Add transcription for: frames_zips/LS_HistoricalFictionMarcoGorlei_DownloadPirate.com_13. Scene setup homework_frames.zip

transcriptions/frames_zips/LS_HistoricalFictionMarcoGorlei_DownloadPirate.com_13. Scene setup homework_frames_transcription.json

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+{
+  "text": " For this third homework assignment for this first lesson, we want to take our newly made effects and use them to set dress and environment scene in Unreal Engine. So what we want to do with this is we want to open either this base scene that's provided in the course or anything that you've made on your own and we want to use the resources that we've made with this single fire effect to completely change the scene just with a minimal amount of particle effects and just changing the lighting a little bit. So I'm going to drag and drop the flame scene that we saw in here. And the first part of this is we're going to make sure that we can troubleshoot some of the elements that might be seen with what we were seeing in the first scene that we, when we were making it in the default scene, there might be some different visual elements once we put it into a scene that has a little bit more lighting, a little bit more polish to it. One thing that's really standing out is that these flames are pretty blue, which is interesting, but I want to make sure that that isn't in the diffuse channel. One way that you can check it is I'll turn it down to unlit. And so it looks like the actual color of the smoke itself is white or gray. So we know that that blue is probably coming from the lighting information in the scene here, which is a good sign. I'm going to go ahead and search light in this scene and start deleting some stuff so we can get a completely blank scene. You can see there's still a lot of blue even though I deleted all the lights. So I'm going to go into some of the elements here like the exponential height fog. I'm going to delete that. And I'm going to delete the post process volume as well. And then you can see there's one more scene up here or sorry, one more asset in the scene that's on lit, which is the clouds. I'm I'm going to go ahead and delete that. And then the next thing I'm going to do is I'm going to... If you ever lose the Place Actors, it's under Window, Place Actors. You can just set that there. I'm going to do a simple light in the scene here, a directional light. I'm going to set it to Moveable. I'm going to increase the Source Angle so I can get something that's a little bit more soft with falloff here. Set that to about 20 so we can get a soft not too sharp falloff angle here. So I just searched angle in the Details panel. I'm going to set this default value to 1 just so I can get a basic sense of light that we can follow here. I'm not going to rely too much on this light. quick when I'm actually going to rely a lot on in order to coincide with these flames is the exponential height fog. So I'm going to drag and drop some height fog. I'm going to check on volumetric fog. I'm going to set this to 0.1 and I'm going to make this nice and orangeish red. And then the third thing I'm going to do is I'm going to go back to light. I'm going to pull in a skylight and you can see it took an ambient picture of the orange height fog, so everything is nice and orange and red. I'm going to set this to movable to get the occlusion back in. And then I'm going to actually set this to 0.1 for the directional light here. And then for the skylight, I'm going to put this back at like 0.2, something like that. And then for the exponential height fog, I might actually put this at like 0.... Let me see if I do it at 1. What that'll do. Interesting. If I put the value down, you can see that. And actually, let me, for the volumetric scattering, let me go ahead and put that at zero for our directional light here. So one thing to keep in mind, I know I've been kind of monologuing on what I've been doing in this scene here, but you wanna make sure that you set up a lighting scheme so that you wouldn't have to cover your scene with huge amounts of point lights or visual effects to get the result that you need. So you want the lighting set up to where I just have essentially three particle effects going on here. And you can see that this is already pretty convincing that this forest is on fire and not doing very good. So with that, the way that you set up the particle effects, the way that you set up the lighting, you wanna make sure that I might just do one more that's kind of up in the trees there so we can get some sense that the fire has spread to like other elements here. One thing to keep in mind is that focus on the lighting, It's just as much of a convincing element of what's going on with your scene as the effects are. And I might move this just a little bit. Then I'll move the camera around a bit too, so you can see. And so with that, you can see that, keeping in mind that yes, you have the VFX that we created, but another important factor is, how's your fog looking? How is your ambient light looking? So you have, let's see here, one, two, three, four, five. Let me take a look at the optimization viewport, shader complexity. Let me compile the shaders here and see how this looks. That's not great, the amount of sprites that we have here, but we can minimize this a bit by taking down the sprite amounts, things like that, the spawn rate. And the other thing I can, of course, do too is work with different effects that I could have in the background. So let me see. Let me actually take some of these out and see what's going on here. So the tricky thing about VFX is you can see here that the complexity count is being multiplied here because of all the additive and translucent particles that are going on here. going on here. So if I do something like that, you just want to be very kind of lenient with the amount of effects that are being presented here. And for just simple illustrative scenes like this, it's usually not too bad. You can see my FPS. I have a pretty old PC and my FPS is doing just fine with this. So definitely effects optimization, a thing to keep in mind, don't go too crazy with huge amounts of spawn rates. But this we're doing, yeah, like three to five sprites per second. That's not too terribly bad. And these are GPU sprites. So the GPU is meant to have a pretty high count here with what's being spawned, but it's the scale of what's going on here. Another thing to make sure is that you want to make sure that your wireframe for the sprites here is not a ton of blank space, meaning that if you have a alpha, you want to make sure that's hugging the edges of the sprites pretty well, you're not wasting a ton of time. And you can see with the smoke being created here. And I can turn off the smoke too, if we need to really worry about optimization. But I'm getting a little bit off topic with optimization with particles here, where we just wanna make sure that we have really nice seeing this being set up here.",
+  "segments": [
+    {
+      "text": " For this third homework assignment for this first lesson, we want to take our newly made effects and use them to set dress and environment scene in Unreal Engine. So what we want to do with this is we want to open either this base scene that's provided in the course or anything that you've made on your own and we want to use the resources that we've made with this single fire effect to completely change the scene just with a minimal amount of particle effects and just changing the lighting a little bit. So I'm going to drag and drop the flame scene that we saw in here. And the first part of this is we're going to make sure that we can troubleshoot some of the elements that might be seen with what we were seeing in the first scene that we, when we were making it in the default scene, there might be some different visual elements once we put it into a scene that has a little bit more lighting, a little bit more polish to it. One thing that's really standing out is that these flames are pretty blue, which is interesting, but I want to make sure that that isn't in the diffuse channel. One way that you can check it is I'll turn it down to unlit. And so it looks like the actual color of the smoke itself is white or gray. So we know that that blue is probably coming from the lighting information in the scene here, which is a good sign. I'm going to go ahead and search light in this scene and start deleting some stuff so we can get a completely blank scene. You can see there's still a lot of blue even though I deleted all the lights. So I'm going to go into some of the elements here like the exponential height fog. I'm going to delete that. And I'm going to delete the post process volume as well. And then you can see there's one more scene up here or sorry, one more asset in the scene that's on lit, which is the clouds. I'm I'm going to go ahead and delete that. And then the next thing I'm going to do is I'm going to... If you ever lose the Place Actors, it's under Window, Place Actors. You can just set that there. I'm going to do a simple light in the scene here, a directional light. I'm going to set it to Moveable. I'm going to increase the Source Angle so I can get something that's a little bit more soft with falloff here. Set that to about 20 so we can get a soft not too sharp falloff angle here. So I just searched angle in the Details panel. I'm going to set this default value to 1 just so I can get a basic sense of light that we can follow here. I'm not going to rely too much on this light. quick when I'm actually going to rely a lot on in order to coincide with these flames is the exponential height fog. So I'm going to drag and drop some height fog. I'm going to check on volumetric fog. I'm going to set this to 0.1 and I'm going to make this nice and orangeish red. And then the third thing I'm going to do is I'm going to go back to light. I'm going to pull in a skylight and you can see it took an ambient picture of the orange height fog, so everything is nice and orange and red. I'm going to set this to movable to get the occlusion back in. And then I'm going to actually set this to 0.1 for the directional light here. And then for the skylight, I'm going to put this back at like 0.2, something like that. And then for the exponential height fog, I might actually put this at like 0.... Let me see if I do it at 1. What that'll do. Interesting. If I put the value down, you can see that. And actually, let me, for the volumetric scattering, let me go ahead and put that at zero for our directional light here. So one thing to keep in mind, I know I've been kind of monologuing on what I've been doing in this scene here, but you wanna make sure that you set up a lighting scheme so that you wouldn't have to cover your scene with huge amounts of point lights or visual effects to get the result that you need. So you want the lighting set up to where I just have essentially three particle effects going on here. And you can see that this is already pretty convincing that this forest is on fire and not doing very good. So with that, the way that you set up the particle effects, the way that you set up the lighting, you wanna make sure that I might just do one more that's kind of up in the trees there so we can get some sense that the fire has spread to like other elements here. One thing to keep in mind is that focus on the lighting, It's just as much of a convincing element of what's going on with your scene as the effects are. And I might move this just a little bit. Then I'll move the camera around a bit too, so you can see. And so with that, you can see that, keeping in mind that yes, you have the VFX that we created, but another important factor is, how's your fog looking? How is your ambient light looking? So you have, let's see here, one, two, three, four, five. Let me take a look at the optimization viewport, shader complexity. Let me compile the shaders here and see how this looks. That's not great, the amount of sprites that we have here, but we can minimize this a bit by taking down the sprite amounts, things like that, the spawn rate. And the other thing I can, of course, do too is work with different effects that I could have in the background. So let me see. Let me actually take some of these out and see what's going on here. So the tricky thing about VFX is you can see here that the complexity count is being multiplied here because of all the additive and translucent particles that are going on here. going on here. So if I do something like that, you just want to be very kind of lenient with the amount of effects that are being presented here. And for just simple illustrative scenes like this, it's usually not too bad. You can see my FPS. I have a pretty old PC and my FPS is doing just fine with this. So definitely effects optimization, a thing to keep in mind, don't go too crazy with huge amounts of spawn rates. But this we're doing, yeah, like three to five sprites per second. That's not too terribly bad. And these are GPU sprites. So the GPU is meant to have a pretty high count here with what's being spawned, but it's the scale of what's going on here. Another thing to make sure is that you want to make sure that your wireframe for the sprites here is not a ton of blank space, meaning that if you have a alpha, you want to make sure that's hugging the edges of the sprites pretty well, you're not wasting a ton of time. And you can see with the smoke being created here. And I can turn off the smoke too, if we need to really worry about optimization. But I'm getting a little bit off topic with optimization with particles here, where we just wanna make sure that we have really nice seeing this being set up here."
+    }
+  ]
+}