FXPHD – UNR208 – Unreal Engine Bootcamp – Part 2

虚幻引擎训练营，第 2 部分广泛而详细地介绍了如何使用虚幻引擎创建电影级真实感场景。它专为想要在虚幻引擎中迈出第一步并将其知识应用到高级实时游戏引擎的视觉特效艺术家量身定制。它是之前发布的虚幻引擎训练营第 2 部分的后续内容

该课程将涵盖广泛的软件，包括 Autodesk Maya、Substance Painter、World Creator、Metahuman Creator 和虚幻引擎的水插件系统。

Liam Whitehouse 是一位澳大利亚高级视觉特效艺术家，自 2003 年以来一直从事 3D 行业。在过去的 18 年里，他参与了各种项目，包括最近在 Disney Plus 上拍摄的《猎鹰》和《冬兵》的逼真峡谷环境、《哥斯拉大战金刚》的中空地球环境，以及其他即将上映的备受瞩目的故事片和剧集的视觉特效工作。

第 1 课：UE Nanite Geometry 和 Lumen 实时全局照明
介绍虚幻引擎中的 UE Nanite Geometry 和 Lumen 实时全局照明系统。Nanite 是一个令人惊叹的高分辨率几何系统，它被设计为虚拟纹理的地理版本，它允许仅根据相机看到的内容将大量数据传输到视口中，从而允许对资产进行大量的多重计数。

以前，Zbrush 模型被烘焙成法线贴图，然后用于在低多边形几何体上创建假曲率和细节，但现在高多边形几何体可以转换为 Nanite 网格，并以以前无法用于高多边形数的惊人高帧速率在视口中播放。

Lumen 是一个出色的实时间接照明系统，它是虚幻引擎 5 中的新增功能，它允许动态反射照明，而无需使用光照贴图将照明烘焙到环境中。它非常逼真，具有美丽的电影反射光和场景中材质的颜色，以及环境阴影部分的柔和阴影。我们将了解如何在轻型高性能演示场景中进行设置。

第 2 课：硬表面模型的纹理
在第二节课中，我们将学习使用Autodesk Maya和Substance Painter完成虚幻引擎硬表面模型纹理化的过程。Autodesk Maya 是高细节车辆、环境和角色模型的行业标准，它可以与虚幻引擎配合使用，创建可在电影中使用的高细节和装配资产。通过在 Maya 中设置材质，可以将资源导入到虚幻引擎中进行材质分配。

Substance Painter 是一款智能纹理软件，可以使用 3D 模型的曲率、环境光遮挡和厚度，为划痕、老化、凹痕等资产添加自动智能材质。由于其广泛的预制纹理库以及直观且用户友好的绘画和贴花系统，它已成为纹理艺术家非常有价值的工具。我们将在 Substance Painter 中为喷气机创建纹理，然后将其导入虚幻引擎。

第 3 课：物理材料
在第三节课中，我们将深入研究 UE5.1 中的物理材质，并研究分配材质以匹配摄影参考图像。使用 Substance Painter 中的纹理和材质，我们将它们附加到虚幻引擎中的材质网络，并拨入材质设置以获得最佳效果。利用主材质的基于节点的系统和材质实例中的属性，虚幻引擎中的材质创建过程非常容易使用。我们将在易于理解的演示场景中设置材质，然后继续编辑喷气机资产上的材质。

第 4 课：超人类造物主基础知识
介绍用于为 UE5 构建角色模型的 Metahuman Creator。Metahuman Creator 是一个新的角色创建系统，允许在易于使用的角色创建 GUI 中修改和调整预制或自定义数字人类。您无需手动为角色建模、装备和纹理，您可以轻松地在不同的预设之间进行选择，然后使用简单的控件自定义他们的头发、眼睛、皮肤和功能。我们将创建自己的超人类角色并将其导出到 UE5。

第五课：水与海洋
如何设置和使用虚幻引擎内的水系统在现有的世界创建者场景中创建海洋。我们不会使用样条线来绘制岛屿的轮廓，而是使用地形的高度来切出海洋，然后使用所有水控制和材质设置来调整海洋深度、材质透明度以及波浪高度和速度，以获得摄影结果。

水系统具有许多现有功能，包括波浪、泡沫、吸收、半透明和反射，这些功能都可以与高细节光线追踪配合使用，产生令人惊叹的效果。我们将在对山脉水域的海洋设置的详细概述中介绍所有这些内容。

Duration 4h 29m Project Files Included MP4

Title: FXPHD – UNR208 – Unreal Engine Bootcamp – Part 2

Info:
Unreal Engine Bootcamp, Part 2 gives a broad and detailed introduction to using Unreal Engine to create cinematic photoreal scenes for cinematics. It is especially tailored for VFX artists wanting to take their first steps in Unreal Engine and apply their knowledge to an advanced realtime game engine. It is the followup to Unreal Engine Bootcamp, Part 2 which was previously released

The course will cover a breadth of software including Autodesk Maya, Substance Painter, World Creator, Metahuman Creator and the water plugin system for Unreal Engine.

Liam Whitehouse is an Australian based Senior VFX artist, who has been in the 3D industry since 2003. He has worked on various projects over the past 18 years including most recently the photorealistic canyon environments for The Falcon and the Winter Soldier on Disney Plus, and the hollow earth environments for Godzilla vs Kong, as well as VFX work on other upcoming high profile feature films and episodic series.

Class 1: UE Nanite Geometry and Lumen Realtime Global Illumination
An introduction to the UE Nanite Geometry and Lumen Realtime Global Illumination systems in Unreal Engine. Nanite is an amazing high resolution geometry system which was designed as a geo version of virtual texturing which allows for large amounts of data to be streamed into the viewport only based on what the camera sees allowing for huge polycounts on assets.

Previously Zbrush models were baked into normal maps which were then used to create fake curvature and details on low poly geometry, but now high polygon geometry can be converted to Nanite meshes and played back in the viewport at amazing high framerates previously not available to high poly counts.

Lumen is a fantastic realtime indirect lighting system which is new in Unreal Engine 5 which allows for dynamic bounced lighting without baking lighting into the environment using lightmaps. It’s very realistic and has beautiful cinematic reflected light and colour from materials in the scene as well as soft shadows in shadowed parts of the environment. We will take a look at how to set it up in a light performant demo scene.
Class 2: Texturing of Hard Surface Models
In the second class we will learn the process of using Autodesk Maya and Substance Painter to complete texturing of hardd surface models for Unreal Engine. Autodesk Maya is an industry standard for high detailed vehicles, environments and character models and it can be paired with Unreal Engine to create highly detailed and rigged assets which can be used in cinematics. By setting up the materials in Maya, assets can be imported into Unreal Engine for material assignment.

Substance Painter is a smart texturing software which can use the curvature, ambient occlusion and thickness of 3D models to add automatic smart materials to assets like scratches, aging, dents etc. It’s become a highly valuable tool by texture artists due to it’s extensive library of pre-made textures and it’s intuitive and user friendly painting and decal system. We will create textures in Substance Painter for the jet then import it into Unreal Engine.
Class 3: Physical Materials
In the third class we will dive into Physical Materials in UE5.1 and look at assigning Materials to match photographic reference imagery. Using our textures and materials from Substance painter we will attach them to a material network in Unreal Engine and dial in the material settings to get the best results. The material creation process in Unreal Engine is very easy to use utliising the node based system for Master Materials and the attributes in Material Instances. We will setup materials in an easy to follow demo scene and then move on to edit the materials on our jet asset.
Class 4: Metahuman Creator Basics
An introduction to Metahuman Creator for building character models for UE5. Metahuman creator is a new character creation system which allows premade or custom digital humans to be modified and adjusted in an easy to use character creation GUI. Rather than having to hand model, rig and texture a character you can easily choose between different presets, and then customise their hair, eyes, skin and features using simple controls. We will create our own metahuman character and export it to UE5.
Class 5: Water and Ocean
How to setup and use the water system inside Unreal Engine to create an ocean on an existing world creator scene. Rather than using splines to draw the outline of an island we will use the height of our terrain to cut out an ocean and then adjust the ocean depth, the material transparency and the wave height and speed using all the water controls and material settings to get a photographic result.

The water system has many exiting features including waves, foam, absobtion, translucency and reflections which can all work with high detail raytracing to produce amazing results. We will cover all of this in our detailed overview of the ocean setup for our mountain range water.