All language subtitles for Environment_04

Hello and welcome to the next part where we
going to look at some of the more localized

settings here to make sure that we have some
good values that are are properly

working for any time of day that we're going to
choose for this going forward.

So,

one of the things that I would like to do is

I would like to.

Add some new levels here.

And we actually do have a bunch of things
already in here.

So,

we will reuse some of these.

and,

first of all,

what we need to do is we need to move all the
stuff that we have right now into the correct

layer or Level here because I want to turn some
of these off.

so,

let's

See how we go with this?

I will not change the post-process volume for
now.

But what I will do is I will

Take the frogs here, so let's double click this, so
it's highlighted.

Now we see it's highlighted and then we can
select these

actually, we can also rename them.

So, let's do.

This atmospheric fog, Sonny.

Exponential Fork.

Sunny

and we select these and then we right click and
say move selected actors to level.

So now they're in here.

Then we go with.

The skylight.

We got to call this.

Sunny.

It's like that. We're going to move it here.

Is that already in here?

Yeah.

Okay cool. So this one is already in here.
Perfect.

And then we have our

directional light and we can see here that this is
a different level. So we just move it over here.

I'm going to save this.

Alright. Now the last thing that we need is our
editors fear here.

Let's just call it

Sky Dome sunny.

And let's move that one in here, too.

Not really sure why this is taking so long now.

There we go.

Okay,

perfect. So now when I click the little I icon I'm
going to move this off screen.

We get this,

and it may seem a bit counterintuitive, but this is
actually perfect.

So,

because here's the thing,

And interior like this,

it is not lit to like look great.

When there's a lot of light from the outside
coming in and interior like this,

it's usually lit in a way.

So it works to look nice and cozy during

darker times because that's what we use lights
for.

also like there's

there's this way less From like exterior lighting
and many cases.

And so it this is kind of like done in a way. So it
looks nice and cozy and welcoming, right?

So what we will do is we will hide all the exterior
lighting.

So we can actually work with the proper
influences here.

So but one thing that we need to sort of do is we
need to also figure

out what are the type of lights that we actually
have in here.

And

exposure for something like, this is usually very
different than what we have outside.

So this is our outside exposure.

I'm just going to set this to five quickly so now
we can see like

yep there's lots of light coming in now from the
exterior.

But we also just want to see. Okay, so what do
we have to work with here?

So we do have these

Lamps here.

We do have these lamps here,

and this one's are interesting. Because the
ceiling lamps,

we will most likely end up using spotlights for
these because they just like face in.

In One Direction,

these ones are a little bit more interesting
because they have this glow or thingy.

Sort of like sadaiva like emit light in in in almost
all the directions.

so we need to see how we do these

And this is pretty much.

All the light sources that I can see what is this?

Okay, it's a vent cover.

All right, great.

So this is basically all the all the stuff that we
have.

And here's one thing that everybody should
know about me.

I I really like to do practical lighting so that
means that I really like to light My scenes.

Based on the actual light sources that are in the
scene.

So I'm not a big fan of like fill lights or fake lights
or movie lights, whatever you want to call them.

They can be necessary.

But what I really like is for example, when
you look at movies that are practically lit,

what they do is like if they have something that
needs to be lit properly,

they actually just really put a real light source
there so it works.

They don't do like a fake light that suggests that
something is readable while it's actually not.

So,

usually what I like to do is I like to start by just
using all the

light sources that are there and utilize them
properly.

And when I see, it doesn't do the job.

I think about,

well, can I put new light sources somewhere? So
it makes sense, or like, how,

how would I like to do this, right?

So let's start by doing just that.

So usually lights that we have inside.

Have certain brightnesses that are that are
common,

let's say that and you can you can see these
when

you go to like websites of lamp manufacturers

Just Looking here.

Second. So,

for example, let's say your have Philips light
bulbs, right?

So we can actually go here.

And you can see, okay, I want to choose by cab.
I want to choose by shape. What do I want,

right? So let's go. Simple first, like let's say,
okay, just looking Oral bulb here.

so,

Now this is all the stuff that you can just buy at
the store. All right.

And most lamps that we have inside. There are
also what we call warm wide.

So,

This is a rather bright one here. So let's just go
and look at this.

Now, this does not really tell us much.

So what we need to do is we need to see all the
specifications

and here we can see a lot of things that are quite
good for us, right?

So we can see that the color temperature is 2700
Kelvin

and that the light intensity Is 1055 lumens.

That is a very standard light bulb.

So a lot of the light bulbs are between 800

and let's say, 2400 ish lumens.

While like 2400 is actually really on the bright
side.

Like most light bulbs are around like this or
1,500.

And this is what you have in your living room.

So a lot of the light bulbs that are used for stuff
like this here is a bit more.

Let's say moody,

like they are not as bright usually,

it can can be different as well.

So this is sort of like the ballpark that we will
end up with,

right.

So the first thing that we can do is we can just
start here and for now,

now, we going to Use spotlights,

we're not really use anything else for now.

Well switch this to movable.

And then down here in the advanced section,

we go down here and we switch this to lumens.

And then what we also going to do is we're
going to hit this use temperature

and here I don't remember if I already said it, but
I probably did.

I would always use temperature when we work
with like normal light sources.

Like there's other stuff like

Lights that like you know like the sodium yada
yada lights thingies

and like lights that have like specific Colours
and wavelengths.

We don't use temperature for those like we can
for the warm ones but

there's like cold ones that almost go towards
some greenish stuff.

So it is better to just Google and To RGB values
for those.

But for like normal light sources, they're pretty
much always on the temperature Spectrum.

So we will keep the color here at White.

And instead we will use the temperature and
I'm just going to set 2700 K now.

So that's just what we do and this is going to be
a this is a rather warm color,

right?

so now for our intensity,

let's just go with the

value like this.

And I'm just going to put it

somewhere close to this thing here.

And again like I'm not trying to make this like
super accurate or beautiful.

What we're doing right now is we're actually
more interested in like value balancing.

Okay?

So,

we're going to do this here.

and now we can see that we like don't really

A lot of this,

which is also kind of expected, since this is like,
still, like daytime.

And even though we just adjusted our exposure,

it's not going to make the light like super visible
because that's just not how it works.

So,

I'm going to turn this off and I just realized that I
put this

in the same layer because I had this one turned
on,

so it placed it automatically in that layer.

I'm going to switch here and say Move selected
actor to level.

So now we're good.

And now when I turn this off,

We have this.

All right.

And now,

what I want to do is I want to go into our
exposure.

And now we need to make this look proper and
there's a bunch of ways to do so.

So for now I'm going to rename this here and
call it Post process volume

sunny.

And I will put this back to one.

And then I'm going to go down here.

and,

This is all good.

Now we're going to add another post-process
volume.

Right here.

and for now I will just call this post-process
volume

Interior,

I will make this Unbound now, but we will
change that later.

This is just really like, for now.

And then I'm going to do priority just going to do
five. It could be one. Does it really matter?

and now, when I go in here,

I should be able to overwrite this,

which I am right now.

So,

Now comes in like a lot of knowledge of stuff
that I like already have or did in the past.

So now we can see,

now I'm choosing an EV of 3gb

of 325, is more what you would have for an
interior like this.

And now you can see something really
interesting happening

because like first of all yep, you do see this one
here.

At the same time,

you see a lot from this This and this is purely a
missive

lighting that happens from the sign here.

And this may actually end up causing us some
problems

because this one here will have an emissive as
well.

And here's a problem with

You can't really say that. A missive does not
contribute to the lighting.

So as soon as he use emissive surfaces, you'll
always end up getting like emissive lighting.

And then if you want to use an so we call the
placed light here,

we call these analytical lights,

you kind of end up getting twice the lighting to a
certain degree.

But still,

you'll get obviously more accurate Shadow
casting and more accurate

specular from using a analytical light versus
doing emissive.

But it is still kind of cool that we have this
because if I turn this off you

can see like there is some like nice indirect
Shadow casting from this.

So this is still pretty cool here.

But we can also see. It's like way, way, way, way
way too bright.

so, before we continue,

Our local light here,

we may as well go into our sign here.

and,

I don't know,

I'm just doing something

like do this like 200. So like I just lowered the
intensity from five thousand to two hundred,

something more like this.

And we can already see that it is

doing a lot better job here,

but let's ignore this for now and let's look at this.

So now the question is, okay,

so we have this at 1055

Lou.

And so do we want this to be the look like do we
want this to look this bride or hot?

I'm not entirely sure if I want that.

So what we can do is we can just raise this a bit
more and maybe do this.

Because what we need to understand is we will
distribute this. Anyways,

so there will be a lot more but again,

it's still kind of hard to tell.

So how do we fix this properly?

And here's something that I like doing is first of
all, I just like to get a rough ballpark,

which I did just now.

And then we have this BP here,

which is actually great.

Because what we can do is we can just go into
the blueprint

Which is over here

and we can take our light here and just copy it

into this thing here.

And in the viewport, we now have this beauty,

which is actually quite interesting that it rotates
it this way.

So,

let's just see.

This should be okay - 90.

So, we just put this in here and the one that
I have selected here.

We delete it.

Oh, actually haha, this is funny. Okay, now so
the blueprint is actually rotated.

So we gonna go with 90 again.

This is the right way.

So now we have this and if we go into our
lighting only, we can see that.

You're we're getting some GI from this,

it's not too bad.

It's also interesting that this one seems to be a
different one.

And honestly, I just wonder why, I don't know.

so here is a sad thing

and unreal 4,

you could right click and then select and then
you could select the same type

This context menu seems to be gone which is
very

unfortunate because it's a really cool feature.

Let's have a look here, quickly,

if there is actually

shortcuts for this.

Control shift a,

that might be the one.

It is,

that's a bit unfortunate. Okay, let's try this
control shift a,

there you go.

So this is the other one.

And so, all we can do is we can take this guy
here.

and,

Browse it?

so we have it here and then we click these ones,
do this,

and then we should be able to

Replace selected actors with this one.

Boom.

All right.

So I recommend this highly to just use

Blueprint light sources because it just is so
much easier to get everything set up in a quick

way rather than going here and spam all the
lights manually also

very important is that all this is like slightly Off
the Grid.

So like if you would just like to move these like
along this line,

it is not necessarily working right out of the box
the way it should.

So that is just something to keep.

Mind.

So now we can see a bunch of things here is the
first of all we get some really harsh shadows and

that is because we don't have any Source radius
set on our light and we also

get like this kind of thing here which is not really
what is happening like.

It's basically like our angle is too too, too
narrow,

we don't really want that.

So,

we're going to go in here.

and first of all,

I'm just going to drag this down a little bit more
like

This.

And it's a bit.

Hard to see here.

so,

we gonna

Increase our angle a bit.

Very to something like this.

Maybe we pull this one down,

so we actually have it here as well.

All right.

And then what we can do is we can change

our swords radius here a bit because here's the
thing, like, if we look at this,

of course, there's one light bulb in here,

but the actual light source is going to be this
illuminated piece of glass.

This is sort of like what starts Distributing the
light.

So the light is

Not like, really being emitted from the center
here but it's like, emitted from, from out. Here,

right?

So it's a bit more like like an area light and what
we can do is

We can like, tweak our source radius.

Until we start seeing

this is lagging a bit here.

I'm not exactly sure why.

So now, we can see this is our source radius,
right.

And we don't want our search radius to look like
this. We wanted to sort of reflect this shape.

So, let's do maybe 15.

12,

and 12. Seems kind of like good enough.

And now what has happened? You can see here,

we're actually getting like more soft shadows
and this is

because of the virtual Shadow map that is doing
this.

So this looks a bit more realistic than I'm going
to reset it back to zero like this looks bad, right?

So 12,

definitely not the same fidelity.

As Ray traced Shadows,

but still so much better.

So now we have this.

and when we look here,

there is already a lot happening here,

and we're also getting this issue.

And that is because of the way that our light
source is like colliding here with the thing.

And this is pretty cool here because we're
actually

having a subsurface material from what I can
tell.

So it means that when we have a light source
behind it, it actually starts making it glow.

And here we also get our nice star-like shape.

So let's have a look

on our material.

Okay, no, it's not subsurface.

So this is basically just a bug from The Source
radius clipping through the object,

as it seems that as something that can happen.

So what we can do is we can just take the light
and we can like move it out the thing like this.

All right.

And then we can obviously go into our emissive
material here.

And we can change this a bit.

So this is a bit like sad, so to speak. Because
here we can't really choose like the, the color.

It showed the same way.

So we don't really know the exact value for our
2700 K,

although there's online converters.

So that's also like a thing that you can do

and now we kind of like just wanna

Up this and we can see it starts glowing here but
it doesn't really glow here.

And that is because

of the value not being HDR enough,

most likely.

So I'm just going to try something intense here.

And it is not doing it.

Beautiful.

Oh, it's that one great. It was just derived from
Other instance, from another instance.

So this is what happens when you're

not focused.

So put this in.

And one thing that is also really important
to understand this,

sometimes these like the light source itself can
feel incredibly

bright but the actual lighting from it is not like.

So what I mean by that is if you take a picture
with your camera of a light

bulb in your living room and let's say it's a free
hanging lightbulb.

The lightbulb will always be super bright on your
on your,

on your photo.

While the actual environment lighting from the
from the bulb may not be as bright.

That is something that is important to
understand. Because like these things,

they just glow so much. That is Very natural.

That they blow out this much while the light
itself is not as extreme.

So, now, what I would like to do is I actually feel
like this is a bit too,

too much light here.

So again, we can say, we stick with this and
we're gonna use this exposure.

We can also say, like we change the exposure,

so to something more like this.

And this actually does feel quite good to me.

However,

what I would also say is probably

this would be better.

And the light itself is probably not 1055 Lumen.

I think that, for a light source like this, especially
if they have so many,

they would probably go with a lower Lumen
value.

I'm gonna try something like 800 600,

It kind of feels.

like,

it would be better to have it a bit more Moody

And there's a lot of different light bulbs that do
like a lot less

lighting especially in stuff like this,

where you kind of want it to be more on the
Moody side of things.

We're getting quite a bunch of interesting issues
here.

So,

I'm looking at this,

we should tone down the emissive, also a little
bit.

So, probably something like this feels quite
good to me.

And I looking at this guy here again,

we should definitely have a look at these colors.

and,

At the brightness values

and it's always really good to also look at
reference while doing

this to kind of like choose your battles here with
these colors.

So, we got this.

That's just what I've changed this here.

Make this like really nice read.

So, something like this feels kind of good to me.

And I think here we were on something more like
this.

All right, this is not too bad.

Now, this one's going to be a bit tricky.

So just going to choose a point light here.

We need to see how that's going to mess up
because this is always a bit tricky

when you do these kind of things to make sure
that it kind of like works.

But now we need to,

we need to see. I'm going to use the temperature
again 2700 here.

This is kind of okay.

Switch this here to lumens as well.

And now we can see that even like four hundred
lumens is quite

bright and here's an interesting thing. So like
Point lights,

always look brighter than spotlights even
though with the

same settings so that is just something to be
aware of.

That's a thing.

We also want to change this to.

Something like this. And now we're starting to
get problems here.

So we may be able to fix these problems by
making these emissive again.

So, let's see about that.

And we want to really do like some Moody
lighting here.

I'm just going to see how much we're getting
here. I'm not trying to make this super accurate.

This is just like a sort of like exploration here.

So this is like the first step of starting to do this,

just like figuring out a bit of things and then of
course,

we should also add this to the blueprints
instead.

Which will help a lot.

Some just like pasting this onto the scene route.

There we go.

And then we move it down.

Like so.

So now we just need to do the same thing again
here where we select these control shift a

or not.

Let's just select these.

Replace them with this one.

And now like that, we have this.

There's a few things that we can now think
about. So first,

we will can think about how we do
the distribution

but there's also more where we can say like,

okay,

Do we want these ones to be exactly the same?

Do we want to change the colors around a bit?

So there's a bunch of like really interesting
things to to figure out. Now.

So let's stop with this here for now.

And then we come back in the next session and
we got to make this look a bit more interesting.

We're going to place this out a bit more where it
makes sense.

And then we're going to just figure figure out
something that is nice and that we really like.

So thank you so