All language subtitles for Environments_09

Hello and welcome to the next session.

So one thing that I would like to do now is just
reiterate a little bit of how easy it is to create

different scenarios and variations. Once we have
the settings in place before we do that though,

I would really like to add a light source here.

For the diner to make sure that we actually have.

Some more brightness here.

And also one really important thing is that now
we would kinda need to again,

add like an exposure curve in here because it is
definitely

Not bright enough.

so,

I would say let's do the curve first.

And also named this.

So we can have that here.

Then in our folder, we just go miscellaneous.

Turf.

Float,

select.

And then

Do this.

and of course,

we need to turn on here.

and we're going to start outside because this
one,

we like,

So,

let's turn this on.

And right now we are locked at 8:00.

And we do have 6.4 here.

So,

let's

Okay,

let's do this

and then we actually need to go to 7.5 here.

Looks the same.

Okay.

So 6.4

You go, 6.4.

Okay.

And we wanted to be.

7.5.

So that's one point one.

and now this has obviously changed a bit,

which is fine because we need to add

the final exposure here, so to speak.

So what do we want to be

the Min value here?

Think something like this is kind of fine.

So now this is kind of locked here.

so,

4.8.

Why is this 0.6?

See.

So, let's see how this works.

If we go out now.

We are.

Oh no. Sorry I mixed that up. That wasn't fact
like six point. Let's do 6.5.

Obviously, not on this one.

This one.

So now we are going down to this.

I'm adding a bit more - now - 2.

and,

One.

So,

We are on the 7.5 when we're out here,

which is what we wanted.

Looking good and then we go in here.

We are going down.

Two.

This.

So this is better.

Yep,

works.

Well

Now, we can turn.

The HDR off again.

Perfect.

And I would kind of like to have something over
here.

Because it's a little bit.

It doesn't make much sense for the entrance to
be this dark.

And these ones are kind and not bright enough.

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

I'm going to create a copy of this again.

I'll call it m trance.

Put it here.

So, let's grab this.

So this whole scene does have a bit of an off
rotation,

but it's fine,

we'll live.

So now, what I want to do is I want to edit this.

And I kind of want to

abuse this a little bit.

So what what do I mean by that?

So the first thing is I'm gonna

Delete the spotlight.

I'm going to this guy here.

I'm going to unlock this.

And now what I want to do is I kind of want to
scale it in a weird way.

Kind of want to make it rather large.

Kind of like this maybe and it's going to make
sense in a second going to like move this in.

And I'm just going to do it like this for now.

skip island save this

and now that we have a rather large light source,

what I want to add is

A rectangular light source.

And I'm just going to make this like super bright.

So I see what I'm actually doing and in which
way it's rotated on all that.

We are.

Not seeing anything though.

Why is that?

What happened to my light source here?

This is very interesting.

Where did it go?

Did I?

Accidentally delete this guy.

There we go.

So, we have this and I kind of wanted to be
colder as well.

I think that's quite nice.

And what I also want is, I want to really crank the
scattering so I'm trying like 20 or 50.

Yeah.

So I got some really nice.

From this.

Because I kind of want to see it a bit from from
from here,

like

kind of like this

similar to what I have here with the gas station,

maybe a little bit less. I'm going to do like 35
now.

so,

this is,

So weird.

So I had compiled and it basically disappears.

That is.

The weirdest thing.

I have seen in a very long time.

And I can't even delete it.

It's just gone.

I was called light ceiling.

Yeah,

basically, just kills itself.

for whatever reason,

until

I drank it in again.

Well,

I won't give up now, that was compiled.

I think we may be able to keep it.

Okay,

so we kind of have this now.

Duster job.

All right,

let's play it safe and save this.

All right,

so what I wanted to do next,

was to a nice night time scenario.

so, for this,

I will be

Abusing.

The

overcast lighting layer here.

Also, I noticed something and I am actually
rather ashamed.

I just noticed why?

This light disappears here all the time

because I have to overcast layer double clicked.

So I'm probably going to have three of these.
Now, when I turn this off and turn this one on,

yeah, there you go.

So that was very, very smart of me.

I didn't notice that I had the other one selected

So, let's delete these.

And this one.

We move it into the main level,

which is where it belongs.

Sorry for that. That was a bit confusing.

So,

now,

Let's abuse the overcast layer to do. Our
nighttime.

Nighttime is often considered to be quite difficult
to do.

And for me it's usually like I don't think it's that
difficult.

I just think the most important thing is really,
what do you actually want?

Because if you look at photography for
example and you look at some proper nighttime,

nighttime actually looks not the way it does
when you go to the cinema.

So there's this thing that we always think that
night is blue and that is Actually wrong,

like Moonlight is actually more reddish.

Because it still is reflecting the song.

So,

the blue thing is certain Optical phenomenon.

And for us it's kind of like feels more natural
because we're

so used to it also from like the movies and stuff
like that.

So if you want to make a very realistic night,

then you actually don't really make it that blue.

You make it a bit more neutral.

And real night is also super dark like super dark,

which is when you see like photos for example,

like this here,

you see that everything is just pitch black and

this is the only stuff that's visible that is how
dark night is.

The only thing that does make night a bit
brighter as Moonlight and stuff.

Like this is not even proper night.

And it's also color graded to be this blue.

This is a lot more realistic but you can see this is
like after Sunset and it still is

incredibly dark in certain certain way. So proper
night kind of looks like this.

So what you have to do when you do night as
first, you have to decide.

Where will you actually be from a stylistic point
of view.

So for this, we're going to do something more.

I would argue like a bit more of a cinematic night
and not a super pitch, black one.

Because looking at this,

we kind of have it already here.

Like this is already a pretty pitch black night if
we, if we take this.

So now what we could do,

like if we look at this here, how the lights
behave,

and then we look at this.

Very, very, very similar, right?

So,

not a, not a huge thing here. So, what we could
do, for example,

just making sure if the right layer selected here.

We could just add our

Exponential height fog.

And we could just like,

at some volumetrics here to this whole thing.

So everything feels a bit more mystical or
something like that, right?

But again, like you wouldn't really see.

Anything.

And then you could choose any kind of cubemap
if you want and just add like a little bit to it.

So for example,

you could just go in here. Light Skylight, bring
that in.

Set it to movable and then you could say, like we
use a specified Cube map for this.

And if I go into my HDR collection,

that could be anything. Now,

I'm just gonna do,

I'm just going to use this now and I'm going to
make it very, very, very dark.

Actually, I can't use this one because it's not a
Sadiq texture Cube. I have imported it differently.

So I'm honest, I'm just going to use this one now
just for the sake of it,

because this is an example.

So I'm going to

Put this in.

So it's working.

Boo

and one thing that is important, now to know
here, I have this ppb night,

and the only thing that I did was I locked the eb2
for,

and, and now you can see that you to the
Skylight.

We just have this like, very,

very faint thing where we can see something,

so it is not fully fully black anymore.

It is rather And and that is of course, because
the texture that we're using is rather read,

we could obviously tend or offset that make it a
bit more.

Neutral. It gets darker because we do that. So we
could have black some brightness.

And now slowly where we're getting a faint thing
of something

working through this and applying some more
fog and stuff,

that that will be the more realistic route to take.

However,

we're not gonna do it this way.

So, I'm just going to keep my Skylight here.

I will go to my engine folder and search for the
beautiful sphere here,

editor sphere.

I'm gonna search for shadow turn all of this off.

And then I want to mention one thing that I kind
of forgot to mention in all the sessions before.

But if you want to play this and you use the
editors fear,

you may not be able to spawn into your world
because the editors fear does have Collision.

So what you can and should do

Is in the Collision preset. Default,

you should set it to no collision and then when
you spawn into the world as an actual player,

there won't be any problems with this.

So, sorry for mentioning this so late,

but usually I built only stuff to look at with this
so I forgot to mention

Now for the HDR, it is really, really difficult to
find. Good night, sky hdr's.

I'm going to use this one and there's one really
big problem that we can see in here.

And that is that there is a little black dot because
sometimes these are a bit weird

when there's the free ones, but we're not going
to get bothered by this now.

But there is a lot of light pollution here and since
we are in the desert,

there wouldn't really be light.

Solution.

But the problem is also that, for example, this
texture here,

There. We have like a lot of trees.

So we would actually see the trees in the
distance and finding the right hdr's.

Can be a very big undertaking.

And I would also recommend that you should
probably buy some because the free ones

they always have Tresor stuff in them.

So I wouldn't necessarily recommend them a lot
but just so you're aware of this.

It is rather tricky to find good night, sky hdr's.

And for,

for this session, I'm just gonna use what we
have here.

So, I'm going to take this one and you can see
that.

It's just the default settings here, brightness set
to 1 using this one.

And so now,

we're going to scale this up to 15,000 as always

And you can see there is like this weird little
issue that we had.

Let's just ignore this for now.

And now what we're going to do is we just got to
decide

again where we want our light to come from.

Since we do have the lighting here from from the
gas station,

I would not have the light come from over here
for the moon because I think it will kind of like,

either way too much of what we We have here.

So, I actually think that we should kind of keep
the, the moon sort of where it is.

Maybe kind of like here.

So now I want the exposure to stay like this
because I think this is a good night time.

Exposure that we have here already.

I think all these things they work.

Rather well.

We could even like this is too bright now,
obviously,

but it makes sense because this is so much
more well-lit.

So we're not exposing for inside.

We are exposing for the outside and you can see
that there's

all this artifacting going on from Lumen as well.

And that is just something that we have to live
with right now because here for

example these glowing rocks and then like some
weird stuff just happens.

I think some of it might be related to this guy
light.

Like having these lower values in here, like this
stuff for example,

but then again there may also be other issues by
just Lumen being Lumen.

So this is not really something that we can do
much about right now but we

could potentially try to edit some of it in
Photoshop and make it go away.

so,

now what we need to do is we need to sort of
decide

how bright this is is going to be and since we
said it is going to be more of like a film ignite,

instead of a

Super realistic night. I think something like this
could work quite well.

so,

we just wanna

recapture this to make sure.

But you can see this is still very, very, very dark.

So, there is not really a lot coming from the sky.

So this is the moment.

Where you basically have to?

Manually, go in and do things.

Can see a little bit but it's not really much so
let's just see.

So, if I put this 25, you can obviously see where
we're getting a lot.

And now, we have quite a disconnect because
we're not getting as much color as we should.

We also have like the bottom in here on and like
the

edges where it's just way too much warm color.

So now you can do two different things,

you can either like

make this more blue.

Or tint the light color.

So let's try both approaches here.

and the first,

Is going to be tending, the HDR.

So, we're just going to do this.

This convert to parameter call it color.

And per default, we want this to just be white.

So there's nothing really happening.

so,

now, with this here,

we could go in

and start

Take this really blue.

So, let's do this and then build.

Yep.

So now we can clearly see how all of this has
gotten more blue.

We still do have some weird stuff happening
here from Lumen,

which is a bit unfortunate.

So, but now we can see that we clearly have
something that is a lot more nighttime,

ish.

It does look a little bit disconnected though.

So we do need to work with our fuck here quite a
bit.

And the first thing that we need to touch here is
our in scattering

and we kind of want this to be nice and blue as
well.

And we do wanna

tweak this Tastefully.

So, this is already helping us here.

So, now,

what we definitely need to do is we need to start
adding in the things

that are important here as well. So we have a
complete picture.

So we need to do

our sunlight here,

because since we have a moon,

we need to add this

And I will bring this over here.

We need to.

Make sure that.

We are kind of like here.

And then we are way too steep.

So we need to flatten this quite a bit.

So and now it gets interesting.

So the first thing is that we really need to
balance these out quite properly.

So,

what I like to do is I like to go to the

And I'll turn it off.

And now the only thing that we have here is our
our Moonlight, right?

And moon light, generally speaking is very dark.

So with like exposures and stuff like that you
have to be very very careful.

So

And also Moonlight is usually more on the white
to reddish Spectrum.

However, since we going to go with a movie
night here,

what we need to do is we need to

Make this basically bluish.

That is usually the way that you fake moonlight.

In a good way.

And now we need to just schmooze in the
brightness.

And here's the thing,

we need to be careful because when we go to
this blue since all the rocks, are our red.

We're creating purple.

So we need to be very careful here.

What type of color of each Moves In?

And we go back to our skylight.

We turn this back on.

And now we see that it's way too bright.

So,

let's go maybe back to 12

because we just want to get this like subtle Phil
here. So we can see things, right?

So this is already a lot better.

And this is way more,

as I mentioned, obviously,

this kind of like, movie night thingy,

right?

And it is really about the careful balance here
because you just don't want any of these to be

too much, but you kind of want to have that that
visibility that were that were getting here.

You want to be able to see the stars nicely and
then there's

also this argument where he could say so, hey,

in films,

there's this thing that is called day-to-night
which usually involves color grading.

So they film it and day and integrated to look like
night.

So you could say like why don't we do that?

Well, we could we really could if we would want
you,

because in this sense,

Is that the old one?

Yeah.

We could do that but the thing is it gives a very
specific look,

a very, very specific look and it always depends
on if you want that or not.

So now I would just work here a little bit with the
exposure

compensation to really nail in the look that we
want.

And I would go back to the fog

and I think we could like 3105 thickness a little
bit kind of like this.

So now we're starting to get somewhere.

So, these are a little bit over tweak. Now here,

Yeah,

we can just like bring them down a little bit.

Something like this.

So this is this is actually starting to be quite nice
here.

so, if we do this,

We actually do have a pretty pretty good shot
here and some really good readability.

curious,

if we just go in here and do

A little bit more you up.

So I think this looks pretty pretty good.

So let's just save this

I'm curious. Now, what? This is going to save
here.

I'm just going to do this.

No one knows what's going to happen.

But as you see,

it's actually really quick and straightforward to
create different scenarios

and have some nice values and stuff. Once you
actually have nailed in the fundamentals,

so it can then just like go in and play with the
exposure ranges and all that.

Personally, I like when stuff is like dark but not
fully black. So you can see here the road sign,

it's very dark but we can still read it.

So it is not really like

The broken in a sense that it's like unreadable or
something like that.

So I think this works really, really well here.

Still waiting for this to say.

All right, there we go.

I think in this one,

I actually,

Yeah, I overrode the exposure.

so we can actually do quite some cool stuff here
with the

with the phone booth.

let's,

Let's try that.

That is pretty cool.

So now what we obviously can do here is we can
actually

adjust some of the things to our liking here.

So if we go into the color grading there's
obviously the simplest one which is

the temperature here and this is always
something you can make it more warm.

Or more cold.

Actually here, I think.

Nah, I do prefer more cold.

but one thing that I think is really important is
when you do the color grading, a lot of people,

they go into the global,

And Global is fine when you do stuff like
saturation or contrast,

but I wouldn't do it.

Excuse me for color adjustments too much.

Then some people go into the shadows and the
problem with the Shadows.

I feel like it's like if I go into here and let's say,
I'm going to make some of it green.

I'm creating this really weird. Obviously, this is
too much, right?

But like I'm creating this kind of split toning
effect and I just don't really think it looks good.

Most of the time.

X.

So what I usually great as I actually great. The
mid-tones,

a tiny little bit.

So this is also again, it's too much.

So I grade them a tiny little bit and then if I feel
like I just want a little bit more,

I will great the Shadows. Very, very slightly.

But the thing is,

if you have too big of a separation between the
color in the shadows and the mid-tones,

you get the split toning effect and it's kind of not
really.

What you want.

So it can see, it's just very subtle like this one.

Now here feels a bit more purplish in
the background and when I offset it here,

we going to get a cooler feeling.

And the same. We can see it here on the on the
light as well.

So,

this is totally something we could do.

So I'm just going to capture this.

and I wanna,

Capture this one as well.

All right,

and yeah. This is kind of like a way to do
something like this.

And one thing that I just want to Super quickly
do because I think it's really a lot of fun.

I thought for the nighttime, it would also be
interesting too.

Play.

With the atmosphere.

so, if we add that in,

And we make this.

Yeah, we don't see as much from it as we as we
had when we did the daytime thingy.

So let's do this and go into the fog here.

No, dad is way too much.

Something kind of like this.

So,

this is completely not working,

which is fine,

because what I kind of wanted to do was to go
into this really misty scenario,

but we do need a lot more basic, like because
now,

I'm just cranking up all the settings and the thing
is, it is basically way too dark here to do that.

So actually absolutely no problem here.

So what we could do is we could do as always
just reset this and go

with an overcast sky and then create like a thick
fog or something.

But overall,

this is again the way how you can really quickly,

adjust all these things,

get like a good set up going and it like took us
maybe like 20 minutes to do this.

It sometimes takes a bit longer obviously
because you're And I like trying to figure out,

for example, which texture works the best and all
these kind of things.

So it's always a little bit.

A trial and error process.

Even for me because I never know exactly what
I'm going to get and here.

For example it is quite dark, right?

So you may want to to change that here and say
like I want

to do something where I look at this tree in the
night.

So you would potentially then place a camera
here.

And even though your settings are actually
good,

you would most likely go in and try to like adjust
it a bit.

But then again,

you never really should do it too bright unless
gameplay reasons.

So that's

that's also something important to keep in mind
because for gameplay,

that is one of the things unless you're doing a
survival game for gameplay reasons,

night,

should always be a little bit more on the brighter
side.

So there is some good visibility.

So yeah,

that's how we do.