All language subtitles for Environment_02

Hello and welcome to the next session of our
nice exterior, desert environment here.

So last time we did like a really straightforward
basic setup and we can look at this and

you know, it's kind of like okay if but still it's a bit
simple and all of that.

So

one of the first things that I want to do now as
I want to

work a little bit more with the actual atmosphere
here.

And last time we added the height fog,

which emulates a little bit, this kind of like
dustiness.

But again,

it is not really what gives us the proper
atmosphere and I guess you may have noticed

that I so far did not use the sky atmosphere
because the sky atmosphere,

it is used.

Together with like development for clouds and
all that kind of stuff.

And while it is really cool, especially if you want
to have like time of day or stuff like that,

I do sometimes really prefer having the control
with like a static image,

like it gives me a lot more control and also a lot
more realistic

look with the cloud escapes and all these kinds
of things.

So,

what I want to do next is I want to actually turn
off our exponential height fog here.

For now, at least.

So we turn this off.

and also, what you just saw here,

like,

I can't stress it enough, but it is rather important,

which is like,

sometimes you think that your stuff is not
readable enough and then you might make it too

bright, and then you add like the fog and The
fox's increases the layering and the readability.

So it is not always maybe the the ideal way to
combat these

things with just like adding more lighting per se.

So yeah generally speaking,

it can just like really helped a lot to work with
proper fog here.

So let's turn this one off.

And now we have our atmospheric fog here,
which at the moment is turned off.

And generally speaking, the atmospheric fog,

is not designed necessarily to work with a static
Skype sphere. Because like,

if we just look at this,

Of course, there is like some background stuff
here.

But here, you can see, we do like this.

What we see in the texture is basically the
atmospheric scattering over distance.

So we like get like Particles in the air occluding,

the clouds here and all these kind of things and
this

is stuff that the atmospheric fog does as well.

So we need to be a bit careful when we, when we
try to blend them together.

So I can turn this on and you can instantly see
how it does affect everything.

and how it also, sort of like,

Almost like takes a bit away from the sky.

So,

we definitely lose some intensity here

in our values.

However, we do, gain some way,

better layering when looking at the distance and
how we just get the mountains in the back.

In.

I am a little bit surprised I have to say because I
don't use the atmospheric folk like a lot,

but I do think this is a very interesting Shift here
in in color, intensity. Nevertheless.

So what? We also need to make sure is that
when we look at our directional light,

we definitely want

that.

It's set to being an atmosphere sunlight because
if we don't have that

It's like the fog is basically not really doing
anything.

So like even if we look in the back over here,

It's like when I turn this off,

it is like the fuck is basically invisible,

so we definitely want this to be on.

and then,

With these settings here.

So these are rather interesting.

So, first of all, a lot of these settings are very,

let's say

scientific in a in a certain way.

So it is not really that smart to go completely
Haywire with them.

I mean you can use them if you like want to
emulate the atmosphere of Mars.

Let's say then you can change settings. You can
Change the planetary radius.

Like a lot of these things

but

You know, like it's not always what you,

what you kind of want to do.

So we got to be a bit careful with what the
settings.

so I have mentioned it already,

but I have to admit I'm not a super huge Pro with
the atmospheric fog because I again, like I said,

I usually don't use it much.

I have used it in the past many, many years ago
when like these days.

I don't work with unreal anymore for
professional work but I used

to work in unreal for professional work and I
used it back then.

So I am a little bit Rusty but I think it's also fun
to like explore these things together.

so,

first of all,

I think that

we can actually use this potentially too.

See if we can limit our effect here where we you
can see how we cover

the sky and we still like see it back in the
mountains there.

So our default value here is 60. So let's try 25.
We're still having a lot of Sky. Let's try 10.

Still a lot of Sky 5 that's getting better. Three
better to better.

So now we actually restored some of the sky.

Why we still have our nice like distance
rendering there.

And this is kind of like something that I like
doing because like it will give me back some of

my sky values because we just lowered the
thickness of the atmosphere so you can

see when I turn it on and off the change is not as
drastic anymore as before.

For but we still do get like the nice distance blue
inning desaturation effect, so to speak.

So that is definitely something that we can do
and use to our advantage.

So something else that we can actually try is
here.

We have a ground Albedo which is set to Gray

and that might not actually be the best way to
set this.

So what we can As we can go into our buffer
visualization here.

And let's go in here and let's just color, pick
something like this here.

So,

now we have this value.

And it does not have a super huge impact here.

Why can I not?

Okay,

this is sometimes, this is weird. It doesn't work
the same.

Like you can't redo some of the things but again
it's

not a big change that we got here but I just like
to

set it.

All right.

So let's tweak this a bit further.

This is not of importance to us right now.

So,

here are a bunch of really interesting settings,

so we can just, like, fool around with them.

I wouldn't really change the color of the Rayleigh
scattering because this is,

as we can see what gives the atmosphere in the
color,

but we can.

As you see, we can like, thicken this.

And like the more scattering we have like the
more almost like a post-apocalyptic,

the starts feeling and also what interesting thing
is since we have set our sunlight to affect this,

we can actually see that our sun light is
changing color as well.

So

it is basically day.

They work together because we have so much
scattering inside the atmosphere.

Sphere now. So this is kind of like what?

do what you can potentially do, when you want
to get like a sand storm or something,

and

Let's actually try.

If the color here is affected by this,

so where we going to do is we're going to copy
this value and we're

going to change this and we can see it did
change a little bit here,

right? So if I paste that back in,

We can definitely see how this affects the
scattering inside the atmosphere.

And this is very interesting because when
people want to do things like

sand storms or like some really dusty
environment and things like that,

they quite often like for example,

go really mental in the height fog but that is
actually the wrong way to

do because the height fuck per se is a
completely fake technique.

That is sort of like additive on top of the sieve,

but then there is, of course, the volumetrics.

But the volumetrics is just like

Amore.

How can I say it like a more up close
representation of some of these effects.

But when like the wind really blows and it blows
up all the dust into the atmosphere.

This is what you actually get.

So it makes a lot of sense.

Oh, this is fun.

Sorry.

Yes.

Okay,

so it actually makes a lot of sense to reset this
goddamn it.

There it makes a lot of sense to to like fool
around with

these values and see what you can actually get
here.

I need to look,

if I want to

Put this 22.

Yeah, I do want to do that.

So again,

it's absolutely fine to experiment with these

Then we have the me scattering here.

So, and if we increase this,

we get this sort of, like,

really strong scattering from the Sun Direction
and we

can also see that it does thicken the atmosphere
a bit,

right? So if I do this,

like really strongly

We get overcast and it's beautiful here as well
because like,

you can see how this completely kills the
shadows and everything.

So which is basically generated overcast by
having loads and loads of Particles here inside

our atmosphere. And if I remember correctly, mie
scattering, as water droplets.

While Rayleigh scattering is more like dust
particles and Of like that.

So we can clearly see that this looks a lot more
like,

Water droplets or something like that.

And the cool thing is that we can of course I'm
just going to turn the fuck back on quickly here.

So you know,

we can emphasize this effect and then we can
turn on the volumetric fog and for the volumetric

folk. Now we can see that we kind of like have
not really a lot up close here.

So we could potentially go into our volumetric
fog and start really cranking some of this so you

can see How we get a lot more here now and it is
a little bit

blue because it's still scatter some from the from
the sky.

So we can do something like this, right?

Which starts to to become really eerie and and
pretty cool.

We do have a bit of the wrong Sky texture for
stuff like this though,

but just saying that if we would now add,

Some cool light here.

We would need to crank the slide a lot because
we have this daytime setting right now with

like a very so like basically our exposure and
everything does not match this environment

right now we would need to have a lot lower
exposure to actually make this work properly.

So I'm going to go with lumens right now.

And I'm just gonna set something like 15,000

50,000.

For five hundred thousand fine.

So you can see that

we get some really nice like scattering here.

So if we just like put this like somewhere here,

And again, I can just like, quickly fooling around
here. This is not really.

Representative of where this is going so we
could just like scale this up a bit.

and then,

Make this warm.

And then we can go into our volumetric
scattering as well.

And just like

so like, you know,

you could like do some pretty

Cool stuff

like this.

Where you can quickly establish a mood.

So let's get rid of this,

let's go into our atmospheric fog or first actually,

let's reset this.

Turn this off.

So,

here we had.

Army scattering.

And then, of course, for artistic purposes,

you can do all sorts of things,

but this one is funny.

So this here is actually not a Color Picker.

Well, it is technically speaking,

but you can see that these colors do not
represent the look that we're getting.

And the reason for that is is that this is like
some like wavelength stuff here.

So it It actually mean that these are the the color
values that are being like scattered in that sense.

So it is a bit like

you know,

these values are more interpreted in a scientific
way and less of an an artist kind of way.

So let's go back here.

We also have absorption scale,

which usually is not that.

Useful.

I mean maybe it is if you want to make like some
kind of like horror game where like

some mythical Power Sucks, the light out of
everything or something, I don't know.

But usually absorption scale,

not that intensely useful. I would say,

actually, I assume that if we do this and then we
touch this one. It is probably going to be.

Yeah, the same thing again.

It's like the colors work similar to the to
the scattering

where it's more like a Vic way of interpreting
these.

I haven't really oh yeah,

this is kind of like a where the sun comes from.

So it's like it's you can see it like scatters more
in.

So you can tweak that here.

Atmosphere absorption scale.

Honestly no idea what that one does.

And I don't even see like a lot of differences,

but that could also be because we already
tweaked our atmosphere height here.

So

And then we have some art Direction parameters
here.

So,

we can

change some of the sky colors here.

We don't see a lot of this right now. We see it
may be a bit like in the back here,

because this is kind of like,

really the atmosphere.

So now we're like blocking it because of the sky
sphere that we're having here.

So,

if I

go

here and I turned that off,

right?

Like Like this is the atmosphere that we're like,
rendering right now.

so you can see like there's a lot of Lack of blue
here.

And that is because I dropped the height so
much.

So if I would put the height back up and I would
be a lot more.

So here you can sort of like art direct this guy
and give it like different colors and stuff.

Here we can sort of like increase or decrease
a little bit of the fogginess.

So and again, these also are not physically like
accurate. These are more like,

artists, tweak parameters,

Which one is the good one?

This one.

And I'm obviously tweaking these now with our
Sky visible because

I want to make sure that we get something that
blends.

Well I don't really care too much about how it
works with the proper sky.

Like with the proper physical sky and is actually
not so much a concern for me right now.

so,

we can look at this here and

I kind of do like a value that is maybe like to just
like a tiny little bit of fill here.

No idea.

Yeah. Okay.

Okay, so we can remove it a bit from the
foreground,

which will make our Sky more visible, but we
still maintain it in the background here.

I think something like this works quite well.

so, if we do this,

now we can see

this does a Job here.

So now the question is, of course,

do we still want to touch some of these values
here?

So, for example, do we want to touch a bit of the
Rayleigh scattering?

But it's almost like really touching the colors like
too much, like so I don't want to do this.

This is not like Mars.

so,

maybe we just want to do.

This.

I did that made almost no difference.

Just like a tiny tiny little bit here.

And then, of course,

we going to bring back

This guy.

So and now we have made this like incredibly
washed out and Dusty

and that could be absolutely something that we
would like To do so.

That is one way.

And let's look at our clothes volume here and
see

if we also may want to adjust the exposure here.

Slightly

This is not too bad and let's go to our fuck again.

so now,

I want to look at this one again here.

And I want to turn it.

Little bit more towards the red.

And let's see if I say,

To write this tiny little bit more.

So now we still have the density but it's a little
bit less washed out,

so I actually do

like this quite a bit.

so now one important thing that we kind of lost
a bit because

like if I'm going to go in here and turn this off,

All this is actually nice to. So now since
we removed the thickness of the atmosphere,

we actually do maintain a little bit of the colors
here,

but one thing that I'm not particularly sure about
when I look at this lighting

only so we can see that our shadows are
actually quite blue obviously.

Because here it's a bit different because
we quite

like get a lot of Bounce lighting and so on.

So here And also again, see like there's a lot of
warm bunk sliding but in here,

the Shadows are quite cool which is pretty,

pretty great.

But we don't see too much of it.

So like one thing that we could do now is we
could go into our skylight

In here.

And what we can do is we can decide if we want
to do some artists weeks now,

because like, this is basically a good General
setup that we have,

but we can also decide like hey you know,

I kind of feel like I want to do some more artistic
tweaks, on some of the things here.

So let's see if we like that more.

So that is always something that I did.

I feel like it is not necessary,

but you can always try and see if you do like A
little bit more because again,

this is not the real world.

It's like, we want to get close to it,

but like sometimes it just makes sense to
emphasize some things,

because it helps the brain a bit in a way of it.
See,

it's sort of like, scene,

from from that perspective, if that makes sense.

So, I am just adding a bit of blue here to my
skylight.

and if we look at this for example,

I'm going to copy this quickly.

So, here we have it like really warm.

And here we made it a bit cooler and I think it
sometimes can help to do that.

Nice.

And sometimes it can also Help.

If you want that,

to flatten the contrast a little bit.

so because I don't want to make this guy
brighter because I love that,

it's like so blue so you can

Sometimes increase this a little bit but I would
always say like really don't don't do much

more than two because you don't want to
decouple the indirect lighting from this,

the sky brightness, too much.

That is one of the reasons why I use this capture
method where I capture

the actual Skydome here because I just think like
that way.

They are well, connected and balanced and it
makes a lot of sense,

but sometimes I also feel like yeah, maybe.

I would like to have just a little bit more.

and then,

This can really help.

so,

now what In that we can see here.

And that is something that I feel like a lot of
people often like forget or they just like

potentially don't like think about it and that way
and this is kind of

like so when I look at this I think that something
looks really off.

Now, you may ask yourself.

Well, what is that?

And that is something we're for me. At least I say
that teaching your brain, how to see is very,

very important.

And one thing that I see is,

there's quite a lot of clouds in my sky.

So what happens when there is a sun and
there's clouds Well,

you end up with Cloud shadows

and we can clearly see that. We don't really have
any Cloud Shadows here.

So everything is kind of like naked and empty.

What we can also see I think That is at least from
my point of view, this one still doesn't blend

into well, so we'll have to give this a look but for
now let's do some Cloud shadows.

And the way to do this is you can either use the
sky atmosphere system and volumetric

clouds and then use that. Or we can use a
feature that we haven't looked at at all so far,

but I think it's one of the coolest features inside
of unreal and it is supported for pretty

much all All like types but it behaves differently
based on what type of light it is.

So if you have a point light, it works different
than when you have like a spotlight,

a rectangular light or a directional light.

It is not supported for skylights but it doesn't
make any sense to do.

So and you'll understand in a second. Why?

So the feature that I'm talking about Can be
found down here and it's called a light function.

And the light function is basically a material that
has a black-and-white texture that imagine you,

you know,

like you cut out a paper and you put it in front of
a flashlight

and then it casts a shadow in that shape.

So that is basically what a light function does.

so,

what we can do is,

Just trying to find my lighting folder here.

so, what we can do is we can just create a new
material,

Cloud Shadows,

one,

So, we're going to open this.

Here we have a and then luckily the content that
the scene here,

it comes with a bunch of utility.

Textures.

So we can see there's a bunch of like generic
noises and stuff like that.

So I'm just going to use these like this stuff.

You can make this yourself in Photoshop,

using the clouds filter at different sizes and
adding and multiplying them together and just

stuff like that. And then like you know, doing a
bunch of level adjustments or whatever.

So it's not really like black magic or anything,

it's pretty straightforward. But for now I'm just
going to use what I have here.

So let's build some very simple Cloud Shadows.

So first of all,

we're going to go into the material domain here
and if you

don't have that you may have selected
something.

Well I don't have anything here so like if you
select the root or click the background,

you get this.

So here we're going to go to light function and
that makes it like this.

So we have emissive color as the only input for
now,

which is great.

So I'm gonna do is I'm gonna take this texture
here.

and,

Then what I also got to do is I'm going to take
this texture here.

And I will basically modulate them against each
other.

And one important thing is like, you can make
these Cloud Shadows so that they're like,

animated and they move.

I don't want to do it this time around like,

like right now, I just want to open straight it more
in a way where I'm kind of like,

yeah,

this is what I want.

So I don't want these to like change all the time
move around

but there's like it's no problem to do any of that.

So we Need some texture coordinates.

Then we gonna add some multiplies.

And that we have.

Cloud.

01

scale.

Let's just put this

21.

And I'm gonna call this text for cloud,

so I understand it better and the other texture I'm
actually going to call it just noise.

And now while I'm thinking,

I actually think let's do this differently.

Let's do World position.

we take a component mask, we mask our G,

which means red and green Channel, which is
the same as like you,

and

In that sense and then we actually use the
Divide.

It's like for world scale for, like big stuff.

This is a little bit

better in my opinion.

Let's do it like this.

So,

we're gonna put this in here and this is here.

So let's start

Like previewing / debugging, that's a little bit.

So first of all, let's just going to pluck. This
number one thing in here,

and this looks pretty barked.

And this is because it's like super small,

but that does not concern us right now.

So, just going to add this here.

All right,

so and now we can see.

It only made a darker and the reason for that is
is because it's like so small.

We there it is.

So it's basically just like leaving. No. Real room.
Here is basically just like it was great,

but it doesn't really matter because we just can't
go in here.

And just like,

increase the scale.

Right.

So

Now,

I'm just like increasing the scale of screen here.

And this is kind of cool.

Like

this is like really

Really kind of cool to create these pockets and it
like Blends,

well with the shadows and everything.

So this Actually really,

really cool.

As a general thing.

So but now we kind of have this and it's a little
bit like

Kind of still too

generic and repeating and also.

It's almost like

The pockets are too small, like it almost seems
like it would need to be inverted.

So,

one thing that we can do is we can

Use one - and we can actually just invert it. So
that's like one thing that we can do.

So, we use this and I'm going to move this away.
And now if I hit save,

We should get a shadow here.

Exactly.

So now we kind of have this and it does already
like, look more like what we?

What we had here.

so now I'm thinking though,

should we maybe

Change this a little bit.

Kind of like

this.

So I think this is not too bad,

however, we can still see that it's like yeah.
Maybe like here up close.

This is kind of like cool but it does not look too
great.

When we look at the distance here.

So what we can do is we can see if we can
actually

do something cool with this texture here.

So let's just add a add mode.

Let's add them together and to be honest,

I have no idea what's going to happen but that's
half of the fun.

Nothing really has happened because our scale
of the second texture is enormously small.

So I'm going to try and increase this and now we
can see what is actually happening here,

right?

so,

one thing that we could do now is I'm gonna

try and

remove the one-.

So we get like more coverage again.

Like this.

So this is kind of cool here.

And now what I'm going to do is on the noise
scale.

Let's see.

So, we can actually brighten a bunch of these
things here with the noise that we have.

So we can see it is not as dense

which is pretty cool.

If you look at it like this,

so,

one thing that we probably should do here is

we should probably add a saturate, which is sort
of like a better version of clamp here.

We don't want to completely work this.

However,

let's add in a multiply here for our noise so we
can actually make the noise more intense.

So and we should definitely start with at least a
one.

So let's save this.

and now,

when I slide the noise intensity here,

Can see that we actually start.

Breaking this up quite a bit.

However,

I think

we may wanna

do something larger.

Kind of like this.

So now we have created something that looks a
lot

more natural and has a lot more variation here.

So this is actually kind of cool.

So, one thing that you may Wonder now is so
okay, cool. So I like this,

but like now I have this big hole here and maybe
I want a different. So how,

how can I do that?

Like,

Can I move this texture?

And that is very easy.

So we can just add like an ad note here.

And another ad note here.

So and these are a vector, two values here,
right?

So what we can do is we just take the vector 3
right now.

And we add a component mask here. So there is
no, no weird value. Hiccups, in that sense,

we're going to connect this to add.

We're going to turn this into a parameter and we
just call it cloud of set.

And now the cool thing is that if we move the R
and G values, it gets added and it will offset.

These textures.

So if I put this over here you can see

that it Bill.

Did I not save this?

So, here you have, there we go. So here you can
see now, right?

I set this quite a lot.

So if I just start sliding this a little bit,

we can now orchestrate how we kind of want
this to be and we can move these into sort of,

like, interesting areas here.

so, I kind of like,

Having this here, where we have this, like little
light pocket,

I think this is actually quite quite neat.

So this is a really,

really good way.

Of just like figuring out a bunch of really cool
Cloud things here.

and also one thing that you can do,

You can add a power in here.

And I'm holding S4 the parameter again and then
call it cloud.

Power.

And the default for power is 1. Then it doesn't do
anything.

And values higher than one.

Increase sort of the power / contrast is a bit
different than

contrast and values lower than one will make it
brighter.

So if I lower this, we can see that the clouds
disappear.

And if I power this up we'll get something more
like this

and something like this is quite cool because
you can See how it creates this like,

nice variety here with these,

like really cool light pockets and I just want to
move the clouds a bit more.

So let's see if we

kind of like this.

I think that could be

Kind of cool.

I want something we're definitely like, I want this
to be in the light like the gas station.

But I also want to have

Something where I can really.

See something nice here.

You know, maybe this is not too bad.

So, this is like the thing, right? Is like,

always the balance of

How do you want to do it?

Yeah.

So let's go with this for now so we can see that
this is actually like a really nice way

of adding something.

So this feels a lot more believable than

Like, you can see.

That's does not work anymore.

Interesting.

So this adds a lot more realism to this whole
area

and it's a, it's a quick way to make things look
a lot more natural.

And this is also something that for example, on
Star Wars on Battlefield, we've done it so much.

It's just really

a very good way of adding believability and
realism to your environment.

So now I just want to fix this color back here
because it's just really to like annoy me.

And the quickest way to do this is To make this
one here brighter.

So let's try 4,000.

So maybe like this and then pull this a tiny little
bit because I don't want to,

I don't want to have a sandstorm back there so
this is kind of good.

All right.

Actually,

haha,

I'm just missing this because we do have the in
scattering here.

And I think that this one here is actually also,

The in scattering.

No.

I would only works for with the texture, I guess.

Yeah,

they changed a bunch of things here.

I remember.

Okay.

Yeah.

So they

We can still use this if we want to

select these values when they're black,

it is made so that it works with the with the sky
atmosphere.

so,

Since we don't have the sky atmosphere.

Let's do something like this.

That's quite cool.

So yeah.

And now we can as always just like add a little
camera actor here.

To do something cool, where we can just see a
little bit better, what we actually have here.

So it is still like it is quite foggy.

So of course we can.

Slide that back down again.

Well like this, maybe.

So I'm going to do is so here we can see the
aspect ratio and a lot of like film stuff has 2.3

like for, like Cinema stuff.

so you know we can get like this really nice
wide,

angled shots now

Which is pretty cool.

We probably want to go.

To cinematic.

So everything is kind of like there.

So yeah, we can start to get some really nice
stuff like this.

And this is starting to look quite good here.

And one thing that I think is quite important. So
when we work,

I would never recommend to use cinematic
because it kind of like, you know,

it's like it overrides lot settings and stuff like
that. So it can become quite expensive.

But for nice screenshots, and these type of
things,

you kind of want this all to be rendered out
properly without any, any weirdness.

so,

This is definitely.

A way to do it here.

kind of wanna

do my thing here,

and we can see it on the clouds. When I slide
this. It's just like,

as this little oomph

I want to, of course, add just a tiny little bit
vignette here.

And then we kind of like, expose it more like
this.

We're going to look at the bloom stuff later on
and one of the next lessons.

And then, of course,

where is it?

My

Favorite here.

We gotta add a bit of grain and we're going to
start with like a horrible amount of grain.

So we can tweak it.

Kind of like this

and then, you know me,

I'll reduce it a little bit in the mid.

Values.

I will reduce it a little bit in the highs.

And then, I will scale down the whole thing.

to something like,

This looks good to me.

And we go to our cinematic camera actor.

And

We actually go like this.

Place the shop nicely.

And then we make sure that we

track or well track that we just focus on our car
here like this.

Beautiful.

and then,

We're going to render out a high-risk screenshot.

And we can look at this and say beautiful,

this is a very good step in the right direction for
our setup here.

So,

with this one done,

Thank you so