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0:00

Introduction

0:22

Qwixel Website

3:23

Metadata

5:35

Additional Data

9:49

Unreal Engine Bridge

12:11

Downloading Assets

18:40

Mixer Demo

22:36

Mixer

27:20

Adding 3D Scans

29:41

Adding the Surface

31:15

Scanning the rock

32:37

Masking

35:46

Adding Snow

38:16

Adding a curvature component

42:26

Making the scene colder

Theater/(演劇) - Nightcord at 25 [Project Sekai] (lyrics kan/rom/eng)

Theater/(演劇) - Nightcord at 25 [Project Sekai] (lyrics kan/rom/eng)

МЫ ЗАСТРЯЛИ! СТРАШНЫЙ ЛИФТ В ROBLOX

МЫ ЗАСТРЯЛИ! СТРАШНЫЙ ЛИФТ В ROBLOX

Channel: OVER SHOW

언리얼

엔진에서

퀵셀

메가스캔과

믹서

활용하기

서밋

2021

00:00:04

hello my name is louis catalin i'm the

00:00:06

lead evangelist for the qixel team and

00:00:08

epic games company today my colleague

00:00:10

and i galen davies will be presenting

00:00:12

using mega scans in quixo mixer in

00:00:14

unreal engine thank you again for

00:00:16

inviting us to unreal summit 2021 we

00:00:19

hope you enjoyed today's presentation

00:00:23

now let's go to quixote.com and on

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qwixel.com you can see that we have a

00:00:27

product drop down section here where you

00:00:29

can access the mega scans library but we

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also have qixel bridge as a product and

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quicksilver mixer now in a few minutes

00:00:38

my colleague galen davis will show you

00:00:40

quixote mixer and show you how you can

00:00:41

take the

00:00:42

thousand seven hundred plus assets in

00:00:44

the mega scans library and turn them

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into an infinite variety using qixel

00:00:49

mixer and modify the entire look and

00:00:51

feel of a scene but what i wanna talk

00:00:53

about now is actually qixel bridge and

00:00:56

you can download quicksilbridge directly

00:00:58

from the website and you can download on

00:00:59

the pc the macintosh and on linux and

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then one of the other things that i

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think is really important to note is

00:01:05

that quixo bridge is actually now fully

00:01:08

integrated into unreal engine 5 early

00:01:10

access which means that you can now

00:01:12

fully access the entire mega scans

00:01:14

library from directly inside of unreal

00:01:16

engine 5

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and that's a really powerful feature and

00:01:19

i'll demonstrate that in a few minutes

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but quicksole bridge standalone is

00:01:24

actually a very powerful tool for those

00:01:25

of you still working in unreal engine 4

00:01:28

it gives you all the access to the

00:01:30

plug-ins that are still

00:01:32

helpful to use if you're using unreal

00:01:34

engine 4.25 26 and 27

00:01:37

and it gives you the ability to push

00:01:39

content directly into unreal engine 4 to

00:01:42

access the master materials to create

00:01:45

blended materials and a variety of other

00:01:48

things as you work with mixers

00:01:50

and push content back and forth between

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bridge mixer

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and unreal engine so that can be really

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helpful so let's take a moment to jump

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into bridge standalone and take a look

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at some of the features that i think are

00:02:02

really important to be aware of and in a

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few minutes we'll jump into bridge

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inside of unreal engine 5 early access

00:02:08

and take a look at how the functionality

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has evolved a little bit

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so one of the very first things that i

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want you to be aware of is that when you

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jump into the mega scans library as you

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look at it through bridge you'll see

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that you land into a

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home page in essence

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and here you can see of the 15

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800 or so assets that are available

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these are the newest surfaces that are

00:02:32

available these are the newest 3d assets

00:02:35

that are available the newest plants in

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the library of course these are also the

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newest collections we have graffiti wood

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planks weeds and so on as well as the

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latest trending assets so these are the

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the most used assets at the mo at the

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moment from gaming industry from film

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and television industry and so on

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you will also notice that we have our

00:02:55

categories here in the top left 3d

00:02:57

assets

00:02:58

3d plants surfaces

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decals atlases imperfections and each

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one of them have their own types of

00:03:06

assets that are available whether it's

00:03:08

the texture sets that you can pull down

00:03:10

from the library based on what you're

00:03:12

choosing

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the assets the lods that you can get

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from the 3d meshes

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plants and so forth and we'll take a

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look at those a little bit in detail

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now if you're in standalone bridge

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there are some specific features that

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you need to be aware of if we're looking

00:03:30

for instance at some of these 3d plants

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when you click on a particular asset

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you'll see that there's a pop-out panel

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that gives you some important metadata

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for each particular asset some of the

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things that i think are really helpful

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to be aware of is that when you click on

00:03:47

it you get a little viewport that is a

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little different than the

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viewport that you'll see in the early

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access version of unreal engine 5.

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it's mostly the same but a little bit

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different as well as the panel here at

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the bottom

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when you're in the stand alone

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you get to see that you see that you can

00:04:05

pull down the textures at 2k and 4k

00:04:07

resolution and i'll show you where this

00:04:09

is slightly different

00:04:11

inside of unreal engine

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early access

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we also can maximize this viewport and

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you get a render of

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the asset and you also get to look

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through the texture sets here so we can

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take a look at the albedo the ao the

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displacement and we also can take a look

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at a 3d version of this asset depending

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on whether it's a 3d

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model or whether it's a a surface we can

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take a look at

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whether it's a you know 1k 2k or 4k

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texture and we can actually take a look

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at the lods of the mesh so if i zoom

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into the asset we can take a look at the

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zero with lod the third lod and we can

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look at pbr and actually the wireframe

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so if i'm taking a look at a piece of

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vegetation i can take a look at the zero

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with lod and the details that are

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associated with it as well as the

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billboards and any related

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type of assets so that if i want to

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examine it before actually downloading

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it into unreal engine or any other

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render

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we can see how it's actually going to

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look so this can be really handy

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particularly in a piece of vegetation

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when i want to examine the different

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types of meshes that are available to me

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for it so make sure that you're aware

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that this is type of the functionality

00:05:28

and this is fairly different than the

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viewport inside of the unreal engine 5

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early access so be aware that

00:05:35

you can get this kind of detailed

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information from this viewport

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if we're looking for instance at a 3d

00:05:41

asset and maybe something that i've

00:05:43

already downloaded

00:05:45

you also get additional data here

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i can look at it in pbr mode i can look

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at it in albedo i can actually look at

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it in normal mode

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so that i can really examine

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the asset in much more detail

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you also get really important data about

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the size of the asset and whether it's

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an open or closed surface so you can see

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in this particular case this asset is

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open which means the back is not filled

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in it's not a watertight asset

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and you can also see that all the

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related assets particularly this one

00:06:16

which is one of our newest collections

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this comes from the nordic coast cliffs

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which is part of the asset set that

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galen will be using later to build the

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environment that he's going to be

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modifying

00:06:28

now another really important thing that

00:06:29

i want to point out about bridge

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standalone is this little gear icon at

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the bottom

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now why this is important why this is

00:06:37

really helpful is because if you're not

00:06:40

working particularly in unreal engine

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you have different download settings

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here so if you're downloading things

00:06:47

into your

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local repository

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you can modify the different types of

00:06:52

textures that you can bring in here

00:06:54

jpeg exr or both of them

00:06:57

you can also change how you're

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downloading your models whether it's an

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fbx model obj or alembic number of lods

00:07:04

that you may want to pull down whether

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you want to pull down the high poly

00:07:07

source the zbrush tool and any

00:07:10

associated brushes with something if you

00:07:12

want to use those for painting on a

00:07:14

surface after the fact but also

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something that's really relevant is not

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only the downloads

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download settings but also the export

00:07:22

settings so of course you know that

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you can work in unreal engine and inside

00:07:27

of bridge in unreal engine 5 of course

00:07:29

that's preferred but you can also work

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inside of

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many digital content creation tools like

00:07:35

my mx of course other engines like unity

00:07:38

blender houdini

00:07:39

cinema 4d clarisse

00:07:42

and then also you can export through

00:07:44

custom sockets to other bestoke engines

00:07:47

so make sure that you're aware that this

00:07:49

is where you make those changes

00:07:51

of course in the standalone we can now

00:07:54

export to unreal engine 4.2726

00:07:58

all the way down to 2 2. and this is

00:08:01

important to note that if you want to

00:08:03

install the plug-in

00:08:04

for

00:08:06

4.252627 you can install it to the

00:08:09

engine from qxel standalone bridge

00:08:12

another really valuable thing to be

00:08:14

aware of is that when you're working

00:08:16

inside of unreal engine 4.25262427

00:08:20

and this is also where you can

00:08:22

export from surfaces and channel pack

00:08:25

things so for instance if you wanted to

00:08:27

put

00:08:28

something inside of your red green

00:08:30

channel you can change what goes into

00:08:33

your red green and blue channel here so

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if you wanted

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let's say for instance in my roughness

00:08:39

channel i wanted to channel pack my

00:08:42

roughness channel you can come in here

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and change the way that this is working

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so

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you know maybe i want this to be a red

00:08:49

green and blue channel and in my blue

00:08:52

channel i wanted to put something like

00:08:54

you know a curvature map in here and the

00:08:56

roughness map in one channel and maybe i

00:08:59

want to put a cavity map in another

00:09:01

channel

00:09:02

and so this is really a good place where

00:09:05

you can put additional data in your red

00:09:07

green and blue channel and export it

00:09:09

that way

00:09:10

also be aware that this is where you can

00:09:12

change to an exr file format and change

00:09:15

it to a 32-bit color space

00:09:18

so

00:09:19

these things you would do in standalone

00:09:22

bridge versus inside of the unreal

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engine 5 version of bridge where these

00:09:26

options are not quite available to you

00:09:29

once again

00:09:30

you can come in here and change to obj

00:09:33

or fbx if you work working on unreal

00:09:35

engine 5 as well as modify your naming

00:09:38

conventions so that if you're working in

00:09:40

a particular pipeline workflow

00:09:43

your naming conventions can

00:09:45

adjust to

00:09:46

the particular work that you're doing

00:09:48

there so

00:09:50

let's now switch over and take a look at

00:09:53

bridge inside of unreal engine 5 and see

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how that is different and how you would

00:09:58

adjust to that type of workflow so i'm

00:10:00

going to go ahead and open unreal engine

00:10:03

and here i have a scene that is

00:10:06

basically the time of day

00:10:08

map and i've brought in a character for

00:10:10

scale reference and if you want to

00:10:12

access bridge from within unreal engine

00:10:14

5

00:10:15

you can access bridge just by going to

00:10:18

the content drop down menu and you will

00:10:21

see quixl bridge there

00:10:23

and we open up bridge

00:10:25

and i can pull it over to the side here

00:10:27

so we have a nice split screen of what

00:10:29

we're doing

00:10:32

and

00:10:34

once again you log into bridge

00:10:37

using the sign in

00:10:40

and my credentials should pop in there

00:10:42

because it remembers me from

00:10:44

[Music]

00:10:45

earlier today

00:10:47

and once again use your epic id and you

00:10:48

get full access to the entire mega scans

00:10:51

library now this should look very

00:10:53

similar identical to a bridge same

00:10:56

number of assets that you saw in the

00:10:58

standalone bridge here

00:11:00

we have the same landing page as you saw

00:11:03

before the same collections that you saw

00:11:05

[Music]

00:11:07

your ability to favorite assets is still

00:11:10

here so if i'm working through and

00:11:11

making collections or selections for an

00:11:14

art director or so forth i can go in and

00:11:16

say well you know let's

00:11:18

put this into my favorites collection

00:11:20

let's put this into my favorites

00:11:22

collection and then when i come down

00:11:23

here to favorites you'll see these two

00:11:25

are now added into my favorites

00:11:27

collection and i can show those to an

00:11:29

art director or whatever the case might

00:11:31

be

00:11:32

once i begin to download these assets

00:11:34

they actually come into a local

00:11:36

repository here and in my local

00:11:38

repository

00:11:39

if i need to manage that local

00:11:41

repository i can come to my preferences

00:11:43

here and this is where that local

00:11:45

library path is and so one thing that's

00:11:48

important to note is that all of the

00:11:50

assets inside of qixel bridge inside of

00:11:53

unreal engine

00:11:54

early access with regard to 3d meshes

00:11:58

have the ability to be nanite meshes so

00:12:01

you want to make sure that that local

00:12:03

repository is uh

00:12:05

of a good enough size to handle all the

00:12:07

nanite

00:12:09

mesh size so

00:12:12

and one thing that's important also to

00:12:14

note is that as i'm selecting 3d meshes

00:12:17

for instance let's find something cool

00:12:20

to to download here let's say this um

00:12:24

wooden music chair you'll see that down

00:12:27

here now in this particular details

00:12:30

panel here

00:12:32

i can

00:12:33

choose to download this at low quality

00:12:35

medium quality high quality but also

00:12:37

nanite quality mesh

00:12:39

now i have the option to download it and

00:12:41

to add it to my project but one thing

00:12:43

that's really cool is that i can just

00:12:45

immediately drag it into my viewport and

00:12:48

let go of it and it starts to stream in

00:12:51

immediately and i instantly see the

00:12:53

texture even though it has not really

00:12:55

started downloading or it just begins to

00:12:58

download right the download process

00:13:00

begins

00:13:01

but i have instant access to this mesh

00:13:04

so i can bring it into my scene and put

00:13:07

it next to echo here and maybe hit the

00:13:09

end key

00:13:10

and slide it over next to echo and hit

00:13:13

the f key to zoom in on it and you can

00:13:15

see that i can actually see the texture

00:13:17

and start to work with it so you know if

00:13:20

i want to position at next echo

00:13:22

and maybe build a scene with the

00:13:26

the music stand and bring the music

00:13:28

stand and start to build a bit of a

00:13:30

scene

00:13:31

around echo with these assets even

00:13:33

before they've actually downloaded this

00:13:36

is a really helpful

00:13:38

workflow right so

00:13:40

you can see that

00:13:43

these assets are still downloading

00:13:47

though i can see the textures and

00:13:49

they're going to come in as nanite

00:13:50

meshes so maybe i want this chair as

00:13:53

well and i can drag this chair in and

00:13:55

put it behind her

00:13:57

and

00:13:58

you know once again start to build a

00:14:00

whole scene

00:14:03

even before all these assets are fully

00:14:06

streamed in

00:14:12

and then once they do fully stream in i

00:14:16

will see their full nanite

00:14:17

representation and that's really handy

00:14:19

so

00:14:20

and i can also do things like duplicate

00:14:23

them so you know before this asset is

00:14:25

fully streamed in i can bring this chair

00:14:27

in and make duplicates of it and do

00:14:30

level design type functions

00:14:32

so that can be a really handy pro tip

00:14:35

for everyone to be aware of is that you

00:14:37

don't have to wait for these things to

00:14:39

fully come into your scene before you

00:14:41

actually get to work with them do level

00:14:43

design manipulations and so forth

00:14:46

so you can see that my internet

00:14:48

connection is still being a little bit

00:14:50

slow here but they're all streaming in

00:14:54

but i don't even have to wait for them

00:14:56

to be fully streamed in for me to to do

00:15:00

everything i need

00:15:02

with them

00:15:04

so we'll wait for this one to finish

00:15:06

coming in here and i'll show you in a

00:15:08

second that as it finishes this last

00:15:10

couple seconds the actual nanite mesh

00:15:14

will process

00:15:15

and you'll see

00:15:17

it

00:15:18

give me a dialog box that says that it

00:15:21

is building the mesh distance field for

00:15:24

that

00:15:25

nanite mesh

00:15:26

and once it is complete here let me move

00:15:28

this dialog box over

00:15:31

actually it will not move and then we'll

00:15:33

see the final nanite mesh

00:15:35

so we'll give it one more second here

00:15:39

as it processes through and there's the

00:15:41

mesh distance feel and you see it

00:15:42

finally streaming in

00:15:44

and there is now the full nanite mesh

00:15:47

and if you want to verify that you can

00:15:49

actually come here to lit mode

00:15:52

go to nanite visualization and check out

00:15:54

the triangles and there's the actual

00:15:56

nanite mesh and as the rest of the

00:15:59

nanite meshes finish their downloads

00:16:02

you'll see them streaming as well

00:16:04

now the other thing that comes in from

00:16:07

bridge

00:16:08

is that you get full access to the

00:16:11

material instance and this is a a

00:16:14

next evolution of our material instance

00:16:17

and our master materials so these are

00:16:19

still

00:16:20

part of qixel bridge but it's now fully

00:16:24

integrated into unreal engine 5 early

00:16:26

access so you get access to albedo you

00:16:28

get access to

00:16:30

metalness

00:16:31

specular roughness parameters

00:16:34

normal strength and then you still get

00:16:36

access here at the bottom to the parent

00:16:39

material so i can double click on that

00:16:41

parent material

00:16:43

i can still go to that parent material

00:16:46

i can modify that parent material now

00:16:48

that's nested into a material function

00:16:51

so i can open up that material function

00:16:53

and we can take a look at that material

00:16:55

function and see that this is where our

00:16:57

color parameters are coming from

00:16:58

metallic parameters roughness normal and

00:17:01

you can see that it's now all being

00:17:03

funneled through a material attributes

00:17:05

node that has plenty of input so if you

00:17:07

want to add functionality of this master

00:17:10

material you can modify your existing

00:17:12

master material

00:17:14

or you can come in here and put in

00:17:16

additional nodes and modify it to your

00:17:18

heart's delight

00:17:20

now additionally if you want to create

00:17:22

your own master material there's a

00:17:25

little uh window here that gives you

00:17:27

access to the master material override

00:17:30

so you can create new master materials

00:17:32

new surface master materials plant

00:17:35

master materials as well as material

00:17:37

blend attributes that

00:17:39

allow you to blend multiple materials so

00:17:42

be aware that that's available to you as

00:17:44

well

00:17:46

now as our scene finishes here and all

00:17:48

of our messages stream in i can come in

00:17:50

here and take a look at our nanite

00:17:53

visualization and you can see that all

00:17:55

the meshes

00:17:56

are here and available to me and they've

00:17:58

all streamed in and that's all of our

00:18:00

nanite meshes

00:18:01

and

00:18:02

our entire library of 3d meshes is now

00:18:05

here and available to us and we can

00:18:07

check them all out and

00:18:09

there they are

00:18:11

so

00:18:12

make sure that you take full advantage

00:18:14

of all of these new features of having

00:18:17

15

00:18:19

800 assets uh that are now part of

00:18:23

unreal engine early access

00:18:25

and with that in mind i'm going to hand

00:18:29

the presentation over to galen who's

00:18:31

going to show you how he's built a scene

00:18:33

together and

00:18:38

let him take it from here so

00:18:40

over to you galen

00:18:41

all right thanks louis okay let's get

00:18:43

started here we're gonna start with a

00:18:45

new project

00:18:46

um i'm just gonna enter a name and we'll

00:18:49

just get going here inside a mixer so if

00:18:52

you're not familiar with mixer i'll just

00:18:53

kind of briefly run through the ui so

00:18:56

it's a very minimalist ui we don't

00:18:57

really have a lot going on here but

00:18:59

we've kind of nested everything in such

00:19:01

a way to where all the tools and all the

00:19:04

things that you would come to need for

00:19:05

texturing

00:19:07

are really kind of nicely compacted into

00:19:09

this this user interface here so

00:19:12

the first thing that we're really going

00:19:13

to do is actually start to add in the

00:19:15

surfaces that we want to start mixing

00:19:16

with

00:19:18

and i'll just kind of show the ui as we

00:19:19

sort of go here so as you see on the

00:19:22

left here i can see my local library and

00:19:24

this will show all the different things

00:19:26

that we currently have that are in the

00:19:27

library here and i can isolate

00:19:29

individual components these are actually

00:19:31

elements that i currently have

00:19:33

downloaded on my drive right so

00:19:35

everything here inside a mixer is is

00:19:38

also the same type of content that we

00:19:40

have downloaded inside of bridge so

00:19:41

everything that lewis just showed as far

00:19:44

as what the local repository looks like

00:19:46

on your drive

00:19:48

it can be matched one-to-one just by

00:19:50

making sure

00:19:51

that your repository location for both

00:19:53

bridge and mixer point to the same path

00:19:56

so that's a really important note when

00:19:57

you start working with both applications

00:19:59

here in tandem so these are all just the

00:20:02

different pieces that i currently have

00:20:03

downloaded on my drive but we also get a

00:20:05

direct feed

00:20:07

to all the newest elements of the mega

00:20:09

scans library as they go up live so day

00:20:11

and date every new component that goes

00:20:14

in

00:20:15

you'll see it reflected here in the

00:20:16

online tab and again we can sort and

00:20:18

search in the exact same way right so i

00:20:20

could just type in wood and just kind of

00:20:22

generally see

00:20:23

from most recent

00:20:25

and i can change that actually to

00:20:27

feature it also as well um and then we

00:20:29

can actually isolate here so say i just

00:20:31

wanted to look at only the 3d components

00:20:33

that actually make up the wood category

00:20:35

under my search and that shows me

00:20:37

everything that's here and then from

00:20:39

there all i need to do is just go to

00:20:41

download settings and i can isolate

00:20:42

exactly what it is that i want for the

00:20:44

use case

00:20:45

for the project that i'm working inside

00:20:47

so

00:20:48

in this case what we're actually going

00:20:50

to do to start is i'm going to

00:20:53

just wipe this away here in my search

00:20:55

and i'm going to go to surface and i

00:20:57

want to type in ground

00:20:59

and this is going to give us a good

00:21:00

jumping off point to kind of start the

00:21:03

demo here so i'm going to find something

00:21:04

that i think is kind of interesting i

00:21:07

really like this here so i'll go to my

00:21:08

download settings and i'm actually going

00:21:10

to download the highest resolution

00:21:12

version of this scan and the reason for

00:21:14

that is because mixer is a completely

00:21:16

non-destructive

00:21:18

workflow as far as material authoring

00:21:19

and creation so what that means is that

00:21:22

literally at any point in the workflow

00:21:24

we can take non-destructive approaches

00:21:26

to the way that we're actually

00:21:27

addressing

00:21:29

the material needs that we have for our

00:21:30

specific use case so in this case i'm

00:21:33

going to download definitely the highest

00:21:34

resolution version of this and now of

00:21:36

course we're going to be using unreal

00:21:37

engine so i'm going to set my material

00:21:39

preset here to unreal and then i can

00:21:41

just isolate the different components

00:21:42

that we actually need

00:21:44

so for this surface to really kind of do

00:21:46

what we want it to do we're just going

00:21:48

to make sure that we have albedo normal

00:21:50

and roughness those are the big ones for

00:21:51

me

00:21:52

displacement is checked on here by

00:21:54

default just so that we have that and we

00:21:55

can start to download this asset now

00:21:58

and then the next thing that i want to

00:21:59

do is i want to find actually a snow

00:22:02

material that i think would be kind of

00:22:04

nice so i'll actually grab

00:22:06

maybe this windswept snow here yeah this

00:22:10

is pretty great so the same download

00:22:11

settings um for this one as well so i'm

00:22:13

just going to go to unreal engine 4 and

00:22:16

make sure that i have this set up

00:22:19

and i don't need ao so let's start

00:22:21

downloading this and then in the

00:22:23

background these two elements are just

00:22:24

kind of

00:22:25

downloading for us here and then the

00:22:27

second that those are done i can go to

00:22:29

my local library here on the side and i

00:22:31

can add them into the to the canvas here

00:22:33

directly so if i just left click on any

00:22:36

one of these surfaces

00:22:38

this will actually drag them now into my

00:22:40

into my canvas and we can start mixing

00:22:42

with them um so i'll start with just

00:22:44

this one just to start here so if i hold

00:22:47

shift and right click that will move my

00:22:49

light around and you can see we're

00:22:51

getting some really nice displacement

00:22:53

and tessellation on this surface here

00:22:56

we've got these nice stones and some

00:22:57

nice sand

00:22:59

and this is going to be really really

00:23:00

great

00:23:01

to just start the mix here

00:23:03

and i'm just going to

00:23:05

run through a couple of the settings

00:23:06

here on this side so you can see

00:23:08

so like i was saying mixer is completely

00:23:10

non-destructive here so if i offset this

00:23:13

scan in any direction you can see that

00:23:15

we if i hit t on the keyboard we

00:23:17

maintain that tiling so

00:23:19

everything that we're doing here

00:23:20

preserves tiling throughout the entire

00:23:22

process which is pretty neat because we

00:23:24

could even take a really extreme example

00:23:26

here and i'll add in a paint layer just

00:23:28

to illustrate this point and big make my

00:23:30

brush size here pretty large so if i

00:23:32

start to paint

00:23:34

and i'm painting right now on albedo

00:23:35

metalness roughness and displacement

00:23:37

here on the side and you can see

00:23:39

that what it's doing is if i hit t on

00:23:41

the keyboard it's actually correcting

00:23:43

for that and making sure that every

00:23:44

brush stroke that i made there is

00:23:46

actually continuing to tile throughout

00:23:48

the entire process so this really makes

00:23:51

it just

00:23:52

incredibly simple to go in make some

00:23:54

pretty awesome mixes

00:23:57

and then be able to have the tiling just

00:23:59

resolve itself instantly

00:24:01

so

00:24:02

the next thing that i want to show here

00:24:03

on the side is that each individual

00:24:05

channel here is represented now what we

00:24:07

can do is we can actually go in here and

00:24:09

start to change maybe the color of these

00:24:11

different scans if we want to so maybe

00:24:12

i'll just make this just a little bit

00:24:14

darker and maybe bring in a little bit

00:24:16

more saturation from what we had before

00:24:18

and i can even up the contrast of this

00:24:20

here so if i isolate just my albedo by

00:24:23

hitting 2 on the keyboard you can see

00:24:25

that i can up the contrast of the skin

00:24:27

and really kind of pop some of those

00:24:29

additional details here and we just get

00:24:31

something a little bit more interesting

00:24:33

just just with some really basic

00:24:34

manipulations here and

00:24:36

in the same way that we can manipulate

00:24:37

you know the color and all these

00:24:39

different things we can also affect the

00:24:40

roughness here so if i wanted to make it

00:24:42

completely rough and not have

00:24:44

really any uh any reflections whatsoever

00:24:47

i can make it all the way white or i can

00:24:49

lower the the roughness all the way down

00:24:51

here to make it like it's maybe just

00:24:53

completely wet so there's a bunch of

00:24:55

different ways that we can start to

00:24:56

manipulate this but i'm just gonna keep

00:24:58

it inside of the actual scan value just

00:25:00

to kind of keep things

00:25:02

within our kind of physically based

00:25:03

realm here so

00:25:05

the the next thing i want to show

00:25:08

is that i'm going to bring in that

00:25:09

additional scan here so we downloaded

00:25:11

the snow and what i want to do is

00:25:13

actually just bring in that windswept

00:25:14

snow so i'll just click on that tile and

00:25:16

bring it directly into the viewport here

00:25:18

now what's cool about this is that we're

00:25:20

able to mix in a bunch of different ways

00:25:23

here so it drops it kind of in the

00:25:25

center

00:25:26

of this and if i t on the keyboard you

00:25:27

can see once again that we actually get

00:25:29

tiling across every seam so this is

00:25:31

pretty unique uh being able to kind of

00:25:33

maintain that tiling here so if i if i

00:25:36

slide this height

00:25:37

up and down here on this surface

00:25:40

then you can see that we're actually

00:25:41

getting that snow to start to sit

00:25:43

exactly the way that we would want it to

00:25:46

inside some of those deeper parts of the

00:25:48

actual scan now if i go to my blend

00:25:50

radius and i move that up you can see

00:25:53

that what that's doing is actually

00:25:54

bringing in more of that surface the the

00:25:57

further i drag it to the right now if i

00:25:59

bring it down to the left we get kind of

00:26:01

a steeper falloff and a much more

00:26:03

defined line as far as exactly where

00:26:07

that snow actually sits here so i want

00:26:10

to have it somewhere

00:26:11

kind of in the middle here because i

00:26:13

really like you know you can see here

00:26:14

maybe in this patch

00:26:17

being able to have like the snow

00:26:18

actually bleed into these different

00:26:19

parts and as you can see we get a really

00:26:22

nice tiling surface here and just out of

00:26:24

the box i mean that's pretty awesome to

00:26:26

be able to just quickly see what it

00:26:27

looks like to bring in two different

00:26:29

scans and mash them together

00:26:31

all right so just to wrap this point up

00:26:33

here what i want to do is make sure that

00:26:34

the snow actually finds a really nice

00:26:36

place to sit in relation to

00:26:39

some of the other elements of the scan

00:26:41

here so i'm just going to bring that in

00:26:42

and then feather the radius here

00:26:44

slightly until we get kind of a

00:26:46

believable falloff for what that snow

00:26:47

would actually look like okay so then

00:26:50

this is what our final result is just by

00:26:51

mixing those two surfaces together and

00:26:53

again like i said all the tiling is

00:26:55

actually maintained across all this so i

00:26:57

could go back in and maybe offset just

00:26:59

the snow here so we get maybe different

00:27:01

parts of the unique features of this

00:27:03

scan to be featured in a more prominent

00:27:05

way

00:27:06

but that's how easy it is to start to

00:27:08

just blend

00:27:09

two surfaces together and actually get

00:27:11

something brand new all right so let's

00:27:13

actually start on a new example now i'm

00:27:15

actually going to move over into 3d

00:27:16

because what we've shown is that we can

00:27:18

do a really easy mix using surfaces but

00:27:20

act let's actually bring this now into

00:27:22

3d so

00:27:23

we'll call this nordic and we'll just

00:27:26

make it at 4k i don't need to save this

00:27:28

and we'll just start a brand new mix

00:27:30

here so what i want to start with is i

00:27:33

want to bring in one of our large

00:27:36

nordic scans here so we've got a bunch

00:27:38

of these on the site

00:27:40

but we'll start with just one

00:27:43

let's start with let's see let's start

00:27:45

with

00:27:46

this one i think this is pretty cool so

00:27:48

we'll bring this guy in here and it's

00:27:50

just going to load this in

00:27:52

and now we're going to be able to start

00:27:53

to manipulate

00:27:55

the surface of this 3d object and start

00:27:58

to re-texture this asset altogether so

00:28:00

real quick what i want to show is that

00:28:02

again since it's fully non-destructive

00:28:04

in the way that we're working here

00:28:05

um i have actually downloaded a couple

00:28:07

of different lods so i've downloaded

00:28:09

lod0 and i've also downloaded the high

00:28:11

resolution version so

00:28:14

we've already kind of talked a little

00:28:15

bit about nanite and some of the things

00:28:16

that it can do and so what we want to

00:28:18

make sure that everyone's kind of aware

00:28:19

of here

00:28:20

is that if you're re-texturing this type

00:28:22

of asset that you can actually kind of

00:28:24

get the really high-resolution version

00:28:26

of these assets to load in and

00:28:28

re-texture those directly so you could

00:28:30

mix at the lowest resolution the lowest

00:28:33

lod if you want and you're still going

00:28:35

to get great results but we're going to

00:28:37

load up the high resolution version here

00:28:39

and that high resolution version is

00:28:40

going to let us just have even access to

00:28:42

even more

00:28:44

detail than what we had

00:28:46

with our lowest or with our lod zero

00:28:49

all right so we've got this scan loaded

00:28:51

in now and as you can see we've got a

00:28:53

really detailed scan

00:28:54

we're getting so much geometric detail

00:28:56

from this guy and we're going to be able

00:28:58

to leverage a lot of that geometry to

00:29:00

actually help us

00:29:02

in re-texture this asset so what i want

00:29:04

to do to start is actually want to lay

00:29:06

down just sort of a base of something

00:29:08

that's going to be completely different

00:29:09

from what we have here color wise and

00:29:12

and some of the other unique

00:29:13

characteristics about this so i'm going

00:29:14

to load in a surface layer and what i'm

00:29:17

going to do here is i'm actually going

00:29:18

to search for iceland because i know

00:29:20

that i have this layered rock here that

00:29:22

is going to be perfect for what we're

00:29:23

trying to do um so this is going to be

00:29:25

my base layer and i'm going to drag this

00:29:27

guy into my viewport here just by

00:29:29

clicking on the tile

00:29:33

and this is just loading in all the

00:29:35

different components that we're going to

00:29:36

be texturing with here so the albedo the

00:29:38

normal the roughness displacement and

00:29:40

everything so as you can see

00:29:42

we just dragged that asset directly onto

00:29:44

this surface and then now we've got a

00:29:47

completely re-textured looking asset and

00:29:49

this is our starting place we're just

00:29:50

going to start to layer in some

00:29:52

additional detail here but i just wanted

00:29:54

to bring this

00:29:55

bring this surface in to start so that

00:29:57

we have something to build off of so

00:30:00

this is what we've got and i think if i

00:30:02

isolate just albedo you can see what's

00:30:04

cool about this surface is that we

00:30:06

actually get kind of this really nice

00:30:08

layered

00:30:09

kind of rock here so it's going

00:30:10

vertically right now

00:30:12

we actually want to change that so it

00:30:13

almost looks like it's sedimentary as

00:30:15

far as the way that it's stacked up so

00:30:17

what i'm going to do

00:30:19

is that

00:30:20

one since we switched over to 3d now

00:30:22

we've got a couple new bells and

00:30:23

whistles to play with as far as the

00:30:24

viewport itself so i can actually go

00:30:27

here in this radial slider and i can

00:30:30

move this around so that we actually get

00:30:32

a slightly different projection based on

00:30:34

the way that the surface actually

00:30:36

is projecting onto the 3d object and if

00:30:39

i move this element here in the middle

00:30:41

of the radial slider you can see that

00:30:43

now

00:30:44

we've got this sediment kind of moving

00:30:45

in a more horizontal fashion on the

00:30:48

surface so that's exactly what we're

00:30:49

going for we can also now since we're in

00:30:52

hexaplanar projection by the way you can

00:30:54

see that we have no seams whatsoever

00:30:57

it's actually projecting from all these

00:30:58

different axes and we're getting just a

00:31:00

completely airtight

00:31:02

basically projection of all these

00:31:04

different kind of surfaces and channels

00:31:06

kind of working together so as i start

00:31:08

to change the scale here on this slider

00:31:11

you can see that we're exposing more or

00:31:13

less of the detail as needed right so i

00:31:15

kind of like this being able to see a

00:31:17

couple different layers here just so it

00:31:19

seems like this rock is really old it's

00:31:21

obviously a much larger scan here as

00:31:23

well so in relation to the size of a

00:31:25

person this is actually right inside the

00:31:27

realm of what i think would be

00:31:29

believable for this type of asset and

00:31:32

we've got some really nice details

00:31:33

popping here

00:31:35

if you hit d on the keyboard by the way

00:31:37

that will turn on displacement and you

00:31:39

can turn that on or off depending on

00:31:41

what it is that you're you're mixing

00:31:43

for 3d scans i like to have it off just

00:31:45

because we're not using tessellation or

00:31:47

displacement inside the engine so

00:31:49

i want to make sure that

00:31:51

i'm just kind of working on the exact

00:31:53

version the same geo that's going to go

00:31:54

into our project

00:31:56

for right now though

00:31:57

this is perfect for what we need and i

00:31:59

can go into my height frequency here and

00:32:01

if i zoom in on the scan i can actually

00:32:04

bump the low frequencies if i want to

00:32:06

kind of get some of those larger shapes

00:32:07

or i can go to high frequency and kind

00:32:09

of get some more crispy detail from some

00:32:11

of those smaller elements

00:32:13

and i think i'll just bump that up

00:32:14

slightly because i think that gives us a

00:32:16

really nice textural feel

00:32:18

on this surface here just kind of

00:32:20

exaggerating some of the elements that

00:32:22

are already in this scan

00:32:23

so the next thing that i want to do is i

00:32:25

want to actually go in and start to

00:32:26

break up the edges of this asset so i'll

00:32:28

add in another surface layer and i'm

00:32:30

going to stay inside of iceland because

00:32:32

just nice to kind of grab something

00:32:33

that's from that same region and i'm

00:32:35

going to grab this rock it's a little

00:32:36

bit lighter

00:32:38

and this is just bringing in a new

00:32:39

surface all together and as you can see

00:32:41

this is now

00:32:43

on top of the entire asset just like we

00:32:45

had the the last surface um now what we

00:32:48

want to do though

00:32:50

is that we actually want to go and

00:32:51

isolate

00:32:53

just the parts of the scan

00:32:56

to where we actually want this to

00:32:57

actually land so what i want to do is i

00:33:00

want to right click on this surface here

00:33:03

and i want to add a mask stock and the

00:33:05

max stack what it does is that it allows

00:33:07

us to to mask out all the different

00:33:10

components in a bunch of different ways

00:33:12

here so to start i want to bring in a

00:33:13

curvature

00:33:15

component and what that's going to do

00:33:17

is if i hit 9 on the keyboard you can

00:33:19

see what the mask actually looks like

00:33:20

here so as you can see we're really kind

00:33:22

of bumping a lot of the edges we've got

00:33:25

some of that surface actually coming in

00:33:27

on some of the larger shapes but it's

00:33:28

completely uh devoid of of any detail

00:33:32

inside the crevices here and i can

00:33:34

change that here so i have default

00:33:36

curvature set if i change this to edges

00:33:38

only we get a more pronounced version of

00:33:39

what we're looking at or if we go to

00:33:41

cavities only that's basically the

00:33:43

inverse of what we were just looking at

00:33:45

um so now that would only be kind of

00:33:48

inside of the crevices now we want the

00:33:49

opposite of that right we want to

00:33:50

actually just bump the edges so i'll go

00:33:52

to this section here and i'll actually

00:33:54

just go into edges only and then edges

00:33:56

only is going to give us a really nice

00:33:58

projection just on the edges of this

00:34:01

asset and we can go and start to change

00:34:03

this and manipulate some different

00:34:05

components of this so if i had nine in

00:34:06

the keyboard once again you can see that

00:34:08

we're actually given this level slider

00:34:10

and we can actually start to to

00:34:12

anti-alias some of those larger surfaces

00:34:14

if we want to right so we can kind of

00:34:16

just isolate it to where it's even more

00:34:18

just pronounced on the edges

00:34:21

we can actually go into tightness here

00:34:22

as well and if i move that up you can

00:34:24

obviously see that we start to get a

00:34:26

really nice fall off of this and it just

00:34:28

becomes even more natural

00:34:30

depending on what you're going for you

00:34:32

know you can start to mess around with

00:34:33

some of these things and get just a

00:34:35

completely different result we can also

00:34:37

go to the opacity of this altogether and

00:34:39

start to really uh feather that back

00:34:42

depending on what it is that we're going

00:34:43

for

00:34:44

now another thing to keep in mind here

00:34:46

is that we also have blend modes and

00:34:48

what's cool about this is that i could

00:34:49

zoom in and just kind of take a look at

00:34:51

what the albedos are doing right now and

00:34:53

obviously we're getting you know just

00:34:55

kind of

00:34:56

a binary approach here either it's on or

00:34:58

it's off with this but what we could do

00:35:01

is we could actually isolate individual

00:35:02

channels so let's say the albedo and

00:35:04

let's say i want to overlay this and now

00:35:06

that we kind of get now if we add these

00:35:09

two together we get this result right

00:35:11

and then you know we get all different

00:35:13

types of blend modes to play around with

00:35:15

to kind of get the exact look that we're

00:35:17

going for so i'll keep it just in normal

00:35:20

and we'll just play maybe just a little

00:35:21

bit with the opacity and that's going to

00:35:23

give me the exact result that i'm going

00:35:25

for here as far as just highlighting the

00:35:26

edges here slightly and we're able to

00:35:29

kind of get something that just breaks

00:35:30

up the surface even more

00:35:33

so the last thing that i want to do

00:35:35

for this specific scan here is i

00:35:37

actually want to add in some snow

00:35:40

and the snow is actually just going to

00:35:42

land on the up vector faces of this

00:35:45

asset so to do that what i'm going to do

00:35:46

is go back to my local library and we'll

00:35:49

type in snow and since we've already

00:35:51

downloaded a fresh windswept snow we'll

00:35:53

just bring that directly into our

00:35:54

project

00:35:55

okay and now we have a completely snow

00:35:57

covered object right so what we need to

00:36:00

do is now completely change this so

00:36:01

where we only get the snow

00:36:03

exactly where we want it so again i'm

00:36:05

going to right click on this part of the

00:36:07

stack and i'll add in a mask stack

00:36:10

and what i'm going to do is i'm going to

00:36:12

go to the normal component here that's

00:36:14

on the side

00:36:16

and the normal component what it does is

00:36:18

it basically gives you a normal

00:36:19

projection based on this radial slider

00:36:22

so if i hit 9 on the keyboard

00:36:24

you can see exactly the way this is

00:36:26

actually being projected now so

00:36:28

from this side we're not getting really

00:36:30

much of any projection but from this

00:36:32

side we're getting fully blasted snow

00:36:34

just directly on the side of this asset

00:36:37

now what we want to do

00:36:39

is we actually want to change this so

00:36:41

that it's actually going up and down so

00:36:43

i'll just move this radial slider here

00:36:44

to where we actually get it to be

00:36:46

straight up and down so once again if i

00:36:48

just go to the top side you can see this

00:36:50

and on the bottom side we're not really

00:36:51

getting anything and we can affect the

00:36:53

range here as well so that we actually

00:36:55

start to dial this back and what i want

00:36:56

to do to really kind of denoise this

00:36:58

slightly is i actually want to change

00:37:01

the way in which this normal is actually

00:37:02

working because right now it's

00:37:04

incorporating all the work that we've

00:37:05

done on some of those other surfaces

00:37:07

right so it's picking up the other two

00:37:09

materials the other two rock materials

00:37:11

and you can see it's kind of

00:37:12

highlighting some of those edges here

00:37:14

from the ribbed part of the icelandic

00:37:16

scan i want to change that so that we're

00:37:18

only getting the mesh and this mesh is

00:37:20

now the only way that we're actually

00:37:22

kind of getting that world space data

00:37:25

right so if i change my my range here

00:37:27

you can see that now we've got just a

00:37:29

way more

00:37:30

kind of calculated approach the way that

00:37:32

the snow is actually kind of hitting the

00:37:34

surface

00:37:35

and again we can start to just feather

00:37:37

that range here slightly and really kind

00:37:39

of get that nice

00:37:41

realistic fall off that we would get

00:37:43

from actual snow

00:37:45

and what's cool about this now is that i

00:37:47

can actually go into this snow material

00:37:49

and maybe start to maybe blur some of

00:37:51

the underlying features so that it seems

00:37:53

like it's a little bit

00:37:55

a little bit more snow actually piling

00:37:57

up on the surface right and we can

00:37:59

actually

00:38:00

expose more of that if we start to

00:38:02

bring in less of that blur so i'll

00:38:05

probably find something

00:38:06

in the five or six range here because i

00:38:08

think that's actually really nice and it

00:38:10

just makes it so that there's a little

00:38:11

bit more snow it appears as if there's

00:38:13

more snow on the top side of this object

00:38:16

and what's really nice here about the

00:38:18

stack once again is that we're actually

00:38:20

able to work in a non-destructive

00:38:22

fashion here so we can start to add in

00:38:24

and mix and match components in the

00:38:26

stack so what i'm going to do is i'm

00:38:28

going to go and add in another component

00:38:30

and a similar component to what we've

00:38:31

already worked on which is the curvature

00:38:33

component

00:38:35

now as you can see

00:38:36

uh once i've added in this curvature

00:38:39

component that stomps all the work that

00:38:41

we just did down below right but it's

00:38:42

still here in the stack but we need to

00:38:44

make it so that these two elements play

00:38:46

together so what i'm going to do to

00:38:47

start is actually want to just highlight

00:38:49

the cavities only of this section so

00:38:52

that it seems like maybe snow has

00:38:54

started to pile up inside of

00:38:57

maybe just the crevices of this object

00:38:59

right

00:39:00

and this is already kind of looking

00:39:01

pretty good just out of the box but why

00:39:03

don't we start to dial this in a little

00:39:05

bit more maybe play with the levels

00:39:06

maybe adjust the tightness here slightly

00:39:08

and get something that's just a little

00:39:10

bit more uh kind of custom for what it

00:39:12

is that we're working on now what i want

00:39:14

to do is i want to actually get again

00:39:16

get the best of both worlds between

00:39:18

these two so if i toggle it's on and off

00:39:20

you can see that's just the normal this

00:39:22

is just the curvature now what we want

00:39:24

is actually a mix of both so i'll go to

00:39:26

my blending modes and i'll make sure

00:39:27

that curvature is selected because it's

00:39:29

on top

00:39:30

of that part of the stack and i'll go to

00:39:32

add and add is actually going to give us

00:39:34

the best of both of those worlds like i

00:39:36

said so now if i hit 9 on the keyboard

00:39:38

you can see that we're getting both

00:39:39

cavities and we're getting that up

00:39:41

vector approach and what's cool here is

00:39:43

i can go back into just this section and

00:39:46

maybe just play with the opacity here

00:39:47

slightly so that we get maybe have that

00:39:50

be just a little bit less pronounced

00:39:51

right so right around 25

00:39:54

and now it just seems like it's even

00:39:55

more kind of realistic maybe a little

00:39:57

bit more settled into the surface and

00:39:59

we've completely retextured this object

00:40:01

here just in a couple minutes so the

00:40:03

last thing i want to show

00:40:05

here inside of this is i actually want

00:40:06

to grab all this work and i want to

00:40:08

basically take the work that we've done

00:40:10

for this asset and be able to propagate

00:40:12

that same work across all the different

00:40:15

components that we have inside of our

00:40:17

environment so what i'm going to do

00:40:19

quickly is just add this to our group so

00:40:21

i'll just click on this folder icon and

00:40:23

we'll just call this

00:40:25

nordic01sm

00:40:28

and this is going to be a new smart

00:40:30

material for us so i will export this as

00:40:32

a smart material and what this is going

00:40:34

to do is going to allow me to save this

00:40:36

out so that i can then

00:40:38

re-propagate this all the same rules of

00:40:41

what we just textured back onto another

00:40:43

asset and i'll kind of show that

00:40:45

actually here really quickly all right

00:40:46

so just to illustrate this smart

00:40:48

material point what i'm going to do is

00:40:50

actually load in a different asset now

00:40:51

and so we'll load up

00:40:53

let's load up

00:40:54

this asset here this is another large

00:40:56

coastal cliff and we'll just see what

00:40:58

this looks like with the exact same

00:41:00

rules that we just made for this asset

00:41:02

with the highlighted edges the snow

00:41:04

sitting in the crevices and also the up

00:41:06

vector look

00:41:07

okay and so here's what that asset looks

00:41:09

like now that we've loaded up the high

00:41:10

resolution version of it and the way

00:41:12

that i like to think of smart materials

00:41:14

is really kind of just a starting place

00:41:16

for a lot of the re-texturing effort

00:41:18

that we would have for this particular

00:41:19

group

00:41:20

so while this kind of looks pretty

00:41:22

decent out of the box just with some of

00:41:23

the work that we've already done i like

00:41:25

to go in now and start to really kind of

00:41:27

dial in the exact look of what this

00:41:30

would actually be

00:41:31

and now that we're changing the shape

00:41:33

right so the scale of this asset is

00:41:34

obviously a little bit different but we

00:41:36

can start to make some manipulations to

00:41:38

this to actually bring it more into the

00:41:40

realm of what is believable depending on

00:41:42

the need right so just some really basic

00:41:44

kind of changes to this asset would go a

00:41:47

long way and so i definitely encourage

00:41:48

you guys if you're going to use smart

00:41:49

materials to go back and maybe just uh

00:41:53

use it as a starting place right maybe

00:41:55

you'll need to readjust

00:41:56

exactly what the edge highlight would

00:41:58

look like how much snow is actually

00:42:00

sitting on this asset and that's what's

00:42:02

cool about working inside of this

00:42:03

application is again it's all fully

00:42:05

non-destructive and we can get a lot out

00:42:07

of it so what i'm going to do just for

00:42:10

the sake of time is i'm going to export

00:42:11

all these textures into unreal i'm going

00:42:13

to load them back up inside of our level

00:42:15

and then we can start to actually see

00:42:17

what everything looks like now that

00:42:19

we've re-textured these assets and we've

00:42:21

got just a completely different look for

00:42:22

our environment so i'll jump over to

00:42:24

unreal so we'll see you here in a sec

00:42:26

all right so here we are back inside of

00:42:28

unreal and this is the scene with the

00:42:30

new texture so i've actually just loaded

00:42:32

up all the new textures that we just

00:42:34

mixed inside of mixer and i'm going to

00:42:37

now change this environment to make it a

00:42:39

little bit more snowy and cold than it

00:42:41

already looks so as you can see we've

00:42:44

got some of that nice snow kind of

00:42:45

sitting on the normals up here and

00:42:47

towards the mouth of the cave actually

00:42:49

which is pretty cool um but now we're

00:42:51

going to go and start to take this in a

00:42:52

different direction where we're going to

00:42:53

add in some new mega scans assets change

00:42:55

the lighting and start to really kind of

00:42:57

make this a little bit colder so what

00:42:59

i'm going to do to start is i'll go up

00:43:00

to my light and i actually want to

00:43:02

change this now to make it a little bit

00:43:04

colder so i'll bring it more into like a

00:43:06

blue

00:43:07

and maybe

00:43:08

bring in a little bit of saturation here

00:43:11

and just kind of bring this more into

00:43:13

the realm of something that would be

00:43:15

cold right um until we find something

00:43:17

that we kind of like there

00:43:19

and then if i hit control and l on the

00:43:21

keyboard now i have this hooked in with

00:43:23

the time of day settings so what this

00:43:25

does is it just kind of brings up a

00:43:26

little sun dial so if i hit control and

00:43:28

l you can see that now we're actually

00:43:30

getting a really nice kind of intuitive

00:43:35

way to start to move the light around

00:43:37

the scene without having to use any

00:43:38

gizmos directly here so

00:43:40

i'm just going to bring this and

00:43:41

slightly reposition the light here to

00:43:44

where we get something that's just a

00:43:45

little bit different

00:43:46

from what we had before

00:43:48

and we get some nice light shafts here

00:43:50

on the side here as well which are

00:43:52

really really nice

00:43:53

and just all of a sudden you know we've

00:43:55

kind of changed the look of this

00:43:56

environment just to be a little bit

00:43:58

colder and darker so i've already loaded

00:44:00

in like loose kind of demonstrating in

00:44:02

the last portion of the demo is that we

00:44:04

have these ice components that we just

00:44:06

dragged in using bridge and now i can

00:44:08

start to just bring these into our

00:44:10

project

00:44:11

and now we're going to get some really nice

00:44:14

kind of

00:44:15

snow and ice piled up

00:44:17

towards the the mouth of the cave here

00:44:19

so i'll just kind of move these into

00:44:21

place maybe scale them up here slightly

00:44:24

and then we get we start to layer in

00:44:27

some really nice detail uh just from

00:44:30

this snowy kind of set here and i like

00:44:32

to kind of pile these these assets up on

00:44:34

the side of the uh the cave here towards

00:44:37

the mouth and then we'll be able to

00:44:39

start to

00:44:40

rethink the the look of this cave

00:44:42

altogether here so once again i'm just

00:44:45

starting to drag in some of these guys

00:44:47

and then i also have some decals that i

00:44:49

think would look really cool here so

00:44:51

i've actually already loaded these guys

00:44:53

in and what's cool about these so i'll

00:44:55

just kind of move my camera here

00:44:56

slightly so we can see is it these

00:44:58

decals what i've done is i've just

00:45:01

loaded in a standard default mega scans

00:45:05

decal and i've brought in a different

00:45:07

kind of material here where we're

00:45:08

actually getting that windswept snow

00:45:10

that we were looking at and i've just

00:45:12

loaded that directly into

00:45:14

the actual decal here and what that does

00:45:16

is that now we're able to play with

00:45:19

these decals that would help us marry

00:45:22

some of these elements together a little

00:45:24

bit more so as i move these kind of into

00:45:26

place you can see that now

00:45:28

we're able to cover some of these

00:45:30

different portions with a more windswept

00:45:33

snow and we've got that nice

00:45:34

directionality on the surface here and

00:45:37

this will just help us especially with

00:45:38

some of these larger assets as we start

00:45:40

to place them you know up against the

00:45:42

sides of the cave and everything like

00:45:44

that

00:45:45

we're going to be able to help marry

00:45:47

some of these assets together and just

00:45:49

get a much more believable look once we

00:45:51

start to move these into place

00:45:55

all right and here's our finished look

00:45:57

guys thank you so much for tuning in to

00:45:58

this presentation i really hope you guys

00:46:00

learned something and if you have any

00:46:02

questions whatsoever with anything that

00:46:04

we've covered today

00:46:05

we're going to be hanging out taking

00:46:07

questions

00:46:08

uh and anything you guys

00:46:10

want to ask just feel free to drop into

00:46:11

the chat so thank you so much for your

00:46:13

time today and we'll catch you guys in

00:46:15

the next one thanks

Description:

메가스캔 라이브러리를 언리얼 엔진에 직접 통합하는 방법과 퀵셀 믹서를 사용하여 환경의 전체 분위기를 바꾸는 방법을 보여줍니다. 언리얼 엔진 시작하기: https://www.unrealengine.com/ko/

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