 What's up everybody, EJ here, and I have a pretty big announcement. I'm learning Unreal Engine, and I think you should too. I've teamed up with Unreal Engine guru Jonathan Wimbush. What up? What up? Wimbush here. To create this tutorial that's actually a little bit more like a visual podcast. So in this video, Wimbush is going to be walking me through how to create this forest scene inside of Unreal Engine. And along the way, we're going to be seeing how Unreal works in relation to Cinema 4D. Seeing what features are similar, just to help us make those connections in our brain to try to understand how Unreal works, and all the features and settings that may be pretty similar to what we have inside of Cinema 4D. We'll also be discussing how Unreal Engine is being used in motion design right now, and how we think it's going to be a massive player in the motion design field in the years to come. We even talk about a contest that we have going on that is going to incentivize you to learn Unreal Engine with some pretty awesome prizes. So if you want to learn about that, check out the links in the description. Now, if you just want to check out how to build up the forest scene without the back-and-forth banter between myself and Wimbush, you can check out that step-by-step tutorial over on Wimbush's YouTube channel. I'll have a link for it somewhere here or in the description below. But this video is very much a conversation between myself and Wimbush on Unreal, and me trying to make observations and trying to lean on my knowledge of how Cinema 4D works and trying to apply those similar concepts and see how those translate to how Unreal Engine works. And we had a lot of fun recording this, and I hope you have just as much fun watching it. So let's check it out. All right, so we are looking in Unreal right now, and I have no idea what any of these buttons are. So take it away, my man Wimbush. All right, so we're in Unreal Engine 5 right now, so I have a basic scene set up with this pug statue and a ground plane, and we have a directional light, which is going to be on there by default. And so what I'm going to do for this first step is actually work on the lighting and everything. So I'm going to bring in our atmospheric effects, our lights, our sky, your clouds, and all that good stuff. And so, you know, we're going to jump right into it. I'm going to delete. So now this little area here, this outliner, is that basically the C4D object manager where all your assets kind of show up? Yep, 100%. So it's named something different, but this is your object manager. So this is where you're going to see everything that populates your scene is going to come over here, and you can even set up folders and everything to kind of organize it as well. And so I'm going to get started by deleting this directional light, and your scene is going to go completely black, but that's okay, because we're going to start adding in the pieces that we need to get photo roll lighting one by one. And so to get started, I'm going to come up here in the top left hand corner where it says window, I'm going to left click, and I'm going to come down here to where it says environmental light mixture. And you'll just open up this panel here, and you'll have all your panel buttons here, and we're just going to click these all one by one, right? And so let me actually make this a little bit smaller and move it to my right so we can see this stuff happening inside the panel here. And I can actually move this down a little bit so we can see it populating in the outliner as well, because it's just a couple of buttons that we have here, right? So you can see that finer you're in. So I'm going to start with the skylight here. That's right next to minimal. Click on create skylight. You can see it came into our outliner, but we still see nothing in our viewport. And that's because we want to start adding our atmospheric light, just the one that says zero. We don't want to add the one that says one. I'm not really sure what that one does, but I'm going to click this one on. And you can see now we have a directional light within our scene, which is basically your sunlight there. And so from here, I'm going to create sky atmosphere, which is going to add our atmosphere into here and everything. And you can actually see our sun over there on the left hand side. But you can still see like our horizon is black and everything. We need to blend that in. So I'm actually going to, before I blend that in, I'm actually going to create volumetric clouds, just to add some clouds up in our sky. You can still see our sun and everything over there, which is crazy. Like I said, I was telling you before, like I did a tutorial on this back in the day and it took at least like 15 minutes to set that up. But now it's just one click and you're good to go. One click. And those clouds are moving too. Are they moving? Yeah, they're always moving. So that's the thing. And on a rail, this stuff is always moving. Real time. Yeah. 60 frames per second at its best. And then I'm going to create a height fog there. And that's how we're going to blend everything in in there. So I'm actually going to exit this out. So basically we wanted to put everything in there, except for create atmospheric light one. Again, I'd have to read up on it, but I'm not sure what that does, but don't really need it. So now we have our environment in our sun and our clouds and our height fog and everything else in here, right? So what I'd like to do, I'm sorry, I got it. I was going to say this reminds me exactly of like the sun and sky rig that you'd create in Redshift. Right, right. 100 percent. It's been a minute. Can you also rotate around like the sun and sky rig in Redshift where you can change the time of day and all that? Yeah. So I'm going to hold down a shortcut key on my keyboard. So I'm going to hold down the control key on my keyboard. And then I'm going to hold down the L key on my keyboard. And you see like we have this little sundial here. And so I'm not going to click anything on my mouse at all. I'm just going to move my mouse around and navigate it as so. So if I start moving this around and you can even see like it's like dawn, right? This is where the sunset right there. And you get like the color temperature and everything affecting everything in your scene, which is really dope. So this is pretty much just like moving the sundial in real time inside of your scene here. I mean, this is the cool thing about Unreal. And you know, we talk about this all the time that if you know one 3D app, like there's so many connections to other apps that you can relate to. Like, oh, this is Redshift sun and sky rig. And you basically can connect all those dots and really get grounded in this totally different 3D app. But it's a 3D app, none the same. Yeah. I mean, 100%. Like, I mean, it's just across the spectrum. Like most of the stuff applies across the board, but they're just named differently per app that you're in. So yeah, it's super simple. Once you like learn the navigational tools and how to just get around in here, you felt right at home. So next up from here, I'm actually going to just clean this up a little bit. So right here where it says main, I'm just going to right click and create a new folder. I'm just going to name this one FX. And I'm going to put all that stuff that I just put into my scene for the lighting and atmosphere and stuff. I'm going to put that into my FX folder there. Like so. And then I'm going to make another folder. And I'm just going to name it main because I'm just going to drag my ground plane in there. And then also the guest statute as well. Like so. So now we're all cleaned up and everything over here. And so what I like to do, especially when I make big steps, I always like to save everything in my project. I'm just a huge, you know, control S person. But instead of unreal, control S doesn't save everything for some reason. Like you usually have to come down here to your content drawer, which will be, what is that? Like your object manager or your content browser? Actually, I think it's called asset browser now in later versions of C4D. So this is like just where all of your stuff is. Basically, yeah. Yeah. How do you junk? Your 3D junk. All your stuff that you drag into your scene, like your FBX's and materials and HDR's, this will all be inside your content browser. Oh, okay. You can right-click and you can make new folders and stuff like that. You can add particle systems, blueprint, if you want to get into, you know, programming and stuff like that. But we're not going to touch that today. No, I don't want to get into programming too much. I'm just basically going to save all in my scene. And I'll just name the scene Gus, like so. And there we go. So it added a new level. I'm not sure why I did that. But like these little buttons down here with like the yellow bars, these are basically your levels, right? And that's almost like working in, I would say like a pre-comp in After Effects, but not exactly. Okay. Like a new level would be your new scene altogether. So like say like you wanted to use the Gus statue and like it could plating a new level. Like all your assets will still be here, but you can still use those assets in a new level if you want to make like a totally new scene. So I guess it's not a pre-comp, but yeah, it's kind of hard for me to explain except for it's a completely new project, but you can still use audit assets that are in your content browser. So that's the thing. Like this is at the end of the day, people make video games with this. So you got to kind of relate what is going on with a video, like in a video game use case versus like actually we're doing kind of motiony, graphic-y, like octane and redshift style renders in this. So it's like, even though it's called a level, it's just like a scene. And I almost think of like Mario Maker, the video game where it's like, you have all those different assets to populate. We get, are you in the desert world and have the desert theme stuff for that level? So kind of following along here. Yeah. Yeah. Pretty, I mean, that was a good analogy to Mario Maker forgot all about that game, but yeah, pretty much right up the aisle. So it's a good game for about a week. And then you're just like, all right, that was fun. We're good. So I'm actually going to just add some, some fog into the scene now, since we're already here inside of our atmosphere and stuff like that. So if I click on exponential height fog right here in my outliner, if I scroll this up down here, we have our details panel, which is basically where all of our attributes are. So if you're in Cinema 4D, it's the attributes panel, right? So that's what all this stuff is. That's where you have like your location, yeah, your transform tools, your scaling tools. But if I scroll all the way down here, there should be a button to turn on volumetric fog, which is right here. So I would just turn on volumetric fog. You can see that the scattering is already started to implement itself into the scene. But if I scroll up to the top here, where it says fog density, and let's crank this up to like one, now you can see we have our moody fog in here. The scatter is all over the place. And if you're wondering how I'm moving so fast in my scene, it's basically the controls inside of Unreal, it's like you're playing a video game, right? So like if you play like Halo or Call of Duty or Fortnite, it's the WASD keys on your keyboard. And then the mouse will control your camera there. So I'm just holding down the right button on my mouse. And if I hold down S, I'm moving backwards, right? And if I hold down W, I'm moving forward. And then A moves to the left and D moves to the right. Oh, okay. That makes total sense. So yeah, any video game, I mean, like we were saying, it's a game engine. So the controls are going to control just how you're playing a video game. And then if I hit Q, that actually goes down. And if I hit E, that just pans up. And you can also use the middle mouse on your controller too, or not your controller, but on your mouse to just kind of pan around. But now it's funny, can I say controller, like if you hook up like a PlayStation or Xbox controller, you can actually navigate around your scene with the controller as well. So yeah, it's pretty wild. And if you just scroll in, you're just going to jump in like increments like that, right? So yeah, that's a quick navigation run down there. And then if I hold down the right click on my keyboard and I scroll back on my mouse, like scrolling towards me, now if I hit the S, it's going slower. But then if I move my mouse wheel forward, like if I scroll forward, now if I hit W, you can see now it's going fast. So that's how you control your camera speed too. So that's just your mouse wheel, you know, moving it up and down, which is very handy there. So like, I love the way. We'll provide like a, we'll provide a PDF for all this stuff so you can download. Cause I know I'm going to need it as a reference to remember all this stuff. But just so you know, you can download that PDF with all the shortcut keys that we're covering. Yeah, 100%. But I mean, this should come natural. Well, at least for us, you know, like we play games. So I'm a switch person. So it's a little bit. I don't play a lot of PC games. So I don't know. Well, it, I don't know for me, like the navigation was the big thing when I jumped from Cinema 40 to Unreal. Like at first I didn't like it, but the more I used Unreal, I'm like now wish the cinema worked like this. Like it just works so fast, you know, so. But let's start adding some. This fog is looking great. What's that? I said, this fog is looking great. Like that again, like I'm just thinking of like, Oh, this is inside the Redshift environment object that you can adjust the fog just like this in Unreal. Yeah. Like tools are almost identical. So I mean, that's why it was so easy for me to jump over, right? Just because I did know the background and you know, like texturing and lighting and stuff like that coming from offline renders. And so. Right, right. But we're going to get into some texturing now, right? We want to start texturing the ground plane here. And so we have this little box with like this green plus arrow. And this is how you can add stuff to your project. So if I click on it, you can see we have access to Quixel Bridge down a real marketplace. You have your lights down there, basic shape. You can add your camera, etc. So I'm going to jump right into Quixel Bridge here just to get right into it. And as you can see here, this is going to pop up at first. Like they do a lot of stuff in collections, right? Like they usually have like the new stuff that they scan there. But if you wanted to jump into like say this tundra pack, like I'm not sure what part of the road they scan this stuff. But basically everything they scanned in this region, they put in the little collections. So if you want everything to be cohesive and you downloaded like a material or a 3D object there, then everything they scanned in that area is going to be in this pack. So it's kind of like a good jump off point if you just want to build like a scene and make sure everything is going to blend with each other very well. Like that's basically what you would do. You just come over to your collection and they also included the references. And so if you click on reference, these are the actual photos. No, these are the actual photos of the area. So if you wanted to have a reference on like, Hey, I want to build out this scene. These are the reference photos from where they scanned it at. And you can see so that you have like a point of reference for yourself when you're building this stuff out. So it's crazy. Yeah, that's the rings. I mean, they might have scanned this in New Zealand. I know they travel all over. But if you click on renders, these are some of the renders that they actually did. Those look like the photos we're just looking at. That's insane. Exactly. So let me I'm going to go over to some of the textures that I already downloaded here. And so I'm going to come over here to like this little computer monitor looking thing. And this is all stuff that you downloaded local. And so it just saves on your hard drive automatically, right? So you can also go back and access it. But if I click on surfaces, this is going to show me all the materials that I downloaded to my hard drive. And so these are the latest ones that I use whenever I was building out the the pug scene here in the past, because I was using like a mossy ground, added like some swamp materials, and then I had a rocking material as well. So what I want to do from here is actually click on it. And I want to make sure that I'm on highest quality, which is going to be 8k. But if you go through these different quality settings, like I believe high quality would be 4k, medium would be 2k. And I want to say low quality is either 1k or 512 megabytes. I can't remember which one, but I always go balls to the wall with 8k, right? So just get that. Yeah. You can handle it 8k. The highest fidelity that you could get. 8k in real time. That's a real flex right there. But I mean, the crazy part is like, I'm using a 2080 TI still, right? Like I do have a threat per CPU, but I'm using a GPU that's two generations back, and I'm still able to handle everything in real time here. So I can only imagine if you have like a 3090 or something up there or even like a 40 series, you know? Yeah. And while we're on the subject, like you can use Unreal on a Mac too, right? Some of the later Macs and stuff. It's not like you, it's not like Redshift or, you know, Octane's been better about it, but if you're on a Mac, you're kind of SOL. Using like, you know, some of the render stuff, you got to have a certain GPU. So that's kind of a really cool thing about Unreal. Although C4D did just update with the CPU render and included in S26. Yeah, for Redshift. Hopefully everyone can just use everything all the time. So, but it's cool that Unreal is, you know, all over the place. Yeah. And they worked with NVIDIA and AMD. And I've actually looked at the benchmarks. It actually runs better on AMD GPUs than NVIDIA, which is kind of crazy, because when they were working on Unreal Engine 5, they were working closely with Xbox and PlayStation, with those consoles actually used like AMD hardware inside of there for the CPU and GPU. So it kind of makes sense that they optimized it to really run efficiently on AMD. So like E.J. was saying, like if you have an AMD system or a Mac, I mean, you should be able to use Unreal with no problem. So awesome. Getting back into it, I'm actually going to select these three materials and add these to my scene. So I'm just going to click, like if you didn't already have them downloaded, you would just hit the download button, you know, gives you your percentage right there. Once it's done, you'll get a green check mark like so. And then this blue button down here for ad will pop up. So I'm just going to actually click on add and then give it a second because it's going to populate instead of Unreal. But once it does, I'm going to show you guys how we could take these three materials and turn them into a blend material so that we can actually start paying on our ground plane there. So we'll start off with like the mossy ground and then maybe paying in some of the rocks and we can paint in some of the swamp materials there as well and kind of make like a path. Leading up to the statue there, which is really dope. Yeah, it sounds like something that you would do in like substance painter or something like you can. I'm trying to think of how I would do that instead of a 4D would be like vertex maps and redshift color composite nodes and all that kind of stuff. Yep. Yep. So these are all those textures and it looks like like you get normal map, you got your normal maps, you got all this stuff in there. They look awesome. Yeah, everything that you would need for that texture is already set up. So if I double click on like this mossy ground and come into this is the material and they already built it out inside of Megascans so you don't have to do anything. Like if I look at my, let's say, if I look at the hierarchy window. Oh wow, got nodes. Yeah, these are all the nodes for that and they already have them all set up for you and everything. And they laid it out really nice so you don't have to miss what anything in there. And I don't even think that was like the big one. But yeah, getting back into it, like you could change the Abito tint, you could add specular to their roughness. They already have auto textures already plugged into where you need it to be plugged into. But you also have control over, you know, subsurface scattering. If you wanted to add that, like everything is laid out really nice here. If you wanted to kind of take these one step further and kind of do what you want with them. And so what I'm going to do is set these up as a blend material. So down here inside of my content browser, what I'm going to do is actually click on the surface because whenever you add anything from Megascans, it's actually going to add a Megascans folder here for you, right? It then automatically separates everything. So if you bring in like a 3D asset, it will make a 3D folder. If you have like a decal, make a decal folder, or you know, your textures, which would be your surfaces, it automatically added a surface folder and it will populate everything accordingly so you can keep everything organized. And so what I'm going to do is click on my surface folder. And right here, we have a search bar because that material that I was just showing you out of attributes, those are called instances inside of Unreal Engine. And so I want to make sure that select each material instance in order of operation pretty much. So I believe like you said in the past, it's like working in Photoshop, right? Like how do you select your layers and everything will be from the top down. And so this is very important for your window if you're making a blend layer, you want to make sure you pick your base material first and then you'll hold down the shift key. And let's say next I want to do like this mossy swamp. I'm going to actually hold this down, hold down the control key, hit mossy swamp. And then say my third material, I want to do this mossy rock. So I'm going to left click on that. And so now my order of operation is this is my base layer. This is my second paint layer. And then this will be my third paint layer. Okay, so very important that order. Yep. And then to make a blend layer, it will automatically make it for you if I go back over to Quixel Bridge. And you see like this, right? You like you have to click on the material, right? And then you'll have this menu pop up and right next to where it says highest quality. You want to select on this button icony thing here. Not really sure what it is, but A little slidery thing. Yeah, a little hamburger sliders or whatnot. Hamburger sliders. Right now I'm writing much. So now that pops up this screen that just says mega scans up top, right? And we don't have to do anything in here. Like everything should be good to go. So all you have to do is hit create blend material. And boom, you see it made a folder right here called blend material. So we can actually exit this out. And if I come over to blend materials, now we have a new instance for this blend material, right? So if I double click on this, I'm actually going to save it. But if you look over here, we have all of our materials. So let me actually just scroll through these. I'm going to make these up. So it's easier to see, but we have our base layer, which is the first one that we selected. And then we have the middle layer, which would be the second one. And then the top layer, which would be the third one. And so to activate these, what we're going to do is start right here where this is global. I'm going to scroll this down. And I want to make sure I activate my base layer. You want to make sure that you have this checked mark along with the one on the right hand side as well. And once you click that, you can see that it activated everything down here. So we're able to change. Same as before, you could change like your roughness maps. You could do tiling and stuff down here, which we'll go through in a minute. And it just opens up audience attributes in here if you want to kind of manipulate these and everything. So I'm going to do the same thing for the middle and top layer, because I want to just get right into the fun stuff here. And then I'm actually going to turn on this puddle layer as well, because you can paint in like little mud puddles or wet spots on your material as well, if you want to, which is really dope. So what I'm going to do now, actually before I do anything else right here versus blend control, I'm going to select this on as well. And then I'm going to click save. And we should be good. All right. So what I'm going to do now is put my blend material onto my ground plane. And you can see that it looks crazy right now. And that's because we have to blend our material, right? I'm not blended, but you know, change out the scaling and everything. Scale looks pretty massive. I'm going to take it to the jank town. I was going to say FlavorTown. Like the FlavorTown. I don't know. You don't want to go to FlavorTown with what's his face? Yeah. Guy Fury. Guy Fury, no. I mean, that texture kind of looks like his hair right now. Well, what we're going to do is I'm scrolling over here. Like I double clicked on my blend material. So this is like your material manager. I'm like just making that kind of connection here. Yep. It's just exactly like that. I'm going to come over here to where it says basilar because that's what we're seeing right now. I'm going to scroll down to the bottom here. And I'm just going to, I haven't activated, but I'm going to change this from Tiling X to 35. And my Tiling Y to 35. I think that looks pretty good. Like that. And so now what I want to do is actually, I'm going to change my Tiling on my middle layer as well because we're going to start painting this in. And so my middle layer, I'm going to scale down. Click on the Tiling right here. Tiling slash offset. And let's change this to 35. And this is all non-destructive too. So like we can always change the Tiling afterwards if you want. And this is like the same stuff that got in like your Redshift texture node and all that kind of stuff. So this is like, this is jiving with how my brain works with other renderers. Yeah, 100%. So now we have our texture on here. What we're going to do now is start painting on some textures. And so to do that right here where it says select mode, I'm going to left click and come down here to where it says mesh paint. Right. So I'm going to click on mesh paint. And that's going to open up this other window in which I don't need anything in my content browser right now. So I'm just going to close this out. So we have maximum room here. So you guys can see everything. So let me actually move this over as well. Because I just want to show the viewport and show the start and the paint on it. So I'm going to come over here to where it says colors, which are already be selected. I'm going to come down here to where it says paint the mesh. Click on this little paint brush. And that should open up some more attributes down here in which we have our brush attributes here. So our size, like if I come in here, you can see this is my paint brush. If I move it up to like one, it pretty much engulfed the entire scene. If I do 0.01, you can see how tiny it is. And each one of those little green dots, that's actually your vertices on your mesh. And so that's kind of important too. Whenever you're working on the mesh, like I brought the ground plane in from Cinema 4D, right? Like I made just the terrain. And then I exported it out as a FBX and I brought it in here. But I made sure that I had a very high polygon count in Cinema 4D. Because if you have a low polygon count, you're not going to get that much blending in here. Because the more vertices you have, the better blending you can have afterwards when we start painting our textures on and everything. So that's just. So you'll have like more higher resolution blending the denser your mesh is. Yep, exactly. Okay, that makes sense. So is this like a, because that reminds me of like you would also need that for a vertex map too. Is that kind of what's going on behind the scenes? Is like vertex map kind of stuff or? Yep, yep, I believe so. Awesome, makes sense. So I'm going to, and you also have control over like your strength and your falloff too, right? So I usually just have both of these at one. But you can also control the falloff and everything afterwards as well. And so when you come down here, it looks like I already have it set up. But my paint color is usually going to be white right off the bat. And we want to make sure that it is black. So if I click on it and scroll down, just want to make sure that your paint color is black and your race color is white. When you first open this up, it's going to usually be in the opposite direction. So that's very important there. I know. Well, it's like working with mask inside of Photoshop. Right, black with mask. Yeah. Yeah, pretty much. And so I can't remember how it is inside of Photoshop. But yeah, we're just equated to that. And so down here where we see color painting, you want to make sure that you only have one of these channels selected at a time. And so your red is going to be basically the second material that you selected. Your green is going to be the third material selected. And then the blue, that one's going to be your puddles, which we selected inside of our blend materials there. So this is just basically going in an order operation how we selected everything when we first set everything up. So now for the fun part, if I left click and start painting on my texture, now you can see we're starting to paint that second material on there. Just like so. Awesome. So if I was there a way to like add noise or something to break that up a little bit too. Yeah, 100%. So if I look down here where I have my blend material down here, you can either do it in your content browser or since I have my ground plane already selected, you should see the associated material in here. So if I double click on this, it's going to open up my window here for my blend material. So if I come over here and if I right here where it says blend controls, you can see that we have blend amount, we have contrast, we have fall off. So let me see. It'd probably be better if I move it over here to the right or the left, right. So we can see it better. But let me scroll in here so we can really see what's going to happen. So if I do blend them out, let's move this up to like 10. Oh, wow. So that's like procedural. Yeah, it's all procedural and non-destructive. Oh, that's awesome. You can see how it's really blending it together. But let's say we want to keep it at 2. Like the smaller the increments, the closer to your paint is going to be, but if you exaggerate it, then it's going to start engulfing everything right. So let's say maybe around 3. And you can start to see it starting to blend there. And then the contrast, if I take it down. So it's like using a noise to blend the stuff together. And it's so you're basically controlling the strength of the noise, the contrast of the noise. That's awesome. Yep, 100%. And then let's say for fall off, take it, say down to 0.1. Somewhere around there, you can start seeing that. And then, yeah. So I mean, it's really dope. Like the amount of control. This is incredible. Like to do this in Cinema 4D, I mean, I don't even think you can. I mean, it would require a crap ton of redshift nodes or octane nodes. I know that. But to just do this so procedurally is really incredible. But check this out. So let's say like, okay, so maybe we say like, okay, we're not happy with the tiling and everything. Maybe it's too large or too small. You could go back and remember, I said it's not constructive. So I could just start changing the tiling in here as well. So now we're changing out the tiling as well on here. Let's see, 100 by 100 maybe. Too tally. All right, let's go 75. But if it's too tally, you know, what you could do is actually, let me close this out. And let me come down here to my green paint brush. And I could start painting this in. But that we didn't even tell that one. So yeah, we didn't even tell. That's not tally enough. Yeah, it's like a new word we just invented just today. No towels. So make that more tally. There we go. Oh, cool. So you can like help break up the monotony of some of those patterns. Like if you visually see that pattern, all you got to do is break it up with another material there. Yeah. In the think. Oops. So this one, I'm doing a top blend right here. So I'm just trying to blend this in a little bit as well. So let me see. So you can control blend control. So you also have to adjust the blend control of the other material for that to blend. Yep. That makes sense. You can control both of those there. So let's say I want to have like the rock path going up to the statue here. So I'm just painting this on like so. And then let's say maybe we're like this mossy area. We want it to be a little bit more wet. If I come back over here and go down to blue, we can start painting on like little puddles and stuff as well. So I'm going to paint on puddles and let me see. You can see the reflection in there. It might look a little bit better if I change the lighting. So let me change. Oh, wow. Yo. So you can see like the light reflections and. Well, and depending on the angle that light you're seeing that that normal map really pop those rocks. Yep. That's great. So yeah, I mean, I love like this lighting shortcut. Again, that's control plus L. And it's just like if you're like starting to just really polish your scene, you just kind of move it around just to kind of see how it looks and see how dope it is. But this may be these leaves are huge. Now I'm looking at it. So maybe let's go ahead and even know there was leaves there. It's like the land of the Giants. So come down probably even go higher than that. Now, is it pretty good to like as far as when you bring in materials from Quixel, are they about the same like world scale? So if you wanted everything consistent, you would almost want to have like for these three materials, like the tiling somewhat similar versus. It depends. Yeah, like the scaling is using consistent, but I usually just go in and kind of play around with it just to see what's like visually appealing to the eye, right? Yeah, eyeball it a lot. And so I think for now I'm going to get out of texture painting because we'll get into some set design because once we start adding, you know, like mega scan stuff in here, we might want to paint it differently. So let's see where should we, where should we start? So I guess I start by going into Quixel Bridge. Let's see some of the 3D assets that have downloaded already. All those little plants and stuff, gazebos. Yeah, so we have the Japanese wooden roof, which is though if I come over again, if I click on like your 3D object, you can see that sometimes to have the collection already here. So like say we want to work on like a Japanese garden. If I click on this, this is like what the render looks like that either people at Quixel made or it looks like this was like a community one, which you could click on that. It will take you to like his art station and everything. But you can see the render that he made. And then it also shows you all the different assets that he used to make out that scene there as well. So again, that's just for continuity. If you want stuff to be, you know, coherent, then you have your collection there. So I guess we could start with maybe the little, what would you call that? Like a gazebo thing or something? Sure. All right. Let's add that down here. You can see that it actually says Nanite in which I don't know. Did we talk about Nanite yet or? No, we haven't. So that's like kind of the, so we covered the material quality, you know, and this is basically the density of the mesh. Because I know they have like a few views. Quixel before they have like the level of detail, the LOD 1, 2, 3, whatever. And Nanite is something that if you're, I'm sure there's a lot of artists watching this that have used Quixel before for Cinema 4D and Nanite, from what I understand, it is something just totally inside of Unreal. Yeah. So it is the most dense mesh that you could get. Like the whole concept behind it is, you know, as the entertainment world and a gaming world is starting to really collide with each other, it would be cool. Like say like Industrial Light and Magic of the working on like the Spider-Man movie. And then you have the Spider-Man game being created at the same time that, you know, Industrial Light and Magic actually take like the high end polygon meshes that they created for the movie for the VFX team. It just passed it over to the game studio. And then they could just take those directly into Unreal. And not have to worry about like reducing the meshes, you know, like really like destroying the polygons to kind of make it work to be optimized within Unreal. Now it's kind of just like, hey, give me that high trillion polygon meshes, Spider-Man, and I could just throw a man here and everything just works. And so it's just, it's really trying to just combine like the entertainment world and the gaming world together. And I'm not sure the magic behind it, but yeah, it just, it works. Like I've done some, yeah, science. Something like that, which I'm good at, but not at this level, right? Not that level, no. Yeah. I know the sky is blue, which it is in this scene, but outside of that, it's where my science ends. So how do you, how are you scaling there? Where are your scale and rotate tools? Yeah. So I know Cinema 4D, it's ERT or whatever. Is there something similar? So yeah, basically we want, when we were talking about Nanite, all I did was remember before we said mega scans, when you add something, I would make a folder. So I went to my 3D folder, the Japanese wooden shelf thing here, and all I did was click and drag it into my scene. And you just start placing it. And then this is where all your transformation tools are at the top. Oh, okay. Right up there. All right. Yeah. And if you hover over it, it will actually tell you the shortcut key to get there as well. So like your scale key, you have your rotation right here. So if I wanted to rotate it like so, and then this is just how you would move it in your scene. And then right here, this is your selection only. So like you can select stuff, but it's not going to have any of the transformation tools. Yeah, I can accidentally move it. Yeah, which I really like. You can select stuff and not move it around, which comes in handy. And then right here, this is where you have like your road axes and your local, just like how you would have inside of Cinema 4D. I'm going to stick with world right here. And this is how you control, yeah, you could snap to surface type stuff. And then these right here, these will be like your snap grids, like how much of an increment they would move in. So like if I turn these all off and I start rotating, you can see that he's just rotating. But you know, if I turn them on, now you can see, yeah, it snaps to 10, like so. So I usually turn them off just because I just like to free flow it. But you know, however you like to work, except to you. I don't like constraints in my life. Why would I want it in my 3D application? Exactly. So I think I'm just going to add maybe a couple more rocks or something in here, because we want to get into the trees, right? Like we really want to start. Yeah. But I mean, the key here is like, of course, we want to learn this new application. But we also want to, you know, share tips as far as like designing these scenes and making it look realistic. And you know, you want to have your main actor pieces, you know, these nice little like, what is the main focal point of your animation? If it's just a bunch of trees or not animation, your render, if you just have a bunch of trees, like, what's the point of interest? What am I looking at? So, you know, where, you know, when Bush is working here, getting these like main set pieces in here, that'll look really nice. And then, you know, start building up the nature here, because we ultimately want this to be a pug forest. So how do you build up a forest? Number one, like, I highly recommend people go out and, you know, use Pinterest, use a bunch of reference images. And because that's a really good guiding star to help you build up your scenes. So I know we looked at, and I showed you, when Bush, some of those Pinterest images before, and you know, how it had like super mossy ground cover that almost covered the entire forest floor. And then, of course, in nature, like, you have different sizes of trees. They're not all the same size tree. They're all not all the same kind of plant. So that's where, you know, not only utilizing all the assets in Unreal Common Handy, but it's just, you know, realizing what happens in nature. Like, you don't want everything to be super uniform. Like, so for these rocks that when Bush is placing right now, you might want to rotate some or whatever around just to break up the monotony. So just like you don't want obviously tiling textures, you don't want obviously tiling rocks. I love the overlap of the stones too, and how some are kind of sunk into the mud. Like, even that's something you could look at an image, reference, and see that, hey, that's, you know, sometimes it's going to rain, it's going to flood, and you're going to get mud that comes up on top of those stones there. So you always want to think about, yeah, you always want to think about how to make this as realistic as possible for these kind of scenes. And the thing, like, I'm just, you know, while you're talking, I was just kind of freestyling and putting stuff together. But it's like, I know people are probably asking, like, how am I just like clicking and dragging and duplicating? So actually let me delete, I'm going to delete that pillar, and I'll start like this. And so this is how a lot of game artists actually design their scenes really fast. So if I hold down the Alt key on my keyboard, and let's say I want to move this, you know, just left to right, I'm going to click on the X axes right here. Like when I hover over it, you'll see a highlight. So I'm just going to left click and drag, and it automatically duplicates it, which is really dope. So that's, so that's like Cinema 4D too. Yeah, but we, they use it in a gamer world like crazy. Like I watch a lot of gamers like Time Lapse through video scenes and stuff. And, you know, they're just like how I was selecting just like a group here. Like you just hold down shift. And then you just like hold down the Alt key and you duplicate it. And like I really wish that's something that Cinema still has like on top of the game, especially when it comes to other applications is the cloner tool. Like I know you want to get in here and you kind of want to just, you know, detail it out. But a lot of times using the cloner tool would just leave a randomizing the rotation. And, you know, like we're just saying where not every stone is going to be exactly orientated the same way as all the other stones. So is there any kind of cloner tool in Unreal? I'm just like asking just generally you don't have to show it or anything. Yeah, yeah. No, there's people that have made them inside the marketplace, but like built in, there's nothing yet. And so like you can already start to see some repeating patterns and stuff here. So yeah, ways to break it up. Like you could probably just add like start later and other stuff in there. Yeah, I mean there's so many assets in there. Yeah, pretty much. And so there's a whole plethora of stuff in here. Like I like using these two. Like if you look at stone rebel pal, like these are just like little like if you didn't want to paint in or hand place rocks, like they have a bunch of these type of things too. So like I can add this to the scene and then I can actually add that in there. And it would just automatically start to blend in what you're seeing and everything, which is really cool. So let me get this out. And they should have already added it already down here. So I'm just going to click and drag. Sometimes it takes a second for your mesh to come through. Again, these are like 8k textures on top of these as well. So if I just click and drag, maybe just scale it up like so and just start blending it into where I want it to be. Sometimes it's good to have these things. They just kind of break up. Except that monotony. Yeah, that looks good. They blend so nicely because like you were saying they have that whole Japanese shrine pack where all the assets are kind of made to work with each other. Yeah, that's the one thing is like they're shooting all these things like in the same area. So just naturally they should blend together. But if they don't like say you wanted to use a pack from something else, I mean you could go in there, you could change the color. You can always bring this into like substance painter and repaint the textures or bring it in a Quixel mixer, stuff like that. And so yeah, because I mean all these materials you can go and change the like hue or saturation or whatever to do whatever you want. Yep. And so I think just for like the path leading up to here, I think is cool. I think what's really going to bring it home is add maybe some mega scan trees to it. And so like once we build like the forest out and everything like that, then we're going to start getting like the volumetric lighting effects. We're going to get the God raised that we really want to get in there and we could just start really setting the tone and everything. So I think what I'm going to do is I'm going to open up the Epic Games Launcher because I'm going to show you it on the store first. And then I'm going to show you how we can bring the mega scan trees into Unreal Engine 5 because they haven't been updated for five yet. But I do have a workaround on how we can bring them into five so that we can utilize them. And so this is the Epic Games Launcher. Whenever you install Unreal Engine, this is what you're going to get. And this is how you actually reach, you know, like the different engines that you have in here. So if you look in the top right, you can see that it will say launch Unreal Engine 4. But if I click on this, I have five installed as well. And so like if you want to install different levels of engines in here, if I come over to library, you can actually see where it says engine versions. You can click on the plus sign and you can install any version up to, I think, like Unreal Engine 4.0, which is that's like really old. But like say that you're working on a project, somebody sent you a scene file from like 4.19, you can actually install it and then you can open it. So you have access to everything there. And if you want to have multiple versions of the engine, you know, installed at once, you're able to do that as well. And so what I like to do is like I primarily work in Unreal Engine 5, right? But I also keep a version of Unreal Engine 4, which 4.27 will be the latest version. But I keep that installed just because five just came out. So like all the assets on the marketplace, they haven't been updated for, you know, to be implemented into five directly. And so a workaround is make maybe like a blank scene instead of Unreal Engine 4. And you would just start adding your stuff from the marketplace in the four. And then it's as easy as opening up that project and just hitting migrate. And then you can migrate it over to five in which I'll show you in case that's, you know, that sounds too complicated. Sure. Yeah. Because I don't even know how to import files into anything yet. But under library, under library here, if you scroll down like, well, first, inside your library, you're going to see your projects. And so these are projects that I've worked on in the past. And they'll actually show you what engine number that you built them in as well, which is really cool. So you can see like the BobaFat thumb room that I worked on down there and worked in five. And yeah, some other stuff that I've done. But if I scroll all the way down to the vault, these are all stuff that I got from the marketplace. And so what's cool about Epic is they give a really free assets every single month. So let me actually go to the marketplace so you can see first. So if I come over to the marketplace and then I go over here to free and click on free for the month. And so I want to say is every first Tuesday of the month, they will pick five assets from the store to give away free. So if you have, if you have an Epic Games account, you can automatically come in and start claiming these. Like I've been claiming them for the past three years, but it's something that you want to make sure you do every month because they have some really good stuff in here. Like they even have, you know, 3D horse model pack. It's a nice horse model, man. That's a great horse model. And they're all, they think they have like auto animation and everything on them too. Yeah, see an idle, trot, walk, gallop and yeah, it's pretty crazy. So definitely go to the marketplace, make sure you go under free, free for the month and grab everything there. But also you have permanently free collections. If I click on this, like this stuff is always going to be free. Like they just released a photo reel 747 jet, which is crazy right there. You have ArchViz seen in here. That's on photo reel. They should, and it's good to download these two. Like if you download this ArchViz pack, you can see how they lit it. You can see like how they laid everything out. And it's just kind of good to go in there and backward engineer stuff. So this stuff is really, really helpful, especially for people just getting started out, you know, but I'm going to go back to library so I don't get too far off pace. And inside of my vault, I'm going to type in tree because this is where we have our biggest skin trees pack. They'll only release one pack so far, but it's called the European black older. This is early access because I think they still need to update it for five. But if you come down here, where it says supported engine versions, you can see that it's only in 4.25 to 4.27. Like I said, they haven't added it for five yet. But the workaround is so you start a project in our engine for right. And then right here where it says add the project, you would click on that. And then already have a scene. I usually have one called files. And you can see that it's just a blank scene. So I would click on that and I would click add the project, which already did it. But that's all you would do. So you would add it to that project. It would download it. It will add it to that project. But then let me actually open up that project. So it's literally just downloading or just opening the Unreal 4.27 and having a blank scene, saving that. And then what that's what you're doing is just inserting this in that blank scene. Yep. And wait, I don't have to know anything. Yeah. You don't have to know anything at all. Think about 4.27, nine or five. Basically, the latest and greatest for Unreal Engine 4, right? And so this is, you can even see like the difference in the UI, right? Like, I mean, it looks really, really dated. But this is Unreal Engine 4.27. And you don't have to do anything. Like if you look down here in the content browser, I mean, this should be familiar from five. But you can see that we have the black outer pack right here. And this is the Megascans trees. And so it's as simple as right-clicking on it. And then you see a button here that says migrate. And so I can migrate this into the scene in five that we were just working in, right? So I'm going to click on migrate. And it's going to bring everything over. And you don't want to select anything off. You just want to leave it as is. Because sometimes if you start selecting stuff you want to bring over, it might break something. So it's better just to bring everything in one full swoop and not have to worry about it. So I'm basically just going to click OK. I'm not going to click anything on here. And then right here, it's going to open up a folder. And it's going to ask us where do we want to take it to. And so I have this project file that's basically called teach EJ. And that's actually, no, let me actually do this one. Because that's the one that I was showing you before. But this one, I named it Gus Temple. So I'm going to double click on this one here. And then where it says content, this is where we want to select. So double select this one, content right here. And then I'm just going to select folder down here in a bottom right. And you can see that it's copying the files over to our scene now. So that content folder is kind of like your TX folder in Cinema 4D. It just automatically gets created whenever you import, say textures into a Cinema 4D file. Yep, 100%. And then there's also, there's also a let pack because you could do let's inside of unroll as well. So if I come back over to my marketplace and I believe I probably want to type in let's down here. So this is the one that I use is to amplify let pack again. They haven't updated it for five yet. But all you have to do is add it to your project for 4.27, which already did. And so if you look here, we have the amplified let pack. And I'm going to migrate this as well. So I'm going to right click, click on migrate. Same thing, click OK. And this should already, excuse me, should automatically have the content folder already open because that's what we already had open before. So I'm going to select folder. And that was fast. It already migrated. You can see in the lower right hand corner, migration complete. So I can actually close out of unroll engine four now. And if I come over to five in my content folder, we should see, yeah, we have the let pack. We have our trees and everything here. So let me actually clean this up because I have all these megascans assets over here inside of my outliner. So so they okay. So those are all the things you duplicated. They're all those stones. Yeah, every time you duplicate it, it's going to pop up in there. So I made a megascans folder, which I'm just going to click and drag it in there just to make it a little bit more clean, you know. So from here, I'm actually going to, let's actually use the Bob Ross tool. I call it the Bob Ross tool, but it's a foliage tool. But this is how we can actually paint our trees in here. Like let me actually double click on my trees. And yeah, the happy trees in there. And let me see. I think, yeah, so these trees already set up for like the work with the wind and everything. So if I click on a simple wind and let me, I'm going to just select this tree and you can hand place these in here if you want. Let me scroll up and you can see the tree is already moving with the wind and everything, right. And so I have a tutorial where I go really in depth on this. It's about 15, 20 minutes because you could go crazy with like having just the leaves move or each individual branch. And like it gets really, really involved. It's pretty wild. But right off the bat, you just have a simple swaying of the branches, you know, just like a regular windy day, right. And you could come through and just start hand placing these, you know, if you wanted to. But we're not going to do that. We're actually going to paint these onto our surface here. So let me actually come up here in the top left where it says select mode. And I'm going to come down here to foliage. And so once I have that selected, you can see right here where it says drop foliage here. It's as easy as coming down here and just selecting your tree and dragging it in. So I think I have it docked. It usually works a little bit funky when you have a dock. So I'm not going to dock it. I'm going to click on content drawer, look for my trees. Where is it geometry? Simple wind. And okay. So I guess it's not going to. So I'm just going to actually select maybe like five trees here. So I'm going to hold down the shift, select these five, click and drag it into here versus foliage type and give out a second to just install everything or import everything, whatever it's the one there. So you're just loading that onto your paintbrush palette. You're, you're easel. Yeah. Just bottom line. So yeah, load the trees onto your easel. Yeah. So I selected five trees there. So it's going to bring each individual one on there. But as I alluded to earlier, like the window formers and everything are already set up. So we don't have to do anything crazy in here. And if I can't, I'm not sure if you can see it on your screen, but as I, yeah, when I hover over it, you can see it moving and everything, which is really wild. But let's say, so right now you see like a check mark, right? And that blue check mark means that's selected. And so if I didn't want a certain tree to maybe work with my paintbrush, I would just select that off. And now like only these four are selected. Like it made that a little bit dimmer, but if I select it on, you can see it's brighter. And that means that we have all four of these, or all five of these trees, they're able to be painted. So if I come out here into my viewport, you can see we have like this half dome. And this is basically the paintbrush right here. So if I just left click, boom, we have all these trees in there, which is going a little bit crazy. It's actually slowing my scene down a little bit. So you've got the density and brush size and stuff. Because I'm like, this is like crazy because this is like the scatter tool. And so 4D that they just added in the past few versions here. Yeah. So I'd like to take credit for that because I kept showing the guys at Epic this tool here. And I was like, Rick, I'm like, you guys need this as cinema. Like, because this is crazy. Like I turned down my density and I just painted in the still really dense. So I'm going to actually hit control Z. And this is where, you know, just kind of just trial and error. So my density a little bit lighter there. Let's say maybe point zero one. And there we go. That's feeling a little bit better. So yeah, it's as easy as coming through. And you can see that, you see the God rays are starting to come through. It's built in. Yeah, the built in God rays like. So is that what's controlling that is like that? The volume metric object that's in that FX. Wow. Yeah. So it's a combination of things, right? And so actually, let's say we're happy with these trees, right? Like everything is looking dope in there. So I'm going to go off the foliage tool, but I would tell. I'm just, I'm just looking because I guess you can also erase too, right? Like things you paint. You can also remove. Yeah. Yeah. So you have an eraser up here. If I wanted to come through and just erase some of these trees. I want more light to come in through here or whatever. So exactly. So yeah, okay. I could do that. Let's say I wanted to, because you can see like we're getting some nice lighting in here and everything. So delete those. You can, um, you can remove everything if you want, or you can start painting them in singles if you want to do that as well. Like if I wanted to just have one tree here, one tree there, you can actually individually paint in trees as well, which is really cool. But, um, yeah, then if you click on paint, that's just going to be everything, you know, the whole smuggler's board in there. And so let me go back to my select panel so we can see everything and all its glory. But you're asking about the god rays, right? So what's controlling that? It's a combination of, like if you don't have the exponential high fog in there, you're not going to see that because it's all the particulates that are inside the atmosphere is what causes the god rays, right? How they refract off the camera and everything. And so the fog is emulating how that would be inside the world there. So even as the trees are moving, it's kind of hard to see inside the screen there. But I can see it here. Like as the trees are moving, it's actually interacting with the fog, which is refracting the light and everything as well. So all that stuff kind of plays in with each other. Like if I come over here to my exponential high fog, and I'm just going to turn it off just so you guys can kind of see what it looks like. So come down, you adjusted some of the stuff off the top too. Okay, yeah. So that's what's doing it. The volumetric fog is really playing a big role in there. If I come over here and let's say my fog density 0.5, you can see that we're really starting to get it in here as well. So yeah, it's just a combination of playing around with all these different tools and everything. And then where your sun is placed makes a really big impact too. So like if I hold down control L again, you can see like the lighting and the placement of the tree really dignifies how those rays and everything, because this is all physically accurate lighting that we're playing around with. So yeah, it's just all about getting that good lighting in there. So I like it a little bit moody. So let's say kind of cast it. Yeah, that's looking pretty dope right there. And then let's just say like we want to see like, you know, our pug statue here is like our hero. So there's nothing wrong with coming in and maybe just adding some like point lights or a rectangular light. So I like starting with like a point light and let's drag this in here a little bit just to add a little bit of lighting in here, you know, and then I could come down here and actually change my light color. So if I come down here in my details panel, I could change my intensity. Maybe let's make it four. Could be just one, a little bit of feel here. Change the lighting. Let's maybe go with like a warmer hue, maybe somewhere around there. And then if I hold down the Alt key, I could just duplicate that. It just really start like painting the scene with the lights and stuff. Because one thing I learned, like I know we want to try to be accurate with our lighting, but a lot of people, like even like on a movie set, you'll see like a crap ton of lights in this because they're like, they're really trying to paint the mood with like how the light and the shadows and everything are working. So don't be afraid to add like a ton of lights in here. Like lighting is going to be your friend. And then also play with the intensity levels as well and the colors and all that stuff. Like it's not just like you have to take your time. This is like what separates like, you know, the good artists from the OK artists, right? So, right. I know we talk all the time about like, if you see a bad render from Unreal, that says more about the artist's skill than what Unreal is capable of. Because I mean, that's with any renderer at all. If you don't know how to light, you're probably like the renderer is not going to save you at the end of the day. Yeah. And I mean, that's why like lighting artists and like photographers, like they do really well in this program because they know what it takes to get like a good shot in camera. And so basically that's what you're doing here, right? You're just staging, you're seeing out and everything. Pain happy trees and you're painting with light. Exactly. Cross it all over the place. So let's say, I mean, is there anything else that like, you know, because this is all about trying to teach you how to use Unreal, is there anything that. I mean, there's one thing where, when I would build this in Redshift, is there a way just to like increase the intensity of the, say the sunlight? So those God rays are a little bit stronger. Yeah. So that would be my directional light, right? So if I click on directional light and I come down here and where it says intensity, you can see we have our Lux here. So let's say I'm just going to go crazy like 40. Okay. So that's the overall light intensity coming from the sun. Yep. And then you can also change the color as well. Like if you want to have maybe a little bit of oranges in here, like doing like oranges and stuff like that. So and you can also, you have volumetric scattering in here. Okay. Because that's what I was going to ask. Yeah. Because in Redshift and in Octane, you can kind of control the contribution. So you're like, you wouldn't even have to touch the light intensity. You could just say, hey, light contribute much more to the volumetric lighting or scattering. So it seems like that volumetric scattering was kind of doing that, increasing the strength of just that volume. So I'm going to take my, I'm going to take my intensity down to 3.16. It's out of unreal. That's like what real sunlight is supposed to be, right? So 3.16. And then let's turn up the volumetric scattering to see. So there you go. So that answered my question. Because that's keeping the intensity of the light the same, but you're just adding more contribution to this volume. Yes, 100%. Volumetric lighting. Okay, cool. Answer my question. Perfect. And then I'm trying to think what else we can add in here. So we can add a post-process volume, so that we can add some LUTs in here. And so let me see how my scene's looking. It was seeing us looking. You could just like you added the trees and stuff, aren't there? There's like animated plants and ground cover and stuff like that you could do too. Absolutely. So if I come back here to Quixel Bridge, they come down here, 3D plants. We actually have a section for that. So yeah, you have all types of crazy stuff you could get. I mean, you have flowers, garden plants, grass, all types of stuff in there. Actually, let me exit this out because you can actually... So I did have a question for you about if I wanted to create... Like I would use a clone or if I was talking from off the bat about that one Pinterest image where there was just moss all over covering the floor. Is there a quick way to add a ton of moss onto a floor? Is it just making a big brush and painting on the surface? Yeah. I would probably do... I would do the brush. Like if you type in moss here, you can come up with a bunch of different surfaces and stuff like that. So let me see, we have a moss. Yeah. So I would probably pick like some moss texture down here that you like and like use that to kind of use the blend material and paint all those in. Another is like moss decals as well. Let me see if I can find those. Oh, decals are something that I don't think I've messed with before. Yeah. So these are decals here, which are basically... I would say they're like stickers almost. Like you use them to kind of add like that little polish to your scene. So let me see. So we have a moss patch right here, right? And so I'll download this one. I'll download it at high quality, which is going to give me 8K. And like I already feel my machine starting to chug it a little bit. And that's because I went crazy for this scene, right? And so typically... All the high quality textures. Yeah. Most people work at 4K, you know, that's a little bit more manageable. But, you know, I was just showing off here a little bit. But yeah, I would say for most people with systems, you're more than likely going to just stick with high quality, which would be 4K. And that's totally fine. Now, is this essentially like a texture with an alpha? Yeah. Bump and normal. Okay, gotcha. Yeah, yeah. So they have something like that in cinema, I guess? Yeah, I mean, you can make... Yeah, you can pull the alpha from different images and all that stuff. But it doesn't do it automatically. You'd have to manually set up all your nodes. Yeah, this one, it should be automatic. So this will be under... Did I not... It should have came up with a decal. So I wonder if I didn't add it to my scene. Let me see. Yeah, because you can't just download it. You also have to do one more step. Yeah, so download right there. And then hit the add button. And that'll add it to your open scene, which I think I saw something happen. Yep, decal. There you go. So decal, mossy patch. Oh, wow. So it just... Oh, wow. So that'll just cover any object that you're seeing right now. And it does divert text blending automatically, right? So if I... Like this green box here, this is your volume for your decal, right? And so we have this purple arrow. And that's the direction that your decal is going to be facing. And so, like, okay, right now it's pointing down. And so the more I move it towards the ground, you can see it's starting to blend in with the rock and everything in there. So that's almost like a opacity effector from Cinema 4D or something like that, where it's like a linear field controlling the blend opacity as you go down. That is incredible. I didn't know about that in the decals. Yeah. And so, I mean, this is something that you need to be careful with as well, because like if there's... Like it picks up auto geometry that's within that volume, right? So if I move this over to my left a little bit, now you can see it's starting to stretch... I'm not rocked there and everything. And so, I'm not on the rock, but on the pillars. On the pillars. Can you exclude objects at all? You can. I can't remember off the bat how to do it, but I know you can't do it. I've done that before. So you could definitely go in there and... Yeah, pretty much. But then, I mean, you can also come down here and I'm beside my scale parameters right now, right? So I'm just going to change the scaling on that. So you can make your box tinier if you just want to have it there, you know? And you can also control these with your tools up here as well. Okay, I was just going to ask if you could control... Because I know there's some weird things in cinema that you need to be in object mode to scale it down versus model mode or vice versa. No, you could be... Yeah, you could be in any mode there and do that. And then, I don't know if you saw me do a quick pan to the thing there, but let's say I'm turned off in this direction, I want to look at that mouse patch, right? All I have to do is go to the Outliner, double click on it, and then it should bring it to the center view of your window. Oh, dope, okay. So it's like the S key in cinema or whatever your active view to object. Yeah, yeah. That's super cool. So yeah, you just double click on it, and it brings you there. There is a hot key for it, but I don't remember. I think it might be F instead of Unreal. Like, I stopped using hot keys a lot because I get so mixed up jumping between cinema and Unreal. See, that's why we're making that PDF so we can both use it, I guess. Yeah, practically. Just have it live on my iPad and have it sit there. There you go. That's so cool. I've seen decals just, you know, in passing using a Quixel Bridge for stuff in cinema 4D. I had no idea that you had all those, like the blending and all that kind of stuff. That's so cool. And I'm not sure how the decals work in cinema. I guess it would just bring it in that it's just a textual alpha, right? Like, I'm not sure if it's just the blending and all that stuff. Yeah, it would be just like a sticker, like you said. You wouldn't have that kind of cool blending thing unless you did some crazy known material set up or something. Right, right. So, there was one last thing. Yeah, we're going to add in some luts in here. Yeah, so let's come down here, and I'm going to add a post-process. You need a camera, yeah? Do we need a camera first? Can you show us some of the camera stuff? Yeah, we could add a camera in here. So, cinematic... Let's add, yeah, cinematic camera. Frame up our scene, play with some focal length. Deathfield, yeah. I have my camera in here, and you can see it added like a picture-in-picture window. And so, that way you can still stay inside your viewport, but you can also kind of line up your camera as well, how you want it. So, move this up. Let's say we want to move it there like so. And also, you'd have your control panels down here as well inside your transform tools. And so, I usually just control everything inside the viewport, but if you're like a numbers person, then you have this down here as well. Now, can you actually look through that camera? Like you can in Cinema 4D and orbit around and frame things up, looking through like inside that camera? You can. So, if I come over here to perspective, and I already had a camera in there before that I brought over from Cinema, but then this is the camera that I just added right now to cinematic camera. So, if you select that, now I'm looking through the camera, right? So, I could use my WASD to move around inside my viewport here. The animated God rays are just killing me right now. That looks so sticky good. And it looks more cinematic, like once you're in the camera and everything, like yes, really, really dope. So, I think we're going to line it up like that. And then let me see, let me go back to my camera here. I can go through some of the camera settings down here as well. And so, if I look at filmback, this is basically the resolutions that we have. So, they have a bunch of like real world camera. I'm not even sure, because I'm not a camera person, but like you could do like a DSLR, you could do like your Super 8, and yeah, your formats and stuff, like they have one for iMacs and full frame DSLRs, you know, different camera types and stuff. So, I usually just stick with digital film, because that's what it starts off with. But if you're a camera person and you know what these are, you know, then yeah, have at it. I mean, you could change like your sensor width and height and your aspect ratio and all this stuff, but I don't even know where to start with that stuff, right? So, same thing. So, this makes a little more sense with the lenses, because that's like your depth of field, all that kind of stuff. Right. So, let's say we go with like an 85 prime, something like that, and say like we want to add, let's say, yeah, like a better depth of field, right? So, we have the 85 millimeter prime in there. If I come right here to focus settings, and this is really cool too. So, we can actually manually change this, but we have a way to display like what's going to be in the foreground or what's going to be in the background that's going to be blurred out. And that's going to be like this little purple panel here. So, I want to say, let me pull this out a little bit. This is draw, debug, focus plane. So, if I click on this and I start scrolling in my manual focus, we should see a purple box. So, that purple box is going to basically tell you like what's in focus and what's out of focus. So, if I turn this off, and then I come down here to focus offset, I believe it is. Yeah, these camera settings always get to me. Like I should probably learn cameras better, right? We'll do it, we'll do it. So, basically that purple was just kind of everything in the purple color was, have some kind of blur. Yeah, but I'm just trying to figure out how to blur. Is it your camera aperture or does it? I believe, yeah, your f-stop which is your aperture. So, the lower that number, the more depth of field you should get. So, if it's like 0.8 or something for aperture. Yeah, it's only let me get a 1.8 here. Oh, interesting. Oh, because it's probably based off of that lens maybe. I don't know. But yeah. So, I know in Cinema 4D, like, okay, something's blurring out. So, that's the focal distance. We're getting the manual focus distance there. Let me click on it. Okay, so the purple box the closer it is, but I think it might be the lens too, right? So, let me try. Yeah, because if you're, that's why you're limited to 1.8 because of that lens. So, that's interesting. So, you can't like, because I know in Redshift or at least, or you know, standard physical render, you can kind of independently like, futz with the, like you could have like, totally unrealistic apertures, like 0.001 or something to get like a whole ton of blur. Yeah, and I mean, that might be the case here as well. Like I said, I'm not too adept with the whole camera stuff, but. Another tutorial, gotta do, but that's looking really good with the depth, the shallow depth of field there though. Well, especially because this is all real time, like you have no excuse to like, not learn how to, you know, light or compose a shot, just because every time you, like you're literally seeing what you're getting, like it's, yeah, this is what the render is going to look like. So, I mean, that's, that's kind of the great part about, you know, not only real time, but you know, third party renders that are pretty fast, because I've just seen in the past few years, like artists just, their lighting skills just go through the roof, just because you can learn it so much faster, you're not sitting there, moving a light and then hitting the render button and waiting like a minute, like I used to do, using this. Yeah, I was there, back with standard render and, yeah, now I remember those days well. Yeah. All right, so we gotta finish this up with a LUT, and then we can, you can kick out this render, yeah? Yeah, so let's come over here. I'm gonna click on this box with the green plus sign, come down here to volumes, and I'm gonna look for post-process volume, and this is how we can add our LUTs, but you can also change everything inside your scene here. But before we do anything, once I have my post-process volume selected, because you can see like we have this yellow box here, right? So, the way post-process volume works is, you're basically like, it has a color grading system in there, so anybody that's like familiar with like, Blackmagic Resolve, DaVinci Resolve, you know like how you have this color wheels, and you can change like your gamma, your contrast, shadows, mids, like it has all that stuff in here, and you can set it up to, if you're only inside this volume box, that's when your scene's gonna be, I guess kind of changed out, which I could kind of give a demo here, real quick on that. Oh, interesting. So, if you're, if your actual camera is in that box, it's gonna apply that LUT. Exactly. So, let me come down, and I'm just gonna apply a LUT real quick, just to give a quick example of how that works. So, everything will start making more sense here. So, I mean, if we're thinking of a video game, you can think of like, when you go into a forest, like I think I remember this in like Kirby, I've been playing Kirby a lot on the Switch, and if you go, you can go from like a nice, sunny beachy level, or part of the level, and then you go into a forest scene, and the colors all change. So, that's the LUT changing as you're entering a different part of the world. Exactly. So, like if you download like a game level from the marketplace, you'll see people do that, like you walk into like a house, and the color changes. So, I'm gonna go into this volume here. Oh, there you go. Yeah. So, let me see, I can even make it. So, now it's black and white. So, like we're in Kirby's forest, we got close to the statue, now it's black and white, but if we move out, now it's going back into full color. So, that's cool. That's pretty cool. Like, I mean, this is more for like gaming mechanics, but, you know, like, we got to get to work. It's storytelling as a cinematographer and on real, like, this is pretty cool. Like, outside of games, like, if I was a better cinematographer, I'd be like, my brain wheels would be spinning. But, oh yeah, I did all that to say, so okay, so we have the volume in here, but if we want to have everything in a post-pros volume, and golf like your entire scene, we just type in U-N-B, and that's going to bring up this little button here called infinite extent unbound. So, if I click this on, so now everything that we do inside of post-process volume is going to happen no matter if we're within that volume or not. And so, I typed in U-N-B in a search just to get there faster, but like, if you just wanted to search for it, yeah, it's in here. Just like the context search in Cinema 4D. Yeah, and I mean, there's so many attributes in here, as you can see, that's just the fastest way to find it. But if you wanted to manually search for it, it would be under post-process volume settings, and this is this one right here. So, it's infinite extent unbound, and you make sure you have that selected. So now, anything we do in here is basically going to engulf our scene, right? So, I don't want to take up too much more time here, but you know, because there's a whole bunch of stuff in here, but we can have better bloom effects in here. So, if I click on bloom in intensity, you can see it already gave us better blooms in here. And if I do convolution, this will give us a more realistic bloom effect with our lighting. So, you click on that, that gives you more realistic lighting. I could turn that intensity up to one. And then, if I come down, let's say down to exposure, I want to change this minimax right here because you can see it's starting to go for a scene. And so, when you have this turned off, by default, Unreal Engine is trying to mimic the real world as possible. So, if we had a house in here and you're inside the house, you know how your eyes adjust to the lighting. So, when you step outside, everything just kind of like, your eyes have to adjust because they're getting so exposed by the sunlight. Unreal tries to mimic that as well. So, if you're running into that, basically like this Min EV 100 and Max EV 100, I would usually just set these to one. And that would give us a better situation there. And then you might have to go back and, you know, change your lighting as well because it's turned off that, I guess it would be like manual exposure or automatic exposure. I'm not sure what you would call it, but... So, if you were having a camera move in the scene and you came from that like, the big canopy of trees, you would see that compensation happening and this is just turning that off. So, it's... Yeah, absolutely. Okay, let's make it... Yeah, so I'm going to turn my sun back up here. Maybe like 10, something like that. Then let's come back down here to post-press volume. I mean, there's a lot of stuff that I would just say come through and just play with whatever's down here. Like if you can have chromatic apparition, if you want, you know, like turn that up. Now we have chromatic apparition, which I always like to add just a little bit in there, you know, but... Can you add like, you know, how a lot of people like to add a little bit of grain just to... Like people leave grain in their render just because it's got a nice look. Is there something like that? I was going to say you could bring in your own grain texture. Like that's what this dark mask is right here. And I don't think we have any built into Unreal. But like if you like went in the photoshop, made like a dark mask or a grain texture or something, you would just add that there and then you could mess with the intensity and everything in there as well. If you want to do that. And then yeah, you have camera settings in here. Like again, I don't know anything about shutter speeds and ices and all that. So down here we have color grading too, you know. So if I open up... So it's like you don't even have to like, you know, render this out, go into After Effects, do your curves, adjustments, dah, dah, dah, you know. Now like you just practically turn it on. Let's say I want it more contrast. You turn up the contrast there. It's a little bit too much, but you know, I'm saying like saturation coming out of zero, make everything black and white, go up to 50, really oversaturated. So like if you're a colorist or you like doing your own color, then you have all those different attributes in here as well. And you can even adjust it down to your shadows, your mid tones, your highlights, all that stuff. So Windwish, I know that you've been working on a more detailed scene that you actually, you did from scratch in a tutorial, which will put the link for that tutorial in the description of this tutorial. But I was wondering if you could open that one up and just kind of see how much more detailed you can get and like how Unreal is actually still running really, really fast in your viewport. And I was wondering if you could show me how, or show us how you can create a camera move and then we can get to like rendering out an actual animation. Yeah, 100%. So on my screw right now, I have this scene that I was working on before, just getting a little bit more detailed. So if you actually look at the ground, I'm using the same techniques as I was before, like we have some Megascans rocks in here. You can see we have some light glistening off the stone because I actually painted some puddles in there and everything just to kind of give it some wetness and things of that nature. And then I have some Japanese light posts in here. And if you look really close, you can actually see I'm lighting them up just with regular point lights in here and everything. So that's kind of giving like a cool ambience once we're looking inside the camera. Like it looks a lot different when we're inside the camera, which is really cool. So I will always suggest when people are actually working on Unreal and you have like a camera set up to how you want it. So like if you look at my camera right here, you can see like my composition looks way more cinematic than me just inside the viewport here. And if you ever want to just like pin it here, you would just click this right here. It said no matter what you do now, your camera is always going to be pinned in place there. So I usually like keeping it there in the lower corner just so I have like a point of reference to see what's really going on because that's going to be what your final shot looks like right there. And so if I scroll up into or if I just move up into my scene a little bit, as you were saying, I mean, it's more detailed, but it's still just a bare minimum. I only care about what's going to be in camera. So I have a lot more foliage in the scene. I actually have some trees that are behind the camera because I wanted to have like some cool shadow coming from the, you know, behind the camera and everything because of where I have my, my someplace. So even stuff that's off camera is even important because that would help out with your composition and lighting as well. So that's just, you know, some composition tricks that you learn as you start really, you know, going in here and missing with it. And that's the cool thing about Unreal is you kind of just iterate on a fly and make some of this stuff happen. So that's a breakdown basically of my scene there. Yeah, this one that I'm working on here, I still have a few things that I want to add to it just to kind of round it out and everything. But for now, I guess we could get into me showing you guys how we can create a timeline, we could bring the camera into the timeline, maybe do like a simple animation with the camera and then render this bad boy out. Yeah, that sounds awesome. I can't wait to see how fast this renders because that's, that's the key here, right? Yep, 100%. It's all about that real time rendering. So we're going to start off by coming up here to where we have this clipboard. Is that what that's called, you know, that clapper whenever? Clapper, yeah. Something, yeah. Okay, so. Do you have to have your, like for something like this, do you have to have your camera selected or is this just something separate from whatever cameras you have in your scene? Yeah, so the sequencer, that's your, that's what the timeline's called inside of Unreal, right? So when you're adding the sequencer, you don't have to worry about anything else because once we bring the sequencer in, then we'll start dragging in the elements that you want to animate, which is really cool. Okay. You don't have to worry about your cameras or anything like that. Basically, you would just come up to your clapper, come down here to where it says add level sequence, the top one right here, just click on this, and then you can make a folder if you want. Like if I right click, make new folder, and I just call it maybe like sequencer or whatever you want just to keep it organized, then double click on that. And down here, I'm just going to name this one, let's say tutorial scene, but you can name it whatever you want. Basically, so I'm going to click save. And now you can see inside of my raw outliner, I have this little clipboard and this is tutorial scene. So basically, this is my timeline. So anytime if I ever want to get back to my sequencer, you would just double click on that and that will bring it down here into the bottom. But this should all look very familiar to you, right? Like you can scroll back and forth. You have your frame. You can switch out your frame rate here, which I guess we're going to go with 24, right? We want to do film 24 film. Yeah, get that cinematic film look. So we got that. You have your your ins and outs. So you can see like you green right here. That's going to be your endpoint. You have your out point at the end there. And depending on how many frames you want to make it, let's say 150, you want to make sure you have your output on whatever that's going to be. So you can type in 150 down there and that's going to make the length of your, your sequencer down here. But you want to make sure you come down here and you hit the right bracket and that's going to bring it over to the end. So whatever is inside of these brackets, that's what's going to render out. So that's really important. Like you could come down here and actually drag this out a little bit just so you can kind of see past it if you want to. But whatever is in those brackets, that's the only thing that's going to render. So, okay, kind of similar cinema 4D, where you got that frame range and all that kind of stuff. If you're not paying attention, you could not render out your entire sequence. Yep, 100%. So I know some people, they'll hit me up on YouTube or whatever and they're like, why isn't my stuff rendering? And that's usually the case. Yeah, yeah. So always pay attention to your brackets. And can you just click and drag on those brackets to move them? Or is it? Yep, 100%. So I like using the shortcuts down here just to get a little bit more precise. But if you want, you can always click and drag. But as you can see, you don't see what frame you're on, right? Yeah, okay. Especially once your frame starts getting really long. So yeah, usually I'll bring my, I'm not even sure what that's called. Like you're working. Playhead. Playhead, yeah, your playhead. There you go. I'll bring it to the frame that I want. And then I'll just hit that end bracket and we're good to go. Cool. And so what I'm going to do from here, I'm actually going to hit this button right here. This is going to save everything. You always want to save or hit Ctrl S. You know, that's a must right there. And then I'm going to come up here into my outliner where I have my camera. So I'm actually just going to left click and drag this into my timeline. And that brought everything in here. So you can see we're actually looking through the camera now. Oh yeah, yeah. And then actually added this thing called camera cuts, which I'm going to delete this because this is really, really important as well. Like this, when I was first learning Unreal, this is something that really threw me off. And so when you have your camera inside of your sequencer, like you can animate it and everything. Like these little plus buttons down here, these are all your keyframes. So let me actually animate this first. And then I'm going to show you why the camera cuts is really important. So let's just say I'm going to scroll back into my scene. And we'll just do like a simple pushing. So I'm going to start here. And then I'm going to come down here to where it says add a new keyframe. I'm just going to add it to let's say location because we don't need rotation or scale. I'm just going to do like a simple pushing. So now I'm going to go to the very end of my timeline here. And I'm just going to hold down the right control on my mouse, hit W just to kind of push in a little bit like so. And then we're going to hit the button down here again to add another keyframe. And the shortcut for that is actually S. So if you want to add a keyframe in there, you just hit S and I should add a keyframe in there. I'm not sure what the S stands for, but you know, it is what it is. But there we go. So now we have a simple camera move in here. And for those that like to move with like, you know, curves and stuff like that, if you come up here in the upright or the top right, right beside the FPS, you click on that and actually brings up your curve editor as well. So if you want to kind of work on your moves a little bit more, making them a little bit more dynamic or, you know, have better ease in ease out, you have full control over your curves there as well. So I'm actually just just like your F curves, right in a C4D. So yep, 100%. It's very similar. Yeah, C4D or even After Effects. Like, I mean, it's very similar to basically anything with a timeline that you're going to have your curves. Yeah, keyframes, a keyframe. That's why I always say, if you want to get good, just learn animation principles, because it it translates keyframes. Like keyframes, no matter where you're at. I mean, as far as I know, curves work the same across the board too, right? Like, I mean, it's just the shortcut key is S for swoosh movement. Yeah, I don't know. Slay in keyframes. It's a smooth movement. But like so, if you didn't want to work with like curves or something like that and you just want to make like a constant move, like I don't know if you noticed when I hit play. Linear keyframe. Exactly. So like it kind of ramped up and now it's ramping down, which that doesn't look natural, right? So if I select my keyframes here and I just right click on my keyframe, then you can come down here. You can make linear keyframes constant. Not really sure what like cubic break does. It does something with the interpolation, but I usually will come down here to linear. And now you just have basic, the velocity is going to be the same throughout. So you're not going to have a ramp up and not going to have a ramp down, unless that's something that you want. But this works particularly well if you want to do like multiple camera shots and stuff like that. You know, you want to have a constant camera move. So that's just the quick and easy way how we could get constant keyframes in there. And what was I talking about before again? Oh yeah, camera coast trout. So this is really important because if you try to just render out from here, your camera is just going to go below the surface there. And it's not going to pick up anything that's inside your sequencer. I'm not sure why Unreal works this way, but this is something that always throws off anybody that's new to Unreal. You know, they're really excited. They got their scene on animated. They got the thing all played out. They go to render and it's like a blank slate and everybody always hits me up like, Hey, what is it? My stuff render. And I'm like, did you add a camera cuts track? And I would say 99% of the time, that's pretty much the issue right there. So I'm not sure why Epic works this way. But if you come down here to track, you see right here we have like this green plus button. You want to click on track right here. And this is going to add a camera cuts track. So you want to add this one right here. And that's going to come up and show this camera cuts track. And this is where you would select your camera. So you can actually have multiple cameras within your sequencer, which I guess this is where the camera cuts is going to make sense. So like if I click on camera, I select the camera that I have in here. Now it brings up this big image here. I'm not really sure what you would call it, but it kind of works like a non-linear editor. You know, like if you're using my... Like in Premiere, you get that little preview. Exactly. Yeah. Yeah. So it's just like Premiere. You have the preview in there and you can actually add several previews. So like say I take this end and I drag it over to here. So it's just going to play what's in here. And then actually let me select my camera in here. And then once that's done, then you see it comes out of it. So it's almost like we have a non-linear editor within Unreal Engine here. So if you wanted to set up several of these with several different cameras, you can actually make an edit so you don't have to go back and like keep re-rendering out the scene. You can lay out your edit fully in Unreal and do like a full animated short piece in here, which is really cool. So this reminds me of like the stage object where you can like key frame... I mean it takes key frames, but I mean this sounds like the camera cuts is like you can actually use the camera cut track to cut two different cameras in your shot or in your scene. Yeah, and not that I'm thinking about it. I guess that's why they call it camera cuts, right? Yeah, right. Yeah, you're cutting a different camera. Yes, it makes sense now. There we go. It's got this nice camera move. Yeah, we're just pushing in. So let's say that we're ready to render this out. You want to make sure that you click save on here again. And then you want to come down here to this other clapper that's in here and it would actually say like render this movie to a video or image frame sequence in which this is another important part. So if you click on these three dots next to it, you want to make sure that you're using a top one. This is movie render queue. You don't want to use movie scene or was it say movie scene capture. And this is legacy because that's the old school way of doing it. So before Epic started doing like virtual production and all this other stuff in there, like the way that you were trying to render stuff out of Unreal Engine was pretty chaotic. And they kind of did away with that system in lieu of this new system that's more prevalent for us. Motion graphics and broadcast and VFX artists and stuff like that. So you want to make sure that you have movie render queue up here selected. And then you can click on your clapper there. So once you click on your clapper, you're going to see that you have your sequencer right here, the one that you named tutorial scene. And you'll just want to come over here to settings. And then you can pick what you want to render it out is like we could do a JPEG, which I'm going to delete that in lieu of something else. So if you click on settings, you can see we have export settings down here. So if you want to do like a bitmap or EXR, if you want to do PNG, Apple progress, you do have the selections down here for this tutorial. I think I'm just going to go with the PNG. But an important thing is, if you want to do like any type of alpha channels or if you want to do any multi-pass rendering, you're going to need to do an EXR. PNG won't really work out for that because you're going to want like the 16 bits of depth in there. So that's just one caveat. If you want to do like multi-pass rendering or any type of alpha channel, you definitely want to select that one right there with the 16 bit. But yeah, it's weird. They don't have a 16 bit PNG because I was just thinking this, this reminds me a lot of like Adobe Media Encoder where you can choose all your different stuff. So PNG is actually limited in Unreal. It's not that like 16 bit version that you can choose in After Effects or Cinema 4D. Yeah, and I think that's because whenever they were kind of going around the industry asking like different VFX houses and stuff like that, like what their compositing workflow would be and what they would want implemented because this is all still pretty new to the system, right? So I guess a lot of the compositors, especially like new compositors and fusion compositors, they were all telling Epic that they're using EXR workflows, which, you know, that makes a lot of sense for what they're doing and stuff like that. So I think they really focused on EXRs for multi-pass rendering and everything else, you know, it's there. But, you know, it's only at 8 bit increments there. So, you know, that's one of the things you got to tell Epic we want 16 or 32 bit PNG. There you go, yeah. Well, and you tell me this all the time is that the more artists start using Unreal and the more we communicate with the folks at Unreal, like, you know, the studio capacity is talking a lot with Epic and getting a lot of requests in like features and workflows that make sense for motion designers like ourselves. So, yeah, it's going to be exciting to see where things kind of evolve. Because, yeah, like you said, Unreal used to just be for games and now more and more people are using it for production and making short films and all that kind of stuff with this. Yeah, it's been used across everything across the board. Like, you know, we just did the article on a school of motion kind of showing where Unreal Engine is being used in other places. And yeah, it's kind of crazy just doing the research for that, seeing where Epic is kind of popping up at. So, yeah, it could do a whole bunch of stuff, not just motion design. Like, if you know Unreal, like, especially if you're on like a job hunt or anything like that, then your toolset is just going to exponentially be that much more vast. So, you'll be able to take on jobs in different fields that you might not even have thought you might be working at. You know, like, you could be working at Boeing or at some type of like general hospital or something crazy. Like, the possibilities are endless there, which is kind of nice, you know, just for like job security and stuff like that. Yeah, I mean, how many jobs have you gotten just because you're on the cutting edge and you actually know Unreal? Probably a ton. Yeah, a lot. How many jobs have I turned down? Probably even more, right? Yeah, I mean, we have a couple of friends that they get requests all the time just because everybody's looking for an Unreal artist right now. So, there's a lot more requests out there than there are artists that know it. So, that's why I tell everybody, even if you don't want it to be like your main thing, like at least put it into your tool belt just so, just in case if you're having trouble finding work, there might be something else out there for you. So, yeah, I mean, this is the whole point of this tutorial, right? Is to just get people using it and if they like it and want to learn more about it, they know exactly where to go. And if they are like, you know what, this just doesn't work with my brain yet, that's fine too. At least you gave it a shot, right? But a lot of people don't even just give it a shot. And actually, go ahead. I was going to say, and we're like bearing the lead of the main benefit of using the Unreal, which is how quick this thing renders, you know? Right, which we're going to get to right now. We're going to set this up super simple, but before I did that, I wanted to show that we do have some options for multi-pass rendering down here. It is limited to which you can render out right now. Like we have our lighting passes, reflection passes, we could do path tracing. Not sure what UI rendering does in this case, but I know they are expanding on this too and stuff like that. Like we can do crypto mats, which I do have a tutorial on my site, how to do crypto mats and how we could do stencil mats. And so there's a different type of setup for that, but that stuff is implemented in here as well. But for this example, I think we're just going to stick with our traditional image sequence. I like doing PNGs. And so I'm going to come down here to output. And this is where we're going to select where we want to output it. So I think I'm just going to save it to my desktop. Like I'm just going to make a new folder, call it tutorial, save selected folder here. And then I'm going to leave everything else as is. So I have 1920 by 1080 and we should be good. So like our sequence name right now, it's going to call it tutorial scene. But if you wanted to rename it, you want to make sure that you have it within these brackets. So if you see right there, it made it a little bit larger. It says bracket, sequence name, bracket, and their frame number. You just want to rename it where it says sequence name. So we can actually name this one, like pug, statue or something like that. So now it's almost like a C4D tokens and stuff has their own unique like system where you have to do the dollar sign and stuff like that. And if you don't have the dollar sign, it's not going to take so very similar, I guess. Right. Even though I never did understand the dollar sign, but. Neither did I, but it's very powerful. And I'm sure they got something like that in Unreal as well. So now all right, we're about to hit the render button here. So we're going to wait for. We're going to hit render local. You can do render remote. If you have like several computers, you can't remote them together. But in most cases, you're not going to need to set up a render form. Like you should be good with the render local. Unless you're working on that. You'll see why, yeah. Get this a second to load up. It should only take a moment or two, but now you see. Oh, there we go. We're inside of our render. So we're going to try to talk over it, even though it's going hella fast. If you look at my estimated time remaining already at 10 seconds. If you look on the right, you can see the frames actually counting up in real time. It's going crazy fast right here. And we're done. So that's it right there. That's it. If I come over to my folder. There we go. So we have a full image sequence in here. All 100 and with 150 frames. 150 frames, 24 frames per second. 24 frames per second. I'm not going to do that math. I don't know how many seconds that is. But it's a few seconds and it took a few seconds to render. Yeah. So the only caveat is, so if you do multi-pass rendering, of course that's going to, you know, up your rendering time. So if you add like, let's say like a refunction layer in there, then you have, you just have to take it to account that it's going to be rendering it twice. And so instead of 30 seconds to render the entire thing, it's going to take 60 seconds to render the entire thing. So the more stuff you add to it on the rendering processing side, the more time you're adding to it. But it's still a lot faster than, you know, what we're traditionally used to. So I think it kind of outweighs it. Okay. Yeah. I was just going to ask like in those render settings, because you know, when you render out of Unreal, you can kind of get that video gamey quality, you know, but I noticed there is like anti-aliasing and high quality. Are those things that you that you could add to your render to make it look a little bit more like you rendered it in like octane or redshift or something like that. Yeah. 100%. So depending on how you're seeing is, you know, particularly pertaining to you, if you need, like if you have like really fast moves and you might notice some pixelation in there, I haven't really noticed it too much, but you do have the option to add anti-aliasing, which you could do like temporal sample count or spatial sample counts in there. And you don't want to raise it up too much. Like I would actually give you a warning like, okay, if I put six in there, it's going to, you know, tell you like maybe you want to start lower and kind of raise it up because the more samples you add, of course, the more time you're going to add to it. So I mean, this stuff renders pretty fast. Like you could kind of just increment it and see where you get to a number where you might want to get to. But you can add that and then high resolution. This is actually added for if you're doing more like key art stuff. So you know, like the giant billboards and stuff that you might see like down there on a sunset, if you're doing stuff for like print and you need to render at a higher resolution, you can always add high resolution. And you can actually do it as like a tile count. So it's going to actually render what buckets and everything. So it has a lot of really cool render options in there, depending on what you're trying to do. And yeah, you can even come down here to, let's say like console variables. And if you're into like any type of programming, you can kind of add your own variables in there. And so you have the flexibility to kind of program stuff in as you need it. Like if you want to raise up ray tracing or anything with the shadows, you can kind of program that into yourself. So if you really want to get in depth into really fine-tuning your renders, you have all the flexibility in a world to do so. Very interesting. So it's kind of, because I remember when I would do sketch and tune renders, you wouldn't want the animation to be kind of smooth. You'd want sharpness. So what you would want to do is actually remove the, or not remove the anti-lessing, but make it less blurry because the anti-lessing by default is the animation codec and it would like, like you said, like if you have fast motion, it would kind of smooth everything out. And if you didn't have the anti-lessing high enough, it would look really jittery. So it's interesting that this is kind of the same thing. So if you, if you do have a lot of fast movement, throw in that anti-lessing, but I wonder how that looks now or how quick that would render. It's what I say, you can actually come down to your, your post-price volume and you can actually turn off motion blur too. So like if you're, if you want to do something like that, I would probably say even come down to motion blur, come down to your mouth and just kind of zero everything out like so. Okay. And then you're not going to have that. Yeah, you can make your, everything is going to be sharp within your render there. So you don't have to worry about any motion blur or anything like that. But if you wanted to test the, let's say the anti-lessing, maybe let's try it by like two. So come back down here, anti-lessing. Let's add it by two. And I forget which one does which because I'm not really, I don't really use it too much. So I'll do temporal sounding or sample count two. And let's hit render again and let's see how much time it adds to it. Yeah, how long did it take like 20 seconds for that last one? Yeah, about 30 seconds. But this is still kind of cranking in there. So. Yeah, looks like it's only going to be in 45 seconds. And are you seeing on your end like a noticeable difference between the aliased one and the anti-aliased one? I mean, I'm not seeing a huge difference in there. And that might be because the scene's already clean to begin with, right? Like, I know, like people always had like that interpretation of like Unreal gave me like a gamey look. But I felt like that was like Unreal Engine 4 compared to 5. Like I feel like in 5, people are getting a lot more photorealistic renders out of their scenes. Like if you just go on like ArtStation or YouTube or Tik Tok and stuff, like you're seeing people make some really insane renders. And this is like, I didn't even know Unreal was capable of doing that, you know. So I think Unreal Engine 5 really, you know, stepped the bar up into like how they're rendering everything. Yeah, I think, I mean, this is the whole key of why we're doing this, why I want to learn it, why we're doing this big old contest and everything is because people had like myself, I have my misconceptions about Unreal. And even you did that, you would just think that anything rendered in Unreal kind of looks video gamey and like cut sceney and, you know, just doesn't look that good and not production, doesn't have like production ready results or something like that. And with Unreal 5, like I've already been, you know, just researching for, you know, what we're trying to do here, we're trying to educate people, we're trying to get people excited and amped up to try Unreal for themselves, giving them an opportunity to take their first steps in it. And I'm blown away by the level of quality. Like as you've been building this scene, the material mixing thing, the real reflections on the water, like everything in it, the animated trees and foliage and all that stuff, like, there's like many mind blown head emojis that have been going off in my head while you've been demoing this all. I mean, and this is just getting started, right? I mean, it's hard to showcase everything within, you know, just a couple of hours, but I feel like it's a good jumping off point. Like, I think once people really get acclimated and comfortable inside of it, who knows what they're going to create? Like, I know we've had friends, you know, like, they just started learning it and they're already putting out stuff that looks similar to what they were putting out and like, Redshift and Octane. And so I know, like we both know Garoon, I mean, he learned Unreal in 30 days and he's putting out freaking cinematic video games and presenting it in front of the world. So, I mean, the barrier of entry, I think is very low, especially with it being free. It's kind of like, why not try it, you know? Right. It's not like you have to pay a monthly subscription or anything to jump in. And if you don't like it, you have to cancel it. It's like, it's there. If you don't like it, then, you know, you try it at least, you know? Yeah, and I think that's the main thing, too, where a lot of people are afraid of even learning Cinema 4D and just getting into the world of 3D. And one of the big barriers is they just don't know what to make or how to start integrating it. So, that's why, you know, I'm a big proponent of contests and prompts like this of, hey, learn Unreal. If you want to learn Unreal, here's an opportunity. Here's an actual thing to do with some constraints. Here's a project file. Here's how to do some of these things to just get your feet wet. And like, I think I've mentioned this before, but like, I thought this was going to be a lot more difficult. I thought my head was going to hurt by now. And actually, it has. I mean, there's been a little weird things, like, you know, you got to do this because if you don't do this or like the camera cuts, if it's not there, you know, it's just how this works. But I mean, there's a lot of stuff like that in C4D and After Effects. So it's just like, you just got to get over your yourself with that kind of stuff and just realize all softwares have their little quirks some way more than others. But I've been, this has been a very eye-opening experience. And I hope everyone else that's watching this is feeling empowered and realizing this isn't all that hard. Like, I definitely didn't think it was going to be this easy to start making a scene like this. But I'm really excited to see how many people take that jump with us, with me at least, because I haven't touched Unreal before, and see what people come up with. Yeah. And I mean, we're going to supply this project file. Well, not this one, but the one with the pug statue and then the ground plane that at least gets you started. We're going to have a camera in there and everything. So I would say watch the announcement video because we're going to go through all the different steps and all that stuff to get you guys started. But yeah, we're going to supply you with what you need. So you could create something similar to what we made here, kind of follow along, and then hopefully make it your own. Yeah. And there's going to be some sweet incentives for you to try Unreal for the first time because we got some pretty badass prizes from some amazing sponsors that we've managed to get. So if you haven't heard about all of that, be sure to check out the contest announcement video. You'll find all the info there. And then we're going to be making videos along the way to kind of help you out doing some live streams as well, answering your questions. I mean, I don't think I'll be able to answer many questions, but I wish we'll be able to hopefully do that. But super excited to see what people come up with. And Wimbush, thank you so much for walking me through Unreal. I'm super excited to get off this stream and get working myself. Maybe even do a tutorial of me just trying to scramble and do it myself. Yeah, that'd be cool. But also, you have just to reiterate, you have a tutorial that shows how to build this specific scene that you just rendered out as well, correct? Yeah. So I did a tutorial. It's going to be a little bit more streamlined for people that kind of just want to follow through and everything. So it's going to be basically building this scene out. So make sure you get my YouTube channel to check that out. And then we're going to also have a page with all this stuff listed too. So if I did any type of tutorials in the past, that I think would help you guys in your journey, you know, like how we added the camera cuts track, like I have a specific tutorial just on that stuff and getting it set up, everything inside the render queue. You know, like I've been covering Unreal for like the past three or four years. So I'm going to create pretty much just a playlist of all this stuff that I think that's going to be problematic for people that might be just like, hey, how do I find this or how do I do this? Pretty much. I think I covered everything at this point. So it was like, we'll make the list. We'll put it up there and hopefully you guys will be able to be on your way. Yeah. Awesome. Well, I think that's it. We'll get everyone back to creating. And yeah, I can't see what people come up with for this contest. And I can't wait to see that final string out of everyone's work that submits something. 100%. All right. Well, we'll see you all later. And can't wait to see everyone's Unreal renders. See you. All right. Take care.