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Hello, and welcome to the next session with our
nice exterior environment.
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so I was like thinking of it and before we
continue to like
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further dig into all the cool stuff that we can do
here,
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I just wanted to
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show a few things and explain
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some of the settings and things we can do
inside of unreal a bit more.
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So in case that
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anyone would like to do a certain workflow or so
they they
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can and they understand how these things work.
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So
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one really important thing to note is that this
scene was not built for unreal 5.
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So,
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it was actually built for unreal 4 and
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unreal for had.
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Obviously a bunch of features are not there
compared to Unreal 5.
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And some features are also rather expensive.
Like, for example,
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doing tessellation on the terrain is really
expensive and can be quite taxing.
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It can also introduce visual artifacts when you
tessellate the terrain quite a bit up close
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and then over distance, it's sort of like tries to
lock bag into the the normal.
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Terrain grid structure so to speak and it can like
have little breaks and stuff like that.
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And one really interesting thing is
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My buddy. Andrew again,
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he came up with a really cool technique.
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So there is a feature inside unreal, that is called
pixel depth offset.
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and,
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What he basically did,
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was he used the pixel depth offset together with
a height map
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and he displaces the pixels based on the height
map in screen space.
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And then he uses the screen space contact,
Shadow featured at unreal,
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has to cast sort of like virtual Shadows from the
geometry.
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So you can see here that the bark has all these
like small Tiny little Shadows that
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make it seem like the object has a lot higher
geometry than it actually does.
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We can see it here. For example, here on the
bark,
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we can see all these things are here,
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like, all the leaves and all that kind of stuff. It,
like, casts these Shadows,
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which makes it seem like there's three
dimensional geometry when there actually isn't
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Here. This is a very beautiful example as well
with this little wooden Pole.
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And that is a technique that is
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not super well-known. I think like I wouldn't say
that he was the first one to do it,
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but maybe he actually was.
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So like a lot of people have been studying this
content and they were like,
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oh wow,
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this is actually really cool and it adds a lot of
detail to the surfaces so he was doing this
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on the terrain as well and and with that he got
like Shadows All the little details.
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And one of the things that we have is when we,
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when we don't actually have geometry,
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things can feel rather flat because they are
normal map.
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So they are shaded correctly in terms of just like
where the light hits and where it doesn't.
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But it doesn't mean that they the normal map
features actually
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cast Shadows on to other areas of the texture,
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which obviously makes things look.
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Look flat.
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So this scene here was built with the same
techniques.
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So almost everything in here,
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uses pixel depth offset.
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And has the height Maps hooked up and uses
the contact shadows
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in unreal here to to mimic that sort of depth
Behavior.
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So,
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why is that important?
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Well,
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one of the most important things is that nanite is
not supported right now because this is,
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like 5.03. This is not like 5.1 or something
because that's not out.
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It's not like a custom-built from from GitHub.
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So like these features, they have been improved,
but this is the normal version. So right now,
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there is no support for a mask materials
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foliage is a little bit broken.
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There is no support for Pixel depth, offset or
vertex,
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animation or like vertex
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will position offset in that sense with nanite and
that means that if I go into the nanite
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visualization here you can see that like some of
the mesh scattering that is here is using nanite.
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There is like a few parts of the cliffs, because
like,
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a lot of the cliffs are actually splines and supply.
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Also don't support and I'd like spline meshes
right now.
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So you can see here that the exterior, for
example,
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for the diner also has a set nanite to to work,
because there is a part of the mesh,
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that is the glass,
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which uses a translucent material. So, again, not
supported.
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But if we go inside,
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we can see that.
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Nanite is turned on for a bunch of these meshes.
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However, looking back at the outside.
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I hear what this also means is that our geometry
here is not as detailed as you would.
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We like to have it with the nanite meshes and all
that kind of stuff.
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So,
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to basically still get like a lot of detail.
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This screen space shadowing technique with the
height maps with was utilized and
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Right now I'm using the virtual Shadow map and
I actually found out something really interesting.
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So what I'm going to do is I'm going to switch
this back to the normal Shadow map here.
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And now if we just like go down here,
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we can see that all of this looks basically exactly
as we expect this to to look, right?
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So there is not really any any Shadows from
anything.
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Like we do get like some nice screen space, Gi
bounces here on this little.
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So this is like all the mesh scatter, right?
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All these little Stones being scattered around
here and some twigs and stuff.
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And we can see like that.
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Wig is actually getting a little bit of the Shadow
map,
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but then again like the shadow map is using
Cascade at Shadows here
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and it's just not enough resolution detail to pick
up on the small stuff.
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And then again we also have nothing that really
makes the texture itself. So,
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let's go here because here is like, no mesh
scatter. As you can see,
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there is a scatter, this is just a flat texture, right?
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And this Is kind of interesting that we have a lot
of this stuff here under the terrain.
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Very interesting.
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Not sure how that happened,
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but we'll just accept this.
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So when we look at this here, like again, this is
very flat.
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So what was done here was to basically say, like
okay,
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we use this pixel depth offset to cast shadows.
And again,
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if if you want to understand how this works
because
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we can share this content since it was
sponsored,
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but if you want to understand how any of this
works,
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you can get the free rural or Trailer content, and
you'll see how the shaders are being set up.
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How it's all done.
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It's pretty straightforward. So it's not like Voodoo
or anything.
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So now inside my directional light I can search
for
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a contact or just like this and we can see here is
this thing which says contact Shadow length.
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And so this is not like it doesn't have a flip or
anything.
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So what we need to do is we just need to say
how long they are.
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Supposed to be and then they happen.
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So,
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for one thing,
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like this feature, was not necessarily designed
for this in particular.
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But what was the what this was designed for?
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This kind of like let's have a quick look here.
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So if I'm going to take a Point light here.
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and I'll make it like,
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Hats a lot writer. Let's do like, I don't know,
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something like this.
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Alright.
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So,
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Here we can obviously see that. We do actually
get a lot of Shadow casting.
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but this is also very
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Very higher as Shadow map, but you can see
that here. For example,
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we do get a little issue where the shadow is not
really connecting.
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So if I would go in here and add the contact
Shadow,
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it closes the gap.
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so it's just like it's not a shadow that casts like a
large amount of Shadow and actually,
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here's even introducing some artifacting,
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it would
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Interesting.
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So
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now,
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it's just
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Got better.
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So like this, just basically closes the gaps.
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And it's kind of like really neat here,
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but now we can see that it's actually longer than
our actual Shadow.
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So if we just remove this so it can also cause
issues, right?
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So you don't want to make this so long as that it
starts overriding, the actual Shadow map.
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So, this is a feature that has to be tweaked, very,
very carefully.
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You just want a little bit like 0.02 here, for
example,
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and that already helps with the contact
information,
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which is why these are called Contact Shadows
because they're supposed to fill the gap between
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the filtered Shadow because the filtered Shadow
has like a little bit of like a bias and stuff like
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that. So it can sometimes create this effect
where it feels that something is not grounded.
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So if I, for example, take this guy here.
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That is probably not supposed to be in the
ground like this,
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but whatever.
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so,
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if I take this
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and just move it over here,
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Are we holy shit? Where did I move it to?
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Okay.
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Actually, we don't even need this guy.
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I just noticed we have our Shield here.
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So like sometimes we can get this effect where
we can see here. Clearly that the sign here,
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it is inside the ground, right?
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But we can see that there's like almost like a gap
here in the shadow casting.
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And that is because the These Shadows,
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they have a certain resolution so sometimes
they cannot represent certain small details.
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And we do have similar issues. Most likely
elsewhere.
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But for now,
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let's look at this.
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So if I'm going to take my direction and light,
and I'm going to start adding these,
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this will start connecting. So that is what the
feature initially was designed for.
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However, now that we have this technique here,
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you will see that.
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As soon as I turn on the contact shadows will
actually start seeing something here.
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So I'm just going to do 0.04
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and now look what happens.
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So now we suddenly got Shadows here from
these little stones.
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And they will react to the rotation of my light
source.
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Or we got a shadow here.
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And, again, like, this is not geometry.
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You can see how the shadow actually starts
fading away when I go to the screen Edge.
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So if you look here in the right side, bottom of
the screen,
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you can see how the shadow fades in and out
because it is screen space.
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However it does add a lot of perceptive
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perceived depth to the material.
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So again,
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if we just like do this we can see like now it feels
almost like this
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was being tessellated or something, which it is
clearly not.
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00:13:25,500 --> 00:13:29,200
And also if we if we look over here we can see
that.
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Now our shadow actually starts connecting and
one other cool thing is that here we have all this
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mesh scattering And this this mesh scattering
doesn't cast Shadows either
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because of the same reason, we don't get the
contact information here.
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So with the screen space shadows in place.
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We can see how all this geometry.
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Suddenly casts a nice shadow.
200
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So obviously this looks a lot better and it really
helps to to sell all these little details.
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there's a little bit of buggy this sometimes so
you can see like here, it's like,
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They're not like always perfect,
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00:14:18,300 --> 00:14:22,600
especially in combination with vegetation and
overhangs and stuff like that.
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00:14:23,200 --> 00:14:26,200
But for example, when you have like some really
dense grass,
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using the contact Shadows on on grass,
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00:14:29,700 --> 00:14:34,600
it just makes the grass feel so much more three
dimensional because usually,
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00:14:34,600 --> 00:14:39,400
your Shadow resolution is not good enough for
grass from the directional light,
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and this technique is something that was heavily
used in Ghost of tsushima, for example,
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to get grass Shadows.
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If you play Ghost Ashima.
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Have a look at it and do this thing where you like
rotate the camera.
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And then you can see how on the screen Edge,
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how the Shadows of the grass are disappearing.
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When the I said self basically starts being out of
out of the screen.
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so, now,
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I'm really interesting thing that I noticed is
because
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Now,
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since we have the virtual Shadow map Things
actually change a bit and
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I was really surprised to see that because again I
did not know.
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So if I turn off,
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Let's go to a proper spot here where we have.
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So here we can see here.
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We have the texture with the with the shadows
and and here we have like the mesh scatter.
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So we have both, right?
225
00:15:34,700 --> 00:15:36,700
So if I turn this back off again,
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no Shadows at all.
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00:15:38,900 --> 00:15:42,300
So now look what happens when I turn on the
virtual Shadow map.
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00:15:45,500 --> 00:15:48,600
so suddenly with the virtual Shadow map,
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we actually do get the same height map
shadows as we got
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before without if I do this without the screen
space nature.
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00:16:00,300 --> 00:16:04,700
So this seems like the virtual Shadow map,
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00:16:04,700 --> 00:16:07,700
even though you can see that it does a little bit
of a wonky thing.
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00:16:07,700 --> 00:16:11,100
Like now the Shadows are disappearing now
they are appearing.
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00:16:12,000 --> 00:16:18,800
So there is something with the pixel depth offset
that does feed into the virtual Shadow map.
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00:16:20,000 --> 00:16:20,400
Again,
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I did not know that.
237
00:16:22,400 --> 00:16:26,500
So this is actually like a cool Discovery in that
sense that
238
00:16:26,500 --> 00:16:29,800
we still get these sort of like things happening
here.
239
00:16:30,400 --> 00:16:36,300
And I think that this that it changes is probably
based on how the pixel depth offset
240
00:16:36,300 --> 00:16:42,000
gets computed and some other stuff of how the
shadow map traces against this,
241
00:16:42,500 --> 00:16:45,000
like, to be honest, I'm not entirely sure.
242
00:16:45,500 --> 00:16:47,400
But again, if I switch this back,
243
00:16:49,100 --> 00:16:54,200
We can clearly see that we do get a lot more
definition from the virtual Shadow map.
244
00:16:54,800 --> 00:16:59,400
So now one thing that you noticed is like okay
so cool we have the virtual Shadow map.
245
00:16:59,600 --> 00:17:04,400
Also the virtual Shadow map has a lot of
resolution which means we do get these really
246
00:17:04,400 --> 00:17:10,599
nice hard contact Shadows here that then
become soft like it happens in reality.
247
00:17:10,700 --> 00:17:12,500
Like nice soft Shadows here.
248
00:17:13,099 --> 00:17:15,099
So however,
249
00:17:16,099 --> 00:17:20,800
We don't really get any Shadows from these
small little like pebbles,
250
00:17:20,800 --> 00:17:22,200
and all the mesh scatter here,
251
00:17:22,400 --> 00:17:26,500
like, even like looking at the Twigs, like, no more,
Twigs Shadows.
252
00:17:26,800 --> 00:17:32,000
So, what is going on here? Why did it work?
When we do said this,
253
00:17:32,600 --> 00:17:33,200
right?
254
00:17:34,000 --> 00:17:34,600
So,
255
00:17:35,000 --> 00:17:39,700
and the reason for that is, is the screen space
contact Shadows.
256
00:17:41,300 --> 00:17:49,200
They don't know about content specific settings
because they run in screen space so that means
257
00:17:49,200 --> 00:17:57,300
they get actually calculated based on the buffer
targets and the buffer targets is this stuff here.
258
00:17:58,000 --> 00:18:02,400
So this is basically If you want to understand
physical based rendering,
259
00:18:02,400 --> 00:18:04,000
I'm not going to go into this.
260
00:18:04,300 --> 00:18:08,800
I mean it's not necessarily purely physically
based rendering per
261
00:18:08,800 --> 00:18:13,100
se but it's just like deferred rendering versus
forward rendering.
262
00:18:13,700 --> 00:18:20,600
These are the most common Technologies
techniques used for rendering and unreal uses
263
00:18:20,600 --> 00:18:25,400
a deferred renderer and if you really want to
understand what is happening here,
264
00:18:25,500 --> 00:18:28,600
you would want to read up on how a deferred
renderer works.
265
00:18:29,000 --> 00:18:34,100
And it works by By basically creating these what
we call Buffer targets.
266
00:18:34,100 --> 00:18:38,400
So like base color specular subsurface normal,
267
00:18:39,200 --> 00:18:43,500
all these types and the calculations that are
done in screen,
268
00:18:43,500 --> 00:18:49,500
space are done on these buffers and other
calculations to but anywho.
269
00:18:50,100 --> 00:18:56,400
So one thing to know is that the contact
Shadows, they work on everything in the image.
270
00:18:56,400 --> 00:19:00,100
So like if I have an object so let's say a,
271
00:19:00,100 --> 00:19:02,300
I'm actually know if this is like
272
00:19:03,700 --> 00:19:07,300
yeah, we can just select this so if I go in here,
273
00:19:09,000 --> 00:19:11,900
And I turn off cast Shadow.
274
00:19:12,600 --> 00:19:17,300
We see that we still get this thing here from the
screen space shadow.
275
00:19:18,700 --> 00:19:19,500
So,
276
00:19:19,700 --> 00:19:21,300
let's go in here.
277
00:19:22,500 --> 00:19:26,400
And so here you can see how we still get the
screen space
278
00:19:26,400 --> 00:19:29,900
Shadow growing and so the screen space
Shadows,
279
00:19:29,900 --> 00:19:34,000
they ignore the settings of the object itself
because
280
00:19:34,000 --> 00:19:36,900
they have no information about that object.
281
00:19:37,500 --> 00:19:43,700
So what that tells us is that since all these little
Pebbles
282
00:19:45,100 --> 00:19:45,500
Whoops,
283
00:19:45,600 --> 00:19:47,200
don't cast any Shadow.
284
00:19:47,800 --> 00:19:50,500
They probably have their Shadows turned off.
285
00:19:52,000 --> 00:19:55,200
So if we don't want to use the screen space,
contact Shadows,
286
00:19:55,200 --> 00:19:58,600
but we want to fully rely on the virtual Shadow
map
287
00:19:59,200 --> 00:20:02,000
and we do want all this stuff to cast Shadows.
288
00:20:02,300 --> 00:20:05,500
We probably need to fix some settings here.
289
00:20:06,500 --> 00:20:10,300
So let's just go over here where we have a lot of
this.
290
00:20:11,000 --> 00:20:13,300
So now how is this done? So if I click this,
291
00:20:13,300 --> 00:20:15,500
nothing really happens despite that we select
the
292
00:20:15,500 --> 00:20:19,900
landscape and this is different from selecting,
293
00:20:20,100 --> 00:20:21,700
like let's say this bush here.
294
00:20:22,200 --> 00:20:26,800
Because here you can see this is all part of a
instance foliage actor.
295
00:20:27,700 --> 00:20:32,700
So what is this? A part of you might wonder and
this stuff is distributed.
296
00:20:32,700 --> 00:20:36,300
Using the landscape grass feature.
297
00:20:37,500 --> 00:20:42,100
So what we need to do is we actually need to
look at
298
00:20:42,100 --> 00:20:45,900
the grass types and figure out how they're set
up.
299
00:20:47,300 --> 00:20:48,400
So for that,
300
00:20:48,800 --> 00:20:50,500
you can see it goes away when it says,
301
00:20:50,500 --> 00:20:53,300
building grass maps and then is an indicator
that
302
00:20:53,300 --> 00:20:56,500
all this stuff is scattered using the grass system.
303
00:20:57,800 --> 00:20:59,600
Which is fine because the grass.
304
00:21:00,000 --> 00:21:07,300
Is not necessarily only for a grass. It is basically
just scattering masha's across the terrain.
305
00:21:07,600 --> 00:21:10,900
So we need to go to the master all very clean
here.
306
00:21:11,300 --> 00:21:15,400
So here we have our grasses.
307
00:21:16,900 --> 00:21:18,800
And we can just start with the first one,
308
00:21:18,900 --> 00:21:22,400
so we can open this and we can see inside
of this.
309
00:21:22,600 --> 00:21:25,300
So, This UI is really annoying,
310
00:21:25,400 --> 00:21:27,000
sort of because
311
00:21:28,500 --> 00:21:29,900
There's a lot of stuff here.
312
00:21:30,400 --> 00:21:30,800
So,
313
00:21:30,800 --> 00:21:32,300
what we're going to do is
314
00:21:33,800 --> 00:21:36,800
we basically search for
315
00:21:39,500 --> 00:21:40,200
shadow.
316
00:21:42,700 --> 00:21:43,200
Whoops.
317
00:21:44,700 --> 00:21:47,700
And now we just basically turn them all on here.
318
00:21:47,700 --> 00:21:50,500
So you can see these ones are probably bigger
meshes.
319
00:21:53,400 --> 00:21:55,300
So, I just got to turn them on.
320
00:21:57,100 --> 00:21:58,100
And hit save.
321
00:22:00,000 --> 00:22:03,800
And then we're going to go into the next one,
322
00:22:04,200 --> 00:22:05,600
which is the cacti.
323
00:22:06,800 --> 00:22:09,000
We're going to search for shadow
324
00:22:10,400 --> 00:22:13,000
and again, like I have no idea what's all in here,
325
00:22:13,200 --> 00:22:15,400
but we just got to turn all these on.
326
00:22:41,700 --> 00:22:42,300
And again,
327
00:22:42,300 --> 00:22:50,300
like if all this stuff would be like nanite and
whatever we wouldn't even have to worry
328
00:22:50,300 --> 00:22:54,000
about like the screen, space shadowing stuff
and all that. And most likely,
329
00:22:54,000 --> 00:22:57,800
we would not even turn some of these things off.
330
00:22:58,500 --> 00:23:02,800
We would just like roll with sort of the default
settings.
331
00:23:05,700 --> 00:23:12,700
But I just kind of wanted to explain quickly how
this has probably been made and how it's
332
00:23:12,700 --> 00:23:19,500
probably working. So I think it's important that
like everyone also has options, right?
333
00:23:19,700 --> 00:23:23,900
So like, there is no right or wrong here, there's
just like really preference,
334
00:23:24,500 --> 00:23:27,700
but I think that if you work in a way how,
335
00:23:27,800 --> 00:23:31,300
for example, the value of the ancient was done
or stuff like that,
336
00:23:31,600 --> 00:23:33,300
you may not like do this,
337
00:23:33,300 --> 00:23:38,800
but if you want to work that way you At least
know it's a thing so you can do it.
338
00:23:39,900 --> 00:23:40,800
And again,
339
00:23:42,100 --> 00:23:45,600
it is never really about what is right or wrong.
340
00:23:45,700 --> 00:23:48,400
It is just about what are the options.
341
00:23:48,900 --> 00:23:53,700
What is it that you want to do? What seems the
most beneficial to what you're trying to do?
342
00:23:54,200 --> 00:24:00,800
And personally I feel that that is always the way
to go then because What is this?
343
00:24:03,500 --> 00:24:03,900
okay,
344
00:24:04,600 --> 00:24:05,200
because
345
00:24:06,300 --> 00:24:09,500
You know, like no one is judging here.
346
00:24:10,000 --> 00:24:11,300
It doesn't really matter at all.
347
00:24:12,000 --> 00:24:14,400
So let's just go this way.
348
00:24:22,500 --> 00:24:27,600
And we're working so fast that the grasp of a
prebuilt doesn't really
349
00:24:28,700 --> 00:24:32,800
follow quickly enough but that's fine which just
set this all and
350
00:24:32,800 --> 00:24:36,700
then we let it think for a while and we should be
good.
351
00:24:39,300 --> 00:24:41,000
And this should be the last one.
352
00:25:26,800 --> 00:25:30,600
And now we can see how all that stuff.
353
00:25:31,700 --> 00:25:34,800
Is actually testing proper Shadows.
354
00:25:38,900 --> 00:25:42,800
So now we basically have the same as with the
screen space shadows
355
00:25:43,400 --> 00:25:47,800
and also we get like the Shadow from the from
the height map here.
356
00:25:48,300 --> 00:25:50,400
So all in all this is
357
00:25:52,100 --> 00:25:53,100
Pretty cool.
358
00:25:54,300 --> 00:25:54,500
I mean,
359
00:25:54,500 --> 00:25:59,500
they're still like stuff where the seems a bit flat
and all that like this would probably be
360
00:26:01,000 --> 00:26:07,900
Better. If it would be a little bit more like yeah,
probably in general. But again,
361
00:26:07,900 --> 00:26:10,200
nothing nothing much should we could do here.
362
00:26:10,600 --> 00:26:15,400
But now everything all the Twigs, all that kind of
stuff that's just like works.
363
00:26:15,900 --> 00:26:16,900
Well here,
364
00:26:20,400 --> 00:26:22,900
So definitely.
365
00:26:24,800 --> 00:26:25,800
An improvement.
366
00:26:26,900 --> 00:26:27,300
Nice.
367
00:26:29,700 --> 00:26:31,100
so now that we have looked at this
368
00:26:32,200 --> 00:26:34,300
one thing that I also wanted to do
369
00:26:36,000 --> 00:26:40,800
Was look at the bloom settings in our
post-process volume.
370
00:26:41,500 --> 00:26:45,600
So I think I've mentioned it a few times already,
371
00:26:46,100 --> 00:26:46,600
but
372
00:26:47,700 --> 00:26:52,200
personally speaking I'm a very big fan of
373
00:26:53,700 --> 00:26:59,800
Like what? Like one of the biggest problems
with CG stuff in general and that is not only like,
374
00:27:00,000 --> 00:27:02,700
Names ride. It's that things.
375
00:27:02,700 --> 00:27:12,300
Quite often look a little bit to clean or two
pristine and I don't remember who said it,
376
00:27:12,300 --> 00:27:17,000
but I just loved the saying and the saying was,
basically,
377
00:27:18,400 --> 00:27:22,700
Imperfection is the digital artists perfection.
378
00:27:24,100 --> 00:27:29,500
And I love it because per default everything that
we build is more or less perfect,
379
00:27:29,500 --> 00:27:31,600
but that is not how the real world looks,
380
00:27:31,800 --> 00:27:36,300
which then makes things look like sterile or or
fake.
381
00:27:36,500 --> 00:27:43,200
So like our job and not only like as 3D artists or
like whatever type of artist you are.
382
00:27:44,100 --> 00:27:46,300
Our job is to introduce
383
00:27:47,400 --> 00:27:52,100
very tiny layers of imperfection into our work.
384
00:27:52,500 --> 00:27:55,200
So it actually It does feel more believable.
385
00:27:55,900 --> 00:27:58,600
And since this is a lighting course,
386
00:27:58,600 --> 00:28:05,800
A lot of the things that we can do are obviously
related to lighting and two cameras,
387
00:28:05,800 --> 00:28:13,300
and we've talked a little bit about it in some
of the earlier sessions where I said like, hey,
388
00:28:13,300 --> 00:28:19,700
let's add some grain. Let's do some very tasteful,
tweaking of chromatic aberration.
389
00:28:19,700 --> 00:28:26,400
And one of the things that is actually one of the
most important things I Like
390
00:28:27,600 --> 00:28:36,400
is is the bloom because so we can first of all
quickly like we only have limited ways of of
391
00:28:36,400 --> 00:28:40,400
simulating stuff here because we have to work
a bit
392
00:28:40,400 --> 00:28:43,200
with the features that we just get from unreal.
393
00:28:43,800 --> 00:28:49,600
And you can do a lot of like fake lens effects
using particle systems.
394
00:28:50,900 --> 00:28:56,300
However, that is not really what what's going to
happen in this course.
395
00:28:56,300 --> 00:29:01,400
Because this is almost like a course of its own
on how to like emulate
396
00:29:01,400 --> 00:29:04,400
lens effects using particle systems and all that
kind of stuff.
397
00:29:04,500 --> 00:29:07,900
It needs some very specific texture creation,
398
00:29:07,900 --> 00:29:14,400
it has some quite involved math but it is
absolutely doable to do these kind of things but
399
00:29:14,400 --> 00:29:16,500
we're going to use is we're going to use the
features that
400
00:29:16,500 --> 00:29:20,300
we have at hand and so if we going to go into the
bloom,
401
00:29:20,700 --> 00:29:22,000
This is basically.
402
00:29:23,200 --> 00:29:26,300
what Bloom simulates is sort of like,
403
00:29:28,300 --> 00:29:34,700
What happens inside of a lens when really
strong light hits the lens.
404
00:29:35,300 --> 00:29:40,700
And then there are interactions that happen
between the different lens elements inside of
405
00:29:40,700 --> 00:29:49,100
a lens that can cause something to bloom or to
leak and it create certain effects, right?
406
00:29:49,800 --> 00:29:55,500
And now what we have here, as we just have
our, our standard Bloom settings, right?
407
00:29:55,500 --> 00:29:59,800
So we have the method, which is set to standard
We have an intensity of a threat.
408
00:30:00,000 --> 00:30:10,100
Hold this stuff does not matter until we change
this up here and so the threshold to minus one.
409
00:30:10,100 --> 00:30:14,800
As far as I know, means that here minus 1 all
pixels effect.
410
00:30:14,800 --> 00:30:15,900
Blue equally
411
00:30:18,100 --> 00:30:18,800
so,
412
00:30:19,000 --> 00:30:20,500
it is like
413
00:30:22,500 --> 00:30:28,100
Yeah it is basically like so if we want to limit the
bloom to happen in only certain parts of the
414
00:30:28,100 --> 00:30:34,800
image, we can like excluded from other parts
that are not bright enough in that sense, right?
415
00:30:35,300 --> 00:30:41,500
So the first thing that we can do is to just
illustrate this here we can crank this,
416
00:30:41,600 --> 00:30:42,200
right?
417
00:30:42,500 --> 00:30:43,700
And this is like
418
00:30:45,000 --> 00:30:46,400
this is oblivion here,
419
00:30:47,400 --> 00:30:49,000
Elder Scrolls Oblivion.
420
00:30:49,100 --> 00:30:49,700
I mean
421
00:30:50,800 --> 00:30:56,100
it's this like Maybe, maybe some of you
remember, like, back in the day when before like,
422
00:30:56,100 --> 00:31:00,800
because in the early days, there was no Bloom
and then suddenly like video games,
423
00:31:00,800 --> 00:31:02,100
discovered the blue feature.
424
00:31:02,100 --> 00:31:05,300
So every game just had like so much Bloom and
it looked
425
00:31:05,300 --> 00:31:10,100
awful at this is sort of like a bad telenovela or
something.
426
00:31:10,400 --> 00:31:16,700
But so the thing is she kind of really want Bloom
when something is hit by like a very very,
427
00:31:16,700 --> 00:31:17,800
very strong light.
428
00:31:18,100 --> 00:31:21,100
Like this does not look.
429
00:31:22,300 --> 00:31:27,100
Accurate either like back here, so let's reset this.
430
00:31:28,600 --> 00:31:35,300
And if I just like increase this a bit, you can see
how this just starts tiny little bit like glowing.
431
00:31:35,500 --> 00:31:37,800
And also, like, back in the day, when there was
no, like,
432
00:31:37,800 --> 00:31:44,700
volumetric simulations people also used Bloom
to create this award dense atmosphere,
433
00:31:44,700 --> 00:31:47,400
but again, it creates this really dreamy look.
434
00:31:48,100 --> 00:31:50,600
And one thing that we can do is like when we
have,
435
00:31:50,700 --> 00:31:52,400
let's say we want this, right?
436
00:31:52,900 --> 00:31:57,200
But like we want to control this because like
right now the threshold
437
00:31:57,200 --> 00:31:59,800
is set to this So it's affecting everything equally.
438
00:31:59,900 --> 00:32:08,700
So let's first start with a zero and now we can
see that this is basically doing kind of what we
439
00:32:08,700 --> 00:32:12,500
want because now what we're getting is where
the light
440
00:32:12,500 --> 00:32:16,400
hits and grazing angers or really hot like look at
this.
441
00:32:17,300 --> 00:32:22,700
So it is basically still hitting a lot of the stuff but
it's kind of like where
442
00:32:22,700 --> 00:32:27,900
the Sun hits the most it really blooms because
without this,
443
00:32:28,600 --> 00:32:30,100
it kind of like blooms everywhere.
444
00:32:31,800 --> 00:32:32,900
and if we set this,
445
00:32:34,200 --> 00:32:35,200
we can see, like,
446
00:32:35,700 --> 00:32:39,000
now it blooms here, where it's like, hitting really
hard, right?
447
00:32:39,000 --> 00:32:48,200
So we can see how this is actually changing
things up in a cool way up here.
448
00:32:49,200 --> 00:32:49,600
So,
449
00:32:49,600 --> 00:32:50,200
this
450
00:32:52,800 --> 00:32:59,100
May look a lot more filming in that sense
because we're having this effect now.
451
00:33:00,100 --> 00:33:03,000
And then we can obviously tweak this even
further, right.
452
00:33:03,800 --> 00:33:08,600
So we can see now we sort of like compare this
to zero.
453
00:33:10,800 --> 00:33:12,900
We've removed a lot of the parts.
454
00:33:14,900 --> 00:33:18,900
And then it depends on how strong the sunlight
would hit.
455
00:33:19,000 --> 00:33:21,200
We would actually still get Bloom back in.
456
00:33:22,200 --> 00:33:25,800
So here we do get a lot of Bloom and can see
that next to the car.
457
00:33:27,100 --> 00:33:28,800
So if I would do this,
458
00:33:28,800 --> 00:33:30,100
there's even more bloom
459
00:33:33,000 --> 00:33:40,500
So we can sort of say how strong does
something need to be hit by light to bloom and
460
00:33:40,500 --> 00:33:43,500
then when it blooms we're going to kick in at like
super high
461
00:33:43,500 --> 00:33:47,200
intensity because before that we obviously had
this.
462
00:33:47,600 --> 00:33:53,500
So it kind of like looks the same as we would like
increase this value but this is just really how
463
00:33:53,500 --> 00:33:57,600
strong the parts balloon that bloom and this is
kind of
464
00:33:57,600 --> 00:34:02,200
like where do the parts that bloom end up being
okay.
465
00:34:03,700 --> 00:34:09,800
So this is really important to tweak this properly
and doing like a quite high intensity but at the
466
00:34:09,800 --> 00:34:13,300
same time keeping the threshold in check can
actually
467
00:34:13,300 --> 00:34:16,199
be really beneficial to create some good-looking
stuff.
468
00:34:19,600 --> 00:34:22,100
So this can be really nice.
469
00:34:23,699 --> 00:34:24,400
However,
470
00:34:25,100 --> 00:34:26,699
now let's get to the important part.
471
00:34:28,100 --> 00:34:28,400
Oh,
472
00:34:28,500 --> 00:34:33,300
sorry. Also, one thing, before we go to the
important part down here,
473
00:34:33,600 --> 00:34:36,800
you can tweak the Bloom as well.
474
00:34:37,800 --> 00:34:39,900
And I'm not sure if all this. Okay.
475
00:34:39,900 --> 00:34:43,900
It seems to work because it unreal for some
of, these were like, completely broken.
476
00:34:44,699 --> 00:34:46,500
So, for example,
477
00:34:46,600 --> 00:34:49,199
I'm not sure if this actually does work.
478
00:34:50,000 --> 00:34:50,699
Let's see.
479
00:34:56,800 --> 00:34:57,500
That's what?
480
00:34:58,600 --> 00:35:00,400
Okay here we can see now this is purple.
481
00:35:00,500 --> 00:35:04,800
So this is fantastic because it unreal for this was
completely broken
482
00:35:05,200 --> 00:35:09,500
and it was really annoying because like, using
this stuff here,
483
00:35:10,200 --> 00:35:14,500
this is like so much fun because you can really
484
00:35:16,100 --> 00:35:19,000
Like, change a lot of the behavior.
485
00:35:20,200 --> 00:35:20,800
Actually,
486
00:35:21,600 --> 00:35:22,900
I'm wrong. Sorry,
487
00:35:22,900 --> 00:35:28,200
I might need to correct myself because I'm not
entirely sure if this one was broken and unreal 4.
488
00:35:28,200 --> 00:35:33,800
But what was broken was the lens flares and
these ones here.
489
00:35:34,700 --> 00:35:40,000
So these ones did not really work in unreal for
because you can use these to
490
00:35:40,000 --> 00:35:43,500
like move the elements and all that. So we're
going to look at that in a bit.
491
00:35:43,800 --> 00:35:48,600
I'm sorry for mixing the So I think the normal
Bloom used to work.
492
00:35:49,000 --> 00:35:55,100
So, no matter what I wanted to talk about is
lenses have very specific behavior.
493
00:35:56,500 --> 00:35:59,800
and what that means is that like, for example,
494
00:36:00,400 --> 00:36:07,400
The way that they flare so Bloom is not a word
that exists necessarily in photography.
495
00:36:07,400 --> 00:36:09,700
It's more flaring. That is what it's called.
496
00:36:10,800 --> 00:36:14,100
and if we look at,
497
00:36:21,200 --> 00:36:23,400
Some of these elements here.
498
00:36:26,200 --> 00:36:33,500
So obviously, we all have the Beloved JJ,
Abrams, stuff that everybody loves to hate.
499
00:36:35,100 --> 00:36:37,200
And all these kind of things. But so, basically,
500
00:36:37,300 --> 00:36:40,100
what what usually happens is this, right?
501
00:36:40,100 --> 00:36:44,600
So we have a very bright light and then it
scatters throughout the lens.
502
00:36:44,600 --> 00:36:50,200
And it usually creates this one is called like a
star flare or a starburst.
503
00:36:51,500 --> 00:36:54,400
And then the lens flare is actually these little
elements,
504
00:36:55,200 --> 00:37:02,100
and the way that they come into existence, is
that when you have like a lens, so let's say, like,
505
00:37:02,100 --> 00:37:03,300
this is the lens, right?
506
00:37:04,100 --> 00:37:05,300
Beautiful lens here.
507
00:37:05,900 --> 00:37:11,200
So, inside the lens are obviously like a tons of
lenses, and they all have like,
508
00:37:11,200 --> 00:37:16,500
different like things. How they are like built and
they're like, shaped differently and yada yada.
509
00:37:16,800 --> 00:37:19,500
And here, we have the sensor and the light kind
of like,
510
00:37:19,500 --> 00:37:21,200
goes through this and then stuff happens,
511
00:37:22,000 --> 00:37:28,200
right. So when you see stuff like this here, like
these, these traditional flares, or like, this is,
512
00:37:28,200 --> 00:37:29,800
for example, very beautiful here.
513
00:37:30,500 --> 00:37:34,700
This is what I consider to be a beautiful lens
flare. So if I would make lens flares,
514
00:37:34,700 --> 00:37:36,700
I would want to have something like this.
515
00:37:37,300 --> 00:37:41,600
And these shapes that we see is light reflection,
516
00:37:41,700 --> 00:37:46,800
refraction going through these different lenses.
517
00:37:47,200 --> 00:37:53,100
And then when you like move the camera, they
also Parallax in different ways And this,
518
00:37:53,100 --> 00:37:57,200
for example, is something that I consider to be,
not a very beautiful and swear,
519
00:37:58,400 --> 00:38:03,000
it's just depends on, also, the aperture and stuff
like that, but I really like stuff like this,
520
00:38:03,700 --> 00:38:07,700
this looks rather fake to me that's probably made
in Photoshop.
521
00:38:08,500 --> 00:38:13,500
But there are some really, really beautiful lens
flare effects.
522
00:38:13,800 --> 00:38:17,200
And you can see this one is probably a mobile
phone lens.
523
00:38:17,800 --> 00:38:19,800
So, these effects with these dots and things,
524
00:38:19,800 --> 00:38:26,200
they often happen with Phones because their
lenses are built in a very, very specific way.
525
00:38:26,800 --> 00:38:29,500
And here, again, we have a beautiful Starburst.
526
00:38:30,400 --> 00:38:31,000
So,
527
00:38:32,600 --> 00:38:34,600
when an image,
528
00:38:34,900 --> 00:38:40,400
like when something blooms usually things like
this happen with the lens,
529
00:38:41,500 --> 00:38:46,100
it's not that it just looks like this here,
530
00:38:46,500 --> 00:38:49,400
right? So like if I would go in and let's say 20,
531
00:38:49,700 --> 00:38:52,900
so here you can see this is just like an equal
effect.
532
00:38:53,200 --> 00:39:00,300
So it just basically blurs This and like it just
glows around right and Again,
533
00:39:00,300 --> 00:39:05,400
this is not necessarily what would happen. What
happened is something a lot more like this here.
534
00:39:07,500 --> 00:39:10,000
and to simulate this,
535
00:39:10,500 --> 00:39:16,600
there is another version of Bloom inside of
unreal which is called the convolution bloom
536
00:39:17,600 --> 00:39:21,700
and now we could see that a little bit of
something happened to the brightness here.
537
00:39:22,700 --> 00:39:24,500
And one thing that is really important to know,
538
00:39:24,500 --> 00:39:29,600
the convolution bloom is that the convolution
plume per default.
539
00:39:30,000 --> 00:39:32,200
It has a bunch of settings down here.
540
00:39:32,500 --> 00:39:36,000
So like not all of the settings work for the
convolution
541
00:39:36,000 --> 00:39:38,900
so you can see like the intensity it does.
542
00:39:39,500 --> 00:39:42,100
But for example, the threshold does not,
543
00:39:42,100 --> 00:39:45,300
then we have this thing here which I actually
haven't used
544
00:39:48,900 --> 00:39:51,300
Okay, this would be an interesting thing to try.
545
00:39:51,400 --> 00:39:52,400
Okay? Yeah. No,
546
00:39:52,800 --> 00:39:53,800
let's not do that.
547
00:39:55,100 --> 00:39:55,700
So,
548
00:39:57,200 --> 00:40:02,000
The convolution bloom has the settings down
here. So what does the convolution balloon?
549
00:40:02,000 --> 00:40:06,300
Do the convolution bloom uses a kernel texture
550
00:40:07,400 --> 00:40:10,400
and scatters it around the screen.
551
00:40:10,400 --> 00:40:18,100
And then it uses these parts where it should
Bloom and it modulates them by the texture and
552
00:40:18,100 --> 00:40:22,600
per default. Even though this says None, there is
actually a texture that is being used.
553
00:40:24,500 --> 00:40:25,700
And it's this one here.
554
00:40:26,300 --> 00:40:27,900
And if we open this texture,
555
00:40:30,100 --> 00:40:31,300
this is what it looks like.
556
00:40:32,700 --> 00:40:33,800
So we can see,
557
00:40:34,700 --> 00:40:39,900
this is actually a really nice Starburst blue, like
effect.
558
00:40:39,900 --> 00:40:44,900
And and the most important thing is this texture
is an HDR texture.
559
00:40:45,700 --> 00:40:49,300
So you can see when I expose it differently,
560
00:40:49,300 --> 00:40:51,800
there's so much more information than is visible
here.
561
00:40:52,100 --> 00:40:56,800
So one thing that I really dislike is I really dislike
this green and red color.
562
00:40:57,100 --> 00:41:02,200
It's like quite often these become visible when
people use these textures.
563
00:41:02,500 --> 00:41:06,000
Unreal and you can instantly tell it's the default
texture
564
00:41:06,000 --> 00:41:08,700
because it has these colors and stuff like that.
565
00:41:09,600 --> 00:41:13,300
But like, there's nothing wrong with this. Like
these textures to make them.
566
00:41:13,700 --> 00:41:18,700
It is rather difficult because you need,
567
00:41:18,900 --> 00:41:23,600
you need to hide an emic range, right? It needs
to be an HDR image that has all this.
568
00:41:23,900 --> 00:41:27,600
And so how these are usually created is you
take a camera,
569
00:41:28,700 --> 00:41:35,600
And then you point a flashlight straight at the
center of the camera lens in a pitch-black room.
570
00:41:36,000 --> 00:41:38,900
And then you take pictures with different
exposures
571
00:41:39,200 --> 00:41:41,600
and then you merge them into an HDR image.
572
00:41:41,700 --> 00:41:46,700
And that is how this is usually created. You can
also render this with like some stuff,
573
00:41:47,200 --> 00:41:49,500
but it is quite nice.
574
00:41:49,500 --> 00:41:54,000
When you have a good camera and a good lens
to shoot this based on your lens,
575
00:41:56,100 --> 00:41:57,200
Anyways,
576
00:41:57,700 --> 00:41:59,400
now that we have the specified,
577
00:41:59,700 --> 00:41:59,800
what?
578
00:42:00,000 --> 00:42:02,400
Need to do is the settings down here.
579
00:42:02,600 --> 00:42:05,300
They are not tweaked for physical values.
580
00:42:06,600 --> 00:42:11,800
So, we don't necessarily get what we want up
here,
581
00:42:12,400 --> 00:42:18,600
but you can see that there is something sort of
affecting things already.
582
00:42:20,600 --> 00:42:24,000
So that was mostly the intensity here.
583
00:42:27,000 --> 00:42:28,700
So, how do we tweak this?
584
00:42:29,800 --> 00:42:32,600
Let's try something nice here.
585
00:42:35,500 --> 00:42:40,900
I'm going to see if I can just place a light in here.
586
00:42:43,700 --> 00:42:46,500
Where we have our metals.
587
00:42:48,300 --> 00:42:50,900
And now I'm going to just make this like way too
bright.
588
00:43:00,100 --> 00:43:02,800
And now we can see here is the bloom heading.
589
00:43:04,500 --> 00:43:06,600
So here you can see how this is.
590
00:43:06,600 --> 00:43:07,300
Kind of like
591
00:43:08,700 --> 00:43:10,600
Having the star shape kind of thing.
592
00:43:12,000 --> 00:43:13,700
and if I switch back here,
593
00:43:16,000 --> 00:43:20,200
It looks like this and this is not very
photorealistic. However,
594
00:43:20,200 --> 00:43:23,400
this is a lot more photorealistic
595
00:43:26,400 --> 00:43:29,100
So this is kind of, like a good way to tweak it.
596
00:43:31,400 --> 00:43:36,400
It also kind of seems like they have improved the
default settings a bit more.
597
00:43:37,200 --> 00:43:38,600
So it kind of
598
00:43:41,100 --> 00:43:44,600
Seems to work with these physical values, quite
well.
599
00:43:47,400 --> 00:43:49,400
Because I remember in unreal for it.
600
00:43:49,400 --> 00:43:51,700
Did not really work
601
00:43:53,000 --> 00:43:54,800
the same way, so let's see.
602
00:43:58,700 --> 00:44:00,700
And this is just shrinking it,
603
00:44:01,300 --> 00:44:03,600
I think I used to tweak this value here.
604
00:44:07,100 --> 00:44:09,600
But it actually seems kinda like,
605
00:44:10,100 --> 00:44:13,400
okay, for now. So maybe we don't really need to
touch it much.
606
00:44:15,100 --> 00:44:19,600
But one thing that I want to try since I told you
that, I don't really like these colors a lot.
607
00:44:24,000 --> 00:44:24,900
I thought.
608
00:44:26,100 --> 00:44:26,600
Hey,
609
00:44:26,700 --> 00:44:28,200
is there any way to
610
00:44:29,800 --> 00:44:36,500
Make this like feel better and what I did was I
kind of did this here.
611
00:44:36,700 --> 00:44:38,500
So her default
612
00:44:41,000 --> 00:44:45,000
I actually like added in more variation here so
you can see
613
00:44:45,000 --> 00:44:50,100
that like I just wanted this to be a bit more
complex,
614
00:44:51,200 --> 00:44:52,100
kind of like this.
615
00:44:54,600 --> 00:44:57,300
We may actually tweak this a little bit more.
616
00:45:02,600 --> 00:45:04,700
To something like this, I think.
617
00:45:11,000 --> 00:45:13,100
So I was just trying to see, hey,
618
00:45:13,600 --> 00:45:18,500
how does this feel if I make it more complex and
then I,
619
00:45:18,600 --> 00:45:20,500
I changed also the colors a little bit.
620
00:45:22,200 --> 00:45:24,800
So when I expose it like up here,
621
00:45:24,800 --> 00:45:33,300
you can see that it is not as green as before and
I just wanted to try that and see how it feels.
622
00:45:41,000 --> 00:45:42,200
so, we can just,
623
00:45:43,700 --> 00:45:45,200
Save ass here.
624
00:45:56,300 --> 00:45:58,700
Let me see where to put this.
625
00:46:06,700 --> 00:46:08,200
When you do save copy.
626
00:46:21,500 --> 00:46:23,000
and I think,
627
00:46:25,800 --> 00:46:27,900
I should exr should be fine, I think.
628
00:46:32,000 --> 00:46:32,800
All right.
629
00:47:08,300 --> 00:47:12,700
Didn't seem like it has saved that one second.
630
00:47:31,500 --> 00:47:33,000
Okay, now it has done it.
631
00:48:02,200 --> 00:48:03,100
Okay, cool.
632
00:48:03,300 --> 00:48:04,700
So we have this
633
00:48:07,000 --> 00:48:09,700
We're going to open up our content browser.
634
00:48:12,500 --> 00:48:16,300
Go to my lighting folder.
635
00:48:18,000 --> 00:48:18,700
Just gonna
636
00:48:21,400 --> 00:48:23,300
add my Bloom kernel texture.
637
00:48:23,800 --> 00:48:27,000
So now I have it here so we can see it.
638
00:48:29,500 --> 00:48:31,600
And let's see what happens when we apply this.
639
00:48:37,500 --> 00:48:39,500
And this is very interesting,
640
00:48:39,700 --> 00:48:42,900
so there could be a bunch of reasons for this.
641
00:48:43,800 --> 00:48:46,800
So the first thing is I'm going to open this one
here.
642
00:48:52,300 --> 00:48:54,300
And then I open mine.
643
00:48:57,200 --> 00:49:01,800
And now, what we need to do is we need to
make sure that we have the same settings here,
644
00:49:02,800 --> 00:49:06,600
so probably go with no mitt Maps here.
645
00:49:07,300 --> 00:49:08,000
Thanks for the room,
646
00:49:09,200 --> 00:49:11,100
lol. Good.
647
00:49:19,900 --> 00:49:21,400
Is there anything else?
648
00:49:26,200 --> 00:49:28,700
I think that should actually be it but let's see.
649
00:49:30,100 --> 00:49:30,600
so,
650
00:49:30,800 --> 00:49:32,800
I have never done this before, so, you know,
651
00:49:34,000 --> 00:49:35,600
This is actually quite interesting.
652
00:49:40,400 --> 00:49:42,300
Kind of curious why this is happening.
653
00:49:46,800 --> 00:49:50,200
it could potentially be the
654
00:49:52,700 --> 00:49:54,200
changes that I did to the color.
655
00:49:55,200 --> 00:49:59,100
So I'm just going to turn off the color changes.
656
00:50:08,800 --> 00:50:09,800
And save it again.
657
00:50:24,800 --> 00:50:29,500
Because it shouldn't really cause any major
problems.
658
00:50:32,200 --> 00:50:35,300
Yeah, so it probably was the color changes that
I did.
659
00:50:48,200 --> 00:50:51,500
And the cool thing is like this stuff. It can
actually look like pretty.
660
00:50:52,600 --> 00:50:53,300
Pretty cool.
661
00:50:53,600 --> 00:50:54,600
When you have,
662
00:50:54,900 --> 00:50:56,000
for example,
663
00:50:56,000 --> 00:50:56,800
a little
664
00:50:58,300 --> 00:50:59,800
light bulbs and stuff like that.
665
00:51:01,500 --> 00:51:06,100
So, I'm just going for my good friend,
666
00:51:06,200 --> 00:51:07,400
the editors fear.
667
00:51:09,200 --> 00:51:11,700
And I'm just going to scale this down, oops.
668
00:51:16,000 --> 00:51:17,600
Like zero point.
669
00:51:20,100 --> 00:51:21,200
Sir, find one.
670
00:51:23,500 --> 00:51:24,700
So we have this here,
671
00:51:25,100 --> 00:51:28,900
obviously, still a bit too big, but that's fine.
672
00:51:33,400 --> 00:51:34,200
And I'm going to
673
00:51:35,900 --> 00:51:37,500
do this really really quick and dirty.
674
00:51:37,500 --> 00:51:39,100
I'm just going to take my
675
00:51:41,100 --> 00:51:42,500
Sky material here.
676
00:51:46,600 --> 00:51:48,700
And I'm just going to crank the brightness.
677
00:51:52,800 --> 00:51:53,700
There you go.
678
00:51:55,900 --> 00:51:58,300
So we basically turned this into a little glowing
ball.
679
00:52:04,100 --> 00:52:08,200
And here, you can already see how we have
these like, because there's varying brightness.
680
00:52:08,200 --> 00:52:08,800
Obviously,
681
00:52:08,900 --> 00:52:14,300
we have these different kind of glow. Bursts
happening versus 0.05.
682
00:52:14,400 --> 00:52:15,900
0.01
683
00:52:17,400 --> 00:52:19,600
0.02 five. Let's do this.
684
00:52:21,200 --> 00:52:24,700
Alright, so now I'm just going to crank the
brightness, more and more.
685
00:52:24,700 --> 00:52:32,100
And now we can see how we're starting to get
this like a lot more interesting. Large shape here.
686
00:52:33,800 --> 00:52:36,000
So you can see we're having something like this.
687
00:52:37,400 --> 00:52:42,700
And this does look a lot more natural than this.
688
00:52:43,900 --> 00:52:44,500
All right,
689
00:52:45,500 --> 00:52:46,800
so we can use this.
690
00:52:46,800 --> 00:52:49,100
We can also just like go back to
691
00:52:50,200 --> 00:52:53,000
the old colonel.
692
00:52:54,900 --> 00:52:55,900
Which is like this.
693
00:52:57,700 --> 00:52:58,800
So, you know,
694
00:53:00,000 --> 00:53:01,300
like I was just really,
695
00:53:02,600 --> 00:53:05,000
Playing around with this here, trying to do
something.
696
00:53:08,000 --> 00:53:16,100
And this is definitely what I recommend to be
used for the bloom and all these kind of things.
697
00:53:18,400 --> 00:53:19,100
So,
698
00:53:19,800 --> 00:53:22,800
we will get a lot more natural behavior.
699
00:53:23,900 --> 00:53:25,000
Generally speaking,
700
00:53:25,100 --> 00:53:26,400
when we have bright stuff,
701
00:53:28,600 --> 00:53:30,800
Which could also like
702
00:53:31,900 --> 00:53:36,100
become important for this stuff here when we
like inside.
703
00:53:37,600 --> 00:53:39,600
And we'll have like a different exposure,
704
00:53:40,100 --> 00:53:41,200
which okay,
705
00:53:42,900 --> 00:53:44,200
still not bright enough,
706
00:53:44,400 --> 00:53:44,800
but,
707
00:53:45,900 --> 00:53:46,300
you know,
708
00:53:46,500 --> 00:53:50,100
well, we'll get there, it'll all come together nicely,
709
00:53:50,400 --> 00:53:52,200
but overall,
710
00:53:53,600 --> 00:53:56,700
this is just what I, what I feel like should be said,
in general.
711
00:53:57,700 --> 00:54:02,000
So this took quite A bit of time to do all this,
712
00:54:02,800 --> 00:54:06,000
but I hope it was interesting and you learned
a bunch
713
00:54:06,000 --> 00:54:10,100
of cool things to try regarding the bloom texture.
714
00:54:10,300 --> 00:54:11,000
So,
715
00:54:11,000 --> 00:54:15,500
what I did here was I use the channel mixer to
change the color and
716
00:54:15,500 --> 00:54:20,500
that was the thing that made it goal all Bonkers.
So now, you know,
717
00:54:20,600 --> 00:54:21,500
don't do that,
718
00:54:21,600 --> 00:54:23,200
and don't use the channel mixer.
719
00:54:23,700 --> 00:54:27,000
I think that Hue and saturation is usually fine,
720
00:54:27,000 --> 00:54:30,200
but it can introduce some artifacting so this
This one
721
00:54:30,200 --> 00:54:33,600
here is just a rotated version set to lighten,
722
00:54:34,300 --> 00:54:35,800
so that is no problem.
723
00:54:35,800 --> 00:54:41,600
So basically this change did not really make any
difference so you know that too,
724
00:54:41,700 --> 00:54:46,500
it's not really a problem but if you want to do
stuff like that, don't use the channel mixer.
725
00:54:47,300 --> 00:54:48,700
And so yeah.
726
00:54:48,900 --> 00:54:51,100
We've now looked at all these things.
727
00:54:51,400 --> 00:54:57,600
And in the next session we will continue to go
through the
728
00:54:57,600 --> 00:55:01,300
elements that are not necessarily the natural
lighting.
729
00:55:01,300 --> 00:55:06,700
So we're going to just make sure that all these
values work here because ultimately what we're
730
00:55:06,700 --> 00:55:12,300
going to do is we work towards a setup where
we can do different times of day
731
00:55:12,300 --> 00:55:17,400
and different light settings and all the things
they will just work in tandem.
732
00:55:17,400 --> 00:55:22,100
So right now we don't like the exterior set up. We
looked at a bunch of other other things,
733
00:55:22,400 --> 00:55:27,100
but we need to get the local stuff done, like the
emissive values, the lighting,
734
00:55:27,100 --> 00:55:28,900
all these kinds of things for insides.
735
00:55:29,500 --> 00:55:35,200
And then we can do a bunch of variations with
different exposures and will always get
736
00:55:35,200 --> 00:55:41,900
working lighting. That looks cinematic and it's
just very well pleasing to look at.
737
00:55:42,500 --> 00:55:42,900
So,61827
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