02 Exploring Create Menu Options in Modeling mode of Unreal Engine 5.6

Unreal Engine 5.6 Official Release

• 5.6 moved from preview to official release.

• Must install with:

  • Starter Content

  • Templates

  • Engine Source

  • MetaHuman Core Data

• Optional to skip debug symbols to save space.

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🔹 Continuing from Previous Session

• Reopened modeling_practice level.

• Ensured models are saved to My_Created_Models folder (updated project settings).

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🔹 Modeling Tools – “Create” Menu Exploration

🧱 Box

• Can set width, depth, height in cm.

• Subdivision affects mesh smoothness (more subdivisions = more polygons).

• Wireframe view helps visualize subdivisions.

• More subdivisions = smoother deformation but heavier GPU load.

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⚪ Sphere

• Static, Dynamic, or Volume types.

• Subdivision types:

  • Box: Uniform mesh.

  • Latitude/Longitude: Poles form triads (less uniform).

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🥫 Cylinder

• Radius, height, radial slices (define circular smoothness), and height subdivisions.

• Radial slice = number of circular segments.

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🧢 Capsule

• Cylinder with hemispherical ends.

• Adjustable:

  • Radius

  • Cylinder length

  • Hemisphere slices

  • Cylinder subdivisions

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🔺 Cone

• Adjustable radius, height, and segment detail.

• Used for simple pointed shapes.

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🍩 Torus

• Donut-shaped geometry.

• Control:

  • Major radius (overall size)

  • Minor radius (ring thickness)

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➡️ Arrow

• Customize shaft and head dimensions, radial segments, and slice count.

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📏 Rectangle, Disc, and Polygon Shapes

• Rectangles: Width, height, subdivisions.

• Disc: Change radial slice to convert to triangle, square, hexagon, etc.

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🪜 Stairs

• Types: Linear, Floating, Curved, Spiral.

• Adjustable step count, dimensions, curve radius, and angle.

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🧱 Cube Grid Tool

• Used to build structures like gates by snapping 3D blocks.

• Press E to extrude up, Q to inset or carve, Z to enable vertex edit.

• Shift+E moves extrusions without connecting.

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📏 Extrude Polygon Tool

• Modes: Freehand, Circle, Square, Rectangle, Rounded Rectangle, Ring.

• Create 2D shape → Extrude into 3D geometry.

• Example: custom building base, ring shapes.

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🛤️ Extrude Path Tool

• Draw 2D paths and extrude into 3D forms (like beams, trims).

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🌀 Revolve Path Tool

• Draw shape and revolve around an axis.

• Create vases, pillars, cylindrical decorative elements.

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🎢 Draw Spline + Mesh/Revolve

• Draw spline in 2D.

• Use Revolve Spline for radial extrusion (lofting).

• Use Mesh Spline to convert closed splines into mesh geometry.

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🔚 Conclusion

• All Create tools in the Modeling Mode explored.

• Next session will cover:

  • Transform (XForm)

  • Deform (DForm) tools to modify created shapes.

01 Modeling Basics: Triads and Polygroups in Unreal Engine 5 6

Introduction to Asset Creation in Unreal Engine

• Transition from using pre-built assets to creating custom assets within Unreal Engine using modeling tools.

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🔹 Basics of 3D Modeling

• Vertex: A point in 3D space.
• Edge: A line connecting two vertices.
• Face: A surface formed by three or more edges.
• Triad: Face with 3 vertices (triangle).
• Quad: Face with 4 vertices (rectangle).
• N-gon: Face with more than 4 vertices.

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🔹 3D Modeling in Unreal Engine

• Unreal Engine uses real-time rendering, unlike offline rendering in software like Blender or Maya.
• All models are internally converted to triangles (triads) in Unreal for performance.

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🔹 Project Setup

• Download assets: houseplan_images.zip and SathvikOffice.zip.
• Set up a new Unreal Engine project and level named modeling_practice.
• Save new models to a folder called "my_created_models" for persistent use across levels.

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🔹 Enabling Modeling Tools

• Enable plugins:
• Modeling Tools Editor Mode
• Static Mesh Editor Modeling Mode
• Restart Unreal Engine after enabling.

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🔹 Using the Modeling Interface

• Access Modeling Mode via Shift + 5.
• Categories include Create, Transform, Deform, Model, UVs, Bake, etc.

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🔹 Primitive Modeling: Box Example

• Options:
• Static Mesh: Saved to disk, reusable.
• Volume: Invisible mesh used for triggers or physics.
• Dynamic Mesh: Exists only in current level, temporary.

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🔹 Understanding Units

• Default Unreal units are in centimeters (1 meter = 100 cm, 1 foot = 30.48 cm).
• Use Google or calculator to convert real-world sizes.

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🔹 Creating Site Area

• Use box primitive with dimensions 12.19m x 18.28m (converted to cm).
• Adjust thickness (e.g., 1 ft = 30.48 cm).
• Save and rename mesh with Unreal naming convention: SM_SiteArea.

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🔹 Vertex, Edge, Face Selection Modes

• Use icons to edit models at vertex, edge, or face level.
• Wireframe and polygroup mode help visualize and group geometry more intuitively.

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🔹 Conclusion

• This session covered the basics of 3D modeling using Unreal’s built-in tools.
• Upcoming sessions will explore the full "Create" menu in depth and begin constructing the building step-by-step.

 

21 D03_H03_04 Adding Bloom, Flare and Fog with realistic imperfections u...

Session 21 Summary – Final Touches, Post Process, Fog & Rendering

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🔧 Project Setup

• Downloaded and extracted camera settings - add files for imperfection render.zip

• Replaced required .uasset, .umap, and sequence files in the appropriate Unreal project folders.

• Set Module_7 as the default Editor & Game Map for startup.

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🎥 Sequence Adjustments

• Fixed focus issues manually on the CU_Tray camera using manual focus distance and keyframes.

• Rearranged shots in the Sequencer for better narrative flow:

  • Started with crane shot → panning → trolley → closeups → zoom out.

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🎛️ Post Process Enhancements

• Added a Post Process Volume (PPV) to the level:

  • Set Infinite Extent (Unbound) for global effect

  • Adjusted Exposure settings manually for all cameras

  • Enabled Lumen lighting for realistic GI and reflections

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💡 Cinematic Effects Added

• ✅ Bloom: Enhanced glow of bright lights

• ✅ Lens Flare: Added subtle lens reflections for realism

• ✅ Bokeh Size: Simulated real camera blur

• ✅ Vignette: (optional) darkened edges of the frame

• ✅ Image Sharpening: Enhanced overall crispness

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🎨 Color Grading (In-Engine)

• Applied custom LUT created in DaVinci Resolve

• Enabled LUT in Post Process > Misc > Color Grading Look

• Manually controlled Shadow, Midtone, Highlight saturation to refine image directly inside Unreal

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🌫️ Fog & Lighting Volumetrics

• Added Exponential Height Fog to simulate atmospheric depth

• Enabled Volumetric Fog and set proper scattering colors

• Controlled Fog Density and spotlight Volumetric Scattering Intensity to get cinematic light shafts

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🎞️ Final Rendering Process

• Two rendering options discussed: Movie Render Queue and Movie Capture

• Enabled Movie Render Queue via Plugins

• Configured:

  • Apple ProRes 422 Codec

  • Resolution: 1920x1080, Framerate: 24 fps

  • Saved render as a reusable Preset

• Fixed missing object bindings in some shots before final rendering

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✅ Session Outcome

• Completed final cinematic render with:

  • Shot sequencing

  • Color grading

  • Post effects

  • Volumetric fog

  • Full resolution output via Movie Render Queue

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🏁 Wrap-up

Completed a full one-shot cinematic short film using only Unreal Engine’s native camera, lighting, and post tools — marking the conclusion of the introductory 21-session Unreal Filmmaking series.

Next chapter: Modeling and asset creation in Unreal Engine

20 D04_H03_03 Adding HDRI Backdrop Light and Color Grading using LUTs in...

Session 20 Summary – Color Grading & LUTs in Unreal Engine

🔹 Understanding Gamma & Color Science

• Linear RGB: How camera sensors capture light — brightness is directly proportional to light intensity.

• sRGB: How human vision perceives light — more sensitive to shadows and midtones.

• Gamma Curve: Used to convert linear RGB to sRGB for realistic display on screens.

• 18% Gray Concept: Human eye perceives mid-gray at ~18% intensity, not 50%.

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🎨 Creating a D-Log Look in Unreal

• D-Log: A flat, low-contrast image format used for capturing max color detail (like in RAW photography).

• In Unreal:

  • Use Post Process Volume > Film settings.

  • Set Toe and Shoulder values to 0 to simulate a D-Log image.

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🖼️ HDRI Backdrop for Environment Lighting

• HDRI images used to simulate realistic environments (like city streets or forests).

• HDRI adds ambient light and reflections to the 3D scene, mimicking real-world locations.

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🧪 Color Grading Workflow with DaVinci Resolve

1. Export High-Resolution Screenshot from Unreal (via console or capture tools).

2. Open DaVinci Resolve, import:

   • Unreal scene screenshot

   • LUT reference image (RGB 16x1)

3. Apply color corrections using:

   • Curves (Toe, Slope, Shoulder)

   • Temperature, Tint, RGB channel tweaks

4. Transfer the color grade to the reference LUT image.

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📁 Generating and Importing the LUT

• Export the graded LUT image (PNG) from DaVinci.

• Import into Unreal Engine under a LUTs folder.

• Set Texture properties:

  • Mip Maps: Disable

  • Texture Group: Set to Color Lookup Table

• Save and close.

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🎥 Applying LUT in Unreal Engine

• In Post Process Volume, go to:

  • Misc > Color Grading LUT

  • Select the imported LUT texture.

• Repeat for all cameras (Rig1, Rig2, etc.).

• Ensure Toe and Shoulder are set to 0 for consistent D-Log base.

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✅ Key Outcomes of the Session

• Understood the theory of Gamma, Linear RGB, and sRGB.

• Applied D-Log look to Unreal shots using Film settings.

• Color graded in DaVinci Resolve using LUTs and curves.

• Imported custom .PNG LUT into Unreal and applied across all cameras

19_D04_H03_02 Camera Shakes in Unreal Engine5.6

Session 19 Summary: Camera Shake with Blueprints in Unreal Engine 5.6

🧰 Project Setup

• Downloaded camera settings add files for camerashakes.zip from Patreon.
• Extracted and placed files in:
• Maps/Main → module_7.umap
• Sequences/Main → module_7.asset
• Sequences → camera_rig_shots folder
• Opened camera_settings project in Unreal Engine 5.6 and loaded camera_rig_shots_root.

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🎬 Creating the Handheld Camera Shots

• Shot 5 (0050_01) was edited using two cameras:
• cu_tray (focused on male character)
• cu_zeva (focused on female character)
• Animated both cameras using manual transform keyframes from:
• 0–5s → camera panning movement on cu_tray
• 5–10s → close-in shot on cu_zeva

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🎥 Focus Target Setup

• Used Focus Tracker Actors:
• focus_tray moved to correct bone (tray_bone_1)
• Enabled continuous focus during camera animation

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🎞️ Creating and Applying Camera Shake

Available Camera shakes

1.       Composite Camera Shake Pattern

2.       Perlin Noise Camera Shake Pattern

3.       Sequence Camera Shake Pattern

4.       Wave Oscillator Camera Shake Pattern

• Created new Blueprint Class from CameraShakeBase:
• Named my_own_camera_shake
• Used Perlin Noise Shake Pattern
• Set duration = -1 for infinite shake
• Applied to cu_tray camera via the + Camera Shake track

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🌊 Adding Alternate Shake Types

• Duplicated my_own_camera_shake → my_own_camera_shake_2
• Changed to Wave Oscillator Shake Pattern
• Applied to cu_zeva camera with same infinite duration

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🔁 Using Predefined Shake Blueprints

• Used 5 pre-existing shakes:
• Handheld_Subtle
• Handheld_Mid
• Others recompiled and saved
• Replaced custom shakes with:
• Handheld_Subtle on cu_tray
• Handheld_Mid on cu_zeva
• Added Crane_Shake to Shot 0040_01 for crane movement realism

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📌 Key Learnings

• Camera Shake is added via Blueprint Classes.
• Blueprint exposes runtime properties like motion, focus, animations, etc.
• Shakes can simulate real-world handheld imperfections or camera rig wobble.

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📝 What’s Next

• Next session will cover Color Grading and LUTs (Look-Up Tables) in Unreal Engine 5.6.

 

18_D04_H03_01 Right way to use Camera Cranes in Unreal Engine

Session 18 Summary: Camera Crane Rig in Unreal Engine 5.6

🔧 Setup and Shot Context

• Opened the existing camera_settings project and loaded module_7.
• Continued working within camera_rig_shot_root sequence.
• Began editing Shot 0040_01—a cinematic crane shot moving from outside the house through the window to two seated characters.

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🏗️ Adding and Configuring the Camera Crane

• Added Camera Rig Crane from Cinematic → Camera Rig Crane.
• Named it rig_crane_4, placed into 08_camera_rigs folder.
• Duplicated wide_camera, named it cinecam_crane, and parented it to the crane rig.
• Reset camera’s transform (location and rotation) after parenting.

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🕹️ Understanding Crane Controls

• Pitch: Vertical tilt of the crane arm (animated from top-down angles).
• Yaw: Horizontal pan/rotation of the entire crane.
• Arm Length: Extends or retracts the crane’s boom to change the distance.
• Crane Yaw Control (height adjustment): Moves the crane rig vertically.

🔒 Enabled Lock Mount Pitch/Yaw to sync camera motion with crane tilt and rotation.

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🎬 Animating the Crane

• Inserted keyframes at 0s, 5s, and 10s for:
• Crane Pitch
• Crane Yaw
• Arm Length
• Yaw Control Location
• Created a 10-second animation where:
• Crane starts high and outside the window.
• Moves inward to focus on characters.
• Arm extends, camera tilts and pans inward gradually.

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🔭 Adding a Tracker for Look-at Focus

• Added a Helper Actor named crane_cam_tracker.
• Positioned between the two characters at table level.
• Enabled Look-at Tracking on cinecam_crane to always face the tracker.
• Ensured smooth tracking as the crane moved through the scene.

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🎚️ Camera Tweaks

• Adjusted focal length from 40mm to 20mm for wider framing.
• Fine-tuned final position of crane at 10s for better composition.
• Verified smooth movement, tracking, and actor framing.

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🗂️ Organizing & Finalizing

• Added rig_crane_4 and cinecam_crane to the crane folder inside sequencer.
• Enabled Camera Cuts at frame 0 to switch to the crane shot.
• Saved all sequences and nested them into the master sequence

 

17_D04_H02_02 All New Cine Cam RIg Rail in Unreal Engine 5.6 and using C...

Session 17 Summary: Cine Camera Rig Rail in UE 5.6

🚀 Setup

• Opened existing camera_settings project from previous session.

• Continued from camera_rig_shot_root sequence.

• Began editing third shot (shot_030_01) using Cine Camera Rig Rail (advanced version).

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🔧 Creating the Circular Camera Rig

• Added Cine Camera Rig Rail from Cinematic → Cine Camera Rig Rail.

• Switched to top orthographic view.

• Created a perfect 360° circular dolly path:

  • Measured 190 cm radius using middle mouse drag.

  • Placed 5 spline points in a circle using Alt + drag.

• Used spline tangent controls in Rails Plane Component to smooth out the curve.

• Ensured uniform speed using the Display Speed Heat Map (green = optimal speed).

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🎥 Attaching & Configuring the Camera

• Duplicated wide_camera, renamed to cine_cam_rig_3.

• Attached camera to rig_3 and reset its transform.

• Set focal length = 35mm (can later animate per spline).

• Enabled rig control of focal length, aperture, and focus (instead of camera).

• Placed both rig and camera into the sequence and camera folder.

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🔁 Controlling the Camera Movement

• Switched from manual movement to absolute spline position control:

  • Added keyframes at absolute position 1 (start) and 5 (end) over 10 seconds.

• Enabled “Use Point Orientation” so the camera rotates along the rail path.

• Rotated camera 90° so it always faces inward toward actor.

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🎛️ Using Drive Mode (Alternative)

• Enabled Drive Mode → Duration to auto-animate based on time.

• Demonstrated changing speed via duration or speed %.

• Later reverted to manual keyframing for full control.

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🎚️ Focal Length & Aperture Animation by Spline Point

• Adjusted focal length per spline:

  • Spline 0: 15mm (wide)

  • Spline 1–2: 30mm

  • Spline 3: 15mm

  • Spline 4: 50mm → revised to 30mm for smoother transition

• Adjusted aperture per spline to improve exposure:

  • Set all points to f/1.4 for brighter visuals.

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🎯 Focus Tracking with a Helper Actor

• Added "rig3_tracker" actor to guide camera focus during movement.

• Placed tracker at key locations (between characters, face, etc.) over time.

• Animated the tracker’s position and enabled it in camera’s Focus Tracking.

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✅ Final Composition Check

• Verified:

  • Smooth dolly movement

  • Dynamic focal length changes

  • Focus tracking accuracy

  • Proper brightness/exposure throughout shot

• Saved all changes and concluded third rig-based camera shot.

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🛠️ Key Features Demonstrated

• Cine Camera Rig Rail with multiple spline points.

• Spline-level focal length and aperture control.

• Drive Mode vs. Manual Animation.

• Tracker-based camera focus with smooth interpolation.