All language subtitles for Environment_05

Hello and welcome to the next session and
we're going to continue

to make sense of this interior here and try to
tweak. It really,

really well.

And one of the things that I need to really stress
is that all the stuff that we're doing here,

it's really

a lot of it is kind of like guesswork to a certain
degree because

we can never really know the exact values of
a lot of things.

And it's important to also be really clear on like
sort of like the style that you want to achieve.

So when I Googled for American Diner interior,

I found a lot of different things, right?

So there is for example,

stuff like this.

This one is actually an unreal seen as well.

I know this one,

so maybe maybe this is not like the most perfect
example.

however,

there is obviously still a bunch and one thing

they are really flat usually.

So,

It's not that exciting to look at they're flat,

they're kind of boring to certain degree.

So we need to be really smart.

About how we want to do it.

And just a style that we want to go for. I think
that this is kind of boring.

And we can really, again, see, like,

all these lights are pretty, like, blown out here,
and it's like, very bright and flat,

I don't think that's super much fun.

So,

I think we should either go for something like
this,

which again, is also very flat still.

Or I would actually, really prefer to go for
something like this.

And this is quite interesting. If we look at this,

because

What we can see here at the edge of the of the
image is. We do have these little lambs here,

we can clearly see that the waitress is getting hit
by some warm light.

But looking here at the couch, we can also see it
is not really super bright.

So we can see these values here. We can try to,
like,

make sense of the of the balancing that they
have.

So here we can see these labs are clearly off.

So most of the lighting actually comes from all
the neon stuff.

So it's really interesting here again,

we have these little ceiling lamps and we can
see how much

light they Do we can see how much light comes
from this.

So what we need to do is we need to sort of
figure out.

A hierarchy of lighting.

This one is quite good again here,

you can see that we have these lights and they
not actually they don't really they're not

the ones that provide the lighting to the room,
but they're the ones that just make it.

So these people can actually read the menu
properly when sitting

on a table but most of the lighting comes from
the neon stuff.

I do like that. Look so for now.

Let's just say we're going to do something more
like this.

So this is what I will be balancing most of my my
stuff against

and,

If?

Excited. Like now I have turned these lights off
here. Alright,

so I'm just going to take this.

I'm going to add it and I'm going to turn on my

Point light here.

And so the first thing that I'm going to do is I'm
going to

fix all the placements here because as you can
see,

they want these lights where there is people.

So like all this stuff, it kind of like does not make
any sense so let's fix it.

We're going to move this over here.

We going to move this over here.

And there's another cool thing that this brings
with it.

Because like now that we're more in a corner we
actually do get more

bounce from it because it's closer to any of the
walls here.

So we can actually use that to our advantage.

Let's just continue here.

I will delete these.

And

I just have to say about all. I got I love real-time
GI just looking at this,

it's so nice.

This is a really, really great thing to have.

So,

you just gonna continue here.

We just make this proper.

All right.

All right, I think this is a good position. So I'm
just going to delete all these ones here.

And we just going to do the same thing.

Also,

I want to I wanted to quickly mention one thing
because you may have

noticed I'm using Point lights here and I have the
Shadows turned on.

So here is one important thing.

First of all, like I told you in the past that you
never ever,

ever want to use Point lights with shadows.

Here's the thing.

Traditionally speaking that is very true.

There are however exceptions,

And there's basically two exceptions for this.

Or let's say there's three.

So if you have like a specific specific scene, for
example,

someone's like holding a torch and there's not
much else

going on and you want to torture to cast
Shadows,

you can do that because this is something
different than what I'm doing here for now,

for example, where there is like a lot of Point
light switch adults, right?

So the third situation, totally fine,

Then the next thing is that unreal has
a technology that is called Shadow, caching?

What is Shadow cashing.

The reason why Shadows are so expensive to
cast.

Is because they will basically be updated every
frame.

And as you Remember one point, light has six
times the cost of a spotlight Shadow.

So it basically also has six times the cost of
updating when things move or like, whatever.

And cash Shadows is a really cool thing
because what cash Shadows

basically does is imagine you cast a shadow and
then you just hit,

like the freeze button and then the shadow does
not update anymore.

It just stays the way so it basically Gets
computed

once and then it never gets recomputed again.

And the only thing that it costs is the memory
that it takes to store the shadow map.

So basically, like let's say if your Shadow map is
512 by 512 pixels that is like,

I don't know,

one megabyte of texture memory.

So you don't pay for updating the Shadows. You
only pay for the memory that the shadow costs.

And that is pretty cool because as long as no
object,

that is inside the radius of the of the light source
actually moves or updates,

nothing is going to happen.

Nothing is gonna cost.

And that is really, really cool and very beneficial
to do so. With Shadow cashing,

you can afford Point Light Shadows,

speaking of traditional, Shadow Maps here,

If you don't have the lights updated per frame
and stuff moves because imagine I would

now like animate all these tables and benches
and they would like move around.

Then I would pay the update cost for all these
lights but right now I don't.

So that is a way where you can still use Point
Light Shadows if your stuff doesn't update the

next reason why I can actually afford the point
Light Shadows here in a pretty good

way. As because I'm using the virtual Shadow
map and the virtual Shadow map.

Honestly I cannot completely explain to you how
exactly it works.

There is like some articles or like documentation
for it.

You can read into that in case you're curious.

There's a bunch of things there and if I
understood correctly,

the virtual Shadow map is one big Shadow map
for the whole

screen basically and Every light just renders into
it,

and there is never a new Shadow map.

It's like basically an At Last Shadow and all the
lights just render into it.

So, theoretically speaking,

it doesn't really matter because it's sort of like
tweaked in a way that the texture is updated.

Anyways,

and it's a rather large texture.

So the amount of lights that render into it, as far
as I understood,

don't matter as much.

I might be wrong about that.

I Have like misunderstood but that is, that is
what I got from it. So,

you know,

take that with a grain of salt

Okay.

So now we have this.

And I do quite like it.

So how do we continue from here?

So first of all,

I think for me, it is often really difficult to judge
the brightness.

Of the light sources,

with like the difference between spotlights and
point lights,

having having different values and all that kind
of stuff.

So,

what I usually do is I work with the point lights
because I feel that they're more accurate.

Because with a spotlight,

there's a thing where

Like the intensity of loom and changes based on
the surface that is hit by the lumen.

So, like Candela is a value that is independent
from the angle of distribution,

but we don't really get the CD values for the
lights.

So it is also not always optimal to use Candela.

However,

what I'm trying to say here is that if I have the
spotlight and let's say it has 2000 lumens

and the angle is really big, it might not look as
bright but if I make the angle smaller,

it's going to look way more bright because it's
Focus, the energy of the 2,000,

2,000 Lumen on a smaller area of like surface.

So it is a little bit hard to judge the brightnesses
of these with like spotlights.

So that's why it can make sense to use the point
lights instead.

With that set.

Again, I don't think that these lights are as bright
as the ones that we have in our living rooms,

I think?

Sophomore mood lights.

They are a bit more doing jobs like this stuff
here.

So

what I will do now is,

I will decide purely on my gut feeling that I will
do.

600 lumen on these okay.

I'm gonna do it like this and here's the thing, like,
right? Like,

even me like I have done these things while like,

it takes me a while to nail exactly the value
relationships that I want to have.

So it's not something where I just enter it and
then boom, call it done. Everything is great.

I'm happy, let's leave.

So that is usually not how it works.

It is a little bit of trial and error because it's a lot
about the feel that you're trying to get.

But then again,

When it is important to like check again with the
reference because

like one thing that we can also see in these
examples.

Is that the neon stuff? It blows out quite a bit so
we can see that.

It's like white and the core like this is so
overblown

that we can't actually see what the sign is,

like reading because it probably has some more
detail on top of here but it's so bright.

And in comparison to the exposure we can't
really see what's on here and that is normal.

So to make this look as cool as we can,

we need to also reflect these things because I've
seen

it a lot that people are afraid to to lose
something.

So they would like make the sign way too dark
but then

it kind of looks wrong it just doesn't look
believable.

So let's wait for the saving to be done.

All right, there we go.

So now we're going to just go back to our
exposure here again.

Let's see how we can nail this in a proper way.

I also want to do another thing quickly.

Which is rather interesting here.

So what I'm going to do is I'm going to take the
point light and I copy it and I go out here.

And this is actually kind of cool that we get this
nice lighting effect here.

okay,

it doesn't

like doing that.

Let's see if I can copy paste it this way. Nope, I
can't.

So let's do it quickly here.

Put in the point light.

Going to switch it to lumen.

Then I do

600.

All right.

So,

this is the value that we have here,

right?

And one important thing to note is that you can
see

We have.

This is our light source and we have a very, very
huge radius,

but our light actually doesn't travel that far.

So one important thing to also figure out and
this is another again, like it's for,

for performance reasons.

Really important to do that per default, all the
lights, have an attenuation radius of 1000.

So

Now it's just how I loved it and I didn't really get
a perceivable

change because it seems like we're still not
hitting it.

If I would do this you can see we would actually
cut

off the Radius of the light based on the intensity.

So this attenuation radius,

this is like a value that doesn't exist in reality
because in reality a light

travels as far as it can given the amount of
energy that it emits.

So this is purely like a thing that is meant for
video game optimization,

but one of the tips that I would like to give you
is,

you always want to have this radius as small as
you can compare to the Density of your light.

So having a 1000,

Doesn't change anything 500.

There was a tiny little bit here.

600.

So I think 550 this is probably the perfect radius
for this light without actually causing any light,

cut off.

And while still making sure that from a
performance point of view,

we are In check here.

So I'm going to delete this and this was just for
me trying to test because it's a bit hard to,

to see it here when we have all these lights.

So I'm going to go to my point light, which is on
the other screen here, and I'm going to go 550.

And so something changed.

So let's look at what actually changed here.

So and this is really interesting because
sometimes you may actually

have another thing with the radius that is not. So
cool.

So not sure. I want to do it again and you see if
you recognize what is actually changing.

So what has happened here? Is that our
specular highlights kind of cut cut off?

and this is the the second important thing to
keep in check when you do your light radius,

That is that?

The specular of the light cannot render outside
of the radius.

So if I do 200,

you see how the specular from these lights
back? There is just completely cut off.

Even though the lighting of these lights does not
reach until like let's say here,

if I put in the 1000 again

You can see that the specular reaches a lot
further,

so that is actually another thing that you can be
mindful of.

So there we we just lost a bit by putting like I put
it to 800 I'm sorry.

It's just like so much stuff on the screen then it's
better.

Sometimes we get on this side here.

I could actually.

Try to.

This.

Like this.

So,

You want to always be very considerate at off of
all these days.

So we can also see here how the specular cuts
off in the front.

And obviously, there are some lighting that's
going missing.

So since this is a portfolio piece at not a game,

we're going to leave it at 1,000 because it's going
to look better.

But if you have ever asked yourself the question
on why,

you know, you look at something on Arch
station like Boy, this looks so good.

Like unreal can do this. Why do games not?
Look, there's good stuff. Like this is exactly why.

Because, like, when you make a game, you just
can't afford this.

You may have to actually do this.

And then you like lose some light here, you lose
like a bunch of other things.

There's just a lot of it that comes with it.

So keep that in mind.

When you see stuff here,

this is also the specular coming from the light
source is back here on this metal, beams.

Again, when I put it on 500,

you can see it completely disappears, all the
readability disappears.

So,

I'm actually curious what happens if I put 1500
here.

Versys 1000.

so you can see,

there is a lot of

Stuff that happens here.

And this is purely specular because this is like
all all metal stuff,

I think at least it should be. Because if you do
this,

you can see like now I'm in the base diffuse
lighting, you know?

So like when I do this 1,000 again,

Actually, does travel quite a bit.

So here we have a point for

making the radius even bigger because It is
more realistic this way because light

would travel that far and again, so this is
a portfolio piece so we can do it.

So,

I think that we are still a little bit too bright here.

So,

I will.

Lower all these lights to 400?

I will go into this and I will just see how it looks
on 6, but it's probably too dark.

Yeah.

Well,

I actually don't dislike this.

Okay,

so let's do this.

So let's assume that this is our Baseline.

out and one important thing here, as long as we
are,

Not higher than six or seven.

We are still in a good range for interior lighting.

That is very important. So this is all right, we're
not dangerously high or something like that.

So this is going to work out quite well.

And then also, when we use spotlights,

we need to consider that. We need to have a lot
higher values than this because of the,

of the nature of spotlights, working a little bit
differently, so to speak.

So now we have this.

So let's look at our neon stuff here, because I
think this is going to be interesting.

And I actually realized something, when I did
this stuff here,

it didn't really use the stuff that I was putting in
here because I was using these ones,

these are from like a Collection so we can totally
see.

Like we have different base color here and the
emissive color.

So this is actually now kicking in the proper way
here.

So before that, it was quite off.

So what I'm going to do now is I'm just gonna go
with something that is a lot more poppy here.

So I'm going to really go

with

Some full-on blue stuff.

Whoops,

of course, with blue and up with green.

So I'm going to go with full on Blue.

Same goes for this.

All right.

so now that we got this,

One thing we need to look here again and then
we can see, okay,

so this needs to blow out properly.

So we need to

get it to look like this,

right?

And for that to happen,

which it is absolutely not.

We need to crank our emissive value.

So if we look here,

let's do like 1,000

not there 2000.

Not fully there but slowly getting there.

5,000

now we're starting to look a lot more, like what
we see here,

because we have the bright core and we have a
nice

Blooming effect on the outside. We could
potentially even do a little More.

So let's let's just see it's 27 thousand.

Let's do this for now. We can we can always
adjust.

So this was the blue.

Now, let's take the red here.

Same thing goes for the red. We were using this
color so it got all borked.

and here we gonna

do this.

So we take full-on red and we take full on red.

And we going to do this.

so now we can see we have something that He
starts kicking and since we have blue and red,

we actually start getting this nice,

nice purple light here.

So,

looking at these

Because I'm I started reusing the same material
here,

I think.

I want to go back to 5000.

Yes, this is a little bit more pleasing,

so we're going to go back to 5000.

All right.

And with my red one selected, I'll put it into like
a click the browse button so select that.

And now what I'm going to do is I'm going to
change it on all these meshes here,

right?

So if I go in here,

I'll just drop this on.

And we can start seeing this becoming like
pretty pretty cool here.

So let's do the same thing with the others.

And I'm just gonna browse for the blue one.
Now,

I have this selected and I can apply this

And again,

this is the beauty of lumen, because if this would
be the old way of doing things,

we would have to test big.

This all the damn time to figure out if it's actually
working, if the values are bright enough,

that would be so much trial and error.

Now,

the trial and error is rather quick because we
just set

a bunch of values and then we balance them out.

And we just Let that day that did not like this is
not how it was

back in the day or let's say when I started.

So now we have this and it's starting to look
actually quite cool here.

So this is pretty neat.

Now, what I did was because when I looked at
this, I was like, realizing like, okay.

There is a lot of these neon lights and things like
that.

So again, here is what I, what I said when we
started this,

it's like sometimes you need to make a decision
to

change the content because you need more
light.

so here you can see that I actually

Have the same elements that I put here.

My actually.

Oh yeah, these are flipped. I need to flip them.

So like I just copy and pasted this here quickly
but we'll fix that in a second.

I will apply all the colors first before I

before, I fix the rotation of the object.

Zoo.

Okay,

I'll should be this one.

Oh sorry,

this one is actually.

Correct.

It is this one that needs flipping?

Now,

which one was it?

This one is the wrong one?

Yes.

Okay.

This one.

so we have this now,

like one really important thing is that like you
can see here

how some of the lighting is kind of like screen
space only

and and that is that like small and missive stuff
and so on,

it can be rather tricky with lumen

So

okay.

Yep. That's going to be a bit annoying.

But it's just going to select all of these.

And there is something that I'll show you now.

That helps with the stability of smaller emissive,
light sources by stability.

I mean that it doesn't do like wonky stuff when
things get out of the view or something like that,

right?

Select all these carefully here.

All right.

so if we search for a missive here,

We can see.

Emissive, light source.

And when we turn this on,

it'll help Lumen to sort of understand better what
this is and we can still see that we have

issues with the reflections but the lighting itself
you can see it. Stays really stable,

I am honestly not sure where we're having that
much of a problem with the with the reflections.

But there's the thing like Lumen is still very Very
new,

there's a lot of stuff that is not yet like let's say
fully figured out with Lumen.

So

You know,

I

don't know necessarily.

What's going on here?

I,

See if I can actually fit this in here.

Well,

kind of

it's not perfect but it is. Okay,

good enough.

Yeah,

that is sort of good enough for me for now.

Bring this over here.

And I just saw something funny.

While I was colliding the roof there for a second.

seems like they're already was something like
this up here,

which is

a bit hilarious.

But

it is what it is.

All right.

Cool.

So we have this,

now,

one thing that would probably make sense as
well is to

Have even more of this stuff like over here.

I would I would assume

Just bye.

Just by looking at some of the reference, right?

So,

It would probably make sense to kind of like
have stuff like this here as well.

Also for consistency reasons.

I'm not like trying to win like a beauty price with
this here.

I'm just more or less like,

trying to

no.

This is unfortunate,

so we have a little off rotation here.

Let's see if we can get this fixed a little bit
manually here.

Probably like this or something.

Let's see what happens when I do this.

and again like I'm not trying to win like a beauty
price,

here are trying to compete with my fellow
and fireman artists,

I'm just really trying to

Make this a bit more.

Consistent here,

which we can see, I already kind of like pork this
a little bit.

so, I think it would make sense to,

you know,

adjust these a little bit very slowly.

But you know, this is like this is the imperfection
I was talking about,

not just kidding.

But it's alright.

It is alright.

Will live,

oops.

Slowed us down a bit.

So I think this does look pretty cool actually.

So

I'm just gonna,

Do this.

Nice round here.

And then we should all feel really happy

with what we have.

See.

All right, this seems really well aligned now.

And again, like I'm just Repeating myself. But
like,

this is

the stuff we're just when things don't look right.

Like at add more lighting.

Like, like I'm doing here,

like make it

Make it work properly.

So it's all consist. I'm gonna add a copy here as
well.

but yeah,

this is just

I'm going to actually take one of these.

For the other side here.

But this is just one of these things where, like, if
you want to get, like,

consistency for your environment and stuff like
that.

These are the things that you kind of have to do.

So, it just works properly.

And also when you do stuff like this like I would
otherwise I would need to like

go in here and add like weird, kinda like fake
light source off. Like that.

Which again, I'm not a big fan of. I don't really
like doing it. I don't,

I don't think it looks good either.

So,

doing something like this is definitely the
preferred workflow here.

So we are slowly getting here.

Actually, let's close this Gap back here as well.
At least from a logical point of view here.

Let's just do like this

so it's going to be fine.

All right.

so one thing that I feel like we're losing the these
meshes

here over the distance and I am honestly,

I think it might be because they're nanite
actually.

So let's have a look here quickly and see if they
are nanite.

Yes they are.

So here's the thing.

Nanae does automatic coloring and all that kind
of stuff, right?

So this stuff that you see back there,

it's actually nanite trying to maintain the small
stuff.

So what I can do here is I can just select all
these and let's see if that works. I hope it does.

Otherwise I've been like saying weird stuff but

Let's disable nanite and it did it actually help
now because I know

it has helped in the past with small triangles to,
to stay visible.

Yeah. Well tough luck I guess.

Again, it's still like it's just very thin geometry.

It might be.

The screen percentage as well.

We set this to 100 boom.

Yeah, there we go.

So it actually was caused by the screen
percentage,

so the screen percentage,

not sure if you know but it basically calculates
things

at a lower resolution and then scales it up.

It can help to make stuff run better in the editor
but then again when you have

these very thin thingies and you have a not such
a great resolution,

This is what happens.

So now looking at this and then looking at this,

like,

we can already see

that we are getting fairly close with a lot of the
things that we're doing here.

So that's actually really cool. And I think it's nice
too.

L also for yourself when you when you work on
content and you

do have a proper reference like this that you're
working from,

like it's so nice to to actually see it and see how
it comes together,

how the colors start happening and all that kind
of stuff.

So that is really beautiful and it's a lot of fun too.

So one of the big joys of not only being a
lighting artist being An artist in general.

It's just when you see these things coming into
fruition

and devalues matching up and all that kind of
stuff.

We can really see how the light colors here
match really. Well,

also like our warm light and all that kind of stuff.

It makes it makes sense,

so it feels good.

And one thing that does not feel good.

And this is the last thing that we're going to do
in this session.

One thing that completely does not feel good
and it will actually get worse.

I assumed if we add Life's back here.

So let's do that quickly.

I'll just like, take this guy and we're going to
copy it over.

And we gonna rotate it.

Buy 180.

So,

let's put this here.

Looks good enough.

Here.

Again, no one cares.

About the perfect environment art right now
here.

And honestly, just need to say this quickly
because this is so much fun,

but like I have been dreaming for this like when I
started doing these things,

like none of the technology was this far.

So like I have been dreaming of sitting on my
computer copy-pasting emissive light

shapes and getting the lighting from them to
actually do something like this has.

This is just like to me just like wow like this is
Amazing.

Absolutely love it.

So again,

there's this weird thing when we look here where
we can like why is there so much light here,

right? Like where is the proper Shadow from
these things?

And why why is it so bright inside here?

And one of the things that we can do is we can
go in Lumen Lumen scene.

And oh

oh we just suddenly see that.

The whole thing is not really there.

So what what is happening here, right?

And let's try to find out what is happening here.

Which one are we going? Let's start with this
one here.

So if I open it,

what is the culprit here?

And I start with this one first.

Usually

And it's this one so we can see distance field.
Resolution scale was set to zero.

And as we've learned in the render scene for
portfolio purposes with the floor.

This is how we can actually disable an object to
be seen by lumens lighting calculations

or distance field, lighting General. So now that I
did this and said apply,

This is what we're getting.

So I assume we should do the same thing with
the rest here too.

Just going to do this quickly off screen here.

Apply.

And are they all separate?

Let's see.

All right, that did a little bit here.

Let's look what we have over here.

So, that looks good.

and now,

we do have a lot more occlusion here,

so we still get this and I kind of makes sense to
a certain

degree because It's like the light like going like
this,

so it's still gonna kind of hit it,

but for example, I think I'm not super happy with
this guy here.

So what I'm going to do is just going to bump
the resolution to too.

And we're starting to get somewhere going to.

Bump it to 3.

All right. I like this a lot more.

So what's with this table here?

On a bump this 123 as well.

And this is also like just a good thing to do in
general.

It's like when you have all these objects just like
do

a little bit of a sanity check on the resolutions.

To make sure that they're properly reflected in
the Lumen calculations.

Now we got this good stuff here.

We could potentially increase the sign as well
just

to make sure that it has better data to work with.

So I'm just going to do the 3 as well here in
resolution.

This is more accurate,

good stuff.

And then we can also see that there's a lot of like
the

small stuff here that is not really represented.

Like this stuff here and there can be like a lot of
reasons for that.

It could be that it's the size of the object. So if
we look here and it's not visible anywhere,

it's not visible. In the Lumen seen the reflection
view, the surface cash.

It is just not there.

and again,

this might be

due to some of the settings that we actually
have.

In here.

so,

if I go into Lumen overview,

we can see that,

like we can increase the detail for the Lumen
scene and now the small stuff started appearing,

right? So you can see how it really just starts
having more of the objects, reflect a properly.

And we can also increase the final gather,

which in theory should make it less flickering,
but like, you never know.

Sometimes it does. Sometimes it doesn't.

And also one thing is now my performance is
actually quite a bit

worse because also of me switching the screen
percentage.

So for now, I'm going to do this.

and overall,

like,

We'll see.

How we go with this?

So now we do have stuff here. That looks a lot
better than it did before.

And we're getting somewhere,

really nice.

With this interior.

So let's call it done for now.

Let's make one last thing. So we have something
nice to look at before we call it off.

Because it's just always so much fun.

I mean, we can already imagine how we could do
some cool stuff if this was glowing nicer.

Let's go somewhere where there's actually
something on the table.

So you know nothing.

Nothing too fancy but like

You see?

We can do some pretty.

Pretty cool stuff already here.

So again,

I think we did Well with this so far.

So