All language subtitles for 21-Creating our fern Part2

Okay.

So now that we actually have all of our Fern leaves set up and

everything and created, we are now going to go ahead and create the

plant.

Now, over here.

It might be little bit difficult to see because these are multiple

Blends, so we are just going to mess around with it until we get

something that we like that sweet when we place it into like place

with other ones that it kind of, like, gives this Vibe as what you see

over here.

So what I'm going to do is we are going to get started by adding a

geometry and we are just going to add a leaf right away.

This the

First beginning is pretty much like like the cars.

So we add a leaf.

We then go ahead and we decide on like the number and I assumed like,

I think, like, for is often like a default.

So let's say, 1 2, 3 4 like this.

Yeah, for should be fine because these are going to be quite well, we

are coming out from small to larger leaves, two smaller leaves again

because that's how it goes.

Like the smaller ones at the bottom.

They basically die off.

And that's how they become small, or they just never got a chance to

go.

Because there is a lot of sun and energy, then the bigger leaves, they

will just fan out.

And then in the center, there will be small and leaves again.

And the reason that they are there is because that's where the growing

actually starts.

It's a bit hard to see over here because there is a point I believe

with many firms where it will just stay at like the same size, but

don't quote me on that.

Like, I know how to make foliage.

I'm not an expert at the knowledge of foliage.

Anyway, let's set up boundaries from 0 to 0.

So that they are actually here in the center and then we can just wipe

it away.

Artaphernes like this.

Now.

The first thing I'm going to do is I'm just going to go ahead and set

my size scale of a little bit up.

Yeah, let's let's make a big one first or like the center one so that

I can kind of like see how everything works.

Next.

Let's go to orientation.

And we need to set our not up out, I guess.

All right.

Yeah.

Okay.

So, alright, let's set this to 0.5 to do like the classic.

Next, go to a line.

And this is the important one.

So, over here with this, we can basically control how we are going to,

like, do a low valleys, but I'm sure that, you know, be dead by now.

And now, if we use our fault, we can looks like that.

They are folded out a little bit, so set, afford to be a little bit,

like this are curl is a very important one.

Now, you can see that now that we've done our geometry.

It is really nice and soft the way that it's girls down.

So that's really good.

So, we got this one, and then, in a curl, what I'm going to do is,

let's also just do some variation.

So, let's add a few points like this.

Let's just mess around with the points a little bit.

Over here.

Just to give it like a little bit of some economization little bit of

twisting.

Yeah, I'm fine with that vertex.

Maybe if we set the noise, very small that we can do something like

the vertex or very sorry, larger min-soo very large because I know I

don't want to have too large, because you can see in real life that it

is still quite a soft blend.

So, let's do something like this, maybe a little bit less.

So something like this 0.03 in the mountain around three in the noise.

And let's do the Y scale.

That's also once again, give it like some Randomness.

So the Y scale is just like the length here.

See

And if we set this close enough, we can actually change the

individual.

Leaves.

It just kind of depends where your point is set here C so you can kind

like now control that kind of stuff so that they are not all the exact

same size.

So we got that one done.

Yeah, I think that's pretty much all we need to do, right?

Let's go over here to Fern and we have one, two, three, four, five.

01 402, 403 404.

And number 05.

So that will white way, give us like a little bit of variation.

It should they are kind like look to say let's see that.

Oh, no.

Wait, I did say they are.

Thus they look the same page much.

I do not trust that.

Yeah, I do not trust that here.

See.

They, these are the exact same one.

So let's go into a mesh because this should be totally fine.

We have to leave Sarah one.

02:03.

Okay, so we got those two that should be fine.

Say I'm really curious about why.

I know, but if I do this, I think it is a wait.

Yeah, I think it is a weight problem.

May be here for go for CO2 here at this 101.

I think, what we want to do is we just want to randomize the weight.

Because right now, we are setting all of them at one, which might

cause problems.

So, if I do something like this, now, that should be different.

So, let's see.

We have this one.

Why am I just really, really blind?

No.

This one is different.

This one these three are not different.

That is really strange.

What might be happening is that it does not properly randomize because

the leaves are they are just like single leaves over here.

That might be the case for this.

At which case we need to be very careful and just play around with

your weight.

Economy until it's sometimes changes a leaf.

Yeah, see, and when we do that, we can kind like still control it.

So let's just say that we have these for over here.

Now.

If you go to generate, you can use the sink to push things in and out,

because right now, it is trying to sink into the center.

That's, it's always try to do that so we can push it out a little bit

and pretty much at this point.

We can right click.

And we can just duplicate or control D.

And what I'm going to do with this is I'm going to yes, duplicate it

and place it on top of my tree again, and now if I go to my

Sigh scalar.

I can tone this down to make them like the smaller versions.

I can.

Then go to rotation over here.

Give them like a bit of like, a different rotation.

If we go into orientation, I should be able to like mess around with

the airline little bit so that we get like these small leaves sitting

below it.

And maybe let's say that we like make the curling less.

And then push it down a little bit more.

And I don't know maybe like set the size a little bit smaller.

There we go season.

Now we have like some of these lower leaves.

Next stop is we are going to.

Once again do like control D.

Go up this Leaf over here.

And for these ones, I'm going to go ahead and set the size a little

bit bigger, but not too much little bit bigger.

Maybe you can even go in here and like, do some randomization on the

size and nice thing is because we are copying this.

We can simply keep.

Yeah, it will simply whatever we copy it is.

We'll just apply the settings to the rest.

Sorry.

That's what I mean.

Now.

Let's go orientation.

Let's go into a line then.

Let's go ahead and go into our rotation over here.

And now, at this point right now, they are all aligned at the same

time, which I don't really like.

So I'm gonna go into my align and I'm going to start by.

Messing around with.

The different alignments.

I cannot do it too much, because if we do too much, they will start

clipping too badly into the rest, but now, I can just select set my

line over here.

And you can see like, we have like the fern like this.

And if I, now go ahead and just play around a little bit more with my

rotation over here.

Yeah, see.

So, that looks pretty cool.

And I would, last thing that we need is we need to have like a fern in

the center.

Let's set my sink over here, 20 to push this in.

So, we got these phones over here.

Now.

I just need to have like one or two that are sitting really high up

into the center.

So if we do one large control d,

I'm going to for this one.

I'm going to set this to maybe like 20.

And by the way, you know, what I want to do is I want to set the

smaller ones, maybe to like three as if like that there are like more

at the bottom.

So we have these two, I'm then going to go ahead and I'm going to just

give it like a head of rotation.

But basically, all I care about is to serve our line really high for

this.

And for these ones, I'm tempted to just go to my notes.

Just click on this.

Over here.

No, not that one.

This one over here.

And then give it like some custom rotation.

And maybe what we can do is now if we go back to the generator, we can

go to the folding.

Sorry not folding.

Let's do curly.

Like this.

And maybe I'll let's go back into notes.

Let's see if I can rotate this and maybe it's go to w.

Move this little bit just that you cannot really look into the center

and it just looks like a nice little Fern so that is looking pretty

good.

I feel like maybe what maybe one more?

Maybe one more like this and it will most likely have them moved some

stuff around.

So, let me just quickly change this around again because I do not like

it if it's clipping too much, but we have to do something.

So,

There will always be like a little bit of clipping.

Unfortunately.

It will be very difficult to literally the form, the vertices that

they are sitting against the leaves, and all of those kind of things.

But yeah, it doesn't really matter.

Because, as you can see over here, this is looking pretty good.

So, we now got this one.

Let's actually try it out inside of in real because this is pretty

solid after this.

You can literally go to every single leaf and you can just randomize

the generation and then you will instantly have like another one.

But obviously, I think one is enough for

Or a tutorial.

So let's save my scene.

Let's export this to game from speed tree.

Ferns your 10K.

That is just a classic stuff.

It's going here.

You know what?

I'm going to.

I'm gonna just call this phone like this and now let's go ahead and

just import.

401 copy name.

Remove the parent taste the name.

Assigned to our lair.

And there you go.

See, very clean geometry, nice plant.

So that's looking pretty good.

And that's also how you would end up with like the same result inside

of Maya if you pretty much did this in Maya or Max or blender or

whatever.

So we are going to export this

Two in real furnace, 01.

And let's do an export and now inside of Unreal Engine, which for some

reason is on the wrong screen.

Here we go.

We can go ahead and you guessed it.

Imports.

Here we go.

Just why get in here?

I'm going to make it to 2.5 or three times as big so 2.5 over here.

Let's try that.

Then pretty much eyeballing it.

Then that's the thing with also foliage.

Yes.

There is an average size, but often the size is very flexible, but for

this because it literally grows so, but yeah, this is looking like

quite a nice size compared to all of the other foliage, and if we just

go textures new fern.

Let me just quickly, import are.

Ms.

Fern textures over here.

Tell you in here.

Materials, let's use.

Swap duplicate fern.

I wonder if Fern of fan, I don't know.

You should really not come to me when it comes to pronunciations.

Especially because I'm Dutch.

So it's not Easter English.

Not even my first language, which I'm guessing most of you already

know this.

Let's have the desaturation.

20 subsurface scattering to me like 0.5 because it's quite a tick

plant.

And now what we can do is we can just go ahead and

assign our material.

Here we go.

Not too bad.

Not too bad.

Looking pretty cool.

Yeah, so we got like some Ferns and I don't know, these ones are for

our focus in which going to be like the bonus scene that I'm going to

create.

And I have the idea of after the tunnel because the tunnel is of

course, an urban scene is just creating nature scene, which will just

be like a very small forest scene with like a little lake so that we

can like have these plants and then have like some squeeze surrounding

it.

But those because it is bonuses will be a time-lapse creation and

fortunately it will once again not be included into.

This chapter or into the source files, but it's just so do showcase.

And I'll and of course, to create a cool-looking thumbnail.

So let's go ahead and let's go to foliage.

And let you see how it looks in there so assets fern.

Let's turn these off.

So that only that's one is turned on.

Let's go zero points.

These ones can go quite a bit.

So 0.3 Pi 1.4 over here distance, that's due by like a thousand.

Something in that direction.

You can also by the way, you like it and then bitching, if you do like

0.5, I believe it's going to paint.

Okay, 0.5 does not do a lot.

So let's go ahead and do like

Ten, maybe it's needs to be higher.

You see, you can do like a random of rotations which bits go, and

let's set the density to 500.

So let's say that we have over here.

You see, we get like just some nice little ferns that can once again,

fill up our space.

So that's looking pretty cool.

We got that stuff also done.

And only thing that I'm going to do is I'm just going to go ahead and

publish set a deceleration up a little bit.

So let's go over here desaturation.

Maybe like point to just give it like a little bit of like a tone down

and maybe set the color.

Little bit down and maybe give it like a little bit of like a

yellowish color.

See yellowish color, a little bit down.

Yeah.

And then set the disa trash maybe point three that we go because ferns

do often look quite a bit dull.

Of course.

This one looks really really clean, but then it would stand out so I

can like want to see if I can like hear see nicely Blended along with

for example, our grass and everything like that.

So that is looking pretty good.

Also over here.

See it nicely blends.

So, I am quite happy with that.

And what we're going to do in the next chapter, so the next chapter we

are going to quickly start by doing some level art in our tunnel

scene.

So we are going to grab the foliage that we have so far and place it

in there.

And after that is done, we are going to focus quickly or not three and

on our custom leaf and Branch material.

So we do have like 13 in our tunnel scene, but the trees are mostly

focused towards the foreseen.

But this is looking really good.

If you look at how much, how many pieces of foliage we have created in

only, like, I think like seven or eight hours and that's with talking,

with all of the explanations.

I think we are doing really good.

We are making really good time.

So let's go ahead and continue with the next chapter.