4.23 Editor Improvements | Live from HQ | Inside Unreal

>>Amanda: Hello Unreal fans. We hope you have had
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news and community spotlight.>>Victor: Hey everyone and
welcome to the Unreal Engine livestream.
I’m your host, Victor Brodin, and with me today, I’ve invited
Technical Writer, Tim Hobson. Thanks for coming back.>>Tim: Sure.
[LAUGHTER]>>Victor: It’s a pleasure
to have you again and just like last time
Tim was on, we’re going to talk
a little bit about the quality
of life improvements and some of the sort
of lesser known, does not require a full
livestream features that come out in 4.23. I don’t think we have much
more of an intro to go with and I know that everyone is
excited to just sort of dig in.>>Tim: Before we dive
in, just to go ahead and give you an idea of what our main focus
is going to be in the stream, it’s like we’re going to do
the HDRI Backdrop Asset, which is this whole
visualization for products and you can even use it
for games and other Assets. We also have the From
Material Expression Node; we’ll look at some of that and then we’ll look
at Dual Height Fog and a quick set up on that, and then we’ll look
at some of the new Foliage Actor types that we have.>>Victor: Awesome. We’ll try to answer your
questions around 4.23 as well. Just make sure
you throw them in chat with the brackets and question and then hopefully
we might be able to answer them.>>Tim: Hopefully, depends on
if it’s in mine or Victor’s wheelhouse,
but we’ll do our best.>>Victor: We always do our best.>>Tim: I’ve read
the release notes so I can probably make
a little sense of it. Let’s go ahead and just
jump into the Editor. We’re going to start off
with the HDRI Backdrop Asset. I just want to show you
the scene before and then we’ll just
do a quick setup. So, this is just one that I used
actually for the docs and it’s just our Asset. I’ve got a scene set up here
with a Static Mesh that I got
off of a NASA’s website, which is really cool
because they provide like all their satellites
and things like that for free. Me not being a 3D modeler artist and I just want
to put a game Asset, so this is really
kind of something really cool. I can just toss Editor
really quickly. So, if I go to play, it’s easier when you can do
those kinds of things and everything updates
in real-time. We’ve got shadow caching here
on the ground surface, which is something like
when you had a sky sphere and you just apply to HDRI,
you didn’t get that. So, you can really do some of
those kinds of things and since it’s all
in a Blueprint, we can edit some of those
features and settings and it all works
with ray tracing too. We’re not showing ray tracing
in the stream, but it all works with ray
tracing, it looks so amazing. Like all the reflections
and everything. Let’s go ahead
and get out of this one I’ve already created and we’re
just going to create a new Level and I’m going to create
a blank one here.>>Victor: To clarify,
the HDRI Backdrop Assets, you need to enable
the plugin to have –>>Tim: I’m going to go through
all that in just a second. You’re trying
to jump ahead, man.>>Victor: Sorry. Just making
sure we get everything.>>Tim: I’ve got this
blank scene here, and this is where we’re going
to do all of our setup. Just the preface,
I start out with a blank scene because once we enabled
the HDRI Backdrop, it has a Sky Light
already with it, so you don’t have to add
any lighting unless you wanted to just use
the Backdrop itself for the HDRI image.
The way to enable is, we go up here to Edit
and then Plugins — if you remember
during the preview, if you participated, this was
originally enabled by default and it wasn’t actually
a part of the plugin but we moved at later
in that release. So, if you just search HDRI,
you’ll find this, enable it and then just restart the Editor
and everything will be there, and all we have to do is come
over to our Modes panel here and then when you search HDRI,
you’ll be able to find it where it was originally,
it’s location. All you need to really do is just drag it
right into the scene and you’ve got everything
kind of set up here for you that we can start messing with. Let me go to my Content
Browser — Sorry, one second. Let me find my Static Mesh
for JUNO.>>Victor: We did change the set
up here a little bit to give you an easier time
looking at the monitor. It’s still difficult though
because it’s a little far.>>Tim: One of the things,
once you get your Asset in here and everything, you’ll notice
everything is kind of skewed depending on your perspective and that’s just kind of the way
everything is set up depending on the type
of Mesh we’re using. So, I’m going to select
my HDRI Backdrop. I’ve got my Actor in here
that I want to use as my Static Mesh to visualize
and then in the HDR Backdrop — In the HDRI Backdrop
here, I’ve got my scene, I’ve got the Sky Light,
which is a controlling some of the ambient lighting
already happening here, and even if I rotate my Actor,
all the reflections and everything
are updating on those. The next thing down here
is the geometry. The majority of the HDRI images
that you’re going to use, we have the Enviro Skydome.
It is the default one and you can find a couple
of the other Meshes under here. Be sure that since everything
is contained in a plugin, if we go to View Options,
Show Engine Content is the first thing
you need enabled and what it’s going to do, it’s going to show
all these folders here. But the next one
you need as well is the Show Plugin Content and that’s going to show
the content that we need
for this HDRI plugin. If I come up here to Browse, I can search “Enviro”
and we get a few options and you’ll see that we have
a couple of options here that we can choose from. Like for instance,
the box is more of a squared one with some soft edges
that are rounded. Maybe you want to see it
over here in the Details Panel and you can see that that has
got some of those smoothed edges. It can work really well
for like studio environments and those kinds of gray
backgrounds or something if you want like
a constant color. We also have some that
are like a box sharp which gives you
really sharp edges and for something
that I’ll show in a second, for one that we’re going to
set up an HDRI image and show some of the settings
that we need to adjust there. That would probably work
really well because it’s more of like
a normal room that has those sharper edges
that we can adjust and it doesn’t have to be
like a dome or a rounded — Let me just reset that
back to the Skydome So just going through
some of the other settings that we do have here, if we click back
on our HDRI itself, we have the assignment that we
can assign different HDRI images and we include several
in this plugin as well that you can work with. So, you can find those
really easily. If you just type 4K
and it’ll bring up some of the ones
that we provide by default, like the autumn hockey,
it’s a really nice one. So, you get some environments
that you can start to play around with yourself
and start to check out and I’ll show how to get rid of
some of the skewing and stuff in a second.
There’s a really cool website, HDRI Haven provides
a lot of these for free and I referenced
that in the docs as well. So, you pick up some more there. Some of the other things too,
I’m going to go back to my — If we add in a — You can adjust the intensity for some of these
HDRI images as well, so you can set up different
lighting conditions and get that actual look
that you like. For some of the ones as well,
like here for size, you can scale the size of that
Mesh dome that we’re using or whatever it is,
to set up that projection. The next one down here
is the Projection Center. So you can punch in direct
values if you’d like, but the preferred method
is we actually have this little gizmo here
that you can drag up and down and some of that skewing
that we saw when it’s a really low,
as we start to scale it up, we can start to see
that some of those trees and some of that background
starts to blend. And depending on the camera’s
perspective that you choose, that can really
help you to align it and get some of
that skewing off. And then… I feel like this is “Dude,
Where’s My Car?” I’m just going, “And then…” If anyone remembers that movie.>>Victor: Using that size scaler
there is better than — you don’t want to scale
the actual Mesh, right?>>Tim: Well,
that’s what that’s just doing. It’s scaling the Mesh.
You don’t want to — It’s better not to scale
the Mesh itself. Use the projection center. It’s still going to move
the same way, but it looks like it’s,
I guess scaling up. It’s also scaling up the gizmo
and everything. So, the better option is to use
the projection method or the projection 3D gizmo
that we have here. I’ve just now added
a directional light as well. We can see that we do get
that shadow casting and one of the next
settings down here that can be really useful
to start — because depending
on your HDRI image, you want to find a good
intensity value that works, but you also want
to find a light value that works for your
directional light and you want those to blend
more seamlessly with the back. So, with the background here, using the lighting
distance factor here, we can actually adjust this
and choose how much of that, how that light
is actually blending the area that is actually shadowing
around the camera. Then there’s just
some other options here for camera projection if
you don’t care about — You can still get
the shadow casting, but the camera projection is just projecting
to the camera itself. So, no matter
what direction you look, it’s not based on
the projection center and it’s not of have that
3D gizmo and everything. One of the bigger questions
that we get asked, I see this come up often as well
around HDRI setup, when people import
their own HDRI images, there tends to be some issues
that they’ll run into sometimes. I don’t have to get through
the Content Browser. I’m just going to search.
I’ll actually go ahead and apply and show you
what it would look like screwed up
and then we’ll fix it. I’ve got one that
I’ve brought in already. Just a small hangar. This one you’ll notice that
the background is really blurry and really fuzzy and it just
doesn’t look quite right. It looks like you almost
have like a camera set up with some depth
of field going on. One thing we can do is we can
open up that Cubemap image and there’s a couple
of settings in here that we’ll want to go
ahead and change. Like for instance, you’ll notice
that the max in-game size is showing as 512×512, which is really low compared
to the 4K that I imported it as. So, if we look for size, we can see the maximum
of Texture size is zero, which is just defaulting
to that 512. So, I’m going to do this 4096 and I’m going to give it a second
and it’s going to process that. Maybe just another second to
because it is Cubemap, it does take it just a moment
to go through its process. Once that comes back,
there’s one other setting that we’ll want to adjust, which is
Mip generation settings. We want to make sure
that we are telling the Engine not to use any mip-maps
because at the distances that these things are
or are being rendered, we don’t want to make sure
that blending is not happening because we want
it always be really sharp.>>Victor: That means that
it will have a larger memory footprint than a traditional –>>Tim: But it’s still a Cubemap, so there is some optimization
the Engine does. It’s not like importing an
8K Texture on a landscape and telling it never to have
any mip levels. Maybe I froze it.
>>Victor: Maybe you did.>>Tim: Are there any questions
that have come up, really quick? I can try and dive on those
and give this another minute>>Victor: We have a couple.
>>Tim: There it goes. I’m going to ignore your
questions now. If we type in mip in here, we
can go to the mip gen settings and then by default it’s always
going to be from Texture. So, we can just go and set that
to No Mip Maps, and then again, It’ll take just a second
and then once we save, now we’ve got that nice sharp
background that we expected. That’s a hang-up that I see
a lot of people go through, especially with importing
HDRI images. I recently covered that and,
in this doc, specifically I think I updated
it somewhere else as well. We’ve never really kind
of covered Cubemaps in general, like to go like in detail
and in-depth about some of these little hang-ups
and that’s something that we definitely
want to try and get to. Let me move that to movable, so
I can not see that preview One of the other things as well
that I want to show is with regard to reflections. Actually, I’m going to get
out of the hangar here and I’m going to go back
to my open scene because you can see the sky
and the clouds and everything. One of the things that — is you want to have nice
reflections from the HDRI and the whole environment
in general — I’m going to turn off screen
space reflections so that we can see
the reflections from the Cubemap directly. So, screen space
reflections disabled. Then come over here
and if I select my HDRI Backdrop and I’m going to select
the Skylight. One of the things you’ll notice
is the Cubemap resolution is 128.
It’s always a power of two, but 128 is the default
that we use. Even though we’ve made the HDRI
show up really nice and crisp, we may want to show
the resolution and reflections to be something higher as well. This is going to be memory
intensive; you wouldn’t necessarily say
I really want to set it for like 2048 or 4096
for in-game purposes. But for product visualization and for these kinds
of quick one offs, it is something
that can be beneficial here, to get that high quality. If we go to the project settings and then we’re going to search
for resolution, you’ll notice that reflection
capture resolution is in here. I’ve already got it set to 4096.
It’s one of the things, again, it takes just
a second a process. Something to be very cautious
about when setting this value, in this project I’m only
using it for this scene, but 4096 would be applied to any reflection captures
in the scene. Our reflection captures
do not have a specific setting that you can set a resolution
per reflection capture, whereas the Skylight does. Just so you know, reflection capture
is under the rendering settings and you can set that there. If I come in here,
I’m just going use 2048, and let me tell you, this works
so much better in ray tracing because we’re tracing like all
the rays for the reflections and it just night
and day difference. It’s really kind of cool. You may not see it like
on this surface as well, but actually, you know what, let me just add
a chrome ball there. There we go, my chrome Material.>>Victor: That’s the Material
that you usually use?>>Tim: Yeah, this is just
a very basic Material. I usually just
call it chrome ball and it’s just constant one
plugged into the color for white and then for metallic as well,
so it’s fully metallic and then just set roughness
to zero for the constant there and you have like this
fully reflective Material. If I come in here and adjust
Skylight’s resolution back, let’s just say 64, you can start
to see really that difference. So, if we go back to 128 probably helps
to be a little closer too. A lot of the product
visualization stuff I’ve seen, you have these really
slow pan cameras that are going near a surface and you want that really
high quality there. 2048 and you can start to see those
details around the tree line and everything start to really
pop in those details with the clouds as well. Get rid of that, and then
I think the only other thing I really want to
show off on this, I’m just really
wanting to show off this quick
setup of working with this and you just toss in these HDRIs in and you can just use
that projection gizmo and just adjust your scene
for whatever the HDRI is. One of the things I don’t see
a lot of people talking about or using really very often
is we have these components here for a rotation,
rotating movement. These are really quick
so you don’t have to set anything up in the Blueprint, you
just attach them to your Actor. And then… Up here you have some values
for rotation rates. By default, 180 is on the Z,
but this is like the Y. Maybe I do -25, and then if I play — you know what, I’ve got to
set it to movable first because static objects
will not move that way. Then you can get those nice
little panning rotations. Once you start adding
a cinematic camera or something like that, you can start working
with that depth of field and some other camera
exposure values and everything. It’s really kind of interesting. While I set up the next part,
are there any questions on this that have come in?>>Victor: I had
one regarding HDRI. “Can you use this HDRI
you mentioned like the green screen backdrop
in 3D space?”>>Tim: I’ve not tried it.
I’m not sure.>>Victor: You can definitely
make it green.>>Tim: Yeah, you can definitely —
Let me show that real quick, because we provide
a gray Texture and you can make it totally
whatever color you want. I’ve seen some in-Engine
mixed reality solutions as well where they use
one value green Material and they’re able to use
that for the chroma key. You can see
something similar too when you do the high
resolution a screenshot and you enable
“use custom depth as mask.” You can actually see –>>Tim: I was doing a little
bit around Composure, back around
the Unreal Academy stuff and I had to make my own little
green screen in the Editor. Had this actually been something
I was working with at the time, I probably would have used this and that would actually
probably be a good use case because I only had like
a character standing there and doing an animation and I needed to just have
that green screen and just be able
to catch the shadows.>>Victor: This would
be all green, right?>>Tim: I just needed
to do that burnout. It was all I needed to do.
That would actually work. Not original intended purpose
I guess, but it’s kind of cool. That’s the one thing I do love,
you can always work with these other kinds
of things with it. I guess we can move on
to the next one. Let’s look at
Form Material Expressions. This is one of our new Material
features that came out. Let me find my map. I’ll set up a little
example map here. It is not in content examples,
by the way. This is just my own little map I threw together in the last
couple of days here and there. Actually let me set up,
some bookmarks to jump to. With the Form Material
Expressions, this is a new shading model
that we’ve provided that enables you to have
multiple shader or shading models
in a single Material. There’s a bunch of different use
cases that you can use it for. You can use it
to have more than one Material. Like on this one for instance,
here I’m using clear coat with the carbon
fiber Material under it, and then I’ve got
a leather Material right here. That’s just one use case,
because before you would have to set up
multiple Material slots, you’d have to actually
assign those polygons to be a certain Material element and then you assign
that Material and it’s like they’re both
like their own separate shader or instructions and draw calls. Now you can have
a single draw call with these multiple shaders
in a single Material. Let me show you really quick, in case anyone doesn’t know
about clear coat because I used that throughout
this little example map. Clear coat requires that
you enable a project setting. So, if you go into the rendering
settings, under Materials and you look for “clear coat
enable second normal,” and just enable that, you’ll
have to restart the project, but that gives you
that second normal so that way
we can have the clear surface and just find a roughness there and then have a normal map
underneath for the carbon fiber, just in case anyone
ever wanted to use it. Let’s open up this
and I’m going to show you how this kind of works and then we’ll look at
some of the other examples and how you can use it for not specifically
having multiple shaders be on a single model,
but use it for quality switches, if switches and other things
depending on the platform or something
that you’re going for. Let me open up my Material here
and it works really well too with a Material Instances.
None of that stuff breaks. The only thing that you have
to be mindful of is you can’t change the Material
type or the shading model and the Material. We won’t be able
to change that here because it’s just going
to silently fail and it’ll just always
take the base parent. That’s just something
to be mindful of with Material instance. Let’s open up
my parent Material here. First thing you’re
going to want to do is, over here
in the Material details, under Material Shading Model,
we’re going to come down here and we’re going to select
the Form Material Expression and since this Material
is already set up — this is already covered
in the docs, so I didn’t bother trying
to go through because it’s like ehh, let’s walk through
just connecting nodes because that can
be boring to watch. The used shading models
we have over here, this actually lists
all the shading models that we are actually using
in this Material graph. If I zoom out and I just see
the simple Material that I’ve got set up here, we can see that the clear coat
and default lit are the two shading models
that I’ve used. If I add another
shading model here, we have a shading model node,
and I select that and let’s just say add
a subsurface to this as well, come back and select this, we’ve now got those three
are all selected. So I can see — It’s a quick way to identify if a Material is using
multiple shader models and what are the shading models
and what it is using. The only downside
I’ll say to that right there is it doesn’t tell you
what’s actually hooked up. It just tells you that it’s
referencing it in the Material. So that’s something
to be aware of too. But in this one,
just to give you an idea, the top one up here
is the default lit shading model and all it is, is setting up the leather
Material that I’m using; the set Material attributes —
So you can use that or you can use the make
Material attributes nodes. I like the set
because I can specify to exactly which attributes
that I want to use and I can plug my shading model into the shading model
input here. Then I’ve got the same setup
down here for the clear coat and all of our secondary normals are being driven
through that output. Again, it’s the same thing
except we’ve added on the clear coat roughness
and the options here for that and plugging
in the shading model. Everything else is being driven
by our blend Material attributes node here and the alpha mask
that I choose. Depending on the alpha mask
that is chosen, it can determine how that is laid out
on your UVs for the Mesh. So, if I were to come in here, and I think there’s another one
called default. By the way,
there’s another mask in there. We have a lot of Engine
Material stuff, so I can’t find that right now, but it would change out the mask for what is actually covering on
the Material that we have there. It’s not a requirement to use
the Material attributes node. If you’re not familiar
with that workflow, you can actually enable and disable it here using
the Use Material Attributes. The default is the main
Material node that we have here that has all of our inputs
and everything, but working with the different
shading models, if you want them to be
completely separate paths and have their own information
and things that we set up, this kind of workflow works
really well because you can again specify exactly what you need
for that Material and that shading model
that we’re going for. Let’s look at some of the other
ones, because I find those — this is really cool
and this part, it’s really nice but as far as like
practical use goes, I’ve got some other examples
of here, like for instance, if statements here
are going to drive — so this is my base Material
that is set up, and it’s using the if statement. It’s just an A is greater
than B or A is equal to B or A is less than B option
in the Material. I’m driving these two,
three Material instances. So, even though my base Material
is this over here, I can just set up a parameter
that is calling this one and I can quickly change what that Material
is doing with its alpha just based on a parameter
that I’m changing in the Material Instance
and I can drive that. Let me drag this off over here.
So, setting a one or a zero, it’s something that you can
quickly do with this.>>Victor: Does it – that’s
in case you have a master and then you have the file?>>Tim: Yeah. I always like
Master Materials. They’re easier to work with, especially
if you have a lot of things where you want to control
a bunch of different parameters.>>Victor: It also makes it easier
if you want to do an update to pretty much
the entire project, you have a Master Material that almost everything’s
inheriting from and then –>>Tim: Yes, exactly. So with this one,
everything in that, and I’ll talk to Victor
after this, I’m planning on just kind of
like tossing this up on the forum
for a sample project so you guys can dive in and just
look at what I’ve got here without me having to go and it’s like, “Oh man,
you didn’t cover this one, the exact thing that I wanted
to see on the graph,” or something else. This is just an if statement
and each one of these examples, I do call out and highlight
what this is and what it’s doing. But all of that is just
being controlled right here, just to this parameter
and then we’re determining whether the shading model
is a default lit or clear coat and it’s being driven
by the alpha here. If we get the equal,
then it’s driven more by the alpha
and we’re splitting it there. If we go less than, we’re
falling just onto clear coat, which is where we get just
the full clear coat with the blue carbon here,
versus the split alpha, like the first Material or
the no carbon. I’ve done examples here for
each of the ones that we use. The Quality Switch
is really cool, same kind of thing
with logic set up. We’ll look at logic and then I’ll show you how
you can use that in the Editor. Now I’ll select the Mesh.
We had the Quality Switch here and then for this one
based on your Texture or quality levels that are set
for the Engine that you choose. You can choose whether its using
whatever shading model. In this one its clear coats
using all of them except for low. I’m switching back
to a default lit. So, if I go up here
to settings and then — actually I doesn’t look right. One second, it’ll switch over.>>Victor: Let the PC do its job. That’s what they’re useful.
They can do things without us having to pay attention, we can talk about fun things
while they’re working. I’m trying to come up
with fun things to talk about.>>Tim: We can just
talk in circles and just hope that it
comes back up right now.>>Victor: Just toss it. Might be time for a restart of
the livestream PC.>>Tim: You know,
I specifically came down and did all these compiles
of shaders earlier and –>>Victor: Well, you can see
there that –>>Tim: It goes much faster? Using the high, you can that everything
is defaulting to clear coat, which is what we had
in the Material versus switching to the low and everything just
really quickly. Oh come on, it was compiled.
There we go. Falling back to
that default lit only. So let’s get back to high and
we’ll look at the next example. This one is
a Feature Level Switch. So, on this one,
what it’s showing off is, in the settings here,
if we’re using like SM5 or SM4 or something for mobile
like 3.1 or ES 3.1, and you can see here
that we’ve got the Android 3.1 versus Shader Model 5. So if I go back to
Shader Model 5 — It’s the same kind of thing here where you’re controlling
that shading model and choosing which one that we want
the higher end on and then we want that fall
back on for the lower.>>Victor: This is something
that’s getting more and more — if you want to ship on different
devices, different platforms, you’re going to have to think
about these things, right? Because some of these shader
features are too expensive to run on lower end devices.>>Tim: Yeah, and then it just
goes back to that Master Material kind of mentality,
it’s like you can now — You don’t have to do dual
Materials and go, okay, well I’m shipping
on this platform, I need to make sure that
this Material is assigned here and takes this into account. Granted, we’ve had options
in the past as well, but it’s like now you can
absolutely choose different shading models to go with it. Same for the Shader
Path Switch. Since I’m going to provide this, I’m not going to open
just to show the same thing. The Static Bool, again,
is the same kind of thing. I’ll show the — The other one
with the clear coat as the base Material
versus the one over here that’s default lit. We’re just controlling
everything through a Static Bool and saying yes or no
for clear coat. These are things that
you can really kind of control through that Master Material
and it’s really awesome. One thing that does come up,
let me open this Material, I’ve seen this a couple of times and if you select
the Shading Model here and you go to look at all the
shading models that we provide, the one that you see that
is missing immediately is unlit. There’s a lot of information
that gets compiled out for unlit Materials and essentially, it’s like
having it there right now — it’s theoretically
possible to do it and that’s up to the programmer
if it ever gets implemented, but it’s something that right
now if we just implement that, it can potentially provide
a lot of regressions and we try and prevent that
or at least give fair warning when we’re going to do it. So it’s just in case,
because you’re like, “I really wanted to have
that unlit and then have my
default lit as well.”>>Victor: We can’t have
all the nice things.>>Tim: Sometimes.
It’s called ray tracing. [LAUGHTER] I don’t know if you want
to take a little break for jumping into the next one? This one’s going to be a bit
longer because I’ve got two in the same map
that we’ll kind of dive into.>>Victor: We have some
questions that are related to Materials.
We can go over them. “How is dual
shading Materials different than layering Materials?”>>Tim: You know, I’m not a
complete Material guy, so –>>Victor: I think they’re
referring to Material layering.>>Tim: We have Material Layering
the system which is experimental, we also have like
Material Layer Blending, which is just
blending of Materials. We do that with landscapes. Really, a lot of the use case
that we’re doing with this one is we’re saving draw calls and that’s very important
on mobile for a lot of things. Fortnite drives a lot
of development and if we can save draw calls, draw calls are like a big thing,
across the board it’s a big thing, imagine even
in your experience in VR.>>Victor: Especially on mobile. It’s a very low number that
people usually go, “Whaaat?”>>Tim: You’re not
always developing to the lowest
common denominator, but you’ve got
to keep it in mind. There’s things there that you
want to always — You don’t want to
just willy nilly just make everything high performance and not take that
into account cause it’s a lot of work
to going back.>>Victor: It is one of the more
expensive processes to run in terms
of the rendering pipeline and it can add up really quick.>>Tim: I know that doesn’t
fully answer your question.>>Victor: Unfortunately, not. We’ll
see if we can get back to it. They were wondering,
“What’s more performant, separate Materials
with different shader models or a single Material
with multiple shader models?”>>Tim: This is going
to be better — I haven’t done profiling
your performance on everything, but you’re still taking into
account your shader instructions. They are now in one Material, so I guess if you
make like a super — I’m just speculating on this — if you’re making like
a super expensive Material, and you’re having multiple
shader models there, it may be, I haven’t done
any comparisons so I can’t say for example. But again,
you have one less draw call.>>Victor: I think they
were wondering though, like you were mentioning earlier where you would have to have
separate Master Materials for different platforms. I think leaving out
the one instruction of checking which one you’ve selected, that is probably
less instructions. But sometimes
you also have to like — there’s a tradeoff there, right? Because now you have
increased the scope of what you need to change depending on which platform
you’re packaging for, and so sometimes it’s worthwhile thinking of the longer scope
of the project. You can do a small
performance tradeoff that increases the efficiency
of how you work in the project and if there’s a lot of people, it can get a little trickier
to make sure that everyone — Oh, this was a… You know –>>Tim: We’re covering
it next week, and it’s like with
the Virtual Texturing, with that one specifically,
there is a tradeoff. It’s not just convert
everything to Virtual Texturing and we’re golden. There is a tradeoff
because you are getting more instruction counts
in your Material. It’s just finding that balance
of what works for your project.>>Victor: Then there was
one more question which –>>Tim: I’ll open up my next map
and then we’ll have that ready.>>Victor: You can do that. Do multiple shader models
work on forward renderer?>>Tim: I have not done any
testing on forward renderer.>>Victor: I’m not sure either.
That’s a good question though.>>Tim: I haven’t used forward
renderer in quite a while.>>Victor: I use it
almost every time. VR and then especially mobile
VR is so much better.>>Tim: I know we tried to keep
those aligned where possible. My assumption would be like, I was never given
any information like, “Oh hey,
it doesn’t work over here.” So, I imagine
if it’s working on mobile –>>Victor: I’m about to convert
to 4.23 really soon, so I’ll actually go ahead
and make sure I follow up.>>I don’t know if clear coat
is supported on forward, that’s something
I’m not sure on. I use it extensively in this, but I wouldn’t imagine
it will be a problem for any of the other
shading models that we have. There should be
no limitations there.>>Victor: And it’s
pretty easy to test too. I think that was it
on Materials.>>I ripped out a map
from content examples. I’m going to ignore that
for the moment. We’re going to come
over here to dual fog and I’ll speed up
my camera so I can get over here.>>Victor: Is that shift + scroll
wheel to speed up the camera?>>Tim: Right click on the right
mouse button and then just roll
that thing forward.>>Victor: I think it’s while you’re
moving the camera though. Right?>>Tim: Yes, but even still,
that has a maximum value. So, I like to adjust
the camera speed over here, if I have larger levels.>>Victor: There are two
independent ones. You actually not controlling
that camera speed when you’re doing
this scroll, right?>>Tim: Yes, exactly. It has
its own multiplier within. Thanks, Victor,
for distractions.>>Victor: You’re welcome! Let me rip out
this details panels, put it over here.
We’ll scrunch this down so we have a little bit
more real estate on the screen.>>Victor: This is one of my —
I saw Chris Murphy uploading a — I think it was from
the first preview, preview one, and he was showing off a little
bit how to do the high fog.>>Tim: Was he?
>>Victor: Yeah.>>Tim: I’ve already
got one set up here and I’m going to go through
some of the parameters and we’ll just kind
of work backwards. I wanted to show it set up
because for me it’s a lot of just adjusting until I get the look that I want
or just kind of bouncing around. For me,
this one’s a little weird to show off in the sense
that the values that I have here are specific to this example
that I’m showing because it’s a really large
thing that was painted together really quickly.
As soon as the fog goes way you see
how badly it’s painted by me. You may just need to start
tweaking around some of the settings
and find what’s worked. I can’t drag
a second height fog in here because it doesn’t
play well together. So, we have this
second fog data thing. Whenever you add an exponential
height fog to your Level, you have this now secondary data
that we work from and what this is doing
is it’s enabling us to have this nice atmosphere
throughout the Level itself that we don’t want
to get rid of necessarily. Like for instance,
without fog altogether, and then the secondary data, I can actually control
a secondary layer here to have some of these lower
lying areas, like these peaks and valleys and stuff kind of stand out
on their own and I can adjust
some of the height fall off and how it starts to look
for those areas. This is where I was trying
to get at it. It’s a little harder
to give specific, like use this setting
and you’ll be perfect, but what I’m going to do
is I’m just going to delete this and then it just,
we’ll drag it in. We’ll just play around
and we’ll get it working again.>>Victor: That sounds good.>>Tim: As I fumble
my way through it, please be aware —
Fog If we go over here
to the nodes panel, look for fog and I’m just going to drag
the height fog in here. I’m just going to place it. One thing with the Fog Actor,
it’s an Actor in your Level. So, depending on where you place
it as well may determine — If you have a lot of elevated
places and lower lying areas, these values are going to be
completely arbitrary and you’re going to have to find
ones that work for your Level. I can’t give you
an exact answer on those, but I can show you
how to fiddle with them. If we go over here
to the Details Panel again, we have our Fog Density. Let me look at my notes here
because it I was kind of jotting down how I started
playing around with this. I typically start by
starting out with the low value of the fog
density entity itself, so I can kind of bring
that down and then with the fog height fall off,
I would bring that down as well because that starts to raise up
my Level and I start to get some of that haziness
that I want to see. The next thing is
we’re going to start with the secondary fog density. There’s no secondary fog
at all now, but it’s like as I start
to just ramp this up, you can start to see it start
to fill in a little bit and become a little bit thicker. I’ve got on here,
I start with any value on that. For this specific Level,
I’m going to lower my — Again, this is a really massive
landscape that I just painted. I didn’t even like
take into account like the size of it, like
scaled to a person. I have to go like
really low on like -31,000 or something like that,
on the height offset. That way that secondary layer
is lowering down and becoming a
little more dense. If I start to get a low value, I can start to thicken up
that secondary fog and then the opacity Level here, I can start to bring this down
and what we start to see is it’s lowering the opacity
on the rest of the fog. So, you can see the atmosphere
starts to come back. I can certainly see
some of the sun again. Then I just kind of play around
and as I start to do that and you see I can start
to get some of the fog in this a little bit. I told you, just tweak it
until it looks right for you, kind of thing. If I just get back
and punch in my values, again this will be here
for everyone to kind of play around with too. This one is just kind of
the weirdest to show off specifically for me.>>Victor: You do have some
magical values for this scene?>>Tim: I do,
for this scene, yes. I wrote them down
so that way I’d remember. I don’t trust my memory. [inaudible]
and then a low value for the secondary for this one
and that was increasing this, then let’s start
to bring this up. What did I do?
I think I broke something.>>Victor: Is it because you
moved the location of the Actor?>>Tim: That might be it.>>Victor: Quick way to — if you
ever come across a similar thing, you messed with the
values, and you’re like, no, I want the original ones. You can reload the Level
unless you’ve saved.>>Tim: I’ll just reload back
to what my default was.>>Victor: Same thing, right?
>>Tim: Yeah. Same thing. I think I inadvertently
broke something in it, but that’s not to say
it’s specifically that. I was most nervous about
showing that one off anyway. I mean, it works. It’s just finding the values
that work for this Level.>>Victor: Finding values
that works is also subjective to what you personally think
looks good, right?>>Tim: Yes, like this one was
really just more thick fog and it’s nice to have
these secondary layers, but again, find your values
that work for you. I’m just going to drop
this one at this point. Then we can look at the
landscape stuff. Next. Let me slow my camera’s
speed down again so that I can move at a
reasonable speed. Alright, this is a — I ripped this straight out
of the content examples. In this one, let’s look
at the Foliage Tool. If we go to the Foliage
Tool here, move that up, we have pretty much
all of our Actors that we paint into the world and those become this instant
Static Meshes that we can use and they get clustered
together and everything. But some of our artists requests
have always been, they want to be able to be
able to paint these objects in the world
that they’ve created. So, they have these interactive
Blueprints that they’ve created. I’ll show you one that I’ve got
in a second, but it’s like, if you think about
like the trees from Fortnite for instance. Those or any of that or things
that you can destroy, and our artists
as they go through and they want to be able
to paint these trees, you want to be able
to paint them with intention and to be able
to selectively move them. You don’t want to have to worry
about going back. So, it’s like,
if you have Actors that you place
in the world manually, if you go and edit
your landscape, those aren’t always
taken into account. So, it’s like you have
to go back and you have to manually adjust
and tweak them and everything. Whereas if I started editing
this landscape and painting it and sculpting it or whatever,
those instances of the trees, they take into account
the normal and the bias and all that stuff and I don’t have to worry
about intentionally going back. So, it’s like they automatically
move and everything with it. Being able to use
the Foliage Tool now for this to paint whatever
my Blueprint Actors are, it’s just this
really awesome power to quickly throw something
together and prototype or to have for finalized Assets. One of the things
that I’ve created here is a little wind turbine
for these little small things. I’m going to show
how to add this. So, to add your own
instanced Actor — I need to avoid
the word instance, because these are not instanced
in any way. These are just like placing
standard Actors. So, under the Actor
Foliage Type, if we go into here
and we choose Actor Foliage and then I’m going to leave it
as new Actor Foliage, Go to our Content Browser — What I now have
is this new Actor and what you’ll see here
is, not all the settings, but the majority of the settings that we get with
the normal Foliage Actors themselves, if we were to
select them in the Foliage Tool. So. you get things like
all your yaw Assets or your yaw rotate,
random yaw options, how it’s rotated,
what type of ground slope you can paint on to, the type of the mobility
you want to give it light map resolutions,
all those important settings. All you have to do is go up here
and whatever your Blueprint is that you’ve created, for me, I’ve got the demo world
turbine here that I’ve created. I’ve created this nice little
green thing to go with my landscape
and all it is it’s a Blueprint and I’ve got some
rotating blades on it, so it’s an interactive
kind of thing that happens. I search for my Blueprint,
my demo world wind turbine that I’ve got,
I assigned that and save this. Drag that off to the side
for a second. Now I’m going to get back
to my Foliage Tool.>>Victor: Can you just
drag your Actor in there like you do normally
with a Static Mesh when you add it to your sort
of foliage library?>>Tim: I didn’t try that.
We can see really quick and if you break it,
it’s your fault.>>Victor: No. I don’t think so.>>Tim: It did not
give me that option, and it didn’t it didn’t
freeze up machine, so that’s good. I’ve got my instance here,
I’m going to select this, I’m going to De-select that
so that I don’t paint twice. Some of those settings and everything
that are contained, you can still edit them here
on the panel if you’d like.>>Victor: They’ll let you
edit the Asset?>>Tim: Yeah. Everything updates
back and forth. I could choose my scaling,
I’m actually gone to, because I’m going to choose
the ground slope, I’m going to make that
an obscene ground slope. Turn the Content
Browser back off. Let me remove
some of these trees and we’re going to replace them
with wind turbines. So now I can just start painting
all of these all over the place. The one thing you’ll notice, since we do have like
all those foliage settings, the Align to Normal
is not something that I want to do with these. So, if I just erase those
and repaint them again, I now have all of
my wind turbines and they’re all facing in random
yaws, which again, I remember that one,
I didn’t like that. Let’s do them all the same,
there we go. Paint them
all at the same direction so the catch the wind right. Then as I go and play, we have all these
things playing in time. What you’ll notice here as well is that since these are
all individual Static Mesh Actors, and they have that same
rendering cost to them as well, so it’s like the more you paint these are doing like on tick,
just a rotation of the blade. But you know, that performance
costs can add up, so you need to be mindful of it. But at the same time,
it’s one of these things you now have the power
of the Foliage Tool with these Actors that you’ve
created in Blueprint. The other thing too is because
they’re all individual Actors, you’ll notice some
are spinning faster than others and some are slower. They’re not all spinning
at the same speed. This is all just stuff set up in Blueprint
to have that random generation because they’re
individual instances.>>Victor: You can have interactivity
with them, which is really neat and you don’t have to build your
own sort of construction script to procedurally
add into the world. You can choose a tool
that already exists.>>Tim: Yeah, you can
really empower your artists to kind of go through
and do these kinds of edits and tweaks with things
that they’ve been provided and they can do their job
more effectively.>>Victor: And the
way it’s set up, I love how they have
a relationship to the landscape.>>Tim: Yes. I’ll stop that and again,
that same kind of thing, we can just control everything and artists don’t
have to sit there and worry about going back
and doing other little tweaks to account for whatever
the changes in art direction –>>Victor: This could be
a slope that we want them to actually be able to walk up, and it’s too sharp and then
doing a little edit there and having to check
everything around it.>>Tim: That’s
pretty much the gist of everything I wanted to show. If there’s questions coming in,
we can try and dive into those.>>Victor: Let’s try. There are a lot of questions
that are coming in that are, I’m afraid,
a little too specific. We did touch
on some of the Chaos ones in our previous livestream and so if your question
is specific to Chaos — two weeks ago we did a livestream
on Chaos Fundamentals.>>Tim: I still want to try Chaos.
I haven’t had the time yet.>>Victor: It’s a lot of fun.>>Tim: Anyone who has
followed me over the years, like, I used lot of stuff
like the Apex destruction stuff that we had
and I’ll get hit up with questions
occasionally here for Chaos.>>Victor: I want
to reproduce a test I did that back
in the day with Apex. I built an entire Level
that was all destructible Meshes and it was in VR,
which leads to some problems because you can’t bake shadows
on them because they’re dynamic. I was able to get it to run,
but it was extremely limiting in terms of how I was
able to design my Level and I’m curious what I’d
be able to do with Chaos. Obviously, I won’t be able to be
able to break the entire Level in one go,
which would have been awesome.>>Tim: I’m going to
have to learn some of it because of the integration
with the Niagara.>>Victor: Watch the stream
we did two weeks ago; Jack walks us through Fields and sort of all of the other
fundamental concepts that you need to learn now
because this is a new system. It’s a new tool.>>Tim: Fun times, man.>>Victor: I really want to try
the caching where you can make a really cool large simulation and then not pay
the real-time performance cost of having to compute what
each chunk is supposed to do. So, you can get
some cool real-time cinematics using Sequencer.>>Tim: I’m excited.
I got to get it set up at home.>>Victor: If you’re wondering, you’re still required to use
the source build of the Engine to be able to use Chaos
until it comes out of beta, and so that includes
the example project that we have under the
learn tab on the launcher. It doesn’t work
in binary just yet, and that is to make sure
that we’re not — we don’t want to
prevent people to update to a new Engine version
because we removed the parity with the system
that we had previously. But Chaos will get there
and at that point it will be out in binary as well and you’ll be able
to just download it and use it. Let’s see what we have here. “The changes take into account
the slope changes too, yes?”>>Tim: Yeah.
>>Victor: So, they do. “Can we have multiple –“>>Tim: Let’s see,
for the slope changes because I’d hate to say yes and then — I know we’re setting it in –>>Victor: This is one
monitor management.>>Tim: I know, I’ve been
spoiled by my two monitors. It doesn’t look like it.>>Victor: The intention here
is that they should disappear?>>Tim: Yeah, and I don’t think there’s that kind of interaction
between the two, because you have
two systems here, you have the landscape
that’s just reading information, and then the Foliage Tool, which is taking information
for what is being painted. So, it’s not going back
and if I change the slope, it’s not dynamically changing
any of the instances that were previously painted. I had to do that earlier,
I painted a bunch of stuff and then I changed the slope and I had to go back
and repaint. So, it painted more
on the side of the mountain>>Victor: If that happens and there’s
one you don’t think looks good, I’d say the one on the edge there, you can select
the individual one.>>Tim: Yes, that’s one of the
cool things that I like too, and that’s one of the things
we do call out in the docs and I think even in
the release notes. You can now do the select all,
you could do this before, but you can select these
individual instances and just go, “I don’t like that guy.
See ya.”>>Victor: That was nice, I remember having to make
a really small brush just to be able to
delete an individual one. “Can we have multiple
foliage variations? I don’t see it as an object
in a Level or can we De-foliage? Kind of bake it to regular
Static Mesh-less objects?” They are Actors in the scene.
I think he’s referring to –>>Tim: Yeah, these are
individual because for instance, these trees, if I select them, you see
how they’re all clustered, because that’s all instanced
foliage that is painted. These are individual Actors
that are being painted. They’re just using
the Foliage Tool.>>Victor: Sort of piggy-backing
on the Foliage Tool.>>Tim: I don’t want
to break references.>>Victor: You should avoid
trying to break references.>>Tim: This is actually one
of the cool things too, you ask the questions that I
don’t normally try occasionally. I didn’t write
documentation for this. I didn’t work with this
until this stream. I was sitting there
just asking other people, “Hey, what’s all of the ins
and outs of this and how do I work with it so we could be
prepared for this?” That’s actually cool, because
they are individual instances or individual Actors
in the scene just painted. You can grab them
and you can have that little bit of fine control,
going back and move them too.>>Victor: You can’t do that
with — even if you select –>>Tim: I can select this
but I don’t get the gizmo. So, you don’t get that option. The only thing that you can do
is if I move the landscape, they’ll move to the
new location but that’s it.>>Victor: That’s neat. “Will the Actors work
with the grass node?”>>Tim: I don’t mess
with the grass node.>>Victor: I think they mean
if you’re using the grass nodes and then you can sort of
procedurally add foliage, right? I’m not sure.
It’s a good question.>>Tim: The the grass node is
all Material based, right? It’s like you paint your mask
or whatever, like for instance, like on this one, if I wanted only to
show up on the grass, it’s only showing up
on the grass, not the dirt. I think that’s just whatever
it’s painted onto. I’m having to speculate on that.>>Victor: “Can Chaos destroy
Blueprint Actors added via the Foliage Tool?” That should be relatively easy
to test. I’m not sure.>>Tim: I know
nothing about chaos.>>Victor: I’m going to be bringing it up
as a topic of conversation, which actually is kind
of cool if that works because you’d be able
to use the Foliage Tool — Considering that the wind
turbines out there, they are Actors in the world.
Now, they do have a special relationship
that a normal Actor, if you just dropped it
into the scene, wouldn’t have. However, I don’t think
there should be any reason why they wouldn’t
be able to do that.>>Tim: I think pretty much
if you can include it into a Blueprint, it should. But again, these are all
individual Actors being placed, so you have to take
into consideration that kind of performance cost, and it’s like the more
you populate the scene, the more draw calls you’re going
to have in the more performance. They’re not instanced Actors.>>Victor: They don’t receive
sort of the performance benefit of why we used
the Foliage Tool for forests and rocks and such. “Can we find a list
of only foliage in a scene? Do these Actors, are they already added
to your world outline or not?”>>Tim: No, I don’t think these
are, we’ll find out in a second. No, they’re not.>>Victor: They’re just
part of the foliage. Actually, you were searching
for F there, I’m not seeing –>>Tim: No, they’re not.
>>Victor: They’re not. So, they are part of the
foliage family there.>>Tim: There’s 14 of those
instances of those Actors placed.>>Victor: I think you can
select all of them there, if you select the actual
Asset there, I think. Right click,
select all instances. That’s how you can
get all of them.>>Tim: I’m going to
hand you the controls. You know more about
Foliage Tool than I do.>>Victor: Last time I painted
foliage was quite a while ago. Alpha Textures doesn’t
work too well in VR and can get really
expensive really fast. It tends to be — I guess
I haven’t done many forests in general in a long time. This a question about cloth
simulation, the state of it, we don’t have any updates there.>>Tim: We did fix some errant
errors in the page the other day. That’s about as much interaction
with the cloth that I’ve had.>>Victor: They’re asking
if we’re working on different types of fogs. We have the atmospheric fog
and then we have the height fog. Differences there, not too
familiar with atmospheric, but the height fog
you can turn it on, you can make it volumetric, and as you saw, you can make it
look like a fog of war.>>Tim: That’s the one cool thing,
the thicker you make it too, you can actually save
some performance because it makes
the background a scene color, whatever the color
is that’s driving that, because essentially,
it’s going off the depth buffer. So, anything beyond that point, if you set like
a distance relatively, let’s just say 10,000 units, anything beyond that they’re
essentially getting culled.>>Victor: Okay, so they are
getting culled.>>Tim: That should be the case.
I know it falls back in. It doesn’t use the depth
buffer at that point. There’s some note
in our documentation that I was looking
at the other day.>>Victor: Let’s see… “Are you going to allow
for multiple Foliage Actors eventually or a foliage
layering system?” I think what they mean is,
you can have one section of the map being
one instanced foliage family.>>Tim: Are you talking about
biomes or something like that?>>Victor: Not really because
you can still do that. You can paint one biome
in this section of the landscape and one in another. I think what they mean
is being able to have one layer of instanced Foliage Actors
and then another layer. Essentially, at that time
there are, there’ll be a performance
increase because they’re not using
the same system. But I think what they mean
is can they — in effect, what you would
be able to do is click on one of the trees
that belongs to one layer, it will select all of
the trees in that layer and then click on another tree and another section of the
landscape and it selects that one. As far as I know, no,
I don’t think so. I’m not entirely sure
what the use case would be.>>Tim: Most of the foliage
stuff, just for a little background on what I know, that’s all handled
by our Editor team. They have dedicated people that that work
on landscape and foliage and all these kinds
of role tools. I fall more
on the rendering side. So, the dual fog stuff is definitely a little bit up
my alley than the foliage stuff. It would be cool to –>>Victor: If the question is in
regards to collaborative work in the same map, sub-levels
is what you’d want to do, right? You would have, possibly
one Level that is biome summer forest and another one
that is winter forest and then they would be
two different sub-levels and two people can work on their
individual one at the same time. “Will the second fog data
have effect on volumetric fog and volumetric lights?”>>Tim: It works with
volumetrics. Yes. I was testing that
out the other day, actually I’m in the map here. I’ll go on and enable
volumetrics really quick. Oh, that’s really weird. I don’t know what I did
to break my landscape. It made it all like Minecraft.
That’s interesting>>Victor: It does
look like that. Now they’re going to want
to know how you did that. [LAUGHTER] I want to know how you did that!>>Tim: Well,
you can have the map.>>Victor: Just save this one as
another level.>>Tim: I’ll name it Victor.>>Victor: I’m not sure just
having the map will let me know how you got to that. Let’s see if we locked
down the landscape.>>Tim: You made me
lose train of thought. What was I going to do?
Okay, fog. Let me get back to regular
mode so I can select things. Exponential Height Fog and then
under Details, Volumetric Fog, and then of course
I’ve got it like all blown out. So, what the directional light
has to have, it’s been a while since I used the volumetric
fog, so apologies.>>Victor: It can lead to some
really nice looking effects.>>I remember I used it more
during some of the Paragon stuff when we were documenting
it during that time. I remember it was fun to just
kind of play around with.>>Victor: That’s the scattering?>>Tim: You get to watch me
just mess with sliders again. It’s been awhile a while
since I’ve used it. So, it’s like trying to
figure out where things are. I know it’s just a little bit
in the corner, but we can see some of
the volumetric stuff and again, I don’t have it properly set up. Actually, let me change
my directional lights. Angle — I can probably
get something better. Scale rotation,
yeah, here we go.>>Victor: You changed it
to stationary there?>>Tim: It’s just whatever the
ability was on when I edited it. This one I had
originally had it — because I was building
all the lighting and everything. So yeah. That shouldn’t have
changed anything, the volumetrics still work.>>Victor: I think that’s it
in terms of questions. There’s some about
fluid simulations and large-scale games with which we wouldn’t be
able to talk about today.>>Tim: Just because it was
called out on the forums, there was someone who had asked
about the UV generation tools that we have with Datasmith.
Those are Datasmith specific, so you have to have
the plugin, for those users. But we do have
some documentation on it, it’s really cool. It’s actually something
I wasn’t aware of because I don’t really
do anything with Datasmith at this time. I’ve been crying for UV tools
in the Editor for so long, then it popped in
and I didn’t even notice.>>Victor: That’s useful. As much
as you can do things in-Editor, it reduces the time spent
going between software.>>Tim: Especially for things
like that. The reason it was you
probably implemented it was just because there’s some tools that don’t have
a UV Editor in them, but just being able to make
some tweaks and stuff like that within the Editor,
just empowers like our artists and our people
that do these things. Even if you aren’t like
entirely in that field, it’s just being able
to do some of those quick edits and stuff right,
it’s so much easier.>>Victor: Especially if you know
what you want to do, which is edit the UVs, and you’re not familiar
with the 3D modeling tools and how to do UVs there. It helps knowing
sort of the interface.>>Tim: If you put me
in Maya’s UV Editor, I’ll get lost because
I’ve always used 3DS Max and I can quickly do it there
and it’s like, “Oh, I’ve got
to go learn it over here.”>>Victor: Yeah.
I think that’s it in terms of the questions.
If you have more of them, please use the announcement
post on the forums. It’s a good place on the forums
to discuss specific things to the stream and we
try to follow up there and see if we can answer
some of those questions as well. With that, I want to
thank Tim for coming over and showing us
some of these things. I have a little bit
of things to dig into. I am excited.
I do want to see, because if I can use
Chaos Actors and the Foliage Tool
to paint them, it would be a quick way
to add things that can break into my scene.
That was a good question. I’m going to see,
will be at some point soon, and I’ll try to
follow up on that on the forums as well,
whoever asked the questions. As always, if you do like us
and you’re streaming on Twitch, make sure that you use
the category so that we can come
and watch a stream. I know that during the game jam there was a lot of
people streaming. It was fun to jump in and see them
working on the games. I’ve always enjoyed that.
I forgot to mention last week, but it’s worth mentioning
that our Mega Jam is going to kick off
in the beginning of November, and so we will have dates
for that really soon. Next couple of days, I believe
we’re going to lock that down. It’s the five-year anniversary
of the game jams, so, we are trying our best
to make it something special, and it’s going to be big.>>Tim: Do you usually get a lot
of submissions? I’m curious.>>Victor: We do. The last jam was record
breaking in terms of — the Mega Jams are always
a little bit bigger, but last jam we had the most submissions
of one of the sort of normal, the other three
throughout the year that are our
normal quarterly jams.>>Tim: Awesome.>>Victor: If you want to
interact with the community, our forum is a good place.
We visit them frequently. We also have a community around
Discord known as Unreal Slackers, you can just go
to unrealslackers.org. They hit a few weeks ago —
I keep saying this, but we have hit
the 26,000-member mark, which is pretty impressive for
community Discord around a tool. So, big thanks to everyone
in the community who is running that. I know it must be
quite a bit of work. We have our Facebook page,
there’s also a community run Facebook page
where you can ask questions and receive answers from
other people in the community. Reddit is another good place
to surface your problems or just your projects, and if you want to go ahead
and let us know, the forms we have a release
channel that we frequently visit and that’s where we usually find
our spotlights and cool tools and plugins that people
are working on. If you saw our little
countdown video, we’re getting
a little short now. We’ve repeated them
a couple of times. I would love to see
another countdown video. They are 30 minutes
of recorded development, speed that up to five minutes, send that without
your logo embedded, but send a logo to us
so that we can add it to the countdown video,
and get some nice music going there with our
little countdown timer. It’s always followers
and social media, that’s where you’ll find the
quickest way to receive updates on what’s going on
in the Unreal Engine universe. Again,
Thanks to Tim for coming on. We will be back next week when we’re going to be
talking about Virtual Texturing.>>Tim: I won’t be a part of it,
but I’ll be watching. I’ll watch that one.>>Victor: You should, and you
should too, if you’re interested. We’ll definitely be able
to answer more of your questions around Virtual
Texturing at that point. So, without further ado, I think it’s time
to say goodbye for this week and we will see you
all next week. Bye everyone.

Danny Hutson

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