Unreal engine 4 learn how to create a lost road scene
Unreal engine 4 learn how to create a lost road scene
CG Persia
Udemy – Unreal Engine 4 – Learn How to Create a “Lost Road” scene
Duration 21h MP4
Title: Udemy – Unreal Engine 4 – Learn How to Create a “Lost Road” scene
Info:
What you’ll learn
Create 4K texture with Quixel Mixer
Create optimized models for realtime rendering with Speedtree
Add full of details without losing performance with Decals
Create Combined textures in Speedtree (Atlas) and Photoshop (RDAO/CRS/FHAO)
Configure Post Processing, Ligthing and get realistic rendering
Requirements
Have version 4.22.3 of the Unreal Engine 4
Know the basics of Unreal Engine 4 (Object placement, camera movement…)
Possess a valid license for Speedtree and have Speedtree 8.4 (or higher)
Possess a valid license for Quixel Megascans, Bridge and Mixer
Description
(This course is a direct continuation of my other course”Unreal Engine 4 : Learn How to Create a Natural Scene”)
In this course we will go even further in models creation and a scene.
The purpose of this course is to show you that it is possible to create fully optimized models without ever leaving Speedtree.
With the textures available in Megascans library, we start with a powerful ally for our objective which is to create a “Lost Road” scene.
Beyond the simple model creations, I will show you how to create your own textures from Speedtree in order to create models from different textures you have chosen.
Speaking of texture, I will show you how to create combined one called “Atlas”. That will give you total control over the quality and otimization.
Once our vegetation finished, we will move on to creating textures such as grass, rock and soil, but also a clean road texture and one that is worse and worse, all on Quixel Mixer.
We will put all our creations in place in a final scene on Unreal Engine and I will show you how to add even more details without losing performance with decals.
If you want to create scenes to feed your portfolio or deepen your knowledge this course is for you.
If you want to learn the basics of Speedtree or Quixel Mixer I recommend to begin with the previous course “Unreal Engine 4 : Learn How to Create a Natural Scene”
All the texture used in this course are not included to the project file. You must have a Quixel Licence to download them.. Of course you are free to use the ones you want.
A valid Speedtree license is required to use the software.
This course was created in version 4.22.3 and it is STRONGLY RECOMMENDED to use THE SAME version! If you choose to use another version, be aware that you may encounter possible errors not covered in this course.
Who this course is for:
Anyone interested in complete scene creation in the Unreal Engine 4 
CG Persia
Udemy – Unreal Engine 4 – Learn How to Create a “Lost Road” scene
Duration 21h MP4
Title: Udemy – Unreal Engine 4 – Learn How to Create a “Lost Road” scene
Info:
What you’ll learn
Create 4K texture with Quixel Mixer
Create optimized models for realtime rendering with Speedtree
Add full of details without losing performance with Decals
Create Combined textures in Speedtree (Atlas) and Photoshop (RDAO/CRS/FHAO)
Configure Post Processing, Ligthing and get realistic rendering
Requirements
Have version 4.22.3 of the Unreal Engine 4
Know the basics of Unreal Engine 4 (Object placement, camera movement…)
Possess a valid license for Speedtree and have Speedtree 8.4 (or higher)
Possess a valid license for Quixel Megascans, Bridge and Mixer
Description
(This course is a direct continuation of my other course”Unreal Engine 4 : Learn How to Create a Natural Scene”)
In this course we will go even further in models creation and a scene.
The purpose of this course is to show you that it is possible to create fully optimized models without ever leaving Speedtree.
With the textures available in Megascans library, we start with a powerful ally for our objective which is to create a “Lost Road” scene.
Beyond the simple model creations, I will show you how to create your own textures from Speedtree in order to create models from different textures you have chosen.
Speaking of texture, I will show you how to create combined one called “Atlas”. That will give you total control over the quality and otimization.
Once our vegetation finished, we will move on to creating textures such as grass, rock and soil, but also a clean road texture and one that is worse and worse, all on Quixel Mixer.
We will put all our creations in place in a final scene on Unreal Engine and I will show you how to add even more details without losing performance with decals.
If you want to create scenes to feed your portfolio or deepen your knowledge this course is for you.
If you want to learn the basics of Speedtree or Quixel Mixer I recommend to begin with the previous course “Unreal Engine 4 : Learn How to Create a Natural Scene”
All the texture used in this course are not included to the project file. You must have a Quixel Licence to download them.. Of course you are free to use the ones you want.
A valid Speedtree license is required to use the software.
This course was created in version 4.22.3 and it is STRONGLY RECOMMENDED to use THE SAME version! If you choose to use another version, be aware that you may encounter possible errors not covered in this course.
Who this course is for:
Anyone interested in complete scene creation in the Unreal Engine 4
[Udemy] Unreal Engine 4: Learn How to Create a Natural Scene [ENG-RUS]. Unreal Engine 4 : Научитесь Создавать Природную Сцену.
Автор: Michael Gerard
Продолжительность всего курса: 31 часов (главы 1-21)
Желающие приобрести данный курс по частям
свяжитесь с администратором сайта [email protected]
Язык: Английский-Русский
Программное обеспечение: 3ds Max, UE-4, Quixel Mixer, Speedtree, Photoshop
В этом курсе я раскрою вам все свои секреты, которые помогут вам в создании ваших собственных сцен, с продвинутым рендерингом.
Более того, я не только раскрою вам все свои секреты для UnrealEngine, но так же и покажу вам как создавать собственные модели в 3dsmax, с текстурами из библиотек Megascan.
При помощи Speedtree мы создадим свои наборы деревьев, наземную растительность, вроде травы и растений, а так же более обычную растительность вроде вереска и клевера.
Так как шейдеры (материалы) это визуальная сила ваших проектов, мы создадим все материалы, нужные для вашей сцены. Для растительности, ландшафта, декалей или ассетов Megascan. Мы настроим все от функций материалов, до Главных (родительских) Материалов и в конце получим легко настраиваемые образцы.
Для того, чтобы получить уникальный визуал, мы создадим собственные текстуры ландшафта при помощи QuixelMixer.
Если вам не интересно создание моделей или шейдеров, и все что вы хотите делать это учиться созданию собственной сцены в UE4 – нет проблем. Вы найдете в курсе источники, готовые к использованию в проекте Unreal, со всеми моделями и шейдерами, в них.
Если вам нравится эта программа и вы хотите улучшить ваши навыки в UnrealEngine 4, QuixelMixer или Speedtree– до скорой встречи!
Обратите внимание! В отличие от других источников мы предоставляем также и дополнительные материалы (файлы), необходимые для прохождения данного курса.
CG Persia
Udemy – Unreal Engine 4 – Learn How to Create A Natural Scene updated
Duration 30h Project Files Included MP4
Title: Udemy – Unreal Engine 4 – Learn How to Create A Natural Scene
Info:
missing file 144 – Setup Renders (Consol Commands) added
Requirements
Know the basics of the Unreal Engine 4 (Object placement, camera movement…)
Have version 4.22.3 (or higher) of the Unreal Engine 4
Speedtree 8.4 (or higher)
Quixel Licence, Mixer and Bridge
Photoshop or equivalent
Description
In this course I will give you all my secrets to help you to create your own scenes with advanced rendering.
More than just giving you all my secrets for the Unreal Engine, I will show you how to create your own models on 3ds Max, with the textures from Megascans library and and with Speedtree, we will create our sets of trees, ground foliage like grass and plants but also more generic vegetation like ferns or clovers.
Because shaders (materials) are the visual power of your projects, we will create all the materials needed for our scene. For vegetation, landscape, decals or Megascans assets. We will set up everything from material functions to Master Materials and end with easy-to-configure Instances.
To get a unique visual we will create our own landscape textures with Quixel Mixer.
You are not interested in designing models or creating shaders and all you want to do is learn how to create your own scene in UE4? No problem, you will find in the course resources a ready-to-use Unreal project, with all the models and shaders in it.
If you like this program and you want to improve your skills on the Unreal Engine 4, Quixel Mixer or Speedtree, I’ll see you soon.
All the texture used in this course are not included to the project file. You must have a Quixel Licence to download them.. Of course you are free to use the ones you want.
This course was created in version 4.22.3 and it is STRONGLY RECOMMENDED to use THE SAME version! If you choose to use another version, be aware that you may encounter possible errors not covered in this course.
Who this course is for:
Anyone interested by scene creation in the Unreal Engine 4
How to Create Appealing Cut Scenes in Unreal Engine
A 3D environment isn’t just made of static renders. Tell your story with interactive and non-interactive cinematic scenes.
A cut scene, a term frequently used in the video game industry, is when a cinematic sequence break ups the gameplay to tell a story.
In this last part of our three-part series on Unreal Engine, we’ll be exploring the power of cut scenes for my personal project used throughout the previous articles:
Creating an effective cut scene isn’t exactly simple, as it requires skills in different fields. Think about a director presenting a new location or introducing a new character in a movie. In this case, the director needs to know how to properly move the camera, how to set up a correct camera setting, how to establish a nice shot composition, and so on.
In a video game environment where the player navigates, the cut scenes are the only non-interactive parts that usually finish a sequence by introducing a new one. Thus, they also tell a story by creating a bridge among the scenes.
In the past, the cut scenes in real-time were pre-rendered sequences triggered by the player’s events. Nowadays, the cut scenes are part of the real-time navigation and trigger actions in a scene (e.g. camera movement, a character’s action, etc.), without loading any offline sequence.
The Role of Cut Scenes in This 3D Project
In order to make the real-time exploration more dynamic and effective, you can always think about adding some cut scenes. Cut scenes are meant to be used sparingly, just whenever you want to convey a motivated connection between two scenes.
In this part, we’re going to explain:
Our environment allows the user to freely move from one area to another. So, let’s build our first cut scene in relation to the following image.
A vantage point showing parts of the map.
This is the vantage point from which the player has a clear view of the area. Also, new parts of the map are revealed from that view—the road leading to the mountains, a cliff rock on the left side, and a hill with a visible path to reach the hut area.
The Vantage Point in Our First Cut Scene
Let’s imagine the player is approaching from the back of the image. As they reach a certain point (trigger), we want to stop the interaction by introducing the new area you see in the image via a cut scene.
After that, the player takes control of the action again and starts exploring the environment.
What’s the best way to achieve that? Let’s see it in the following demo video.
The player runs and a cut scene is triggered.
The purpose of this cut is quite evident. We want the player to be informed of the surrounding area from that vantage point.
The camera performs a slow pedestal movement from bottom to top, basically saying: “Hey player, here’s the area to explore. You have a narrow road, a path on the right, and cliffs on the left. Make your choice!”
Also, the presence of the wooden sign reinforces the message. The camera movement reveals what’s behind the hill.
Reaching the Hut Area
In this following part of the gameplay, we’ll show how we get to the hut area.
Once the character has reached the upper-part of the hill, I introduced a cut scene to stop the gameplay and take an overall look at the surrounding environment.
There are many objects appearing in the composition as the camera moves—a broken wooden fence, a fountain, a big trunk, the pine forest, and the right side of the shot where we appreciate the grass and the mountains in the background.
Another interactive part with a cut scene presenting the hut area.
Not only did I present the hut, but I also emphasized the surrounding objects.
From the camera side, what I did is quite simple. I used a truck movement from left to right, which allowed me to capture more details with a slow, smooth movement.
The camera truck movement from left to right.
Focusing on Details
On a few occasions, we want to focus the player’s attention on some specific elements for a number of reasons. For instance, we want to drive the player to a particular object in order to continue the exploration.
The details suggest something to interact with.
We can also attribute other meanings and use our imagination. Let’s say we need to pick up some water from the fountain, but it doesn’t seem to work. Our goal is to find a water valve somewhere. Once found and activated, the cut scene triggers, showing where the player must return in order to fill the bucket with water. Cool, right?!
This is typical in games, where an action (in this case, the rotation of the water valve) triggers a scene connected with it, focusing on an object being unlocked.
The camera uses a pedestal movement to make the cut scene more cinematic, while the camera settings use depth of field to emphasize the presence of the objects in the foreground.
Showing the Passage of Time
Sometimes, we want to speed up time by introducing a time lapse as a cut scene, with the purpose of moving the action to a different time of day. Think about a day/night cycle or simply an action taking place four hours later.
A time-lapse as cut scene to indicate the passage of time.
Most of the time, a dynamic sky is applied (for more info about how to set a dynamic sky in Unreal, consult the second part of the series), and the cloud movement suggests the passage of time. The camera, in this case, is almost stationary, even if it barely moves to the right not to distract the player from the clouds.
How to Create a Cinematic Scene in Unreal Engine
It’s now time to have a look inside of Unreal Engine by presenting a system called Cinematics. This is a powerful tool for creating cut scenes within your interactive project.
When working inside of Unreal, there’s the possibility to create an actor called Cine Camera. This actor acts like a real camera on a set, with parameters like filmback (with sensor width and height), lens settings (with focal length), focus distance, post-processing effects, and much more.
Camera settings when you create a Cine Camera Actor. 
The Cine Camera Actor as it appears in the Unreal viewport.
As an example, we consider the first cut scene showing our landscape from the vantage point. The editor used in this demonstration is Version 4.25.3.
Nevertheless, the following part can be applied for any version as long as you understand the main steps.
How to Set up a Cinematic Sequence
After adding your Cine Camera Actor, click on the Cinematics icon in the toolbar. Here, you select “Add Level Sequence.”
Adding a new Level Sequence.
Unreal asks you to save the new level sequence. Give it a proper name and, once confirmed, a new interface pops up. This is called the sequencer and contains the track list of the actors being recorded.
There’s also a timeline responsible for the animation of some of the actor properties.
The sequencer used to record our Cine Camera Actor.
What we need is to add our Cine Camera Actor by clicking the green button called Track > Actor to Sequencer. Then we look for the actor called CineCameraActor1—that’s our main camera.
This adds our CineCameraActor1 to the sequencer.
The CineCameraActor1 is now on the track list and ready to animate. If you observe the camera properties, you’ll notice something like Camera Aperture, Current Focal Length, etc. However, the main property that we’ll be animating is named Location, under Transform.
The CineCameraActor1 properties in the track list.
The sequencer works similarly to any animation editor in a 3D software. Properties can be keyframed in the timeline. The plus symbol near a property allows adding a new keyframe.
We then position to time 0 and press the plus button near the Location property. This creates a keyframe. We do the same for Rotation and Scale to freeze the camera in space at the beginning of the animation
For this animation, we added an additional actor called HemisphereSky because we want to slightly animate the clouds. The sequencer is powerful enough to accept many actors.
The keyframes used to animate the CineCameraActor1.
We created a timeline of 302 frames, which—played at 30fps—totals around ten seconds. At frame 302, we moved the camera at its final position and the sequencer adds keyframes for the properties that have at least one key. This is made possible by having the first orange button enabled (the one representing a key), which automatically does the work for you when a property value changes.
This way, we set up a simple camera animation that can play inside of the sequencer. If we press the play button or scroll the timeline, we see the result.
By scrolling the timeline, we see the camera movement in the viewport, the sequencer interface, and the output from the CineCameraActor1 POV.
Last, but not least, be sure to have the Camera Cuts section filled with your camera sequence (the white part), which contains what we need to export. We could have more than one camera in the project and add them to the camera cuts section. This way we can combine several sequences and make a real movie.
As the final step, we want to export the sequence and create the final movie. Click on the clapperboard icon to access the Render Movie Settings.
The clapperboard icon to access the Render Movie Settings underlined in yellow.
The export parameters are quite easy to comprehend. I underlined the most important settings with a red line. I usually prefer to have the Image Output Format as image sequence, so that I can compose the animation externally.
Additionally:
We finally hit the Capture Movie button to create the whole sequence
The most common parameters in the Render Movie Settings interface.
The sequence is ready to composite. I also added a simple sound effect!
The final sequence made in Unreal with Cinematics and composited with a simple sound effect.
Conclusion
This brings us to the conclusion of the whole series.
In the first part of this article, we talked about the importance of having engaging cut scenes while developing a real-time project. In particular, we focused on a few examples showing how cut scenes tell a story in our project.
We then moved on to a simple step-by-step tutorial, with the purpose of teaching you how to set up a basic cinematic scene with the Cinematics feature inside Unreal Engine.
I invite you to follow my 3D works at my Artstation page. Hopefully, the content shown in this three-part series may be a valuable resource to start off your own Unreal project.
For more graphic design inspiration, take a look at these articles:
Looking for 3D assets? TurboSquid by Shutterstock has over 1 million 3D models used by game developers, news agencies, architects, visual effects studios, advertisers, and creative professionals around the world.