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  1. #13
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    Really awesome sketches man! The layout works really well with your futuristic architecture style looking forward to seeing more

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  3. #14
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    Well done on your procedural vineyard, looking very nice!

  4. #15
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    First of all I really want to say that I admire your work. keep it up!
    and I would like to ask for your opinion in 2 matters.
    1.do you recommend some video tutorials? I am new to unreal and I have no idea how it works. I am currently whatching the youtube channel but I see a main focus on interior. how do you work with the landscape and trees and vegetation and all that? if you could point out a few videos that explain or talk about that matter I will be so thankfull.
    2.how do you work with trees? in this casethe vineyards? you model them in some other software and import them into unreal? thanks for your help!

  5. #16
    Member psyb0rg's Avatar
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    thanks for the positive feedback all! is really motivating.

    @ciscolara - here are the main links i've used in the past to learn how to work with outdoor environments:

    1) References: usually a hand sketch or geological feature reference photo leads to a world machine build. here's a link to world machine:
    http://www.world-machine.com/learn.php?page=userguide
    2) Engine Import: once the content is created in world machine you can import different parts of your data into Unreal Engine:
    a - Setting Proper Scale
    b - Implementing Tiled Landscapes:
    c - Using Splatmaps
    3) Fine Tuning: Now that your landscape is in Unreal Engine, I use the engine tools to do the rest. This will give you an overview of landscape tools:
    Landscape Tools
    4) Foliage: As you build your landscape, you can add foliage along the way. Foliage can be handled a variety of ways as well. Here's a link to the foliage docs:
    Foliage Documents
    5) Super Foliage: When you feel more comfortable with the engine tools, you can also start implemented procedural foliage that corresponds to the landscape material shaders: More Advanced Foliage Stuff but I recommend just playing around with the basic foliage tools to start and understand how foliage is handled
    6) Improving the art - a lot of people in the community record 'speed builds' which are really good to study. You can see different approaches to building a landscape scene quickly and understand how all the parts are put together. Here's an example of one that I like from the community:
    Valley Scene Speed Build

    To answer your second question...building foliage assets:

    Here's a link to a forum post with free assets that you can study to see how they are created:
    Free Foliage Starter Kit

    There are also really great foliage products on the Unreal Engine marketplace that I highly recommend, however these are more for real-world references. If you want to build your own, I recommend Speed Tree. I recently started using that and it has saved me a lot of time with custom foliage design, especially for the grape vines in the vineyard. Team: Work actually has a great Speed Tree vine as an example in their thread. I've been learning from that, and will post updates to my grape vine when i'm back at my production machine tonight.

    Anyhow, I hope you're not overloaded with this information. Feel free to ask any more questions

    2015/07/10
    [Edited Post]Had a chance to post this evening. starting to bring all of the studies and assets into one scene now. Created an animatic to see if I could capture the tour in one sweeping shot within the course of a minute. Doesn't really work out very well, so the next pass will be separate camera pans to see if that brings together a narrative a little better.
    https://youtu.be/_D0PKRuvbeg

    improving vines:
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    and the cut & fill process is getting better. However, the LOD's need work.
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    2015/07/12
    Animatic take002:
    https://youtu.be/EuUJmok1TZ4
    The logic for design intent is as follows:
    Shot 1 - Raindrop to vineyard - Will demonstrate LOD work as well as winery layout
    Shot 2 - Grape to Winery - Will focus on grape vine detail shifting to vineyard and then winery in distance
    Shot 3 - Pan across winery - Displaying various forms of fermentation building, hotel/spa, and entrance to wine cave
    Shot 4 - Zoom into fermentation - Focus on heavy reflections with fermentation equipment and a distinct contrast between simplicity of exterior form and complexity of fermentation piping and processing
    Shot 5 - Wine cave - Shifting from barrel stacks to central tasting table - Demonstrating interior lighting technique, water, dramatic change in ambient sound
    Shot 6 - Hotel/Spa Entry to Infinity Pool - Not sure about this shot yet. might be out of place.

    In some respects there's a journey from a wild raindrop following a path of complete control through the craft of wine-making, and ending with a glass of wine in front of a pool with a view.

    Have also continued to evolve form a little by bringing back the original form of a grape harvesting knife into the shape of the compound:
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    Last edited by psyb0rg; 07-13-2015 at 03:15 AM.

  6. #17
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    this is going great!
    is it gonna be rainy or just a drop?

  7. #18
    Member psyb0rg's Avatar
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    Quote Originally Posted by aktarbekci View Post
    this is going great!
    is it gonna be rainy or just a drop?
    thanks! probably a light rain to start which will taper off for the second shot where things will become sunny. not quite sure how to do this yet.

    2015/07/13
    Integrating the new retaining wall design creating a path/promenade from the hotel through fermentation and descending into the wine caves.
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    2015/07/15
    some minor updates...
    beginning to map out the road leading from the mountains out to the winery. still having some major issues with billboarding and distance LOD's for the vines, so brainstorming alternate approaches. the lower shot is a view from wine cave entrance looking up ramp. some sort of design is still needed in that area. per earlier comments, was thinking rock garden here or testing out some sound occlusion as part of the transition descent to the wine caves.
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    Last edited by psyb0rg; 07-15-2015 at 01:48 PM.

  8. #19
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    I think that the ground texture in wine cave should be smaller and that the rocky landscape is too close to the vine areas, other than that very interesting architecture Can't wait to see more...

  9. #20
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    Quote Originally Posted by samopajk View Post
    I think that the ground texture in wine cave should be smaller and that the rocky landscape is too close to the vine areas
    totally. not really sure how i'm going to design the inner courtyard of the wine cave entry yet, but good call on that scale. thinking about terracing the background landscape for more vines, but if not, i agree, i should probably push it back. thanks for the feedback. in the meantime, more work on the wine cave interior. brought scale back down to earth for the most part to make it somewhat feasible but with a touch of absurdity.

    https://youtu.be/ZGRjqa49EWk

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    2015/07/21
    progress on site grading, facility form, and landscaping. a little over halfway through, so will probably start zooming in a bit more over the next couple weeks.
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    learning about light functions and caustics.
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    2015/07/24
    some minor work on the hotel, and the usual study of landscape. been studying the landscaping materials and rock materials in kite demo and racing demo to figure out various fx.
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    2015/07/25
    zoning out the fermentation area. trying to follow through with that contrast between structural simplicity of form vs complexity of inner workings, almost as though the earth has been peeled up revealing this incomprehensible factory of parts trying to figure out the construct of good wine. still a lot of detail to be done with this sequence/area.
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    Last edited by psyb0rg; 07-26-2015 at 03:45 AM.

  10. #21
    Member psyb0rg's Avatar
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    2015/07/28
    Have been working on roads, trails, and more landscaping trying to learn more about landscape materials and blending techniques/limitations. Dissected a few assets from several demos and re-configured to get a better understanding of the tech-art.

    Images as follows:
    View from lower deck (still working on distant rock-striation orientation/control),
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    view approaching hotel/spa,
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    view of entrance road looking away from hotel/spa,
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    trail connecting lower beach with hotel,
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    sea-side cave trail (metal platforms to be installed) connecting with wine caves,
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    view from upper deck at pool.
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    2015/08/01
    working on the near/far transition including the mountain road approach to the compound as well as some more work in speed tree.
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    2015/08/02
    Wineries seem to have this common characteristic of at least one out of the ordinary sculptural element as a focus piece in either a tasting area or gathering point. So, for this project, it seemed appropriate to combine the ever important aspect of games - crate smashing (or maybe a 'donkey kong' reference for that matter) - with barrels .
    The central chandelier in the wine cave will be modeled based on an exploding wine barrel.
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    Last edited by psyb0rg; 08-02-2015 at 04:39 PM.

  11. #22
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    Hi!

    Your work looks great! I like your style a lot.

    I have a question. You model your buildings in sketchup. Do you directly bring them to UE 4 via exporting them as fbx files? How do you solve the problem with the 2 required UV maps? Don't you have problems with overlapping UVs? And what about fully functional collisions prims?
    I tried to import the Skp-file into 3d max and then UV unwrap them. But often have problems with UVs which have wrong directions. And there seems to be no way to flip them to the right direction inside 3d max. Sometimes even single lines are shown as face with wrong orientation inside unwrap UV. Do you also have this kind of problems? Really would like to read about your workflow.

    Regards.

    Tim

  12. #23
    Member psyb0rg's Avatar
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    Quote Originally Posted by buildAV View Post
    Hi!

    Your work looks great! I like your style a lot.

    I have a question. You model your buildings in sketchup. Do you directly bring them to UE 4 via exporting them as fbx files? How do you solve the problem with the 2 required UV maps? Don't you have problems with overlapping UVs? And what about fully functional collisions prims?
    I tried to import the Skp-file into 3d max and then UV unwrap them. But often have problems with UVs which have wrong directions. And there seems to be no way to flip them to the right direction inside 3d max. Sometimes even single lines are shown as face with wrong orientation inside unwrap UV. Do you also have this kind of problems? Really would like to read about your workflow.

    Regards.

    Tim
    Hi Tim,

    thanks for the good words.
    workflow:
    1) sketchup - your question about UV flipping...do you mean normal flipping? if you assign an edit mesh modifier and select subobject level at poly level, you can flip your normals (there is a also a checkbox to see what direction your normals are facing). alternatively, in sketchup, you can build a style where the front face is default color, and set the backface to bright red. this way you'll know right away if a poly is flipped.
    2) after roughing stuff out in sketchup the next step is actually scale. it's important to get the scale right early on in the process in the actual engine. i typically use the imperial system, so for scale conversion, I take the model through 3d studio. using generic units assuming inches, but then exporting with a unit conversion (this is an option in fbx export) to cm (the scale factor number is like 2.54 or something). nothing is actually unwrapped at this point, and i don't build lighting until scale is proper. this also gives me an idea of how to break down the concept model into segments or clusters...which leads to the next step
    3) unwrapping - it's good to know how you're going to break down your model into parts before unwrapping. this will give you an idea of how large your lightmap sizes might need to be for more complex geometry. there's actually somewhat of a bifurcation in the process here. if you're doing a large outdoor scene where interiors are primarily lit through exterior sunlight, you may want to consider dynamic lighting. in this case, you don't really need to unwrap your uv's because there's no baking going on. if you choose to combine static/dynamic lighting (or just static), then yes, you still need to unwrap. this is automatically handled in the ue4 importer, but make sure there's a uvw modifier (box is a good option to start with - and make sure 'real scale' is not checked or material scale gets strange) on you object stack in 3ds max so that the importer knows where to start.
    4) collision - since i'm not building a game with lots of physics collisions or anything, i usually turn my geometry that will be within reach of the user walking to 'complex' which is per poly collision. everything else doesn't need collision.
    5) rapid iteration - and once all of this is set up, you can rapid iterate! it's a lot of front end work, but when everything is in place, you can now rapidly detail your clusters and reimport throughout your design process. alternatively, if you want to get into the guts of the building, this is also a good point to switch to revit's conceptual massing system.

    hopefully this helps and i wasn't too verbose. good luck!

    on a side note, someone had asked me to post a higher res version of the chandelier, so here it is. background is still in process so i've dof'd the light/background
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  13. #24
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    Wow! Thank you for the detailed answer.

    I have a question. You mentioned you decide later how to divide the models. Do you have a kind of rule how to scale the lightmap for each segment? Like 2m x 2m requires a lightmap of 128 and bigger segments need a larger lightmap?

    Regards.

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