The full dataset viewer is not available (click to read why). Only showing a preview of the rows.
The dataset generation failed because of a cast error
Error code: DatasetGenerationCastError
Exception: DatasetGenerationCastError
Message: An error occurred while generating the dataset
All the data files must have the same columns, but at some point there are 2 new columns ({'file_states', 'next_download_index'}) and 4 missing columns ({'transcription', 'file', 'processing_time_seconds', 'timestamp'}).
This happened while the json dataset builder was generating data using
hf://datasets/samfred2/ATO/processing_state_transcriptions.json (at revision d0495c73df87ff5ad5084f9ab1d5f4c707db17d6)
Please either edit the data files to have matching columns, or separate them into different configurations (see docs at https://hf.co/docs/hub/datasets-manual-configuration#multiple-configurations)
Traceback: Traceback (most recent call last):
File "/usr/local/lib/python3.12/site-packages/datasets/builder.py", line 1831, in _prepare_split_single
writer.write_table(table)
File "/usr/local/lib/python3.12/site-packages/datasets/arrow_writer.py", line 714, in write_table
pa_table = table_cast(pa_table, self._schema)
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
File "/usr/local/lib/python3.12/site-packages/datasets/table.py", line 2272, in table_cast
return cast_table_to_schema(table, schema)
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
File "/usr/local/lib/python3.12/site-packages/datasets/table.py", line 2218, in cast_table_to_schema
raise CastError(
datasets.table.CastError: Couldn't cast
next_download_index: int64
file_states: struct< 3. What Is Concept Art.wav: string, 0.1 Course Introduction.wav: string, 0.1 Welcome! + Cour (... 178511 chars omitted)
child 0, 3. What Is Concept Art.wav: string
child 1, 0.1 Course Introduction.wav: string
child 2, 0.1 Welcome! + Course Overview.wav: string
child 3, 0.2 Plugins.wav: string
child 4, 0.2 Tutor Presentation.wav: string
child 5, 0.3 Character Creation Tips.wav: string
child 6, 0.4 About Unreal Engine.wav: string
child 7, 0.5 About Blender.wav: string
child 8, 00 - Preview.wav: string
child 9, 0001_Introduction.wav: string
child 10, 0002_Why_use_motion_design.wav: string
child 11, 0003_Types_of_animations_and_examples.wav: string
child 12, 0004_Intro.wav: string
child 13, 0005_Focusing_attention_and_guiding_the_user.wav: string
child 14, 0006_Creating_emotion_and_showcasing_personality_and_brand.wav: string
child 15, 0007_Informing_and_giving_feedback_to_the_user.wav: string
child 16, 0008_Timing_easing_and_offset.wav: string
child 17, 0009_Finding_inspiration.wav: string
child 18, 001 Adjusting the Overall Look.wav: string
child 19, 001 Basic materials.wav: string
child 20, 001 Creating a cutscene (World).wav: string
child 21, 001 Creating the level.wav: string
child 22, 001 Creating your First Project and UI Basics.wav: string
child 23, 001 Importing the Ground Mesh.wav: string
child 24, 001 Importing the Sound Assets.wav: string
child 25, 001 Interface Overvi
...
weights painting pt7 partial joints.wav: string
child 4372, week06 11 corrective shapes and psd pt1.wav: string
child 4373, week06 12 corrective shapes and psd pt2.wav: string
child 4374, week06 13 building a low res cage pt1.wav: string
child 4375, week06 14 building a low res cage pt2.wav: string
child 4376, week07 01 intro what do muscles do.wav: string
child 4377, week07 02 looking at reference.wav: string
child 4378, week07 03 one way of building a muscle pt1.wav: string
child 4379, week07 04 one way of building a muscle pt2.wav: string
child 4380, week07 05 dynamic joints.wav: string
child 4381, week07 06 dynamic meshes.wav: string
child 4382, week07 07 adding dynamics to our muscle.wav: string
child 4383, week07 08 dynamic joint jiggle.wav: string
child 4384, week08 01 overlap without dynamics.wav: string
child 4385, week08 02 neck setup.wav: string
child 4386, week08 03 replacing ctrl shapes.wav: string
child 4387, week08 04 chest improvements.wav: string
child 4388, week08 05 reset ctrls script.wav: string
child 4389, week08 06 fore arm twist.wav: string
child 4390, week08 07 bendy limbs pt1.wav: string
child 4391, week08 08 bendy limbs pt2.wav: string
child 4392, week08 09 belt rig.wav: string
child 4393, week08 10 combining wrap and skin cluster.wav: string
child 4394, week08 11 space switching.wav: string
child 4395, 【Houdini】19.0 高级魔法气流 Rebelway (P52. F001_shotwork_intro).wav: string
child 4396, 如何激活字幕.wav: string
to
{'file': Value('string'), 'transcription': {'audio_file': Value('string'), 'text': Value('string'), 'language': Value('string'), 'duration': Value('float64'), 'timestamp': Value('string')}, 'timestamp': Value('string'), 'processing_time_seconds': Value('float64')}
because column names don't match
During handling of the above exception, another exception occurred:
Traceback (most recent call last):
File "/src/services/worker/src/worker/job_runners/config/parquet_and_info.py", line 1455, in compute_config_parquet_and_info_response
parquet_operations = convert_to_parquet(builder)
^^^^^^^^^^^^^^^^^^^^^^^^^^^
File "/src/services/worker/src/worker/job_runners/config/parquet_and_info.py", line 1054, in convert_to_parquet
builder.download_and_prepare(
File "/usr/local/lib/python3.12/site-packages/datasets/builder.py", line 894, in download_and_prepare
self._download_and_prepare(
File "/usr/local/lib/python3.12/site-packages/datasets/builder.py", line 970, in _download_and_prepare
self._prepare_split(split_generator, **prepare_split_kwargs)
File "/usr/local/lib/python3.12/site-packages/datasets/builder.py", line 1702, in _prepare_split
for job_id, done, content in self._prepare_split_single(
^^^^^^^^^^^^^^^^^^^^^^^^^^^
File "/usr/local/lib/python3.12/site-packages/datasets/builder.py", line 1833, in _prepare_split_single
raise DatasetGenerationCastError.from_cast_error(
datasets.exceptions.DatasetGenerationCastError: An error occurred while generating the dataset
All the data files must have the same columns, but at some point there are 2 new columns ({'file_states', 'next_download_index'}) and 4 missing columns ({'transcription', 'file', 'processing_time_seconds', 'timestamp'}).
This happened while the json dataset builder was generating data using
hf://datasets/samfred2/ATO/processing_state_transcriptions.json (at revision d0495c73df87ff5ad5084f9ab1d5f4c707db17d6)
Please either edit the data files to have matching columns, or separate them into different configurations (see docs at https://hf.co/docs/hub/datasets-manual-configuration#multiple-configurations)Need help to make the dataset viewer work? Make sure to review how to configure the dataset viewer, and open a discussion for direct support.
file
string | transcription
dict | timestamp
string | processing_time_seconds
float64 |
|---|---|---|---|
3. What Is Concept Art.wav
|
{
"audio_file": "%203.%20What%20Is%20Concept%20Art.wav",
"text": "So first of all, I guess many of you may be asking, what exactly is even concept art? Concept art is most often part of the pre-production pipeline for the entertainment industry. Meaning it is one of the initial stages for film, video games, commercials, advertising, and more. However, concept art is also used throughout the production process, especially for next-gen games to help flush out placeholder designs, proxy models, whatnot. Maybe part of a level is to bland props or details. Details for props are too generic. In these cases, we will often redesign assets, facades, even lighting to make space more impactful. What we'll be learning in this course is used in both pre-production concept art and production concept art. So it'll be super beneficial. I'll explain more about this later. What you need to know now for the job of the concept artist is that we visually communicate elements of the game. So we are used to help pitch a project and also to communicate and showcase the look and feel of the game. We'll be going over concept art for video games as that is what we do here at Class Creatives, show the process of making a game from scratch. Now concept artists wear mini hats and the most important tool a concept artist should have is to be a problem solver. So let's go over a quick scenario. Let's say a vehicle needs to be large enough to drive over small cars, but it must also be able to shrink somehow. You fit into a compact space like the trailer of a semi, let's say, when you use the cooldown or recharge. It is a concept artist who must design a way to make this possible. At least to fake it, not to look too unreasonable. An example of this would be transformers as they go from a truck to a humanoid robot to make that look realistic enough. So with that in mind, the focus will be on design instead of art or mood scenes. Our goal would be to answer this question. How do we utilize space to match the story and communicate the ideas the directors are trying to convey? This all starts with a brief. Brief, either in the form of a PDF or maybe in discussion with a lead where you're taking notes or a meeting. But if you're not given a PDF, then taking notes is very imperative. Make sure you get it all down. So let's pull up a brief here. The first step in a very crucial one to being a concept artist is thoroughly reading and understanding the brief. Imperative information like styles, objectives to be used, assets to be designed, layout is limited to by a three dimensional scale and so on. Something isn't completely clear, then ask. If a lead doesn't know, well then maybe it's part of your job to make it clear. It's often, it's not often we're afforded the freedom of a blue sky concept art where the whole game world is blank, this open sky above and we get to fill it in with our imagination But sometimes elements are a left vague where they haven't directors leads haven't figured out themselves and they're looking for their artists to blush out an idea to come up with the ideas themselves we will come up with the ideas and they'll Decide I will try to go later Maybe they have an idea in their head, they can't really communicate it. Well, let's make sure our designs are at minimum, up to par with the foggy idea they have in their head. But better yet, let's blow them away with what the space could ultimately be. So after initial passes, often presenting multiple variations of concept art, directors will come back with changes and the process of iterations will occur. So as a concept artist, you have to be following the failing, basically. Failures in everyday occurrence and part of the process. As long as your failures are narrowing the scope of the design, then they were worthwhile. You must also be proactive and try to negate the amount of failing. The best way to doing this is to completely understand the brief and create several early stage designs instead of just sticking with one. With multiple, say, I usually do three designs to showcase. The leads can pick and choose what they like and don't like about specific designs, then makes a match and kind of Frankenstein a piece together. We can move on from there. So if we're going to create three designs, then best to make each design different. I like to create a safe design that has shown example. So these guns for example, I like to create a safe design that relies heavily on the real world, but may feel a little generic. So this one may be a typical gun. It's bound up with accessories like a knife. That's it. And then one that kind of pushes the boundaries you may not see. Like a super ornate one may not be found in the world. You may not find a slashing blade like this off the end, the handle here. And then the third one, and often one that's most chosen, or I do at least, is the middle ground where it is pretty relatable, but is still more entertaining than the basic one. And then sometimes just shape variation may be good for your three designs. So now that we have a plan, let's look at our own brief.",
"language": "en",
"duration": 402.88,
"timestamp": "2025-11-26T13:42:39.275325"
}
|
2025-11-26T13:42:39.281340
| 67.300583
|
0.1 Course Introduction.wav
|
{
"audio_file": "0.1%20Course%20Introduction.wav",
"text": "you you you you",
"language": "en",
"duration": 81.77,
"timestamp": "2025-11-26T13:41:41.940088"
}
|
2025-11-26T13:41:41.945406
| 9.960873
|
0.1 Welcome! + Course Overview.wav
|
{
"audio_file": "0.1%20Welcome%21%20%2B%20Course%20Overview.wav",
"text": "Welcome to Master Motion Design. We're going to spend the next eight weeks together, but first I want to talk a little bit about the structure of the course. A new lesson will unlock at the beginning of each week on a Monday and each lesson will have about an hour, an hour and a half of recorded video content. Some a bit more, some a bit less, and each one will have an assignment attached to it, where you will create something based on that lesson. I'll provide design options and project files, so no need to worry about that. I've designed each week's lessons around a project because I think that project-based learning can be the most effective. So we will be learning new ideas and new techniques, but they will all be worked around the idea of thinking, well, how do we solve this problem? How do we actually create this effect in a tangible project that we can use out in the real world with real clients. And I will be going deep into the detail about minute shifts in angles in the graph editor and individual keyframes. This course is not going to be me explaining a concept and then saying draw the rest of the owl. We're going to get into the detail of how to create everything. So there'll be nothing you're unsure about. Now there is also a private community group that you will share with everyone who has ever taken this course. And now you should have received that invitation link already and that will be a separate link to the profile that you log into to watch the course on this site. And that community group is where you'll post your work for feedback and really discuss anything else you want to related to motion. You will have access to this course forever and that group. So don't feel undue stress with trying to keep up on that eight-week schedule. Those eight weeks are designed to be intense so that if you want to pour in a lot of time into those eight weeks, like you might want to treat it like a semester of university, you can certainly do that. But also if you're working full time or if you're a freelance or if you're a student, you can do it at your own pace and take as long as you want. Really, the last thing I want this course to be is another, you know, another source of stress and deadlines in your life. And this is also an advanced animation course, so I will be assuming some knowledge of motion design going in. Ideally, you're already reasonably comfortable making 2D motion graphics inside After Effects, and you're just wanting to expand that knowledge and delve deep into the details to push yourself to the next level. So if that's the case, you have come to the right place because I will not really be spending much time on the basics of After Effects. You should already know how to make a comp and have the key frame, the transform properties and you know, even dabble a bit in the graph editor. But I certainly don't want anyone to be left behind by skimming over things that you might not know. A lot of things in After Effects are unknown unknowns. They're unintuitive until you discover them and only then it becomes obvious. So for many of you, there will be things in this course that you already know, but that's pretty obvious. This course will hopefully, you know, reinforce them, clarify them and show how I've learned to use them in effective workflows. To get the most out of this course, I'm going to make it easy for you and tell you exactly what to do. And that is to do all the assignments. Try your best to make something each week and push your skills into areas that you haven't yet tried. There is no risk to failure in any part of this course. This is a completely safe space and what I really want you to do is each week push yourself 10% with each lesson. And if you can do that, you will come out of this course having leveled up your skills and have eight projects that you can be proud of. If you do just want to watch the video lessons, you can certainly do that and hopefully you will learn a lot. But there is nothing quite like actually doing the work, applying those skills and cementing them in a practical project before you give yourself the opportunity to forget. Now, it will be, like I said, providing a variety of designs for you to use in your assignments. But if you're brave enough, I want you to use your own designs, create your own scenes. And I've provided those options in some cases. If you're not into design or don't want to worry about that, that is fine. But if you do want, you can absolutely use your own designs or tweak mine to fit your style or, you know, put your style in any way on it. Because at the end of the day, I'm here in this course to do two things. One of them is to improve your technical skills by teaching you new techniques, workflows and the reasons behind those. But the second is to encourage you to make your own work. It is your own work that I want you to apply what you learn in this course too. So thank you so much for enrolling. I look forward to seeing your work over the coming weeks. Enjoy.",
"language": "en",
"duration": 274.83,
"timestamp": "2025-11-26T13:42:23.267924"
}
|
2025-11-26T13:42:23.297625
| 51.312675
|
0.2 Plugins.wav
|
{
"audio_file": "0.2%20Plugins.wav",
"text": "Okay, we will be using two plugins for After Effects in this course. They're both free, so don't panic. Now the first one is ease copy by Mike Overbeck and that is available from AEScripts.com and it is currently name your own price so you can put as much or as little as you want to pay for it in here. Now I just love this plugin because it is a utility that After Effects doesn't really offer. And you install like any other unzip it, drag that folder into your ScriptUI folder. And once it's installed, you can access to this window that you'll find down here, ease copy, and a nice panel that looks like this. Now there's not many buttons, but the few we're gonna be using is essentially copy and paste ease. Now this allows you to copy the amount of easing, not necessarily the property values, and then paste them onto another property. Now I'll show you what I mean. So here we've got this square and we've got three rotation keyframes on it and we could take a look at that in the graph editor and looks pretty nice We've got some custom easing on here and we also have a second version of our square here and it's got the same rotation property But it also has some animation on the scale as well So it's scale is changing but we want that scale to animate for the exact same time as the rotation is so we can easy ease those Go into the graph editor and try to eyeball it and we might get close But we're not going to get it perfect. So what we do is we can simply select the rotation keyframes, hit copy, select the scale keyframes and press paste ease. So now the scale is animating at the exact same speed as our rotation. And you can copy and paste the easing from any amount of keyframes, one, two or 200, just select the ones you select the ones you want to copy the easing from, hit copy, select the ones you want to paste it onto and hit paste. Just make sure you have the same number of keyframes in both. Now this is really useful when you get one property animated the way you want it and then you want to quickly apply that to another and then you can tweak these properties to make adjustments if you need to but you've got a solid base already started if that's what you want. Super simple quick and easy it's probably worth more than any plugin I've paid the big dollars for and if you find that you love it as much as I do you can go and buy it again and put a fair price in for it. And we will also be using doing Basil 2. And you can download that from rainboxlab.org, but I will cover that once we get into week seven, so no rush for that yet. But for everything else, we are using Barebones After Effects. And the whole course was recorded using After Effects 2021, but pretty much everything should work as long as you're on After Effects and MCC 16 or above.",
"language": "en",
"duration": 141.77,
"timestamp": "2025-11-26T13:42:08.519077"
}
|
2025-11-26T13:42:08.525558
| 36.540259
|
0.2 Tutor Presentation.wav
|
{
"audio_file": "0.2%20Tutor%20Presentation.wav",
"text": "I always loved the game, you see, I knew myself as a person, but something seemed to be missing when I was just the one playing those games. After giving it some thought, I realized that just being the one playing wasn't enough. I wanted to create my own experience, you know? Well, this is how it started for me. After giving some thoughts, the only thing I knew is that I've always loved playing video games since I was a kid. I had a lot of ideas about ways to compliment the history or gameplay for the games I've been playing since the time. And then something clicked in me. Hey, what if I gave a shot about creating my own stuff? I knew it was going to be hard. After all, I didn't know anything about game creation. Rigging, modeling, animation, programming. I didn't 3D software is used in the industry. But everything seems way more complicated than it should be. Even the most simple stuff seems a rather difficult task. It shouldn't be this way, you know. Hopefully there were easier and more beginning friendly tools out there. could You still gotta work hard to learn it and be an actual pro, but it works in a much easier way than any other software out there in my opinion. So, I've started my own game creation at March 2018 from scratch, that's all I will talk briefly in another video, and studying pretty much about everything that I need to get my own game working. VFX, animation, visual script, 3D modeling, texturing, you know what I mean. At 2019 things really started to go well. I was noticing at my art station, my game project is starting to be new up there, and then is when I actually knew that this was the right career path for me. I am loving what I do and I'm finally starting to be recognized by it. I have nothing to say but thanks to everyone that helped me get all my feedback there and probably wouldn't even be here if it wasn't for them. Now, I hope being the same person that helped me, laying a hand to everyone that wants to start to know how to get things done and start doing this amazing work that is game and animation creation. My name is Henrique Salis and I will be your teacher for these next few lessons. I hope you enjoy as much as me, see you there!",
"language": "en",
"duration": 220.27,
"timestamp": "2025-11-26T13:42:16.155446"
}
|
2025-11-26T13:42:16.160045
| 44.17408
|
0.3 Character Creation Tips.wav
|
{
"audio_file": "0.3%20Character%20Creation%20Tips.wav",
"text": "What makes a great character? This is a very common subject between storytellers of all sorts and I don't really have a single answer for that. When I was a kid I asked the same very question to my teachers and often they would say something it's gotta be likeable. Before I take a deep dive into the technical aspects of character creation itself, I will have a brief discussion about the artistic point of view. And... am I? I had to escape. I had no choice. Escape to love. To hope. To live. To figure out what that force inside me was. Maybe I will change the world. Maybe I will choose a different path. Now, it's up to me to decide. My name is Kara. I am one of them. This is our story. I thought you'd be bigger. But you're definitely the one. Long way from home, aren't you? What do you want? Oh, you already know the answer to that. Whatever it is you seek, I do not have it. You should move on. And here I thought your kind was supposed to be so enlightened, so much better than us, so much smarter. And yet you hide out here in the woods like a coward part that makes her an interesting one. Shoulders like Baldur from The New God of War shows himself as an iconic one, even though he's not quite likable. To ask me, the truth that every good character shares is that the audience engages in the story that's being told and because of it they end up being interesting. The question that you should be asking yourself is not how to create interesting characters that you might find that they have a somewhat level in each one. Trevor Phillips from GTA V is not a particularly competent character, though he is hugely active on the plot and also one of the most likable characters from the franchise ever. Kratos on the other hand, he is very competent, he is very active on the plot, but honestly, he is a not very likable character. The Ghosts team from the Last Ghost Recon franchise are quite similar also. They are the very best in what they do and they persevere so much that we can't help but be engaged in the storytelling. Now, what happens if we feel all those three conditions, if the character is extremely likable, if he is competent at what he does, and persevere, what do we get? Well, we got a Superman, we got a Leon S. Kennedy, as Kennedy. in real life. We would discuss some random things like what you think of Lara Croft for instance, but if I have my 2B, I can't really think of having a pleasant conversation with her, or solid snake for that matter. Feel free to take this approach in character making, but don't forget that it has two simple rules that goes with that line of thought. First one is that your character must be good in one of those fields, and second one, well, they can't be good in all three of them. The reason why is when you do that, we create a flawless supermanish character with no fundamental character flaws. Simply put, the worst they are on those three subjects, the most numerous and fundamental order flaws. But, if you have too many flaws you may cease to have an interesting character. Don't get me wrong, Superman is not a bad character. It's not one of the most iconic characters of all times for nothing, making success and major roles from movies to games such as Injustice. But if he being a huge success, he and most other characters like him got a fundamental issue that is both a blessing and a nightmare. He's perfect, he's extremely powerful, he's extremely intelligent, he's extremely handsome, he has a well-known and appreciated set of morals and are genuinely loved by everyone in his world. This leaves the writer very little to work with, since the character weaknesses are a fundamental part in what makes them interesting. It's your job as a character creator and storyteller to get the audience's attention. And the best way to do so is by own purpose and a reason for being this way. Thinking about the history of the character itself first will be one of the key aspects that separates some generic NPC from the charismatic and relatable protagonist. There is still a lot to talk about this subject and I hope I got your attention to behind the scenes aspects in the character creation itself. There is no such thing as thinking about the technical application in a character that has no meaning being himself whatsoever. Give it a thought about it before actually doing something inside a software. I'm Hicks, Alice A. I hope to see you soon.",
"language": "en",
"duration": 456.7,
"timestamp": "2025-11-26T13:42:49.788133"
}
|
2025-11-26T13:42:49.794043
| 77.80779
|
0.4 About Unreal Engine.wav
|
{
"audio_file": "0.4%20About%20Unreal%20Engine.wav",
"text": "So let's suppose you just installed Windows in your PC, you don't know how to start and don't even know what UE4 is. In this video I will show you what a real engine 4 is, what it's capable of, how to download it and most importantly of all, why have I chose it. So let's get to it. I will just open the Opera browser and type the company that created UE4. It's this first link, Epic Games. This is not quite what we want, so go they are working on, the latest AAA games made with a Google, a Facebook or even a PSN account, but I'm going to teach you how to create least 7 characters, with at least one number, one robot and we're done. I'm not so sure that they sent you an email for you to confirm your actual information just fill up so give it a look, okay? Now, back to the sign in page, fill it with your own information to them. Community games, events, new releases, announcements. A cool thing about Sharyu is that they have an actual learn tab. So here is the documentation for more in-depth stuff about their engine. You can also access online learning, videos to get started in UE4 that cover some really cool stuff. I think they might ask you to log in, so use easy to learn tutorials so give it a look ok? Here you can see videos such as what is blueprint, essentials, creation of blueprints and much much else. If you want to watch it go ahead just click on start this course and you're pretty much done. Now, let's keep going. There is the forum also where the community interacts and asks questions about everything, marketplace, content creation, animation, rendering, everything you need. Another option might be Reddit, they are huge community also. you Now, let's keep going. And finally, there's the Marketplace. Here, you will be also able to check everything that's out for sale, from the community or the Epic Games itself. the but don't worry that is because the press is being shown in Brazilian house since it's my native currency in your window might show yours. I will just click a random one here. Let's check this sci-fi environment bundle. If you just want to see the picture, just click one of them. you can see also a preview video below. Most of those preview videos are being sent on V-mail or YouTube, so there's basically anything to be worried of, okay? So did you like it? If so, just click on buy now or add to your cart. There's also free content. In this tab you'll be able to check everything that's still free from the Epic Games bundles and for everyone. You can use or customize it as you please. Every single month there is new free content. But, after one month passes, they are mostly taken out since it's a one month free pack. So even if you are not dealing with e-refer at this present time, don't forget man, be assured that the most expensive stuff is only one month. Back to the Marketplace, you can check here all for use and honestly they are pretty amazing. After all, all the characters shown are from the real game itself. Imagine you play with the real triple A characters with just a click. That's gotta be amazing, right? Epic Games closed Paragon to redirect all their efforts for their new game at the time, named Fortnite. It's about the decision if you ask me, because Paragon was a really good game after all, I can't really think in another MOBA Ergon worked in Back in the day. Let me find a video first. So take a look at the gameplay, at the graphics, at everything that Paragon has. Everything you see here is available for you to mess with under Unreal Engine 4. off for instance since she's the one showing up here right now. You can mess her with her materials, you can mess her with her VFX, her sound, everything you need to make it work properly or even if you want to make it look the same you know you can see here, there's back to the download. Just click on the download button and install up Games Launcher. You will see this open and basically you can see pretty much everything I just showed up. There's the Learnplace tab with the same stuff available on the website. Enjoy a library that shows everything you have. Here you can see my library and check the huge amount of stuff that I got in my account. There is some paid stuff, I'm In the moment that this video is being made, there's no final release on 4.23 version. so some of this content may not fit 100% there yet. Even if you might, you can see that they only support to the latest final released version. To add an engine version, click on the plus icon and choose the plugins you installed on this specific version. If you want to uninstall it, just click on the uninstall button. Now I am going to click launch and wait for it to load. you You can see that even with other version launched, you can check each version of each project you have. As a quick tip, you can open a 21 version with the 22 launcher, but if you save it, I will be working with the third person template with maximum quality and starter content available. There's more stuff to talk about from you, but let's focus on what's important, okay? I've explained it a little bit about some reel and I plan to do the same with Blender. This way you will have a better computation in why I've chosen these softwares. I will be waiting on the next video. See you there!",
"language": "en",
"duration": 1351.1,
"timestamp": "2025-11-26T13:44:33.843347"
}
|
2025-11-26T13:44:33.848078
| 181.86158
|
0.5 About Blender.wav
|
{
"audio_file": "0.5%20About%20Blender.wav",
"text": "So, we just spoke a little bit about Unreal, I've explained to you guys something about how it works, what is good to know, what you shouldn't leave out, some tips about being always posted on the real official websites, even if not dealing with it at the present time. And I pretend to use guys why I've chosen Blender, why this is the software with the best modeling tools in the marketing in my point of view. So let's get started. I will just type Blender on the Opera Browser search and as you can see we can find find in the first link here Blender.org Click it, it will show a new page. OK, that is the Blender website and as you can see there is the donate button if you wish to become a supporter, the direct download page and some info about it. Above everything else, Blender is an open source software. And what does it mean? Well, everyone with a little bit of skill to share are able to participate in the program development itself. Now, I'm going to explain to you guys one of the main reasons why I work with Blender in styles other software such as Maya, Cinema 4G and many others. In my opinion, it's the most common software in the industry just because it was the first one. And most of the companies out there just don't want to spend more money to retrain their personal with a new software that can do almost everything that Blender can, even if it's a little bit harder. And here is another reason why I chose Blender instead of another 3D software. Man, look at this. 2145 dollars a year. Maya, 1.5k dollars per year. 3DS Max True, 1345. Dude, you have to basically pay $1500 per year to have access to a software that does basically the same as the free one, without charging a single penny, in my opinion, barely it does. Some people are realizing the Blender imminent success also. Epic Games just gave a donation of over $1 million to the Blender Foundation to further development. It's not might be as great as the Autodesk Maya annual revenue, for obvious reasons, but hey, the amount is still pretty high. So, we're a great software that was receiving absolutely nothing besides donations to survive, received that kind of money from a huge company, man, that's gotta be something the Blender website. as a 3D modeler, as a renderer, as scoped software, VFX, animation, rigging, and 2D animation too. In this 2.8 latest version, they made a huge update with the Grayspanesim allowing people from the 2D era work in a better way over there as well. Pipeline, video editing. It's basically a do all sort of program that has a little bit of everything. It isn't rated as a dedicated software for a specific task such as car-scad-euro for animation and a do premiere for video editing, another person or company creates to level up the experience inside the software. Being an open source program, basically anyone can make a script and make the engineer do what he wants. There are some websites that are great for this kind of add-ons for charge. Are these tiny little things that make your life a lot easier? And even some of them might be free. Take a look, okay? Even if it's not free, I can assure you by all means it's a fair price and a low one. If you take a quick look at the prices, they might go from $1 to $50 at the very max. It's a very good price for what you are going to get. Okay, getting back to the Blender website page. Click on the download button and then choose to download Blender 2.80. If you click on this link, you will go to a page that will show all the updates that they just made in the Blurner Cheed of the very beginning. I suggest you to choose the latest version, the top one. If you are going to mess with the 2.8 version and so on. I think that's massive update will help a lot of people in the same way that helped me. You may click in any version you like, we just 32 or 64 bit, mic or linux. It will show two versions, a.x and a.har. The.har version is a portable one, so basically you can put it to a pen drive and carry anywhere you want. So we are going to download it now and we are just going to wait. As you can see, it's pretty light over 100 megabytes. Now I'm going to show you guys some of the websites and source that are pretty interesting to look up for the help and interact with the community itself. Besides BlenderN website that shows the latest stuff about Blender. There's some cool add-ons that may help your pipeline to become fast and better. Many of the stuff that they show are free, so that's instead, ok? with some point 80 features and explanations. Here you can see stuff like reducing render times, white 2.80 is better, lightning Rayaman, also on YouTube. Oops, I meant Jayaman, sorry. So, his videos is a bit more technical than Guru's ones, but it shows some pretty cool stuff, like one of his three add-ons to import Blender to Unreal Engine and vice versa. Basically just install and you're done. the ones I just showed you, it's a way to get access in what the community is doing at the time. you Reddit also, another great community with great content. The same way that a real got one, here's people often share their work with some tips, upcoming stuff and more. What I'm showing here is some of the websites that some people might not be aware of. gladly answering all your questions. So that's it, we downloaded both Unreal and Blender and now we are going to start to work with them in the next videos. I hope to see you guys soon!",
"language": "en",
"duration": 708.83,
"timestamp": "2025-11-26T13:43:15.663732"
}
|
2025-11-26T13:43:15.673286
| 103.686544
|
00 - Preview.wav
|
{
"audio_file": "00%20-%20Preview.wav",
"text": "Hi, my name is João Vito. I'm a character artist specialized in modeling, topologies, design and rigging. From the past 21 years, I have been working for advertising, television and feature film industries. And with this work truck, I'm going to teach you how topology designs are brought projected within the modern departments and you will be able to build your own apologies with flexibility for many different types of proposals and for many different goals for a project. you You",
"language": "en",
"duration": 101.5,
"timestamp": "2025-11-26T13:41:48.946575"
}
|
2025-11-26T13:41:48.977048
| 16.989981
|
0001_Introduction.wav
|
{
"audio_file": "0001_Introduction.wav",
"text": "Hi, welcome to this masterclass. In the following chapters, we will learn how to use motion design to animate with purpose and create delightful experiences. I'd like to start off by telling you a little bit about myself. My name is Loupy Paaké and I'm a creative director at Locomotive, a web agency based in Montreal. That's why I might have a little French accent. There is and I've always been fascinated with how the different elements of my design would move and interact together. Maybe it's because I've always been a big fan of movies, especially animated movies. The first website I ever did wasn't Flash. Some of you may not remember Flash, but at the time it was really a revolutionary way to build websites. You could do so much in Flash. You could for the first time have really complex animation. Since then, technology has changed a lot. Flash is now obsolete. And we are now finally at a point where the sky is the limit when it comes to creating websites. We can literally give life to our designs. I'd like to show you a few projects that I've done in the past couple of years. I'm going to see you next time. I As you can see, the websites that I create are everything but static. The way a website flows and moves plays an integral part of my initial reflection when designing any website. I taught myself after effect because I wanted to be able to bring my designs to life. I didn't take any lessons and I had no idea what I was getting myself into. I simply jumped right into it and started playing around. So I really don't consider myself a motion designer. I think of myself more like a designer who has a passion for movement and I'm excited to teach you what I've learned so far. So who is this course for? The obvious answer would be to say that it's primarily for designers who wants to learn more about motion design and how to integrate it into the design process. But it's actually for anyone who's simply interested in motion design for websites. We'll start by learning the best practices and key principles when it comes to motion design. We'll be taking apart many projects I've worked on to help you visualize the terry. We will then go through the entire process of creating a motion design for your website, starting with importing your design files to AfterEffect, followed by animating them. We'll explore the basics of what this powerful animation tool has to offer. We'll even create our own motion design based on downloadable design files that are included with this class. And once our animation is completed, I'll show you how you can export it using Loti so that it can easily be integrated onto any website. Alright, let's get started!",
"language": "en",
"duration": 243.16,
"timestamp": "2025-11-26T13:42:27.776795"
}
|
2025-11-26T13:42:27.789434
| 55.802144
|
0003_Types_of_animations_and_examples.wav
|
{
"audio_file": "0003_Types_of_animations_and_examples.wav",
"text": "There are tons of ways to use animation on a website, from micro-interaction to full-screen transitions. Here are Like this preloader at the beginning of the new Pangram Pangram website. It's also good to add a little bit of personality to your preloader because it's a great way to accentuate the design and the branding. A nice page transition can help make the online experience more fluid by eliminating the downtime between two pages of the website. Instead of just having the page you're on disappear and the new page appear, try to think of a nice animation to transition between those two pages. If some elements are visible on both pages, why not keep them visible and simply transition them to their new space? Like this portrait that is present on both pages. Or on the Wireworks website, where the title of the next page simply repositions itself to its new position on the new page during the transition. The way the elements appear on the website is your chance to make a good or even a great first impression. The first few seconds on the website are really important for your user, and the right animation will engage the user straight off the bat and focus their attention on the right elements. Probably the main call to action, like on the Yelvie website where the main call to action flashes at the end of the loading animation. An over animation on a button or any other elements will help the user understand that there is an action to be done here. The text can change, an icon can appear, or an animation can show what will happen once the button is clicked. Like on the My Better Normal website, when the user passes the cursor on top of the Make a Resolution button, there's an animation that shows that we're about to open the time capsule. You can decide to have the elements move depending on where the cursor is. It's a nice way to create depth and perspective. You can also decide to animate the elements when they are dragged by the user, like on a slider or a drag and drop zone. Animation can also be triggered as the user scrolls down a page. The way the elements appear as you scroll or a nice little parallax effect can really add a nice dimension to the website. And finally, some elements of the website can also be small animations that play continuously. Perhaps to help tell the story. We'll see in the next chapter how to create an animation just like these ones, and then export it with low T as code that can be integrated to any website. With all these different ways to use motion, it's easy to go overboard. You have to be careful not to have too many moving elements that will distract the user from the actual content. It's all about finding the right balance so that the website looks good without being overanimated, while also making sure that the animation serve a purpose.",
"language": "en",
"duration": 224.3,
"timestamp": "2025-11-26T13:42:18.753673"
}
|
2025-11-26T13:42:18.764198
| 46.776428
|
0004_Intro.wav
|
{
"audio_file": "0004_Intro.wav",
"text": "Animation adds an entirely new layer to your design. With it, you can now play with the dimension of time. Creating the right motion is as important as finding the right font, the right grid, or even the right color palette. Because as humans, we're always more attracted to things that move. When you see something move on screen, your eyes are directly focused on this new moving element. It makes for a much more fun and lively experience. And that's what you want to give the user, an experience to remember. But just like any kind of design, motion design should be more than just cool, trendy and beautiful. It should serve a purpose. This is why you need to consciously think of animation from the start. At the design stage, you should already have a good idea of how to add that layer of motion to your design. You shouldn't think about motion once your design is finished. If you do, you'll be losing this opportunity to use animation to enhance the user experience. So what's the right way to use animation on your website? Well, since motion is still quite new, there aren't really any true best practices. But in the following chapters, we'll see some key principles to keep in mind when designing and creating your emotions.",
"language": "en",
"duration": 91.71,
"timestamp": "2025-11-26T13:41:53.660436"
}
|
2025-11-26T13:41:53.666417
| 21.678433
|
0005_Focusing_attention_and_guiding_the_user.wav
|
{
"audio_file": "0005_Focusing_attention_and_guiding_the_user.wav",
"text": "Animation can be used to focus the attention of the user on what's most important. Let's say there's only one element moving on the screen. Obviously the user will be drawn to it. The photographer and director wanted to showcase his video reel. So on his landing page you have this circle that rotates and that is visible throughout the page. It's kind of difficult to miss since it's the only animated element on the page. And when you over it with your cursor the video starts appearing. And if you leave the cursor long enough the video starts playing full screen. The order in which the elements appear on the page will highlight the user what's most important at any specific moment. So yeah, you can still use colors, typography and size to make some elements stand out, but adding this layer of animation on top of it all can actually show what's important at any given moment in the user's journey. Like on the B-Wiggin website, where we wanted to focus the intention of the user on the different functionalities of the bicycle. So every time the user scrolls, we focus his attention on the different part of the bicycle. But again, you have to be careful not to animate too many elements at once. Or else, it won't help to guide the user. It will actually distract him more than anything. Instead, try to animate the elements that you absolutely want the user to focus on. Like an add to cart button for example.",
"language": "en",
"duration": 113.58,
"timestamp": "2025-11-26T13:41:58.975034"
}
|
2025-11-26T13:41:58.979519
| 26.991337
|
0006_Creating_emotion_and_showcasing_personality_and_brand.wav
|
{
"audio_file": "0006_Creating_emotion_and_showcasing_personality_and_brand.wav",
"text": "As designers, we focus a lot of energy on the static elements to give personality to our designs. The choice of typography, the color palette, the tone of the copy, the grid and so forth. Motion is often forgotten in our creative process. Which is pretty sad because animation is such a powerful tool to create personality. It can conjure up, beat a little and actually show some love. Don't get me wrong, I'm not saying that we can't feel emotion without animation. It's like a picture versus a movie. You can have a beautiful picture that makes you feel something really strong, but with a movie you have so much more at your disposal to create emotion. Even the most subtle animation can add playfulness to the user experience. Motion can also add a lot of personality to your website. You should adapt the style of the animation in order to match the tone and personality of the brand. Let's take for example the website of Spire, a satellite manufacturer working with cutting edge technology. If we look at the animation style, it really reflects the personality of the brand. It's super techie, futuristic and bold, with a bunch of little details and interactions. If by comparison, we take the website of Kuali, a colorful director and filmmaker. We have a website that is way more light and fun. We don't have any techie animation, instead we have some fun little interactions, like the eyes at the bottom right of the screen. When you pass the cursor over them, you get this big colorful face and spot of colors that pop up all over the screen. It doesn't really serve any purpose other than supporting the brand statement. And this concept of eyes and color can be found all throughout the website. You should always try to understand the brand as much as possible so that it is reflected in your motion, just like you would for the static part of any design.",
"language": "en",
"duration": 173.59,
"timestamp": "2025-11-26T13:42:01.024181"
}
|
2025-11-26T13:42:01.029102
| 29.040727
|
0007_Informing_and_giving_feedback_to_the_user.wav
|
{
"audio_file": "0007_Informing_and_giving_feedback_to_the_user.wav",
"text": "Motion can help the user understand how to perform actions on a website and also what will happen when they perform these actions. Take for example the website we did for Les Journées Portes Affermées. When we land on the website there is a small animation indicating that you can drag the handle to open the door. That's how the user can enter the experience. And with the animation, it's really easy to understand what you have to do, simply turn the handle. But without the animation, it may not be as clear. Loading animation are also a must-have when the user has to wait for something to load. It shows that the site didn't just stop working and that something is being loaded in the background. If you know that you're going to have to keep the user waiting, then you should find a way to integrate a loading animation that will make the wait as seamless as possible. In the GridSpace website, when we click on the project from the home page, the user has to wait for the content of the next page to be loaded before he can scroll down. So we have a small spinner loader at the bottom right of the screen to show that something is being loaded. And once the page is loaded, that same spinners transforms into narrow to indicate that you can now scroll down and explore the rest of the page. During a page transition like the one we just saw, when some elements are present both at the beginning and at the end of the transition, it's a good idea to keep them on the screen. So instead of having them disappear and reappear, we can just animate them to their new location. That way it makes it easier for the user to understand what just happened. It's called visual continuity. I really like to use this notion of visual continuity in page transitions. If you know that an element will be present on both pages, try to figure out a way to keep it visual during the transition. Motion can also show the immediate effect of an action done by the user. By confirming the action visually, we can inform the user on what has happened, is happening, or what is about to happen. Two years ago, I had the pleasure of working with awards on their annual nominees website. And we did this nice little animation when the user votes on a forum project. You had to click and hold for a few seconds and then your vote was confirmed. The motion here really helps to understand what is happening as you vote and what just happened once you voted. With the little companies making it really fun. It's a nice way to reward the user for the task he just did and at the same time make his journey more memorable. Like the animation you get after using WeTransfer, it's so fun, it makes you want to upload a bunch of files.",
"language": "en",
"duration": 181.06,
"timestamp": "2025-11-26T13:42:09.812074"
}
|
2025-11-26T13:42:09.816533
| 37.827926
|
0008_Timing_easing_and_offset.wav
|
{
"audio_file": "0008_Timing_easing_and_offset.wav",
"text": "The key to a good looking motion design is really all about timing. If it's too slow, the user will have to wait and if it's too fast, he won't be able to see the changes and what's happening. The same animation with different speeds will be perceived very differently. and all the steps of the animation are blended together and we lose the smooth and clear transition that we had. So timing is really important here. You need to adjust the duration of an animation based on its complexity and the area to cover. If your motion is just one big color that slides over the screen, it can be pretty fast, maybe around one second. But if you have many elements moving around and different steps, then you should probably take more time. That way everything doesn't just blend together. So there isn't a recommended amount of time for a transition. It really depends on the animation and how complex it is. You also have to take into consideration the area that is covered. If your animation is on a small area like a button, then it can be pretty quick, like half a second. But if it's a full screen transition, you have a much bigger area to cover, and therefore it should take longer. There are four types of easing that you can use depending when the animation starts slow then accelerates to finish fast at the end. This is usually used on elements leaving the screen. As for ease in and out, you've guessed it, it's when we have both an acceleration and a deceleration. This is used for elements that are moving but staying on the screen. Finally, you could go with no easing. This is usually for objects that are moving at a constant speed, like clouds in the sky passing through the screen. When you have many elements to animate at once, they shouldn't all start and finish at the same time. You should start them one after the other. This is what we call offset. And you don't have to wait for the first animation to be completed before starting the second one. They can all be overlapping with just a few milliseconds between the beginning of each one. Finally, you should adjust the speed and easing of your animation depending on the project. It should be really fast and direct if it's for a website where people go often to get information, like a website for a bank or to get your news. But if it's for more of an experiential website, then you can most definitely have longer transitions and longer animations.",
"language": "en",
"duration": 238.74,
"timestamp": "2025-11-26T13:42:22.506842"
}
|
2025-11-26T13:42:22.513711
| 50.524962
|
0009_Finding_inspiration.wav
|
{
"audio_file": "0009_Finding_inspiration.wav",
"text": "As designers, before beginning your art direction, it's always good to start with the mood board. Finding the right kind of inspiration can really help you understand where you want to be heading in terms of design. Well, the same applies to motion. You should always try to add some motion inspiration to your mood board. Figuring out how the elements are going to move will influence how you will place them on the page. So the design and the motion are really interconnected. When you see a motion that you really like online, you should copy it to your computer and try to understand what it is that you like about that animation. You can slow it down, even watch it frame by frame to really understand how everything moves. That's a great way to learn, and it will make it easier for you to animate something similar in After Effects. There are a bunch of different sources out there to get inspired for your motion. Obviously, you can check the websites on the word, they usually have some pretty cool animations. You can also go on B-Ans, Pinterest, Musely or Dribble. I personally like Dribble, you should definitely follow Zenya Renzuk, who is incredibly talented. You should also check out the work of Louis Yensa who integrates animation in a very clever way in all of his projects. But the most original motion ideas that I get usually come from other sources like movies, comic books and of course real life. That's where you can get these never before seen ideas. Let's take for example the website that I did for Editorial New. Like its name entails, the font is really for editorial purposes. So I wanted to play around with the concept of a newspaper. And I don't know if you remember these spinning newspapers that you would see on old TV shows when there was a breaking news. I thought it would be really cool and original to have the website spin and zoom like a newspaper when you scroll through it. So that's what we did! Just keep in mind that wherever you get your inspiration from, it should say just that. Inspiration. It's okay to get inspired by the work of others. Everyone does it. But always remember that a little inspiration is good, but too much is just plain plagiarism.",
"language": "en",
"duration": 168.77,
"timestamp": "2025-11-26T13:42:02.281620"
}
|
2025-11-26T13:42:02.286907
| 30.297987
|
001 Adjusting the Overall Look.wav
|
{
"audio_file": "001%20Adjusting%20the%20Overall%20Look.wav",
"text": "Alright, so as a final thing I want to adjust the overall look of the image now that we have everything finalized so to do this I want to go back to the Post Process Volume and inside of the Post Process Volume we can go down to see here what we can edit. We already have the bloom. We can go inside of the contrast and we can actually edit the contrast. You can see here we can add a contrast, and maybe I want to add a slight contrast, not too much. So adding a contrast of 1.1 is pretty good, I can maximize the screen to see what it looks like. And actually 1.08 is fine for us, and the gamma is fine. I don't want to touch that. And we have the shadows. I don't think we need to adjust anything on the shadows. This is fine. And let's go down. And this is looking great. So we have something like motion blur, but is not needed right now and we also have some ambient inclusion that we can try to adjust and work with but this is fine for now as default values and let's see if we have to change any values inside of the tint here so if I change it slightly and give it a more cold look. I think 5900 is fine. And 0.03. Alright, so I think this is a call for the overall look of the game or the scene. Let's go over to the next lesson and adjust the camera settings.",
"language": "en",
"duration": 125.93,
"timestamp": "2025-11-26T13:41:55.219214"
}
|
2025-11-26T13:41:55.227009
| 23.237377
|
001 Basic materials.wav
|
{
"audio_file": "001%20Basic%20materials.wav",
"text": "Alright guys, now let's go over materials so you can create beautiful looking textures and surfaces inside your Unreal Engine world. Now I'm going to just claim this with the fact that materials are a little bit complicated and kind of boring sometimes. So please bear with us. We're going to get to more fun, more exciting content in later tutorials. But right now we need to focus on this so you understand the basics of a really important aspect of Unreal Engine. So the first thing I'm going to do is create a new level that will help us illustrate materials and how to use them. So I'm going to go up here, hit New Level, and then I'm going to pick Time of Day. I mean, I think this is the best one to illustrate some of the material properties that we're going to be messing around with. All right, so as you can see, we're in this beautiful empty sky world where there's nothing for infinity. It's actually a little bit scary now that I think about it. Anyways, back to the tutorial. So I'm just going to delete this text. If I can actually select it, there we go. Delete. Come on, there we go. Wrong thing. Come on. There we go. Wrong thing. Come on. All right. So now let's change the material of one of the objects in this scene. Now let's start with this metal ball Unreal Engine logo deal thing. I don't have to call it. I don't think it has a name. Maybe it does. Let me know in the comments. I don't think UW has comments, but that's OK. So what I'm going to do to use an already existing material is open my content drawer, go to Starter Content right here, and then go to Materials and check out all these awesome materials that come with Unreal Engine by default. Now we've got some pretty cool ones here. I like this wood. And all I'm going to do is grab it from here and drag it directly in onto the object I'd like to place it on. Boom. There we go. I've got this nice wood texture on my material. Looks great. Now, of course, there's a lot more editing that can be done with the materials, and we can certainly make them a bit more custom. But before we do that, I'm actually just gonna save my world before it gets deleted. I mean, that would be sad, right? What would happen to this strange world where there's nothing except Sky and me and this wooden platform? Alright, so, I'm just going to name it MaterialStart. Then I'm going to show you how to make your own material. First thing you're going to go to add. Now before we do this actually, I'm gonna create a new folder with my content, with our content, not the starter content that Unreal gave us. It's really important to keep your file system organized, especially as your projects get bigger and bigger and bigger. So I'm gonna start early and create a new folder here, not inside Star content. So I'm actually just going to delete that and try again. Now let's go back here, close this, hit New Folder, we name it Caleb's Stuff. You name it whatever you like. Create a new material. I'll just type in m underscore my material. Name it whatever you like. And boom. Now if I double click on it, I'm now taken to this new window right here, which will allow me to edit my materials properties Now over here you have a preview viewport which will allow you to check out what your material looks like at any given time But this is where all the action is going to be happening. This is the material graph and it's the exact same editor format that you use for blueprints. It is essentially a graph of different nodes. For instance, the one default node that we already have is my material node. But if I actually go over here and add something different, it could be completely random, blend color burn, for instance, I'm going to be able to use the properties of this and connect them to properties in here to create a different type of material based on my needs and criteria. Now, of course, this doesn't make any sense just for example, but let's say I want to change the base color of this material. Now, in Unreal, the base color is actually defined by a vector node. I know that may seem a bit strange, right? Why would you use a vector to create a color? But if you think about it, a vector, which is just a combination of a few different numbers that make up some sort of representation of the world, is essentially a color because colors are made up of red, green, and blue values. So if I right click anywhere on the graph and type in constant three vector, I'm going to be able to pull out here a node that as you can see has three different numbers associated with it, which could be red, green, and blue. And then I'm going to double click on that node, which will bring up this color picker menu. So let's say I want, I don't know, purple. I love the color purple. All right, let's go for something here. Boom. Now you're going to notice that in the new area, it's still black. And that's because Unreal has a feature that allows you to combine the old material or the old color that you have with the new color that you have. Now, of course, I don't want any of the old color black. So I'm going to bring it all the way up to the new. I actually might change it a little bit. I like a little bit morey. It's a bit more blue. And then what I'm going to do is I'm actually going to drag this little dot, my left click, into base color. So once again, I'm going to drag from there with left click into base color. Now I could drag into any of these other ones, but I'm trying to create the base color, so this wouldn't work. And I can break pins easily with right clicking. And I set break link to whatever links there are, and I can select between multiple, if there are multiple links. But here we go. As you can see in the window, I now have a beautiful purple-colored ball. You can also see that by holding left-click on this window or viewport, I can circle around my object and look at it from different angles. Now if we save this material by using Ctrl S, or by heading Save over here. And then we go back to our other window. We should be able to use this material. Now, first of all, I want to be able to get back to this tab easily. So I'm going to grab the tab and move it up here just like a web browser, which will allow me to easily access both my material editor and my normal, unreal editor. So let's actually drag this material onto this metal Unreal Ball thingy. There we go. There we have it. A purple metal Unreal branding object. It's made by Unreal. Check out their logo. There are a whole lot of other ways to edit materials, but the two other main properties that you're going to want to use are roughness and metallic. Now, if we go back into the material editor, we can see that metallic and roughness are right there. Now, metallic is pretty self-explanatory. It essentially makes it look more like a metal, a bit more reflective, a, and we can change this by in a number between zero and one. Now, most of the time you're either going to be using zero or one. Zero being something that isn't metallic at all, like plastic or wood. And one being something that's pretty metallic. As you can see, it's now much more shiny. Looks like some sort of weird purple metal, unobtainium type of material. Very cool. So now let's say I want to edit roughness. I can simply grab, use Ctrl W to copy this constant, or of course I could use this menu or use the left click one trick. But I'm now going to drag this into roughness. Now, the way to think about roughness is essentially like polishing a material. Imagine you have some dishes and you polish them. Well, you're simultaneously gonna make them smoother, but you're also gonna make them shinier. And that's because those surfaces that you've just polished will actually sort of scatter less light as it reflects. So the more rough it is, the more light it will scatter and therefore the less shiny it is. So for instance, let's say I make this zero, make it very, very, very smooth. It is almost completely reflective. Now if I make it 1, once again, let's say 0.5 actually. There you go. You can see it's kind of a mixture of both. You can sort of see the outlines of the background, but it's in the middle. Now, one thing to keep in mind is that you have to use numbers between 0 and 1. And if I type in a number that's larger or smaller, for instance 15, it's not going to make it any rougher than one would. See, same thing. So they're kind of locked between zero and one. Also, another thing to note is that if I want to go back to the default, I can easily do that with one of these little back arrows. There you go, back to the default, which is zero. And now I have this cool shiny purplish material some sort of super rare metal that I'm sure is being fought over on some alien planet and I can now go back to my world and Oh, it isn't in my world and that's because I haven't actually saved it in here. It hasn't actually compiled. And now after it's done saving, it takes a while, it will be edited on my object. There you go. Now I have this pretty cool super reflective purple metal ball. Yay. I'm no longer alone in this lonely empty expanse of nothing. Thank you, you are my only friend. Anyways, now that we've gone over the basics of materials, we're going to go into a bit more depth on how to use textures to make your materials have more depth and more character. All right, see you in the next tutorial.",
"language": "en",
"duration": 843.99,
"timestamp": "2025-11-26T13:43:54.875265"
}
|
2025-11-26T13:43:54.880861
| 142.890865
|
001 Creating a cutscene (World).wav
|
{
"audio_file": "001%20Creating%20a%20cutscene%20%28World%29.wav",
"text": "Hi everyone, welcome to another tutorial. Today we're going to be going over the cinematics and how to create your first cutscene in the world. This is really exciting because it's a lot of fun, so let's dive right into it. So I loaded here an example map that I had and we're going to be using this map so I can show you how to perform and how to build your own cutscene. So first of all, let's go ahead and go to the top there where it's displayed the cinematics. And let's click the cinematics and then let's add a new level sequence. So let's save this here. I'm going to say new level and sequence to I'm going to hit save. Perfect. What this is going to do is going to actually create a sequence for us that we can start creating our own cutscene. So it already created this timeline. If the timeline is floating in the air, you can always drag it down and then drag it to the left so it snaps to the bottom left and it doesn't snap over the world outliner. So let's just decrease this a little bit here. Perfect. So the sequencer is where you're going to actually create your own animations. So to create your own animations and cutscenes, etc., we need a camera first. So let's add a camera. To add a camera, there's a camera button right there on the sequencer. You just press it. So we create a new camera and there you go. As you can see, I'm inside the camera because it says here, pilot active scene camera actor. To disable that for me to go outside of this view, we just have to click the lock viewport to camera cuts right here. And now we click it again to unlock it. Perfect. So now I unlocked myself out of the camera because over there I was actually seeing what the camera is seeing. Now I can actually see the camera and move it around as I wish. And if you want a preview, you can just click there again and it locks it to the viewport. So let's rotate it. Let's rotate the camera. So just make sure your angle snapping is disabled as you can see you have a preview of the camera right here Let's align it and let's bring it down a little bit because I want to start a cutscene from the ground up Perfect as you can see you get the preview of the camera there. It looks amazing. Awesome. Cool So the next part of it is to actually animate the camera. So what I want to do is I want to move the camera forward in my scene until we reach down that little path right there in the middle of it. So let's do that. So to start recording, we can open the sequencer a little bit more here. And as you can see, you have a whole timeline. There's a lot of components here. So what we're going to do is we're going to actually record the transform property of the camera. Why the transform property? So the transform property is the one that actually moves the camera. So it's the 3D axis right here. So we're going to go all the way down and you can see the transform right here. And you can press the add a new key at the current time. Perfect. So that's just key frame there. So the start position of the camera will be at that key frame. To start recording now, you go to this key frame key right here and you make sure it's selected this is going to automatically place key frames depending on the movement that you do with your camera so if I move the timeline to 15 seconds for example oops sorry that is the starting point we don't want the starting point so let's move the timeline to 15 seconds and I move the camera as you can see it recorded a new keyframe. So that actually is just the movement on my camera, as you can see. And that's how you build your own cutscenes. So let's press Ctrl Z. Let's zoom out a little bit. And now let's try to place the camera all the way over there. So let's try to select the red and green axis right here. So select it, we can just move the camera where we want the end part to stop it. So if I do that right now, as you can see, it actually moved the start point because I wasn't recording in my endpoint. So let's go back, let's go back with the camera and let's select where we want the animation to end in our timeline. So what we're gonna do is we're gonna say, okay, I want this to end at approximately, let's do 120. Sounds good. Then 120, it will reach the destination. So right now, make sure it's recording. Now you do that. So you press the red and the green axis together, move the camera to your desired position. There you go. And now if we go back the timeline, you can already see in the preview that it's going backwards. So it actually recorded that. And let's go to the preview. So let's enable the log viewport to start your animation to actually play your animation, either press spacebar or press the play button right here. So I'm going to press it. Oops. And as you can see, it animates it really nicely to that rock. And there you have it. That's your first cutscene. Cool. So we can do a lot of things with that and we're going to start doing stuff. So one thing that you can do is can actually render this movie. So if you want it to be like a video sequence where you can play anywhere, you can render as a video sequence. So it just outputs at your own folders, etc. And you can actually have a video off the cutscene you created in Unreal. To do that again, just go to the render this movie tool over here, just press it, and then you can change the capture settings, everything that you need to capture the movie. Once you're done, you just press the button capture movie. I'm not going to do this right now because I don't want to capture it, but I felt important to show you how to do this. So what I'm going to do right now is I'm going to unlock the viewport. Perfect. And then I'm gonna press play. As you can see, my character is here. It's still rendering the world because there's a lot of particles, but that's okay. But there's nothing playing, which is good because we didn't set anything to play. So if you want this to auto play, you can just go to your sequence on the right side. So my sequence right here, if I'm not mistaken, is the new level sequencer 2. And what we're gonna do here is we're gonna select it and we're gonna press autoplay. So if I play, if I use autoplay and I don't loop, if I press play, it's actually gonna play the cutscene as you can see. You might have noticed it that the world was still rendering whenever it was starting to play. And that's because the world has to render, right? And to get away with that creators use loading screens. So if you see a loading screen in your game, it's because their engine is actually rendering the things that has to show you first. And we're gonna kind of create a loading screen, but at the same time we're also gonna create a UI animation screen with some text so that it plays before this cutscene. So this is it for the world cutscene. So right now what we're going to work on is the UI overlay that's actually going to serve as kind of like the loading screen so we can play the sequence whenever the map starts. And we also going to disable this autoplay so we don't play this cutscene every single time we start the game. So let's go back to the new level sequence and let's disable that. Cool. I'll see you in the next tutorial. Stay tuned because we're going to keep working on this level and we're going to create the loading screen.",
"language": "en",
"duration": 463.94,
"timestamp": "2025-11-26T13:46:31.765173"
}
|
2025-11-26T13:46:31.771218
| 96.701689
|
001 Creating the level.wav
|
{
"audio_file": "001%20Creating%20the%20level.wav",
"text": "Hi everyone, welcome to the mini game tutorial series. Here we're going to learn how to create your first mini game in Unreal Engine 5. So let's get started. So the first thing that we're going to do for this game is going to create a new level. I just created a new project right here. So as you can see, it's pretty empty. The only thing that I included in the project is the third person blueprint. So you can do that by whenever you create your project. So make sure to import the third person game mode and that should be there for you. So cool. Once you do that, you have here a brand new project. So let's go ahead and create a new empty level. So let's go to our content drawer. You can press Ctrl space again. Let's right click it and let's do create a new folder and let's say and let's name it levels. Perfect. Let's double click levels folder. If it says to update your project file, just make sure you press update. Perfect. All right. In our levels folder, let's right click it and let's create a new level. And let's call it level one. Let's press enter and I'll press double click to enter my new level. I'll save the select changes here. Perfect. We have our level right here. So the first thing that we should do is let's go over to the landscape at any mode and let's fill the level. Let's hit create. Perfect. Now we have our landscape. Let's add a directional light. And now let's add a skylight. And also let's go to visual effects and add a sky atmosphere. And let's add our exponential height fog. So all those four things. So let's go to our directional light. First, so so make sure you exit the landscape mode by pressing shift one. Let's go to our directional light. Just the the same thing as we did with the previous tutorials. Let's set it to movable. Now let's scroll down and let's select atmosphere, sun and cloud. Perfect. Now let's go to our exponential height fog and let's set our directional in scattering color to black and our fog in scattering color to black just as we previously did. As you can see, we have the black spot right there. It's okay. Let's go to the skyline right now and just press real time capture. And this should be fine. So now what we have to do is we just have to go to settings, edit project settings, let's search for fog and make sure to enable support sky atmosphere affecting height. And I'm going to restart my game. Once the game has restarted, just go to your content drawer and search for your level. So remember content levels, double click it. And there we have it, brand new level here for us. Let's press Ctrl L, make sure we can move this and around as we wish. And if we move it completely downwards it should all be pitch black. Perfect. Let's move it up for a little bit for now. Perfect. So what I was thinking for this mini game is that we have a do not touch lava kind of game where we are in this ruin where there's a lot of lava and you have some couple obstacles that you have to jump on so you can get to the finish line before touching the lava or anything like that or before falling in lava, I should say. So let's go ahead and start creating our landscape kind of scene. So what I'm going to do is we're going to go to content and we're going to go to Quixel Bridge. And that's where I'm going to get my assets that I'll be working on right here. And you should do the same too. If you can access Quixel Bridge. Remember that if there's something wrong with the inbuilt bridge on Unreal 5, you can always download the third-party plugin via their website. I have showed that in the previous tutorials. So go ahead and check that if you need. Cool. So on a Quixel Bridge, we're going to go ahead and we're going to type for, let's say, clips. Perfect. Let's try to find an interesting kind of rocky cliff. Let's see. Oh, I like this. It's like a Nord, like a beach rock formation. I like it. I'm going to add this to my project. So if you haven't downloaded yet, just make sure you press download and then you press add. So once it's downloaded and added to your project, we can go ahead and close off bridge because we're not going to be using anymore. I'll try to build my own scene using only one asset so you can see how versatile it is to just having one asset in your drawer and how you can create different things to look at different etc etc. And how you can mess around with it so it looks different. So let's go ahead and let's drag our rock right here. This is a little bit, I think this would be fine. Cool. So the first thing that I'm going to do is I'm going to select it and I'm going to select my static mesh on the bottom right right here. I'm going to double click it and I'm going to go to collision and I'm going to do auto convex collision. What's going to do is going to create an auto collision for me. So whenever I press play and my player is walking towards it. Oh, perfect. It didn't work. So let's go back to the static mesh. Let's try again, the auto convex collision. I know that Unreal has having some problems with the auto convex, but let's try again and see if that works. Well, as you can see, it is not working the way it should be working. So what we're going to do is we're going to go to collision and we're going to just add a normal box simplified collision, as you can see right here. So press that, save. And as you can see, creates this little box collision, and it should be fine. We're not going to be interacting with the rocks in our game. It should just be part of the landscape. So that should be good. So let me hit play right here. And as you can see, I can't run into my rocks. Perfect. So now that we have our asset, we also need to set a texture for our landscape right here. And I'm going to just set a normal kind of like basalt texture to it, because we will be dealing with rocks and lava textures later on. So we don't need to get into much detail on the landscape itself. Remember, if you want to create different materials, different mountains, etc., you will have to create a master material for a landscape, as I showed in the previous tutorial. So make sure to check that out if you need. So here on landscape, I'm going to scroll down all the way to the landscape material. I'm going to press my content drawer. I'm going to go back to content and I'm going to search for basalt. Perfect. So we have already a material here for basalt. Not sure if I'll be using that. Let me see how it looks. I'll probably end up creating my own. But if this works for now, it works. This is actually looking just fine for now. I'll leave it like that. So we don't waste too much time on the materials. But if you wanted to create your own, you could just use the textures right here. And then remember, you can right click it, create your material and add the blueprints, et cetera. And we're going to be doing that with the lava anyway. So this should work for now. Let me see if there's any settings on this rock, bus out that we can mess around with. I think that what we can do right here is we go to the reduced macro contrast. And you see that there's a not going to be noticeable whenever we're actually building our game because we're going to be building our game. So we're going to be building our game. So we're going to be building our game. So we're going to be building our game. So we're going to be building our game. So we're going to be building our game. So we're going to be building our game. So we're going to be building our game. So we're going to be building our game. So we're going to be building our game. So we're going to be building our game. So we're going to be building our game. So we're going to be building our game. So we're going to be building our game. So we're going to be building our game. So we're going to be building our game. So we're going to be building our game. So we're going to be building our game. So we're going to be building our game. So we're going to be building our game. So we're going to be building our game. So we're going to be building our game. So we're going to be building our game. So we're going to be building our game. So we're going to be building our game. So we're going to be building our game. So we're going to be building our game. So we're going to be building our game. So we're going to be building our game. So we're going to be building our game. So we're going to be building our game. So we're going to be building our game. So we're going to be building our game. So we're going to be building our game. So we're going to be building our game. So we're going to be building our game. So we're going to be building our game. So we're going to be building our game. So we're going to be building our game. So we're going to be building our game. So we're going to be noticeable whenever we're actually building our game because what I'm planning to do is actually having a night time so the lava can really pop. And yeah, so right now I'm going to just grab this rock right here. And I'll start to duplicate my rock to try to build the scenario I want. So what I can do is I select my rock, I'll press Ctrl W as you can see it's duplicated. I can move around whatever way I want it. So I'm going to create a little wall right here. As you can see, it's starting to take shape. And this is only using one object. Like you can use multiple ones that is available and quick. So for you to use. And I'm just going to do one more of this rocky hill right here. So I get this, we get this nice texture around the area. Perfect. I can also press E to rotate a little bit. So it matches the design. Awesome. So what I'm going to do now is I'm going to select all of this. So I'm going to go to my world outline or there, going to press the first one and then press on the last one holding down shift. And I'm going to duplicate it all pressing control W. I'm going to bring it right here. I'm going to press E to rotate. There you go. Let's rotate a little bit more. So pressing W and I would just move it where we wanted. Kind of want to like this cliff sort of valley kind of vibe. I'm going to decrease here and maybe scale this a bit up so it's different than the other rocks. There you go has different sizes. And it's kind of getting shape. Let's copy one of the rocks here using W and Ctrl W. So let's just duplicate it. Let's rotate it. Let's bring it up. And it's kind of going to be like a separation area right here. Let's bring you one more rock over here. Kind of like this. For me a nice wall. There you go. And you can keep doing this the way you want. I'm just laying down the scenario here so you can understand how easy this is and how the process works with only one asset. Perfect. And you can always like rotate this. I'm not rotating because it would take more time. But like, as you can see, this is starting to take shape. If you're here, like you're playing try to jump into some of the obstacles. So let's go ahead and select some of these rocks right here. Let's duplicate them. Let's rotate them too. So it's facing this way and let's scale using the R key. Really huge rocks. Perfect. This is going to be kind of like the starting wall where our player is going to be perfect. So let's rotate it one more. Awesome. And then we can also grab this copy one more time and let's just place it right here. And this should, this should be good for now. So let's go right now to the content browser and let's grab our third person character. Just so we can see how he would look compared to the environment like size wise. I think it's good for this demonstration. We can make the level a little bit bigger by expanding this rocks right here. So let's just do that for now. So let's grab some of these rocks and let's expand a little bit so it grows the environment. Let's move these three right here. Perfect. That's actually what I want to describe this one on the back. Let's put it up. It's rotate W key and let's put it like a wall here. Let's go a little bit down. Perfect. Awesome. So as you can see, our character is in the middle here and on the ground is where the lava is going to be. This is already looking pretty good. So in the next tutorial, we're going to be looking at how to create the lava material so we can replace this floor right here with lava. And yeah, and how to turn the scene to nighttime. So it actually looks really good. Just like a game scene. Cool. Thank you so much. I'll see you next time.",
"language": "en",
"duration": 747.31,
"timestamp": "2025-11-26T13:47:56.278678"
}
|
2025-11-26T13:47:56.284860
| 181.212449
|
001 Creating your First Project and UI Basics.wav
|
{
"audio_file": "001%20Creating%20your%20First%20Project%20and%20UI%20Basics.wav",
"text": "Alright everyone, let's get started. So the first thing you're going to want to do is download the Epic Games launcher from the Epic Games website. Once you have it, you can simply go all the way over here to the right tab where it says UE5. Hit download early access right here. And once it's downloaded, just hit launch. Alright now it's going to start up. Excuse me, SteamVR. And here you are in your project browser. Now this is where you can access your existing projects and create new ones based on templates for games, film, video, and live events, architecture, and product design. We're going to start by creating a game. So I'm going to go to this blank project, select this here. Now, as you can see, there are a couple of different options that you have when creating your project. You can change where it's saved on your file system here. You can change its name. So I'm actually going to do Act 4. And then here, you can change whether or not you're going to use blueprints or C++. Blueprints is Unreal's visual coding language, and it's much more accessible in C++ for non-developers. And you're going to have to interact with it no matter what you do. So it makes sense to start with blueprints because you're going to deal with it even if you're a developer and you want to use C++. Alright, so you can leave these settings the same as they are by default. You want to make sure that your starter content checkbox is checked and you don't have to do anything with the ray tracing checkbox because we're not going over hardware ray tracing in this tutorial. Luckily Unreal Engine 5 has a software-based ray tracing system called Lumen, which works on many different pieces of hardware, not just high-end Nvidia cards. All right, now let's create our first project. Get out of here, SteamVR. Stop bugging me. I was gonna do it twice. All right, so welcome to Unreal Engine 5. The first thing that we're going to go over is how to move around the world that you've just created. Now, if you've ever played a first-person shooter, this is going to be fairly intuitive for you. However, there are some key differences that are important to note. To begin, you cannot move around or change your viewpoint unless you can use the Q and E keys. Q goes down and E goes up. All right, so now that we know how to move around for the most part, let's dig in to actually creating an object. All right, so to create an object, go up to the top left and hit the Create button here. This is going to open up a menu and allow you to place anything you'd like. For example, let's do a cylinder. All right, now as you can see, I can drag it directly into my virtual world. And now I can actually edit that object using a set of editing tools. Right now, this allows me to move it around in both x, y, and z-axis. Now, as you can see, I can select two axes at once, or I can select all three axes by holding down the white sphere in the center. Now, this isn't the only tool with which I can use to edit. For instance, I can also edit by rotating. As you can see, on any one of these rotational axes or I can scale in any axis as well. That's no longer a cylinder, is it? All right. Now it's important to note that there are some hotkeys you can use to get to these functions easily and effectively from the keyboard. This is really important because one, it's going to make you a much faster editor. And two, if you accidentally press the wrong button, you're going to know why the behavior of your editor has changed. So to move to Select mode, I can hit Q. Movement mode, W. Rotate E and scale R. Now the reason why those letters were chosen is that if you look at your keyboard, they actually reflect the order of these tools up here. So I have Q, W, E, and R. It's an easy way to remember where they are in your viewport. One of my personal favorites is the snapping system or auto snapping which allows you if you hold down the move tool or you hold down the white sphere in the center of the move tool, all of a sudden your object will automatically snap as you can see to other objects in the scene. Now this also only works when you have your grid snapping turned off. Grid snapping means that whenever you move, your object is going to move by a certain increment. Now, it's pretty small here, just five Unreal units. But if I turn it up to 50, you can see, oh, it's on, you can see that it will move by fairly large increments in any direction. Move these back down to 5 because I'm going to need them to be that big right now. I'll turn it off actually. Move the chair back to O. This is a really useful place to use the end key. As you can see when I hit the end key, it automatically snaps to the ground. I can move the chair back to where it was. Now I can also change the scaling options. So this is the same thing that I was showing you before except for the scaling tool. You can see I can actually do... let's Now this is really important. Sometimes you'll be in a scene and you'll have to get really far away. Maybe you have something all the way over there that you have to get to. For instance right now I want to get back. Having that camera speed high is good. However what I prefer to do is actually use my middle mouse wheel. That means I can change the camera speed on the fly. While I'm holding down right, as you can see now it's very slow. I'm actually pulling back my wheel right now. This is a little bit more dynamic, easier to use, and you're going to have to keep going back and hitting this camera button and changing the speed. However, I'm going to go back to the default of four just because it's a lot more easy to use. I can actually see it over here in the world outliner. Now the world outliner is essentially a list of every single item that's inside your current world and level. This means that let's say I have some item that I either can't access or is far away. I can simply go to it, let's say this floor here and select it. Now additionally, I can use these folders to actually organize items inside my world outliner. So, you can create a sub folder, test folder, and let's say I want to take my chairs and put them in my test folder. This will allow me to simply and easily select this test folder and find my chairs whenever I need to. If I want to hide an object, I can simply hit this little I icon over here in the left and that'll make it disappear. Really useful if you're trying to access an object behind other objects and it's just very difficult for you to actually get there with your camera. Now if you look below the world outliner you can see the details panel. This allows you to edit the details of any object in your scene if it's selected. So you'll notice that when I select different objects are selected. If you want to go back to the defaults of any given item, you can simply hit this back arrow here. This is universal in Unreal. If you ever see this back arrow next to a field, that means that it will allow you to reset the defaults of that field. You can see there are a ton of different details and each different object, depending on what type of object it is, what material, will have different sets of details. All right. Now let's say you want to access any of the content that you have in your level. Well, all of that is stored in something called the Content Drawer, which you can access by pressing Control Space. In the Content Drawer, you have all of the assets, folders, and data that make up your project. This can include shapes or meshes, like what I already placed in the scene, or audio, maps, blueprints, etc. Anything that's required to create your digital world will be stored inside this content drawer. Now, if you look over here at the the left you can tell the content drawer is actually just a representation of the file system on your computer. This means that you can actually access this through your file browser. Luckily Unreal added this to make it easy and seamless to access and edit this file structure without having to go outside of Unreal Engine itself. Now there are all sorts of extra pieces of functionality here. Now for instance, let's say I want to drag something from my content drawer into my world. I can simply click it, drag it directly in. Or if I double click on the item in my file, or sorry, in my content drawer, it'll actually load in this case the mesh editor. Now we'll talk about this a bit later, but this would allow me to actually edit the details of my mesh. Now, there are a few other important settings that you should know about. For instance, let's say you want to add different types of data, such as levels, materials, or a blueprint, or you want to add a feature or content pack, you can go to this add menu over here. You can also add a Quixel content, which we'll talk about in a bit. It's really important to know that you can change settings for the UI of your content drawer over in the right. And you can also change settings for your world outliner or for your world as a whole over here at the top. There are all sorts of different important settings and configurations here. All right. Now that we've talked about the basics of using Unreal Engine, we're going to go into talking about materials and textures. Now we also have created a cheat sheet that has all the commands and hotkeys that will make interacting with Unreal Engine seamless and easy. Feel free to have this up while you go through the tutorial in case you forget how to do something easily and effectively from your keyboard. Alright, see you in the next tutorial.",
"language": "en",
"duration": 831.64,
"timestamp": "2025-11-26T13:46:59.881047"
}
|
2025-11-26T13:46:59.885928
| 124.813195
|
001 Importing the Ground Mesh.wav
|
{
"audio_file": "001%20Importing%20the%20Ground%20Mesh.wav",
"text": "Before we start dragging in the assets, let's get over and import our ground mesh. Now I've went over to 3ds Max and modeled a simple plane that we can use as a ground. I don't expect you to know 3d modeling right now, so I have imported or included the the ground mesh inside of the course materials. So you can go ahead and download this and once you have downloaded it you will get the SM Ground and let's make a new folder and call it Assets and we will add our assets in here so I'll drag the SM Ground and place it inside. Now it asks you for some values and in here we are going to go in the material import and click do not create material we have our own material and do not import any textures so click on import Once the ground is imported we also need to import some water the ocean but we can do this later so right now when we are inside of our Map Beach level so I'm going to click save right now I'm inside of map beach and inside of here let's delete our simple plane that we made before and let me drag in my ground. Okay and when I drag it in I am going to write 0 0 0 so it's right in the center of the level. Now that the ground is imported we are ready to drag in our 3D models and design our level.",
"language": "en",
"duration": 99.33,
"timestamp": "2025-11-26T13:45:13.802685"
}
|
2025-11-26T13:45:13.807186
| 18.734211
|
001 Importing the Sound Assets.wav
|
{
"audio_file": "001%20Importing%20the%20Sound%20Assets.wav",
"text": "To make the scene more interesting we can now add audio to our level. So in the course material I have included for you some audio that I used in my game Fumptail which you can find on Steam and For Fumptail I use these ambient sounds that I've included and you can drag the sounds on top of the assets folder So when you drag them in you can see here all of the sounds that is available. Let's go ahead and go to File and Save All. Okay, so now we have these sounds and now we have imported the sounds but we can't really use them just like this. We have to create a sound cue so let's do that in the next lesson.",
"language": "en",
"duration": 41.49,
"timestamp": "2025-11-26T13:45:03.983720"
}
|
2025-11-26T13:45:03.991077
| 8.917698
|
001 Interface Overview.wav
|
{
"audio_file": "001%20Interface%20Overview.wav",
"text": "Hello and welcome to this section. In this section we will go through the Unreal Engine interface. And before we go through the interface, it is very important to know that you don't need to know every single button inside of this engine as a beginner. When I started out I didn't even know 20% of what was in here. And so let's learn the basics and from the basics you can then develop by watching more advanced tutorials. We can start to the top left. here you can see file, inside of file you can create a new level, you can save the current progress you have and you can also create a new project. Inside of the edit you have the editor preferences and here you can edit preferences to the editor to your liking. I haven't been in here too much, I haven't had the need to edit anything but you can try to look around and see what you want to edit. Inside of the project settings this is very important and here you can edit settings to the current project that you're working on. For example you can start by writing the company name, the homepage you have, inside of here you can add a movie like when your game starts up, it starts up with a movie, when you package the game, when you're finished with the game, there are a lot of settings. Inside of the input, this is used for when you're programming the game and so on. So very important settings in here, but you don't really need to go through them right now. So let's close it. Inside of the edit, we also have the plugins. And inside of the plugins, you have a lot of plugins that you can go through. Very important when I start my projects, I go into virtualVR and restart the SteamVR. it doesn't contain any VR. So this is very annoying for the players. So I usually go in and un-tick the VR every time I make a new project. And this is of course, if your project is not a VR game. Inside of window, you can create extra windows. So for example, this is the viewport that I'm looking at. And inside of the window, you can create a new viewport. So now, now you can see I have two viewports and this is very useful if you have two monitors. For example I can throw this one on my second monitor and I can take a look there while I'm working here. So this is very important for opening duplicate windows. So this is for example the details panel. I can open another details panel if I want to use it and now these are the same thing. So you can see if I click on an object the same information will be displayed. So this is the very important thing inside of the window. Inside of the tools we will not go through this, this is not very important right now. It's out of the build, this is not very important right now, we will go through it later and in help you can see the documentation for the Unreal Engine. Below we have the Save button, so we have the Save Current button and we have the Create button and inside of the Create button you can create different items, for example lights and shapes and these are cameras for cinematics, some visual effects item and so on. And we will create some items later in the project. So we have the content and this is opening a new content browser. So if you click control and space this bar will appear and This this will also appear if you click on the content drawer down here So the content will open a new content browser and you can see here This is actually the same just like when we opened duplicate detail panels and We have the blueprints. We will not go through this. This is the programming and we have the blueprints, we will not go through this, this is the programming. And we have the cinematics where you can create cinematics. In the middle we have different tools, we have the editing tool, so this is for selecting items and editing. We have the landscape tool, which will create landscapes. We have the foliage tool, which can paint foliage when we add some foliage items in here. So for example, if we want to paint the grass we have the mesh painting tool this is for when we have meshes so items for example a car or a box and we want to paint something on it we can use this tool we have the fractured tool which is self-explanatory and we have the brush editing tool so we will not go through this right escape to quit the play mode or you can click the stop simulation. And here you can see the different platforms you can package the project to. To the right we have the settings and inside of the, which we can use later. and inside of the settings you can also hide the viewport UI if you want. So these are the buttons up here. You can click hide viewport UI and it disappears and I want them enabled so I'll click this again. Okay so these were the top buttons. I'll go back to the editing mode and to the right we have the details panel. So what the details panel is, it will display information about the items that are inside of your level. So if you click, for example, on this plane, this ground mesh here, it will display all of the different settings that you can edit for this ground plane. And to the top here, you can see what the floor consists of. And down here, you can see the transformation, so the location it is inside of the world. So you can see here if I click and drag to the right and left, you edit the location of the world or of the mesh and you can also rotate it and you can also scale it. Okay, and I'll go back to zero and this one is one. So here you can edit all of the different settings for the items inside of your world. So each time you click on, let me go back in the viewport, I'll explain the movement later. But if you click on different items, you can see you get different settings. And for each item, you can edit different settings. So for example, for the sun, you can edit the intensity of the sun and also the temperature and so on. To the right, we have the world outliner. And inside of the world outliner and inside of the world outliner it tells you what is inside of your game inside of this level you have So inside of the current level we are in we have the atmospheric fog It is very hard to see the fog right now because we don't really have Many items inside of the game. We have the floor mesh. You can see when I click it It also selects it inside of the Viewport the those for now. So these are very different light settings and volumetric light settings. We also have the game mode which is used when you're coding with Blueprint and there are different settings that we will not go through right now but very important to know that it is over here. And at the bottom we have the content drawer so if you click on it or if you click control space it will appear and inside of here you have the different folders so these are the different items you can have in your game so for example if I import a character or if I import for example for the beach we are going to import some assets to build our beach for example some rocks all of these different items will be inside of here inside of the folder and when we have items inside of our folders we can then drag those items inside of our level. So all of your items will be inside here, inside of our folders. And you can view these items inside of here. Currently we have nothing and when you have to search, if your game is very large and you have to find a specific item, it is very useful to search here in this search content. To add items to your game or to your project, you can click on add and you can see here there's a lot of buttons that you can add or a lot of items that you can add to your game. You can also right click here and you can see here the same window opens. So I usually never click here. I usually always right click here. So remember to choose the correct folder and then you can right click inside of this folder and then create whatever you need. And don't worry about it for now, we will create enough items later in this project. So an important thing to know is if you click on the viewport, the content drawer will disappear. So this is just a temporary window that opens and closes. So if you click on the viewport, it disappears. You can make it appear again by clicking here or you can click on Control Space and it appears again and you can see here if you drag an item place it in the world it will disappear and Some people will think it's very annoying that it disappears all the time. They want it to open 24-7 and You can also do this by clicking on the content and clicking on content browser This will open another content browser and you can then click and drag Click on Content Browser in the bottom of the viewport and now it stays here even though I work inside of the viewport it still stays up. You can still view the content drawer by clicking control space and you can see it disappears again. So if you want to remove it again you can always right click and close and it closes and you can just use the content drawer again and for now I think I will keep the content browser ducked and I'll see during the project if I remove it or not. A very cool thing is you can right click the folder and you can set a color for the folder. So this is very cool for organizing your folders. So for example, the assets folder, you can give a color and if you have a programming folder, you can give a color. And if you have a visual effects folder, you can give a color and if you have a visual effects folder you can give another color and this is very cool for organizing your stuff so for this current folder that we have I'm going to clear the color so the last important thing for now is the viewport which is in my opinion the most important thing in the engine and inside of the viewport this is where you visualize your game you can see your game as you build it and in the viewport to the top you have this button and inside of this button you can show the FPS if you're interested in seeing the FPS this is very important for viewing the optimization of your game you don't want to be surprised six months later that your FPS is only for example 50 if you want it to be 200 or whatever and I'm going to click on show FPS again again to make it disappear. So we have the field of view if you want to change the field of view. Right now we are going with the 90 as the default and very important things are the game view and this was f11 so if you click f11 it will minimize it again and you can see the details panels was once again so what I usually do is click f11 to maximize the viewport and I click g now I have a very cool full screen of my game and I can try to visualize what it looks like in the current state so if I click f11 again and I press g so I can see everything again so this was this button and another cool thing I usually use is create a camera. So I use, so create a camera here and camera actor. You can see here it creates the camera where I'm looking at right now. So if I move around, you can see the camera is here. And this is for when I set up a shot, for example, I want to showcase what I've done and I want to take a screenshot of it. So we will get to that later. And inside of the next one, the perspective mode we are currently in, you can change the view mode to top view. Now we are viewing the game from the top, from the bottom, from the left and so on. So I'll go back to perspective mode for now. Inside of here, we have the different view modes. So here is the lit mode. This is the game we are viewing with the lighting. View modes If I click the Unlit, I can still see my game but without any lighting. I'm going to click Ctrl Z and Ctrl Z to make everything appear again. We can also view the game in Wireframe mode to see what it looks like in detail lighting and so on. Very different view modes. We also have the optimization views which we will talk about later. I'll go back to the Lit mode and inside of the show you can also display and hide different items inside of your viewports. To the right we have the select tool so here you can select the different items. We have the move tool which we can then move our different items inside of the viewport. So if you click on an item and click on the pivot points, so you can see here each pivot point will move it in a direction. If you click in the middle, the blue or the white ball here, you can move the item in all directions. And if you want to move it in two different directions, you can click on the squares here. So you can see here we can only move it in the two different directions we have chosen. So this is how you move items. And we have the rotate tool. Here you can rotate the different items. For example, it's better if I rotate the plane. So we can rotate the items. You also have the scale tool. And here you can scale the different items too. And if you click on the white square you can scale it uniformly. If you only want to scale it in the y-axis for example you can drag on the y-axis and you can drag on the x-axis and so on. I'm going to click Ctrl Z to go back and these tools are what you use all of the time and this is why it's very important to know the shortcuts for these tools So click you for the select tool click W for the move tool Click E for the rotate tool and click R for the scale tool So for example, you can click W if you want to move something you can move it You can press E to rotate it You can press R to scale it and you can go back to W to move it and so on. So this is more quicker than going up here and clicking all the time. This will take too much time. So I'm going to click Ctrl Z to go back to my standard place here. The next important thing is the grid snapping tool. So here you can see it when I move the plane it snaps every 10 units inside of the Unreal Engine. and if I edit the number up here to 100 now it snaps every 100 so this is very useful if you want to snap your items and to disable the snapping I can click on this this icon and it becomes white instead of blue and you can see I can now move my items smoothly without any snapping if I want to enable the snapping again I can click on the icon and I can snap again. You can decrease the snapping by changing the number to a lower number and it will not snap as much as it will do if you have higher numbers. Okay, and we have the rotate tool. This is the same thing, the rotate snapping. So now it snaps every 10 degrees. I can reduce the snapping or I can increase the snapping to, for example, every 30 degrees. And if you want to disable the snapping, the rotate snapping, you can click on the icon so it becomes white instead. And I can try to rotate now and it's very smooth. I'm going to click Ctrl Z and I'm going to enable the snapping. This is the scale snapping, so now it's also snapping on our scale. And if I I remove it it will now scale very smoothly. I can enable it and increase the snapping you can see here or decrease it sorry and you can see here it's snapping a lot less than before and if I will increase it it will snap very much. Okay and the last thing here is the camera speed, which is very important too. So if you move the camera back and forth, you can see here this is the speed of the current camera. I'll explain to you the camera movement in a bit. To reduce the speed in which you're moving, you can decrease the camera speed and you can see I'm moving very slowly right now. This is very useful if you want to focus on small objects in your level and if you have a very large level it is very important to increase the camera speed so it doesn't take forever to travel around. The last button we have is the maximize and restore the viewport. You can click here and you can see now you have the perspective view and you also have the other views that we looked at previously. You have the top view, the right view, and the back view. You can also change the views by clicking up here. This is something I usually don't use. Sometimes I use it if I want to place something correctly. For example, I can come inside of the top view and if I have an item that I want to specifically place between these two lines, I can come here and place it precisely instead of being inside of the perspective view. So this is a lot easier. And if you want to go back, you can click on this, this small button. It doesn't matter where we click. So you can maximize this can also maximize this and you can then go back and forth like this. And now I want to maximize my perspective view again. So these are the very basics of the Unreal Engine. I hope it was not confusing and what is very important is just learning the very basic buttons inside of the engine. You don't really have to know everything and through making this project and the next projects in the future you will learn the different buttons and it will become very easy for you. So very important to just focus on the basics for now. Let's go over to the next lesson and I will explain more in detail and how to move around inside of your level.",
"language": "en",
"duration": 1307.09,
"timestamp": "2025-11-26T13:48:48.868296"
}
|
2025-11-26T13:48:48.874919
| 233.800933
|
001 Intro.wav
|
{
"audio_file": "001%20Intro.wav",
"text": "Alrighty guys, let's go over how to build your own custom flying game where we'll use a custom plane pawn to fly around the world, collect fun point rings, and keep from crashing into obstacles and the ground. We're going to go over some simple concepts like building the pawn, using blueprints to wire up your world in conjunction with UI elements like a HUD and death screen. We'll also talk about some smaller things like adding sound effects and other types of assets, importing files, and ultimately reinforcing a lot of the concepts that you've already learned throughout the tutorial. At the end, you'll have access to your own custom flying game mode, and we'll be able to unleash your creativity, experiment, and try new things. Alrighty, let's get started.",
"language": "en",
"duration": 56.58,
"timestamp": "2025-11-26T13:45:07.838972"
}
|
2025-11-26T13:45:07.846449
| 12.772108
|
001 Introduction to Lighting.wav
|
{
"audio_file": "001%20Introduction%20to%20Lighting.wav",
"text": "Hello and welcome back to this section. So now it is time for us to do some lighting. Currently the scene is looking boring even though we have amazing surfaces, amazing foliage, amazing 3D models, but without the lighting this is looking so bad and so boring and therefore we have to work on the lighting. And the way we do this is we have a sunlight, we have a skylight and we need to add some lighting. We need to add a sky so it's not dark up here. The way you do this is inside of the Create panel you have the lights and then you have the different lighting types. We also have to work with the Post Process Volume that we added earlier. If we go to the World Outliner we have the Post process volume somewhere here, post process volume and we need to work on this too and just generally work on this lighting. So generally what you wanted to do is if this was your whole level you would actually design this part like on the whole level but just to make the video short and the tutorial short we are creating a small scene and so the lighting is created up here and let's go over to the next lesson and view what all of these does.",
"language": "en",
"duration": 81.39,
"timestamp": "2025-11-26T13:45:09.380691"
}
|
2025-11-26T13:45:09.387052
| 14.312507
|
001 Introduction to Materials & Textures.wav
|
{
"audio_file": "001%20Introduction%20to%20Materials%20%26%20Textures.wav",
"text": "Alright, so before we continue and placing all of the assets inside our level, I wanted to explain to you what materials are and what textures are, so we get a better understanding of what all of these assets do. To begin with, I want to click on this texture, the cliff that we downloaded, and I'm going to click Ctrl C to copy it, and inside of the content folder, I am going to paste it. Now you don't have to follow along with me in this video, I just want to show you what the different things are and I just copied this texture so I have something to work with. I have also created a basic sphere through clicking create, shapes and sphere and I want to apply a material to this sphere so you can see what materials are. To create a material you can right click down here and click material. And as a good naming convention, you start the materials with M. And I'm just going to call it cliff. We are going to delete this one later, but I just want to show you how this works. And you can double click materials to open a new window. And this is the material graph. So what a material is, it consists of different textures and these textures will define the look of the item in the end. So to begin with we have this texture called Nordic Coastal Cliff and you can see here on the top right it says texture and with this one on the top right it says material. So this texture we can drag into our material graph and it will create a texture sample and this texture is the basic color so if I double click this texture it's looking very weird but this is how textures work they are created inside of the texturing program or inside of Photoshop and these textures and this texture is a basic color so if I open my material graph again I can drag this RGB and link has now the basic color on it. I can apply this material to my item or to the asset, 3D mesh that I have, by holding and dragging on top of the mesh. Or I can hold it and drag it over to the material section inside of the Details panel. But remember, now if I put it on here, it will add it to my ground. Because you can see, currently I have selected my ground. But what we want to do, you can click on your sphere and then you can drag it over to the materials. You can see here now it has, if I maximize it, click 11. I now have the material on top of the sphere I made. So now it has the basic color of the cliff texture. And I can add or I can edit some properties on this. If I double click and open the material graph again, you can see here I can give it a metallic texture. I can give it a specular texture, a roughness texture and so on. So if we go over to the other assets that we have, you can see that it has a basic color texture. It has a normal map. So this is also a texture. And this is actually this one called normal. So for example, for this cliff, if we can go back to the cliff, see if we can find it. This one, it has this normal map and you can click and drag and place it and you can drag it over to the normal map. Okay, so now it has more detail. The normal map will give, you can see here, it gives the material or the mesh more detail. So if I disconnect it and I click save again, you can see it loses more detail. So normal maps will give the mesh more detail. And if we wanted to add a metallic value to it for example we can hold the one button on the keyboard and click on the graph you will create a constant parameter and you can also create this by right-clicking on the graph and writing constant and the same thing appears. So with this constant parameter we can actually add a value to these values over here. So I will link this one to the metallic and currently it's set to zero but if I put it to one so the item we have will be fully metallic. You can see here it changes the color once it saves. Now it looks very metallic. The same thing if I delete this one again or actually I just I'll just unlink it save again and if I connect it to the roughness now the roughness if it's one it means it's fully rough so it looks dry but sometimes it's raining inside of your game and once it's raining we want to make this look more wet so for example if I put it to 0.5 and I click save you can see it has a subtle wetness to it If I go fully crazy with it and put it to 1 Now it's I mean 0 sorry now it's looking very wet from the rain All right, and this is pretty difficult to see with this texture, but it this is how it works Okay, so this is how it works. the texture. does all of this for you. So this was it for the materials and textures and in the next lesson I want to explain what material instances are and what master materials are.",
"language": "en",
"duration": 419.52,
"timestamp": "2025-11-26T13:46:07.580655"
}
|
2025-11-26T13:46:07.614906
| 72.540164
|
001 Introduction to Quixel Megascans.wav
|
{
"audio_file": "001%20Introduction%20to%20Quixel%20Megascans.wav",
"text": "Now that we have the basic understanding of Unreal Engine 5 and the interface, it is time to import some assets and work with our level, the beach scene that we wanted to make. So before we make the level and import assets, I want to talk about the Quixel Megascans. Megascans is a library made by Quixel and it's a library full of scans, 3D scans and surface scans and foliage scans that you can use for Unreal Engine and the project you're creating. And this goes for both film and the games you create. So this is a very, very nice library. And since you're working in Unreal Engine and Quixel has partnered up with Epic Games, all items inside of the library are for free. Now you don't have to follow with me in this video, I just wanted to show you the library that they have with the scans we are going to use inside of the project we are creating. So inside of the library, they have inside of the website, you can see all of the items we can download, and there are different assets. You can see here 3D assets, they have 3d plans and this is very useful like plans inside of games are so Painful to make so this is very nice that they have all of these assets and remember it's all for free since you're using Unreal Engine I Remember before when I used it a couple of years ago. They didn't partner with the Unreal Engine or With Epic Games and I had to pay for every single asset I had to get which was pretty expensive and now that it's all for free so it's pretty cool so if you're using Unity or something else you have to pay for the assets but since we are using Unreal Engine this is all for free and you can see here there are surfaces you can download and the library is endless like there's so many things you can download and by the way I'm not sponsored since I am trying to endless So they have so many cool things inside of the library and you can view your collection or the collections and you can view the metahuman which is a new thing that is created if you have heard about it. So these are realistic looking humans or characters and they are fully rigged and you can customize them. So this is pretty cool and here are some free assets if you are not using Unreal Engine. So this is a pretty cool library and we are going to use the assets within this library. So and the game will look very realistic because all of these scans are from real life so they will automatically look insanely good inside of the engine. So inside of our project what is really nice is Unreal Engine has added the Epic Games or the Quixel content button and in here this means you don't really have to go inside of their website and download bridge like if we went back here if I just click back to the Quixel website I just write it back here again. Inside of the Quixel website. that you have to sign in with up here and that is it. So this was it for this lesson and this was a short lesson just to explain to you what Megascans is. Pretty cool library to use endless and you can create whatever you want, whatever you can imagine. And this library is getting bigger every day. They are adding scans daily. So let's go over to the next lesson and we will talk more about this bridge add-on.",
"language": "en",
"duration": 292.18,
"timestamp": "2025-11-26T13:46:06.979828"
}
|
2025-11-26T13:46:06.988802
| 71.913886
|
001 Level of Detail.wav
|
{
"audio_file": "001%20Level%20of%20Detail.wav",
"text": "Hello and welcome back to this section about optimization. The first thing we want to talk about is level of detail. So before we talk about level of detail I actually want to show you that you can make the ground look a lot better by adjusting the normal map amount or normal strength. So if you open up the blend material that you're using for your scene you can go down inside of the blend material into the normal strength. So if you pull this away, you can see middle layer normal strength. And there's also a base layer normal strength and a top layer normal strength. So I'm going to enable all of them. And right now the strength is one. So if I go down here and while I'm looking at my scene, I can adjust this. So for example the middle layer normal map. If I increase it you can see the ground gets more detail. So if I crank it up to 10 and make it crazy this is going to make it go crazy. And this one we can adjust to actually give more detail to the ground. So let's try to make it four before we go to optimization. Now let's see what 4 looks like. And we can try to make this full screen. And this is actually looking way better than before. Like before, it was on 1. This is very flat. This is the top layer. And on 4, you get a lot more detail. So let's give it 4. You can also crank it up to something else if it looks a lot better but I think this is too high. I think 4 is looking pretty good so let's keep it at 4. Okay so right now we want to talk about level of detail. So what level of detail is let me jump out of this pilot mode and what level of detail is is for example this box when I'm playing the game and I'm moving away from this box, I don't want to render all of the details for this box. This will be a waste of my power from the computer. So for example, let's go back to the wooden crates. And this one, you can see that the triangle amount is 1100 and if I double click it and I go close to it you can see it's 1100 and if I go away from it it decreases to 550 if I go further away from it it decreases even further so this is called level of detail and it actually makes the model look worse when I go away because why do you need to render every single detail when you're standing far away you can't even see the small details and this is how the engine handles the optimization it doesn't render all of the small details that you would otherwise see if you're standing very close to the model. So this is called level of detail and you can adjust the level of detail for each model and you can also adjust when to make the model look worse like how far should you just stand away from the model. So this is called level of detail and you can actually see this is happening with our grass. If you look at the one further away they change. You can see here all of these grass are actually changing and this is called level of detail. In my opinion this is too close like the player would be confused of why the grass is changing like this. We have to make it so subtle that the player do not realize that this is actually changing. For example, this box is actually changing right now, but you can't really see it. So this is how we want to do it. So to take a look at the level of detail, you double click the model and inside of the model, you have all of these levels of details so you can actually view them I'm going to decrease the camera speed to 2 and you can view them by scrolling around in the level of detail so you can see this is the level of detail the worst one and this is the best one so this is how it looks when you're far away but you can't really see it when you're far away so this is a good thing to do to decrease the power used and optimize your game and increase your FPS. The way to change the distance from the LODs is you go inside of here and you choose what LOD you want to change. Inside of this LOD for example LOD1, here you can click on this called Auto-Compute LOD Distance. You will disable this and here you can choose the distance on which you want to change it. For example, the lower the screen size, the further away you need to be for it to change. For this grass, for example, if we wanted to edit it, we had to decrease the screen size so it didn't change this quickly. For example, maybe this is a large level and I actually only want to change the grass when I'm standing over here so the player is not seeing that this is changing. I don't want to change the LOD when I'm this close. In some cases you can do this if the LOD change is not too drastic. So you have to go in every single model and actually do this. So for example, the LOD for this bottle, I can click on the water bottle, click on the model, and you can see when I get closer, the LOD or the the triangles increase. If I go away, it decreases. You can choose when to increase and decrease the size. So actually I think this is this is actually pretty good. Unreal Engine does a good job. But if I wanted to change the distance, I can choose the low D1. This is the 550 triangle one. And the low D2 is the 274. So for example, this one, I can remove auto compute the distance and I can choose for when to change it. So I think this is fine for now. This is only for the 3D models, so something like decals, they don't have LODs, it's only 3D models that have this.",
"language": "en",
"duration": 417.73,
"timestamp": "2025-11-26T13:46:12.907934"
}
|
2025-11-26T13:46:12.913258
| 77.837989
|
001 Lighting an empty level.wav
|
{
"audio_file": "001%20Lighting%20an%20empty%20level.wav",
"text": "Hi everyone, Rick here and today we're going to be learning about landscapes and I'm really excited to be here to bring you this tutorial because landscapes is a lot of fun and I'm sure you love it. And with landscapes, you can create your own little terrains and a Rio using these amazing tools. And yeah, let's just get right into it. So I am currently here on a new basic level and a third person scene. But what we're going to do is we're going to create a new level. So let's press control space to go to the content drawer. Here we can create a new folder called levels by pressing right click and new folder. I already have one here. So I'm just going to go inside and we're going to press right click new. So create basic asset level. Here we're going to create a new level. So let's name it landscape. I'm going to do landscape two because I already have another one there. Landscape two. So I'm going to double click it. I'm going to say whatever I need to save here, and we're going to go to our new level. So here we are, we just created a new level. There's nothing on it. It's pitch black. So let's create the terrain first, and then we're going to light it up. So let's go to the landscape editing mode. You can also press shift to or you can just go up here. And to do to create a new landscape, we're just going to go to manage and we're going to set to new and we're going to do create new landscape pretty simple, pretty straightforward. And here you can master all of the settings. I'm not going to go into much detail here because you don't need it just yet. But if you want to change the resolution of your map or like the section sizes as you can see like by the square tiles, here's where you would do it. Also, here's the place that you would import your height map if you actually already generated a new terrain from another software, which we'll go into a little bit later down the course. But for now, let's just stick to the simple and let's just create a new landscape by pressing the Create button. There you go. As you can see, I'm moving my cursor around, and it actually created a huge plane where we can start building and you know do creating our level. As you can see we're still missing something and of course we're missing the sky and the light of our world. So what we're gonna do is we're gonna go back to editing mode by pressing shift one or you can go up top there and press and press the select editing mode. And what we're gonna do is we're gonna hit all the way down all the way up the top left and we're going to go create lights directional light. So this is our first light of the scene. We're going to set to movable here on the right for the details. And we're going to go all to scroll all over it and find atmosphere in cloud. And here we're going to activate atmosphere sunlight perfect, and which is going to allow us to actually go in to create all the way in the top left and pull the sky atmosphere and this is going to light up our scene. As you can see, you can still see the ground, but if you press Ctrl L and move your cursor around, you actually change the position of the sun. So now we can position them to light our scene just right here. It's good. Perfect. As you can see, the sun is over there and it's actually lighting our entire scene. We also need to create a skylight. So let's go all the way to the top left. Let's click lights, skylight. And this is just so it bounces off the light from the sky to our game or our level. So the only thing that we need to do is skylight is activate real time capture. Perfect. There you go. And yeah, she just lighted your first scene. Congratulations. But as you can see, there's a black on the there's like this black pieces spots on the level and we want to get rid of we're going to do is we're going to go all the way to the top left again, press create visual effects., and we're gonna get our Exponential Hight Fog. Perfect! That got rid of the black background, but we still have stuff to do. If you press again Ctrl L and aim the sun downwards as if it was a night, it's not nighttime. This is definitely not nighttime. So what we need to do is we need to change the fog in Scattering Color to black. So keep up with me. And we also need to change the directional in scattering color to black as well. Perfect. Now I can see everything is black whenever it's night. And if we pull up the sun again, everything seems normal, but there's still one step left. And so what are you going to do is you might still be seeing the black on the horizon. And to fix that, you just go to edit. Sorry. Yeah, you just go to edit. the please make sure to restart your game so the changes can be made effective. And there you go. Congratulations. Now is a perfect, it's a perfect level that is lighted. Cool. All right. I'll see you in the next tutorial. We're actually going to start scoping the landscape here. So don't miss out. See you there. Thank you.",
"language": "en",
"duration": 330.48,
"timestamp": "2025-11-26T13:46:03.998199"
}
|
2025-11-26T13:46:04.003488
| 68.92794
|
001 Moving between levels.wav
|
{
"audio_file": "001%20Moving%20between%20levels.wav",
"text": "Hi everyone, welcome to a brand new tutorial about levels. So today we're going to be learning how we can switch between different maps in Unreal Engine. And this is really useful whenever you're creating a game or you're creating a scene and you want to switch levels in between, so switch your own maps. And to do that, so let's first go to the third person default map that we have here. To do just go to your content drawer, you can press Ctrl Space, go to your third person blueprint, go to Maps, and it should be there, the third person example map. So I'm just going to open it up. It's the same map here. And here we have, this is the default level that comes with Unreal. Perfect. Once you're here, what we're going to do is we're going to go and press on our third person character, and we're going to go all the way to the top right here and click Edit Third Person. So here we're going to have our third person character blueprint. So it's going to open up on a new tab. You can always like dock the tab on top there. And you have your third person character right here. So you have their viewport, you have a construction script and an event graph. So what we're going to be looking over right now is the event graph. Here you can see all of the programming that has made to make this third person moveable and to actually react to inputs. So as you can see, you have the movement here, you can add input. Here's all the programming that goes in it. And we're going to be working on this event graph here. So what we're going to do is actually pretty simple. We're going to go to an empty space, you can be around here, and we're going to right click it, and we're going to search for level. And then you can, you're going to see that you have a lot of like level functions here, and we're looking for the open level by names, you're gonna click that. Perfect. Cool. And what this function does is just it takes in a level name, and opens a new level. Pretty simple. That's what we're trying to do here. So let's go back real quick to a third person example map, let's open our content browser and let's search for the map that we want the person to travel to. So I have, so if we, you have been creating your folders the same way as I've been, we have levels here and we also have our landscapes. So actually I'm working with landscape too. So I want my player to spawn on landscape tool whenever I take an action. So let's go back there and let's set the level name to level two simply by just typing in perfect. So we still have we still have to trigger this open level with an action. And the way I'm going to choose here is I'm just going to simply use the tab key on my keyboard to actually transition levels. In order to do that, just right click on the blueprint and let's search for the tab key tab. There you go. It's going to be under input under keyboard events. Just press it here. Perfect. Now, whenever we press the key, we want to open the level. So just drag it to this top one here, which is just saying it's a continuous flow on the programming, which means that it's going to execute this function right here. And that's it. That's how you actually open a new level. So let's go and compile, make sure it compiles perfectly get the green checkmark. Let's save to the third person example map. Actually, before we execute that, let's press Ctrl Space and let's go to our landscape to save selected. Let's go to this empty space right here. And let's drag the player start. So let's hit the top left. Let's hit create. And let's go all the way down to player start. So this just indicates that the player is going to start here whenever it spawns. So for you to drag it to the bottom and actually starts on the ground, you can just lift it up or just click on it and just press the and key. This is going to snap it to the ground. So if I hit play now, I should be spawned right here on the ground at this area that we put the player spawn. Perfect. So let's press ask. Let's save this level with control S and let's press control space and let's go back to our third person example map. Another easy way of doing that is going to content or wherever you want, yeah, going to content and adding a level feature, a level filter, as you can see, mine's already here. And then you can click on your third person example map super quickly. Perfect. Let's deselect the feature. And there we have it here. So let's try to press play. And now what I'm going to do is I'm going to press my tab key. And this should actually open the landscape to level and spawn me there. So let's see. Tap. Oh, we got an error. Of course we get an error. So what is going on? So to debug this, we're going to go to the third person character, and we're going to check. Oh, my level name is level two. That's not where I wanted to be spawned at. I want to be spawned at landscape to perfect. There you go. So it's a quick debugging. Let's compile again, save third person example. Let's save this again. Let's press play. And if I now press tab, it's going to go to my landscape too. Perfect. As you can see, I typed in level two as a mistake. So we actually got an error. So you can see what the error is like whenever you type something different there, you type a different level name. That's what it's going to happen. But as you can see, I press my tab key and I actually spawn in this world. And if I press my tab key again, it's actually going to bring me back to that spawn because that tab keys hooked on to the player's blueprint, which is shared between the maps. So it's always going to spawn me here because it's going to open this level and it's going to assign the player start to the third person. And that's how you do basic level triggering. On the next episode, we're going to see how to actually walk into a box and spawn a new level. It's super simple and I hope to see you there. Thank you.",
"language": "en",
"duration": 371.88,
"timestamp": "2025-11-26T13:46:29.750760"
}
|
2025-11-26T13:46:29.756545
| 94.680701
|
0010_Chapter_conclusion.wav
|
{
"audio_file": "0010_Chapter_conclusion.wav",
"text": "We now know that Motion Design can give personality to your website and make it look really cool with the use of the perfect easing and timing. But more than just making your website look good, Animation can actually help guide and inform the user by showing them how they can use a platform and focusing their attention on key elements. It's have a really nice animation that you would like to do but it would take up 50% of your development time, you have to ask yourself, is it worth it? It might not be. As a designer, having a good notion of what can be done in front of development will help you make more responsible decisions when thinking about motion. Alright, so we just saw the key principles to help you create motion design that actually serve a purpose. Now, we're finally ready to jump into After Effects and make the magic happen.",
"language": "en",
"duration": 97.98,
"timestamp": "2025-11-26T13:45:12.144810"
}
|
2025-11-26T13:45:12.149954
| 17.073514
|
0011_Intro.wav
|
{
"audio_file": "0011_Intro.wav",
"text": "There are many prototyping tools out there to help you animate your design, and most of them, want to create something different, something unique, something you've never seen before on any website? There's a good chance you won't be able to do on anything. You'll actually end up with a video file. So you'll have to fake any interaction and show what would happen if the user clicks or overs a button. After effect was not made for this kind of work at first. It was intended to build complex animation and special effects for movies. But designers ended up using it anyway. It may not be the easiest application to learn, but since it's made by Adobe, most of you shouldn't be too lost because it's similar to Photoshop, InDesign and Illustrator. And you really don't need to know it from A to Z to create nice animation. I've been using it for years and I only know a small part of it. In this chapter, we'll go through every step needed to create a motion of your design in AfterEffect.",
"language": "en",
"duration": 99.22,
"timestamp": "2025-11-26T13:45:16.961947"
}
|
2025-11-26T13:45:16.966473
| 21.889707
|
0012_After_Effects_Importing_your_design_files.wav
|
{
"audio_file": "0012_After_Effects_Importing_your_design_files.wav",
"text": "Alright, so before importing your design files to After Effects, you should always try to prepare them accordingly. Right now I'm in Sketch, but whether you're in Figma or WXD, you should do the same steps. So the first step that you should do is make sure that your layers are named correctly and that you have joined them into groups, smaller groups. By doing so, you will make sure that once you import your files to AfterEffect, that everything will be easy to find and it's going to be way easier to animate because when you import your design files to AfterEffect, you'll notice that all the groups will be transformed into compositions because they aren't actually any groups in the layers for On After Effects. So instead of groups, you'll end up with compositions. We'll talk more in details in the next chapter about what exactly are compositions, but if I was to compare, it's a little bit like smart objects in Photoshop. So by doing so, you make sure that you don't hand up with hundreds of layers that aren't named and really hard to find on After Effects. So this is the first step. Once this is done, I recommend keeping only the elements of your design that you actually want to animate in After Effects. So instead of importing the entire page here, the entire homepage of this homepage for the website of the city of Varenne, if I only want to animate the top part, what's above the fold, I'm going to take out and delete everything that's beneath the fold. So I'm just going to select everything here, this picture here, and make sure that my artboard is just the size of what I want to animate. So now I end up with only the elements that I actually want to animate. And these elements are the only one that will be exported to After Effects. Alright, now I'll show you step by step how to export your design files to After Effects, whether you're using Sketch, Figma, or Adobe XD. It's really quite simple. The simplest one is really Adobe XD because since After Effects is also an app from Adobe, the two applications really talk well to each other. So it's really super easy to do. All you have to do is select your artboard. If you're in XD, you select your artboard that you want to export. So in this case, I only have one. But if I had many, just like the one that you want to export, then go to File, Export, and you have here export to after effect. So you just click on this and now if you go to after effect You can see that your design file was imported. So everything is here. You have all of your different layers. All of your groups are now compositions and You're actually ready to animate. So I'm not we're go right now through what is everything. This is going to be in the next chapter. I'll explain the workspace and how to use After Effects. But this is what you'll end up with when you export your files from Adobe XD. If you're using Figma or Sketch, it's a little bit more tricky. There might be other ways, but the easiest way that I found was to install a plugin that is called AEUX. So I'm not sure exactly how you're supposed to pronounce it but from now on I'm just gonna say AfterEffectUX. So AEUX, AfterEffectUX. You can download the plugin from the website AUX.io. You simply go to the download section and you can see here that you have for sketch or figma one single download file So you click on this you download the file Then you end up with this zip file, I'm just gonna unzip it right now and in this file in this folder you have everything to install it to Figma Install the plug into Figma and install the plug-in on AfterEffect and install the plug-in on Sketch So let's start by installing the plug-in to AfterEffect So before you can install actually install the plug-in to AfterEffect you have to install the an app that is that will allow you to install this.zxp file. So to install the.zxp file you need to install the zxp installer. You can simply go to the ai-script.com page where you download the zxp installer. So I'm on Mac so I'm just gonna click here and download it. Now I double click on the dmg file and I get this where I can simply drag the zxp installer to my application folders. It's already installed in my case, so I'm not gonna drag it again. And now I open it up, ZXP installer. And I can simply drag the ZXP file directly in it. So just take it here, drag it inside. You are about to install a Afterffect UX to AfterEffect. Okay, enter your password. And there you go. AfterEffect UX was installed successfully. Just close it. Now if I go to AfterEffect and I go to my extensions, I have AEUX that's available. Next you also have to install the plugin on Figma or Sketch. So if you're using Sketch all you need to do is double click on this AUX.Sketch plugin file. So you double click here. I already had it installed so I'm just gonna say replace and you should get the plugin installed successfully message. So it's really that simple. Now how do you take your artboard and export it to After Effects from Sketch? All you have to do is select the artboard that you want to export, go to Plugin, AUX and Send Selection to After Effects. So you click on this and it opens up a window asking you where you want to save your file. So after effect works the same way as InDesign does. You have to have your links, your files, so either pictures or videos or sound or whatever kind of file you want to import to AfterEffect. You have to add them in a folder next to your AfterEffect file. So you simply create a folder that you can call images and this is where all the pictures that you have in your design files will be saved. So open and now you have your design file imported in AfterEffect. You have all your different layers here all your groups are now compositions and you're ready to animate. And for people using Figma it's really quite simple to install the plugin also. All you have to do is go to the Figma app go to Burger menu, plugin, development and new plugin. So here you have to select the manifest.json file that you downloaded. I'm just gonna click here and select the manifest.json file that is in the AUX Figma folder. I open it. And now the plugin should be installed. So if I go back to the Program menu and look at plugin development, I have AUX that's available now. Alright so now all I have to do is select the artboard that I want to export to AfterEffect. So I select this one here. I go back to the plugin development AUX and I click on send selection to AfterEffect. Again, I have to choose where I want to save my images. So I'm just going to create a folder, images, open. And now it's sending all of my design file from Figma to AfterEffect. I have all of my folders, layers here with my groups that are compositions and it's ready to animate. So now that we have imported our design files to AfterEffect we're finally ready to start playing around and look at where everything is.",
"language": "en",
"duration": 618.09,
"timestamp": "2025-11-26T13:46:58.062738"
}
|
2025-11-26T13:46:58.070368
| 122.993448
|
0013_After_Effects_Workspace_and_compositions.wav
|
{
"audio_file": "0013_After_Effects_Workspace_and_compositions.wav",
"text": "We're finally ready to open After Effects and look at where everything is and how it works. I know the interface may seem overwhelming at first, but it's actually pretty simple. It's similar to what we're used to with Adobe applications like Photoshop, Illustrator and InDesign. The first step when you arrive on After Effects is to create a new composition. So to create a new composition you can either just click on this zone here, new composition button, or you can go in the composition window and click on new composition. So the two of them do exactly the same thing. I'm just going to click here and when you click on new composition you get this composition setting window So this is where you you decide all the settings of your new composition that you're about to create So what is going to be the size of the new composition so you can write here the the size that you want your artboard to be I'm just gonna leave it at 1920 by 1080. All right. Next, we have different settings that I usually don't necessarily change, like the size of the pixels. Since it's for web, we're going to leave it square pixels. You have the frame rates. So the frame rates for people who don't know is the numbers of frames per second. So if you have a higher frame rate, like 60 frames per second, the motion, the animation are going to look really smooth. But if you go with a lower frame rate, like a frame rate of eight frames per second, then you only have eight images per second to create your movement. So the movement will be less fluid. I recommend going at least 24 frames per second to have something smooth. But we can leave it at 60 frames per second here. After that we have the duration. So this is where you set how long your composition, your animation will be. So right now it's set at 1 minute 66, 56 seconds. We could decide to put it only at 30 seconds. So here, by the way, it doesn't matter if we put 30 seconds and we decide afterwards as we're working that maybe we need it to be a bit longer we can change that at any time So for now, I'm just gonna leave it at 30 seconds I recommend if you're not sure how long you're going to need I recommend making it a little bit longer than shorter because it's easier to just shrink Reduce the size of your composition afterwards then it is to make it longer. So Let's say I know that I want to do about a 20 seconds animation I guess 30 seconds is good because if if it's If it's a bit longer, I'll have the wiggle room there The last point is the background color So right now it's set to a kind of light gray. You can decide to put it whichever color you want. You can put it white. And then when we're ready, we can also give a name to our composition. So I'm gonna say motion. And now we're ready, we just play on okay. And we get our new composition here. So what you see here is really your artboard that you just created. You have your composition on the left here. And you can zoom in your artboard. Right now we're at 50%. If we go at 100%, my window is a bit too small so I don't see everything. So I'm gonna stay at 50%. So this is where you can change the zooming. And you can decide to change the quality also. So here it's set at the quarter, so that means that we're gonna render only at the quarter of 100% quality, so only 25% of the quality. this will make it less visually appealing because it's going to be a pixelated but it's going to be way faster to to process and to preview my animations Sometimes I like to leave it only to automatic so right now it's since I'm at 50% of zoom it's at 50% of processing so it doesn't process at 100% of the quality because I'm just looking at the artboard at 50% but if I zoom at 100% now it processes it at full quality. Now let's take a closer look at the workspace that we have in After Effects. In the middle here this is where we have our composition panel. So in our composition panel we have our artboard. It's in the artboard that you're going to be able to create shapes, place pictures, videos, graphics. You can write some text. So this is really where everything visual happens. You can move the elements around, place them where you want. And later on, we can make the animations. On the right here, this is the tools that we have. We have all the regular tools like alignments, characters, so we can change the size of our text, and the color and so on. We have the paragraph, we have effects. Next we have at the left here, this is our project panel. So the project panel is where all the links will be. So just like in InDesign, where you have all of your links available in the links panel, this is kind of, in AfterEffect, it's the project panel. So here, right now, we only have one thing. It's our composition. We have our motion composition that we created earlier. We could have more than one composition in the same After Effect file. We can have multiple compositions. We can place compositions inside other compositions. This is where we're also going to have all of our pictures and videos. So let's say we want to import pictures to our After Effects document. We can just go ahead look at the pictures we want to import and drag them directly in our project panel here. So now we have access to all of these pictures that we can just drag on our artboard and that we're going to be able to animate afterwards. So this is one way to do it. I'm just going to delete them right now. When I delete them from the project panel, obviously they get deleted from my artboard. I could also just double click on the project panel and select what I want to import or I could go into file import file and import my files from there. We can import different types of files. We can import pictures, we can import videos. So if we import a video, we can place it and it starts playing. We can import sounds, so music. We can also import PSD files or After Effects files or Illustrator files also. So if you want to import the PSD files on which you have different layers and you want to keep those there separated so that you can animate them. You have to be to select your PSE file and make sure that you select composition because if you keep it at footage it's gonna flatten everything that you have so you're not going to be able to animate the different elements but by selecting composition and retain layer size, open then you click on OK and different layers here and that can be animated individually. This is perfect. This is what you want. You could do the same thing with an Illustrator file. Just make sure that your different elements that you have, either on Illustrator or Photoshop, that you want to animate individually. Make sure that they are on different layers in your Docu... design file so that once you integrate it to After effect, they are still on different layers. Now let's go back to our motion composition here and let's look at the bottom here at the last panel. So this is the timeline panel. This is where you have your seconds. So zero seconds to 30 seconds here at the end. This is also where you have all of your layers. So this is where you're going to be able to animate your layers on the timeline. The timeline here starts at 0 seconds, finishes at 30 seconds, but at any moment if we want to make it shorter we can go back to the composition and composition setting and change it, make it maybe 20 seconds and now it lasts only 20 seconds. Right now nothing is happening when I move around from 0 seconds to 20 seconds with my this blue line here that is called the current time indicator. So usually if I had an animation created already by moving this around from left to right I would be seeing my animation here in my artboard but since we didn't animate anything yet, nothing's happening. So we see as I move it around, we see here the seconds that go up and indicating at which exactly moment we are in our artboard here. We can zoom in our timeline if we want to focus on the seconds between 6 and 7, simply put your time indicator around there and zoom with this handle here between the two little mountains. If you push it right, you'll be zooming in so that you see more in details where you are between the 6 and 7 seconds here. If I push it to the left. I go back to seeing all the 20 seconds. I can do the same thing with the end hole here at the top So if I push it to the left, I'm zooming in Different part of my timeline I'm just gonna leave it here. So that I see the entire 20 seconds And yeah, you you have your layers here that you can still move around and that you can also move the order of. So if you have the text here that is above the layer of the shape, if I put my text and put it on top of the shape, it's going to be visible. But if I change the order and I put the shape on top of the text, obviously it's not going to be visible anymore, just like it would in Illustrator and Photoshop and those other applications. So you have to make sure to have the right order that you want. And now we're actually ready to start animating our layers.",
"language": "en",
"duration": 789.87,
"timestamp": "2025-11-26T13:47:26.822527"
}
|
2025-11-26T13:47:26.827661
| 151.750618
|
0016_After_Effects_Exporting_your_animation.wav
|
{
"audio_file": "0016_After_Effects_Exporting_your_animation.wav",
"text": "Now that our animation is completed, it's time to export it as a movie so you can show it to your clients and your development team. So the first step to export your animation is first of all to crop your composition to the desired area that you want to export. Because right now, as we can see in our timeline, we have a timeline that goes from 0 all the way to 55 seconds. So if we leave it that way, when we do our export, we're going to export all of the 55 seconds. We're going to have 45 seconds of nothing. So we don't want that. We don't want to have a really long movie for nothing. So all we want is the first, I guess, 12 seconds of our animation here to show our clients. So to crop our composition, all we have to do is select our work area. So these handles here can change the work area and will change what will be exported in your composition. So we want to export from the beginning to only about 12 seconds. So I'm just going to zoom in here and put the end at 12 seconds. All right, perfect. So now we're ready to export our composition here, but only the the 12 first seconds To export your composition all you have to do is go to composition at the top here and Go to add to Adobe Media Encoder So in order to export your your After Effects file into a mp4 file So a video file that you'll be able to share online, you have to export it through Media Encoder. So you click on Add to Adobe Media Encoder, which is another application from Adobe that I have opened here. It comes with the Adobe Suite and it comes with AfterEffect and we use it to export and convert video files. So now I have my composition that just appeared here. It can take a few seconds to appear and we want to export it to a desired location so we decide where to output our files. I'm just going to name it Pongeram Motion. the presets, that's where I'm going to go and select the preset that I want. So the MP4 preset for videos. And now it opens up our export setting window in which we see that we have only the few first seconds here that are going to be exported. And we go into format and we have to choose H264. So this H264 is the usual preset that we use for MP4 videos. It's really well compressed and not too heavy. So I'm just gonna use this and leave it at high bit rate. We could choose medium bit rate also to have something that's a bit lighter. And we just click on OK. Now we're ready to export. So we have to press on the little play button here to start exporting our video. Right now it says start queue, but it's because we could have multiple files here and export them all at once. Right now I only have this one, so I'm gonna press the play button and we see that it's processing my video. And in a few seconds seconds here we see a 50 seconds we're going to have a video that is ready i'm just going to jump right away to that point all right so now the video is exported i can just go to my desktop and i see that i have my mp4 file with my video of the animation that we just created together for After effect doesn't export the background color so if you don't put a shape of the background color that you want in the background of your of your composition you're gonna get a black background even if your composition was on white here My settings if I changed it from dark gray to white It would export with a black background. So it doesn't take into consideration the color of the background in the setting when you export it. So you have to create a shape. That's what I do. I create a shape of the right color. I just put in my composition at the bottom and now if we were to re-export it, it would be the right color.",
"language": "en",
"duration": 365.61,
"timestamp": "2025-11-26T13:54:20.950009"
}
|
2025-11-26T13:54:20.955316
| 68.083714
|
0017_What_is_Lottie.wav
|
{
"audio_file": "0017_What_is_Lottie.wav",
"text": "So, you've created a nice animation in After Effects and you would like to integrate it into your website. You could export a video file like we just saw in the previous chapter, or you could use Loti, a free library that renders After Effect animation into code. With Loti, you can export your animation into a single.json file that can then be integrated into any website. This is way better than using a video file because it's less heavy and loads really quickly. Let's take this animation for example. Exported as a video it weighs about 3.5 megs. But as a json file created with Loti it's only about 250 kilobytes. That's a pretty big difference. And if you have a lot of animation on your website, it can add up really fast. And even more importantly, it keeps all your shapes in vector format. That means that your animation will be perfectly crisp on all resolution and devices. And since all the elements are in vector format, the developers can actually change their color and change the color of the background, just like they could with a SVG file. Another reason why Loti is so useful is that the developers can control the speed of the animation. They can make it play at the intended speed, but they can also speed it up, or slow it down, and the animation will stay at the same frame rate. So it won't look jumpy even if you're slowing it down by a lot, unlike with a video. The developers can also decide which keyframe to play. So let's say you have an animation with different steps inside. You could decide to animate the first step when you arrive on the website, then animate the second step only when you reach a certain point in the page, and then the third and the fourth. You could also decide to reverse the animation to make it disappear at the bottom of the page. All of that in one single file that weighs less than a meg. This is so useful because the developers no longer need to write thousands of lines of hard to maintain code. Now, as a designer, you can do it way faster directly in After Effects. It also gives you the bragging right to say that you coded part of the website by yourself.",
"language": "en",
"duration": 154.24,
"timestamp": "2025-11-26T13:53:38.819319"
}
|
2025-11-26T13:53:38.825929
| 25.953731
|
0018_Animating_and_exporting_your_animation_in_Lottie.wav
|
{
"audio_file": "0018_Animating_and_exporting_your_animation_in_Lottie.wav",
"text": "Okay, now let's get started with Loti. First of all we can go on the LotiFile.com website where there is a lot of information about the plugin. You can also see many examples of animations that were done with Loti, So this is pretty cool. You can click on examples and see how it works. You can change the speed because all of this is done in code. If you remember, you can change the color of the background, whatever you want. And you can even download the JSON file if you want to use it. So there are a lot of free animations that are already created. But we'll see now how to create a Loti animation by ourselves in After Effects. The first step is to install the plugin Loti on your After Effects. So to do so, you go on the lotifiles.com website to the section tools and Adobe After Effects plugin. By clicking on that, you arrive on this page here. I'm just gonna stop the video So on this page you have More information about Loti and you have the download by a plug-in button here So you need to click on that to download the zxp file I'm just gonna click right now. It starts downloading There you go. I have it Now we have our zxp file just like we did when we installed the AEUX plugin. We're gonna have to use the zxp application. So I'm just gonna go here to my application and open the zxp installer. And I'm going to simply drag this zxp file inside of my zxp installer. You are about to install Loti. Yes, okay. Then enter your password. And now Loti file was installed successfully. So it's now available on AfterEffect directly. So if I go to AfterE and I go into Window Extension, I now have a Lodi file. I also have BodyMove-In. So BodyMove-In is the same plugin as Lodi. It's just another version of the plugin. So you can also use BodyMove-In, ZXP, instead of Lodi. Both of them does the exact same thing. It exports your animation into a JSON file. So if you prefer body moving you can just click type body moving ZXP in Google and it will turn out the latest version on GitHub. And you can simply click on download here. Download the Zxp file it's gonna be ready in just a few seconds and then you open it up in zxp installer simply by dragging it inside and you're you're installed to After Effects and now we have both extension available in After Effects, Body Move In and Low T. They both do the exact same thing. It's really just a question of some settings that are different so you can use the one that you prefer. What's fun about Low T is that you can pretty much export any kind of animation that you're going to do in After Effects in code. Almost everything works but unfortunately not everything is supported yet. There are still a few effects that don't work correctly when you try to export an animation from After Effects with body moving or Lottie. Like there will be some expressions that won't work, maybe you'll have some problems with masks or some text effect, distortion or other kind of effect. So here on the Airbnb.io website you can see all the supported features because yes, Lodi is an application, a plugin that was built by Airbnb and you see what is supported, so the shapes, the fill, almost everything works but there are some effects like blending modes, some masks, some text effect that won't work perfectly everywhere. some JSON file that doesn't wait a lot and that is fully a vectorial. So let's say we start from this illustration here made in Illustrator. As you can see everything is in vector format and in order to be able to animate it in After Effects, it's important to make sure that all of the different elements that I want to animate individually are split on different layers. So as you can see in my layer window here, all of the different elements in my illustration that I'm going to want to animate individually in After Effects is on an individual layer. So I'm just going to go to After Effects now and import this illustration in After Effects. So in After Effects, if I double click on my project panel, I can import any file I want. I'm going to select my illustration that I was showing you just a few seconds ago. And it's important that I choose composition instead of footage here. By choosing composition, I make sure that I retain all of my layers and composition retain layer size will, I'll make sure that all of my layers will be constrained into their particular layer size. So this is what you want to choose. If you choose footage, your illustration will be completely flattened so you won't be able to animate the individual elements. So I'll import this, just click on open. Now I have a composition here with all of my different layers that I had in illustration that were imported to After Effects. Now there's another important step to do before we start animating to make sure that our animation that we export is in vector format because right now the illustration file that we imported all of the different layers are as images so if we export if we do our animation with this and we export it with Loti they're all going to be exported as PNG file. And we don't want that. We want to keep the vector format. So an easy way to do it is just to select all of our layers here that come from our Illustrator and just right click, go to Create and create shapes from vector layer. So by creating shapes with vector layer, what I'm actually doing is vectorizing all of the vectors that I all of the illustration layers I imported into shapes. So now I have my all of my layers that are after effect shapes and I'm ready to start my animation. So I'm not gonna go I'm not gonna go and animate everything right now with you guys because it would take a while and we already saw how to animate in After Effects. So I'm gonna jump at the end and show you the end result with the animation. the And then you go either on body moving or low team. I'm gonna show you both. So if you use body moving It opens up a window where you can select first of all which Which one of your composition you want to export so I'm gonna select this one here You can select where you want to save it. So I'm just gonna call it Mark because it's the name of the character. And into settings you have a bunch of settings that you can select here. So I'm gonna go a bit fast through all the settings because they're not really quite that important I think. Always leave it the way it is. It's the glyphs. So by clicking this, you can convert all of the fonts that you have into shapes. So this is good if you're using fonts in your animation and you want to make sure that your animation will work on any computer and you don't have to load the fonts. If you want to have the hidden layers be exported. If you want to export the guides and so on. One that is fun to use is the demo. So by clicking demo you'll have also an HTML file, so an index.html file that will be exported with your JSON file. So you'll be able to test your animation and make sure that it works well in HTML. So I'm gonna select this and just click on save. Then I'll go and click on render. So now I'm rendering my animation it's pretty fast and once it's done you can just click on done and now if I go here I have my demo with my HTML file I can just click and see my animation. The background was not exported because the background was transparent. That's what I wanted. I wanted to be able to change the color of the background directly in HTML. But as we can see, the animation works really perfectly even in HTML and this is all done with code. So this is no longer a after effect or a video animation. It's really all done in code and in vector format. So it weighs really nothing. It's just 273k instead of many megs if you were to export a video. So this is the first way to do it. You could also just use the low t file extension. So by clicking on it you have this window here. You can choose which one you want to export. So I'm going to choose 31 here. Now it's rendering. And we have our animation here. We can see a preview. So that's fun. We can also change the color of the background, but it just changes the color of the preview that we see here. And when we're ready, we can save to the computer our JSON file or dot-lot file Just a JSON file will do We select where we want to save it And there we go we have two JSON files They as you can see both of them are 273K because they're both the exact same thing. So now we have our JSON files and we're ready to import them into our website. It's that simple.",
"language": "en",
"duration": 760.15,
"timestamp": "2025-11-26T13:55:39.520674"
}
|
2025-11-26T13:55:39.542252
| 146.669717
|
0019_Conclusion.wav
|
{
"audio_file": "0019_Conclusion.wav",
"text": "Now that you have all the tools to create your own motion design, go ahead, have fun and experiment. Find your own style and try to find the right balance. Don't try to put too many animations on your website. Instead, find a concept and try to shape your motion around that concept. Animate only the most important elements of your design like the main cult to action movie. Because too many animations will crowd the experience and the user might feel overwhelmed. Sometimes less is more. to your animations by following the principles that we've learned. And keep in mind that these principles should really be used more as guidelines than rules. Creating your motion with your heart is as important as with your brain. It's important that your animation have purpose, but it's also okay to create a cool animation just because it looks awesome. Have fun with it, and if you do, it will show in the end results. And for those of you who are looking to learn more on After Effects, there will soon be other advanced classes on the Words Academy. Until then, keep practicing. I wish you have a nice day full of life and animated moments.",
"language": "en",
"duration": 91.22,
"timestamp": "2025-11-26T13:53:31.323835"
}
|
2025-11-26T13:53:31.327983
| 18.45532
|
001_-_Resolve_Intro.wav
|
{
"audio_file": "001_-_Resolve_Intro.wav",
"text": "Hey guys, Casey Ferris here. Thanks for checking out this master training for DaVinci Resolve. We're going to be looking at everything that you need to know in order to do a project from end to end as far as post-production goes inside of Resolve. This is by far the most intensive course that I've ever done. And the controls that you need to know to do what I feel are the most important tasks in post-production. So grab some coffee or tea. Let's do this. So a couple notes on how to use this training. A lot of what we're going to go through you can actually follow along with because I'll include project files and media which we'll look at in a second. Some of it is just easier to show you and you won't necessarily be able to follow along with every single little bit. Some of the more specific kind of one-off lessons might be that way, but you will be able to follow along and create the main project that we're creating throughout this training. In the folder that you downloaded with the training, it should look something like this, maybe a little bit different because I'm kind of building this as I record this lesson, but a lot of the media is going to be under raw film transcoded media. This is some awesome footage provided to us by the wonderful people over at raw.film for letting us use proxies of their footage for this training. One more note, I'm going to be using DaVinci Resolve 16.2. Odds are while you're watching this, there's a later version of Resolve that's come out. Almost everything that we go over is going to translate pretty much perfectly into the newer version of the software. There might be something where a button moves or a slider looks a little bit different, but the general workflow is the same. So if things do look a little bit different, that's probably why. If there is any kind of major updates, I'll try and update this training and let you guys know, but it should work pretty much the same. When you first open up Resolve, it'll probably look something like this. You might also have this window open. So let's talk about what Resolve is and how it's laid out. This very first window here, this is called your project manager. And this is where you do exactly that. You manage your projects. So if you want to make a new project, open up an old project, this is where they all live. All of this stuff lives in a database, which if you click on this little button right here, that'll open up your databases. And without getting super into that, what you really need to know is that resolve kind of manages all of that for you and it's put in a folder and organized the way that resolve wants to organize it. You can make separate databases. If you want to, some people will make a new database every year or every quarter just so they can keep themselves organized. But for a lot of things, you could probably just work off of the same database. And really, that's just a collection of all of your projects that just live right here. If you right click, you get quite a bit of options. This is where you can make a new project, new folder. You can also import a project that somebody might have sent to you or that you might have saved a copy of. You can restore a project archive, which we'll get into in a little bit. But that's kind of where all of that happens. Generally, what you'll do is just click on a project that you have open here or hit new project. So I have this one open called training and we can take a look at the layout of resolve. So some people might think of resolve as an editor or a color correcting app and really it's both resolve is designed to take you all the way through the post production timeline, which means that everything that you need to do after you're done shooting, basically once you have footage on your computer, resolve can take care of everything from importing and organizing your media to editing to audio to compositing, color correction, as well as final delivery. And things in Resolve are kind of organized in those steps that will kind of take you all the way down from I just have a bunch of footage to I have a finished project. And you can kind of follow that post production path down here on this bottom bar. Each of these buttons has to do with kind of a specific job in post production. And whenever you click one of these buttons, it switches out your interface to tools that are specific to that job. So color correction happens in the color page, editing happens in the edit page and so on. We're going to walk through all of these in just a little bit, but it's good to kind of know that from the beginning. There are different layouts and resolve based on the task that you're working on. And you can switch with these buttons down here. Each layout here is called a page. So whenever you click a different button here, it switches the page in the app. And the coolest thing is that Resolve doesn't just do a bunch of different things, but all of these pages share the same timeline. For instance, I'll open up a project that I have here about coffee. And here in the edit page, I can see my timeline. And if I switch to color, I can see the same timeline and I can access the same shots and same for the cut page and the fairlight page and even the fusion page. So all of the pages inside of resolve share the same timeline. There's no need to export or round trip to other apps. There's no need to save out your project in a different format or anything. If you want to work on a specific shot and do a different job like color correction, you just switch over to the color page. If you want to do some compositing or graphics work, you can just select the shot and switch to the fusion page. This to me is one of the most powerful parts of Resolve. It really makes things flexible because you don't have to have an edit completely finished in order to do color correction. You don't have to have picture lock and everything to do your composites or your graphics. You can switch back and forth between the pages without losing any quality without having to take a bunch of time to export things because it all lives on the same timeline. A lot of people ask me whether you want the free version of resolve or if you want the studio version of resolve. I personally use the studio version of resolve and there aren't a whole lot of differences really. The free version lets you do just about everything that you can do in the paid version, but the studio version lets you export files that are bigger than 4k. There are some added plugins. You can control some of your computer hardware a little more, and there's kind of a few little extra bells and whistles that are really nice, but probably not essential for most people's workflow. One thing I really like in the studio is the noise reduction. So if you have noisy footage, that means footage with grain, with artifacting, the noise reduction in Resolve Studio is absolutely amazing. And in my opinion, that is completely worth it. But I always say download the free version. You can use it for commercial work. And if you keep running into features that you can't use, and maybe it asks you to upgrade, then maybe consider upgrading. But most people can use the free version from my experience.",
"language": "en",
"duration": 418.85,
"timestamp": "2025-11-26T13:55:04.110786"
}
|
2025-11-26T13:55:04.114901
| 111.24201
|
002 Adjusting Camera Settings.wav
|
{
"audio_file": "002%20Adjusting%20Camera%20Settings.wav",
"text": "Okay, so far we have looked at all the other settings and now we can take a look at the camera settings. So clicking on the camera we can scroll up to the top and you can see there are a lot of settings we can adjust for the camera. So before I adjust anything I can actually go down here to the bottom and there's something called lens and inside of lens we can click on the chromatic aberration and you can click it and it can actually see what it does. So it does this weird look. It's actually cool for cinematic effect, but you don't want to overdo it. You only want to do it slightly. So you can see this is the offset. Maybe offset it a little bit so it comes from the sides. And you only want to do it a little bit just for a small effect and it looks pretty cool cinematic wise. The last settings for the camera I want to adjust is how much it's blurring the background and the foreground. The way you want to change the focus at where you're focusing for example in the foreground or background you have to edit the manual focus and the current aperture so you can see here if I minimize it it gets very blurry in the foreground if I increase it the blur is gone and I can also if I decrease it again and make it blurry I can also edit the focal distance and you can see here I'm now actually blurring the background instead of the foreground. So you can do these two effects. And let's see what makes more sense for our scene. Maybe you want to blur the background. But I think the background is looking much important than the foreground. So I actually want to blur the grass down here. So if I click back on the camera actor, I want to blur the foreground only. I'm going to back to the default settings and the aperture. I'm going to choose how much it's going to blur. Something like this. I think this is pretty cool and we can even lower it a little bit more. I want a bit more detail on the wood plank in the front. Something like this. This is looking pretty cool. And as the last thing, I think we can fill this gap a little bit. It's bugging me. It has been doing so the past many videos, but I think I will fill this gap. So if you hold Alt and drag, you can actually fill this gap with another of these. Okay, so I think this is looking a lot better and it fills the hole over there. I think this is a pretty cool shot. So go ahead and click Save All. and let's go over to the next lesson and take a screenshot for presentation",
"language": "en",
"duration": 201.73,
"timestamp": "2025-11-26T13:53:50.721503"
}
|
2025-11-26T13:53:50.725933
| 37.852851
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002 Autoplay in blueprints.wav
|
{
"audio_file": "002%20Autoplay%20in%20blueprints.wav",
"text": "Now they have created your first world cutscene. It's time for us to dig a little bit deeper. So before we get to our UI loading screen, let's start off by actually creating the autoplay manually so you know how to play your cutscene over the blueprints. So what we're going to do now is we're going to go to blueprints and we're going to open level blueprint as shown on the previous tutorial. And here we have the blueprint. you can always dock the window over here if you would like. And what we're going to do is we're going to grab the event begin play. So we have something to start the trigger. So event begin play. This only means like whenever this level starts playing, this is going to get executed. Perfect. So what we're going to do now is we're going to create a function on this blueprint, which is going to execute the action of playing the scene. So what we're going to do is we're going to click the add button right here, function new function, we're going to say play, and true scene. Perfect. There you go. So you have your function here and your Vint graph is right here. If I drag this here, we can get a reference to that function so we can call it. So let's just connect this out. So whenever it starts playing that level, it's going to play the interesting, which is going to be right here. So let's, let's start sketching this up. So first of all, let's select our cutscene and the world outliner. So let's click new level sequence two, and let's go back there. Now we can see that we can create a reference to the new level sequence right here. So let's just click that. And here is our reference. And let's place a new node out of that reference to actually play our sequence. So it's the play sequence player right here. Perfect. So here it actually referenced the sequence, it gets the sequence player, and it plays that sequence. I know it's a little bit, it's a lot of steps, but that's how you do it. And now whenever we execute the function play interest screen, we want to execute the play here. Perfect. That's all we need for our play interest scene function. Let's compile that and save it. Let's go back to our event graph. And now we know that this is working already. So let's make sure it's compiled and saved. Let's go back to our map. Let's make sure it's not autoplay here. It's false. And if we press play, we can see that as the level starts to load the cutscene begins to play. Perfect, that's what we wanted. Cool and so in the next tutorial I'll be teaching you how to create your own UI screen loading and then we're gonna be integrating into this blueprint how to load that screen and then play the cutscene afterwards. So thank you so much and I'll see you next.",
"language": "en",
"duration": 170.82,
"timestamp": "2025-11-26T13:53:48.217936"
}
|
2025-11-26T13:53:48.222797
| 35.349463
|
002 Community Discord Server.wav
|
{
"audio_file": "002%20Community%20Discord%20Server.wav",
"text": "Titanforged Entertainment has a community discord and I've added the link, invitation link to the video and also to the course material. And in here you can see all of the announcements we make for our games. So for example, here's a farm tale announcement on Steam. And you can also view our social media if you are interested in any of them. I have also created a courses channel and inside of here, if you want any help during this course or during future courses you can come in here and I'll be happy to help you and I'm pretty sure all of the other members are happy to help you too. By the time you watch this I've probably added more channels and also if you don't need any help you can just come in here and have a nice talk with us. I hope you'll join and I'll see you here.",
"language": "en",
"duration": 49.02,
"timestamp": "2025-11-26T13:53:21.701139"
}
|
2025-11-26T13:53:21.710125
| 8.836464
|
002 Creating Sound Cues.wav
|
{
"audio_file": "002%20Creating%20Sound%20Cues.wav",
"text": "OK, so we have to create a sound cue before we can use them in our scene. So to create a sound cue, we can right click one of the sounds and click create cue. And for sound cues, I usually remove the last part here and I call it sound cue instead. So sound cue, ambience, bird robin. And you can double click the sound cue and you can see here you have another graph and this is actually the sound that's linked to the output so if you click play you can hear the sound being played okay so what we want to do is we want the bird robin 1 2 and 3 to be in here so let's drag robin 2 in and robin 3 and we want these sounds to be played at random. So now you can hear they are different sounds. And we want these three sounds to be played at random and this eliminates the repetition of the sounds and so it gives the illusion of different birds doing these sounds. So to do this we can drag out here and write random. Now we can add more inputs and I can click the plus here and add this third one. I'm going to press alt and clicking on here so it disconnects the node. Now it will choose a random sound every time so if I put it to the output and click play. You can see now it chose this one. And if I click play again, it chose this one. Okay, so now it plays the sound at random and we actually want to loop it. I don't want the sounds to be played all the time. So looping and then let's put a delay. So let's let's put the minimum delay, let's try 10 and once the delay is finished, it's actually going to loop. Okay, so now let's save this and let's put this in our level. Actually, before we put it on our level, let's actually create everything so that we don't have to worry about creating them later on. And you can click play. It's actually delaying. Let's try 0 and see if it works. So there's an initial delay on the sound. And I think it's fine. Let's save it and let's go back. So here in the ocean we want to make this looping too. So right-click, create a sound cue, call it SC Ambience Ocean and for this sound cue we actually don't want anything only looping. So instead of going in here and writing the looping, you can actually just click on this and tick looping. So now it's looping all the time. So if you click play, now it's going to play this ocean sound all the time. Okay, so this is the only thing we need. Now we have the Robin, we have the ocean, now we have the seagulls too, and right click, create sound cue. Let's remove this from the beginning and let's call it sound cue, ambience seagull. And for this one I want to import the other seagull sounds, so we have many. Import all of them and again just like before we want to create a random node and we want to hook all of them up. We also want a looping and we want a delay. Let's put this to 10 and 25 too. Okay, just like this and save. And let's go over to the breeze here. So this is some background breeze. So right click, create sound cue. Oops, okay, I'm just going to write it out. So ambience, slide breeze. And for this one, again, just click on it and click looping. And that is it. So now we have created all of our sun cues, let's save everything and some sounds might be too loud, some of them might be too low and we have to find out when we place them in the scene how they play together and change it from there.",
"language": "en",
"duration": 329.81,
"timestamp": "2025-11-26T13:54:24.848369"
}
|
2025-11-26T13:54:24.852822
| 71.978848
|
End of preview.