All language subtitles for Environments_08

Hello and welcome to the next session.

So now that we've established a bunch of these
things and looked at the exposure made.

Sure that all this stuff works. Well our curves are
set up in a good way.

Let's look at how easy it is to generate. Also just
different lighting, scenarios from all this.

The first thing that I want to do here is I just want
to do a little

bit of cleanup because what is really valuable to
do is

to have a base post-process volume where you
just have your master settings and then like tidy.

So the actual like setting. So what I'm going
to do is I'm going to just duplicate this,

take the first one and I'm going to call it ppv.

Whoops ppv.

Face.

And this is going to be my base post-process.
Volume here are like the settings, for example,

like Bloom and this kind of stuff.

I will turn off all these features here because
they are specific so to speak.

Usually I have this stuff on here so we can like to
see if we want more. We have all this stuff.

We have this stuff here.

We also have like the Lumen settings film grain.

So this is all good stuff.

And now we're going to take this one here.

And what we want to do here is we basically
want to turn off all these

And here we really have

time of day or setting specific things in here. So
for example, like the exposure settings,

Then I turn of the vignette because all I'm doing
is I'm just making

sure that everything is like normal good stuff
here.

Going to turn of this as well because we have it
already.

I am pretty sure I did not touch any of these, so
that's also good.

I will make sure that all these are reset as well.

Just going to set this here.

Call this ppv,

Sonny.

and then,

With this one selected.

I'll just move the ppb sunny.

Onto here.

So now when I hide this stuff,

we can see that we always have our base ppv
here with all

the settings that are giving us like the look that
we want.

And additionally, we just turn on the setting
specific settings over here.

So that's pretty good.

So now here's the thing, like this level came with
a bunch of settings already.

And what I want to do is I want to like reuse
some of that data.

So like I'm going to use for example the same
sky here but we going to completely

get rid of all the stuff that's there and we're
going to do our own.

So you'll see again how simple it.

Actually is once we have all these things in
place to set up something really cool.

So let's turn this off.

And now we obviously see that everything that
we did not do here is go and away.

One thing that I just realize certain, as back on,

we do have our folk stuff here.

Let's just make sure we are clean.

Yes, up. This one is probably from the other one.

Yeah, so we don't really need this one because
we used this one. That's the one that I set up.

You.

So we just take this,

we move it to this layer here

and it's always good to clean up a bit.

We've also touched this one a bit.

I'd actually already is here.

Cool.

Yeah, so we'll just do this because like we might
want to change these settings.

For something else.

All right,

so I'm going to close this.

I'm gonna

turn this one on.

And now what we need to do is we need to just
go

through here and just like get rid of all the stuff.

We don't want any of this.

So we want to get rid of this one too because
we're going to do again our own.

Why do I have two meshes like this?

I don't need this.

Going to remove the Skylight here as well,

just to do my own thing

and we have a directional light gonna just kill all
of these.

So nothing here anymore.

Good stuff.

And now it gets fun.

So

here we just have like our Sunset Sky texture
and the sky dome

is pretty much set up the way we've had it before
as well.

So

there's not really much stuff that is of
significance

or any different than what we did before.

So one of the things that we just need to figure
out when we do that is

How do we want our Sky to be rotated and all
these kind of things?

So we can we can just do that and I think Yep
this one works like this

so maybe we want to do it like this.

So we actually have it kind of like like this here.

and I want to

just

move this a little bit here was actually rather
small sky.

Because we can really see The Parallax from
from moving this,

which is not something that usually should
happen because you have your sky.

So big

Yeah, that's interesting.

So let's try and scale that up.

Didn't change the look much.

But now when I do this it is like because
otherwise we get a lot

of like Parallax that we don't really want from our
sky like this.

And now let's see.

No, I kind of like want this to be like the sunny
pocket here. I think that's pretty cool.

So now the first thing, while we have our lighting
Sunset layer selected here, going to save this.

Make sure this is

okay.

So we save this and then we're going to add our

Skylight in here.

I was about to say, like, plz don't crash.

We switch this to movable.

We have all these settings. That's alright. I'm
gonna just add more resolution to this.

It should have captured this by now.

But we'll just get to all these things.

Now,

the next thing that we're going to do is we're
going to add our post-process volume

I'm going to turn off the draw brush pulleys for
now.

and I will get rid of the

HDR visualization here.

so,

What we want to do now is we want to go down
here and say like infinite extent and

we want priority 5 because we want to add our
modified settings to the base.

And the most important thing that we're going to
do here again is our exposure.

So

if we remember from how we did things before,

There's a multitude of ways that we can start
this.

So one thing that we can do is we can potentially
just measure this

Considering how it should be done for like
a sunset sky.

And I need to go to my Wikipedia for that.

so, if we look at this here again,

Typical photographic seen at Sunrise or Sunset
is 25 Candela per square meter.

So I would say, let's go just a little bit brighter.

And and get a feel from from there.

So again,

we just go in here.

Visualize

HDR thing.

I'm gonna open this material here.

And I obviously have like my brightness,

slider to the right?

And I'm just going to like look at this here and
we can see this is like really, really, really dark.

This is like - Evie.

All right.

So what we want is definitely like a lot more
here.

So keep on sliding, I keep on sliding,

you can see how the exposure is trying to catch
up down here.

So Now we are on one net and our goal is to be
like,

more, like 2025,

like I'm going to just do something now.

I'm just going to go with like,

50 49 50.

All right.

And we can see that our average exposure. Is it
like 7.6?

so now what we need to do is we need to get our
skylight

We need to recapture the scene.

My turn this off.

And this is rather interesting. Now.

Because it doesn't seem to be catching our
Skydome here.

And this is stuff that can happen when you.

when you use like content that you have not
built yourself,

This kind of like always happen and this for
example is actually quite bad here.

You would never want to have

Shadows on this stuff on.

So let's have a look at this.

So here's the material instance.

We have the skymaster material, which is by no
means.

Anything special here.

Just a few more controls here, but that's like
nothing of significance.

And here we have this mesh being used.

So, let's try something quickly.

I'm gonna.

Delete this.

and this is,

like when stuff doesn't really work,

that's always kind of like the way to go

is to try and delete it and re-add it

So there is a sky sphere.

Here. Anyways.

Okay.

So beautiful.

So, let's do this.

There we go.

So I have no idea why it didn't work in the
beginning,

but now we have this.

And what we can do now is we can not rotate
this.

and that is,

Something with the UV math here.

So, let's see if we can fix this quickly.

I have no idea if this is going to work because
I haven't actually done this in like years.

So I'm very, very sorry.

It might actually be rotate about axes thing.

Yeah, the seems to have screwed it completely.

This is good stuff when you when you try to do
these things and then in the end,

like you have no idea why stuff is or isn't
working.

And again, I don't usually work with Skies like
this,

I usually work with like very different Skies.

Let's try the.

Yeah.

I don't really remember how to do this, to be
honest.

So what I'm going to do is I'm just gonna

use a different texture because that is usually
how how I do it.

So, let's see what we have here.

So, I'll be using a very different Sky, H TR.

You guys probably know it already from some of
the from of the other

sessions that we did.

So,

I will just take my

editors fear here.

There we go.

Because here's the thing, like again I I used to
do a lot of Shader stuff,

but when you don't do it all the time, you kind of
like forget how some things work.

And what I don't like is this when you can only
rotate the texture via math,

so I like to have control over it by, like,

using the

The sphere itself.

And that is sadly, something that does not fully
work with this approach.

so,

I'm going to

duplicate this and call it Sky sunset.

and then,

we're gonna

Use this one for now.

Oh, it's the texture Cube?

Yeah.

Let's, let's see here.

Because like some of these,

I imported as cube maps for the other tutorial
sessions and some I exported like this.

So let's see what do we have here?

Hey, this might not be super bad. We don't have
like as much like epic clouds or something,

but it we could we could look at it and see what
we like.

So, I'm going to browse this,

and I'm going to put it onto my sphere.

I will make this 50 15,000.

and then we obviously need to, like,

crank it

And this is pretty much the rotation that I kind of
want it. Anyways,

I wanted it to be like over there sort of.

So,

basically, that if we move this over here,

kind of wanted this to be like this,

the down Point sort of like here,

so kind of like this.

Now we have to again go in here to visualize
HDR

and then we just like go up and we are quite low.

So let's pump this too.

50.

Turn off this guy,

take our skylight.

Recapture and now we can already see that. It
has like quite a bit of a different flavor here.

And one thing that we kind of want to do as well
as we really would love to.

Get some proper exposure going here.

And also get maybe a little bit of sun lighting,
even though it may not really have a son here.

So we're going to do is we're going to go to this
one.

And now we're going to set something that we
actually like here.

So you may have remembered like when it was
showing us to stuff,

it was like being around like 7:00.

So now that I look descend there's like not much
difference.

And I think we should

actually go down a bit. I would love to go down
a bit. I'm gonna change this again.

So in this is like just something that like you
have to iron out a little bit.

So I'm gonna go down here.

So I will actually go to 25.

And there's a reason why these values are
measured and why they work.

So

now,

We have this locked here.

Let's go to maybe eight.

Something like this.

And we can see how this is already working
quite well,

with all the the values that we've chosen in here.

And this one is obviously a bit too dark.

But again, this is a sunset. This is a lot like
night.

So this is where I expected.

To look like this.

And then we can bring in our

Rational light here.

And the first thing I make this movable and then
I need to just crank this. So we see something.

Let's switch the orientation here.

And kind of wanted to come from here,

then I'll do this.

And we really

want to have.

Something very long here.

And looking at these colors, we do need a very,
very different color here.

So we really need something more like this

and now you guys can already see how this is
starting to to blend in a lot better.

I'm not entirely sure right now regarding the
intensity.

Because the light is really really, really low
intensity. When we have these things,

especially when it's like so far back there,

but I think we can do a bit more than 50.

Let's do like maybe 80 or like a hundred

and that's why we still do get like nice highlights
and we get these very very long Shadows here.

And one thing when we have very long shadows,
as will also get very soft Shadows.

So, looking at this here, we can see that our
shadows are not super soft.

So we can actually crank the source angle here
to create some very very soft Shadows.

And now this works a lot better already.

And as you can see, it was really rather simple
to do this.

Like it was super quick,

despite our little

Ade say with the sky but that is not something
that is super important.

So

we can just like do our things and see how much
we kind of like want this.

So now that we have this in place,

we can do a bunch of cool things here.

So the first thing that we're going to do is we
going to add

Our.

Where's our folk thing?

Well, let's start with the exponential height fog,

just throw that guy in here.

Where is the old one?

Oh, that is really interesting.

So it only allows me to place a sky atmosphere.

Now

And not the actual atmospheric. Fuck
component.

Now, I'm kind of curious because I didn't really
look at it before.

but if I

Save this

and I'll hide this

and I'll bring back this guy.

So here we have actually the atmospheric fog,

this is interesting because it kind of like doesn't
allow us to place the old folk here anymore.

So what I'm going to do is I'm gonna duplicate
this

Because there's a bunch of things where like
they want to change certain things.

And I have not used this guy atmosphere, if I'm
not using the sky system,

which is why this year uses the atmospheric fog.

It's like the predecessor of the atmospheric sky
and I think,

which is reused the one that was there and
sometimes

you can't really play some of the old actors
anymore.

But they are still really, really good.

There's probably somewhere where you can find
it still and I have

it here because it's obviously like Legacy
content right now.

So, which is duplicate this,

we gonna select this guy

and then we just gonna

Move this over.

And then we gonna hide this one again.

So, in theory,

the sky atmosphere should be doing pretty
much the same thing as the atmospheric fog.

So that is something to remember.

So, if I do this,

we can see that there are some things
happening with the

like this,

with the With the height. Fuck.

So let's try to make this really clean and make
some sense of this.

So first of all,

we going to hide the

App, the exponential height flop.

And then we do was so now we have these two.

Turn this off. So now if I turn on the atmospheric
fog,

or if I let's say, if I turn it off,

So, this is the kind of look that I'm getting.

That's very similar but also like a little bit
different.

now,

I want to test something here together with you
so we can all

Understand some of these things better.

So first of all, we need to make our directional
light.

Atmosphere sunlight.

Okay.

That's great.

Sorry, just revert. All these things.

So this is rather interesting.

Because this is supposed to be blue.

It might be due to

know. We hit the,

we hit the Sky

Dome.

This is really interesting.

So it's clearly rendering the atmosphere which is
why we have the the light here.

But at the same time,

It is also not really rendering anything here.

It might actually be that we're having this
problem just because of our son brightness,

because if we have a son that is so low,

it may not actually scatter enough and then
we just have this really, really,

really dark Behavior here.

So in theory,

if I go in here and crank my son a lot

We are actually starting to get something a lot
more here.

Like this.

So again,

this is just like, when you have these, like, this is
because it's so physically based like,

when you have these low values, it kind of, like,
starts losing a bunch of things,

which is nothing really that concerns us
because

We have.

This thing.

I was just at first a bit confused, but the thing is,

We don't have like all the values in place.

In a way that is tweaked for the sky atmosphere.

So all we want from this is sort of like the the
distance rendering stuff here.

So we just get like

A bit.

Let's do this.

And one funny thing that we can try as like you
guys have seen that there was sort of like

a sun disk and the thing is the sky atmosphere
renders at like a very very big distance.

So the Skydome right now is actually occluding
the sun disk from the atmosphere.

So we can try as we can try

Scaling this up.

100,000.

And at some point,

we will reach a size that is so big that the sun
disc will start popping in,

but it I don't remember actually,

which size it was

And also I have not done this with the sky
atmosphere,

so maybe that actually does not work,

it used to work with the atmospheric fog.

Wow.

Now, we're getting to some really extreme values
here.

I'm just going to continue right now just to try
and see if it

actually works but it seems like it's not working
anymore,

no matter how much we actually put here.

Let's do this.

So this is interesting.

It doesn't really seem to work anymore.

Which is a bit sad.

I'm also still curious how we could get the old
actor back.

Well.

It doesn't really seem to to be here and in this
way anymore which is a bit unfortunate,

but it's also not really anything to get stressed
over.

So which is going to use the

Exponential height, fuck, then here.

And now we have the similar problem as we
used to have that,

even though our exposure is way lower,

we still have that issue with the with the
brightness and the in scattering colors.

So what we want to do is

I just want to crank this right now.

to something like this

and

When I hit enter here.

and now, which is when I go in here and start
sliding these values around a bit,

so we'll actually get something

like this.

And now, of course,

what we need to do is we need to

dial this back down.

Because we don't need this much maybe 80.

That feels quite good to me.

Yeah, this looks nice.

so,

What we can do here then is we can go into the
directional in scattering as well

and start lifting that up. So we get gonna like this
effect here.

And what we can do is we can really put like an
emphasis

on the warmth coming from the Sun here.

So if we just like,

look at this, we replace it from the sun's
Direction with something.

That is really nice and warm.

also one thing quickly if we have the editor
sphere here

selected and we want to really like Place hour

Our son properly, if you like turn this off, you
can see the sun is over here, right?

So we can just Go in here,

just really put this down here.

Maybe like hide it. Slightly kind of like this.

And we can go back to our edit, the sphere.

so,

And one thing that happens when you have the
atmospheric setup is that when

you lower the angle of the sun, it actually does
adjust the intensity slightly.

So you may want to bring it back a bit because it
kind of like messes

with the values because it's trying to physically
emulate this a bit.

So already getting somewhere where this kind
of looks actually quite nice here.

Whoops.

And of course, right? You can do crazy stuff like
this,

which was totally not intended by me. I was just
hitting this way too strong.

but like,

You can see how you can create something a lot
more striking in case you want to.

Personally, I'm just like,

more a fan of like this more laid-back look like
this.

so this is something that I actually quite like,

and since we have our fog here,

why do we have the second one again?

oh,

I think that was the one that I

potentially placed before that. So we can turn on
the volumetrics again.

Here it will change a little bit as you can see
because what it's doing is,

it's basically replacing the fake Fork over here
with some actual

in scattering from the Sun.

So, one thing that is definitely worth trying, here
is going back to the directional light.

And then what we can do is we can go into our
volumetric

scattering intensity and we can try to crank this
a bit,

so it will blend in a bit more with this and we
make sure that we see something here.

And let's just try some stuff here. There we go.

So you can see, this is obviously like way too
extreme,

but now you can see how the Sun is really like
hitting into this so where we are in the sun.

We get a lot of this scattering going and out
here. Not so much,

but this is obviously way too much, so we have
to tweak this Tastefully.

Maybe something like this is not so bad.

And if you want this pronounced effect of the
Sun hitting through here.

So there's one thing that you can do and it's
basically down here on the

Sort of on the directional light.

We have this really cool thing called light shafts,

and light shafts are sort of Faking this
volumetric scattering effect to a certain degree.

As you can see here,

where

Basically the volumetrics are being hit by the
sun here, so behind the like inside the shadow.

So to speak there, occluded,

right?

And there's this feature called light, shaft,
seclusion and light shaft seclusion.

As you can see, it's basically doing this.

It's kind of like like an occlusion effect that we're
getting here.

So this is one thing and then there's also the
Light shaft Bloom which is this thing here.

Which is something that people kind of know.

As like this screen space kind of like Bloom
effect here.

And it is quite cool.

Especially when you combine all these things
together,

you can get some really cool looking stuff.

So again here this is really just about tweaking it
Tastefully and not going completely ham

and we can obviously change the color of the
blue. Make this like really nice and orange.

So if we go away with this and then 0.1,

and then re bringing this guy and we do like,

Sir,

put two five

zero point, zero one.

So we can see that.

There's a lot of blue happening here and then we
have the

seclusion which really just like occludes all this
stuff.

and we kind of want to make sure

That we okay, so it works actually this way
around.

So we don't have it too strong, so we want a little
bit but we don't want it to be too strong.

And this one here is quite intense as well. So we
go with like 0.05.

And now we have like a nice combination and
that

will also sort of like trying to get slower here.

This will also work here quite well.

As you can see,

get these like, cool effects.

Trees.

And again,

all of this is meant to be like tasteful and not like
too insane.

So we have a nice nice combination of all these
things.

And yeah, like this is actually pretty.

Pretty good-looking here.

So, we have some really, really nice contrast
here.

So I would say let's do as we always do.

Grab ourself a nice camera that is supposed to
be somewhere here.

So, I think there is some overrides here in the
exposure.

Lens.

Exposure.

Boo.

Having, we can create some pretty pretty cool
shots with this.

so,

I kind of wanna

Kind of want to do this,

I do like this.

So for here, what I'm going to do is I'm going
to go to the scalability settings,

it just put this to cinematic. So we have like the
most detail ever.

So let's do one like this.

and let's jump out of this guy here

performance is a bit tanky, but again,

this is to be expected when we

when we do the

Cinematic scalability option.

Let's see how we want to push this.

There's always a bit like a tricky to find like
a nice spot here.

Let's try something for this one.

Just going here.

and,

Have a pop a little bit more.

All right.

I'm going to do one for this as well, but before
I do that I will just go into all level sequence.

I'm going to open this.

So the lady back in the bar is actually doing
something proper here.

Yeah, let's do this.

So yeah,

now we do have some cool little shots here.

And overall it took us about like 40 minutes to
get here and then we had a bunch of

stuff Sky struggles and so on which is not a
biggie. So like this can be done really,

really quickly and we're going to do more of
these with the next session just to show

you how much variety you can bring to to all
these things with a few simple steps.

And we will also look at how we can make the
exposure work. Well,

because like, right now, if we go in here,

we met when I have this a bit brighter than what
we have right now.

So obviously we can set up another exposure
curve for this as well.

And then just have this look like really, really
nice.

So