All language subtitles for Environments_07

Hello and welcome to the next session here.

So now that we've done the lighting for this and
for the diner,

I just realized that

I forgot this beautiful phone booth here.

So,

how about we going to quickly do the phone
booth as well?

Just so we're actually really ready to get it going
with the cool stuff.

So I have no idea what any of these lights do
here.

So I would assume that looking at this,

that this is a fill light and there is some fake light
shaft thingy here as well.

I'm just going to delete this.

So this is a fill light,

I would assume This one is a fill for this one and
then we actually have the

proper light which has an is profile. So we
haven't looked at these yet.

But maybe,

maybe we will with this,

I don't know yet.

Let's see.

So,

what we going to do is we're going to start by

like,

Taking this one.

Turning it off.

Taking this one

turning it off.

And then we're going to take this one.

And this one is actually the first one that will do
anything with it.

So, we're gonna look at our phone booth here.

I will turn this off, so we can actually see
something proper here.

So, now that I have this,

I do think this should be rather cold lighting
here.

So,

let's have a look.

what set this to Lumen

and let's do like

800.

Why is it not affecting the sting?

Because I can see it doing something here.

Okay,

so here you can see that the light is actually
exposed and it is overwritten the intensity.

So I just set it back here.

So now we can see that we're actually getting
this thing.

So, let's see how much we can push this.

This is like not really in the center.

So, let's make it.

So

Let's go with 1,000.

and,

Let's see what we get from the attenuation
radius.

So here you see like switching it for 500 to 600,
didn't really do anything.

So we'll just keep it at this.

I do feel like I want to change the angle a bit
though here so you can see like it starts hitting

more up here because this is kind of like the
thing that is like done with the fill light.

Usually.

So like when I

Select this.

Turn it on.

Like you can see how it's just like, starts filling
in here.

I don't really like that stuff too much.

Like this one is seems to be specifically used
here for for like a beauty shot or something.

But to be honest,

I

do think this looks a lot better when we just keep
it like this.

Selecting this spot like here we do have quite
a bit of source radius.

So let's try something because it gets rather
blurry with the virtual Shadow map here.

Let's try and see what happens when we turn on
the contact Shadows. Additionally.

so, it doesn't reduce a little bit of Thing.

But it also

like,

Yeah, let's let's not use them. I think it looks
cleaner this way,

this is fairly decent so I don't really think that we
need all these other lights here.

I think this is pretty much fine the way. It is.

What I do want though is I do want more
scattering

Honestly, I think this is kind of cool,

but again, like we will see. Maybe we'll change it
down the line. I don't know it like it's a bit strong,

but again I do like it.

But it is always the same like a lot of these
things come down to taste.

So do how you please just because I do, this
doesn't mean that this is like the way.

Let's go with.

3000 here.

2000.

And it's kind of funny because this is rather
warm

I will change this and make it cold like this.

So now they match and I do.

I do like these looks

all right,

so now

Let's not forget to save this and close these
windows here on the side.

So now we have this,

right?

And again, this is not really how our seems
going to look like.

So what we're going to do is we're going to bring
back the sunny lighting and of the obviously,

like this is going to happen.

So one thing that we need to be aware of is that
in our post-process volume?

We do have two volumes here.

So we have the outdoor one and the indoor one,

sadly it seems like they they don't like usually
they're showed you here.

That the value is overwritten. So like when I
open this you can see here.

The values are overwritten,

it used to be in a way where

it really like,

Showed you. Because like, now, when it's like
clothes,

I don't know which values have I touched, right?

So obviously, the one solution is to go back
here.

So now you can see how all these kind of tied
together and you can see like with an exterior.

Exposure.

This thing would not glow as much. This is sort
of like expected.

And again this is also like a little bit dark,

so like

We would maybe stop this up a bit and do it
more like this,

right?

And then this feels really good because this is
how it would look like.

This is how these would look like.

So if we have the exposure kind of like this,

all these things, they kind of like feel correct.
The way they are.

The same goes with this one.

Same goes with the diner stuff here now so we
can see like, yeah,

this is definitely glowing.

But it is also not like too much because this is
sort

of like the exposure that we that we would use.

And then we now have a lighting that is actually
mixed

between all of these that we that we kind of have
here.

So now we would start raising our interior
exposure.

And then suddenly like all these things,

they start meshing together a lot better here.

And in a way that this all kind of makes sense.
Now,

so this one also, if we remember the shots
before with like the daylight stuff,

how it was like glowing

There's all these things now, making a lot more
sense here.

Because we have this proper setup for all these
things and that is the reason why

I wanted to do this because now they all going to
like basically play and tandem.

But I also see that we would potentially We want
more on some of these lights here.

So looking at this guy,

So the submissive is actually not super bright
here.

It's on 200 right now.

It should probably be more like this.

And on the small ones.

and we would also probably raise this like even

even more here.

To probably something like this.

And now this really works like now we have this
exterior being blown out exactly the way it kind

of should be we get this really nice and strong
Reflections and all

the materials that kind of do exactly what they're
supposed to do.

And this is how we get this to work really well.

So now one really big problem is that obviously
we do have these two volumes, right?

So what we can do is we can basically,

just

Return with this one.

We can turn this guy on which right now is
locked 26 here, which is too bright.

But then again, this is also not nighttime
anymore. So we do have a lot of, like,

outside stuff going on.

And eight is actually a really common interior
exposure ev8 for like,

architectural photography and stuff like that.

So this is a really, really good value. So what
should Do now.

so, what we can do is,

we could potentially just go out here,

make this

not Unbound.

but instead,

we'll just like

Shape it up properly and we can again go into
the settings here.

And we can use the previewing draw brush
pulleys.

And this way, we'll have a little bit of a better
understanding here.

and we would probably likely to do the same
thing here, like for the little entrance area,

of course,

Whoops.

So this is sort of like one thing that we can do to
get this to work.

and there's one big downside with this approach
and that is that and you may have seen

it actually quite a bit in games is like, when Get
to like the edges and stuff like that,

don't think start like happening, right?

So like maybe some like the colors changes
because like

there's a different color grading or something
like that.

This is a very,

very common thing that happens when you have
these volume based techniques

that it's just like by design a bit tricky to get
them to like really accurately work.

So now, if I do this really slow, moving thing
here,

We can see how this starts happening,

right?

So here's the transition.

So first of all,

we can make this

like this.

and one thing that I don't really know, at least
I like have never really seen it,

but

I don't know if there is a way to say, like,

the time,

because I think it's a special That's not a
time-based effect the blend.

So it basically like the the position of where you
are in the blend radius,

like matters.

So

now we're

yeah. So like now it's basically staying right and
blending the values.

So there is no real influence here where you can
sort of like alter this

effect in terms of like having it more time based
or something.

So now we basically have this, right?

So we have our little more interactive way of
doing this.

And one thing that we can also do of course, is if
we say like this is like quite a lot of Bloom,

we can just go in here and we can say like, you
know what,

like I want like this much bloom for

For.

scenario here, I want to alter the Bloom as well
and now when we just like go through here,

And here's the thing right here, this is, this is the
problem with the blend radius that I was saying,

so, this is definitely an issue.

And the only thing that

We can do to fix.

This is

to basically scale down the volume here.

and then like if you would walk here with your
character,

It wouldn't like it would do a little bit but like now
it's kind of like doing it.

Okay,

so that is one way of doing it.

Another way is to use the auto exposure that we
have

And this one is kind of like the most interesting
way of doing it.

So, if I take this volume here,

Say like let's get let's get rid of this.

So I'm not going to enable this guy.

So let's say I have the exterior volume here,
right?

So now what I can do is obviously here,

I have it basically locked 214.

And the thing is, I locked it to 14 because I do
like that look,

and here's something very important to
understand about the auto exposure.

The auto exposure takes,

the average scene luminosity,

and it tries to move it towards something that
creates an average value. That is medium gray,

and medium gray is sort of like,

It's a value that is often used also like in
cameras and stuff like that

but it's not necessarily maybe the most
good-looking value.

So what happens if I do this

and let's say,

I'ma put this 28 so we can potentially go to 8.
Right?

If we go inside so you can see how it is already,

brightening the image.

So by basically doing this,

I gained more more range when I'm in like darker
areas. So you can see that if I go in here,

now it is constantly adjusting this which we can
see based on all this happening, right?

So, but this is also like a lot here.

Like,

do we do we want that

I don't think we want that.

But it will help us if we go over here.

So now it will start brightening all this to a
pleasing value.

And if I would go lower than eight, it would
probably even make it brighter like, let's see.

Yeah. So like I'm already looking at here at eight,

which is

yeah, you can see it would like to go even
brighter than this.

So one thing that we can really do here is we can
use

a feature called the exposure compensation
curve.

One important thing that I just quickly want to
mention because you remember how

we set up our, our lighting with like the ratio of
the sun being forced up spriter,

then the shadows and overall speaking,

this does look quite good sometimes you just
like don't really want that.

So Wow.

You, for example, don't want that this blows out
this much, like, even though this is realistic.

So you can absolutely go in here after you've
made like a setup like this.

And you see we're on a hundred thousand
bucks.

So he can totally go down and say,

like well maybe

not 50, sorry I but maybe go like with 50.

Thousand locks and it will decrease the dynamic
range for sure.

And it will be less harsh and some instances,
right?

So just wanted to say,

if you want to do that,

you can.

But all right,

so let's start here with a little

exposure lesson.

If we go to visualize and we turn on the hdri
adaption so

there's a lot of information that we can take from
this.

Liked our post-process volume here.

Which is hour.

Outside one.

All right,

so if we go to exposure,

here we can see I've added this little curve here
which doesn't do anything right now,

so we can see that our exposure is 8 to 13.

And this is this Green Field here.

So this goes from 13 to 8.

Sadly, I don't really know if there's a way to get
like more like numbers here,

like basically every every stop or something. So
it is a little bit,

let's say it can be a little bit opaque and that
sense.

So now the important thing here to to
understand how this works

is again this is the Overall range that we have
specified here,

but it does not mean that there is not different.

This in the image and to see that

we have this number just trying to like your plan
dark background

so to see that as we have the average seen EV
100's

at 13.6 and that is the blue line.

So you can clearly see that we limit it to 13
maximum,

but it actually wants to go up to thirteen point
six.

Because that is what it says like.

This is the luminance of the scene and it wants
to adjust towards it.

And the thing is

It may not always be the most visually pleasing
thing to go to the recommended exposure

level here because we're all artists. So we want
to have control over it.

And there's for example a lot of like movies and
other media where they

underexposed the image to have it really dark
and And like, it looks,

it looks quite quite cool and a little bit like
mysterious. For example,

the Batman movie as a very dark movie, where
there's a lot of underexposed shots. Also,

the Solo movie is a movie that uses a lot of
charts that are under exposed and

they do that because it's a stylistic choice. So if I
would uncheck this here,

you can see how the white needle moves
towards the blue.

So the white needle is the actual scene exposure
that we have because now you can see here,

our range is 8 to 20.

Same again here if I just turn this off it like
defaults to 20.

So we're limiting where the white needle can go
and the white needle,

always tries to follow the blue needle,

so it measures the average scene exposure.

And then the What needle will go towards the
blue needle.

So if I go in here you'll see that the blue one
goes down and the white one follows

until the white one overlaps with the blue one
and you can see it reads 10.33.

It should actually go down a bit but like, that's
fine and here average seen EB. We see 10.3.

So again the white needle always follows the
blue one.

So

if I want this to not be add EV 10 but I want it to
be like a bit higher, so it's not as bright.

What I can do is I can use the exposure,
compensation and compensate. This,

let's say for one stop and now you can see how
it actually gets brighter. Sorry,

I did it the wrong way around, but for the sake of
element here,

This one basically the higher this value,

the lower the actual exposure will be so they're
like inverted in that sense.

So now you can see if I put this 20

it is 10.3. If I put this to 1 it will go to 9.3 and it
splits the white one and the purple one.

And the purple one will basically move towards
the average and the actual scene.

Exposure will be moved away by this amount if I
put in a minus 1.

It will move the opposite way.

So the purple one will go to here and the offset
will go towards one. Stop over here.

And that is how you control the compensation.

So,

And you can see here

that it also goes out of the specified range.

So, if my Max's is 13 and I want this to be 14,

I can do one stop and I'll get 14.

But the soon,

as soon as I put 14 in here,

you can see that it actually allows to move even
further than the 14.

So, if I look at into here,

you can see it actually allows it to move even
beyond the scene average.

Here.

so,

It just doesn't move there.

But that's fine.

So this is kind of like how you can work with this
compensation value.

And now we have this asset here, which is the
exposure compensation curve.

So that is not a specific asset.

I just made one here and you do that by
right-clicking and then miscellaneous

and then curve and then you just use a float
curve.

That's the only thing that we need,

okay?

And then we get something like this and the way
this works is that you can see here. We have 0 0.

So from left to right it uses the average seen EV
and

from top to bottom it basically animates the
slider.

So

To illustrate that.

Let's say we stay inside this 13, 8 to 13 range,
okay?

So let's look at something.

where we say,

To do.

Look like this.

Okay,

so now you can see here that we have an
average seen

EV of 10.1 and we are also perfectly here on this.

10.1 almost be like 10 .08. So our exposure is
that as well.

So if I just go in here

and I add a point,

So let's say, I go 10 .1.

Now, it has moved.

Over here.

And there it is.

All right.

And now,

what I want is that,

I don't want to be a 10.

I think I want to be at 12.

So what I need to do is I need to go to minus 2,

So, the second value will be minus.

Stu.

And then we need to turn this one on and now
you'll see it's going

to offset it to minus 2 when we have an average
seen EV of 10.2.

One problem now, is that if I zoom out here,

You can see that the Line is now constant.

Which means that we're basically always at -2.

So, no matter where we go, you can see that
these two always move the same way.

And that is like, totally not what we want.

So,

what we need to do is

We need to add a few points and then start
actually making a curve.

So what we want is that when we are at 13, we
want to keep it at 30.

I'm gonna add another point.

You can like right click add key or you can just
use middle Mouse button here.

So I'm going to set this to 13 because at EV 13, I
want zero compensation.

So now you can already see that. We're back to
the default look of what we had before.

This is how it always has been looking.

and then if we go to this value of seen EV, we
actually get this - to here,

so,

let's see,

because we will balance these arts and I can see
how they

move apart from one another and it actually
does get like

Exposed.

So that we are actually. So the white one is
where we actually are.

We are actually a 12 and that is exactly what we
want and

that is exactly The same as if I would turn this
off.

Lock this to 13.

And then here to one and you can see now we
move down from 13 to 12

and this is the look that I kind of want it.

I wanted this to be a little bit brighter but I didn't
want it to be

like this because then it will go down to 10.

So again,

it is a little bit hard to understand in the
beginning.

Boom.

So now, we end up. Exactly. One. Stop below it.

We could also say, we want a little bit less.

So what we can do is we can just select this and
say like instead of two,

I want -1.5 and then we'll end up a little bit
brighter, even,

so we'll end up at 11.7

something here.

So this might actually be A nice sweet spot of
not too bright,

not too dark.

And then again,

we go out here,

we stay with zero compensation at our 13.

So now let's continue here and see. Okay? So
what happens when we go in here?

And you can already see it starting to move
them away

from each other because we are on 10.7 average
here.

And now you can see that it wants to go way
down.

So we are on like 7.35 here and the maximum
that it allows us at seven point.

Five three is still -1.5

because that is what we set across everything
that is below this average of 10.

So now we know we kind of like one more Right.
So we had another point.

and then we go, like,

Let's do just seven

and then we won a lot more compensation here
than just this.

So let's do maybe -2.5.

Look sorry.

That was not what I wanted.

I actually wanted to make it brighter.

So let's add zero.

Because now it means that we will basically go
back to the eight that we chose.

So if we put this 20 will allow it to not be offset at
all.

And then this is the lowest that we can go the
eight here.

So if we want this to be more,

there is plenty of things that we can do, right?

Can either lower this value,

or we can allow it to move it even further.

Like, so and then it will offset it and be a lot
brighter because we gave it more room.

And here we have to just make a decision of.

So what is it?

That we actually like

And I think that this is not too bad.

So now we have our compensation levels set.

And the thing is,

we might actually want something even more
different, but we don't really.

So we have something here, right? This is our
Corner value.

And we would need to go down to like what is it
here?

Like for but we're actually completely like Off
here,

so we can't really like go there and it's like below
our range as well.

So if the average seen EV is at for let's just add
this

if it ever reaches for,

maybe let's do one

too.

Something like this.

So I can see if it really gets that dark.

It will still work.

And here we are. Perfect. So now this is like dark
again. But if we actually end up doing this,

We could really get to these even brighter
values.

Now it really lifts it further.

And this is how you stabilize.

These things.

And how to make it work across. Like this really,
really,

really big dynamic range and and one thing that
you can do, if you want, you can keep it like this,

or you can also do like,

the, the interpolation is here where you do
something like this, right?

And then you just like,

try to set them nicely.

So it kind of like,

Fades in a better way.

So they're not as rigid the transitions
themselves.

So now we have something really nice and
stable.

And it always.

Exactly what we wanted to do.

We go in here, we adopt.

And again, this is just the speed here. Like,
you can make it adapted quicker.

You can make it slower.

It's really up to you. And then we look out here.
We can see it instantly does.

What it's supposed to do. We go back in here?

We'll we'll reach a nice value.

And this is the key to tweaking Auto exposure in
a way that it is actually useful.

Because a lot of people,

they,

like saying they're scared of other exposures
wrong. But like a lot of people say like, yeah,

this sucks. This is like not a cool feature, like
turn it off. Don't use it. Do like 11 or like,

you know,

1313 like whatever is,

is what you need. But like, a lot of people say,

like don't Lee use Auto exposure because it's
going to make your stuff look weird.

And that is because a lot of people are Not really
aware of how you control it correctly

and this curve asset is the best thing to happen
in unreal when it comes to exposure.

Because it just gives you exact amounts of
control over

how these things are supposed to look at given
levels.

So that is just like, really,

really nice and I love it. I think it's such a,

such a great feature to have

So

this is how we do it and again, like everything
else. Here just looks great.

And we go in.

Let's just work so well.

And of course, if you add your own cameras and
stuff,

you can always do like a custom shot so that is
all up to you.

But this is something that you would set up for,
for gameplay,

right?

So that you actually have a proper working Auto
exposure

So yeah.

This is it. That's how you do it.

I hope everyone enjoyed this and finds us a
useful feature.

So thank you so much for watching