Unreal Engine 5.4 Motion Design with New Cloners, Effectors, & More! (Project Avalanche)

you're definitely going to want to check out today's video it is Project Avalanche or the motion design module in Unreal Engine let's take a look at [Music] it hey how's it going everyone my name is Brandon clemenson welcome back to another video here on glass hand today we are going to talk about one of my most anticipated uh software updates since I can remember it's called project Avalanche and project Avalanche was supposed to be was more of a motion design tool set for people in obviously the motion design industry broadcast film uh to do like more linear type of content or even do Graphics live on the air uh for different sports networks and stuff like that so today I'm going to show you how you can get this branch of the engine where it's going to appear in everything so hopefully if you watch the whole video you're going to learn a lot that's what I hope to do with all these videos with you guys okay so how can you get this version of the engine well it's actually not even out yet Bo this man uh it's going to come out in 5.4 so what you can do is you can go to epics uh GitHub page and Fork the engine like I have so I now have it under uh my Association and GitHub so that way I can make changes to it if I want to download it test things out um every once in a while you're going to want to syn the fork and once you download this you're going to compile it in visual studio and what that will give you is a binary for Windows that you can actually open and take a peek at some of the things that are coming out so I have to say that 5.4 is not out yet at the current recording of this video so this is still being heavily developed at this point in time but once it's actually released you'll be able to dive into all the tools that I'm going to show you here so this is like Alpha stuff you know it's pretty amazing that we can actually keep up with the developers and see what they're doing but just keep that in mind this is not for production yet okay so if you guys want to see a video on how to compile the engine I can do that um but that's not what we're here to do today but the first thing you're going to want to do once you get this version of the engine is you're going to want to make sure that you have the motion design uh plugin enabled so what this will do if I can type motion design uh it's going to load up some of these other dependencies here so we got Advanced renamer which is really cool custom details view uh you know dynamic materials geometry geometry cache all this stuff that's primarily in the uh production the virtual production template um a lot of those offenders are here as well so you're going to see a lot of the same stuff um but some new stuff as well there's some there's a lot of really cool new stuff and then once you have that uh loaded you can actually click on this motion design button that will appear in your toolbar now I've already done that I'm going to go ahead and stop this because it's making me a little dizzy uh but you can open the motion design kind of window in the in interface here and then you can also switch the mode to motion design and it will give you access to some really awesome tools here and these are actually these are similar tools that we've had in the past but uh they actually function a little bit uh more like a DCC would um by actually drawing it in the camera view I'll show you some of that stuff as well once we get done with the tour uh then we have another uh line of buttons here so we have operator stack remote control material designer create defaults which is actually uh really handy and then transition logic uh this is more for like broadcast media type stuff and then the outliner uh we have a new outliner and this is more indicative of like blender or Cinema 4D uh the way that it works you can color code things you can organize them you can hide things in the render you can hide things in the viewport you can lock items uh there's a lot of really cool stuff here and then of course you can see all these uh they're pretty much like tags in Cinema 4D but uh it shows you what's assigned to an object you can see here that I'm using a Bend deformer which is really cool subdivide and then uh yeah a dynamic mesh converter we'll take a look at all this stuff uh this is kind of just a example project that I kind of whipped up uh one day after work but yeah this is really really awesome that we have this enhanced outliner here it makes our lives as motion designers a lot easy a lot easier uh compared to what the uh standard outliner is uh which you know this outliner is fine just for games and things like that right like most times in games you're doing stuff to in code and you're not really going to pay attention so much to the outliner uh but as motion designers we'd like to attach NES which you can build NES parent them drag them into the sequencer and have a fun time so uh let's go over here to uh the this new panel so you can get this new panel by saying motion design viewport so here's the standard cinematic viewport which you may be used to if you've done linear content in Unreal Engine and then you have the default viewport which we always see in game development and what's been in unreal for a long time but this motion design viewport is really cool because you can use the uh Mouse wheel if I hold the mouse wheel in I can zoom in uh down to the pixel to see if things are actually making contact I have a ruler here I have a lot more features that motion designers are going to care about in terms of linear content uh safe frames masks uh you can change the actor colors you can take like high resolution screenshots you can align actors based on uh the actual actors you have selected but also uh how they appear in the actual screen in the viewport which is really super handy for text and and things like that as we'll see later on uh but you can isolate things that you do have selected uh you can toggle boxes bounding boxes on things so you can see that I'm toggling the shoe that's selected I can toggle my safe frames I can also toggle different guides that I may have activated uh I can do uh let's see toggle shape editor overlay um which is pretty cool once you get into like drawing shapes uh viewport overlay visibility on and off you can actually do snapping with a grid which is really really cool and then uh you can get a lot more different viewport information like what size is my viewport right now um all kinds of awesome stuff uh so this is extremely handy as a motion designer and I believe I'm not leaving anything else out but uh you can also create uh tabs with this so you know I can tab the viewport and then I can bring up another viewport by going up to here and then suddenly I have another dockable viewport that I could just use uh the tumble around the scene just like we always do okay and then uh the sequencer and remote control have been updated in this version for some pretty cool new features uh the one thing I think that's pretty big is the level actually now has a sequence with it so you don't have to you know traditionally you would have to come in here uh and build like a sequencer folder uh take the sequencer actor drag it into the actor or sorry drag it into the viewport so it becomes an actor and uh you know you don't have to do that anymore really uh it's more or less tied to the level and if you are wanting to export that you can export that out into its own asset um or you can apply different presets that you have you can also stack these play these back uh it's actually really really cool and then we have uh different buttons over here so this panel is kind of new uh but yeah it allows you to do different kind of looping things uh this is more like if you had something running for broadcast or or um you know you're doing like reviews you can actually set some of that stuff up here and uh it's super super handy uh so yeah a lot of a lot of really cool stuff um things aren't looking too different but it's actually really really helpful to have a lot of these things here so let's take a look at the operator stack real quick um this houses all the modifiers and animators uh so modifiers would be something like you can see here uh converting this static into a dynamic mesh which allows me to do things like subdivisions and a bin deformer which is super cool and I'm using this Bend deformer to actually bend the shoe as it comes down and makes contact with the rock so you can drag all that stuff into sequencer and start animating with it it's very very user friendly um the subdivide here doesn't actually do like katel Clark subdivisions um or open subdivs uh it it actually just divides the mesh so that you can have a better uh Bend def deformation on the dynamic mesh so you have to add these into sequences you can build things out and it can become the y z you can see that you can get kind of procedural animation um more or less it's it's kind of like running a noise through it or this sign function uh through this which is really super cool uh you know a lot of this stuff you just need things kind of moving and undulating for Motion Graphics uh to appear on screen so that stuff is super awesome that this is Incorporated in here it makes stuff really really easy to build up quick animations uh you also have remote control which has been in the engine before uh but remote control is actually a pretty powerful tool you can use this in conjunction with like broadcast or kind of live design type stuff uh but what you can do is you can drag in a group of properties and and create controls very easily so if you needed to switch out Graphics switch colors let say you're doing like sports teams and you need to switch up the colors you can drag those into the property field and create controllers um so that you can easily just toggle between things and we can dive into that a little bit later if you guys are interested in seeing that uh another really awesome uh addition is the material designer which I'll show you in another example uh but this is a way that you don't have to actually dive into the old uh material uh editor here so if you're not really trying to get too involved with nodes uh you can use material Editor to create kind of uh animated backgrounds if you will you could take textures and animate them and pan them really easily and you stack them up in layers just like Photoshop so that stuff is super welcomed and for designers you're going to feel right at home because a lot of the traditional design tools are are built in that way okay so um we'll actually cover some of these here in another example I just want to show you guys um some stuff that I've built really quickly uh this was just something that I did after work uh I got the model from sketch Fab uh so Props to the guy who actually scanned it and allowed me uh to use it for free uh but it's just something you can download uh So eventually Fab will be probably Incorporated at some point into the engine um I'm assuming kind of like quickel Bridges so you know being able to grab stuff from fab and ufn to build up fortnite maps is like super cool so I think we're going to see that eventually in Unreal Engine vanilla just the actual editor itself um there actually is if you go to plugins and you type in Fab uh this is a it says pre-release Fab plugin so it's kind of like setting up I guess the uh incorporation into Fab into the engine so that's going to be worked on I'm sure very heavily in the future uh so that we can use things like that uh another cool thing that's in this uh system here you can see that I had to update the cloners because they're actually moving around like particles but we have cloners now so you can create things like very fast very kind of Semi-Pro like we kind of have these like particles floating in the background so all this stuff was built up very simply just from assets from quickel and sketch Fab pulling them together using nulles to animate uh dragging them into sequencer to kind of add some uh very simple key frames and you can build up something extremely fast and then be able to render out these iterations through what I'm using here is just Lumen uh but the path Tracer also has a lot of updates that are coming uh we actually have if you come down to let's see if we can find this this I believe it's path tracing oh here we go adaptive sampling so if you hit the question mark and you look at your output log it will actually tell you that zero is off and one is on so adaptive adaptive sampling for you guys who have used offline renderers before um you basically don't have to render every pixel to the same quality uh it knows where the noise threshold is and it will stop rendering that pixel so we're actually going to get faster renders uh with the path Tracer and path Tracer at this point is uh just as good as any path Tracer really that's out there um so it's really exciting to be able to uh use this you can see how fast it's going with my screen recording and everything but just having a a ground Truth uh to look at here in the engine is just absolutely genius that they've Incorporated something like this I know they use it a lot to kind of troubleshoot Lumen uh so if Lumen is doing something weird there's a result here that's not showing up with the path Tracer with the ground truth I think that's how they kind of are developing lumen in tandem but uh for me Lumen looks just as good as the path Tracer uh for a lot of these scenes that I'll show you I think you'll agree especially as we move on to showing some of new Lumen implementations into the uh post-processing like volume with uh Ray Trace Reflections and so on and so forth so this example uh was the first one that I made and then I made a few others that I'll show you um if you come into here I did a um let's see a Vision Pro kind of demo so I really want a Vision Pro uh I'm really into VR and developing for VR and so you know uh when I heard that Apple was releasing a headset of course I was like super excited about it um so anyways I did like kind of like an apple commerciales based on some of the stuff that's on their website so if you go to apple.com you go to The Vision Pro you can actually see this kind of Animation uh but yeah all this stuff was rendered out at 60 frames a second under half an hour most of these uh for a couple hundred frames uh so it's really crazy that we have this type of quality um here in the engine like this these are Lumen Reflections they are hit lighting reflection so they are using I I'm assuming dxr libraries to do ray tracing um but yeah it's it's pretty amazing one thing that I have to say is that speaking of Ray tracing they have taken out the ray Trac option uh from the postprocessing which is which is good I you know in the future we're going to you know just not use that stuff anymore that was there before the older implementations of uh dxr what they had in the engines it was just slow um you know this is built for real time for games uh so the most demanding media that's out there in the world is games so we have budgets that we have to hit and it's really cool that uh they're doubling down on Lumen and also you can use a screen space b data uh but also in the reflections you you only have an option between screen space and Lumen uh but it's really cool we have more options here to actually use so uh of course we have the quality slider um hit lighting for Reflections and then we can actually do screen traces which in this example uh both in the globe illumination and Reflections you can see that it doesn't really make a huge difference uh for screen traces but this will help bring in a little bit more quality based on what's available on pixels on the screen to do some more um effects within Globe illumination and Reflections um and then we also have most of the other same settings that we've had before uh but we also have Max roughness to trace so we can trace every single Pixel on screen or we can just limit that to a roughness value of 0.6 um so that's great that we have the option here you can see as I slide this up and down um you know Reflections are everything when it comes to lighting so it's really great to see that we can trace really rough pixels as well as mirror-like pixels uh and then we can set the reflection bounces and refraction bounces uh so this headset this model uh which I also got from sketch Fab I believe um is pretty pretty awesome and you can see that this layer is a refractive layer and you can see the Epic HQ in the background as the environment map uh but you can actually build out some pretty um realistic looking glass materials and and be able to trace a certain number of bounces through them which is great to just have that option um one thing that I want to show you uh this is all based on Lumin and nanite so if I go to nanite triangles here and I zoom way in this is absolutely Bonkers but these are actually like displaced triangles on top of this mesh so what you are seeing is displacement with nanite running in real time I don't know how they do this kind of stuff but it's absolutely mindblowing that this is just a displacement texture and uh prove it to you I'll show you we can open up this cloth displacement and uh now we have just the red Channel going into this this displacement and then if you search over here you have to actually invoke it I believe um let's see so if we were to scroll down maybe under Advanced and let's see we'll find it eventually ah here we go nanite displacement enable tessellation and then magnitude and Center uh similar to like offline render engines uh you you usually have parameters that are very specific um to how you're doing stuff like this and then I'm also using virtual Textures in this project so I'm using virtual textures nanite lumen virtual Shadow maps and I believe that's the recipe for next genin kind of looking Graphics all these things have to kind of stream together um to provide the highest quality possible there there are some instances where lights in these scenes are actually Ray traced as well just to get higher softer Shadows higher quality softer Shadows stuff like that one other thing about the Nan displacement is that you have to currently um invoke that that in a inii so let me show you real quick okay so I have opened the default engine inii and visual studio code and you can see that uh I had to set these parameters r. n. allow tessellation equals 1 and nanite tessellation equals 1 so these uh arguments have to be true in order for the engine to restart and have the availability to use displacement um you cannot set that as a c bar I believe you have to set that in the inii I believe that is something that is still marked as experimental uh but I want to show you if you come up to the plugins and you type displacement uh there's also nanite display mesh which is in beta uh asset and component types that provide a basic pre-displacement pipeline for nanite meshes I'm not super sure what this is used for this might be like a runtime game type component uh anyway as you can see I don't have it enabled but it is something that you may want to keep an eye on for your projects later on down the road okay let's look at another example before I uh just kind of wing it and show you guys some more fun stuff okay so we basically just have uh the cloner set up with different colored cubes so each of these Childs have uh different materials different colored materials we use a m material parameter collection uh to drive just a particle multiplier um it's just a emissive multiplier that goes into one of the materials and then we have an orange cloner with a uh uh with effectors different types of effectors here so if I move these around uh these should update so let's change this one you see this one just kind of cuts the hole out uh and this one is just for the scale um of the orange and you might be able to see it if I go back to Game Mode and uh grab this and just kind of enable disable this on and off but yeah it just changes the size of them and then I also have some more effectors so this one I named plain effector but I believe this is let's see what is this guy doing oh it's just changing the offset uh so if I was to increase this uh yeah there you go you can see that it changes how the orange cloners are reacting and uh then we also have this random effector so this is just set to random and set to the plane and this is animated so this is actually the thing once it animates it wipes on the random noise undulation that happens in the animation uh and then if we were to go into uh some of the pulse and the wiggle um you can see here under the operator stack you can get to it in the top left uh that we have this wiggle rot ation that turns on and off the uh effect on the cloner and then we have the pulse that makes it jump up and down so you add those two together and you get something kind of cool and these are turned on uh based on uh the uh the world time so if you scroll all the way down to the bottom there is an animator's magnitude down there and this will turn everything on uh above it so anything that's in this list this little animator magnitude slider is super handy to animate so that the world time uh as you see it's it completely keeps going on and on and on and uh yeah that allows that to pop on and animate so that's pretty much this example let's move on to the other one okay this example is uh is pretty pretty basic and I'm not really a a designer uh when it comes to these kind of motion graph per se like I I don't do a whole lot of After Effects kind of 2D type stuff but I just wanted to show you that it can be done and you can see this is completely 3D uh but you can just draw everything into this window and then start animating them so uh I'll show you I'll break down these shapes so this shape here um if you come down and look at the operator stack uh I have this outline effect and then I also have the plain cut so the plane cut is just spinning around making it kind of look like it's drawing itself on in a way uh these shapes are the rectangular 2D shapes and I am animating the mesh size which is really cool cuz it still respects the slant uh parameter here I I don't know if it's called slant per se but it allows it to kind of skew and it's cool that you can animate those parameters and it respects that so you can do these open and close type animations uh for the text on the back I didn't actually need to use this Dynamic mesh converter to use the outline effect the text actually has an outline effect by itself right here um at the bottom so if I was to hide my webcam sorry about that uh if you scroll down to the bottom there is an outline tick box here um to be able to do extrude bevels and just outline this so I didn't need to actually use the modifier uh the other cool thing about this example is if I was to open the material designer uh this is super powerful um and I'm just doing this on a very basic type of in a very basic type of way but uh you can see there's uh some animation subtly in the background on these textures uh so if I was to hide uh perhaps one of these uh I think that one is the one that's animating there we go you might be able to see that a little bit better on the YouTube compression maybe not uh but there is a texture uh right here that you can see in the little preview window it's just stripes and I'm using an effect called UV Panner so to in order to get the effects you use the add layer effect button so you can add it into the alpha of the layer um this is set to Overlay and that allows you to just Pan the UVS of the texture uh to get these kind of really cool broadcast looking graphics and then you can see I have a vignette uh this is set to multiply with a radial gradient on top the the very bottom later is a linear gradient and of course you can spin these around any way you like uh this just gets super super easy to use uh this one here is just a regular texture um with this cool pattern and I changed the scale of it so you stack these up like Photoshop and you're off to the races in no time basically so that's actually really super handy and just wanted to show you this uh quick example that yeah you can do these 2D kind of After Effects types of animations so let's move on okay so this is kind of our little playground area this is where we'll kind of wrap up the video um but I've added uh this effect here the Chevron cloner I just wanted to show you that you can use uh these operators here to create some uh oscillating animations so it looks like this is going on forever but I'm actually using the Sawtooth function uh to snap it back uh so in the camera it looks like they continuously move to the right but this stuff is super easy to set up um in here so let's look at some more examples I wanted to show you again uh just a cloner with an effector driving the size uh and scale of these objects here so that that stuff is really fun to do uh really easy to do um and then we also have uh shapes that can be swept I guess along the spline uh so you can animate these as well uh so if I was to go into the operator stack and modifiers here uh you can actually progress this along the uh the spline uh so I'll show you how to set that up uh and then we also have uh uh sorry booleans I almost said bevels but booleans um under the operator stack we have uh two effects so we can do an extrude effect once we extrude it then we can cut it into this shape this is set to subtract from the Target and then you can see once I clicked on the background uh rectangle this is set to Target Channel Zero uh which allows me to just specifically Target this guy and of course this is completely Dynamic uh and it works in real time it's amazing that we can do these kind of shapes and cut them out okay so let's uh let's build some effects here so I can give you a taste of what this is like um to go ahead and and get this working so if I was to come over here to the motion design panel uh let's work in our grid here I could turn it on and make sure that we snap and toggle to it and I can drag out a rectangle and uh let's see I need to go ahead and set my toggles here so there we go now I'm snapping to the grid so you can draw all this stuff out you can grab the corners of these rectangles uh you can grab this guy here it's like a little wheel type thing and this will round out the edges so if I could just grab it there we go you left click and drag and pull that down and then we can also grab the little uh slanted uh guy here and pull that out too so if I was to make this straight you can do slanted sides and uh then let me go ahead and hide my webcam so we can look at the details panel there's a lot of really cool stuff down here for the materials you can do linear gradients really quickly and change the way those look I can change it to unlit uh so this way there's no actual shading information and it really looks 2D and if we come down we can start changing a lot of those parameters so we got the Slants oh it is called Slants great uh so there we got this really cool shape and then we can add uh bevels to it Global bevels and if I was to do that on all sides you can see I can get them rounded subdivisions and then uh those particular parameters do live um on the top left and top right you can change all of these so you can really dial in what looks cool to you and uh yeah these rectangles are just amazing uh they're I know it sounds kind of weird but I mean yeah it's it's pretty amazing just to have these to be able to draw out really quickly and then of course if I was to come up to my operator Stacks I can uh do extrusions on them as you can see in this right viewport so definitely extrude I can add a bevel a taper um plane cut plane cut is super fun to work with so yeah we can uh yeah do some fun animations like that or just actually move it grow it on type effect I can come in here do a mirror which which would could could be really wacky when you have things kind of like animating and moving around on screen I can add bevels uh so pretty pretty amazing that we can do these uh I would suggest uh don't be like me and don't slide these things but uh as you can see this can uh as you uh move these iterations and stuff you might want to make those a little bit higher so that the solve is a little more accurate uh but yeah you can do stuff like that and uh there's a there's some more you know there we got Bend uh Boolean of course so I could set this to be the Target and then come over here to uh let's just draw an ellipse okay and we'll add a extrude you can see how fast this this actually works so something like that and I need to add another Boolean modifier here and then say that we need to subtract from Channel Zero which this is set to Channel Zero so if this is set to one uh it won't work they both need to be on the same channels and then we can do some some cool stuff okay so let's look at something else uh I am going to do I'll keep my background in there okay I want to show you guys uh the splines and the cloners so let's go ahead and look at the cloners first uh so if we drop that in you can see it works pretty much like C Cinema 4D where I can come in here and uh change the child so we'll go ahead and delete that and we'll add a sphere let's say put that under the cloner and it just works so this is pretty sweet to have um there's a lot of parameters under here that we'll look at um so we can of course enable or disable it we can change the seed if we have some random effects in here we can spawn linked effectors to it so I'll go ahead and do that and uh disable this for now until we get to that point um we can reduce motion ghosting with TSR we have uh lines that we can create in terms of the uh the look we can do circles like radial uh effects we can do sphere unions or we can do sphere randoms uh or we can copy it onto a mesh Honeycombs are really cool so we can do honeycomb patterns uh and then we can actually do uh splines so to do splines we can grab a spline actor and I'm going to take this off of game mode real quick and uh do the same thing over here by hitting G on the keyboard and I can grab one uh spline component uh little verticy hold alt to click and drag and so I have my shape then when I come back to my cloner I can actually sample that same spline uh which is great and you can change the number you can Orient the meshes uh however you want along the spline so if I had a a cone and let's put the cone under there as well you can say see that they iterate and then on the Clone I can Orient them to the spline and it will do its best to to kind of Orient it based on the tangent of the spline and we can set that to random uh we can set it to blend so half of them are cones half of them are those weird looking Mentos spheres that I made but yeah you can you can add different uh colors on them so let's go ahead and say uh have a single material that is orange why not and a single material that is blue and once we go back to our cloner and we say blend you can obviously see how that works and yeah you can change the way that they're facing and uh yeah this works this works really really well you can also come down to the progress to animate them popping on you can do different things like the step uh for rotation and scale so if I was to scale these you can see that they iterate through and and step uh in those parameters I can do different ranges rotation minimum so minimum uh and maximum rotation on the Z uh so they offset themselves from the spline based on these arguments here and then we can do scale as well we can also do things like um we can actually have them kind of pop on uh and spawn at a different rate which is really really cool uh and if I change the rate then they should come on faster so just some really awesome stuff that's in here uh we can also do lifetime so uh they can they can basically uh let's go ahead and change this back to rate and there you can see you can change just the way that these splines are so that change the animation based on the scale so pretty cool stuff um really really fun ways to bring on different clones okay as you can recall I spawned a link fector but that's one thing about effectors is that uh they need to be added to the cloners in this array so we if we had another uh affector we need to actually add another entry into the list or we just need to go ahead and spawn one that's already linked uh so something that you to keep in mind similar to how Cinema 4D Works uh but if we were to move this through here you can see that it's by default the mode uh you can do location rotation and scale so this is just these are kind of offsets based on how it's passing through and uh you can change the mode to Target so that that kind of looks at the affector as it passes through which is really cool you can change what the target is uh you can also do a noise field so if I was to increase the uh the Z there you can see that this kind of runs a noise through it but if I increase the frequency you can really tell so yeah very cool that it runs a noise uh through there this is super fun uh this noise isn't quite the same as a random effector that you would see in cinema 40 uh to do that you can of course change the type let's go ahead and change this to a plane just for example sake and uh then you can change the spacing but to get more of like a random uh effector you can change this to random and then uh move this through and if we were to change this then you can see they're in a random position uh and then once I pass through it the plane they go back to their positions on the spline uh so that's really cool there's some really fun um different kinds of profile shapes in here uh for this easing parameter so yeah it looks like they as you come through it looks like they kind of bounce into place which is really fun uh we also have stuff like um orientation forces so if I was to put this back to linear uh there's more or less kind of acts like particles um so as they move through uh let's go ahead and move this back to zero uh as we move this through they kind of like spin based on these orientation parameters we also have one that's like a Vortex and I think by default it's too maybe too high let's uh put that at something much lower and then we'll will force the update again and this should cause them to actually spin around this point in space uh which is really really cool that you can do vortices and vortexes and then uh we also have like a curl noise uh which by default again uh the strength is probably too high and the frequency is uh probably needs to be played with but you can do curl noise and then you can also do an attraction force uh so let's change this back to a sphere and of course we're going to force this update and there we go uh with the sphere if I grab the affector you can see that it's attracted if it lose attraction it kind of falls off in the vector um it flies off in the vector that it was going at before and uh then we have the a gravity force so as I move this through they'll actually fall um so some fun really cool animations I know that you guys could come up with with this system and of course you know check out the text object here uh if I was to grab this and uh put it into place uh all of the parameters let me go ahead and hide myself once again are listed under the details window so pretty much everything you need to to change uh for things like text and shapes we'll be under this details window uh you can do fun things like they have these little uh 3D transform uh presets more or less uh for location and for scale so if I turn that on it scales the text up you can animate those rotations in there of course you can extrude the text and uh for the style make sure that it's set to not be unlit so there's some Dimension there and uh you can again change it to the outline uh you can change the bevel on the text and all of your system fonts are here uh which is super super nice so you have project fonts and then you have system fonts and so this is great to have just access to all the different fonts on your machine and uh then we have uh different things we can do for color extrusions bevels uh all this is here and of course you can use the material designer as well okay and just a few more things that aren't really quite uh new to project Avalanche but uh maybe gets you in kind of the head space of like yeah this is something I want to work in uh which you definitely do it's it's an incredible Tool uh but you can build out these camera rig rails as you see here and then you can attach the cameras to them and animate them along the splines to get some like really cool uh animations so that's what's happening here that's why it looks so smooth all this is procedural and can be moved around uh in any way that you want but there's one other thing that I did that I thought was kind of cool and if you guys want to see a tutorial on building your own uh editor utility functions uh the these are basically just uh little uh event driven functions that you can put into a panel U with UI uh more or less you can kind of design this however you want but uh this is so I can select the cameras and uh change them on the fly I can also change up my uh lens length here my focal length uh just to try stuff out and see what works and then I can change my scalability settings here um from high to cinematic and of course epic is what you get out of the box but this allows me to kind of like save on GPU overhead and just be able to have fun with what I'm doing and uh yeah it's all just based in this window here and if you want to create your own uh or if you want to see a tutorial let me know but it's under editor utilities uh you have to have editor utilities plugins uh enabled and then I believe you can gain access to this stuff the editor utility widget which is what I'm using and of course it's just a UI designer and this is how simple it can be uh so for example if you wanted to do the um 16 by9 one um or 9 by 16 whichever uh once you fire the button event uh you get all your selected actors you go Loop through them make sure that they are the C camera actor by casting to it and once you cast to it you can get the uh camer component and then you change the aspect ratio parameter and that's what happening every time I click the button uh I believe they have added this in here which I didn't notice it uh under crop settings there's an aspect ratio attribute and that's what I'm changing to be able to flip through 16x9 9 by 16 and 1: one so all that's located under there and then you can of course change your focal length and all the other camera parameters and the scalability is done by the um execute console command scalability uh 2 through 4 uh two being high Epic EP in cinematic so if you guys want to see more of those types of tutorials let me know but I'm hoping that this video has open your eyes to project Avalanche and the motion design mode inside of Unreal Engine 5.4 coming to you very soon I appreciate all your time and if you have any questions please leave them in the comment section below I do read all the comments and I try to answer every single comment that happens to be down below so I really appreciate it and if you have a suggestion for a video let me know and until then thanks a lot guys we'll see you in the next one take care

Channel: Glass Hand Studios

Views: 28,091

Keywords: Unreal Engine tutorial, Motion design in Unreal Engine, Unreal Engine cloner tool, Unreal Engine effectors, Advanced motion graphics, Unreal Engine outliner, 3D animation with Unreal Engine, Creative visuals Unreal Engine, Game design visuals, Digital art and animation, Real-time rendering, VFX in Unreal Engine, Unreal Engine for designers, Unreal Engine updates, Unreal Engine 5.4, motion design, motion graphics, epic games, unreal engine

Id: qhyu8eqBj5c

Length: 44min 44sec (2684 seconds)

Published: Sun Mar 10 2024