed then you will see the data Smith file here which will ask you for two things file import that's the static one and direct link import that's the dynamic one I'll choose direct linking port here where it's going to list all of the opened Rhino files that it currently has access to right so I have the Rhino file right here right in my Rhino if I click on connections um it's a data Smith direct link connections it still does not see any connections here so it does not um how do I say it means that the Rhino file does not know that it's being linked currently which is fine right back in here in Unreal Engine I'll just select my Rhino file hit a click on select and it's going to basically create a connection for me now back in come on back in rhino I can now click on connections and you'll see that indeed once I selected that particular Rhino file you know my base model file uh the a connection has been established between Unreal Engine and Rhino that's good which means that now if I synchronize with direct link bam it exports the meshes we go back in here we go to file data Smith direct link import select it again hit select and now it is going to let me choose the location where I want to import my project right so I can choose building one data Smith right something like that and at that point I would hit OK and it would just kind of populate the scene with my Rhino file I will not be doing that I will not be doing that because as I said I want a static object and this is my course so I do what I want so I'll hit cancel and I'll show you how to do a static export you know a current state of the file is exported into Unreal Engine so to do that I will just click on this icon export 3D View like that I will go to uh let's say yeah sure we can stick to rendering I'll just call this ue5 data Smith that and I'll just yeah I'll leave it as base model dot U data Smith right I hit save and it's just going to export my data Smith file as an external little file that you can also by the way send now to your co-workers for them to work with the file that you that you've just exported the much much more stable in my opinion a much more stable workflow especially for newcomers so now how do you get it in here you just go to your quick quickly add to the project tab you click on data Smith and instead of direct click import you click on file import like that you find where the hell did you save it I believe mine is under oh yeah yeah uh rendering Unreal Engine file yeah there we go data Smith base model dot U datasp right so we hit open choose location for importing this data Smith content exactly the same menu as what we had before building one data Smith hit OK gives me this menu basically asks me what kind of geometry would I like to import it's or what what kind of objects would I like to import from my data Smith file and in my case I only care about geometry honestly I don't care about materials or anything like that I only care about the geometry so I'll actually untick the lights as well oh I'll have this unticked and let's just hit import there we go now it's slowly going to load in all of the objects into the scene and all of them will have this kind of a gray grid on top of them as material that just basically tells you tells us what's the error cannot find setting measure B rap let's just ignore that um so that that gray grid material just tells us that there's no material associated with this particular geometries it's fine with us Come on load load as it's loading I will slowly navigate to to my project like that Yep looks about right and yeah at this point we can start developing it now it seems like the light is still a little bit iffy I'm not sure what's what's up with that so I what I can do is I can just um investigate I guess it's a direct light is like that best way to do it is just to um that's the environment or Sky atmosphere or the ground will be though and then we have multiple the clouds and we have indirect light intensity right here well we'll need to we'll need to look at that a little bit later sorry for for jumping around now we are done with importing the our our little building right here so now it's time to actually start adding materials and start talking about materials so before we start actually using a library for materials because that's what you do in 2023 is a library I want to guide you through just the pure basics of material creation and Unreal Engine so that you kind of understand the main Concepts behind the materials that you will be working with so in Unreal Engine there are two types of materials Master materials and material instances and basically from master master material would be something that would be called color base color right and it would have a color associated with the material set as a variable so that material could have any color that you want it's a variable and then from that Master material you create branches so you create these instances and each instance has you know let's say the variable is set to Blue so then you get the blue material the variable is set to Red you get the red material right and yada so that's what where I'm going to be creating just to explain to you the principles right for this I have created a folder called materials that's under content materials and inside of it I've created another folder called Masters I'll double click on that all right so now I'm inside of that Masters folder I'll right click inside of it and choose material right here click and I'll just name it my color base master colorbase Master material right now I can double click that material so and it's going to open up a new tab any kind of new tab that is opened up again you can be docked to anywhere in Unreal Engine so I can just drag on its name and just dock it next to my building one like level tab right so I can switch between these quite easily now those of you who are familiar with Grasshopper will have Vietnam flashbacks of what you see here yes it is a node editor in in terms of the color but well I I strongly believe that that's the mo the most optimal way of how you can create materials or any kind of a more complex system so it's fine with us now for the base color right for the base color I'm going to use a variable as I said so I will just drag out I'll click click on this little input for the base I'll and I'll drag out [Music] um wire and as I release the button it asks me to give it to you know what's the node that you're trying to connect and I believe the node is called constant 3 vector really hope that has the correct one constant 3 vector that yes constant three Vector that by default is set to red green blue zero zero zero right so if I set the red to 1 you know 1 0 0 then it becomes red if I said red and green to one then it becomes yellow and so on I can also double click on the color here and just choose from the color what's what's the default value right so that's my that's my material I can also um make it so right now it's a constant right meaning it can't change so any kind of a instance material that I create from this will be the exactly the same material um that we that we have here that's no good that's bad so I want this to become a variable what I do with it is I right click on this node and I change the change it to convert to parameter right change it into a parameter call it base color and now I have a parameter that can be that can be changed and it has the default value of pink sure that's fine with me that's my base color for um another like input you can see like there's plenty of inputs here I'll I'll really quickly go through them the metallic input is basically between zero and one is it a metal is it not a metal right so for the metallic input here I will just I believe I can just hold one on my keyboard and click and it just creates a constant value or I can just type in constant like that and it will create the same node but the shortcut is holding down the key one number one and just clicking it uh clicking anywhere on the canvas so I'll connect it to metallic and now you can see with a constant value being zero it's non-metallic with constant value being one I'll just change this this is now metallic right um in terms of one second so this one I also want it to be variable I wanted it to be able to change the value between 0 and 1 on a moments notice without actually going into this this material setting right so I'll right click and choose convert to parameter again and call this metallic call this metallic and the fault value I want to be zero so only if I wanted to become metal will I change this value to 1 later down the line right so now it's it's a parameter again so parameters are variables that you can later change without accessing like this weird node system you only need to set it up once specular we don't uh work with specular if we're working with metallic we work with roughness instead um are we doing I don't want to lie I hope we don't anyway let's skip over specular for now because we need to move ahead instead we use roughness right roughness is basically how reflective the surface is or how matte the surface is so that is again a value a single value not a color so we hold one click and the value is again between zero and one so if I connect zero to roughness you can see that it's glossy like that if my roughness is set to 1 it's matte like that so I will have roughness set to 0.3 in this case and I will convert this to a parameter called call it roughness there are more options here of course that you can investigate on your own but the main ones are these three well of course there's uh always the normal maps and uh emissive Maps but those are a little bit more Niche we will I will touch upon them a little bit later so for now oops for now we are good with this once this is done I can just save this and I can close this right so now I have my master material created right here how do we create instances from the master material well we just right click on it and choose create material instance and I will just call my first material instance um White I'll double click on it and now you can see that as I double click on the I'll just drag it in here as I double click on my material instance it's not uh it doesn't have any nodes anymore rather it has um these these parameters here that we can tick mark and now we can change in real time right so that that's pretty neat that that's pretty nice come on come on that that's that's pretty nice because uh you can also I'll take Mario those two right uh you you get like this nice little sliders um now to actually let's apply let's apply the white material onto let's see this this particular tile I don't know what's up with the style but I will apply the white material on it how do you do that you can drag and drop like that let me control that you can also uh as you select the tile in the outliner it shows you the details of that object and here you can see the material right here is set to none so I can just drag and drop my material in here like that or third way is just searching so clicking on the none or clicking on this little arrow and searching for the materials here White and selecting it there right right so you're basically applying a property to the object so now this is white right great that's why so now um what if I want this to be black right I will just right click on this material master material create material instance black double click that expand it change the base color to well you guessed it to Black hit okay save close and then just drag and drop black on top of this so now we have white and black and if I want to now if I change the let's see the white material it automatically adjusts the tile color immediately in my viewport so it's real time um now let's talk okay now it's time to talk let let's cancel out of that and for now I'm just gonna keep them the way they are that's fine but let's talk about the what's white what's black and what's gray because this is this is a very important like notion in terms of colors nothing nothing in the world is pure white nothing nothing in the world is pure black so if you're using pure white colors or pure black colors right for materials you will have a very hard time creating a photorealistic render so what constitutes white and what constitutes black um tar black you know completely like black material I'm not talking about vanta Black by the way because that's a little bit different but tar black has the Albedo color which is the base color of 0.05 I believe or 0.04 Maybe so and and nothing should be darker than that that looks natural right so for the base color for my black I will click on this uh on the color and for the red green blue I will just change uh both red green and blue to 0.04 all all three of these like that I could also change the value could have changed the value to 0.04 right so that's my um that's my black color save then for my white color um what's what's very wide I believe snow this is from William another YouTuber I'll put his channel in the video description he does amazing work with the tutorials explaining the light and the color theory in Unreal Engine but from him I if I remember correctly I might be wrong about this but I think it's the snow I think the fresh snow is somewhere between um 0.8 and 0.9 in value so here I'm just going to switch to full blast Pure White and then tone it down to uh let's go for 0.85 something like that hit OK so that's pure white save that save that close both now we also want one more uh or or two more materials uh material instances from this one is going to be a middle gray and because I need to talk about that that's also from William by the way great guy and the third one or fourth one I guess is going to be the the pure metallic material so let's go for a middle gray first right click create material instances mid Gray is gray with a or e it's going to be e mid gray base color I just switch this to again for full full white and then tone it down to you would think it's 0.5 it's not actually a metal gray is 0.18 if I wait am I remembering this correctly yes I think I am um it's not a linear scale like the exposure of the camera of the eye like just how the light works is not a linear scale so actually the middle Gray is at 0.18 of value hit okay that's mid gray hit save okay last one I promise it's not actually last one but we're getting there create material instance and call this metal uh reflection metal reflection double click that base color um I actually want it to be like um Almost White so 0.85 for the reflection metallic I want to set it to whoops to full blast one and roughness uh let's do something like um 0.05 like very low roughness so it's it's mostly like Chrome uh Chrome ball right save that now we're we're cooking now we have four materials that are white mid gray black and Metal uh these four materials can be used to create to calibrate for the light right but for now what I'm gonna be using them for well actually we can we can calibrate for the light later later we will be coming back to this now to migrate these materials into away from the Masters material folder I will just holding the Ctrl key I'll just select the four materials and just drag them back into my materials folder right here bam move here there we go easy now they're located here while their Master material is located here so now now we finally get to use the library the Unreal Engine has two libraries actually well it's weird like the marketplace you could call that a library as well as quixel Mega scans Library which is an actual library or for both objects as well as materials there's also decals and decals and so on but we will be right now focusing on materials and I know both of them but we'll start with the quixel mega scans so to get it to work you do need a quick cell Bridge plug-in that is for Unreal Engine 5 and you can get that by going to settings plugins typing in q u i quick cell quick cell quick cell uh tick marking this and yeah making sure that it's installed you might need to restart Unreal Engine for this once it's installed you can go here in the top quickly add to the project and choose qixel Bridge this will allow access yes this will open up a new folder for you or window for you that can be easily docked to anywhere on your scene so I will probably I should dock it right here I think bam like so there we go no that's bad I'll dock it here um sorry for for for doing this I I just want to find like a good good balance or for the the Showcase for the course because usually I have it here but now it seems like it's going to be too too small all right so now with the quixel bridge being conveniently placed here for us let's take a look at how we can actually get stuff into our file right because all of these assets right now are still uh on the internet and we need to download them so basically the way it works is that you go through this library of either 3D assets plans surfaces or decals or imperfections and you find the materials or 3D models that you want so in this case we are searching for materials right so I'm going to go to Services right here and here we will have all of the different material kind of types I guess um I will start by choosing one that would be useful for our facade as wood so what I guess we can go oh immediately I I'm seeing this wooden cladding that I kinda like so yeah sure let's just download it so wooden cladding I select the the cladding that I like or the material that I like I click on it here I can see the preview of it this tells me how um how the tiling works for for the material right so it's the one to one scale tiling is two by one meter I need to keep that in mind right so every two meters and length it's gonna start repeating every one meter in height it's gonna start repeating and here I can also choose oops I can also choose different qualities for my particular material for this course I will be using medium quality materials just because I don't want to burn my graphics card so I click download um it takes a little bit of time but it downloads and once it's done I can click on ADD and once I click the add button it creates a new folder called Mega scans init surfaces inside of that the material with three textures that that material uses if I double click on this material you can see how it looks like nothing too special and all of the different settings that you can change so as you can probably tell the master material of this is gnarly it's it's really really gnarly um the only thing that we care about in terms of the uh what's what's the word in terms of changing this material is the offsetting or tiling but I'll show you that in just a second let me close this and first let's apply it so I will be applying it to this facade which is under Woods facade wood B rep 511 I remember that quite quite well that I have a single surface or poly surface as my facade and I will just I select it right and I just drag my material over to here to this menu box on the right hand side right so that's typically the cleanest way of how you can apply material you make sure that you don't miss click accidentally when you're doing it this way so I release and now I have my planks being laid out on this facade that bad honestly could be worse could be worse so now in terms of tiling it seems like the while the height of it is correct it's kind of squished in in terms of length so I need to adjust the tiling of this texture how do I do that and double click on the material and let's let's just have it uh it's very big isn't it just make it a little bit smaller like so so that I can also see the the facade I tick mark tiling offset because I will be changing my tiling and for tiling X and tiling y I need to change one of these to 0.5 I don't remember which one definitely not that one so that stays as one there we go 0.5 actually let me drag let me use this as oops let me use this as a slider so that you see how this works uh if my tiling is um very high like a hundred it repeats a lot right so the lower the number the more stretched it is and I remember that it's two by one so this needs to be 0.5 for it to work right so that's done I close this now my my planks are kinda okay I mean they they could be better could be better but it is what it is um I actually don't really like this this is too rustic for this type of a building so I will find a different different cladding uh let's see let's see let's see Japanese wooden what's that wooden deck no no wooden planks this looks nice okay let's use black wooden planks those look quite nice I will download them foreign import them and now I have another one wooden planks and all I need to do to replace it is just drag and drop in like so the tiling is off right now the planks are way too big so I'll double click it go to tiling and increase the tiling of these two by two I guess does that look better hard to tell Maybe the lightness by the way how bright or how dark it is we will we will be fixing that a little bit later for now this seems okay ish kinda kinda okay we we stick we stick with that all right so that's that's our wooden planks let's do one more for the roof and then I will kind of quickly I'll do a time lapse of me applying materials too to this geometry so um let's do the roof Palm close that go to surfaces um I guess Roofing yep Japanese roof tiles I don't really want those as late slate roof that might be quite cool sure let's go for a slate uh so I'll just download 2x2 meters keep that in mind as well I'll download it edit going here select one of the elements so that I can clearly see where you know the same material objects are I'll holding down the shift key I'll select both rooftops through the outliner and I'll just slap on the Slate material on both of them take a look at that what does that look not that bad actually quite fine I might want to increase the size of it but for now I'm gonna keep it the way it is so those are the principles and I think at this point uh I will start doing uh time lapse or no sorry um let's do one more thing uh let's do the glass material because we can't download uh the glass so I will create a glass material and I show you I'll I will show you how to create a glass material all right but before we begin with a glass material we need to set up a few things with um within our model uh to or within our project and to do that we will need to use what's called um post process volume that can be created through quick quickly add to the project button here visual effects post process volume right here you click it this little box is created right and basically this box controls a can has the potential to control every single setting in the scene and overwrite every single setting in the scene that you might have or in the level I should say so initially what happens is that only um with the effect that you all right only takes place inside of this Cube inside of this box but if we select it and we go to details type in Unbound and we tick mark infinite extent Unbound now this changes that we make will affect the whole damn level so it's it doesn't have any boundaries anymore right so you can later we will use this to change the brightness and contrast of like different scenes and whatnot and we will kind of adjust the exposure values but for now what we care about the most is Ray tracing or sorry translucency yes translucency so you search for translucent translucency and you tick mark you put on all of these tick marks meaning that you want to overwrite all of these settings and then for high quality translucency you tick mark that include translucent objects and Ray tracing Reflections you include that for translation this is the most important one translucency type instead of raster use rate tracing translucency so now all of your um like all all of your traced um race will be calculated properly that's that's a weird way of seeing it but yeah that that's that's how it goes everything else seems to be okay yep uh so we're gonna stick to to the defaults there then as for let me just double check that's fine uh reflections yeah that's fine okay for now we will we will stick to the settings that we have now now we can create a glass material so under materials Masters I will just right click and choose material again and create a Glass Master material double click that which opens up this menu that we all know at this point and in this menu before we start plugging in the color and and whatnot I need to adjust a few settings here so the first setting to adjust is the blending mode that needs to change from opaque into translucent like that so blending mode translucent and then another one is lighting mode instead of apologies since in instead of of of volumetric non-directional we will change this to surface forward shading I will not go too deep into detail with this just yeah use them I guess like that right blending mode translucent lighting mode surface forward shading now we get the opacity map as a possibility for kind of usage which is great uh so we're gonna we're gonna use it uh to introduce transparency but before we do that we need our base color metallic roughness um and that's it right these three inputs to be kind of added so first of all base color for base color I I prefer using a constant three Vector you know the typical uh you double click on it and let's just say that it's kind of very dark um bluish tint color something like that right and we use that as our base color if I remember correctly yeah this is still kind of bugged you can see that the color is all messed up and it's yeah yeah the the background the backdrop is all messy and all bad and Unreal Engine 5.1 as well as 5.2 I I'm not sure why that is but they haven't fixed it yet hopefully when you're seeing this you will see a proper preview of this anyway we have our base color now for metallic we just use a constant value of one that will never change it's always going to be metallic then for roughness we use a constant again value of constant value of 0.05 something like that should do the trick and then for opacity I think we can um yeah let's drag out let's create a constant again and the opacity is going to be like 0.05 again but now we start playing with the variables right so we want this and the opacity in the color and opacity to be variables while the roughness and the metallic are not they will stay always the same value so I just right click on them convert to parameter I call this glass color and right click on this convert to a parameter call it a glass opacity like that um when you convert them to parameters but then after you click them you can select the slider minimum value so opacity minimum is zero opacity maximum is let's say one and for colors I don't need to change anything there okay let's save this wait for it to do the thing um go back into your file and let's just create a quick instance of this Glass Master so right click on it create material instance call it glass just glass and let's slap it on let's say this object right here like that um actually yeah this is important so notice how this glass or this this uh sorry surface as I apply the glass material on it uh the light is going in while for this one it's not but I'll show you the reason why so here if I show you settings that are modified because I was already playing with this a little bit uh settings that have been modified under [Music] one second yeah under lighting cast Shadow is unticked while here under [Music] lighting or I can just search for cast shadow is ticked right so for your transparent objects you kind of want to untick the cast Shadow option uh so that you it never that the glass never tries to cast a weird weird Shadow technically you could solve it by making the glass cast Shadow with Ray tracing and whatnot but as a beginner I would suggest just unticking cast Shadow for everything that is glass so what I'm gonna do is in my glass like layer here I'll just select all of the B reps or all of the objects that will have the glass material and I'll untick the cast shadow um tick mark from them right something like that and then also for all of them I will just apply the glass material like so so all of them are selected and I just drag and drop in the glass material and now we have glass going on inside of our our building this is starting to look okay not not as bad as it did before right um we will be doing this a lot but right now I think is a good time to show you Ctrl L A hitting Ctrl l and then moving the mouse or sorry holding Ctrl L and moving the mouse uh controls the light angle at which the light hits the you know the the scene the sun angle sorry so let's look at the Shadows the Shadows seem to be quite yeah that seems fine that is believable uh we will increase the quality of the Shadows a little bit further but for now that that seems fine so we are done with the glass finally finally now I can jump to um time lapse and apply materials to everything here except the landscape so time lapse time I guess oh yeah so the time lapse died um crashed couldn't I can't get it back so here it is here's the textured building basically the process was exactly the same as what I've shown you right drag and drop drag and drop drag and drop download drag and drop um we have a little bit of wood flooring going on here a little bit of veneer for the wood here the planks are horizontal without planks the tiling here is obnoxious I'll need to fix that a little bit later and then once we step inside um this is go away oh whatever drop down there uh we have a little bit of a table a little bit over chair here and basically the basic interior I didn't add any paintings yet and also this is super empty empty doesn't have a bunch of stuff going on but as uh this oh yeah this is just the child room that's the bathtub I'll need to I didn't even add textures to the bathtub um so there is there's still plenty of things to do but generally speaking I've kind of just slapped on uh as many materials as I could find quickly here just to kind of move forward with the with the course right so there's going to be a polishing let's say a step after after this now let's talk about assets adding assets because materials are already added so let's talk about trees rocks and whatnot adding those in to our scene how can you do that well we use you should use quicksole for rocks and whatnot all of the hard surface stuff but if you try to find trees in in quick cell quick cell Bridge you will not have a good time finding them and that's because a quick cell is a 3D scanning 3D scanned object library and they don't have trees um with that being said I think under vegetation there should be a few assets well there are a few assets under vegetation that you might want to look at such as grasses and so on and we will be using those but there are no trees unfortunate so let's begin with with the trees um I will go to my Unreal Engine um launcher or epic games launcher sorry happy games launcher and I'll open up my um Unreal Engine Marketplace that this is where you can get the the three packs and so on like assets additional assets to download and I'll just type in free um enter right you'll see that there's a bunch of like packs here that cost money and you don't need to pay if you just click on the maximum price being free if you filter out all of the paid ones and now you can see that there is like Mega scan trees European something European something blah blah there's there's a bunch and all you need to do to get it is just to add to cart um check out well I'll show you add to cart shopping bag it's now zero Euros right you check out takes a little bit of time to to do so and then if you go to your library here Library tab you'll see I assume it's this one Mega scans trees European something something I also um I've already downloaded uh well a long time ago actually an oak forest and I want my project to be in the no course but the principle is going to be the same actually let's see m a e Oak Forest is that um is that free I hope it's free stop lagging okay m a e Oak um um okay so let's not use this one um let's instead use the European one that everyone can download so Mega scan trees European uh don't know the name European beach Early Access this seems fine you know a bunch of yeah a bunch of pretty clean trees so I will go back into library and we are not going to use the Oak Forest unfortunately we will use the European beach I will click on add to project here you can see that my 5.2 version is not listed my my project is not listed so I'll click on show all projects and now here it is your YouTube course 5.2 asset not compatible with version 5.2 please select closest alternative version so I need to select 5.1 and then I click on add to project so now it's going to download 7.4 gigabytes and after it's done then we will we will continue right and basically once it's done it will pop up straight up in my Unreal Engine folder right here under content there's going to be like a forgot the name European beach Forest thing there's going to be a falter that's going to be created for us while we're waiting for that to happen we can get some grass and some rocks in with quicksell Bridge so I'm just going to download a few grass pieces and whatnot that I find to be beautiful and and that's nice and I'll just use those to populate the immediate surroundings um that's a little bit so so I really like this one lesser perin Periwinkle so I'll download it then Lily turf oh this one's very nice okay so let's use the method right here and I'll just let it download for a second okay so I finished downloading all of the assets and while I was doing that European beach library has downloaded as well so now I can see it here and in this folder and if I were to go back to my viewport here and just look at it apologies here just look at the European beach expand that we have foliage and geometry and expand that we can see there's actually a bunch of different um trees here so one of them some of them are called Static mesh foliage While others under geometry are just simply called Static mesh and if you want to add trees individually one by one you add them as static meshes drag and drop easy as that I say easy as that while it's actually now gonna be please don't crash please don't crash come on I'm trying to record the video here it's being a little bit annoying either way well it's having a heart attack I can talk so European like all of these trees that you see here under geometry they are their own separate mesh entity that has also um how do you say the animation associated with them right so if I place this here you can see that it's slowly let's zoom in see that the leaves are slowly wobbling in this in in the sky in the freaking wind and the same thing goes for simple wind if I apply the simple wind to here is it really gonna uh okay every single one of them is gonna take a little bit of time that's fine um these are static objects meaning that you would need to be play you would need to please them one by one we don't have the time to do that instead we will be using a foliage tool that is built into Unreal Engine that lets you brush on the trees and bushes and then so on directly into your scene which is I mean those of you who work with D5 or twin motion are already familiar with that kind of a workflow or even landscape so like that this looks exactly the same as the previous one maybe it's wobbling a little bit more anyway I'm going to delete the trees and I'm going to show you the foliage tool so instead of selection mode right here we need to switch to What's called the foliage port in the foliage mode you basically can paint on foliage on top of the of any surface that you have in the scene right so first thing that I want to do is actually any foliage that you already see here let's just get rid of it let's remove it um let's do it you know meticulously one three at the time so I'm going to holding down the shift key I will select all of these assets I'll right click and I'll choose to remove and now it's like table eraser right this is empty empty empty tablet so under my European beach here under foliage I'll choose uh five pivot painter I guess I'm not sure but I'll just pivot painter just maybe and I will and just drag and drop in the first tree into the foliage list which does not work why oh there we go like that right so now if I were to let's try painting if I were to paint and I want to brush on this tree onto the landscape I would need to tick mark it like so choose the paint tool and just brush yikes that's that's very dense so what you see right and that immediately kills my frame rate drops it down right to 20 frames per second so let's not do that I will choose the erase tool like so I'll just erase them you can see how many trees were made by the count here so I'm just erasing them okay so something's off with the density clearly right so I'll choose the paint tool again and this time the paint density I probably would like to have less of it right or I could select the tree instead and not mess with the paint density here but select the tree and here I can say how many trees do I want per a particular area which is a thousand by a thousand centimeters 10 by 10 meters right that's it yes 10 by 10 meters in this case it says 100 trees in 10 by 10 that's a lot of trees let's go for like two two trees draw it again still seems to be too dense Ctrl Z to undo maybe one tree every 10 meters that's still pretty intense this is a huge tree by the way so just so you know so let's go for 0.2 yep that that sounds about yeah that's much better okay so 0.2 maybe 0.1 so we control the density the radius is basically how close each uh each tree needs to be next to another tree right so I can write well they need to be at least 10 meters apart right so as I'm brushing on they are placed in a way that they won't intersect right so then we have our scaling where we can say that it needs to what's the smallest size of this asset and what's the larger size of of this asset I can just say zero point 5 or 0.7 I guess 0.66 for smaller than 1.1 for largest now if I were to or wait does it proactively or no it doesn't scale the already existing assets so I need to brush in some more uh let's let's do it here some more trees you can see now some are bigger some are smaller right then we have um the the maximum angle of the slope according to the ground don't mess with these These are fine these are okay and I think the last one needs to be rotation that I can't seem to see oh yeah it's random yaw okay so it's already already rotating randomly right right is it yeah yeah it is it is okay because that Branch goes here and that is rotated yes it is rotating randomly okay good so we have one tree or red root now we have 15 trees right how do we add more well I'll just take all of these like that well maybe not the seedlings and I'll just drag and drop them in like so into foliage types so now we would be painting with um well right now we wouldn't be painting with all of them because only this one is Tick marked so to tick mark the rest we would need to select all of them and press the tip button here right but the problem is now the density right it's still a hundred units per 10 meters for each of the trees while here it's 0.1 right so what we want is we want a similar kind of behavior for the remaining trees right so I'm going to just select um all of them and say 0.1 in terms of density for all of them and the radius I think I mean this one is very big right so I think the radius for other ones needs to be smaller like 4 meters so four thousand wait is it four thousand yes 400 400 sorry not four thousand four hundred and now I can start oh yeah and scale minimum uh 0.7 scale maximum 1.1 let's try it brush size I'll go 1000 meters a thousand millimeters sorry and we're just brushing on the forest slowly building it up we don't want it to be uh two dance and now some of these trees are way too large so I'll need to need to see what's up with that but basically the the view at least looks pretty pretty decent right so now we're we're starting to get a a few a few more interesting ones going on uh a few more interesting angles um going on right in terms of of the tree placement I still think the density is a little bit too much so what I'm going to do is I'll select all of the trees and click on the remove button here so all remove and I'll try to brush them on again but this time which one is the big boy because there are okay let me untick them and just do them one by one to see which one of them is the big boy so that's yeah that's pretty big that's pretty okay all of them are big boys uh okay that's fine uh which this tells me that the radius needs to be larger and the density needs to be lower because they're pretty damn big um okay let's uh delete them so I can use the Eraser tool to just remove them I tick mark all of all of them um and I'm just gonna say scaling um minimum or rather let's reset and then minimum 0.5 actually and maximum 0.9 I want I don't want the four is that big right so I want to kind of tone it down a bit then in terms of the density maybe 0.05 and in terms of the radius perhaps eight thousand something like that or 800 right something like that let's try brushing brushing it on it's not doing anything oh because we are with eraser tool let's go for paint or by the way you can always do um pill on top of Any Given surface and just fills like that that might also be a way to go we're at 30 frames per second though which is not ideal uh let's see how our camera is doing oh we don't have a camera never mind cinematic viewport how does that look like yeah 30 frames per second what about if we if we go indoors it's it immediately ramps up to 60 which is good news that means it's only the light calculation that is messing us up um how are we on the density I feel like the density is a little still a little bit too too much so I'm going to select all oh sorry let's go back to default viewport select all trees remove and change the density to 0.04 and radius like let's do a thousand and 0.03 Maybe um fill bam I think it's okay seems okay okay so that's how you add the large scale trees you know any individual trees that you wanna continue adding you would need to do that well around here around these parts you would need to do that manually and well rather not manually but paint it in like that I wonder if painting and fill are two different things let's see remove that zoom out get the paint tool brush size increase that do not that to like four thousand not more paint it in yep so the density of the paint uh brush is apparently completely different from the density of The Fill right that's good to know so 0.03 is too low 0.1 is too much 0.05 probably was the correct value to to use I prefer painting in the trees rather than using the paint bucket tool to fill them in why is that not registering 0.7 is that because of this three meters seems like it is all right so we just fill in fill in fill in all right for for now I'm gonna I'm gonna stop here and we're gonna talk about the this is a little bit better because I can increase the density on the backdrop anytime I want right so this is a this is better um let's talk about adding the like Greenery like grass and whatnot right so for the foliage I can untick all of these I wonder if I can remove them what happens no I don't okay so I can't remove them but I can simply add more foliage so the foliage that I've downloaded from Mega scans uh 3D plants grass um let's try tall grass like these two right uh I have this static static meshes and I have the foliage tab static mesh foliage so I'll just grab these three and drag and drop them in like so tick mark them oops try again foliage type tick tick tick tip so these three are now tick marked like so and which means I can draw with them right but I need this to be smaller and I get my uh Tall Grass going on here great so that's only one type of the Tall Grass I want more than one type so let's get Tall Grass number two static mesh foliage drag those in that's great uh then for 3D assets we have some mushrooms in here that and there's more not sure why these are not loading in but hey I'm gonna get them I'm gonna get them in then we have some Stones I'm just gonna check for the size oh the size is pretty big might be fine though so I'm gonna get the stone in here Mossy Rock let's check the size oh that's a small rock that's good and raw Granite size that's fine get that done all right so now we have um those are tick marked those are not so I'm gonna take Mark these and the trees are unticked that's good that means these are currently my active like brush oh my god um and I definitely need to fix the rock situation that is way overboard so zero point uh two for rocks I believe the first one was the the big boy so 0.05 or that one let's try again yeah this seems much better um also notice how it's uh you can see as I zoom out the geometry looks worse and as I zoom in the geometry starts looking better that is just the optimization that the computer does for me right so so that the graphics card does not crash this isn't normal so I will not be brushing these on just yet even though the density seems to be okay because I'll go back to selection mode I'll delete the rocks that I've placed here and I need to First decide on the camera angles right because the camera angles will determine um the dense the high density placement of the assets so that our whole scene is not just over overdone and we're only placing Assets in the angles which we will be using for the rendering right this is the best way of how to optimize just model out or add geometry to places where you need it so next up camera control okay cameras so in terms of creating the camera before we begin we need to do one little thing and that is the glare control you can see now as I move my viewport camera which is not an actual actor in our scene when I move it around I get this kind of a quite intense glare effect on my on my screen and that especially especially becomes apparent if I'm in a quite a shaded View or not see that view but like a shaded area and I'm looking at a bright area that kind of a bloom and glare becomes very obnoxious so I want to get rid of that the way you do it is with the post process volume remember the past process volume that we've created just recently right we're going back into it so you can either click the box here all right that's our volume or you can find it in your outliner we click on it and here under Bloom I believe no under oh no okay fine let's search for it we're looking for lens flare flare here where it says lens flares I will tick mark the intensity option and I'll reduce them to I think like 10 percent maybe even less let's do 0.05 even with 0.05 that seems to be a little bit intense too intense maybe 0.03 something like that and then another thing would be glare or sorry bloom um we will change both the method and the intensity the method will become convolution that is a more accurate method for the bloom I can probably a much easier way would be for me to find yeah there we go for instance this area right here this is with the standard bloom non-overwritten intensity and this is with convolution blue this is much more accurate and then I will reduce the intensity to something like 0.21 we still want the bloom we just don't want it to be that intense let's do Ctrl L and oops Ctrl L to rotate the light find that an angle that works thing like that that seems to be kinda okay in terms of the blue okay so with this fixed now we can go into the actual camera creation to create the camera you go into quickly add to the project button that we have here I believe you can also just add it through no no not through there actually only through this button we click that we go to cinematic and we add the cine camera actor just like that bam the way you move the camera is well you can select your actor and by the way I have a folder here that says cameras that I have just created I will drag and drop my camera into my cameras folder just so that I have all of them in one place so to move it around you can just move it by XYZ coordinates right you can also rotate it or you can pilot it and piloting is a much easier way of kind of navigating with the camera so I'm going to right click on the camera uh here not in the viewport but rather here I'll choose to Pilot cine camera actor too like that and now I'm basically I'm able to Pilot you know the the camera that you fly with the camera wherever I want once I'm happy with the positioning of the camera I will click either this button right here stop piloting or I believe I can right click here on the camera itself and choose to stop piloting right but for now I'm gonna be in this view just trying out trying rather not out but trying to find an angle that would work maybe something like that why not okay now for the camera itself the settings are as per usual located under the details right so I'm going to just create um let's see if there's anything here now um we're not doing that so I'm going to go only through the settings that I typically change uh first one being the film back so this is the width and the height of the sensor which gives you the aspect ratio if we were to look at the aspect ratios that are used in the cinema you can see that they vary between 1.85 to 1 and 2.39 to 1 depending on you know if it's a new movie or or an old movie and I believe like the yeah let's open up this chart right here there we go uh European theatrical showing standard aspect ratio for high definition video so that's YouTube then we have 1960s showings Uh current anamorphic showings of widescreen Cinema and anything else than this is kind of artistic so to say so um the The Cinematic lens so to say it has the aspect ratio of 2.39 by one that's what we're getting from this particular diagram and you know uh if we were looking at any diagram here you can see that cinemascope is always 2.35 or 2.39 depending on which um Which diagram you refer to oh let's go for 4 2.39 so I'll go back to Unreal and here for my sensor width I will say it's it's going to be 23.9 millimeters while the sensor height is going to be 10. millimeters this gives me the proportion you can see of a cinematic camera lens that's exactly what I want besides that I don't really need to change anything here in terms of the film back so I'm going to minimize it as for lens settings we have the possibility to zoom in zoom out with the minimum focal length and maximum focal length I will not be working with this neither with the minimum f-stop maximum f-stop I will be keeping these the way they are because these are you know within the industry standard so that's that's fine don't need to um do anything with it and diagram a diaphragm blade count and that's an uh seven so it's all of the bokeh effects uh where's where's our sunlight let's find our sun hello Sun Sun where is the Sun God damn it now now when I need it can't find can't find the lens glare lens flare sorry try something like that oops nah I give up okay it doesn't matter um basically the little glares that you get like sun bunnies as we call them that you get if your diaphragm is blade County seven then it's gonna be a heptagon if it's eight it's gonna be an octagon if it's four it's gonna be a square right or rhombus shape typically um it's either seven or eight you know in a standard camera so okay so for lens settings don't really need to change anything here um yep for Focus settings um we need to um manually focus in the camera on a specific distance and in this case the distance should be the building but before we focus in I will first change the crop settings right so first of all crop settings no crop but current focal the crop settings don't have crop I'm sorry I'm just reading words I meant to say current focal length that is the thing that we're going to be changing so length in the camera is um how much of a zoom do you get just from the glass of the lens right so focal length can we get a comparison focal length comparison there we go 18 millimeter 18 millimeters up to or is where is that good picture or dive diagram there it is 18 millimeters up to 300 millimeters it's the same position of the camera except the focal length is different so it's initially a zoom right but not just a zoom it's also it also creates an more and more of an orthographic projection so if you look at for instance um yeah I think this is a good example um at 20 millimeter lens and the 200 millimeter lens the difference between you know that the same photo is night and day same thing here 24 millimeter lens and 85 millimeter lens you can see what else is happening with this is the backdrop the backdrop becomes much more apparent in the scene so if we look at 17 millimeter lens here with the backdrop and 300 millimeter lens here this is much more not necessarily flat but everything exits exists in a much tighter plane same thing here right so that's what we're after we're after this kind of a well maybe not 170 millimeter lens but a pretty high number if we look at the focal length of the camera in here it's 35 mil just you know you know it's it's fine it's like Universal Universal camera focal length but actually for an exterior shot what we're after is something higher than 70. I'm going to go for 90 because that's a number that I like 90 millimeters you can see how much zoomed in my shot gets so I do need to head out zoom out with the camera and actually oh God damn it yeah I I do need to zoom out with the camera to actually reframe the view now there is a problem it's it's called trees trees are in the way so how do I solve this well first of all I need to get a few viewports in here not just one I will change the top that's back uh that's the top viewport I'll change the top viewport to be lit rather than unlit that doesn't really feel lit now does it doesn't matter um this viewport and I will change my mode instead of selection mode I will go for foliage right foliage mode now with this mode done I know that my camera is located um right here well somewhere here so I need to get rid of it not of the camera but of the foliage in front of the camera so I'm just going to click on the Eraser tool I'm just going to start erasing which does not work hmm is it another problem isn't it yeah that's fine that's fine another bug we just instead of doing it in the top view we will go and stop piloting the camera by clicking this icon right here just for a second I will zoom zoom zoom right here I'll just erase the trees from that particular angle I can't see the camera though I believe I am erasing the trees wrong okay let's undo that apologies for apologies for for uh taking so long um instead I'm going to go to selection let's select the camera F to focus in okay so the camera is actually located right here so I need to get rid of all of these trees up until the the building good I was lost there for a second foliage um erase and perhaps as much smaller to five six eraser and we just break away the path just like that you can see how far away the camera needs to be from the building to actually catch the full focus with a 90 millimeter lens once that's done I've come back to selection I click on the camera I take a look that seems fine that seems A-Okay one one more thing to note is this pin preview button right here with this I can pin the preview and then if I go back to foliage mode I can actually paint in the foliage that and be very very specific about which trees uh you know I I want to I want to remove so for instance let's erase again I assume it's gonna be nope it's not them is it this yes it was this tree and it's gonna be probably not that not that oh no is it really this nope oh my God come on ah there we go it was that that tree right there so it's a lot of uh you know soft brushing until until you get you know a nice nice look okay let's um finish up with this camera I think the angle is almost there I think it's good so I'll go back to selection I'll right click select the camera uh pilot Cinema Camera actor okay Gander Maybe yep now I'm just rotating the camera by zero zero zero and just trying to find like the that coordinate you know that final kind of coordinate that would look really good from a specific angle something like definitely not that something like so okay so we have a little bit of a look going on for us here now I'm going to click here oh Escape out sorry oh we are in selection mode so Ctrl L should work but it doesn't seem like it does so I'm going to stop piloting the camera I'll click on the camera and lock it in place if my hard disk got full with the with the video recording so it cut off I yet again um where were we oh yeah the camera right the the camera angle hi yikes the video memory is still being hammered quite heavily but uh should be fine should be should be fine so let me go back in here Cinema Camera actor uh pilot the cinema camera actor now we're looking through it and let's see more stuff that we can do current aperture as a setting is how much blurring will happen in your scene so if you change this to 1.2 the lower number the more blurry things get and you can see the flickering starts happening we will be fixing these flickers in just a second or not a second but later down in the video but basically lower number equals more blurring higher number though equals sharper right so 22 is the highest let me um usually I use 1.6 as as my go-to aperture because that's the feels to me like a pretty decent amount of blurring that's happening now we can go back to focus settings and actually look at how this whole thing looks so draw or rather how this whole thing focuses and how does the camera focus on our subject in this case we see that it really really doesn't so let me say that the focus method is manual we are focusing in manually up to a certain distance manual focus distance I will sample the depth from scene so I'll click on this little pipette tool and click on the facade and now we're focusing in onto the facade and if you also want to draw you can draw a debug plane which basically shows you the you know the distance at which you are focusing into into things so you can focus in into this Branch let me not draw the plane so this branch is in Focus while everything else is being blurred out that's not what we want though so we're focusing on that Focus smoothing interpolation speed Focus offset we don't really uh care about those things right now so I'm not going to be looking at them okay what else is there um crop settings no current horizontal field of view that's fine no uh yeah uh custom near clipping plane uh sometimes you want to clip away you know a branch of sorts or some sort of a stick that's in the way you can use that with a custom clipping plane right all right now I'm going very drastic with it 63 meters in front of my camera but you get what I mean right you can clip with this clipping plane actually can be used to make sections right don't don't though don't though okay constrained aspect ratio means that it's going to show you the actual aspect ratio of the camera rather than the aspect ratio of the um full viewport that's fine and everything else seems to be okay cameras that's fine post processing lens effects um here you can start changing the exposure of this particular camera right so let's let's take a look at pause post post sorry post processing under post process under lens under bloom you can override the bloom back to standard but remember that we have a post process volume that's already fixing the bloom so we don't need to worry about it what we do need to worry about is the exposure control in this case our exposure well sucks it's it's bad this needs to be much darker and I'm not really sure what it's exposing for so I'm going to check metering mode to manual exposure it becomes dark that's fine exposure compensation I'll check checkbox that and I'll increase it up to let's go for five uh let's not go for five let's go for like seven eight hmm not done knife yeah something like nine and now you know our exposure is a little bit closer to to reality right of how this would need be normally exposed one thing that I want to and also we can change this to cinematic viewport and go back to piloting our camera now I can't pilot my camera I forgot that I need to switch to here there we go so now we're in cinematic viewport with the correct exposure yeah everything seems fine I'll switch back to default viewport should be a okay the only difference between cinematic and non-sinematic is that cinematic does not show the icons you know these rectangles and whatnot uh uh there we go so in terms of exposure what I want to do is I will actually stop piloting the camera and I'll zoom in to my building right here I want to create three spheres or four Spears rather and this comes again from the same William Guy Link in the video description who does really amazing stuff with the lighting um so I'm going to create um sphere where is it shapes sphere I'm going to create a sphere and I'm going to make three more of these so I will just hold or rather let me first scale it down to well how big is it actually first I need to know how big it is to know how by how much do I need to scale it to zoom in actually the size of it is fine so sphere number one holding the ALT key I'll copy it up it's pure number two holding the ALT key up three up I didn't copy for some reason up or okay great we have four spheres each of them can be they all rather can be scaled down or scaled up as as you want but I'll keep them the way they are later I'll show you how to make them into one object but for now four different spheres I'll go back to my or not bad but I'll go to my materials tab or folder and I'll apply black material to the bottom sphere I'll apply a mid gray material to the middle sphere white material to the top sphere and reflection material too the top top sphere toppest of the Spheres then I will go back to my cinema cinematic camera I'll take a look if you know my white material actually looks white if my dark material looks dark right so you can always balance the exposure according to these four spheres they become very become very handy so I'll just place them here so now back in my camera settings I can see that this needs almost well exposed I would say um the shadow of the black sphere is completely black the highlight of the white sphere is almost completely white so the exposure of this is correct the only thing for me is the contrast it feels like the contrast is a little bit off but that might be I might be it might be subjective right let's see how this would look like with eight this becomes too gray this is not exposed well this becomes a little bit too dark so 8.5 perhaps maybe what if it's 10 if it's 10 then black becomes Overexposed so it is indeed nine okay I actually caught it quite well I'm happy with this but and then for um our our uh where was it second for our camera control you can also change the like the shutter speed ISO and aperture like you can also change um these settings right here to get a better understanding of you know or better control of the brightness and contrast but instead we're using exposure compensation uh right here so uh we don't really need I believe to work with the camera settings as they are here the local exposure I've never actually used so I'm not sure how that works lens flares we already talked about lens flares you know the intensity and whatnot we can increase them we can decrease them doesn't really matter we don't need them and image effects there is the vignette effect that I always suggest everyone use the vignette effect let me increase the size of it or intensity of it that's the darkening on the edges of the camera right of the lens because the less light goes in through the edges so I'm um I never suggest using like one for vignette effect but something like 0.3 or 0.2 um just gives that additional weight is it oh sorry it is 0.5 yeah yeah because default is 0.4 uh gives that additional focus on the center of the screen depth of field that's exactly what you're getting with the uh with the blurring you don't really want to override anything with the depth of field then we have the color grading where you can change the temperature of your camera so you can make it warmer you can make it colder you know whatever you want you can also tint it towards pink or towards green for now I will not be changing anything here that is going to be the last things that I do you can also play around with the Shadows you can increase their foreign well that's the saturation no not the saturation I'm sorry the contrast within the Shadows uh so you can make it more aggressive or you can make it blown out right for now we're not gonna be uh doing anything with them let me reset those little arrows that I'm pressing on the right hand side corner that's the reset um elimination Lumen that's correct sorry I'm just going through the settings now those are fine okay we don't need GI uh well this kind of GI just now there's going to be a separate portion of this course covering Global elimination and all of the different settings that you can have with it okay so in terms of the camera that's the most that we can um control uh or we can of course control much more but you shouldn't in my opinion as as you're starting off this is uh sufficient right so now I'm just going to really quickly show you how to set up a second camera I honestly really suggest just taking the originally like camera that already works and just making a copy of it making a copy of it come on camera two yeah camera two is still there I just don't see it and then with the new camera I will pilot it so perspective camera three I'll pilot it trying to get it into sort of a different different View perhaps 70 millimeters for this one foreign maybe something like that work again the the trees are in the way so I'm going to pin uh the the camera view I'll go to my foliage editing tool I'll choose to erase and I'll just make sure that I get rid of the trees that are a little bit in the way do I like that I'll I'll remove it for now I'll bring it back in a little bit later okay back in my selection mode I unpin this and I pilot the camera three to find like a nice nice angle yeah I think something like that sounds or or looks looks fine fine to me a bit more something like this and then in terms of the settings uh let's see 1.6 uh where's our focus focus settings uh where are we focusing on okay we're kind of focusing on the same distance right so it's uh this area is in Focus I think that's fine we can go for like a back window right there so it's more focused in that area or perhaps right here and then untick that okay okay we have two cameras for the exterior then let's do two cameras for the interior and finish up with this chapter so again I'm just going to really quickly make a copy of this camera move it I'm just gonna move it inside of my building whoop something like that made a mistake pressed something shouldn't press things accidentally try again Focus there we go we're on the roof for some reason and here we are inside of the inside of the building so now I'm going to start piloting it oh yeah I need to do it through here because it's bugging out and you can see that there is no way that I'm I'll be able to properly uh have like a proper camera angle in the interior with a 70 millimeter lens so I need to switch this you know pull this down to something closer to like 50 maybe even less let's go for um 35 mil something like that and of course the right now the the look of this is way too too too too dark so I'm going to go into into exposure not there lens settings not there Focus settings not there crop settings oh my God where is it lens exposure there we go post process or sorry not even post process sorry yes post prices post process lens exposure manual instead of nine we do like 11. something like that yeah 11 seems to be uh seems to be quite good actually perhaps even more um 35 mil seems to be still too narrow so I'll do 28. something like that I'll take the Spheres and move them in and move them in I said oh my God uh come on please please spheres there we go and they're now way too big so I need to make them smaller 0.5 and each of them I'll just move it down move it down move it down so you now can see that definitely in this at this camera angle compositionally speaking this is fine the camera angle is not that bad um but practically speaking it's too dark right or or X speaking of light it's too dark also I'm moving way too fast so I'll decrease the movement speed a bit we're still piloting the camera right okay so that seems to be okay let's let's take a look at this minus 270. and last last adjustments I always do with uh XYZ positions rather than the piloting movement thing like so okay now in terms of the light I think there needs to be like 13 oh no not 13. 12 uh perhaps 11.5 yeah thing like that 11.5 the white is uh not exposed properly but I don't want to lose too much information in terms of um here maybe 12. something like that uh should should be good uh increasing contrast will help with the exposure all right so that's our uh orph well not fourth camera but camera number four and then we have one more left I'll just make a copy of this by the way you can just make a copy of it I believe just Ctrl C Ctrl V copy pasting and then piloting the five five and a new new placement that's the that that's the hallway actually that's a pretty cool area right there I kind of wanna is it weird to just render one room some what's in here here we have the entrance oh no that's not dangerous that's the children or or the master bedroom perhaps we can render the master bedroom as well okay so for the master bedroom my exposure compensation is to be even more even higher uh probably around 24 oop definitely not 24 16. yeah something around 16 and you can see that with that amount of exposure compensation this is starting to become really weird and really awkward and we'll we'll talk about why that is in just a second I purposely made it so that it's um that it becomes uh quite quite a mess right in terms of of the light let me uh really quickly find the composition for this so that we can talk about important things uh in terms of exposure that's fine in terms of the focal length I'll go for 18 millimeters that perhaps something like so and then to focus in like that um last last little bits camera nope camera options nope Advanced nope where is it aperture focal length Focus settings there we go Focus settings uh here I just Define the focus distance onto this lamp so we're focusing in on the lamp all right so the issue with this is that it receives the light from indirect elimination only and for that we need to create artificial lighting lighting that can help us with um well that that can push a little bit more indirect light into our scene and to do that we will need to I will need you to guide you through light Creation in Unreal Engine that is going to be our next chapter all right so let's talk about light light and Shadow actually because those come you know come hand in hand so to say when creating lights in Unreal Engine you need to understand that there are two types of uh or rather maybe three types of lights that you can make one is material based lighting meaning emissive material type I will cover that in just a little bit second one is actual light sources such as Point light rectangular light directional light and so on and third one is hdri lighting meaning an image that is wrapping around your scene and producing light from basically all angles so the image itself is producing light in our case for this Interior right here we will be creating a and just the light source to begin with so I'm going to go in here choose lights and choose well no directional light because we already have that that's our sunlight right all of the arrays of the directional light are parallel to one another rather we will use Point light I need the point light to be somewhere where we can actually see it please oh there it is there it is there we go so that's our Point light and you can see that it's pretty intense right now so I'm going to talk about the settings that you can change first off being the intensity of the light let me reduce this to one Candela something like that of course our camera readjusts that's fine or not camera but viewport camera readjust that is fine with us so you can control the intensity of the light this way right with that with Candelas light color clearly it's just you know you can change the light to any any color you want let me cancel out of that um also if you want separate RGB values you can choose those I will keep the light as white for now um Source radius is actually a pretty um important or sorry attenuation radius is how far does the light calculation extend and basically how far does the gradient of the light extend so in this case it's 10 meters we can decrease that annuation down to let me do a meter just so that you can see right so the light stops at this range so let me do attenuation radius of 5 meters something like that well wait five 500 right something like that then we have Source radius any light source in Unreal Engine can produce soft shadows and I guess from from school you know that the larger the light source the softer the shadow right so when it's cloudy outside the light uh is actually being shown through the cloud right meaning that the light source becomes much much larger so the Shadows on the ground from you or from a cars or from anything become much softer same thing here if we say that this light source has a source radius of let's say if I earn not 5 meters let's let's do uh 50 centimeters you can see that all of the Shadows became much softer just like that so that's how you can control the attenuation sorry the source radius there's other settings here but I don't think that it's necessary for us to cover those settings until you I mean you need to learn the basics first so that's the the most mostly the point light settings that that I usually change the first four and then the next step is the actual shadow right here you can see that the shadow of our light let me make this a little bit slower there we go the Shadow from this light is not that great I mean if I move this around the softness yeah that that's that's not not that fantastic so how can we fix this well there are two types of Shadows and if I just in my light settings if I type in Shadow uh there's the possibility to cast Shadow but um a much more important one is cast Ray Trace Shadows the setting right here so there are two types of Shadows I I believe the first one is cascading Shadows or something like that and the second one is retrace Shadows right so if I enable this now this light the Shadows from this light are calculated per array basis so the Shadows themselves become much more accurate let me reduce let me close that so castrate Trace Shadows I enable that and cancel that let me reduce the source radius uh down to like 10. and now move the light and you can see that now this becomes much much more accurate Let's uh let's find actually a different kind of a instance where this would be even more apparent foreign with me one second something like this there we go that corner right there shadow Castries Trace Shadows I'll reset it to default by clicking on this little icon right here and you can see here now this Edge it's it's all shaky it's all wobbly actually this is doing a pretty decent job as it is I guess that's because of our shadow or not sorry not Shadow but light uh Source radius so if I increase this a little bit more then you can start seeing this stair stepping effect that it has right it's still sharp but also it's soft so now back to retraced castrated Shadows enabled this is much higher quality right of course it comes at a cost you do need to like the your graphics card is working overtime when you're redoing that but um I think that is definitely worth it so that's that okay let me delete this another um what is it lights another light type is spotlight which is basically well it's uh pretty much self-explanatory right it's a projector based light source that I'm trying to get in here there we go projector based light source that I will most likely add to this little uh point right here so to add it we do need to rotate it uh 180 or 90 degrees no 270 probably yeah and then rotate it here to something like that move it in place position you don't need to be super accurate about it but of course uh let's make this even slower and never ever have the light hit well that I messed it up Ctrl Z I never ever have the light hit the surface like hide inside of the surface that's never a good idea by the way notice how when I move this immediately my light snaps to different surfaces that is because um when you're dragging something by the arrow it overwrites the surface snapping but if you're not then this surface snapping um tool I guess or option overrides your movement and it starts snapping around so keep in mind uh this should be unticked and the surface mapping should be unticked when you're doing like Precision Movement Like This and we just add it there some reason this looks awkward I think it needs to move down a bit yeah something like that all right so that's our light source um the Spotlight light source and I'm just going to switch from default viewport to cinematic viewport press F I guess can't zoom into it huh let's try there we go just to see how it looks like so a cinematic viewport does not show the preview of the icons basically are not shown with cinematic viewport um I'm just using it to evaluate the angle of the light it's a little bit iffy so I'm going to change it up a notch okay let me switch back to default viewport really hate that oh my God oh my God I really really hate that it's uh puts me here and that I constantly need to go back which one was it yeah my actor five pilot oh I can't pilot they're great Cinema actor five there we go select this and we can continue so with this selected I want the area the angle of the lights to become less so I'm going to uh change the inner cone angle and the outer cone angle first so my inner cone angle is going to be that's where the uh 100 intensity of the spotlight shines so it's gonna be something around 5 degrees and my outer cone angle is going to be something like 26 degrees then just looking at where the light shines I think this might be a much better kind of look for this okay something like that so 5 degrees 27 degrees maybe 30. let's do 30. then for the intensity I'll reduce the intensity by quite a bit uh two Candela something like that for the source radius I will increase the source radius just a tiny bit let's go for like 10 or so for softer shadows and of course I will type in Ray and choose enabled retraced Shadows so that these guys are accurate right once I'm happy with this I'll stop piloting my camera I'll take the slide Source holding down the ALT key I will copy it to the other side of the bed just like that easy peasy there we go by the way if you want to hide the these icons of the lights temporarily you can also go to show and find never mind never mind Sprites light ing yeah this you untick this and then it does not show you the lighting Sprites all right so now we have this going on for us which is which is great we still need to add a little bit more lighting from the outside because if I actually let me do this Cinema Camera actor let me just lock this in place just to just to have it here and make adjustments accordingly can we make this bigger now we cut okay that's cool so how do we add more light to the scene how do we make that more light shine through the window that we have right here well that is done with rectangular light so I'll go into my lights under Spotlight there's rectangular light and I'll just add one in drag it out here just kind of look at it you can see that the rectangle light rectangular light let me rotate it shines only to One Direction in this case downwards so I don't want that I want it to shine towards my facade like that and I want its size to fit with the size of the window that I have so there's going to be a little bit of adjustments you can see that now in the interior is just a nuclear explosion let me reduce the intensity even more by one Candela maybe less 0.5 Candela 0.3 yep something like that uh should do the trick and let me move the light source closer this is not the fast process it takes a little bit of time once you have it just seems it seems to work like this and now let's change the size of our rectangular light so to change the size all you need to do is choose the source width and Source height right so our source width is 64 degrees that seems to be very close to what we want to see and our source height is also 64. oh sorry I said degrees centimeters so we actually want it larger we want to extend almost to the to the ceiling so let's do 200. 2 meters for the height something like that now when I'm looking at my render that seems a little bit better right now in terms of the size of our rectangular light it already has size Incorporated with it so we you can't really produce like larger light while the light actually has the size so the shadow softness is directly related to the softness of the light right so that's that that's that's what you get um if speaking of Shadows uh Ray and we use Ray traced Shadows for this a little bit softer a little bit nicer if I move out my light from the window you can see the reflections happening which will mess up one of my uh one of my scenes so I need to make sure that the light is inside of my of my room right something like so okay so there's a lot of kind of mixing and matching of of Lights to to make it work let me take a look at my other views to just see if it's not messing anything up this seems to be fine that view oh yeah that that is is probably going to be okay considering that there's two light sources already there that are Shining Light right angular light we usually get those for uh in the indirect light situations where you want to boost the light amount inside of the room in this case uh camera number five let me unpin that uh particular view now let's switch to Cinema Camera actor 4. you can see here that the light that I have is a little bit uh you know it leaves a little bit more to be desired and that has something to do with the directional light that we're using the directional light that we have it comes from light environment the sunlight if I search for Ray in here it also uses a cascaded shadow so not a ray traced Shadows so if I expand this I can enable retrace shadows and now you can see that the Shadows become much more accurate and in terms of the frames per second if I show the frames per second here there we go so it's 47 uh around 47 frames with second it's 47 frames or 55 even frames with the ray Trace shadows and 16 frames with cascaded shadows that seems to be weird something's fishy I will need to investigate a little bit because this should not be that anyway we will we'll do that a little bit a little bit later for now this is much better let me switch to uh from from Cinema to or rather stop piloting the camera because I already messed it up and zoom in to the wall to see what's up how does this look like and that's fine 80 frames per second huh retrace Shadows disabled 43 frames per second but of course the the tree leaves become uh quite quite nice quite lovely so there's there's a trade-off between the two you know this becomes much softer due to the size of the um due to the size of the light source right so while this is accurate it's maybe not something that you that you want right um there is one second nothing nothing else here that I would like to that I would like to change uh show modified properties foreign Ty that is actually that is actually modified right okay um now let's move on to materials so creating lights with materials because besides these types of Lights there's also Skylight and sun and Sky which we are already you know I've already covered that with environment light mixer so we're not gonna do that do this again I will talk about the environment Lighting in general in the next step but before I do so let's talk about the the one second the materials the creation of material that actually produces light and for that I will most likely just create another sphere shapes sphere there we go but for some reason this fear made everything a little bit brighter hey it is what it is um and then I will make this fear glow uh I'll make the sphere glow um by introducing a material for it so let's go to materials and let's create a new master material so right click material name it emissive master myself Master double click that opens up this new ah this new tab which we will minimize and here you can see that there is this emissive color option so there's base color and emissive color so I will create a constant 3 vector which is a color and I will make it or right click on it and convert it to parameter and call it emissive color and it's not just that but I'm also going to take it and multiply it multiply by a scalar uh number by by some value right so that is going to be constant just constant right click convert to parameter and call it uh intensity let's say while I have this selected we can describe the minimum and maximum range a range of the intensity so minimum is zero and maximum let's say is a hundred something like that connect that to multiplication connect multiplication to emissive color and that's that you have yourselves a master material for any emissive color now it's not Shining Light because it's black and black multiplied by by zero is very black so I guess we need some default parameters so default value I'll just make it pure white like that and intensity default value I will make it let's go for 10. something like that our Shining Light nice save close that's my emissive master right click create material instance missive I'll just drag it to the main material move to the main material folder right here and just drag it as my material for the light let's make the light smaller as well something like that okay a few things to understand first of all notice did you notice that shimmering you can still kinda see it right the the shimmering effect that is Lumen just losing its mind so you can't light your scene with just emissive light that's impossible you can't do that emissive light will make it so that the scene um like you you can have large volumes of emissive light with low intensity then it's fine as you can see here but the moment the light becomes small the light source become small you will get this uh super grainy effect and I think I can visualize it even better with lumens scene overview right that's you know that's the problem that's the issue because every everywhere else the light cache is quite decent quite normal well I say that but then we look at this oh maybe it's because yeah it's probably because of the slide and here is just you know a rave party so make sure to not have that right make sure when you're creating a light with an emissive material you're actually also let me switch back to LIT you're actually also right next to it creating a Point light just like that and this should not cast Shadows cast Shadow turn that one off something like that right so now you have emissive light and you have a helper Point light right inside of it and now if I check the Lumen thing this is much better right this is it's still flickery from from this but this is much much better um so keep that in mind while you still can use uh emissive lights to get accents and so on your main light source still needs to be oops still needs to be um these light sources like proper light sources in your scene so that's that that's uh that's all about about lumen sorry all all about light sources okay um if you want your shadows so let's say you are Cinema Camera after 4 piloted and you're looking at the shadows and they don't look that great um keep in mind that this is still a preview right this is a preview of the scene and there are a few things that you can still uh fix that you can still change so for instance Source angle you can make your light source super sharp um so that there is no blurring whatsoever of the light but I would suggest still having it you know I'll still keeping it as a default value so in this case the directional light does not use Source size or scale I guess but instead use a source angle and the larger the source angle the softer the light is going to be I personally prefer having a little bit softer light so something around one does the trick for me this is still a little bit grainy if you want to get rid of the Grain in the preview you can use field of view sorry not field of view screen percentage here you can switch this to a hundred well I don't know why it's 80 now but you need to use a hundred percent by default let me guess this is going to be toned down as well no it's not never mind um so screen percentage 100 but if you want it really sharp 200 percent it's quite a second 200 screen space or screen size because that is really destroying my frames instead I'll I'll stick to a hundred percent okay so that's uh now that's all about the light let's move into uh talking about the settings and figuring out what kind of a settings in terms of quality we can change because I feel like there needs to be yeah we first do the settings and then I will show you the optimizations and at that point we will start uh polishing the the environment and everything and making everything look nice so next step settings okay so in terms of settings there are two options or two variations of where you change the settings in an Unreal Engine five well at least this kind of a global all-encompassing light settings that we find to be important in architectural visualization a global settings such as the project setting that's how it's called is located right here under settings uh project settings tab and that all of the settings that are here are um will be applied to every level within your project right so if you have multiple levels all of them will share the same project settings so these are kind of global then you have local settings for any individual level and those are usually described through the post process volume a volume that we've already created before right so it's here and all of the settings can be kind of written down here I will cover both of them but only the areas clearly in the areas that I find to be most important for a beginner user so first of all under settings under project settings let's do some Global stuff you will feel scared when you opened up this but don't be there's not too many things to change here actually the first thing to look at is your maps and modes list right here where you can change what kind of map is used as a startup map for your project so in this case I've chosen building one so I Want My Level to always open up first when I open up the project right so that's that's uh thing number one to change then you have under under supported platforms I have unticked everything and only left windows and because I'm not going to be messing around with any other of these platforms only the windows in this case Target Hardware desktop maximum easy peasy for now then we scroll down until we see an engine under engine rider we see rendering there we go rendering and here we find Global elimination tab Global illumination is indirect lighting that your scene gets from bounce light and it needs to use lumen right so the calculations need to be done through the method of lumen make sure that that's turned on reflection method also Lumen this is a very powerful tool reflection capture resolution to 256 seems to be fine you know that Chrome ball right there is not doing that great but uh if you want to you can increase this to 512 uh that's going to be a little bit better but lumen in general uh the reflections from Lumen are kind of kind of meh on to be honest there are we will be changing a few things here to make it a little bit better but in general I would suggest not using um a lot of super shiny you know chrome-like materials when when working in unreal and unless you're going to be doing path tracing or uh Ray traced reflections and then it's another thing but in this case we're using Lumen Lumen 512 for the resolution I don't ramp up this too much Ray lighting mode we will use surface cache so it basically um there are two two variations to this hit lighting cache and surface cache um hit lighting cash it costs more is better for I believe uh I don't I don't honestly sorry but I don't remember the differences between them I just know that I use surface cache because the visually the quality increase between surface cache and hit lighting for Reflections is so minuscule that I prefer uh prefer to get the additional performance from this mode if that makes sense I hope it does then for surface retracing mode I don't use global tracking actually I use detail tracking because global tracking um cracks the Rays from anywhere on the scene while detail tracking only tracks for first 200 meters I think something like that so I prefer using detail tracking here for you know how how does the light travel because anything that's further away than 200 meters I don't really care it's not going to be a big deal right something like that Shadow mapping method virtual Shadow Maps you always want virtual Shadow Maps always support Hardware Ray tracing have this turned on everything else just as what you see on my screen and nothing to because by default we want retrace Shadows to be turned off and we want to turn it on per light basis because they cost a lot right so we want them to be only used when it's definitely necessary says the guy who tick marked the use retrace Shadows for every single light that I have created up until now if all it is what it is all right uh that's honestly about it in this case yeah yeah nothing else to change here okay now if we go all the way down here down to platforms windows we will be presented with a direct 3D DirectX 3D 12 Target Shader formats we use sm6 that is the newest one you could use sm5 if you want to I believe foreign I believe sm5 is was used for Unreal Engine 5.0 so that probably would be more stable one but don't quote me on that I don't know uh I tend to use the newest ones though so that's sm64 D3 D12 and D3 d11 sm5 uh much more importantly uh default rhi is DirectX 12 not DirectX 11 but DirectX 12. this if you have it set to DirectX 11 make sure it is changed it to DirectX 12 and restart your project that's all the global settings that you need to change now for the um local settings so to say your level settings go to your post process volume and here search for uh Lumen or rather we can also go into Global elimination right here so post process volume scroll scroll scroll until you see global elimination expand that expand that Lumen Global illumination Ray tracing Global elimination you get these settings right here right so you can take Mark Lumen immediately as your Global animation and then here you have all of the different settings that you can that you can play around with that you can change I will only guide you through the ones that I find to be important for this I tend to turn on Lumen overview like that and I tend to look at the different colors color coding in my Surface cache for instance right so if I tick mark Lumen scene lighting quality and I increase this to like four always lumens in detail I tend to increase them both to four the quality here should be a little bit better let's see if that helps that's not really changed that much does it final gather quality um that for that we will need to change the sorry back in here we need to change to um some corner here final gather quality we can do two right so if you have any area that is quite dark The Gather of lumen will be of higher quality so four four two Lumen scene view distance it's how far does it uh trace the Rays you can see that here I I turn it to one so just to show you how it looks like when the scene distance is set to 1. so it's not being traced it's all screen space right now and back to whoa whoa whoa back to its original that is 200 meters like that right I sure if YouTube is picking up like if YouTube compression is not killing the the things that I'm trying to show you because there's so many things that are quite quite small on the screen um Max tree's distance again with a distance set to one you can see that all of the tracing is now only screen space you can definitely see this one right like the global illumination is just garbage right now um let me do this overview like that and if I change the max Trace distance to its original size now it's tracing properly right please that should be pretty visible and then we have retrace Global elimination we can change this to um can we change this to more bounces yeah we can but we shouldn't uh at least I don't think we should so here if if you have a very dark room and you want it to have more bounces you can have by increasing the bounce amount samples per pixel here you can um use more samples but that's not really going to change much it's much better to use a higher resolution as you're rendering out there are still some problems especially here in this corner but I feel like those problems stem from the geometry itself the fact that the geometry is a single shell that is wrapping around this should be exploded then it would would work much much better perhaps it's also Let's uh one thing check one thing browse to asset right click nanite and not build nanite for this disable no never mind never mind it's it's not a nanite problem it's just this type of geometry that is messing up that's okay still looks quite good quite fine for that corner all right so in terms of the reflections and the lighting and so on those are the main settings that I change let me go back to yeah let me go back to post processing volume and check if there are anything else Reflections color grading depth of field lens flare no nothing nothing else so those are the settings that I change I honestly oh I cannot take this I don't see the final gather quality I could use like four or even more but uh in for this scene since it has a lot of light seems like two is absolutely fine so I'm just gonna um I'm just gonna use that sorry I just I've never changed this setting before so I just wanted to see what it does um final gather nope we don't we don't do those here okay so in terms of the settings we are done uh now it's time to talk about additional uh settings here so first of all if you see this kind of a problem emerge here that usually has something to do with nanite right so nanite tends to optimize the geometry but Ray Trace shadows and nanites sometimes mess up especially if the geometry is not that clean as you can see you know from this so how do you fix it well you just need to disable nanite for this particular mesh so for this B rep I will right click browse to asset find it right click on it click on nanite oh you can't see right click on it click select nanite and choose to disable now night bam that's fixed same thing for this one that's B rep 5 I already see it here right click nanite disable the shading is fixed I'll go around real quickly trying to find other instances where nanite is being a bad boy this is actually a good place for me to kind of show showcase the difference in the past processing volume notice that that kind of there's still a little bit of Shimmer come on there's still a little bit of shimmering going on around this area but this is much better let me uh really quickly to keep it pedagogical show you how it looks like with these unticked right much worse much more much more shimmering right and with uh lighting quality set to four see in details set to four final final gather quality set to 4 or so it's set to two that becomes much better right okay so now for the foliage let's talk about foliage a little bit let me turn this monster on and let's look at the foliage you can see that as I am moving in oh and I should move myself back in here as I'm moving in the foliage changes its LOD the level of detail right so as I move out it becomes this kind of a messed up looking bad looking mesh as I move in it looks a little bit better but as I move out bad better bad okay so that's the first thing that we need to fix it's the that switching between the lods to do that we will need to use this console at the bottom and we will need to use a command so write this down r dot r as in render r dot Ray tracing Dot r dot retracing dot geometry Dot instanced instance static meshes and then in this list just find a DOT culling the whole thing is r dot raytracing.geometry dot instant static meshes dot culling click on it press spacebar and type in zero so the full command is r dot uh raytracing dot geometry dot instance static meshes dot coloring spacebar 0. enter um wait was that oh crap that's for the Shadows [Music] actually that one we also need to use so that's fine I'm just doing it backwards the thing that you just entered uh Ray tracing dot geometry one second and geometry instant static meshes calling one uh the thing that you have just changed was the lack of Shadows uh from the geometry uh that is further away right the geometry that is instant geometry that is not uh producing Shadows right but it's still kind of would switch its lods sorry about that so let me do this again um r dot Ray tracing that I guess I'm getting a little bit tired geometry dot instance static mesh is calling not that but space bar 0. okay that's good and now the actual thing that I was talking about the changes of levels of detail we don't want that so I'm just going to and this is going to destroy my frames but I'm gonna do it either way um foliage oops you don't write it here you write it in the console foliage Dot Force LOD not without dot yeah you can see it here foliage Force LOD spacebar zero zero LOD is the highest level LOD possible actually that's fine it was only like a 10 frames per second hit it's not that bad so now there's not going to be any awkward switching anymore all right now it's time to make it nice make everything nice so for that I will need to download a few um more assets delete a few trees place a few trees and whatnot and and just make this whole thing a little bit more optimized a little bit nicer right now we're at around 20 frames per second when I'm looking at the forest and we're gonna be at uh 19. actually frames per second as I'm looking at the forest and once I'm inside we're kind of closer to 45 frames per second right so let's make this a little bit a little bit better all right uh I guess time lapse time thank you thank you foreign foreign today is the next day and I have rebuilt the whole project from scratch and Unreal Engine 5.1.1 because 5.2 was being unreasonable it was crashing constantly and super unstable so now we have exactly the same project in 5.1 as I was rebuilding it I was thinking if there were any changes between the two versions that I should note and there were none so anything that I have already taught you that stays right it's uh you don't need to change anything so um here let me just guide you through what was done are we piloting no or not okay hmm so all of the materials all of the different materials are exactly the same right as what we had before in the previous version so that's done the light everything is the same except the trees I reduced the amount of trees and by doing so I increased the ceiling of how many like vegetation and mesh pieces I can have here in in my scene right so now if I go to actor zero or sorry a camera actor zero that you can see that it's much more interesting there's much more stuff going on and it becomes much more in you know atmospheric so that was added and it's all quixel Mega scans by the way every single thing is free qixel Mega scans Library well you saw the the time lapse right so that's then we have another camera camera one which is a zoomed in version of camera zero so I'm I'm starting to frame the views and starting to get the feeling of what do I wanna and I should why is this Bend oh because it's selected never mind there we go I want to get the feeling of you know how I'm going to frame this and what kind of videos will I make with um this program so a zoomed in version then we have actor 3. again quicksell Mega scans this is not even like a play this is a pottery thing that doesn't matter a few candles and actor two you already seen this right so basically at this stage I would say we are like in terms of quality we're kind of 90 there you know uh we're we have the surrounding environment we have all of the materials set up the light seems fine the settings are okay I mean you might say that well here it's it's very jittery that's fine this is the preview I want it to be to be jittery in the preview especially considering that currently I'm using screen percentage of 80 rather than 100 just to make sure that you know it's not gonna crash while I am presenting if I were to do 200 of the preview this would look much much better okay with that said I want to cover I want to cover one more uh thing that is called decals decals decals I'm not sure I'm not sure how it's called um I guess decals d-e-c-a -l-s and they are basically projected textures that you can project on top of any surface right so let's say this table right here right if I go to quick sell Bridge Under well I already have downloaded a few but I'll show you under home under decals um you have all the different tattoos let's say that you can add to your surfaces and if we look at fabric rag no not rag something else oh no is it trim no it's not trim is it under other yes other table mat you can find one of the different types of table mats that you can put on the table the quality of course will not be the same as having a mesh but these are very cheap in terms of the uh the the calculation computation right so you just download it you know get it in your uh unreal file and then under Mega scans and their decals you will see decals you will see table mat here right which has three different textures and one material instance so for this material instance all you need to do is you just drag and drop it in and you can see it's now being applied it is a big boy ain't gonna lie and it even applies to the camera which is funny and it's a big boy and it's being projected as you can clearly tell in a very um kind of straight up way so so it just goes down one second like that so it just goes down right it's being projected down can you project it sideways yes you can you can just rotate it you know 90 degrees come on and if we move it closer to the wall it gets projected on the wall but we're not gonna be doing that right in instead we'll be working with the menus that we have here so to to make this work so first thing is the size the size of it right we can reduce the size dramatically to something like this that's much more reasonable perhaps even lower 20. something like that and now while the scale is correct it there's still a little bit of an issue with the texture being mapped onto or buns so to fix that we need to unlock the uniform scaling for the size and change the x value basically make the projection of the dick Deco make it very thin so something like 0.2 millimeters and then very carefully you move it until it hits the table and once it hits the table maybe it's a little bit too 10.4 something like that you can see once it hits the table it creates this texture on top of the table right so now we have a little rug again the quality of it or not rug tablecloth the quality of it is not going to be great right if this is something that should be used from afar and definitely not for a close-up shot like what we have here right this is not the edge of it is not going to look natural but with that being said this is it has a lot of use cases if you need to populate a lot of stuff in the far end of the room I'll delete it though I'll go in here to this facade and I'll add another I've downloaded a mud stain decal and I'll just add it on to the wall and you can immediately see it being applied right like that and all I need to take care of is that it does not translate on the inside because right now it's being slapped onto the inside as well right it goes the projection goes through so I need to change the the size of it as per usual and I will also need to change so let's scale it down a bit over here something like that that should do the trick and then let's make it I think it's X right yes in X Direction let's make it quite thin so again one centimeter of thickness or actually we probably need it a little bit more because our wood extends Beyond one centimeter so let's do like five centimeters of thickness and just drag drag it a little bit out stick a gander how does that look like can you even see it I hope you can right the stains here those just make it the whole thing a little bit more believable right so that's done we we have ourselves a little bit of a stain for a close-up shot um these are very powerful tools that you can that you can use to get the extra you know I said that we're at 90 percent of quality that I would like to see by using a decals you can reach you know 92 93 percent um how do you reach 100 well you don't you don't reach 100 you can only strive to reach 100 um the closest that you can get is you know if you just oh populate the whole scene if you have a lot of like micro uh textures here here and there and just kind of uh showcasing the building as if it was lived in not just as a brand new uh space but we don't really have that time here so I'm going to you know skip over that part but actually I I think I should show you the potential so give me a second I will show you another project that I am currently working on just to um explain and then we will continue from there all right so this is a project from my previous YouTube video on on Unreal Engine where we did well actually I can show you I guess uh let's play in viewport no there we go um where we can construct a staircase and also when I talk the character talks blah blah but the thing that I wanted to show here was actually the materials that that I've created you can see as I move in and let me make the viewport a little bit bigger as I move in the materials themselves are pretty simple right pretty simplistic but we have fingerprints and they have small scratches I really hope that this is being picked up by do you see them here I really hope that this is being picked up by YouTube and it's not just sacrificed to the the optimization so the same oh maybe maybe here it's a little bit better right all of the different scratches and so on they just kinda ramp up and they add up to make the whole Space feel a little bit more a little bit more natural right and the way that's achieved is by just creating more adding more textures to rather than one to the roughness map of the material speaking of which um let's now jump back to to to to our project and let me show you how you can make a custom material with textures because that's I believe quite an important thing to know so creating materials in Unreal Engine or creating texture based materials in unreal Engineers not that hard actually you just need to know need to know a few tricks so under my materials tab materials folder Master folder I'll create a new material I'll call it a texture master something like that or in this case it's going to be my painting Master material so I'll just do F2 painting master like that double click on it and we're again presented with this node editor right for for material creation to create a painting all I will need is a base color and a little bit of shine right so it's it will need to be a little bit shiny nothing else really is needed here I mean we could use a small bump in the normals but for now let's just keep it simple so to add texture as your base color you use a texture sample node texture sample like that and connect the RGB color to the base color like so then for the UVS this is how much the texture is repeated you will need to extract the texture coordinates of the object on which you're mapping right so we will use texture coordinate okay we get the texture coordinate that's now we need to know how many times it needs to repeat it's actually very simple you drag out from texture coordinates and you multiply so use multiplication you multiply by a number and whatever this number is is how many times the texture is going to be repeated so I'm going to create a constant value I'll right click on it convert to parameter and call it um UV High link UV tiling how many times does it repeat and connect it to B my UV tiling the default value should be 1 right it just just slaps on the texture does not repeat it at all then slider minimum should be like 0.01 and slider maximum like a hundred so it can be stretched out 100 times it can be cramped then a hundred times right so once this is done we have our multiplied texture coordinates and we just connect them to UVS and that's that now we have successfully created our texture sample node um for this to work properly and not give us this nasty error it needs to have at least one texture uh well not at least one but it needs to have a texture associated with it or else it's gonna be you know always angry at us um and to do so we will download a texture from the internet which I already did it's I just found a picture like a painting of my levage from my leverage on Google and I have downloaded it to the desktop the way you import textures into unreal is you just drag and drop them in as easy as that right so now we have our painting of my leverage right here and I will just by having texture sample selected I'll drag it over to the texture slot right here ma'am now the texture is applied to the sphere in terms of the what if you want to be able to change the textures at runtime meaning do you need to create different painting Masters for different paintings no that's the reason why we are creating a master this needs to be a variable to make it into a variable you just right click on the texture sample node and you choose convert to parameter as per usual and you just call it Albedo or diffuse whatever you want to call it something like that now in terms of the specularity of the material we might want to change change it up a notch so for the roughness I will create a constant constant value and I'll give it a number of maybe this is going to be static so I'll just give it a number of 0.2 or actually yeah let's connect it to roughness something like that you can see it becomes much more glossy almost like plastic and I will convert this to parameter and call it roughness and say that minimum value is zero maximum value is 1. so the roughness goes between zero and one that's it that's all we need for this painting material I'll save this close this and then I will create a material instance of my master material like so call it painting one drag that painting one back into the material slot right here just so that we have all of the instances in one place and drag and drop it on to the painting so now in terms of the reflectivity of the painting I can control it manually and also if I want to change the Albedo color to something else I don't know noise mask or whatever you know so to some other texture I can easily switch to any texture that I want either from this drop down box or by just drag and dropping in the texture here right and it immediately changes so that's very nice the roughness we can increase or decrease the roughness to make it glossy I would say 0.4 is probably a good bet for paper and then UV tiling is how many times does it repeat right so I will keep it at one I don't need you know that that famous Campbell soup painting um I'm getting tired again I guess never mind um we could add a rectangular light here just to make it pop a bit more but I I think that the way the light hits it it's nice so I won't be adding any artificial lighting here all right so that's the painting um and then that's how you create a simple material you know with just the diffuse and the locked in color if you want a more complex one then you would use the texture sample for the roughness texture in sample for other stuff okay that concludes our material creation Now how do you import geometries from the internet I have downloaded this um branches and basis model from CG Trader they have a lot of free models there so you can just get them and I've downloaded the fbx file so let me close that and show you here we go wait one second let me extract it first there we go so that's what we get once we extract the fbx file right or sorry there's a file that we have downloaded so now under geometry I will create a new folder and call it assets like downloaded assets and here I will just create a again a folder or maybe we can I never tried this give me a second if this works that would be nice so I have okay that seems like it's gonna work so I'm gonna show you oof clear clear close okay delete that so let's sorry so let me try again and this time explain what I'm doing so instead of um just drag and dropping everything you can drag and drop the whole folder and I will not be doing that so you can just drag a folder and it's going to create a folder for you I'm not going to be doing that I'll create a new folder and call it faces biases and I will drag and drop all of the files into my passes folder like that it basically asks me a bunch of questions the things that I want is to build nanite so that it optimizes quite well I'm not sure about the scale so I'm going to keep it the way it is create new materials sure I do want the materials for this particular object to be created preemptively and everything else seems to be actually quite okay so I'll just hit or import all the only thing that I changed build nanite and portal let's give it a second and it's going to import everything and depending on from where you're downloading your assets it might be a very long and tedious task TDS task to fix them or it can be very pleasant and very fast and nice in this case uh seems like we have six errors um found texture name Clash name Clash can be wrongly reassigned and re-import texture with bark that's Ficus plant and no smoothing group information that's not that bad that's okay all right so now we start assembling them and let's go to the banana place right here let me save everything first because this might become a little bit tedious um and let's take a look at where do we start perhaps with the vase so I'm just going to take this one for instance the static mesh here and drag and drop it in scale is definitely off and not just the scale also the nanite is really not having it right now so we will need to fix a few things the first thing that I want to fix is the shading right the shading here is because we're using Ray Trace shadows and we're also using nanite so it's I hope that it might play along well it doesn't so I'm going to right click on the space nanite and I'll disable it right once I've done that the shading is fine now on to the size well the size is pretty simple to fix right we just take the scale and we probably it's going to be 0.1 right seems like point one is very small though so we'll need to kind of play around with this number to to get the scale going maybe something like that usually these things import quite well in this case they didn't so it is what it is it is what it is okay so we have our uh one of our vases bases uh in here now to get a branch in drag and drop it and again no idea oh there it is there it is again the shading issue is is still here so I'll disable nanite for the branch now it's fine I will rotate it 90 degrees there we go and I will use a similar scale factor as what I'm using for the vas 0.23 so here 0.23 right something like this let's move it in place take a look that intersects we don't like that we might need to lift it a bit or maybe just maybe it actually needs to hook hook up through here so there's a little bit of shenanigans that we need to do to make this work but it seems like we're yeah we're on it we're on it this is gonna work okay now in terms of the materials you can see here when I select the vas it tells me material nine two three four two that's the material that it's using here's the material I can double click on it open the type and I can see that it's a very very boring material right it's just Gray uh if I would you like to apply the changes no I don't and for this Branch the material is even worse right really ugly names so first thing that I'm gonna do is I'll rename these materials to something more decent F2 to rename and I'll call this branch material like that and for my Vas 9342 and this one I'll call this vas material and I will not have them as material instances because this is just going to be a single type of object here so I don't need to instance it instance the material so I'm just going to have them kind of brute forced in onto the geometry Without Really creating like proper instances or anything like that right so first let's fix the vast material I'm looking at right now or trying to figure out is which one is which I assume the base color here I can just draw oh by the way you can just drag the texture in into your material slot like that and it's going to create a texture sample so I assume if I just connect it like so and hit save that should work right yeah okay that seems to be working quite well so we have a little bit of glazing going on on our Vas then the next one is going to be roughness okay drag and drop slap it on to roughness or connect it to roughness you do need to save every time to see the change in the material performance so now roughness is applied okay the ink became less reflective oh that's the base color oh sorry that's was number two which one are we dealing with here is this last number three or was number two I yeah that that's always an issue isn't it uh was one I assume that this well we can always easily just switch them up and see which one looks the best so let's see last two how does that look like see and that looks nice uh what about last three what does that look like did we switch oh we didn't my bad save that okay so last three is the simplest one uh I should remove the roughness to actually see yeah last three is the simplest one so I would save as two uh looked the best so I'm going to use that that it's like as long as it looks good you don't really care if it's the correct material or not this seems to be quite like tiling quite well so I'm Gonna Keep It like that okay which means uh was to we're using the normal uh or or sorry the roughness of last two and we're also going to use the normal of was too you can see that it automatically switches to Virtual normal here by the way hit save will this look natural it should is the normal too strong the normal seems like it might be a little bit too strong so to um make it less you can always just take the RGB values and multiply them by 0.5 or so connect them like like that yeah that seems a little bit better yeah there we go okay so now with this done and this this looks very cool here I love the the grid effect I wonder if the grid effect is a part of it though let's open up the normal yeah yeah yes it is yes it does okay that's good that's good um so that's the vas done for the save that close that then for the actual Branch let's scroll down find our Branch material open it up it's gonna be the same process right with bark wood bark uh I guess that's gonna be the roughness is there gonna be like a um these two and then we have these okay so first we need to check if base color if that even looks natural on here or if we're using the correct wood bark rather how does that wrap around okay that looks that looks like it's wrapping around correctly one second oh no never mind um I'm not gonna explain this but basically this texture is the correct texture so if I add this texture here now that wraps around really well okay so that's our bitmap or or diffuse now this is going to be our roughness I really want to have two screens when I'm doing this I hate it absolutely hate it but it is what it is and then we have the bark right that's a normal map okay so if I save this and I will immediately close it because it's way too much you can see how simple it is right you just drag and dropping in the textures that you have downloaded yeah that looks good that looks good so we have ourselves a little a little tree situation going on here if you want more you can always just make a copy of this rotate it something like that perhaps like that move it in place to the place rather now we have two two of them thing two is too much though so I'm gonna delete that when it's fine one is fine uh okay so that is how you can download stuff from the internet texture it with the materials that come with it and use use the assets from the internet with that being said most of the stuff um quick cell does have so you don't really need to um unless it's some sort of a designer furniture that you're trying to get get into your your scene right I think with this we are ready to start rendering so let's let's do that let's let me show you how you can render out your scene okay so before we render things out we kind of want to address the warmth of our scene I think it's a little bit too warm so we're going to do like last minute adjustments with the how's it called the post processing volume right here so in Prosper processing volume I'm going to find temperature I'll enable it and for our temperature I will just drop it down considerably maybe not that much not by that much but like um down to four thousand something like that this will just make sure that the stuff that we C is not overly Orange right we don't we don't want it to be orange okay let's go back in here is four thousand too much maybe uh before we dial this one in I would I want to do one more thing um I will go into the the lights uh environment lighting that I have and I'll adjust the fog because the fog that is being used here is um a little bit too blue it has that kind of an ugly bluish tint very synthetic very um that's typical how do you call it CGI fog so to I don't want it so to get rid of it I will go in here and I'll find volumetric fog uh tick box and I'll take it and once I take the volumetric tick box you can see that that bluish tint disappears and now the fog is calculated through as a volume this hits the performance a little bit but it should be a little bit nicer um and a little bit more realistic if you want more fog you can always increase it I tend to not have as much and then if you want it to be quite low to the ground you just increase the fall off those are honestly the two the main two things that that we change um you can have God Rays you know those kind of nice beams of light that are shining through the trees um in Unreal Engine but then you would need to sacrifice the Shadows the how it's called the Ray Trace Shadows for that right and in my opinion a trade-off of not having great race Shadows versus having the beams of light that's a bad trade-off so we're sticking to this right to to do this um if you do want the ray Trace Shadows uh sorry if you do want the beams of light then with a volumetric fog you would go to your directional light which is the Sun and you would type in Array and you would disable cast retrace Shadows and then if you don't see it just increase the volumetric scattering and intensity to like 100 and then you'll definitely gonna see it okay um I will not be doing that though so now with this fog here I think we're very close with our warmth with our temperature this looks natural this looks good this is okay yeah and this looks good okay we nailed it we nailed it the first time uh the first try sorry so now actually let's save this and let me talk about how you can export things so an important thing is that when you're exporting or when you're rendering out a still image from Unreal Engine it's as if you're rendering out a single frame from a video you have that and have that kind of a mindset right so it's a purely video based rendering engine and if you want a single render you're rendering a single frame from a video to set it up properly you first need to set up the camera movements and Camera positions we already have the camera positions but what you do the cameras do over time and that is controlled uh by creating uh is it here one second okay we're back it crashed um but it's my fault it's my fault I decided that I'm gonna be smart about it and start downloading things or start unloading the videos that I have already recorded into our another hard disk so I just couldn't handle it anyway sorry about this so I was talking about level sequencer right level sequencers are objects or actors in your level that control animation of anything including cameras and you can drive your animation export by creating first and a level sequencer and then using I forgot the name window cinematics movie render queue to render it out and that's the process that we're going to be using so first of all we need to create a level sequencer to do the to do so I will right click in my levels folder here I'll right click and I'll choose new folder like that and I'll just call it a building one sequences or cseq double click on that right click and here we need to find cinematics level sequence this bad boy right here click on it let's call this exterior close-up exterior close up and let's or actually let's do exterior par first the camera that's far away in the and is looking at the facade let's do that first so we are creating we have created a level sequence that is called x04 I double click on it it opens up a new tab so now I have content browser environment light mixer and sequencer tab tabs right here and this one is called exterior far and let me become placed here now and also let me make this a bit smaller there we go something like that so with this sequencer we can add a new track like a new animation track so that's the first thing that you always do add an animation track and you need to find what you've described what is it that you will want to do and the thing that we're gonna do is gonna be called camera cut track so it's going to be a bunch of cameras in our case I'm gonna do an a separate sequence for separate cameras but you could do it for all of them at the same time in one within one sequencer camera cut track we do this camera cuts this track is created and to it we can add a camera click shows you all of the cameras that you have and I believe mine is called the far throw camera is called Cinema Camera zero I click on it bam it's added in great so now now what now what well first of all we need to actually look through the camera to know how it's being animated right so I'm going to click on this um button here lock Cinema Camera actor 0 to selected viewport and now we're looking through the camera right it's the same thing as piloting the camera basically we're we're yeah at this point we're piloting the camera um I still see you know like a camera there and like a bunch of crap here that I don't want to see so I want to switch from default viewport into cinematic viewport then click that Cinema Camera actor button again now we will not see any kind of icons or anything like that it's going to be much much cleaner all right now in terms of the range we need to describe how long our animation for this camera is going to be so here you can see that our range isn't described as 150 uh frames 150 frames 165 frames of working range and 150 of playback range so if you want to make it smaller all you need to do is just drag it back sorry you drag back the red the red line right up to the range that you want so what is it that we want uh how long should how many frames do we want to render out well that depends on the length of the video in this case um first of all we need to describe how many frames per second will we want what's the frame rate Cinema uses 24 and so we're gonna use 24. instead of 30 that's written here 24 FPS if you want it very smooth you can do 60 FPS but that will just require you know more frames to be rendered and we don't have time for that so 24 frames per second for the Cinematic look right then um we just need to multiply right so 4 times 24 is 96. so 120 frames would be 5 Seconds right something like that so I'm going to say that my range goes up to from 0 up to 120 20 frames it's strange that this one is still saying uh 150 it should say 120. yeah because it stops at 120 and doesn't doesn't really matter we're fine with that as long as your range here is from zero until 120 that's how many frames you're going to be getting all right now how do you create animations you know how do you remove the camera around well to do so you need to add what's called a track so anything that you animate needs to be done so in a track of its own so for the cinema camera actor zero I'll add a track I'll say that it needs to be a transform track because movement rotation scale is Transformations click on that this new track is added if I expand it you can see location rotation scale we have these and for location we have X Y set location okay before we start messing it up let's go to frame zero and let's describe um or rather let's create a key point or keyframe at frame zero to do so you just first of all go to frame 0 and then click let's say is it y-axis sorry yeah it's y-axis Ctrl Z so for the y-axis I'll just click on this add new key at current time like that and this little dot is created right so now it knows that at this Frame it needs to be exactly here right then we go all the way to the end right here and we will move the camera actually I kind of want to move it to the opposite side oh something like that and we just if you have this button highlighted that means it's going to automatically add the keyframe if you don't have this highlighted then you might want to click that button here so what we initially did was this animation right slow moving very casual animation notice how the speed of movement the panning speed ramps up so it's not smooth or rather it's smoothly ramping up and then ramping down it's not constant is what I meant right if you want it to be constant you need to right click on the keyframes on this little red icons here you right click on them and you choose linear linear here linear here now the movement is going to be constant right it starts with hundred percent of the speed okay so this one I kind of want it to be a little bit more towards here like that it should automatically overwrite whatever was before it if you have this highlighted yeah that seems to be good is it too fast though that might be a little bit too fast so we could either make it longer or we could decrease the Gap right that needs to travel I'm thinking of the Gap decrease so at 120 frames perhaps we don't go that far something like this okay that's how we had camera movement you can also add stuff like focus defocus and so on I'm gonna show you in another sequencer so this one is done I will save it how do we save this save there we go we save this here and we we call it good let's create one more and then other two I will skip ahead right because it's just a repetition so under a Content browser I will create another uh image image sequencer hello cinematics level sequencer not image exterior or do we do interior perhaps let's do interior close up let's do the Buns okay so interior close-up we take that right we're still piloting the the camera but that's fine we will switch now you can see that now uh the sequencer opens up is opened up with a new interior close-up rather than exterior far so we need to add another track a camera cut track that's typical add a camera I don't remember which one one second I need to check is it number two no is it number one no it's number three yep okay so we add the camera number three right here tracking it looks nice there's pretty pretty good food right here and let's do a little bit of of movement here and changing of the Focus right so for the movement I will add another track and call it uh um or sorry we first need to describe frames per second 24 and the maximum range so I'll increase the maximum range to we did like five seconds for the last one so let's do like seven seconds for this one I guess yeah let's do seven seconds so 7 times 24 68 okay so this should be enough okay one never never do that 168 that's the necessary range there we go and so it starts at zero and it's gonna end at or or should and like one six eight oh that's one six nine there we go like that and I will also of course extend this too until 168 like so okay with this done Windows done now we can start adding tracks so first of all transformation transform track and we will be using location and perhaps rotation I'm not sure first let's do the location though so for this I am going to get the zero zero zero coordinate and I'm just going to move the set axis to something like this and click on the add keyframe icon and then let's say at 120 it should already arrive at the buttons so at 120 it goes down down down down down down and Bam it snaps into and then shows the buttons let's take a look at how this place plays out that's too fast that's way too fast we don't have the um we don't have the frames to do so so instead we're gonna do this play I need to start full blast so that's going to be linear but then it's just smoothly stop that's not bad that's not bad okay and it kind of just stays there right or maybe it does not just stay there rather it get goes to here and the framing is a little bit just a little bit off and then add until the last frame come on 68. oh we're at 69. uh nice um that's fine until the last frame it goes even further down like that and then this needs to so as you can see this is a lot of just trial and error okay perhaps a little bit faster here foreign so let's say that this is fine right now we are going to do a little bit of focus Shenanigans and to to get the camera focus and animate that we need another track right so our Transformations are done we need another track and that one is actually going to be coming from the camera component so all of the settings of the camera can be accessed through the camera component right here click on that we have the camera component and we add a track from the camera component that is going to be called Focus settings not offset manual focus distance this one we add that now we can animate man the manual focus distance so we know that at this Frame at the last frame it definitely needs to be in focus so I'm going to just add a keyframe here and it needs to be in focus for a while right so I want it to be already in Focus here actually so something like that but then as it goes out to here I want the ground to be in Focus so I'm going to just change the value nothing like that let's play Let's see um okay the value that we have here needs to actually start the focusing app needs to start at around here once you already see the croissant out of focus punches in there we go okay we are done with sequence number two now sequence number three and sequence number four I'm going to do those uh off camera and we will continue on from there all right we are ready to go there's one thing that I want to still show you before we start describing the settings for the rendering and that is going to be the light right now I have this kind of a animation play this I I just want to see how it's going to render out because I've never tried anything as intricate as this um and with this animation you can see that the light changes so how did I achieve that well actually I had to go and add another track that was called um one second where is it oh there we go the first one of course actor to sequencer and here I had to find the directional directional light right now I don't have it anymore because it's already added and and then once I've found that I added the transform track to my directional light and from there on out it was just changing the rotation values and animating the rotation values right so that was pretty fun um so just keep keep an eye out that you can animate literally anything in this uh with this image sequencer so that's what we have here okay now with this done we have the four uh different Interiors or shots I guess uh if goddammit sequence shots and now it's time to actually render them out so to do so we use a new tool that is introduced in Unreal Engine 5 I believe has been introduced in the Unreal Engine 5 at least the stable version of it and you can find it through window cinematics movie render queue this this will open up a new window move your render queue where you can add a tasks for it to render so you can add all four of these sequences to be rendered out one after the other a very very useful thing by the way so let's add it plus click the plus sign for the render and let's go with exterior far right that's that's going to be our job that we're going to be working on um movie render queue basically has all of the settings for rendering that you might need right so we will be uh adjusting these settings right here you don't need to change anything in the pipeline that's fine but for the settings we do need to make a few adjustments quite a few adjustments actually once you click on the settings here you can see the different um parameters that are being used and I will touch upon the output in just a second but first keep in mind that you can add more settings to an already existing setting list right so for us we want to add let's see anti-aliasing setting for sure and aliasing we want to add console variables setting we want to add well if if you are familiar with exr uh working with exr images like higher bit depth images then I would suggest using exr sequence rather than JPEG but in my like for me I'm using jpegs for this kind of a project right so I think that's this this is going to be fine um so we have jpeg sequence we have so that's what it's going to be exporting uh rendering deferred rendering that's fine let's see if um disabled December yeah that's fine we don't need to change anything here anti-aliasing though we do need to change things so spatial sample count we keep this as one but for temporal samples we increase we need to increase this to 32. this will make it so if the product of some yes so what this it initially will do is it will bump up the anti-aliasing the stair stepping effect or elimination of stair stepping effect in in crooked lines it's going to eliminate it much better than what you see in the viewport but for this to work it even says so here in the uh warning you need to override the anti-aliasing of the project to none yeah then we need to render warm-up frames and for warm-up frame count I think 32 will be just fine so what it's going to do is the first 32 frames that it renders it's going to throw away it's just going to gather information about how things are moving how like how everything works right so you will not see a dip in quality at the start of your animation that this is quite important so do this then for console variables well unfortunately we will need to write some more console variables it's not going to be that bad um actually if you you can copy and paste from one website if we just Google movie render queue and real engine movie render queue and real engine the dock files of it and we scroll down all the way to here exporting media using Ray tracing these are the four um commands that you need to write so you just Google movie render queue and you will quite easily find them right just keep in mind um and I'll I'll do this right now I'll just copy and notice how I'm copying only the first line and I'm not copying the zero that's because when I console variables when I add an element to console variables here I add the command line and here is the zero right so like that one more um where is it hello Global elimination accumulation that's going to be zero one more or rather two more I'll preemptively add okay I can't I need to edit one by one unfortunately that's fine Reflections denoiser we turn that one off and this is basically us turning off um the noising that's done with Ray tracing nope that's the wrong button uh denoising automatic denoising that's done with Ray tracing just uh so that the anti-aliasing that the stuff that we do with like retraced anti-aliasing that takes care of it takes care of it especially if we are going for high resolution High sample count okay so those are the denoiser settings um then for there's there's two more two more things that I want to add it's um or is it one let me think should I show you all uh Ray tracing Skylight denoiser those are fine yeah there's nothing more here okay so thank you so I will just add one more variable right here and I'll call it r screen percentage 200. what this will do is it will take the screen as it's rendering and it's going to increase the the the the the screen to 200 percent so if your output is um let's say 1K or 2K then it's going to render out 4K and it's going to squish it back to 2K if your output is 4K then it's going to render out 4K and sorry 8K and it's going to squish it back to uh 4K right so that that's this just bumps up the quality quite a bit it's also like it hits the ram a lot so be careful with this definitely save first before using this using this if this is crashing then just don't use it right okay so then we finally get to the to just export or output settings tab where I can just describe the output directory where I can scribe the file name format and the resolution right um let's see yep okay so in terms of the output resolution we can we can write down any resolution that we want I personally uh would like it to be 4K but I'm scared of rendering out 4K um well maybe let's try YOLO 2160 4K and uh three eight four zero if I remember correctly right trade for zero by two one six zero that's gonna be our resolution and then for our output directory I'm just going to go for my rendering folder I'll call it new folder ue5 output like that and perhaps new folder uh which scene is this this is gonna be oh never mind it's uh it's gonna create its own folder exterior file I'm stupid uh so if UE output right here yeah it's going to be sequence name dot frame number that's good so with this done I think we're good to go so I'm going to save this preset that we have created save a save as preset I'm just going to save it in my let's go for Content sure or let's go to levels and sequences here and I'm just going to yeah sure just save it as my pipeline config okay with this done I hit accept and now I can click the render button which I'm scared to do because I'm also recording uh I should probably write I should oh one more thing before we actually crash our computers let me save all here uh let's go in to settings again and if you want to render out just a single frame then you can use custom playback range and you can describe you know I want to render out frame 5 and 5. or sorry five between five and six right so it's going to render out only the frame number five of your render uh so that's uh quite quite useful if you just need a still image usually you just render out zero zero right the first frame anyway except uh let's see render local let's see how this is going to to work task manager let's immediately looking at the performance oh yeah it's gonna compile the shaders a graphics card is being hit almost fully Ram 22 gigabytes of RAM so it's not that bad CPU all course working okay that's that's actually not that bad and while it's calculating the shaders I don't want to waste anyone's time so I'm just going to stop the recording right now and I will start it again once it's done here we are so I did have to kill the the variable the 200 screen space variable simply because it uh yeah I would just use up all of my resources and it would just crash so apparently I can't render this out in 8k but I can render this out in okay here's all the all the renders here so the rendering took um 30 minutes which is for an animation that's really not that bad and this is how it looks like I'm of course I'm going to be um showing that the full animation once were done but before before we can see the full animation we need to render the rest of it right so to render more than one job first of all I'm going to disable this one so that this one does not render again but to render more than one sequence you just need to add them so exterior near interior close-up interior normal and you just need to add the well by default it already is using the settings from the one that we have already used so that's great uh don't really need to add anything more which is awesome I'm just going to double check yeah that's good we don't have the 200 percent and I'm going to just hit the render local if you have problems or if it's too if your computer can't handle 4K then try 2K if it can handle 2K then one of the versions of how you can still render it out is by using remote rendering which will open up a separate um program to render this out like it's going to open up as a separate task and then you just close the Unreal Engine Editor to make sure that there's enough a ram for for you know for the actual rendering so render remote quite useful but in this case I'm just going to use render local I will not be pressing this button without stopping the recording so first stop the recording then I press the button once it's done we're gonna look at it and talk about it we're done we're done here are all the frames so this took around an hour a little bit less 40 minutes to render out all of the four uh animations and now we can get them finally into DaVinci Resolve I will be using DaVinci Resolve to combine them into a working video but if you have let's say Adobe Premiere or any other software that can combine them use that um the reason why I'm showing it with DaVinci Resolve is because it's free it's a free software that you can download it's DaVinci like that Leonardo da Vinci resolve okay so once you're in DaVinci Resolve go to the media tab right here in the bottom and navigate on the left hand side laptop hand side navigate to the folder where your images have been rendered out where the frames are and you will notice that these are regarded as separate files right that's separate separate images that is a no-go we need them to be sequences we need them to be considered as sequences because now if I let's say select these and I add them here they are still you know separate images that bad so how do you do that in DaVinci Resolve well you click on these three little dots here and choose frame display mode sequence and now DaVinci will understand this as your uh like as as proper animations right so now we can actually come in here drag and drop them in into your media pool go to cut it's actually uh one second I'm gonna check one thing proxy media yeah that's fine okay so then we just take this add it to our timeline so I think we start with the facade is this crashing wait oh no is this crashing no it's not I I just got got scared there for a second so we add this to our timeline we can check how it looks like seems great okay let's stop let's stop the render let's add more I don't remember how to zoom out I use Premiere that's fine so okay we have the zoomed in version here perhaps we can then do let's do a zoom in zoom out zoom in zoom out I think that's or maybe zoom in zoom out zoom out zoom in so this is our second frame right here that's fine and then we we get our interior shot right here and then let's add our uh final final shot right here okay don't remember what those do anyway uh we have now successfully edit all of our images here then we can of course go to like uh add some color grading to them and so on and like cut paste edit them yada yada I would suggest that you first get the hang of the actual rendering before trying that out but DaVinci Resolve definitely is a strong a a very strong piece of software to use and you can you can create a lot of really good color graded visuals with it right even professionals use it so in in terms of the let's say the curves and whatnot I can ramp them up a bit or tone them down here that's the only thing that I tend to adjust foreign maybe something like that perhaps this drops down a bit lifts a little bit there and then this one hard to say this one actually is pretty close just a little bit darker and then here you can play around with the saturation the gain and whatnot right so you can make it overly saturated don't don't I think in terms of uh saturation this one is quite nice this these pastel colors here are quite nice so I'm gonna keep it the way it is this one might need a little bit a little bit of a boost so maybe 60. this one well it's it's all super subjective so making a tutorial on the color grading is definitely a bad idea um what's I'll probably also do 60 here and so on right uh we don't want to spend too much time here so basically after you've color graded it and you like what you see and everything looks great then it's time to actually render it out which is the deliver button right here where you can write the name file name um building one location I'll just record it or export it into desktop rendering I just do my rendering here save that doesn't want to save save that there we go then here for the format we tend to like the best case scenario is MP4 h.264 I think that that's the most stable one frame rate 24 frames per second as expected um I think think that's that oh yeah and here I forgot to mention that here you have already presets that you can that you can use right so in my case um I can use YouTube um preset and I can say that it needs to be 4K resolution and it's going to give me all of the different settings that I need sorry I forgot about the presets anyway now it's time to just add it to the render queue now it's here and then I can just once I'm ready I can send it to render now it's going to render so I am I lagging I'm not lagging okay that's good so once it's done um we will be able to take a look at it you already have seen it because I will be putting this at the start of the video um oh that was fast I'll be putting this at the start of the video but now we can actually take a gander together and see what could be improved what's what's good what's bad right so with uh 32 samples there's still a little bit of liquor in the very small areas let's go back a bit see the flicker there so there's a bit of liquor in the small areas and also it seems like the compression the color compression here is quite heavy let me take a look at the actual frames to see if it's the frames or if it's uh or if it's da Vinci so which in this one zoom zoom zoom open up now it's gonna be da Vinci because this is much cleaner this looks much better so we just need a better quality right frame rate the format everything here is fine but it's being compressed too much uh so I would say directly to YouTube why doesn't it give us more settings or yeah we probably need to use custom export then to get the settings and um so what I what I would do is probably just go for um hi main um yeah there we go uh quality best or uh maybe even restrict it to a much higher value than this something closer to 24. a thousand kilobytes so 24 megabytes yep besides that you know you can always go for a different type of a export here as well and just see if it's gonna work or not sorry for for jumping around just I absolutely hate it when um the compression just eats up all of the nice things that that we had I will re-render this actually because screw that we're not we're not using that that's way too bad um give me a second all right there we go now we have two files one is called building one the other one is called good the settings for the good file and you can see that it's by the way 10 times bigger the settings for the good file are as follows I use the custom export and here I only change the quality setting to be best and uncoming profile to be high everything else is the same as what we had before right so with those settings I get you know not so optimized video but at least the quality now is much much better right so there is yeah the the jitteriness is still very much present you can see the grain gets kind of blown out and especially here let's go back a bit uh in this area the noise in the shadows is still very much present you can't completely get rid of it you can only kind of work on it to reduce the effect of the noise in the shadows the soft Shadows when using Ray traced light but I think that for you know this whatever we spent I guess the recording is going to be around four hours or so for like a four hour recording this is decent this is this is good enough and definitely you can use this to show to the client you know the vibe of your of your building if I had to take a step back and redo some parts or enhance some parts of this project then I would definitely be spending more time on the small scale details and I would most likely be using 64 samples for um the temp 64 temporal samples I'll show you what I mean I still have unreal open let's go to window or is it cinematics there it is movie render queue pipeline temporal sample count here I would probably use 64. uh just to get that crispiness going um maybe 48. besides that um I I think this is quite quite successful and uh yeah that concludes the complete beginner level tutorial now don't leave don't leave there's an extra there's a small little extra here let me close DaVinci Resolve and let me show you how you can import stuff into but let's do that how you can import stuff into Unreal Engine from other projects and not just stuff but import functionality from other projects so let's say I wanted this to become a three a third person player game or first person right how do I do that well I can click on this add button here and I can choose add feature or content pack here and I can add first person content click on add to project bam this just gets added in just like that easy peasy right and now I can change the game mode to be first person once I press the play button to do this we need I think we will need to restart but let's just check the project settings first um I think it's under modes yeah maps and modes game mode base um blueprint first person game mode will this just work let's try play yep seems like it's gonna work but we're being spawned in a very awkward place and we just drop through the ground so I need to create um capsule or another capsule but a player start note right here place it somewhere here something like that press play I just drop don't I think we might need to restart uh the browser the editor let me try one one last thing um browse to asset right here and let's just say these two assets or rather all of these assets let me try and add I right click on them I choose asset actions if this will work I will then explain it if it won't then I'll just say well it is what it is so asset actions I will type in Collision and collision complexity I'll change this to simple collusion as or sorry complex Collision as simple uh file save play yeah there we go we're standing standing and we are walking yay so now this is the first first person game right and with this I can we I didn't add Collision to anything else so we probably should do that um basically adding Collision is very simple all you need to do is just select the objects to which you want to add Collision so in my case I will be choosing you know most of most of these objects maybe not the pillows right click on them in the how's it called content browser right click asset actions bulk edit via property Matrix it means that we're just editing all of their properties all at the same time this will take a little bit of time to load in because the we have so many objects finally this so 1677 right then I type in Collision change disk Collision enabled or sorry change the Collision complexity to complex Collision is simple what this means is that the Unreal Engine will use the geometry of these objects to calculate the Collision right then we save all of them will will be saved in and now once we enter the game game mode with the play button we will be able to run around and then kind of just explore just give it a second though there we go now it's now it's now we're cooking let's press play take a look or add the wrong side of things oh it's a little bit blurry go inside because glass is a thing that we can't also go through we can easily like investigate the little Greenery the foliage the trees you know take it all and enjoy it so that's how you can easily convert you know to VR to to whatever you want right which whichever um how do you call it functionality you want I will be doing more tutorials on you know architectural visualization and not just because I feel like Unreal Engine has much more like potential um as as a software but I will be doing much more tutorials with it paired with Rhino with Grasshopper so make sure that you you know subscribe and follow along and again if you want this file this beautiful beautiful file that I've been working on consider becoming a patreon supporter because those guys got these files for free well not really because they're supporting the channel right but yeah either way I should stop talking thank you thank you thank you for sticking around until the very end consideron bye bye bye

Channel: Gediminas Kirdeikis

Views: 221,462

Keywords: architeture, design, arch, architec, proces, how, client, clients, rhino, family, house, lithuania, company, very, good, architecture, vray, d5render, render, real time, free, for free, alternative, rtx, gpu, bim, revit, archicad, section, dynamic, drawing, visualarq, visualark, visual, arq, v ray, v-ray, v-ray66, skechup, material, rhinoinsiderevit, rhinoinside, rhino.inside, .insiderevit, zaha, hadid, beam, block, ibeam, grasshopper, gh, adaptive, shecule, schedule, cinematic, d5, d5 render, course, tut, ue5, unreal engine, archviz

Id: bT8aSTkpkDY

Length: 328min 28sec (19708 seconds)

Published: Sun Apr 30 2023