All language subtitles for 1月30日 (1)

today we're talking about one of the most

underrated aspects of 3D

and that is lighting

those of you familiar with my channel know that

most of my Unreal Engine videos

target the more

advanced users

so I figured I would change it up a bit

and talk about lighting

for the absolute beginner

if you don't know anything

about lighting or how it works

let alone how to get things looking good in Unreal

Engine this is the video for you

and just to be clear

in this tutorial we'll be using lumen and UE5

with a fully dynamic lighting approach

we will not be learning about baked lighting

so I'm not gonna waste any more time with the intro

let's jump straight into lighting

right after I tell you about my sponsor

so a big thank you to

CG Spectrum for sponsoring this video

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they're an Unreal Authorized Training Center

and Unreal Academic Partner

and their courses include personalized

mentorship from industry professionals

I help develop their real time 3D

technical and virtual production course

I mentor their part time myself

and

here are a few examples from some of my own students

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with the help of an industry

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do check out the link down below or visit tgspectrum

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you'll get the most practical and up to date knowledge

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so thanks

again to CG Spectrum for sponsoring this video

and now let's jump straight into lighting

all right so now that we're unreal

we need to make sure

that our project settings are set up correctly

to make sure that everything behaves as expected

to get the best possible results

and make the most of what Lumen has to offer

so we're going to go to the settings tab up top here

click on Project Settings

and in the search detailed panel

we're going to search for Directx

and we need to make sure that our default

RHI is at the Directx 12

and Directx 11 and 12sm5 is turned on

next we're going to scroll down to the

rendering tab right here

and by scrolling down to the Lumen section right here

we need to make sure that we have the following

project settings

set up correctly

dynamic local illumination set to Lumen

array lighting mode set to Surface Cache

software Ray tracing mode set the detail tray thing

shadow map method set the virtual Shadow Maps beta

and one more thing that I like to have turned on is

support hardware ray tracing

turned it on

and use hardware ray tracing when available

now keep in mind the hardware ray tracing

settings are only going to work if you have a GPU

that is capable of hardware ray tracing

so any of the Nvidia

RTX cards will work just fine

if you don't have a GPU that can do ray tracing

don't worry if not the end of the world

you're still going to be able to get good results

but I like to use it because in many cases

Ray traced shadows will look

much better as you're going to see a little bit later

so with these project settings changed

you're going to have to restart the engine

and it's going to have to recompile all the shaders

so go make yourself a cup of coffee

and then we'll be ready to get started

so I'm going to x this out

and now we have a blank scene here

and I'm going to show you

everything you need to know

about every light that is available in Unreal Engine 5

and in order to create our first light

we need to go to the place actors tab

and in the little light icon here

you'll have a list of all the available light

if your UI looks a little bit different than mine

don't worry you can go to the Windows tab

load layout and I'm using the ue4 classic layout

just because I like the way that it is set up

to me it works a little bit better

so if you want to follow along

this the layout that I am using

so let's start off with the

first light here and that is the directional light

I'm going to drag and drop this into my scene here

and as you can see as I rotate around here

the directional light does with the name implies

it behaves a lot like

a sun or moonlight or any kind of light that is very

directional in nature

so directional lights are usually used for

exterior environments

or when you want to have sunlight

shining through a window

for interior environments

now what's really cool about

Lumen is that it just works out of the box

and as you can see here

we've got some nice indirect lighting

lighting up our character here

because if Lumen was disabled

it would actually just be pure black like this

but thanks to Lumen

we do get a little bit of that nice

bounce lighting bouncing off the ground here

now you can choose the settings of every single light

in the detailed panel on the right hand side here

so here we've got the transform tab

we've got the mobility and the light setting

so we can choose the intensity of the light like this

we can choose the color of the light like so

or alternatively you can choose the color

temperature by clicking on this

and making the light warmer or colder like that

now you're gonna see here

we have a bit of a weird thing called mobility

and you'll see we have static

stationary and movable

so Unreal Engine has two different lighting methods

we've got baked or static lighting and we have

dynamic lighting

now this tutorial is not going to cover baked lighting

because baked lighting is a little bit more advanced

there's way more moving parts

there's a lot more that can go wrong

I myself prefer to use

dynamic lighting because what you see

and what you get there's

it just works very well out of the box

it works extremely well with lumen and it's actually

way easier to use and is more beginner friendly

if you are interested in baked lighting

I do have a tutorial on baked lighting right here

I'll put the link down below the like button

so static and stationary lights are for baked lighting

exclusively

you may have seen this message over here before

that's because your light is either set to static or

stationary so to get rid of this message over here

just set your light to moveable

you'll also get better results

some lights actually don't look right

if you don't set it to moveable

the default is stationary

so when you create a new light

just

switch it to moveable right here

to be safe

so the next light we're going to talk about is

the point light

and the point light again does what the name implies

if a point of light

very similar to a light bulb it emits light in all

directions just like the direction of the light

you can control the light color

the intensity of the light here

same thing next we have the spot light

and again the spot light does what the name implies

it is literally

a cone that emits light

in a spotlight fashion

so if you want to have light being emitted in a conical

pattern the spotlight is the way to do that

you can control the shape of the light

in the detail panel of that spotlight

next we have direct light here

and this is possibly my favorite light of all time

because

direct light behaved the same way that a softbox does

for any of you who are familiar with photography

or filmmaking

softboxes are what gives us very soft diffuse lighting

it is very appealing

to you for portraits or any kind of cinematic work

notice here how the shadows are

nice and soft and diffused

wherea if I delete this and play the point light

you'll see

these shadows are completely hard

the reason for that is because the rect light

is a bigger light

but we're gonna get more into the specifics of that

really soon so again

the rect light here gives us really nice soft shadows

looks absolutely fantastic

and by increasing the intensity

you'll see the shadows get nice

and soft as they move further away from the subject

here you can change the sides of the light like this

by adjusting the source width

and the source height

to make a larger light source

if we pay attention to my

chrome ball over here

you'll see the reflection of the rect light show up

and if I change the source width like this

you'll see the shape of the light

is actually changing in the reflection

so that can be very handy to know about

now the next light here is the skylight

but I'm not going to talk about that right now

the skylight is a bit of a can of worms

it's the beast of its own

and I've actually made a dedicated tutorial

about the skylight right here

again I'll put the link down below

we will be using the skylight in this tutorial

but in a different context

now the last light actor I want to show you is the

HDRI backdrop

and if you don't see that here

don't worry you just need to enable the plugin for it

so we're going to go right here to the settings tab

go to plugins

and we're going to search for HDRI

and just enable the plugin

restart the engine and

it should show up in your list right here

so the HDRI backdrop is

awesome because by just drag and dropping it here

like this and moving it up a little bit there we go

now we have kind of a skylighting showing up

and lighting our entire scene up

very nicely

and as a result it has an HDRI projected on a dome here

so if I select the sky here and press the F key

you'll see the HDRI projected on the dome

if I were to change the Cubemap here

in the detailed panel

to something like Ostrich Road 4K

and going back here

now we've got a nice overcast day feel

very Misty cool little mountains in a road

we can change the projection center by

clicking on the little diamond here

and lifting it or lowering it accordingly

it's a really cool little tool to use

but I wouldn't use this as my main source of light

in my environment

but it can give you a really good starting point

we can also increase the intensity of this

HDRI backdrop in the detailed panel

right here so now that we have an

understanding of all the light we can create

I want to talk about lighting

basics and some of the most

important things to know

when it comes to lighting

and that's shadows

so by deleting this right here

I'm going to create another point light right here

if you remember just earlier when I showed you the

Erect Light we had really soft shadows

that's because the light source was bigger

but what if I told you

that we can get soft shadows with

any of the other light actor that I just showed you

so right here I've got my point light selected

and I'm gonna zoom in here

and you'll see in a detail panel here

we have source radius

if I start increasing this like that

you'll notice a bit of a yellow gizmo show up around it

that is actually the size of our light

so we can actually give it a shape and a size

and as a result notice what happened to the shadows

the shadows got soft

if I make it smaller back to 0

and make it larger notice my shadows are getting softer

this is what we call the shadow panumbra

and basically

it really boils down to

the larger your light sources relatives your subject

the softer your shadows will be

this is the most important part of lighting

understanding how to get soft shadows

understanding when shadows should be soft is

the most defining part

of taking your lighting to the next level

because when you have an understanding of how

when and why shadows are soft

you are going to be looking at lighting

in a completely different way

a classic example to demonstrate

when

shadows are soft or that when they shouldn't be soft

is to think about when you're walking in a parking lot

in the middle of summer on a cloudless day

the shadows are very hard and sharp

very harsh lighting

but then you look at an overcast day

and the shadows are all soft

and you might think

that contradict what I would do telling you

the larger the light source

the softer your shadows will be

but the sun

is the largest light source in our solar system

so why would the shadows be sharp

and the reason for that is because while the sun is

huge it is also extremely far away

and as a result

it's just a tiny little point in the sky

but in overcast day however the entire sky

become our light source

the light is diffused by the clouds and as a result

that softens our shadows

even though the sky is physically smaller than the sun

the sky is closer to us

and as a result it softens the shadows

so we can change

the source radius on every single light

except for the skylight and the HDRI backdrop

so by deleting this light here

and if I create a directional light here

that is the movable

if I increase the source angle to something like 10

you'll see my shadows got soft

and notice what happens in the reflection

of our chrome ball here

this little white dot here is our sun

if I select my directional light

and change the source angle back to default

it is much smaller and our shadows are sharp again

make it larger

so that the source angle back to 10

and it softens our shadows

this isn't a secret sauce

this is the magical setting

that can

really help you take your lighting to the next level

now with that said

I want to take the time to show you the difference

between the default Lumen virtual shadow maps

and raytrafed shadows

so to demonstrate that

I'm going to create a rect light here

drag and drop it here like that

and

what I want you to pay attention to is the following

so by zooming in here you'll see

their shadows are kind of

sharp they're soft

but they're also kind of sharp

we get this odd banding we get this artifact here

the same thing here we get a bit of a hard edge there

this is a limitation of virtual shadow map

you can't push the shadow panumbra

that far before it starts falling apart

that's where raytray shadows come in

this is why I recommend using hardware ray tracing

if you have it it will make a big difference

so if I select my rect light here

and search for ray

you'll see here I've got cath ray tracing shadows

I'm gonna set this here

and before I do

pay attention to the quality of the shadows right here

so to enable

you'll see the shadows got

much softer much better

no more ugly artifacts the shadows are just

better in every single way

it's day and night if no comparison

to demonstrate this even further

I'm going to rotate my light like this

put it way above like this

and make my light massive

so I'm gonna

change my source width to something like 300

by 300

and so now we've got this really cool

Moody top down look on our character here right

the shadows are very soft and diffued

the lighting actually looks pretty cool

but if I select my rect light here

search for Ray and revert this

back to default virtual shadow maps

notice how now their shadows are ugly again

they really look terrible

especially here we get this nasty harsh lines

again I'm pushing

the virtual shadow map to their absolute limit here

don't worry in most

situations virtual shadow maps are fine

I just wanted to really demonstrate the difference

between ray traced and virtual shadow maps

okay so again if I set this back down to

enabled we get these really really nice soft shadows

it looks a lot better

you'll notice though that when you push it too far

you'll see we got a lot of noise showing up here

and I hope you can see this in the video

but that's an easy fix

in the search details panel

we're going to search for sample

and we're going to set the sample per pixel to

4

and as a result it cleaned right up

everything looks a whole lot better

this does have an impact on performance however so

keep that in mind

now you might be wondering why I have four

random spheres of different colors here

these spheres are there to help you gauge the exposure

and lighting of a scene

we've got a black one with an albedo of 0.04

because no natural material out there

is pure black coal has an albedo of 0.04

so I'll be using that as my baseline

we've got a white one with an albedo of 0.85

because the albedo of fresh snow is about 0.8 to 0.9

no object or material out there reflects

100 percent of all the light

everything absorbs at least a little bit of light

so you don't want

any material in your

scene to have an albedo value of 1

it's not physically possible

and it will throw off your lighting

then we have a gray ball here with an albedo of 0.18

which is

actually the middle gray value

you would think that the middle gray value between

0 and 1 is 0.5 right

50 percent gray

well not quite

exposure is a bit more complicated than that

and it is not linear

this may seem counterintuitive but 18 percent gray is

in fact the middle gray between black and white

this gray ball

helps you figure out the correct exposure

of a given scene

at least it should give you

a really good starting point

then lastly we have a chrome ball

which helps us see

what is being reflected in the scene

I recommend having these in your scene at all

times when lighting

they're really going to help you

now one of the main advantages of using

lumen involve the ability to

control the indirect lighting

so to demonstrate this

I've created an amazing looking house right here

so by going inside here

you'll see

we do have a little bit of indirect lighting coming in

on the top here and a little bit on the side

but it's not very much unfortunately

we have three different ways

to control the amount of indirect lighting

using lumen

the first and easiest way is to select your light

and increase the intensity of your light

so let's say if I set this to 50

you'll see as a result

we get way more indirect lighting coming inside here

but it's still not very much

the next thing we can do is

again selecting our directional light

and you'll see here we have indirect lighting intensity

if I set this to higher to something like 5

you'll see our indirect lighting has been accentuated

quite a bit

but that leaves us our third option

and this is actually the option you should keep in mind

most of the time

when you're using lumen

the albedo or the base color value

directly contributes to the amount of light

being bounced around

so by selecting this wall right here

and opening up the material itself

you'll see this base color of this material

had the value of 1818

as I increase this value

the indirect lighting will be accentuated accordingly

so if I set this to point 5

notice how now we have way way more indirect lighting

in our scene because like I said

the base color is the reflectance of our object

so the brighter our object is

the more it's going to reflect light

this is exactly how materials behave in real life

so if you notice that your

environment feels a little bit dark

and the indirect lighting isn't really doing

what you think it's supposed to be doing

make sure your materials are not too dark

this can help you get some extra indirect lighting

for free

without having to change any other light setting

and alternatively

if you want to reduce the amount of light

being bounced around

you can turn down the brightness

like this

and as a result very little light will be reflected

this is very important to keep in mind

when you're lighting your environments

always pay attention to the base color

or the albedo value of your textures

and your materials

hey so future will chiming in here

I just wanted to take a quick moment to talk about

something I get a lot of questions about

and that's in regards to very shiny

reflective or metallic materials

so zooming in here on my chrome ball here you'll see

we get some reflections but

this doesn't really look like a chrome ball at all

right because everything is black

this doesn't feel very metallic

and you might be wondering why

the reason for that is because

there's nothing to reflect in the scene

you'll see we have a totally black

empty blank scene

and as a result

metallic or reflective materials are not

necessarily going to look right

because shiny reflective materials are dependent on

having something to reflect

so a quick and easy way

to get something to reflect in here

is to add an HDRI backdrop like we added earlier

like this and you'll see right away we have our sky

and our environment around it

working just fine

and the reason that's working is because

this HDRI backdrop has a skylight actor in it

so I'm gonna delete this

and I'm going to create a skylight

I know I said I wasn't going to show you the skylight

in this part of the video

but in this case it is actually kind of important

in the search detail panel here we've got

sourcetype we've got SLS captured scene

and that's essentially going to

basically create an HDRI based on what is

around the skylight

again I talk about that in my skylight video right here

but what we're going to set it to right now is

SLS specified Cubemap

and this is basically where you load in an HDRI

and so contrary to the HDRI backdrop

the skylight is not going to create

an actual dome around you

this is only going to light your scene with an HDRI

so in the Cubemap section right here

I'm gonna select none

and just load in

whatever cubemap that is already loaded

you can import any HDRI you want

a great place to find these is by going to polyhaven

com

they have a huge library of free hdris to choose from

so great resource right there

I'm gonna use the HDRI forest right here

and you'll see

now we have our forest HDRI in here

now you'll see

the bottom of the horizon is totally black

and that's because in the skylight if we scroll down

in the advanced tab

we have lower hemisphere is solid color

I'm gonna turn this off and now you'll see

if I hide this plane here

we now have our HDRI affecting our chrome ball

the way we would expect

so that is how you can get

reflective or metallic materials to

kind of render correctly so to speak

again reflective materials are dependent on having

something to reflect

and if there's nothing there

they're not going to reflect anything

so pro tip

and with that said let's go back to past will

now one last thing I want to show you before we

start lighting our environment

that's emissive materials

so I'm gonna create what we call an emissive material

because lumen actually allows emissive materials

glowing materials to emit light

and I'll demonstrate right here

so we're gonna right click on our content browser

create a new material

I'm gonna call this emissive 0 1

I'm gonna open this material up

and I'm gonna create three nodes

I'm gonna press and hold the 1 key and click

press and hold the 3 key and click

and press and hold the m key and click

I'm going to select these two nodes

right click convert to parameter

and I'm going to call this one

light color

I'm going to call this one

light intensity

I'm going to plug light intensity into B

of the multiply node

and plug the light color

into the a of the multiply node

and plug the multiply into emissive color

I'm going to set the light intensity to something like

100

set the light color to something

ridiculous like a bright flashy orange or something

like that and hit OK

now we're going to hit save

I'm going to make this window smaller

and I'm going to apply

this material to one of our spheres here

like this and if I hide this rect light

you'll see this emissive material

is actually casting light

it is actually casting shadows

and this is awesome because

it can help

give your environment a little bit of oomph

but you don't want to rely on this too heavily

because if I zoom out here

you'll see a

if I zoom out too far

the light disappears

and you'll also notice that the

light itself is very noisy and splotchy

so like I said you don't want to have your entire scene

being lit exclusively with imisive materials

it's not going to look very good

but I still wanted to take the time to show you that

this does work

so now that we have an understanding of

how the lights work

how to bend and shape the light the way we want

now we're ready to get started and light

this entire scene here

from scratch

so I'm gonna go ahead

I'm going to delete all of these lights

and start off with a completely blank slate

and you'll see

it's a whole lot easier than you might think

so I'm gonna be using the megascans

abandoned apartment scene

that you can find for free

on the Epic Marketplace

so

go ahead and download that if you want to follow along

now before we get started

I want to do a little Segway into

explaining that

Lumen works a lot better with Nanite meshes

performance wise

you're going to get much better frame rates if

you convert as many meshes to Nanite as possible

I've made a dedicated video on nanite right here

so you can check that out if you're so inclined

but if I go here to lit go to Nanite Visualization

Triangle if you'll see

everything that has a colorful triangle on it

is actually a nanite mesh

this project here

the megascan the Benton department scene

does not have Nanite turned on by default

so what I did is in the content browser

I filtered by static mesh

and I selected the static measure

that I wanted to convert

right click Nanite enable

again I don't want to

dive too deep into the advanced settings here

because this is the beginner tutorial

but still I wanted to point you in the right direction

so with that little segue done

I'm going to delete all the lights in our scene here

start off from total scratch

and just so you know

this environment here has a skybox in the scene

we can delete that for now we're not going to need it

so if you're like me and you've deleted your lights

and you still

have some lights

in here and then if not totally black like I had it

the reason

for that is because there is still some baked

lighting information

in the scene

we're gonna click on the settings tab up top here

go to world settings

and we're going to search for 4th

and we want to click on 4th no pre computed lighting

click on this

hit OK and now

we just need to go to the build button up top here

and click on Build Lighting only

and now once you do that

all of your lights will be completely gone

there are no more lights

no baked lighting information and we're ready to go

so now you'll see we have a completely dark scene

and what we're going to do now is use

Unreal's most underrated tool

the environment light mixer

so going to window

E and V light mixer

and we have a new tab showing up here

and what we're going to do is we're going to create

skylight create atmospheric light zero

create sky atmosphere

create volumetric cloud and create height fog

you'll see okay we have something here

but if we move the camera outside

you'll see we now have

an entire atmosphere sky system

done for us with just a few clicks

if I press and hold a Ctrl

L shortcut and move my mouse you'll see

the sun moves in our sky the clouds react accordingly

and our sky changes color

based on the position of the sun

in the sky

this is such an amazing tool and I use this

every single time I start a new project

hands down every time

doesn't matter if I'm making an exterior environment

or an interior environment

this provides you a fantastic starting point

so I wholeheartedly recommend that you use this

moving forward

if you're working on an exterior environment

this gets you 90 percent of the way there

on the first try

so now we're going to go down here back into our scene

I'm going to use the control L shortcut to

get the sun shining in the

rough angle that I want it to

something like that

but you'll notice that

depending on where you're looking

where you're pointing the camera to

now you'll see

the interior of our scene got a bit brighter

but as I move to a camera this way

everything gets dark again

the reason for that is because of auto exposure

and the next step is to actually

turn off autoexposure

because that's really annoying

and I don't like that I don't want

unreal to automatically

adjust the brightness of my scene for me

no bad dog so

what we're going to do is we're going to create

a post process volume

and this is quite possibly

one of the most important tools

in your theme

the post process

volume is where you control the exposure of your theme

some camera settings

all the lumen quality settings

your ray tracing settings

so you need to have a post process volume in your theme

just let you know

I will call this the PPV moving forward

it's easier to say

so now in the playsactor tab I'm gonna search for post

and drag and drop a post process volume in my scene

like this

the actual position of the PPV does not matter

because in the Search Detail panel here

we're going to search for unbound

and set the infinite extent unbound on

this means that the post process

volume is going to affect

the entire scene

regardless of where it is in the level

by the way pro tip if you want to hide these icons here

you can press the G shortcut

now we need to select our PPV and search for

EXP short for exposure

and this is where we're going to disable auto exposure

so now we need to change a few things

metering mode we're going to set this to manual

and now you'll see it go totally black

that's fine don't worry

next we need to check apply physical camera exposure

and turn this off

so now this is how you can easily disable

auto exposure

because now regardless of where the camera is looking

it's not getting brighter

and that's good we don't want unreal to do that for us

but you know it's way too dark

obviously

it doesn't look like Lumen doing anything for us

why is that

and you'll see that the sky is actually well exposed

right the sky looks great it's fantastic

and you might think that's weird but

this is exactly how cameras behave in real life

and looking at this example here

if you've ever been inside and you try to take a

photo of something outside

if you expose for the outside

the inside of your house or your apartment or whatever

will be completely underexposed

alternatively if you try to expose for something inside

the windows will be completely blown out

overexposed way too bright

this is how cameras behave in real life

because cameras don't really have the dynamic range

to capture both

the very

very bright areas and the very very dark areas

okay so

understanding exposure is really important as lighter

I cannot stress as enough it's so important

and so I'm going to demonstrate

how we can drastically change the look of the scene

with one slider

you do not need to go ahead and

select your directional light

and increase the brightness

yes that will work like that

but we don't need to do that because then it kind of

throws off the brightness of all the other lights

if you have multiple light systems in your scene

I'm going to leave everything at default

and all I'm going to change

in the potefrothen volume

change the exposure compensation slider here

and I'm going to increase this slowly

you'll see now

this is before and this is after

by adjusting one little exposure slider

we haven't changed

any default settings of any of our lights

it just works really well

just like that

and now we have Lumen

doing all the hard work for us by lighting up

the rest of the apartment with indirect lighting

see here the light is kind of shining through the door

hitting here and bouncing up and

lighting up the rest of our scene

it's fantastic

and if I hold the control L shortcut you'll see

the lighting changes drastically

as the sun changes

that is the beauty of Lumen

Lumen makes lighting

much easier with just a few clicks

using the environment light mixer

and adjusting the exposure compensation

we got our scene in a very good place

I would say we're about

85 to 90 percent done already

but there's still

one or two more things we can do

to really push this scene to the next level

and what we're gonna do now

is we're gonna select our exponential height fog

scroll down

and we're gonna turn on volumetric fog

because I want to have some God raids shining through

here and

I'm not a huge fan of the bluish tint

that the fog has here

switching this to volumetric fog

it's going to fix that for us

so by clicking here

you'll see now we got rid of the bluish ugly tint

and we got a bit more God ray shining through

you'll see the God rays are not very visible though

so we can go accentuate those

very easily

by selecting our directional light and scrolling down

and we see here we have the

volumetric scattering intensity

I'm going to set it to 10

to really exaggerate it for effect

and you'll see now we have god rays shining through

our windows thanks to volumetric fog

so you'll see

environment light mixer

exposure compensation

volumetric fog

and we've gotten our scene in a very good place

as I rotate the sun

the fog is going to update automatically

it is frankly ridiculous how

easy it is to get the scene looking

so good so quickly

now I do want to show you a nifty little way to art

direct the volumetric fog a little bit

if I zoom in here

and

you'll see the volumetric fog is visible from the side

right what we can do

is we can change the way that the volumetric fog

behaves and how it looks

by clicking on the exponential high fog actor here

scrolling down to the volumetric fog section

and we're going to change the

scattering and distribution

value to something like 9

and your first reaction may be

oh no we lost our god rays

but not quite

they're just visible differently

if I moved a camera

to have it looking up toward the light like this

you'll see the very dreamy

light shaft shining through here

depending on your shot

this can absolutely be the result you want to go for

if I

were to revert this back to default setting which is

0 point 2 right here

you'll see

it's similar but it's not quite the same look

right again

point 9

it's a little bit more of a slightly dreamier look

there's no right or wrong answer here

this is purely an art direction setting

this allows you to get full control over the look

of the shot you're going for

but for now

I'm going to leave it back at default settings

right here because I do like

the God rays being visible from the sides like that

now while we're here

you may notice that we have a little bit of flickering

up here

sometimes in some of the indirect lighting areas

we get a bit of jitteriness

I hope you can see that in the video

it's not always very obvious but

hopefully it just gets the point across

there's a few things we can do to fix that

or at least make it a little bit less noticeable

so we're going to go into our PPV

in a search detail panel we're going to search for

Lumen and the setting we want to change here

are the Lumen scene lighting quality

final gather quality

and the final gather lighting update speed

I'm going to set this to 2

set this to 2 as well and set this to 0.5

and now hopefully you can see

the jitteriness is not quite as apparent

it's still kind of there

but it is a lot better than it was

if I revert this back to default

you'll see it's definitely a little bit worse

so using these values can definitely help your scene

jitter a little bit less

this may not be the finest example

but I hope it gets the point across

so here I'm gonna show you real quick

how to utilize the 4 spheres I talked about

earlier in the video

by placing them right here

you'll see this gives us a pretty good indication of

what the exposure of the scene is at and

what the brightest and darkest materials

are looking like

so you'll see

we can clearly

tell the shape of every single one of these spheres

that tells us that this scene is pretty well exposed

if for example

I select my post process

volume and underexposed a little bit

something like that

this part of the scene might seem fine but

looking at the black sphere here

it almost disappears in the shadows

that tells us that our scene is a bit underexposed

anything that have a very dark material will just be

clipped and may disappear

conversely

if I were to overexpose the scene a little bit

something like that

this might seem great looking into the hallway here

this might seem really good

but we can kind of tell that

we've lost some detail in our white sphere here

it's not an exact science

these spheres are really there to just

guide you more than anything else

so going back to the exposure that was before

you'll see

now all of our materials are kind of in a good place

but neither one

is so extreme that we lose detail in the highlights

nor do we lose detail in the shadows

that is how these can really help you

especially the chrome ball

the chrome ball should

always feel pretty well integrated in the scene

it should accurately reflect whatever is around it

if you're noticing some weird highlights

or some weird light

shining on it

you'll know right away what's causing it

so now that we've set up a very quick

and easy daylight system like this

this is all fine and great

but what if we wanted a totally different mood right

so this is kind of a very dreamy

late afternoon type of feel

but what if we wanted to make this scene a gloomy

dark overcast day

feel

how would we do that

again we're gonna select all of our lights

and start from scratch

I'm gonna select everything

except for the PPV and the fog

because I want to keep both of those

again now we have a totally dark scene to work with

what we're going to do now

we're going to create the HDRI backdrop

and drag and drop it into the scene like this

I got to move it down a little bit lower

and just like that I mean literally one click

we're in a pretty good place already

it's not perfect but

as you can see the HRI backdrop did

a whole lot of work for us

right we got some nice

soft lighting coming through the door here

nice light coming into the opening in the wall

it looks really good now again

we're only about 80 percent done

there's still

one or two more things we can do here to

really make this okay

so as you'll see right here in the video

we got a whole lot of jittering in here

and that's again usually due to the fact that

it's only indirect lighting

so we're gonna add a bit of direct lighting

to help with that

and what we're going to do

is I'm going to go create a new rect light right here

going to move this up like that

move it outside

rotate it towards us

and I'm going to make it much larger

so something like 200 by 200

like that something like this and

maybe I'm gonna

make it a little bit it's a little bit bright now

so I'm going to make it a little bit darker

scroll down set the intensity to 1 or 2

so this is with it off

and this is with that 2

you'll notice

the rect light

really gave us a bit more of those specular highlight

those little pings

on the leaves

it helps make things pop a little bit more

so again if I just toggle this light on and off

it's subtle but it makes a difference

having these spheres in the level

is very helpful and tells us that our scene is

pretty well exposed

the black material is pretty dark

but not so black that we lost any in all detail on it

and the white sphere here is also bright

but the highlights are not completely clipped either

the gray ball tells us that that's the midpoint

and the chrome ball as always

accurately reflects whatever is in the level

now if you remember back in the

lighting basics part of this tutorial

I use

ray tray of shadows to get them better shadow detail

and I'm going to do the same thing here

so by selecting this light here

search for ray and I'm going to turn ray tray shadows

on

everything gets a little bit softer a little bit better

just before and after

before and after

it does soften things quite a bit

so now I'm going to go ahead and do the same thing

to this window here

by selecting my light

press and hold the alt key

and drag to duplicate the light

going to move in here

rotate it like that

and I'm going to make the light a bit smaller

revert it to a default size

and kind of find a nice point for it something like

something like that I think looks pretty good

it's nice to get that extra little

bit of light coming in from the side here

it looks pretty good

and now I'll do it for one more time for the door

over here just to get a little bit more light

coming through the doorway here

press and hold the alt key drag

and I'm going to move this light

right over here just outside our door

of our scene here

like that go into the hallway and see how this looks

let's just something like that

there we go

before and after

I may actually make it light a bit darker

because it's a bit strong here for my taste

so maybe a brightness of one

this is off and this is one

so just a little bit and just a little bit helps

there we go and now just to get a bit more

mood in here I'm going to select this light

and I'm going to set the

volumetric scattering intensity to something crazy like

100

this may be too much

50 20

so this is off

and this is 20

I just want to add a little bit of haze

just to add a tiny little bit of localized fog

right here just

a little bit to help

give our scene a little bit of OMP here

and just like that with two or three rect lights

with 1H dry backdrop

we've got our over caffeine looking pretty good

it's in a very good place right now

and that's what I mean

lighting doesn't have to be complicated

you just need to

know about the tools that are available to you

it's really as simple as that

and that's it guys

you've Learned everything you need to know

to get started with lighting in Unreal Engine

so guys I know this with a long one

most of my videos have been really long lately

I'm not sure what the deal is with that

but hey it is what it is

I hope you found this video helpful

and if you did

do consider subscribing and giving it the old

thumbs up thank you so much for watching and as always

happy rendering