Original subtitles

Hello, and welcome to the next session with our nice exterior environment.

so I was like thinking of it and before we continue to like

further dig into all the cool stuff that we can do here,

I just wanted to

show a few things and explain

some of the settings and things we can do inside of unreal a bit more.

So in case that

anyone would like to do a certain workflow or so they they

can and they understand how these things work.

So

one really important thing to note is that this scene was not built for unreal 5.

So,

it was actually built for unreal 4 and

unreal for had.

Obviously a bunch of features are not there compared to Unreal 5.

And some features are also rather expensive. Like, for example,

doing tessellation on the terrain is really expensive and can be quite taxing.

It can also introduce visual artifacts when you tessellate the terrain quite a bit up close

and then over distance, it's sort of like tries to lock bag into the the normal.

Terrain grid structure so to speak and it can like have little breaks and stuff like that.

And one really interesting thing is

My buddy. Andrew again,

he came up with a really cool technique.

So there is a feature inside unreal, that is called pixel depth offset.

and,

What he basically did,

was he used the pixel depth offset together with a height map

and he displaces the pixels based on the height map in screen space.

And then he uses the screen space contact, Shadow featured at unreal,

has to cast sort of like virtual Shadows from the geometry.

So you can see here that the bark has all these like small Tiny little Shadows that

make it seem like the object has a lot higher geometry than it actually does.

We can see it here. For example, here on the bark,

we can see all these things are here,

like, all the leaves and all that kind of stuff. It, like, casts these Shadows,

which makes it seem like there's three dimensional geometry when there actually isn't

Here. This is a very beautiful example as well with this little wooden Pole.

And that is a technique that is

not super well-known. I think like I wouldn't say that he was the first one to do it,

but maybe he actually was.

So like a lot of people have been studying this content and they were like,

oh wow,

this is actually really cool and it adds a lot of detail to the surfaces so he was doing this

on the terrain as well and and with that he got like Shadows All the little details.

And one of the things that we have is when we,

when we don't actually have geometry,

things can feel rather flat because they are normal map.

So they are shaded correctly in terms of just like where the light hits and where it doesn't.

But it doesn't mean that they the normal map features actually

cast Shadows on to other areas of the texture,

which obviously makes things look.

Look flat.

So this scene here was built with the same techniques.

So almost everything in here,

uses pixel depth offset.

And has the height Maps hooked up and uses the contact shadows

in unreal here to to mimic that sort of depth Behavior.

So,

why is that important?

Well,

one of the most important things is that nanite is not supported right now because this is,

like 5.03. This is not like 5.1 or something because that's not out.

It's not like a custom-built from from GitHub.

So like these features, they have been improved, but this is the normal version. So right now,

there is no support for a mask materials

foliage is a little bit broken.

There is no support for Pixel depth, offset or vertex,

animation or like vertex

will position offset in that sense with nanite and that means that if I go into the nanite

visualization here you can see that like some of the mesh scattering that is here is using nanite.

There is like a few parts of the cliffs, because like,

a lot of the cliffs are actually splines and supply.

Also don't support and I'd like spline meshes right now.

So you can see here that the exterior, for example,

for the diner also has a set nanite to to work, because there is a part of the mesh,

that is the glass,

which uses a translucent material. So, again, not supported.

But if we go inside,

we can see that.

Nanite is turned on for a bunch of these meshes.

However, looking back at the outside.

I hear what this also means is that our geometry here is not as detailed as you would.

We like to have it with the nanite meshes and all that kind of stuff.

So,

to basically still get like a lot of detail.

This screen space shadowing technique with the height maps with was utilized and

Right now I'm using the virtual Shadow map and I actually found out something really interesting.

So what I'm going to do is I'm going to switch this back to the normal Shadow map here.

And now if we just like go down here,

we can see that all of this looks basically exactly as we expect this to to look, right?

So there is not really any any Shadows from anything.

Like we do get like some nice screen space, Gi bounces here on this little.

So this is like all the mesh scatter, right?

All these little Stones being scattered around here and some twigs and stuff.

And we can see like that.

Wig is actually getting a little bit of the Shadow map,

but then again like the shadow map is using Cascade at Shadows here

and it's just not enough resolution detail to pick up on the small stuff.

And then again we also have nothing that really makes the texture itself. So,

let's go here because here is like, no mesh scatter. As you can see,

there is a scatter, this is just a flat texture, right?

And this Is kind of interesting that we have a lot of this stuff here under the terrain.

Very interesting.

Not sure how that happened,

but we'll just accept this.

So when we look at this here, like again, this is very flat.

So what was done here was to basically say, like okay,

we use this pixel depth offset to cast shadows. And again,

if if you want to understand how this works because

we can share this content since it was sponsored,

but if you want to understand how any of this works,

you can get the free rural or Trailer content, and you'll see how the shaders are being set up.

How it's all done.

It's pretty straightforward. So it's not like Voodoo or anything.

So now inside my directional light I can search for

a contact or just like this and we can see here is this thing which says contact Shadow length.

And so this is not like it doesn't have a flip or anything.

So what we need to do is we just need to say how long they are.

Supposed to be and then they happen.

So,

for one thing,

like this feature, was not necessarily designed for this in particular.

But what was the what this was designed for?

This kind of like let's have a quick look here.

So if I'm going to take a Point light here.

and I'll make it like,

Hats a lot writer. Let's do like, I don't know,

something like this.

Alright.

So,

Here we can obviously see that. We do actually get a lot of Shadow casting.

but this is also very

Very higher as Shadow map, but you can see that here. For example,

we do get a little issue where the shadow is not really connecting.

So if I would go in here and add the contact Shadow,

it closes the gap.

so it's just like it's not a shadow that casts like a large amount of Shadow and actually,

here's even introducing some artifacting,

it would

Interesting.

So

now,

it's just

Got better.

So like this, just basically closes the gaps.

And it's kind of like really neat here,

but now we can see that it's actually longer than our actual Shadow.

So if we just remove this so it can also cause issues, right?

So you don't want to make this so long as that it starts overriding, the actual Shadow map.

So, this is a feature that has to be tweaked, very, very carefully.

You just want a little bit like 0.02 here, for example,

and that already helps with the contact information,

which is why these are called Contact Shadows because they're supposed to fill the gap between

the filtered Shadow because the filtered Shadow has like a little bit of like a bias and stuff like

that. So it can sometimes create this effect where it feels that something is not grounded.

So if I, for example, take this guy here.

That is probably not supposed to be in the ground like this,

but whatever.

so,

if I take this

and just move it over here,

Are we holy shit? Where did I move it to?

Okay.

Actually, we don't even need this guy.

I just noticed we have our Shield here.

So like sometimes we can get this effect where we can see here. Clearly that the sign here,

it is inside the ground, right?

But we can see that there's like almost like a gap here in the shadow casting.

And that is because the These Shadows,

they have a certain resolution so sometimes they cannot represent certain small details.

And we do have similar issues. Most likely elsewhere.

But for now,

let's look at this.

So if I'm going to take my direction and light, and I'm going to start adding these,

this will start connecting. So that is what the feature initially was designed for.

However, now that we have this technique here,

you will see that.

As soon as I turn on the contact shadows will actually start seeing something here.

So I'm just going to do 0.04

and now look what happens.

So now we suddenly got Shadows here from these little stones.

And they will react to the rotation of my light source.

Or we got a shadow here.

And, again, like, this is not geometry.

You can see how the shadow actually starts fading away when I go to the screen Edge.

So if you look here in the right side, bottom of the screen,

you can see how the shadow fades in and out because it is screen space.

However it does add a lot of perceptive

perceived depth to the material.

So again,

if we just like do this we can see like now it feels almost like this

was being tessellated or something, which it is clearly not.

And also if we if we look over here we can see that.

Now our shadow actually starts connecting and one other cool thing is that here we have all this

mesh scattering And this this mesh scattering doesn't cast Shadows either

because of the same reason, we don't get the contact information here.

So with the screen space shadows in place.

We can see how all this geometry.

Suddenly casts a nice shadow.

So obviously this looks a lot better and it really helps to to sell all these little details.

there's a little bit of buggy this sometimes so you can see like here, it's like,

They're not like always perfect,

especially in combination with vegetation and overhangs and stuff like that.

But for example, when you have like some really dense grass,

using the contact Shadows on on grass,

it just makes the grass feel so much more three dimensional because usually,

your Shadow resolution is not good enough for grass from the directional light,

and this technique is something that was heavily used in Ghost of tsushima, for example,

to get grass Shadows.

If you play Ghost Ashima.

Have a look at it and do this thing where you like rotate the camera.

And then you can see how on the screen Edge,

how the Shadows of the grass are disappearing.

When the I said self basically starts being out of out of the screen.

so, now,

I'm really interesting thing that I noticed is because

Now,

since we have the virtual Shadow map Things actually change a bit and

I was really surprised to see that because again I did not know.

So if I turn off,

Let's go to a proper spot here where we have.

So here we can see here.

We have the texture with the with the shadows and and here we have like the mesh scatter.

So we have both, right?

So if I turn this back off again,

no Shadows at all.

So now look what happens when I turn on the virtual Shadow map.

so suddenly with the virtual Shadow map,

we actually do get the same height map shadows as we got

before without if I do this without the screen space nature.

So this seems like the virtual Shadow map,

even though you can see that it does a little bit of a wonky thing.

Like now the Shadows are disappearing now they are appearing.

So there is something with the pixel depth offset that does feed into the virtual Shadow map.

Again,

I did not know that.

So this is actually like a cool Discovery in that sense that

we still get these sort of like things happening here.

And I think that this that it changes is probably based on how the pixel depth offset

gets computed and some other stuff of how the shadow map traces against this,

like, to be honest, I'm not entirely sure.

But again, if I switch this back,

We can clearly see that we do get a lot more definition from the virtual Shadow map.

So now one thing that you noticed is like okay so cool we have the virtual Shadow map.

Also the virtual Shadow map has a lot of resolution which means we do get these really

nice hard contact Shadows here that then become soft like it happens in reality.

Like nice soft Shadows here.

So however,

We don't really get any Shadows from these small little like pebbles,

and all the mesh scatter here,

like, even like looking at the Twigs, like, no more, Twigs Shadows.

So, what is going on here? Why did it work? When we do said this,

right?

So,

and the reason for that is, is the screen space contact Shadows.

They don't know about content specific settings because they run in screen space so that means

they get actually calculated based on the buffer targets and the buffer targets is this stuff here.

So this is basically If you want to understand physical based rendering,

I'm not going to go into this.

I mean it's not necessarily purely physically based rendering per

se but it's just like deferred rendering versus forward rendering.

These are the most common Technologies techniques used for rendering and unreal uses

a deferred renderer and if you really want to understand what is happening here,

you would want to read up on how a deferred renderer works.

And it works by By basically creating these what we call Buffer targets.

So like base color specular subsurface normal,

all these types and the calculations that are done in screen,

space are done on these buffers and other calculations to but anywho.

So one thing to know is that the contact Shadows, they work on everything in the image.

So like if I have an object so let's say a,

I'm actually know if this is like

yeah, we can just select this so if I go in here,

And I turn off cast Shadow.

We see that we still get this thing here from the screen space shadow.

So,

let's go in here.

And so here you can see how we still get the screen space

Shadow growing and so the screen space Shadows,

they ignore the settings of the object itself because

they have no information about that object.

So what that tells us is that since all these little Pebbles

Whoops,

don't cast any Shadow.

They probably have their Shadows turned off.

So if we don't want to use the screen space, contact Shadows,

but we want to fully rely on the virtual Shadow map

and we do want all this stuff to cast Shadows.

We probably need to fix some settings here.

So let's just go over here where we have a lot of this.

So now how is this done? So if I click this,

nothing really happens despite that we select the

landscape and this is different from selecting,

like let's say this bush here.

Because here you can see this is all part of a instance foliage actor.

So what is this? A part of you might wonder and this stuff is distributed.

Using the landscape grass feature.

So what we need to do is we actually need to look at

the grass types and figure out how they're set up.

So for that,

you can see it goes away when it says,

building grass maps and then is an indicator that

all this stuff is scattered using the grass system.

Which is fine because the grass.

Is not necessarily only for a grass. It is basically just scattering masha's across the terrain.

So we need to go to the master all very clean here.

So here we have our grasses.

And we can just start with the first one,

so we can open this and we can see inside of this.

So, This UI is really annoying,

sort of because

There's a lot of stuff here.

So,

what we're going to do is

we basically search for

shadow.

Whoops.

And now we just basically turn them all on here.

So you can see these ones are probably bigger meshes.

So, I just got to turn them on.

And hit save.

And then we're going to go into the next one,

which is the cacti.

We're going to search for shadow

and again, like I have no idea what's all in here,

but we just got to turn all these on.

And again,

like if all this stuff would be like nanite and whatever we wouldn't even have to worry

about like the screen, space shadowing stuff and all that. And most likely,

we would not even turn some of these things off.

We would just like roll with sort of the default settings.

But I just kind of wanted to explain quickly how this has probably been made and how it's

probably working. So I think it's important that like everyone also has options, right?

So like, there is no right or wrong here, there's just like really preference,

but I think that if you work in a way how,

for example, the value of the ancient was done or stuff like that,

you may not like do this,

but if you want to work that way you At least know it's a thing so you can do it.

And again,

it is never really about what is right or wrong.

It is just about what are the options.

What is it that you want to do? What seems the most beneficial to what you're trying to do?

And personally I feel that that is always the way to go then because What is this?

okay,

because

You know, like no one is judging here.

It doesn't really matter at all.

So let's just go this way.

And we're working so fast that the grasp of a prebuilt doesn't really

follow quickly enough but that's fine which just set this all and

then we let it think for a while and we should be good.

And this should be the last one.

And now we can see how all that stuff.

Is actually testing proper Shadows.

So now we basically have the same as with the screen space shadows

and also we get like the Shadow from the from the height map here.

So all in all this is

Pretty cool.

I mean,

they're still like stuff where the seems a bit flat and all that like this would probably be

Better. If it would be a little bit more like yeah, probably in general. But again,

nothing nothing much should we could do here.

But now everything all the Twigs, all that kind of stuff that's just like works.

Well here,

So definitely.

An improvement.

Nice.

so now that we have looked at this

one thing that I also wanted to do

Was look at the bloom settings in our post-process volume.

So I think I've mentioned it a few times already,

but

personally speaking I'm a very big fan of

Like what? Like one of the biggest problems with CG stuff in general and that is not only like,

Names ride. It's that things.

Quite often look a little bit to clean or two pristine and I don't remember who said it,

but I just loved the saying and the saying was, basically,

Imperfection is the digital artists perfection.

And I love it because per default everything that we build is more or less perfect,

but that is not how the real world looks,

which then makes things look like sterile or or fake.

So like our job and not only like as 3D artists or like whatever type of artist you are.

Our job is to introduce

very tiny layers of imperfection into our work.

So it actually It does feel more believable.

And since this is a lighting course,

A lot of the things that we can do are obviously related to lighting and two cameras,

and we've talked a little bit about it in some of the earlier sessions where I said like, hey,

let's add some grain. Let's do some very tasteful, tweaking of chromatic aberration.

And one of the things that is actually one of the most important things I Like

is is the bloom because so we can first of all quickly like we only have limited ways of of

simulating stuff here because we have to work a bit

with the features that we just get from unreal.

And you can do a lot of like fake lens effects using particle systems.

However, that is not really what what's going to happen in this course.

Because this is almost like a course of its own on how to like emulate

lens effects using particle systems and all that kind of stuff.

It needs some very specific texture creation,

it has some quite involved math but it is absolutely doable to do these kind of things but

we're going to use is we're going to use the features that

we have at hand and so if we going to go into the bloom,

This is basically.

what Bloom simulates is sort of like,

What happens inside of a lens when really strong light hits the lens.

And then there are interactions that happen between the different lens elements inside of

a lens that can cause something to bloom or to leak and it create certain effects, right?

And now what we have here, as we just have our, our standard Bloom settings, right?

So we have the method, which is set to standard We have an intensity of a threat.

Hold this stuff does not matter until we change this up here and so the threshold to minus one.

As far as I know, means that here minus 1 all pixels effect.

Blue equally

so,

it is like

Yeah it is basically like so if we want to limit the bloom to happen in only certain parts of the

image, we can like excluded from other parts that are not bright enough in that sense, right?

So the first thing that we can do is to just illustrate this here we can crank this,

right?

And this is like

this is oblivion here,

Elder Scrolls Oblivion.

I mean

it's this like Maybe, maybe some of you remember, like, back in the day when before like,

because in the early days, there was no Bloom and then suddenly like video games,

discovered the blue feature.

So every game just had like so much Bloom and it looked

awful at this is sort of like a bad telenovela or something.

But so the thing is she kind of really want Bloom when something is hit by like a very very,

very strong light.

Like this does not look.

Accurate either like back here, so let's reset this.

And if I just like increase this a bit, you can see how this just starts tiny little bit like glowing.

And also, like, back in the day, when there was no, like,

volumetric simulations people also used Bloom to create this award dense atmosphere,

but again, it creates this really dreamy look.

And one thing that we can do is like when we have,

let's say we want this, right?

But like we want to control this because like right now the threshold

is set to this So it's affecting everything equally.

So let's first start with a zero and now we can see that this is basically doing kind of what we

want because now what we're getting is where the light

hits and grazing angers or really hot like look at this.

So it is basically still hitting a lot of the stuff but it's kind of like where

the Sun hits the most it really blooms because without this,

it kind of like blooms everywhere.

and if we set this,

we can see, like,

now it blooms here, where it's like, hitting really hard, right?

So we can see how this is actually changing things up in a cool way up here.

So,

this

May look a lot more filming in that sense because we're having this effect now.

And then we can obviously tweak this even further, right.

So we can see now we sort of like compare this to zero.

We've removed a lot of the parts.

And then it depends on how strong the sunlight would hit.

We would actually still get Bloom back in.

So here we do get a lot of Bloom and can see that next to the car.

So if I would do this,

there's even more bloom

So we can sort of say how strong does something need to be hit by light to bloom and

then when it blooms we're going to kick in at like super high

intensity because before that we obviously had this.

So it kind of like looks the same as we would like increase this value but this is just really how

strong the parts balloon that bloom and this is kind of

like where do the parts that bloom end up being okay.

So this is really important to tweak this properly and doing like a quite high intensity but at the

same time keeping the threshold in check can actually

be really beneficial to create some good-looking stuff.

So this can be really nice.

However,

now let's get to the important part.

Oh,

sorry. Also, one thing, before we go to the important part down here,

you can tweak the Bloom as well.

And I'm not sure if all this. Okay.

It seems to work because it unreal for some of, these were like, completely broken.

So, for example,

I'm not sure if this actually does work.

Let's see.

That's what?

Okay here we can see now this is purple.

So this is fantastic because it unreal for this was completely broken

and it was really annoying because like, using this stuff here,

this is like so much fun because you can really

Like, change a lot of the behavior.

Actually,

I'm wrong. Sorry,

I might need to correct myself because I'm not entirely sure if this one was broken and unreal 4.

But what was broken was the lens flares and these ones here.

So these ones did not really work in unreal for because you can use these to

like move the elements and all that. So we're going to look at that in a bit.

I'm sorry for mixing the So I think the normal Bloom used to work.

So, no matter what I wanted to talk about is lenses have very specific behavior.

and what that means is that like, for example,

The way that they flare so Bloom is not a word that exists necessarily in photography.

It's more flaring. That is what it's called.

and if we look at,

Some of these elements here.

So obviously, we all have the Beloved JJ, Abrams, stuff that everybody loves to hate.

And all these kind of things. But so, basically,

what what usually happens is this, right?

So we have a very bright light and then it scatters throughout the lens.

And it usually creates this one is called like a star flare or a starburst.

And then the lens flare is actually these little elements,

and the way that they come into existence, is that when you have like a lens, so let's say, like,

this is the lens, right?

Beautiful lens here.

So, inside the lens are obviously like a tons of lenses, and they all have like,

different like things. How they are like built and they're like, shaped differently and yada yada.

And here, we have the sensor and the light kind of like,

goes through this and then stuff happens,

right. So when you see stuff like this here, like these, these traditional flares, or like, this is,

for example, very beautiful here.

This is what I consider to be a beautiful lens flare. So if I would make lens flares,

I would want to have something like this.

And these shapes that we see is light reflection,

refraction going through these different lenses.

And then when you like move the camera, they also Parallax in different ways And this,

for example, is something that I consider to be, not a very beautiful and swear,

it's just depends on, also, the aperture and stuff like that, but I really like stuff like this,

this looks rather fake to me that's probably made in Photoshop.

But there are some really, really beautiful lens flare effects.

And you can see this one is probably a mobile phone lens.

So, these effects with these dots and things,

they often happen with Phones because their lenses are built in a very, very specific way.

And here, again, we have a beautiful Starburst.

So,

when an image,

like when something blooms usually things like this happen with the lens,

it's not that it just looks like this here,

right? So like if I would go in and let's say 20,

so here you can see this is just like an equal effect.

So it just basically blurs This and like it just glows around right and Again,

this is not necessarily what would happen. What happened is something a lot more like this here.

and to simulate this,

there is another version of Bloom inside of unreal which is called the convolution bloom

and now we could see that a little bit of something happened to the brightness here.

And one thing that is really important to know,

the convolution bloom is that the convolution plume per default.

It has a bunch of settings down here.

So like not all of the settings work for the convolution

so you can see like the intensity it does.

But for example, the threshold does not,

then we have this thing here which I actually haven't used

Okay, this would be an interesting thing to try.

Okay? Yeah. No,

let's not do that.

So,

The convolution bloom has the settings down here. So what does the convolution balloon?

Do the convolution bloom uses a kernel texture

and scatters it around the screen.

And then it uses these parts where it should Bloom and it modulates them by the texture and

per default. Even though this says None, there is actually a texture that is being used.

And it's this one here.

And if we open this texture,

this is what it looks like.

So we can see,

this is actually a really nice Starburst blue, like effect.

And and the most important thing is this texture is an HDR texture.

So you can see when I expose it differently,

there's so much more information than is visible here.

So one thing that I really dislike is I really dislike this green and red color.

It's like quite often these become visible when people use these textures.

Unreal and you can instantly tell it's the default texture

because it has these colors and stuff like that.

But like, there's nothing wrong with this. Like these textures to make them.

It is rather difficult because you need,

you need to hide an emic range, right? It needs to be an HDR image that has all this.

And so how these are usually created is you take a camera,

And then you point a flashlight straight at the center of the camera lens in a pitch-black room.

And then you take pictures with different exposures

and then you merge them into an HDR image.

And that is how this is usually created. You can also render this with like some stuff,

but it is quite nice.

When you have a good camera and a good lens to shoot this based on your lens,

Anyways,

now that we have the specified,

what?

Need to do is the settings down here.

They are not tweaked for physical values.

So, we don't necessarily get what we want up here,

but you can see that there is something sort of affecting things already.

So that was mostly the intensity here.

So, how do we tweak this?

Let's try something nice here.

I'm going to see if I can just place a light in here.

Where we have our metals.

And now I'm going to just make this like way too bright.

And now we can see here is the bloom heading.

So here you can see how this is.

Kind of like

Having the star shape kind of thing.

and if I switch back here,

It looks like this and this is not very photorealistic. However,

this is a lot more photorealistic

So this is kind of, like a good way to tweak it.

It also kind of seems like they have improved the default settings a bit more.

So it kind of

Seems to work with these physical values, quite well.

Because I remember in unreal for it.

Did not really work

the same way, so let's see.

And this is just shrinking it,

I think I used to tweak this value here.

But it actually seems kinda like,

okay, for now. So maybe we don't really need to touch it much.

But one thing that I want to try since I told you that, I don't really like these colors a lot.

I thought.

Hey,

is there any way to

Make this like feel better and what I did was I kind of did this here.

So her default

I actually like added in more variation here so you can see

that like I just wanted this to be a bit more complex,

kind of like this.

We may actually tweak this a little bit more.

To something like this, I think.

So I was just trying to see, hey,

how does this feel if I make it more complex and then I,

I changed also the colors a little bit.

So when I expose it like up here,

you can see that it is not as green as before and I just wanted to try that and see how it feels.

so, we can just,

Save ass here.

Let me see where to put this.

When you do save copy.

and I think,

I should exr should be fine, I think.

All right.

Didn't seem like it has saved that one second.

Okay, now it has done it.

Okay, cool.

So we have this

We're going to open up our content browser.

Go to my lighting folder.

Just gonna

add my Bloom kernel texture.

So now I have it here so we can see it.

And let's see what happens when we apply this.

And this is very interesting,

so there could be a bunch of reasons for this.

So the first thing is I'm going to open this one here.

And then I open mine.

And now, what we need to do is we need to make sure that we have the same settings here,

so probably go with no mitt Maps here.

Thanks for the room,

lol. Good.

Is there anything else?

I think that should actually be it but let's see.

so,

I have never done this before, so, you know,

This is actually quite interesting.

Kind of curious why this is happening.

it could potentially be the

changes that I did to the color.

So I'm just going to turn off the color changes.

And save it again.

Because it shouldn't really cause any major problems.

Yeah, so it probably was the color changes that I did.

And the cool thing is like this stuff. It can actually look like pretty.

Pretty cool.

When you have,

for example,

a little

light bulbs and stuff like that.

So, I'm just going for my good friend,

the editors fear.

And I'm just going to scale this down, oops.

Like zero point.

Sir, find one.

So we have this here,

obviously, still a bit too big, but that's fine.

And I'm going to

do this really really quick and dirty.

I'm just going to take my

Sky material here.

And I'm just going to crank the brightness.

There you go.

So we basically turned this into a little glowing ball.

And here, you can already see how we have these like, because there's varying brightness.

Obviously,

we have these different kind of glow. Bursts happening versus 0.05.

0.01

0.02 five. Let's do this.

Alright, so now I'm just going to crank the brightness, more and more.

And now we can see how we're starting to get this like a lot more interesting. Large shape here.

So you can see we're having something like this.

And this does look a lot more natural than this.

All right,

so we can use this.

We can also just like go back to

the old colonel.

Which is like this.

So, you know,

like I was just really,

Playing around with this here, trying to do something.

And this is definitely what I recommend to be used for the bloom and all these kind of things.

So,

we will get a lot more natural behavior.

Generally speaking,

when we have bright stuff,

Which could also like

become important for this stuff here when we like inside.

And we'll have like a different exposure,

which okay,

still not bright enough,

but,

you know,

well, we'll get there, it'll all come together nicely,

but overall,

this is just what I, what I feel like should be said, in general.

So this took quite A bit of time to do all this,

but I hope it was interesting and you learned a bunch

of cool things to try regarding the bloom texture.

So,

what I did here was I use the channel mixer to change the color and

that was the thing that made it goal all Bonkers. So now, you know,

don't do that,

and don't use the channel mixer.

I think that Hue and saturation is usually fine,

but it can introduce some artifacting so this This one

here is just a rotated version set to lighten,

so that is no problem.

So basically this change did not really make any difference so you know that too,

it's not really a problem but if you want to do stuff like that, don't use the channel mixer.

And so yeah.

We've now looked at all these things.

And in the next session we will continue to go through the

elements that are not necessarily the natural lighting.

So we're going to just make sure that all these values work here because ultimately what we're

going to do is we work towards a setup where we can do different times of day

and different light settings and all the things they will just work in tandem.

So right now we don't like the exterior set up. We looked at a bunch of other other things,

but we need to get the local stuff done, like the emissive values, the lighting,

all these kinds of things for insides.

And then we can do a bunch of variations with different exposures and will always get

working lighting. That looks cinematic and it's just very well pleasing to look at.

So,