All language subtitles for Environments_10

Hello and welcome to the next session.

So all the times before we've looked at static Sky
boxes using HDR images.

And for me, personally,

this still gives the most control and potentially
also,

the highest quality since you have more control
over the cube map, what the sky actually does.

So like the sky lighting can be a little bit more
sophisticated,

but obviously that's not the only way to do it.

I do like this a lot when I have a fixed scenario.

So I would most of the time always prefer A HDR
Sky workflow over something else.

However, now that we have Lumen and we
actually do have some proper.

Well Dynamic,

Global illumination and Lighting in general.

Obviously one of the things that we can do is
have a fully Dynamic Sky system.

But I want to just quickly.

Change my pool size here again,

because it's probably going to complain.

So we do have a fully Dynamic Sky system that
we can use now.

So for this reason, I created a dynamic Sky layer.

we still have our post-process volume base and
all of

this basically starts with a few basic
components

so we can add a directional light.

We can add a sky atmosphere.

and

we can add a

skylight here.

So these are the basic components.

Now,

one thing that we want to do is we want to
change this to movable

and we also want to change this to Real Time
Capture.

So it actually updates all our changes that we do
per frame.

So,

am I actually getting some decent lighting here?

Yo,

so

now one important thing to understand here is,

you may remember how I've talked about these
Differences of like how the sky is balanced out

against the Sun. So the important thing is when
you use the sky atmosphere simulation,

it's more or less, like, you don't necessarily have
the full control over these things,

because the way that it works is it is just a lot
more simulated.

So the intensity of your sky is defined by Why
the intensity of yours?

So if I say this is like a super hot day, right?

So let's do like our 100,000

Lux again.

So you can see it's just like levels it out.

And it's kind of like the same again here so
there's not really a lot of difference in that sense

so it just like tries to to make it work anyways
and you can really control

how bright this guy is compared to how bright is
the sun.

So, one thing that is important, though is when
you, when you Have your son here?

And just going to drag this up a bit.

So one thing that is important.

Is when you lower your son.

Like this,

it will actually get slowly darker.

That's one thing so it will lose intensity and you
don't see it here.

And it will also tint its color.

so,

it will become

More red based on the color temperature, that
would be accurate.

So this all is great.

However,

it really means that the only controls that you
have

Are like your exposure in that sense.

So like right now for example I feel like my
exposure is way too bright so I could go in.

And get my post-process volume here.

Call it.

Ppv

sky.

And then just to do it quick and dirty.

I could just like offset it here and we won't see it
because I have checked on bound.

So right, I could just then control the sort of
intensity of the values, kind of like this.

So,

I think that

this, for example,

looks a bit more pleasing.

So that is obviously a very very nice thing to do.

So now this still looks a little bit empty and that
is

because we don't really have any any fog here.

That is not like the atmospheric fog.

So we only have

Or basically nothing. So we need to add our
exponential height for.

And one thing that I mentioned before,

as you can see that these colors here are set to
Black and

is because when you go into your project
settings,

you can do.

This high.

So here it just search for height fog,

you get support, Sky atmosphere affecting
height fog,

and that is really important because if these
colors are not black,

and the setting is not turned on,

you can see how the height fog is, now basically,
like,

orange or like, almost almost purple, right?

And the more I like roll around here,

you can see how the height fuck changes the
colors based on,

on what the sky actually looks like.

So and this is actually really, really nice. So here
we can see.

Yeah, this is, this is beautiful.

So, and this without this setting,

the height fuck would completely be
disconnected all the time.

And you may remember when I had to change
the colors on the height fucked.

Be super strong, like way above one.

And that was because the height fought was
basically

disconnected from all all the other values.

Now, I don't have to overwrite these colors even
though I am using physical units,

which is this very bright Sun of like 100,000.

However, since it gets the values from the sky
atmosphere,

it will all be in sync and now we get these like
really,

really, really nice values here, right?

Right?

So this is all pretty

beautiful and then of course we we can control
more like density and things like that,

but this is the basic of of the dynamic sky.

And

I just want to quickly go in here.

And adjust this a little bit.

Get a little bit brighter.

Maybe a bit more.

Whoops,

-0.2 was the intention.

So now you can see that we get something
really,

really nice here.

And we get good readability. We get nice blue
Shadows here. We get the bounce.

So this all works just as before and actually all
quite simple here.

and we do have our Auto exposure on,

so we still do get the adjustment, but I Offsetting
it a little bit so it doesn't like get so overly bright.

So that's one thing here.

Now, the next thing that we can also do is right
now, we don't have any clouds.

So having clouds with this used to be a lot more
difficult now. However,

we can just I think it is in here.

Yeah,

we can just add the volumetric cloud actor.

And what we get is some really, really bad
looking clouds.

So,

one thing that I would like to tell anyone is

please don't use these clouds like so often. I see
like portfolio stuff.

We're like someone just like throws this in and
goes like, yeah. Well metric clouds, whoo.

And then I see this. And and the actual portfolio
seed looks like super good, right?

Like like this environment, for example,

like if I go,

I don't know like that.

Here,

which is like, look at this.

This is like beautiful, but these clouds just
completely destroy the illusion of that.

This might actually be something super realistic
because no clouds look like this.

And that is something that makes me a little bit
sad because before the volumetric clouds,

there was another default Skydome from from
epic,

and it's just saddens me. That epic always
provides the worst-looking. Default thing,

they Can even though they release like demo
content that has way better looking stuff. Like,

for example, the sky that comes with the value of
the ancient looks so much better.

And then I see so many people just dropping the
default Skydome like the

old unreal for default Skydome, for example, or
this thing into this scene,

and it just looks really bad. I'm very sorry, this
just does not look natural.

So how can we fix this?

So I hope it's going to work now because like,
I've had some issues.

Getting this to work, to be honest, it doesn't
work. Consistently, however,

if you go into your plugins folder here,

And you search for volume.

You get this volume metrics and this is a library
of stuff,

a blue prints and textures and all these kind of
things that are or have to do with volumetrics.

There's a bunch of really helpful stuff in here.

So in the content browser, you can go to engine
plugins,

And then here, we have develop metrics content.

And here we do have a bunch of materials.

so,

I think this is the stuff that we can use here.

Let's see if it's working.

Doesn't do anything.

So we might need to trial and error a little bit
here because I got some of them.

I got them to work.

When I tried this the last time because the the
paint clouds, they don't,

it was just there.

I don't get it.

So this is the thing that I had with this,

we're like it just appeared for a super short
amount of time and then it just like went away.

So how

I change this and nothing happens.

So this is really sorry. What's the red thing here?

Never seen this one before.

It might be the wind Force.

That is possible.

Anyways, so let's try and see if we can actually
find one.

that works because again,

They are.

Not very,

very nice. Otherwise and like, some have the the
paint in it and the paint,

it means that you need to like, turn on the cloud
painting, plug-in for this to work.

And then you need to like paint the clouds in and
you need to set up a render Target and all these

kinds of things and that goes a little bit beyond
the scope for, for what we're doing here.

So, I'm really just trying to find a Shader that
hopefully, like,

quick and dirty.

Does the job.

Well, actually, I realized that this 12 has a render
Target.

I think.

What we could do is just replace the render
Target with white because I think

all the ones that use the render Target are the
ones that need to be painted.

And this one needs to be painted to just like,

I'm sorry.

So let's get, let's try this.

Let's go and here we go.

Here.

And let's try to fix this.

Text sample here.

And these so you can see these are the
volumetric like textures.

Here is the render Target and

I'm just going to apply this.

I have no idea what's going to happen but this is
half the fun.

Just like trying to find.

The Brows this one again.

They all have that render Target thing.

Which is a bit frustrating.

So this is why it's so so difficult to get like
proper clouds

because you can't just

Use one of these.

but I think,

I should sort of be able to,

Set some of these. So they're all based on this
one and we have Sky texture scale in kilometers.

Is this not based on the same Shader?

It is.

Here.

Let's try if we can actually change something
here.

Well, this is looking very bad. Great stuff.

Hahaha

I think this is the bat one.

It is God, I hate it so much.

And these are all the others I guess we just for
now have to live with this.

I feel very bad because so usually I built my
own.

I've been digging quite a bit into this but not the
way like the the Epic

materials are done with all the render targets
and that kind of stuff.

So can't really talk much about that.

So but here's a few things that, that is pretty
cool with the clouds.

So right now,

you can see that the sun is behind the clouds,

but not really much is happening.

So,

what we can do is we can

I always forget in which one it is, but it might
actually be in the direction of light.

So ended directional light.

Here.

So we can do cast Shadows on clouds.

And that can quite often, not make a huge
difference.

So always like depends a little bit cast. Shadows
on atmosphere is pretty.

Look. But then cast Cloud Shadows is this year.

and the cool thing with this is,

is that now the clouds are actually

Casting Shadow onto the terrain so now they're
just

so huge that everything is kind of in Shadow.

which is a little bit unfortunate because we just
don't really have

that kind of

like good-looking clouds right now.

And there's a bunch of like a lot of parameters
that we can do, we can do here.

But this,

basically replaces the light function to

To cast Shadow from the Sun. And you can see
that if I move the Sun,

Over here.

You can see that. Like right now we do have
some here and we do have Shadow back there.

So this is kind of like really really nice.

And when you have like a shadow on
atmosphere and stuff like that

that means that if you have a very thick
atmosphere,

you will get basically God Rays, coming through
the clouds.

From the,

from the atmosphere.

So let's see if I just

kind of wasn't this one.

I think it was this one that made it more like

so I haven't done these quite a long time,

but we should in theory based on atmosphere
thickness.

Get more

More got rice and it is pretty hard to begin again
because these

clouds don't have a lot of room here to to do
good stuff.

But you can see how we get like a really nice

Sky, simulation going.

and one thing that I wanted to look at with this
as well,

if we go to our post-process volume base,

You may remember that.

I said that the lens flares.

Look really, really bad.

And I also said, please don't ever use this,

because this is basically the thing that I see
when there's a game on the market,

and this is unreal game and I just look at this
and I just

It very, very, very bad.

So you usually don't want that.

However,

so real cameras have profiles for this and I
found this really cool website on Pentax forums.

You can see it up here.

We're like there are a bunch of nerds, like real
like nerd. Stay there.

They do like scientific stuff here.

It's like these guys

and they started basically sampling these
camera profiles.

And you can see this is the lens profile here.
Like they call it.

What do they call it?

So basically it is the bouquet,

but there's a psf, I think circular psf,

that's what they call it.

And here you have this kind of textures and this
stuff is kind of what you what you

want to certain degree when you when you work
with these these elements.

So just go

Download one of these.

Into my textures folder.

And you kind of like you,

please don't use these.

So you kind of want to have a decent text right
here.

I'm just going to go in to

writing folder here.

And then I'll just go ahead and drag this in.

And of course this has probably like a weird size
now.

Yeah, it's 896 by 862 you kind of want to give
this some treatment,

make it proper like 512 by 512 or something,

but for now we're going to roll like this. So the
first thing,

what I do is that you do this thing and you can
see it's still kind of looks really shitty.

So we may need to look at our texture settings
here.

So we do have no MIT maps.

That is good already.

This all looks good. Does this make any
difference? I don't think it should.

So this might actually be a limitation.

For unreal itself,

how they how they have changed it, potentially
because this did not always be this, pixelated.

And I think the texture, we can all see here.

Is pretty good. Here,

I'm gonna try sometimes using the texture group
can help.

Justice making any difference.

That is very, very unfortunate.

I'm going to try one more thing.

Sister used to be.

The.

Vector displacement.

Not here anymore.

So this is all good here because you don't want
this to be streamed

and all that you want this to be the highest
Fidelity possible.

But as we can see,

It doesn't really work.

So one thing that

I don't like is the coloring and also like the way
some of these are distributed,

so

I think that this here is the position.

Yeah. So here, you can see that we can kind
of like offset it with the alpha.

So we can create like opposite artifacts here as
well. So it's kind of like behind the sun,

right?

So that is one really cool thing and then we can
also dig

in here and we can change the color and
honestly,

it makes me a little bit Furious that the
resolution.

Solo because unreal,

the resolution was an unreal 4 at is the
resolution was

not that low so this already looks a bit better.

And then we can just slowly go in

and tweak all these these elements.

So this one is here.

And we kind of want to have it more.

Orange, I presume.

so this is just like how you go through these and
one thing that I also like to do is I usually like

to scale them up quite a bit and now for some
reason they got

a lot of software which is more how I remember
this being so

You know,

you can at least try to do something a little bit
with these so

to make them not look as generic as they as they
used to.

Just going to do this. And I make this like
purple.

And then I'm going to take the next one and
bring it way closer.

Kind of like this. So now it's flipped but it still
gives me kind of like what I want.

And then we take this guy.

Don't we take this guy.

And this one we make it purple again.

That we take this guy.

And where is the last one?

Let's have a look at this one.

So I think we want to move these all in a little bit
more.

So this guy will go here.

This guy.

Okay.

I really want this.

I think the problem is that I moved this the other
way around so I want

them to be a little bit closer so it's by no means
perfect, right?

However I think that it still gives a bit more

A bit more like something that works a bit nicer.

And then just move them all back.

Yeah.

So, we got this guy.

So it's just kind of want to space them out in a
proper way

and obviously it is a bit too intense right now
which is completely fine.

Because like what we'll do is what kind of like
tone them down eventually a little bit.

so, our intensity is going to be like,

A lot lower.

So it's not as in our face.

But again, this is not the most beautiful lens
flare, but at least,

this looks like so much better than the stock
lens flare.

And again, you can tweak the distances and all
these kind of things like quite a lot.

So that is definitely one way to do things and
and just improve it.

And then let's see,

because the screen bird feature.

Was kind of broken.

A little bit and unreal 4 and when the lens flare
hits and you have some screen dirt,

the elements actually combine and the screen
dirt. Here is this thing,

the dirt mask

And there used to be something. Yeah,

like this thing.

And it basically gets triggered when light hits it.

And again, I don't know if it still works.

It kind of used to work.

I think I'm seeing something here. This one is
probably the screen, dirt.

Yeah, yeah, yeah. Well get it.

So here you can see the screen dirt now,

and it gets triggered more when the lens flare
also hits it a bit,

so you can get some nice combine shapes here
with the, with the lens flare.

And These things like obviously this is just the
cheapest texture that I got,

but like these things they can work really well in
tandem to to make it.

Just look a little bit better than it usually does,

but it needs again,

it needs some careful tweaking.

And the careful tweaking can take quite some
time. Like this might be a bit too much here,

but then also,

if I

take my camera here,

and I'll just

Duplicate this.

like,

you know,

you can start,

this is obviously very,

very bright now here,

But you can, you can get some, some stuff that
does not look.

Well,

super shitty.

Let's call it that.

So you can get something a lot more more
natural this way.

And I think this works works quite well.

So,

how about we take this?

And then we

go out of my camera.

Pindus.

And then,

Take our directional light.

Bring it over.

And now it would be kinda.

Beautiful.

To not have the clouds here.

so now we have

something pretty cool here.

but now,

One thing that I would like to quickly try and
then I think we're,

we're pretty much done here. We've covered a
lot of content so far.

We've covered a lot of tricks.

So,

I would like to see.

If I can do something cool with this Cloud
material, even though it is not that great.

So,

let's go into the clouds here.

Open this up.

Key.

Wow.

Okay.

That is very sensitive.

so,

what I'm trying to do here is

I'm trying to figure out. Yeah.

Yeah,

kinda trying to get more.

Coverage.

Nope, that's less.

What does beer powder?

Why do clouds have beer powder?

Well.

I think this one here might be my best bet to get
something.

Or

not.

Are we go?

This is a lot more overcast.

Okay,

so let's do this.

So,

overcast is one of the most tricky things to do.

Because with overcast, as you can see here,

we don't really have a son.

And the only light source that we have is pretty
much the sky.

And then usually it is also the case that the sky
is like incredibly white.

So like this war,

so we have a very strong top light as what I call
it

and additionally,

quite often,

And there is a little bit of like, moisture in the air.

So stuff looks a bit wet and we get this very
strong like top,

she

And it is not very, very easy to do. And of
course,

things look very flat which is the reason that
when you go out for 3D scanning,

You really kind of want to use overcast,

so

everything looks kind of

unlit almost, so it's the best conditions to sort of
like, do this.

now,

I want though that this looks a lot more locked
in,

in terms of

I want this to really shine here.

So, I think we should start at maybe eight.

And then of course,

what we need to do is we need to tweak our
directional light because remember, now,

the whole atmosphere is lit by the intensity of
the directional light.

So if this is overcast,

maybe something like 5,000 will do.

That's still very bright.

So we don't really have a lot of sun here
available right now.

So we can clearly see this.

and then,

in our fog,

Or actually.

In our Sky atmosphere.

We probably want some more of this.

So we're already getting like a lot more fog here
and this is starting to look pretty cool.

And the lights are quite still nice brightness,

and all that

one thing that really annoys me is the way that
the emissive surfaces render over distance.

So this is not really something that I can do
much. I would need to research this a bit better.

It can be nanite related, but then on the other
hand,

also one thing that has a difference here is the
screen percentage.

so it just becomes cleaner with higher resolution
obviously,

So this is a little bit.

One might say unfortunate.

so, now going in here,

Turning on the volumetrics.

And then cranking us this folk dance.

That he very ever. So slightly,

And I think we need a lot more.

Also, one thing that we can do here, you can see
how the volumetric is leaking out.

So, you can just take this.

Open the blueprint.

And on the rectangular light here.

if we scroll down,

we can say can cast

electric shadow.

And now you can see that it's sort of like
respects the geometry more,

so it doesn't leak as much.

So it actually creates like a

Shadow here from it.

So it looks a lot less leaky.

So one thing now that I can see here is that I'm
sort of feeling that this is a little bit,

not foggy enough just yet.

So what I'm going to do is I'm going to start to
increase the extinction here a little bit.

Let's say two.

And now what we can also do is we can go into
our Skylight

here and the Skylight has a volumetric
scattering intensity.

So we can just seems to be

all this one actually doesn't work.

That is very interesting.

So this used to work quite a bit here.

For some reason, it doesn't seem too.

To do so.

So, the only way here for us now is to really
work.

What the fuck itself?

So for example,

something like this and we can obviously like
see that the rectangular light has way too much.

Scattering it's started to annoy me a little bit,

so which is going to lower this.

So, this is pretty cool, but I'm not really getting
exactly the feeling that I would want from this.

So, how would we go about this?

So now, I think that this is a cool time to to play
around with a bunch of things here.

So we can, first darken.

Or Skylight a little bit.

Kind of like this.

And now what we can do in our ppb Dynamic,

now we can actually try and move this into the
direction that we want.

We are some color grading.

and again,

the importance with the color grading is to be
very

How should I put it? Like you overdo it like
rather quickly.

So the first thing that we can do is we can just
touch this one a little bit here and make it cooler.

And you can see,

we can go Clyde a lot with this.

And this would be something where I'd say like
this is a bit too much.

So we kind of want to just like a little bit here.

and now,

in global,

I would probably do a tiny little bit of
desaturation on this.

Then we can go with a tiny little bit more
contrast and we're just like,

slowly slowly getting there.

And then I would go into the mid tones and I
usually use the gain setting because like

you kind of don't want to go into the saturation
and do weird stuff to the

colors because it just goes haywire and Gamma
is also like a little bit.

I don't know, it's not as intuitive. I feel like it can
it can work quite well but I usually use the gain.

But also one thing I have to say is I move them
around a bit and see what works best for me.

and this one, I kind of like it because when you
do this,

You actually get this little offset here with the
lights.

We're of course, this is too bright. We would
need to fix the exposure,

but they become like a different tint through that
and it's something that is very common.

When you, when you look at,

for example, like movie grading that, like, the
fires are not reddish,

but they're instead more yellow.

so, now that we have this,

We could start here.

And to some quite interesting stuff.

Now,

one thing that I'm noticing is

we are using a lot of saturation here.

So what I'm doing right now off-screen is I'm just
actually saturating the

the Golden Glow a little bit more.

maybe I

Want to give them a little bit more here. Like just
made these lamps a bit brighter.

And then again,

it's always like a little bit tricky when the fog
conditions change all the time.

So you kind of like when it's week the

The volumetric scattering for when you have a
really strong thing going like a strong fog,

and I think this looks looks a lot better.

You know, we're almost getting like a little bit of
like semen Stalin Hawk Vibes here.

So I kind of want to bring this down a little bit.

And of course, like this,

this this stuff is kind of like similar to like the
gamma sliders and these things but

you can really like crank and some cinematic
contrast here doing these things.

So I'm now we have a pretty nice shot here.

I would say

I'm pretty cool and foggy and it's just kind of like
feels

Yeah, like very cinematic. I would argue so let's
do another high resolution screen. Shot of this.

Alright,

gotta move out here.

Cannot duplicate this.

And here's the thing that's very interesting.

So here you can see that there's quite some
leaking

and

there might be two reasons for this reason.

Number one is we're not casting volumetric
Shadow reason. Number two,

could be that it is too

thin of a geometry.

So what we can do here is

Need to move in.

Get the lamp.

Edible print.

Go to the point light here.

And then again also do

Cast volumetric Shadow,

which is probably going to completely destroy
the performance,

but hey,

so much better now.

It's a bit hard right now.

For me to find a really nice angle because the
sun is completely busting through my window.

And of course, this is a rather dark scene.

Yeah.

I think this works quite well.

So now looking at what we've done here,

I think we had a

A few really.

Really good shots here at we could do been
working on this.

Started with some really nice daytime stuff.

Got the interior to work. Well,

made a bunch of different scenarios here.

So overall, I think all this work really really well
together.

and,

This is going to be the end of this course. Now,

I hope everybody found it. Like interesting had
fun following along with the things.

Most importantly also were able to take away a
few

good things for working with lighting and unreal.

I just want to stress again that a lot of these
tools right now are still heavily work in progress.

So unreal 5, even though it looks super slick on
the, on the, on the surface,

they're still quite a lot of things that just are not
yet as stable

as as unreal for is,

so that is just always something to keep in mind,
like,

the stuff that I showed when flying around here
as well, did some things,

just kind of don't work or that there's like some
weird leaking from the

Skylight come And like all these kind of things I
can see right now.

Here's some artifacting from the fog when
I move my camera.

So there's just always going to be a few little
things that are not potentially as far ahead.

So please keep that in mind.

I have been trying here, also my best to work
with this very, very new technology,

and it's just normal that there.

That there can be like little issues or that things
don't always exactly work the way they should.

So

with that out of the way again,