@@rackneh do you have box mapping on? Do you rebake the probe when you move it? Btw probe reflections will never be perfect, they are just an approximation

@@impheris ahh damn, that sucks :( I didn’t remove the comment, probably a bug on YT

@@caponeart3596 I know, that problem is really annoying. But I found a workaround. When you use PolyPaint it adds a PolyBrush (or something) component. There’s an option there to change from unique mesh to “downward stream” (forgot the name). With this option you maintain the connection, it doesnt replace it with a new mesh. Of course if you update the original mesh you lose the vertex painting, but at least it doesnt lose the mesh connection. I’d assume it also breaks instancing, but I’m not sure. SRP Batch Instancing works differently than other techniques, and drawcalls have a different meaning there. I think it could become a problem if you have lots of tiny pieces all with unique vertex painting. But if you have larger pieces that get reused a few times it should be totally ok.

That's awesome to hear! :D Best luck!! It's a challenging but fulfilling journey that's for sure.

Having them as “pure” realtime probes that update every frame will indeed tank fps. The way I set this was up was more like a “hybrid” probe, its dynamic in the sense that it gets baked when the scenario changes, but only once. What you suggest might be a good optimization, but seems like the workflow would be a nightmare. The more scenarios you add, the more you are going to have to manually bake the probes for each scenario, and every time you change something in the level… meanwhile if you just bake dynamically when you need, you get the best of both worlds.

@@TKEnvironments Ahh ok, so you are baking once when the scene loads? That makes sense. Is there some kind of callback to know when the bake has finished, so you don't display the scene while the bake is happening? I'm just starting to use APV myself - love the workflow, but getting unreliable results with reflection probes in URP.

@@ZirrelStudios not sure if there’s a callback… i didnt look. In my case I just added a “transition camera” that looks at the sky only while the probes get baked. It’s not perfect and maybe on older machines the baking could last longer than the transition camera…

I can post the code for the reflection probe baking if you want, its a script that looks for every probe in the scene and fires the bake function, so for ex, you can execute it when the scene loads or when you transition

I won't touch mushrooms anymore, neither eat them. Lol, what an ending. Far cry 3 vibes at the end!

Strange, haven't heard that before from anyone. Did you extract the files to a unique folder somewhere?

Funny, I was just looking into this question again this week. So far there's no official solution from Epic. Seems like it should be quite a straight forward feature to add, but maybe it's not. Here are workarounds I found for this limitation: - You can still have vertex colors but just not per instance. So maybe you can use Unreal's vertex color baking tool to bake cavity to R, AO to G etc... and use that to drive procedural masks with world space grunges and what not so each modular piece has different grimes. - This is super hacky, but you can duplicate the mesh and apply vertex paint on that copy. The reference to the original mesh still exists, so if you hit reimport you can iterate. But obviously this is not feasible if there are a lot of variations. Could work on a hallway or something. - You can use Dbuffer decals to blend materials. I haven't used this technique yet and I don't what are the performance complications, but seems like an interesting one: kzfaq.info/get/bejne/na6Bp7llr6nXlok.html Maybe if more people post about it on Epic forums they will prioritize it? :)

@@TKEnvironments for my understanding old good vpaint is no longer usable beacuse data held with amount of vertex per nanite mesh would be super huge, but yeah not adding anything new for that is super weird imo. This Dbuffer decals looks very intresting! Thanks!

@@andrewalexart hey! 1024 for 4m, but Id recommend 2048 for 4m now

@@TKEnvironments Thank you!

Thanks! HDRP

No idea what you mean by that!

No specific requirements, if you can run the programs you are good to go (Unreal Editor, a modeling program such as maya or blender, and texturing programs such as substance)

I cant see why not

Hello! As you can see in the video, the environment that I started in Unreal was converted exactly as it was into Unity :) The workflow of asset creation is basically the same. The only differences are more technical, for example, how to import the assets into Unity, and how to set up the lighting. I'm currently working on a Unity section for the tutorial that highlights these differences, and shows how to do specific things in Unity. It will be an addon to the course, not a full remake, since the process is the same regardless of the engine. I'm hoping to get this done no later than the end of July, but possibly earlier. Regarding the versions of the tutorial, if you are plan is to remake the Spanish Town in Unity totally go for the Advanced version. The Standard version contains all the information necessary to make your own environments, but the Advanced version contains all the Spanish Town specific videos (mostly about texturing and very specific things). Hope that helps, and stay tuned for the much awaited Unity update! (and I will cover both URP and HDRP)

Thatis a very good point. A lot of people want to get hired at Blizzard/Riot tomorrow. But it takes years and years to develop the skills and experience needed to become an attractive employee for these companies. No matter how naturally talented the person is, it takes time to simmer and absorb experience :)

Several people successfully did, but it depends how experienced you are with Blender. If you are complete a beginner, you will probably have a hard time, but if you have some experience, it should be a breeze. I don't use any Maya specific tools and I'm mostly doing simple operations, such as extruding, cuting, beveling etc... the one thing that people always have question about is how to maintain the texel density. For that, there's this amazing Blender script: renderhjs.net/textools/blender/

@@TKEnvironmentsThanks, I have a Nvidia Rtx 3070 will it be enough for this tutorial?

The AO gets multiplied with the environment lighting AO, adding some extra detail to materials in the shadows.

Hey Kapthos! I go in-depth into these questions on my Environment Art Mastery course. It's not a one size fits all kind of answer, but a short version is this: - If you bake everything, it will be much harder to maintain a consistent texel density, and you might also run into performance problems in a real world scenario. There's a recent game that made everything unique, Final Fantasy VII Remake, but they had quite a few problems with texture streaming when the game released. Besides, they are a very experienced team with world-class programmers that can help optimize. For most people, I recommend using tileables for architecture. Nowadays there are many different techniques to blend materials, such as layered materials in Unreal, height blend, nanite tesselation etc.... Uniquely baking should really be reserved for props and specific elements (for example a store front, maybe windows that can be reused, etc...). I actually want to make a video for KZfaq expanding on texel density, because no joke, I get asked about it at least twice a week, and while a lot of people freak out over it, it's actually pretty simple once you know what to look for :) Stay tuned for the texel density tutorial, it should be coming up in the coming weeks!

All custom made, and I haven't released it publically yet

@@TKEnvironments And do you think it ould work in real time VR ?

@@nobody_there_ Yeah, that scene was running in URP PC VR. It only started to run slower when I introduced mixed/realtime lights.

@@TKEnvironments Yep. Of course need to bake the all thing. Let me know in case you would be interested to sell it... cheers

I have no idea :) I never worked with foliage in Unreal...

No worries thanks anyway!

Haha you mean the one on the Spanish Town? I show how to do in Environment Art Mastery, but in a nutshell: - Create the mountain mesh in World Machine - Export the height map + RGB masks - Create a plane in Maya/Blender, tesselate the hell out of it and displace and then optimize - Create material in Substance/Photoshop etc... using the RGB masks Here's a more advanced version: kzfaq.info/get/bejne/f8dkZdt1u8yrpZc.html I only used baked textures and duplicated the mountain mesh around to keep it performant, but if terrain is a big part of the environment, it pays off to invest in a good shader.

Can't deny my roots in half-life mapping :D

@@TKEnvironments oh that is so good , can you please do a tutorial to how you get that feeling because i love and maybe i will use it in some of my games

🥰

@@TKEnvironments could you please tell me where do i get the prototype grid material with the measurment?

Yep, that's a common struggle :) It's all about mindset. Keep on pushing and believing it will work out, and one day things magically fall into place. It's like the universe rewards you for the hard work and belief. At least that's been my experience :)

Kind of... they use a more advanced technique, "interior mapping" I think it's called, instead of using just photos as I'm doing here, they use cubemaps that actually have a box shape. In the Matrix Unreal demo they use an even more advanced technique, with raymarching I think to create depth. There are many ways to accomplish this, the version in this video is the cheapest/fastest, but also the least precise.

Thanks! Yeah, making ambient lighting with Adaptive Probe Volumes, and using Mixed lights for the actual lights (since they look really blocky and crappy if they are fully baked).

Yeah, they do. But afaik the Parallax Occlusion Mapping node is more involved and has more calculations. The bumpOffset one might be cheaper in most cases.

@@TKEnvironments Oh, I see.

Same bro, me too.

Thanks! I totally agree, its so fun to work with lower fidelity. Leaves a lot of room for imagination!

How much is too much really depends on the platform. On PC you can get away with more probes than on a Quest 2 for example. I actually think I went a bit overboard and placed too many probes. That was because there is no screen space reflections on URP (or VR). Since then, I converted the project to HDRP where I'm using SSR, so I don't need as many probes anymore. But generally, you should use as few probes as possible, because there's a cost not only in memory (to save the baked probes), but also in runtime performance (since each probe needs to be calculated, and especially if you have probes overlapping there are some extra calculations that need to be done),.

For sure, makes sense! Thanks for your thoughts.

HDRP

Lots of people did, depends on how familiar you are with Blender. It's not a course about how to use Maya, but how to make environments, the actual creation process. how to come up with an idea, create a level design blockout etc... Even though I used Maya, the user can use anything they feel familiar with.

@@TKEnvironments Thanks. Might just take the plunge. :)

Glad to hear man! It took me a long time, and it's not an easy industry to survive, but I love it and I wouldn't have picked another job :) (only maybe architect haha). Best luck in your journey!!

@@TKEnvironments haha thank you! =D

Looks pretty cool! I think it's all about what you are trying to accomplish, not about specific knobs you can turn or dial. I watched a great talk yesterday which might help you: kzfaq.info/get/bejne/d7CUeNSk2LS-XYk.html