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今天我来看一下 ue 五如何创建这样半透明的材质。首先按键盘上面的一键加鼠标左键创建一个参数,这个参数它可以用来控制不透明度。然后我们点击这个材质, 找到材质,这里面会发现他的混合模式是不透明,所以的默认情况他就是不透明的,我们需要把这个不透明给他改成半透明。好,这样他就有半透明的节点可以进行连接了,我们再把这个节点连接到这里的不透明度。 好,现在他就完全透明了。为什么?因为他值是零,如果我们当他的值为一的情况下来看一下,他就是不透明的,如果是零点五的情况下,那么他就是这样半透明的材质了。
我们烟雾它是一个半露半出的效果,所以我们不透明度的曲线需要调整一下,把它往前涂一下,在这里添加一个点不透明度归零, 归零之后走到这一块的时候,我想让他不那么的实添加一个点,给个零点八五, 把它往前拖一下,他后面就是透明消失的。现在的烟雾他只发生了一个,我想要两个烟雾, 只有两个在这里呢。例子生成里我 我们要添加一个新的模块,叫点钟速度, 添加好了之后切换一下,把他的一个参数值,我给了一百三,现在我们给了值,他是没有效果的,这里有一个报错,我们给他修复一下, 他现在是没有效果,是因为我们在例子更新下需要添加一个解算器, 这个就是我们的点结算线,如果说你没有添加解算器的话,你加了速度或者是力的话,他是没有效果的, 我们添加了解酸器之后 就可以看出它的值是有效果的。然后我们再添加一个初始的速度, 速度的话我想给一个随机,随机指,我想让他往外蹦, x 手归零, c 手归零,最小的 y 手指我给个一百, 最大的 y 轴的十问题要两百,他现在蹦的有一点太过了,那这个时候我们就需要在立体更新下面添加一个新的模块阻力, 阻力值 的话我给个六,他往外走就会有一个阻力, 这个就是我们烟雾的这一部分,我们把它一起来看一下效果, 现在看着我们的烟雾尺寸有点小,可以再给大一点, 那我们接下来就开始做我们序列粒子的那一层,首先还是用我们的这个材质,木材质复制一份出来,创建一个材质实力, 然后命名, 例子 同样是前面要加一个 i, 命名好了之后创建一个空的发射器, 然后命令你 把他的材质实力升上来,升上来了之后出现他 点击我们的才是实力,替换一下我们的贴图搜索 我们的贴图就是这样,贴图上上来之后, 我们会发现背后有一个黑色的正方片,那我们就要找到材质属性,下面有一个混合模式,在这里面可以进行模式切换。 我这里呢就不用半透明模式了,我就要用 a、 b、 d 去黑模式,把背后的那个黑色给它去掉, 开个双面保存一下。回到我们的发射汽车部分,发射模式的话我还是选用一次性发射, 数量的话我发射六个啦。因为我们这张图它同样是一张序列图,所以 我们要添加一个 suv 紫图像,大小也要改变二乘二的。 然后在这里我们就要把他的生命给改一下。生命我还是用一个随机的生命,最小给个零点二,最大的生命给个一点五, 尺寸的话我要把它改一下。尺寸这里呢我会选择也还是用一个随机的, 最小给个八,最大给个十五。 我们的尺寸和生命给好了之后,我们要给他一个球形位置, 在这里就是我们的一个球形球形位置,球形位置下面是他的一个半径,半径的话我给个五 就比较少。半径半径给好了之后呢,我要给他一个锥形速度, 速度 同样是修复问题,就是线型, 下面这一个就是锥形的速度,锥形的速度同样给他一个随机, 最大的五百哦,最小的五百,最大的三千。他现在没有效果是因为我们这里没有给他添加一个计算器, 我们解算器添加好了之后,可以看到我们的例子,他就在往外蹦,但是我们发现他的一个蹦的一个方向是不对的,那我们的 轴需要改一下,现在是 s, 我给他一个 y 轴, 他就会往外碰。好,我们现在颜色比较淡,我们把颜色改一下,找到我们的 color 颜色的话,我同样是给他一个曲线,点一下我们的 cover, 勾掉双击它 初始的颜色,我给个蓝色 log, 选个一明度,给个两百。 在他结尾的时候,我给他一个青蓝色 饱和度,一明度不透明度。这里呢我想让他 一直是比较迟一点的,所以这个点我给他给去掉,或者是直接给你都可以, 这就是我们的曲线这一块。但是我不想让他的颜色一直持续从蓝色变换到青蓝,我想给他一个随机,所以我在这里给他添加一个随机的值, 最小的是零,最大的我给了零点八,他颜色就会变成一个随机的播放。 颜色的参数。我们调整好了之后,接下来就是给大家添加我们的阻力,他现在动的比较远。阻力,阻力这里呢,我要给 给他添加一个曲线, 从八开始到十二结束 来曲线调整一下, 把它的整个值主力值给小一点。现在我们会看到我们的粒子,他碰的就没有那么的远了, 但是这样看着他比较呆板,这个时候我们就要给他添加一个扰乱,在例子更新里面搜索 noise, 添加一个扰乱,扰乱的强度给个一千五,他就会变得比较有动态的效果。 接下来我们在例子更新下再添加一个参数,这是我们的 size size 的曲线, 我想让他快速的变大,然后变小消失。 你直接用这个曲线在零点一的时候就快速到一 把,它抬高一点,边角的 过程可以慢一点,这个曲线都是可以拉的。 在这里我还需要再添加最后一个模块, 它可以翻译过来,它就是尺寸是随着速度的变化而变化,比如说我们的速度越快,它的整个拉的就会越长。 随机的话 x, y 是一 y 的话,我给应点一最大的指, x 是一, y 是一点六, 这个就是我们序列粒子这一部分。接下来就是做到我们的粒子就往外绷的粒子。
超级干货,大家好,我是源哥,请先别着急划走,接下来的内容,我相信对你一定有帮助,里面有详细的操作过程,赶紧收藏,方便日后用的时候观看。 这段内容比较长,希望大家耐心看完。首先我们下载一个官方提供的虚拟演播厅的工程,在这个工程中一共有三个摄影棚, 我们在基础物体创建中找到一个模型片,将它拖入到场景中,旋转九十度。接下来我们在资源浏览器中导入一个滤幕素材。 接下来我们在资源浏览器里面点右键创建一个媒体播放器, 双击媒体播放器下面的绿木素材的名称,绿木素材上面的动作将会进行表演。接下来我们在资源浏览器中创建一个媒体纹理, 我们将我们的媒体播放器拖入到我们的媒体纹理的字幕录下。然后呢,我们再用我们创建的媒体纹理拖拽到我们创建的这一个模型片上, 他就自动生成了一个材质球,我们调整他的比例大小,适应我们这个场景。接下来是很关键的一步,点击材质编辑器 右键输入,这个就是我们的 u 一四里面的一个扣向的节点。我们将颜色 rgb 颜色连接到 epple ctrl, 然后在输出上面呃,连到基本颜色和自发光颜色。下面的透明呢?我们要连到他的透明度上, 接下来我们将透明连接到不透明度的这个节点上,然后保存。 这个时候我们可以看到我们的背景已经有一些变化,但是并没有,并没有过滤掉我们不想要的绿木的颜色。点击深层的材质球,按右键 创建一个材质实力, 我们点开材质实力的材质球,我们可以发发现右边的 菜单栏里已经有了一些我们可以调节的设置。首先我们将颜色选择为我们的背景颜色绿色,这样他就将背景的绿幕抠除了。可以看到我们的小伙伴已经融入到了这个场景中,欢快的跳起了舞蹈。 接下来我们在过场动画中添加关卡序列,起一个名称保存,我们将打开 sex 面板,呃,我们首先调整好我们需要的一个距离,然后创建一盏摄像机,我们在这个摄像机里面可以设定 当前的焦距,当前的光圈,手动焦距,手动距离,手动焦距的距离可以调整一些紧身模糊来让我们的场景看起来和我 我们创建的这一个绿木的这一个人物的片能够更加的融入,更加的融合。我们选择相机和我们创建的这一个 人物的这一个片,呃,将人物的这一个片呢在属性里面设置成移动,然后呢将这个片移动到我们创建相机的植物录像,这个时候我们在进行相机的视图操作的时候, 那这样一个片就会跟我们的相机成为了一个涌对面,无论我们试图操作怎么移动,他都会跟随着我们的相机进行移动。大家可能觉得现在的人物有点飘,而且跟场景里面的光影并不融合, 那这个就是我们下一期将要讲到的,谢谢大家,我是源哥,谢谢你的关注,你的关注是我前进的动力。
so let's make some clean on the top you can close the waterways watercolor paramps maybe not the paramps, but we will reopen it later that's not a problem so go to your watermaster folder create a new metal instance here too and name it as mf water opacity so the gold here is just to take the edges okay, so for that we will take the camera position and the custom depth how to explain the custom debts that really quickly it's basically a way to detach an amount from the world okay, based on debt information okay, it's not that visible, but if you play at fortnite maybe you probably seen some skins are in cell shadings okay, it's with the custom depth basically just to extract the limit from the world just to get this information the position information and with this you can make a lot of things and focus it will be just to create the opacity, but you can just create an eye per realistic word and with the kiss top depth simply implement a character essentially in character okay, it's just an example of course don't do that, but it's it's just to explain so the first thing then is the custom depth the do rectic and search for send texture here by default, we are on sand color or thin color if you click on the synth extra id here between masao, ao and pros process into zero you have to give some depth this is what we want now from the color we want to isolate one axis so search for a component mask and the axis we want is the z axis so just check only the blue this is our first check here okay, the second one will be the camera position so let's do a click and search for a word position and if you select this node and on the shed offset on the details you can search for camera relative position including matteoshed offsets so it will take all the shed palm at us basically now we have to cover the this guy from the worst pace for the worst pace information to the view space so what we have on screen? so let's draw a line on the xyz and search for it transform and be careful be sure to select the transform not the transform position okay really the transform and here as you can see by default it will cover the camera information from tension space to work space we don't want that we want to take the worst space information at source and view space at destination again here the only thing we need is the z axis so you can create a new component mask and isolate the blue channel or just to click the top one and here we have to cheat a bit because if we use the value as it is the value add one is too much okay we just want a few pixels a gray or even black and to do that we have to multiply by pressing and click our component mask with a constant at 0.997 and let's put this one into the b now we have our two checkers so we just have to say to unreal what to do depending on what we have so to make it work let's do a click and search for if so this one is the same thing as programation okay or programming okay so you have one condition condition a condition b and depending on if a is greater than b you will get a value and if b if a is lower than b you will get another value so the a is the custom depth the b is the camera relative position okay now if a is greater than b let's start a constant out of one that means this one will be opac okay if you duplicated the constant set this one to zero we have to say if a is lower than b then our opacity is translucent okay and that's it, but because i like to keep controls and parameters let's subtract our if with right click without selecting nothing adept fade with the depth vade, we will be able to control the general opacity okay of our water so let's roll a line after the opacity and search for scatter parameter and name it as pasade basically and set this one to one by default and another power matter so duplicate the opacity and name this one as edge maybe fade distance or maybe edge fade distance so you can name it as you want but to me it's easier like this and set the default that you add 25 and put this one into the fade distance and because we want to take only the borders we have to invert this guy with the one minus put this one into the b and let's plug everything into the output result so here again we have some issues because of the previous blend mode don't worry it's okay, but before to move we want to set some those little guys here into a group so take both the opacity and the edge and on the group name it as two space iphone space come on pirates and let's set the opacity in the soprari ads one like this and the edge paid at two like that perfect now let's save it let's implement this guy into our waterparms function and let's see how it works so let's open back the the paramps but instead of pulling the opacity directly into the water paramps we'll just create a friction input because the the opacity will be used for multiple things like the foam um, and i think the custic, but it's it's really important for the foam here and instead of duplicating the function in multiple places just create the reference here and and just set the position and the final position in the master matter will directly so go to the world of power arms here select your set matter attribute add a new index select opacity here go on the top and duplicate your normal function inputs like this name it as opacity and this one can be a color because we don't need the vector three for this guy we just need the blue the blue channel it's the vector one so let's set this guy as this color and for the name reroute just to name it as opacity do rectric navy root opacity and plug this one into the opacity set metal attribute and before to move take the opacity function input and set the soprality at one apply it you will get an error on your master matte always because we have an input here with nothing in so press f and click connect the water opacity so it works for me because i had this guy selected on the content browser okay if it's not your case it's not a problem okay you just have have to select it on the list okay, so don't be worried about this now if we save it let's see how it looks so if we take a look at our edges and if i set the edge of passity at 0 it's what we had before by pushing this edge fade distance we can create a better transition and with the opacity parameter of course you can control the overall opacity okay so here it's really up to you to set it as you prefer but for me one is the best and that's it for the opacity nothing more nothing less last thing we have to do in parmeters it's maybe adding some refraction here because even if we don't have the color, we still have the plane and it will make a better result if we work with refraction here just to make the edge here a bit in movement basically i don't know how to citizen engagement you understand let's go。
hey, everyone, welcome back it's great to see you again william fosha here today's video is about lumen now this video may come across as a little wordy long dry and while lumen is fairly user friendly and works very well out of the box there are several changes to the way you need to make your models and materials moving forward so i promise you your work will improve if you just bear with me to the end here this is quite possibly one of the most important videos i've made in a while i know i've made a video about lumen back in may, but that video was made three days after ue five drops and i've addressed a few issues there, but epic has since released additional information making that earlier video a bit outdated somewhat so in this video i've gathered all of the latest and greatest information available most of which gathered from epic amazing live stream on the topic that said their live stream is over two and a half hours long and while they are gold minds of information a lot of it goes way deeper than unnecessary for the average artist so that's where this explained series of videos come in i want to condense the info from those livestream into a much more digestible format starting with the necessary project settings for lumen now by default lumen is active and you don't need to change anything but in the event that you've migrated a ue four project over to uee five here at what you need to set it to dynamic global illumination method that the lumen reflection method that the lumen generate mesh to the field need to be on in editor lumen is control by the following values the light properties, the material base, color and roughness and the exposure lastly, you do have some quality control settings in a post process volume, final gather quality and lumen reflection quality which we're going to dive a little bit deeper into real soon next, let's talk about what lumen can do the obvious and the not so obvious the obvious being it achieves real time indirect lighting with rather surprising accuracy and as we all know immissive lighting does contribute to gi did it be clear when i say gi moving forward i mean global elimination so if you have a large bright material it will light up your theme there are several limitation to this which again we will get into a little bit later lumen also provides reflections and integrate g, i into the reflections as well, so what i mean by this is you will see all of the g i in the reflection this is something that ray trade reflection didn't really do very well in uv four lumen also supports clear coat materials properly so that there are two reflections not just one which is really useful for car materials again this is something that ray trade reflection really can't do at the moment it also supports fully shadowed skylight so dragon dropping a skylight set the movable will shadow everything automatically with no additional input from the artist it provides dynamic gi and sky shadowing on translucency and volumetric fog albeit add a lower quality lumen makes things so much easier for artists there's way less fiddling around with hidden settings for lighting and shadow detail most of the heavy lifting it done under the hood, which is absolutely awesome for us so how does this all work in pure nerd talk it is a hybrid ray tracing pipeline which uses software ray tracing it traces against the depth buffer first, which we call screen traces then it traces against the distance field and applied lighting to ray hits with the surface cash lumen relies heavily on mesh distance fields, but what's worth noting here is that the mesh distance fields have been completely rewritten in ue five for youth with lumen specifically and they are way way better than they ever were in u before the mesh different fields now have mit maps their string from disc based on distance and they cost about half as much in terms of memory compared to u before they also built ten times faster than before, which is a massive upgrade if you remember back in you before building mesh distance field took very long time that is no longer the case here now while all this takes care of shadows it can't determine material color and the lighting of a surface so, that's where the surface cash comes in the surface cash essentially splits up your meshes with a bunch of cards it captured material properties of the mesh color and roughness at very low resolution into an atlas which does work especially well with nanite meshes it also constantly updates its atlas as you fly around your scene it's worth noting however, that these recaptures are very slow on non nanite meshes so, if you notice that your frame rate just tank for no apparent reason try and see if your environment has some non nanite models lying around they could be the culprit especially if those meshes don't have proper led setup the surface cash with the following console command right here tldr if you're going to use lumen with any high poly athletes they pretty much need to be nanite if you want good frame rates that was a whole lot of boring talk why should artists care about this crap the surface cash has one major major limitation and this is what's going to affect how you create your acid and your models only simple meshes and interiors can be supported and what i mean by this is you can't simply just use one large combined mesh for an interior for example walls floors feelings all of these need to be separate individual models if you're trying to light a scene and thing just look odd or lighting is only screen space this could be one of the reasons why and while having separate walls and and ceilings sounds like a pain in the butt thanks to nanite you can simply bring all of these separate models into a single blueprint asset and from there it's going to be good to go it's a great little trick to combine the convenience of having both a single assembled asset and the quality benefits of lumen the reason i bring this up segue into my next topic the lumen scene which is arguably the most important view mode for lumen because if your lumen scene doesn't roughly match what's on your main screen there's going to be view dependent artifacts in the gi, if you've ever noticed that lumen's gi is sometimes screen space that is why something is wrong the lumen scene is your number one tool for seeing what is lumen doing? why is there an artifact you can ab compared this between viewports and make sure they look roughly the same lighting wives color rise, etc it's really convenient to use the g shortcut especially if you're seeing meshes or object that are black like this in the lumen scene something is wrong and that object is not contributing to g i black models in the scene means that they are only going to show up in screen traces, which is why the lighting will appear and disappear in a screen space fashion but now let's talk about some of lumen's limitation and the very important things to know for now only static mesh and instant static meshes are supported meaning there is no landscape support for this at the moment, but it is coming in five point o world position offset caused artifacts so anything wind related can be problematic translucent materials are also not yet supported for lumen reflections or dynamic gi, so glass is not going to look right interesting thing is that subsurface scattering does not work with lumen, but subsurface profile does it's what i used to give the snow on the ground here a subtle subsurface scattering look lumen also happens to rely heavily on temporal super resolution which is similar to nvidia's dlss this means that it calculates in ten eighty p and it upscaled everything to four k resolution all while looking nearly as good as a native four k temporal super resolution tsr is really the key to making lumen possible in real time lumen does allow hardware ray tracing which offers the highest quality but also the highest cost as well and it only has partial support in early access, such as ray traced reflections shadows and it is part of the final gather hardware ray tracing traces against the nanite proxy geometry only so you may need to raise the proxy triangle percent if you're running into artifact or bad shadows in a nanite settings of a given aesthetic mesh if you're using hardware ray tracing try to avoid kitbashing too much or have too many overlapping meshes the performance impact is going to be massive, so if you do have a lot of kit dashing maybe stick with software ray tracking instead next when you use the movie rendered to you you may notice that the first few frames look frankly horrible and noisy and this is because lumen is intended for real time usage and it needs several frames to converge so you need to use a high amount of warmup frames which can add here in the movie render queue under the anti aliasing tab i often use it around two hundred and fifty to five hundred warmup frames just to air on the side of caution it's probably overkill, but it works by default the lumencing is only active to about two hundred meters past two hundred meters lumen goes screen space so for all intents and purposes you can't really tell because things are so far away at that point, but it is worth noting if you're using a very long focal length on your camera that said luben can be optimized a little bit and to default if to trace mesh distance field for the first two meters which is detail tracing but you can choose to skip the mesh distance field tracing entirely with what we call global tracing this can give you a handy fbs boost in scene with a lot of overlapping geo now i've saved one of the major drawbacks of lumen for laugh and that's the fact the lighting channels are not supported and they won't be supported at all primarily because of how luminous designed and how it works this really sucks but it is what it is is it is a very small price to pay for the incredible lighting that we get now this part here is going to be a favorite for archvid's artist you may have noticed that in many cases reflections are just kind of the kind of bleh, especially if you're used to the gorgeous sharp and crisp ray tray reflections of you before i'm going to tell you all about the magic sauce to get the ray trade reflections and lumen combined together in just a second by default reflection use the surface cash which is great for performance but as you know it doesn't look so hot most people seem to think that you can either use only hardware ray tracing or lumen not vote unfortunately you can get the best of both worlds so first open up your project setting and in the rendering section you need to make sure you'd hardware ray tracing when available and support hardware ray tracing are turned on next search for default rhi and make sure this is set to direct x twelve then restart unreal lastly you need to set the aluminum reflection quality setting in the post process volume to four that is the magic number and that solves our issue now you can get both lumen lighting and ray trade reflection to work together in harmony now for the last part of its video i want to talk about the best practices using lumens so this is a very important part of the video first off you cannot use lumen and emissive meshes to replace like sources you're going to have a bad time if you do results are going to be noisy and inconsistent and possibly even screens based in many cases looming does pick up emissive materials as we've seen before but the smaller and brighter that emissive source is the noisier the result will be so if you're using emissive materials with lumen keep those sources large and dim for best quality and then go ahead and add an actual light to give your scene the brightness you want you the wrecklight or a point light spotlight whatever, just don't rely on only using emissive materials it's going to look bad very small and bright material sources like particles or small lights on the wall of a sci fi scene are going to be notably problematic next the base color has a huge impact on gi now for those of us coming from an offline rendering or a vsx background this is obvious dark and busy base colors are going to have a poor impact on gi while bright obedo values will bounce the light around more again obviously of course it does, but it is important to never use and albedo of one or pure white a perfectly bright albedo mean that reflect one hundred percent of the light energy and that simply never happens in real life all surfaces absorb a small portion of light even the purest snow on the top of the himalayas will have an albedo zero point, eight or zero point, nine, or so so even though it's very very bright it still absorb ten or twenty percent of the light it's important to keep this in mind when setting up your base colors it's also important to not use a material that's too dark as well and that's just going to suck away all of that lovely indirect lighting in your scene so taking a look at this example right here you're going to see just how impactful a brighter albedo can be again you want to turn on the lumen scene to visualize what's going on in your scene? if you have object that are black or thing don't look similar to your main scene here you're going to get screen space gi, this is a problem a lot of people have run into and they just write it off at oh loom into the screen space effect no, no, it's not lumen is not just screenspace but if you're seen a setup wrong it will be just to give you a classic example in my previous environment i made here i have them snowman from mega scans and they were showing up as black in the lumen scene the reason for this wasn't the model the reason what because of the master material it was using it was by default using the mega scanned transmission master material as opposed to the default vanilla mega scant material and the transmission one here is the one that broke lumen on these assets that transmission material would automatically created by crystal bridge so pay attention to the material if not just a mesh that could trigger a black mesh in the lumen scene here like combined walls and ceilings and floors unsupported materials can break lumen too so keep an eye on the lumencine view mode and be sure it stays in sync with your main scene yes these content requirements really suck but it is so much better than authoring lightmap, uvs and baked lighting god i hate baked lighting that would painful and that's it for today, folks thank you so much for watching。
大家好,我是由于我兔子,嗯,昨天呢是我表哥带班啊,今天是你们正常熟悉的兔子啊, 然后今天呢,我们来说点特别简单的知识啊,今天我们来讲一下不透明门板吧。呃,我并不是在水视频啊。嗯,因为这两天群里经常有人问我,就是说我更改了缓存 u 一五的缓存,那为什么我的 c 盘仍然是爆炸呢? 好的,今天我们来统一解答一下,然后就借着我们的不透明蒙版没有说过的知识,好的,我们新建一个材质, 同时呢更改一下他的混合模式,将不透明度更改为已遮罩。哎,会发现啊,这里的不透明蒙版亮了,我将他连在一张黑白图上,同时呢将我们的 把自发光颜色给个东西吧,给个颜色上去啊,自发光做一个绿色吧。好的, 然后呢,大家会注意到啊,我这边用个面片的方式来来观看一下。我这边反了啊,贴图反了,就是黑白反掉了,那么有聪明的同学知不知道啊,我们应该怎么解决啊?按住键盘上的 o 键啊,进行一个反向节点, 顺便带着大家复习一下之前的知识啊,哎,他现在就正常了。好了,我们应用一下, 然后呢,我再放置面板下,拖一个平面进去,哎,然后找到一个灵异, 将它旋转个九十度,再旋转个九十度升高大, 然后再调整一下比例。好的, 这样呢,我们就得到了一个基础的不透明蒙版材质的制作啊,可能有同学会问,老师啊,你做出这么个东西是要干什么呀?啊,是这样的啊,我是要想借着这个机会跟大家说一下啊 啊, c 盘爆炸的问题啊,可能有些同学按照我之前的操作仍然会 c 盘爆炸,这里呢,我建议大家检查一下啊,就是在我们这个材质啊写的位置下,你们的文件 是否过大,如果过大证明你们更改失败了,如果很小呢,并且 c 盘仍然爆炸呢?我这边来说一下第二个问题啊,其实就是应该是我们的 creature 问题啊,我们打开它,然后点击左上角,右上角啊,右上角,不好意思,这个小圆 找到第二个 profess 啊,这个偏好设置里面检查一下我们的默认下载路径啊,不睿智的默认下载路径。如果说这个 c 盘啊,那么恭喜你中招了啊, 选择一个自己的路径,将它复制进去就可以了啊,好吧,就是这样的问题,然后点 sill, 好吧,比较简单啊,当然也有很多新手容易出错啊。这边就简单说一下,然后呢,今天的视频 就这样了啊,就进来说一下,因为回来太晚了,好吧,然后呢,做个预告吧,下一期视频呢,我们会讲菲尼尔, 关于菲尼尔材质的应用和制作。好的,这就是今天的内容,感谢大家观看。
大家好,本小姐我们来简单了解一下优异物的材质。虚幻引擎中的材质定义了场景中对象的表面属性,从广义上来讲,我们可以将材质视为涂在网格体上,用来控制其视觉外观的涂料。更具体的说, 材质能准确的告诉引擎某个表面应该如何与场景中的光源交互。材质定义了表面的各种特性,包括颜色、反射率、粗糙度、透明度等。 接下来我们转到优异中,创建一个材质,在内容文件夹下面,我们创建一个新的文件夹,起名字为 materials, 然后在这里右击,选择材质,随便取个名字,双击打开啊,左上角这一块就是材质预览,我们可以点击下面这几个按钮来切换不同的形状 进行预览。我们按下键盘上的数字键三,然后点击鼠标左键就会出现这么一个颜色节点,然后把它连接到基础颜色,双击颜色节点,我们就可以设置它的颜色, 在这里我们把它设置为红色。然后看这个 matalique, 它是金属度,那无非就是要么是金属,要么不是金属。按下数字键一的同时点击鼠标左键,把这个值连接到 metallic, 把它的值设为一,代表这是一个金属。接下来我们看一下高光度, 同样的,按下一的同时点击鼠标左键,连接好以后,我们可以尝试修改一下它的值,注意到没啊,不管是零还是一,好像都没有什么变化,那我们先继续往后看一下这个粗糙度,看到没,粗糙度 为零时,表面非常光滑,我们尝试着修改粗糙度的值,看他会有什么变化,那没有,刚刚光滑了对不对?好,接着我们把金属度设置为零,然后再去调整高光度,我们发现这个时候高光度就会影响材质表面的 高光效果,也就是说只有在非金属的材质上,高光度才会生效。我们把高光度稍微调整一下, 接下来我们看一下各项异性,同样的方式,添加一个节点,我们连起来,然后我们修改它的值,去预览一下效果。我们把重点放在这个高光的部分, 因为各项异性就是在影响高光的效果。这个各项异性我们通常会在调整拉丝、不锈钢或者丝绸的时候会用到。好,在这里我们先把这个纸归为 为零。接下来我们看一下自发光,自发光通常是颜色纸,大家自己尝试啊,可以随便设置一个发光的颜色。接下来我们要看这个孬毛,他是发线,我们需要传递给他一张发线贴图。 什么是法线贴图呢?好,我们回到主窗口,找到 statuscom tent 目录下面的 maps 目录,打开 status map, 然后我们来观察一下这个材质,它的表面凹凸起伏啊,但实际上它的模型是平的。 我们把它的材质换一下,给大家看一下是不是拼的,哎,这个就是法线贴图的神奇之处。好,我先撤销了,我们可以去 textures 目录里面找到这个法线贴图,应该就是它了。法线贴图都是这种啊,蓝紫色的图片。这样吧, 我们就用这个贴图来制作一个这样的材质,找到我们刚刚创建的材质。呃,我刚没保存。没关系,反正要重新做。 按下 t 键的同时点击鼠标左键,这是个纹理节点,我们把它连接到基础颜色,然后到细节面板去选择纹理,也就是贴图 应该就是它了。好,现在它就有纹理了,但是并没有凹凸感,我们再创建一个纹理节点,把它连接到孬毛,然后在纹理这把它选择成刚刚我们看的那个, 发现贴图。好,那现在他就有凹凸感了。我们把自己创建的这个材质拖到旁边的这个地板上做一下对比,仔细看的话会有一点小差别,但大部分 情况下我们这样也是可以的,我们也可以找到右翼官方给我们提供的这个材质,打开看一下,当然看看就行了,这个我们一般人是整不出这么复杂的节点的,千万不要跟他过不去啊,不要死磕, 此刻这玩意等于放弃啊。好,那本小杰就先到这里,在下一小节我们来介绍一下材质实力。
ue 五基础操作它来啰!首先点击快速添加到项目,找到里面的放置 act 面板,里面会有一些基本的灯光和几何体模型,直接拖拽即可添加到场景, 在右边找到细节栏,接着选择实力往下再属性编辑器找到变换,把位置旋转缩放栏后面的重置按钮点一下即可把模型归位和初始化 工作区。基础操作, q 是选择工具, w 是移动工具,一是旋转工具,二是缩放工具。 窗口移动操作第一种常用热议窗口操作,旋转试图快捷键 boss 加左键缩放试图快捷键 boss 加右键。平移视图快捷键 alt 加中键,鼠标中键也行。镜头前后平移快捷键鼠标左键镜头左右平移快捷键鼠标右键选择物体以后按 f 键是模型最大化显示。第二种类似游戏第一人称操作,比较适合喜欢玩游戏的人使用。 先按鼠标左键或右键,然后配合键盘 wsad 键进行仕途的前后左右操作。零一五的上下平移操作,先按鼠标左键或右键,然后配合键盘 q e 键即可进行上下平移操作。优异的透视大小平移, 先按鼠标左键跟右键,接着配合键盘 gc 键,松开按键即可恢复原本透视。 nice, 关注我,更多建模小技巧,不迷路呦!
大家好啊,欢迎回来。今天的视频是关于路门的啊。这个视频可能会显得有点啰嗦,荣长枯燥。尽管路门对用户友好且开箱即用效果很好, 但在你需要对模型和材质进行一些改编的方式上,有一些调整是必要的。所以我向你保证,如果你能耐心看完这个视频,你的工作 会得到改善啊。这可能是我近期制作的最重要的视频之一。我知道我在五月份制作过一个关于 lumen 的视频,但那个视频是在 ue 五 发布三天后制作的。我在那里解决了一些问题,但 ap 公司后来发布了一些额外信息,使得之前的视频有些过时。因此,在这个视 频中,我汇总了所有最新和最好的信息,其中大部分来源于 epic 在该主题上的精彩直播。话虽如此,他们的直播已经超过两个半小时了。虽然他们是信息的金矿,但很多内容都远超普通艺术家所需。这就是这个系列视频的目的所在。 我想把那些直播中的信息压缩成一个更易消化的格式。让我们开始吧。首先是撸门的必要项目设置。 默认情况下,路门是激活的,你无需更改任何内容。但如果你将 uec 项目迁移到 ue 五, 这是你需要设置的内容。动态全局照明方法设置为 lumen, 反射方法设置为 lumen。 生成和网格距离长。在编辑器中需要打开 lumen 有以下 数值控制,光属性,材质,基色和粗糙度以及曝光。最后,你还有一些质量控制,设置在后处理体积中,最终聚集质量和路门反射质量。 我们将很快深入讨论一下。接下来让我们谈谈 lumen 能做什么,包括显而易见的和薄。那么明显的,显而易见的是,他以相当惊人的准确性实现了实时间接照明。我们都知道自发光照明确实对 g i 有所贡献。 明确一下,当我说 gi 时,我是指全局照明。所以如果你有一个大而明亮的材质,它会照亮你的主题。 这方面有一些限制,我们稍后会深入讨论。 lumen 还提供反射,并将 g i 整合到 反射中,所以会在反射中看到所有 g i。 这是光线追踪反射在 u e 四中做的不太好的地方。 lumen 还正确支持清漆材质,因此有两个反射,而不仅仅是一个,这对汽车材质非常有用。再次强调,光线追踪反射目前无法做到这一点。 他还支持完全阴影的天光,所以将一个设置为可移动的天光拖放到场景中, 会自动为所有物体添加阴影。艺术家无需额外操作。他提供了动态 gi 和透明度,以及体积物的天空阴影。尽管质量较低,鲁门为艺术家们简化了很多事情。对于光照和阴影细节几乎没有什么太多的设置, 大部分工作都是在后台完成的,这对我们来说绝对棒。那这么这一切是如何工作的呢?在纯粹的技术术语中,这是一种混合光线追踪管线,它使用软件光线追踪, 首先针对深度缓冲进行追踪,我们称之为屏幕追踪,然后针对距离场进行追踪,并对距离场追踪中的射线命中的表面缓存。应用照明啊,龙门在很大程度上依赖于网格距离场。 但这里值得注意的是,网格距离场在 ue 的啊五中已被完全重写,专门为与鲁门一起使用而设计,并且,并且他们比在 ue 四中的任何时候都要好的多。现在网格定义场现在有 meep 贴图,根据距离从磁盘流逝传输,并且 在内存方面的成本约为 ue 四的一半啊,他们的构建速度也比以前快十倍,这是一个巨大的升级。如果你还记得在 ue 四中构建网格距离场需要很长时间,但在这里已经不再是这种情况了。 虽然所有这一切都处理了阴影,但他无法确定表面的材质的材质,颜色和光照。所以啊,这就是表面缓存的作用。 表面缓存基本上将你的网格分成一堆卡片,他以非常低的分辨率捕获网格的材质,属性,颜色和粗糙度,存储在一个图集中。这与 nine to 网格特别有效的配合。 随着你在场景中操作来试图,他还会不断更新其图集。然而,值得注意的是,这些重新 补货在非奶奶的网格上非常缓慢。所以如果你注意到你的帧率突然下降,没有明显的原因,请尝试查看一下你的环境中是否有一些非奶奶的模型。 他们可能会被解构。尤其是,如果这些网格没有正确设置 l o d, 你可以使用以下控制台命令可视化表面缓存。简而言之,如果你打算在任何高多边形环境中使用 lumen, 他们几乎需要是 nanite 网格。如果你想要良好的真律,这是一大堆无聊的话题。为什么艺术家们应该关心这些废话呢? 表面缓存有一个主要的重大限制,这将影响你如何创建你的资产和模型。只有简单的网格和室内可以被支持。我的意思 词是,你不能简单的使用一个大的组合网格来制作一个室内,例如墙壁,地板,天花板。所有这些都需要是单独的个体模型。 如果你尝试为一个场景进行照明,而事物看起来很奇怪,或者光照只是屏幕空间,这可能是其中一个原因。 尽管使用单独的墙壁,地板和天花板听起来很麻烦,但由于 nana 技术,你可以简单的将所有这些单独的模型合并到这个单一的蓝图资产中。这是一个很好的小技巧,结合了单个组装资产的便利性和 lumen 的质量优势。 我提到这一点是为了过渡到我接下来的话题。 lumen 场景,这可以说是 lumen 最重要的 试图模式。因为如果你的路门场景与主屏幕上的内容不大匹配, gi 中会出现视角相关的尾影。如果你曾经注意到路门的 gi 有时是屏幕空间,那么就是有问题的原因。路门场景是你看路门在做什么。头号工具为什么会有尾影。 你可以在市口之间进行 a b 比较,确保他们在光照、颜色、颜色等方面看起来大致相同。使用快捷键 g 非常方便。特别是如果你在 lumen 场景中看到像这样黑色的网格或物体,那么就有问题。 那个物体没有贡献到 g i 场景中的黑色模型意味着他们只会出现在屏幕追踪中。这就是为什么光照会以屏幕空间的方式出现和消失,但现在让我们谈谈一 些 lumen 的限制和非常重要的事情啊。 lumen 目前只支持静态网格和实力。静态网格意味着 ue 五点零目前不支持地形,但这将在五点三版本中得到支持。 另外,世界位置偏移会以导致为影,因此任何与风相关的东西可能存在问题。透明材质还不能为路门反射或动态 gi 提供支持,因此玻璃看起来不正确。 有趣的是,次表面散射在 loom 中不起作用,但次表面配置文件是有效的。这是我在这里使用两个球体进行对比的效果。 此外, lumin 也在很大程度上依赖于时间超分辨率这类死于 nvidia 的 d l s s。 这意味着它在一零八零 p 分辨 下计算并将所有内容提升到四 k 分辨率看起来几乎与原生四 k 一样好。时间超分辨率实际上是使 luman 实时化成为可能的关键。 卢门确实支持硬件光线追踪提供最高质量,但成本也最高,而且在在早期版本中仅部分支持如光线追踪反射阴影,并且是最终聚集的一国。部分硬件光线追踪只对 nana 代理集合进行追踪, 因此,如果在给定静态网格的 net 设置中遇到伪影或不良阴影,可能需要提高代理三角形百分比。 如果你正在使用硬件光线追踪,请尽量避免过多的套件拼接或有太多重叠的网格,性能影响会非常大。因此,如果你 确实有很多套件拼接,也许最好选择使用软件光线追踪。接下来,当你使用影片渲染队列时,你可啊能会注意到前几针看起来非常糟糕和嘈杂。 这是因为 lumen 是为实时使用而设计的,需要几针来融合,所以你需要使用大量的预热针。 在 com 机之选项卡下的电影渲染对列中,为谨慎起见,我经常使用大约两百五十到五百个预热针。这可能有点过度了,但它有效。默认情况下, lumen 场景只在两百米左右处激活。 超过呃。两百米后, lumin 会变成屏幕空间,因此在渲染的画面中,你实际上无法分辨。呃,因为在远处的模型已经很远。但值得注意的是,如 如果你的相机使用非常长的焦距,那么 luman 可以稍微优化一下。默认情况下是为前两米距离。为距离追踪网格距离场,这是细节追踪,但你可以选择完全跳过网格距离场的追踪。 使用我们称之为全啊局追踪的选项。这可以在具有大量重叠几何体的场景中带来方便的帧率提升。 现在,我将一个 lumen 的主要缺点留到最后,那就是光照通道不受支持,并且根本不会得到支持,主要是因为 lumen 的设计和工作方式。这真的很糟糕。但这就是现实。 对于我们们得到的令人难以置信的光照来说,这是一个很小的代价。接下来的部分对于建筑领域的艺术家们可能会很喜欢。 你可能已经注意到,在许多情况下,反射只是一种模糊的存在,尤其是如果你习惯了一 v 四中华丽瑞丽的光线追踪反射,我将告诉你如何利用魔法降脂使光线追踪反射和鲁门结合在一起只需要一秒钟。 默认情况下,反射使用表面缓存,这对性能来说很好,但正如你所知,效果并不太好。大多数人似乎认为你只能使用硬件光线追踪或撸门,不能同时拥有两者。很遗憾,你可以获得两全其美。 首先,打开项目设置,在渲染部分,确保在可用时使用硬件光线追踪和支持硬件光线追踪 pro 被打开。接下来搜索默认 rhi, 并确保设置为 direct axis 十二, 然后重启虚幻引擎。最后,在后处理体积中将 lumen 反射质量设置为四。这是一个神奇的数字,可以解决我们的问题。现在你可以让 lumen 照明和光线追踪反射一起和谐工作了 啊。现在这个视频的最后一部分,我想谈谈使用 lumen 的最佳实践。这是视频中非常重要的一部分。首先,你不能使用 lumen 和发光网格来替代光源。如果这样做,你会遇到问题,结果会很嘈杂。不一致,甚至可能是屏幕空间的 lumen 确实会捕捉到发光材质,但发光源越小越明亮,结果就会越嘈杂。因此,如果你在呃使用 lumen 时使用发光材质,让这些光源大而昏暗,以 获得最佳质量。然后再添加一个实际的灯光,让场景达到你想要的亮度。可以是聚光灯,点光源等。只啊是不要只依赖发光材质,效果会很差。 非常小而明亮的材质,圆如粒子或场景墙壁上的小灯光可能会出现明显问题。 接下来,基础颜色对全局照明影响巨大。对于我们这些来自离线渲染或 bfx 背景的人来说,这是显而易见的。比较暗的基础色会对全局照明产生不良影响,而明亮的反照率值会更多的反射光线。 当然,这很明显,但重要的是永远不要使用反照率为一或纯纯白色。完全明亮的反照率意味着他反射了百分之一百的光能量,这在现实 生活中根本不会发生。所有表面都会吸收一小部分光线,即使是喜马拉雅山顶上最纯净的雪,也会有零点八或零点九左右的反照率。即使他非常非常明亮,仍然会吸收十或百分之二十的光线。设置基础颜色时要牢记这一点。 同样重要的是,也不要使用太暗的材质,否则将会吸走场景中所有美好的啊间接照明。因此,看看这个例子,你会看到更明亮的反照率率可以产生多么大的影响。 再次强调,要打开 lumen 场景来可视化场景中发生的事情。如果你的物体是黑色的,或者与场景不相似,你将得到屏幕空间 gi。 这是很多人遇到的问题,他们 只是把它归咎于将 lumen 转换成屏幕空间效果。不,不是的, lumen 不只是屏幕空间。但如果,但,如果你的场景设置错误,它就会变成这样。 举一个经典例子,在我之前制作的环境中,我使用 mega scans 中的雪人,他们在 lumen 场景中显示为黑色,原因不是模型,而是因为他使用的主材质。他默认使用了 mega scan 传输主材质,而不是默认的普通 mega scan 材质。 这里的传输材质破坏了这些资产的 lumen。 这种传输材质是 quaxel bridge 自动生成的,所以要注意材质。如果不仅仅是一个触发黑色网格的网格,就像这里的 lume 场景中的组合墙壁、天花板和地板。不支持的材质也可能 破坏路门,因此要注意路门场景试图模式,并确保它与主场仅保持同步。是的,这些内容要求确实很糟糕,但比修改光照、贴图、 u v 和烘焙照明要好的多。烘焙照明真的很痛苦。 今天就到这里,非常感谢观看。如果你觉得这个视频有帮助,请考虑三年加关注,祝大家渲染愉快!
呃,大家好,今天给大家录一期视频,这期内容非常简短,是我最近碰到了一个问题,就是如何消除用 pcg 来消除这个摩尔纹的问题。我们看到这个模型上来看的话,当他离近,当渲染的时候,他会出现各种摩尔纹。 当然 varwin 的出现原理也是因为是模型的密度, 简单的说就是模型的密度大于了屏幕分辨率或者刷新率的一个显示颗粒数,我是这样理解的。 然后我在项目中遇到之后,我就想到用其他方式来解决这个猫耳纹的问题,因为猫耳纹最终来说话,他就是一个密度太高了。而对这种从 负的密度特别高的事物,事物或者模型来说话, p c g 其实正好可以解决一些重复性,而且是有规律的一些一些东西。比如这个是 p c g, 我生成的一个 p c g 生成的一个 一个线条,他的摩尔纹就非常重,他恢复到正常密度,我可以看到他已经也是像左边的这个模型一样,形成了很多的一个 摩尔纹。我的解决方案就是用 pcg 来生成它,根据距离化可以不断调整它的一个密度, 让他的密度根据距离来适应,适应一些显示器或者说你镜头的一个变化。毕竟按照传统做法来说哈,我们要做的是把这里边的一些山格或者一片的 片东西,把它密度降低,类似于纹理里边消除木耳纹的那种,把 uv 的一个缩放,进行 uv 缩放,减少它的一个重复度。这个 用 pcg 来看啊,可以接电,也很简单,比如这里就是一个获取样条线数据,一个样条线采样器,一个变换点,一个静态网格底生成器, 而且他这个用 pcg 生成,好处是他这里就像我的模型里边,就像我一会会给大家展示一下我这个项目当中一个样子,他的里边会有一个转弯, 我当时的镜头类似于从这个位置一个特写的近景,然后滑到这里,然后拉远之后成为一个远景,如果密度过高的话,他在拉远的时候大家可以看到我屏幕的一个变化,我把速度降低一些, 他就会出现一些摩尔纹。我在渲染中也是这样子,无论用鹿锥或者说是用普通的撸们渲染都会出现这种情况,这种方法我在测试过之后是可以行的,但这个数值是要根据你的镜头变化以及 你的角度来进行一些调整,总有一个合适的数值,大家到时候可以根据自己的情况进行一些调整。呃,今天内容就到这里,谢谢大家。