All language subtitles for Fundamentals_01

All right,

here we are now with the first lesson where are
we going to have a look at the absolute Basics?

And but please really like take this in because I
know it always sounds so boring but these

fundamentals will elevate your work because it
is really about understanding

a lot of these Core Concepts to To like a high
level, right? So,

so you can you can actually really understand
what's going on.

So, even if it may seem boring at first, like,

give this stuff A shot, it's,

it's good information,

but before we jump into anything,

there's a bunch of things so that we need to set.

Usually, when you start unreal 5,

it should automatically already run in DirectX,

12 mode and like Lumen should be the default
lighting solution.

So,

We can just go into the project settings, under
the rendering Tab,

and we can just make sure that everything is
there in a correct way.

So we can see here, our Dynamic,

Global illumination method is set to Lumen
perfect reflection set to Lumen perfect.

I don't have Hardware Ray tracing turned on for
Lumen because it was completely

busting my performance hardcore in the, in the
outdoor levels.

So we'll see how we go with that.

I do keep the software Ray tracing in detail,

tracing

So what that means is and I'll show these things.

Also later on is that Lumen uses simplified
objects to trace the,

the lighting calculation against they're called
distance field measures,

basically and their every object has a
representation of that simplified thing and that

one. Then like basically loves down into like a
world representation and the world.

Haitian is a lot more low risk than the object
representation.

And when you switch this to Global tracing, it
will basically use the low-res version.

And when you have that on detail tracing it will
do way more accurate calculations so to speak.

And for now we're going to leave it at this.

And so it may actually be that per default. The
shadow map is the shadow map,

but we're going to do is we're going to use the
virtual Shadow maps

and I will explain what all that stuff is. So, no
worries here.

I do have support Hardware, Ray tracing turned
on and that means that I can decide.

Our object or light source. If I actually want to
use any rate tracing features.

And this will come in handy at some point,
which is why I have it turned on.

And these ones here,

they're all turned off because those are the
settings that I kind of want to tweak.

If I want them to, I don't want this to just like
generally be there.

All right.

So one important thing,

when we go down here, we have some default
settings, for our post-process volume.

And here this value the auto exposure bias.

We going to set this to 0.

And that is all going to make a lot more sense
later on. But trust me on this,

we set it to 0 and then so here's the thing.

Unreal uses a sort of like a camera exposure
system.

And one important thing to understand about
lighting is that

Potential. Like basically saying like everything is
kind of relative.

So,

like the the values of the lights that we use
inside our viewport,

they are relative based on what the camera
exposure is,

so we can basically have a light that has an
intensity of 5.

And we can make it look.

A certain way and then we can have a light that
has the intensity of 5,000 and we can make it

look exactly the same as the light that has the
intensity of

five not next to each other but like exclusively,
basically.

Because all these values are relative to one
another,

So per default, unreal basically uses like
arbitrary values,

right?

And you may have seen a lot of videos where
like

someone sets the exposure to like one and one,

and locks it in and then just does the lighting
like that.

And that is one way of doing it.

However,

I'm a very huge fan of using something that is
called physical values and physical values.

Means that we can actually feed in values to our
light sources

that are based on what we can measure in the
real world.

So like if I'm just going to move this away here
and I'm going to go to my light menu

and I'm going to feed in a like directional light
and this one is kind of like the song.

So now we can see that we clearly see
something, right?

But this light has an intensity of 10 lakhs

10 Lux is pretty much like nighttime.

Fighting.

On a very sunny day.

The sun actually has an intensity between 85,000
and 120,000 Luxe.

So the problem is that per default the exposure
system,

and unreal does not really work well with these
values.

So what we need to do is here in the search tab.

We

type looming men's and I've already checked
this, so you find this thing here is called extent.

Default luminance range And auto exposure
settings.

And again, I will explain this further down the
line but like,

you know, just hit this box and then we're
actually good to go.

Cool.

So as you can see,

we have our little scene here and it is absolutely
completely dark or we

can go to unlit and then we see that we actually
have something here.

So let's give this a first look here.

so, first off,

we have a pit light

and as you can see,

it is a light that emits into all different directions.

And we obviously do have Flex of Shadow
casting here.

And actually, let me quickly bring up the the
options again.

Because we will need them so I can show you
something down the line.

So Point lights are something that is like quite
often used.

However one thing that everybody has to
understand and that

is again this comes from like a production point
of view.

If you have a shadow on your point light it's
actually going to be very very expensive.

Because the shadow that is being cast as a
texture and it needs textures all around the light.

So if I have like, a point light here and we're
going to add,

whoops,

we're going to add a spotlight here.

So you can see that the spotlight clearly has like
a direction that it points towards

Point lights are also. Sometimes called Omni
directional, lights, and other tools.

So we can see like here now,

Now,

this is very focused.

So,

like

we have our shadow here from the,

from the spotlight, and the shadow is just like
cost in this direction.

So however,

now please,

yeah, forgive me for my drawing skills.

So the reason why Point lights with shadows are
actually so

expensive is because what happens is a light
shadow gets

calculated as if there is a Cube around the point
light.

So we have our beautiful Cube here.

And the the point light is kind of like inside Here.
And Now,

imagine that on each sides of the cube, we have
a spotlight.

So one Spotlight phases in this direction. Once
what light faces in the front Direction,

once one plate goes down, one goes over here.
And so basically,

we have six spot lights that go in all these
directions.

And that is how the shadows for a point light are
actually being calculated. So pointless.

Light Shadows are as expensive as having 6
spotlights that also cast a shadow.

Now, this is very important to understand
because in most games or other like work,

you will actually see Point lights being used
without the Shadows.

So you have to be very smart how you use them
and quite often what is being done,

is that point lights are being faked.

Bye.

Like, you know let's say you have a wall lamp
and you want this wall lamp too.

Cast Shadows.

So what quite often happens is that people
basically take a point light,

rotate it downwards then they take the point light
again

and I'm duplicating this by holding alt and
dragging it.

So I get a second one and then it's just point out
one upwards

and then they put them kind of like together.

And when you have these both lights selected
you know they choose like a rather big angle.

Kind of like this and that is quite often how you
see Point light,

sort of behavior being faked because it is still a
lot cheaper.

But in any case, so we have Point lights that we
can use.

We have spotlights that we can use.

I will refer to these type alights as also local
lights because these are lights

that are that we place in the environment, right?
That we that we use like,

you know as a lamp fixture or stuff like that.

So these are local lights.

We also have a another type of Light which is
the rectangular light.

And this one is very interesting because when
you look at the Point light,

and if you see me just like putting it down here
and

actually, let's open up this material and I just
have it here and we convert this into like,

a parameter.

This is my roughness because right now we
don't really see the reflection

of this but so like if I save this and I'll adjust the
roughness of screen

You will.

That we start getting a reflection here.

So, the thing is, in reality,

there are no point lights, really?

Because there is no infinitely, small light source,
that just emits light.

So, in reality, these lights,

they always come from a certain shape.

And we do use Point lights a lot for let's say, for
example, a light bulb or something like that,

right?

But even a light bulb actually has a physical
size.

So the thing is,

Evaluating lighting from a point is very efficient
and very fast

and it also is a more efficient for for shadow
casting.

But as soon as we bring this guy in,

this is actually an area light, which is something
very common.

Like for example if you have a neon sign or your
TV that is where light is emitted from an area.

So you can see that when we increase This area,

the same way our reflection increases right.

So now let's have a look at something. If I okay,
doesn't like that.

So just going to turn these off.

So usually when the bigger a light source gets
the more soft the Shadows get

so you can sort of see something like this here,

but you can also see that is like glitching out of
it.

And the reason for that is that soft Shadows are
again. Very expensive and in unreal 4.

We don't have the virtual Shadow map. We have
only the shadow map.

And as you can see that this is the shadow that
we usually get.

So no matter how big that light source actually
is,

you can see that the shadow always stays sharp
and that is not very realistic.

So what unreal 5 now has is this beautiful thing
called virtual Shadow map and a virtual Shadow

map. It can sort of simulate that effects of of the
softening from like, a bigger light source.

So it kind of like can do that,

but it has limits. So you can see that it feels
glitchy here.

This effect as what we actually call and refer to
as penumbra.

So that is the penumbra of The Shadow.

And it's just like make stuff. Look more realistic,

but again, it has limits. So you can see when I
decrease the size of the light source,

it actually becomes more accurate.

And this whole thing is where ray-tracing
actually starts to become a good thing.

So if I go into these settings here, castrate
traced shadows and I set this to enabled.

Now you can see that we get like fully ray-traced
soft.

Else.

So now, if I take this light,

And I just make this like super big,

you know, this is like a super big soft box
lighting like, look at this.

So this is like,

this is super accurate. Now, how does shadow
looks,

but we cannot really do this with techniques that
are based on texture maps for the Shadows,

which the virtual Shadow map still is.

But it does come in very very handy.

To use the virtual Shadow map as long as we
don't go too nuts with the size of our lights.

And the virtual Shadow, map is actually really
good for outdoor lighting as well.

So another interesting thing with these like local
lights is is that

We can actually tell these two lights here also, to
be sort of like an area light.

So if I turn this one off and I go back in here and
I do affect world,

I'm going to turn on the shadows for now just
because we can see it better that way.

So the cool thing is that we have here, we have
a source radius,

Let's ignore the soft. So this radius for now
because that one is basically something.

Going to fake certain things and we have a
source length. So, the source radius,

basically just turns this point, light and let's
have a look at the reflection to,

and basically turns the point light into like a ball.
So it's like a like, a glowy ball now.

And you can see how the Shadows actually
soften the bigger,

the light source gets which is again, very, very
accurate. So,

if we would like to do a neon tube light,

what we would have to do is we would have to Is
Balsam Sighs and now let's let's make like a

super big tube and if we done basically crank
the sole source length and I don't know why

/ default is rotated like that. It's just kind of
seems like a little bit like I don't know,

I think you would want it like this so you can see
now that if I give

this like a thickness of maybe five and and just
crank this.

So now we have a really nice neon tube light

And the same thing can be done for this one and
the good thing is we

also have a source length here because
remember when I said that

point lights are really expensive especially when
they cast Shadows.

So if you want to have a ceiling lamp where you
have

where you have like a ceiling

light tube light,

we can actually take this one.

And it can have shadows.

and then we can just like really

I was tweaking the software has radius, get me
sometimes.

Sometimes he settings are a bit confusing but
so we can do this and then we can do this.

So now we can basically get our neon tube light,

but we only cast Shadows downwards,

which makes this like, we get the nice specular
that looks proper.

We get a good distribution for the lighting and
and we still get rather efficient Shadows.

So these are the basic light types that we can
use.

And one important thing to know is up here,

we have this Mobility thing and we can do static
stationary and movable.

So since we're going to be using Lumen for for
all of the stuff that we're going to do now.

Only movable Works actually.

I mean like this the light still kind of works when
it's

not movable but when we do like Shadow
casting.

We potentially get like some text in the shadows
that says preview.

So the thing is this

moveable lights are fully Dynamic and Lumen is
a fully Dynamic,

lighting solution so it makes sense to use the
lights as movable

Stationary and static is used when you want to
bake your lighting,

which is then basically a static lighting that
cannot like change at runtime.

And if I would bake this lighting now and I would
move the cube,

the shadow of the cube would just stay there
because

it's baked into a texture that is on the object.

And we're not really concerned with these two
light types.

And again, it's like a little bit interesting that
when you drag the lights in per default,

they're always on stationary.

But Like really important that you make sure that
you just like switch them

all to movable because that is just what we're
going to be using.

So

before we look at the other light types,

one of the key Concepts about lighting,

that is very important to to understand is
actually the difference

between direct lighting and indirect lighting.

And for this, I am gonna use my Advanced
drawing skills again.

so,

when we have

A ground thing here, for example.

And we do have a little ball here, very beautiful
ball.

So what we refer to as direct lighting and a video
game engine is basically let's say I have

my light source here. It's a spotlight, okay? So
it's kind of like pointed like this.

So the direct lighting is what we mean by the ray
of light. That is the first Ray of Light. That is.

Shot and there's many of these writers like
because like there's going to be a lot of these

race but like every raid that is the one that
comes

from the light source and then hits the surface.

That is the first ray of light and that one is the
direct light.

And this one is the cheapest to compute So,

that one is actually the reason that if

I'm going to do.

Let's get a let's get

some things going here. So I can illustrate this
better.

I'm going to take a post-process volume here,

just now and

Down here where we have the global
illumination method.

I'm just going to set non for now.

And what I'm also going to do is I'm going to go
to my content browser.

And in the settings you can say

Show engine content.

And then you get like this folder here.

And then when you just type in sphere,

we can get the editors fear here.

So let's just do take this guy and then we gonna
get the material from

the cube and we just like gonna throw it onto the
sphere as well.

so,

And now let's let's

illustrate this quickly because I think it's just like
makes it a lot easier to understand.

So I'm just going to revert all this.

I'm gonna put my light here.

I'm going to do like this.

Also,

I will bump the roughness back up to one so bit
easier to see.

so,

when

I hit this,

You can see that there is basically.

No like like lighting that like basically everything
that is hit by the first Ray

receives lighting but everything else is is pitch
black so to speak.

And that is because we don't actually have
indirect lighting and indirect

lighting is what happens when light bounces off
the surface.

So it's basically the secondary rated bounces off
from the surface

and hits this surface and then bounces back to
the surface again.

And it just basically creates all these bounces
into many different directions.

All right?

And at that is,

what gives like indirect color to,

uh, Sex. Like let's say, for example, if this floor
would be read,

once the light hits the floor,

then the bounce sliding or the indirect lighting
would

become red and it would put red onto the
sphere.

So this is what we call indirect lighting and

it is one of the most expensive things
to calculate and thank God,

we have unreal 5 now because here, we actually
have Lumen and it actually didn't really Elise,

which anything,

which is absolutely fantastic.

Because I was trying to prove a point, and I was
already seeing that, there's some values here.

So, like we can actually see that there already is
Bounce lighting,

but it would basically be completely pitch black.

I thought we could do that.

Well,

it is what it is.

It doesn't really switch.

So like if I would go in now and take this material
that I have

here and let's say we just like duplicate it and
call it

red

and we go in here.

We delete this guy right click

let's just we hold the three and click this so we
get a color and if we right-click it and we say

convert to parameter and we just call it color
And the reason why I'm making a parameter is

so I don't have to like recompile the Shader all
the time but I can

just like tweak the color and it just automatically
updates.

So I'm going to browse this material

Too many windows and I'll just drag this onto the
floor and now what

I'm going to do is it's going to be off screen, so
sorry for that.

I'm just going to make this like super red,

and now, you can see how the lighting actually
bounces off to the sphere.

So that is the indirect lighting.

And luckily we have now technique called
Lumen which basically calculates this indirect

lighting for us which is very very nice because
things look just so much better and More Alive.

We'll go later into this. But at the same time, this
very accurate bounce.

Lighting simulation is also very important
because we need to

choose our colors wisely for the objects
because it can be,

you know, there's unrealistic values. Things can
be too dark or too bright or too saturated,

so that is something to keep in mind.

So now this is all for like localized lighting,
right?

So, but when we have,

let's say a sunlight

Things change a bit.

So this is the directional light here and now you
can see it. Basically,

it comes Just from One Direction,

but it doesn't have like the things that like the
spotlight has

with, like the cone and also, the shadow doesn't
feather the same way.

And the reason for that is, is the,

the sunlight is something that we call like
a parallel light.

And that means that the race from the sunlight
are not emitted. Like like this, for example,

like from a spotlight,

but the race from the sunlight they are actually
emitted

parallel.

So they all come parallel and the reason for that
is is even though we have the source as the sun,

it is just so far away that we don't get this
Feathering effect anymore.

So we call it a parallel light.

And it just like works when we drag it in and it
just hits everything like this,

it doesn't have like a distance or anything like
that,

it's just here.

So when we look at this we can see that like hey
we do actually get a little bit of like red bounce,

lighting.

But the thing is that is usually not enough for
when we just look at what happens in reality.

And there's there's a Our lighting like stuff is not
like

this dark in real life on where the sun doesn't hit
it.

And that is because we have one of the most
important light sources which will also be one

of the most important light sources for for our
work here in unreal and in like video games,

I like Lighting in general and that is the sky and
the sky is absolutely fantastic.

And because what this guy does is,

let's do this again.

So, here we have our little sphere and the sky,

is what we call a hemispherical light,

because it's basically simplified,

we have the sky around us.

So, what happens is, is that the sky shoots Rays
from all these directions,

So it is a super, super huge diffuse light.

And by diffuse, I mean, is that like the Shadows
that the light creates a very, very, very soft.

So like if you go out on a cloudy day,

you have no sunlight.

You'll see that all the objects. They do get like,
you know,

this like very subtle shadowing underneath them
because the Skylight

doesn't hit there but everything It's kind of like lit
evenly,

which is why people that do a lot of photo
scanning for assets and stuff like that.

They tell you like go out on a cloudy day when
you won a photoscan rocks

or trees or stuff like that because the lighting Is
going to be very,

very soft and what we call non-directional
because it comes from all these signs.

Now, the thing is also that when you look at the
exterior,

If you're not like in the middle of New York and
you just look at another house,

the the sky is also one of the things that is
almost always kind of 50% of what you see.

Or, I mean, like, you know, if you're like very
depressed and you just look down all day,

then you may not see this guy,

but like, generally speaking, right? When you
look at like forward, the horizon line,

when you walk like the sky is always,

there is very prominent and the sky has a huge
dynamic range of lighting intensities,

and it creates just crazy colors.

So like sky is pretty much the most important
light source in our world.

So what we can do is we can go to the light step
and we can actually

add a skylight and the great thing is that nothing
has happened.

So why is that? Why is nothing happened.

So the Skylight can do two different things.

First of all,

I'm going to set this to movable and I'm actually
going to set this to movable to see even I forget

this all the time because it's just kind of weird
that it like just some stationery and yeah.

so the Skylight can do two different things,

it can either capture the sky that is around the
level and use that as a light source for the seen

sending raised exactly as described in this
picture here,

Or you can actually feed in a cube map that is
going to be projected on a sphere, like,

we don't see the sphere, but it's basically,

the cube map is like spherically projected
around

the whole world and then used as lighting.

So what we're going to do is we need to First
create ourselves,

a Skydome that the Skylight can sample.

We will look at this one here,

which is the specified Cube map where we can
feed in

the cube map here when we do the prop
rendering.

But generally speaking,

I use the captured scene because I'm mostly
working with like proper

environments where I actually do want to have a
sky as a backdrop.

So what we're going to do is we're going to take
this beautiful sphere here,

I'm going to duplicate it.

And now we're going to search for shadow and
you can turn this off like this.

So but I'm a little bit paranoid,

I'll turn this one's off first and then this and the
reason is

I'm not sure if it's still a problem in unread 5 by
had uh,

some weird issues and unreal for where I was
turning off the main switch.

We're still on and I still got like some glitchy
stuff with like some Shadows being cast.

so what we're going to do is I have my need little
lighting folder here,

so we're going to create ourselves a Skydome
material.

So we just going to do em on the score Sky.

Let's call it Master as well, because we may
actually create instances and flip stuff around.

So we open this guy and on the route. So if you
don't see the route,

you just click in empty space, or you click the
route,

we have a bunch of settings.

And the first thing that we're going to do is we
set this to unlit The next thing that we do is

we're going to set this to two-sided because we
actually will end up inside this sphere,

and if we don't set it to two-sided, it will be
invisible.

So the next important thing is and this is one of
the best

tips I can give to anybody regarding lighting
stuff.

You always want the biggest collection that the
world has to offer when it comes to Sky textures.

Like seriously.

Like this is just a fraction but like I have so many
of these like

images laying around because they're really
important,

and they're fun and their goods and you want
them because

they make things look good and they're
awesome.

Work with so you can you can honestly never
have enough, HDR images,

one important thing here.

Usually when you download HDR images,

they're mostly in the actual format which is dot
HDR.

Those ones are being considered as cubemap
and they can be used for the Skylight to be fed

into the specified cubemap thing and when you
put them inside a Shader you need some

projection math to make it appear correctly and
you need

some more math to be able to rotate this guy
texture.

I really dislike that workflow so I figured out at
some point when you do just open.

In the texture in Photoshop and you save it
again as an exr.

Once you drag this in and actually is a proper
texture sample.

And the reason why I'm using the editor sphere,

as it has the perfect UV layout where that
textured just maps onto perfectly.

So I'm going to hold em and click, which creates
this sweet little multiply.

I'm going to connect this into emissive color.

I actually got to go right click the texture sample
and say convert to parameter as well.

So we can change this Sky texture.

And now I'm going to hold s which creates a
scalar parameter

for me and I'm going to call this brightness,

bloop

and we're going to feed this in and we're going
to set the brightness.

21.

And now you can see, we perfectly have
matched our Sky,

Dome onto this going to hit save

browse. So we have it, ready?

And then we hit the sphere and we just put that
guy on there.

So now,

interesting thing,

The Skylight has this thing here which is called
Sky distance threshold.

And this value has caused confusion,

too many people. I know.

Because basically

What happens is,

let's assume that we have our Skylight here,
okay?

And the Skylight is going to look into all of these
directions and then capture

the image to create the lighting that will then be
used on the dome.

Right?

So let's imagine that, we have like some
mountains back here and then it goes like this.

And like some more Mountains and then, like
some trees,

very beautiful trees here. I'm not going to make
them green for you.

And we obviously have our sphere. So, what
happens is that the Skylight sees the tree.

It sees the mountain, it sees the sphere,

so it captures a lot of stuff in there that we may
not actually want to have there.

This becomes even more important when we
actually going to use like a procedural Sky

which were not doing right now. We'll get to that
when we do the outdoor lighting,

So what the the distance threshold is it basically
says like ignore everything

in a radius of 150,000 units and just capture
everything behind it.

So what that means is that you either need to
have this fear bigger

than this threshold or you need to lower the
threshold.

Otherwise, the Skylight won't actually see what
is happening on your sky.

So, what I I really do.

I'm going to hit the lock on scale and I'll just type
15,000

and there it is.

And now if I go to my directional light and I do
affect

world so we can see nothing has really
happened.

And the reason for that is is because the
Skylight does

not automatically capture an update, every
frame,

you can do that. If you choose the real-time
capture,

but the real time captured does not consistently
work with a static sky, like this,

it works when we use the sky atmosphere
system,

which Is a simulation of an actual atmosphere.
So,

what we need to do is we need to either change
a value on the Skylight.

So it kind of like recaptures, we can hit effect
world, and on off, and now,

you can see something happened. We can scroll
down and hit recapture or we can go to build,

and we can say, build reflection captures that
Does the same thing.

So one thing that I also like to do for my Skylight
is I like to increase the resolution to at

least 512 because then it sees more details of
like all these little things because like,

if the resolution is too low,

This Cloud might just be one pixel.

But you can see that the cloud here is darker
than it is here.

And that is actually what I meant when I said
before that,

skies are so beautiful because they have all
these different values.

So if your Is too small.

This whole thing may just be one pixel and then
you don't actually get the difference between the

brightness and you could also see that the
lighting has changed a bit like

if I go back to 128 and you can see it like let's
make it like really bad.

and,

Well, this is actually great or not really seeing
that much difference.

Good stuff.

But I guess that's also because of lumen
because Lumen is

real-time and Lumen is not as precise as static
lighting.

So like if you would do like some static light
baking this resolution

has actually quite a big impact on the quality.

There you go, now you can see the bump like it
just got like more accurate.

So this is our Sky lighting and as you can see,

really what, what I, what I said before, is
happening right,

where the lighting comes from the top and from
the

sides and the object just like slightly occludes,

right?

So like if I would just like duplicate this and

Make it,

make it great again.

So you can see how we like get this occluded
here.

So this is now included from the sky and we
basically get

the super soft indirect Shadows from the
Skylight here.

And then in combination, we can bring back our
son.

And now we have like The Best of Both Worlds.

So we can see like stuff is still occluded but we
also do get like the bounces here.

We do get the bounces on the ceiling as you can
see here

where like the light just bounces off onto this
stuff.

So there's a, there's a lot of nice stuff Happening
Here.

And now we can see stuff gets bright and this is
all the exposure related things.

So that is something that we'll look at in the next
session.

But for now,

these are pretty much the absolute Basics about
the,

the light types that we have. And what they're,
what they're doing,

all of this would have been a little bit more
painful

to go through if we wouldn't have had Lumen.

So it's actually really nice to finally have, like,
some Dynamic GI,

because all the indirect lighting before hat to be
static and Baked.

And it like,

it could be really cumbersome and there's a lot
of stuff to take into account to like get

like some nice light bounces and some proper
quality and all these kind of things.

So, I think that, like,

all of you that just jump into this using Unreal 5,

you can be so happy because you don't have
to go through the hoops and,

and all the all the bad stuff that was a very big
thing in the past.

However,

this is what you have to be really mindful.

Love if you decide to become a lighting artist or
work with these things and you end up going

to like working in a game Studio or maybe you
even are working in a game Studio already,

let me tell you that. This is definitely not what
most people are using right now to make games.

Like it is coming slowly.

But again, like even though epic says unreal 5 is
production-ready,

I don't think it is if you don't have an engineering
team,

so like if you have people that can fix things like
programmers and stuff,

So if you are working in the industry,

most people still actually work with Solutions
where the where the indirect lighting gets baked

in many different ways. There's like many
technologies that do this but like real-time GI,

even though it's kind of here,

it is, not most likely not what you're going to end
up using it as studio.

So sorry, for destroying your dreams, there.

But anyways,

very fascinating technology.

Pretty smooth to work with and yeah, I've been
traveling for long enough.

So thanks for for watching this.

I hope it was still interesting for you guys and
for everyone like, even though it was like,

you know, very, very basic but we just gonna
keep scaling it up from here.

There's going to be some some more things that
we will

have to look at regarding whole Sky stuff and
exposure.

But again like I'm not going to do dry
breakdowns of these.

I will explain these things and I better way when
we actually got to work on some real content.

So with that said,