00:00If you are using Unreal Engine 5 and want to learn how to model inside Unreal, then this video is for you
00:04In this tutorial, you will learn how to use the modeling tools, from creating simple primitives to how to create complex shapes
00:12You will learn how to model and deform your meshes, how to use booleans, align operations, box cuts, how to bake models, uv mapping, and much more
00:22This video will give you all the knowledge you need to learn how to model inside Unreal Engine 5 without the need to go to any other 3D modeling application
00:32This video is divided into different segments, so feel free to watch at your own pace
00:36Oh, and by the way, make sure you check our store; we have a lot of cool stuff, like a free course to learn Blueprints
00:42Modeling the castle in a real engine, and of course, a lot of Unreal Marketplace packages made with great effort
00:50So, let's continue
00:54Alright, let's get started with the most basic thing, which is the modeling tools plugin
01:00By default, you won't be able to model inside Unreal, so if you see here, I have an extra tab called "Activate Modeling Editor Mode," and this allows me to access all my modes here
01:14We will check these little by little later
01:18The first thing we need to do is go to Edit, then Plugins
01:22Here, in the search bar, let's just type "Modeling," and you will see that the Model Tools Editor Mode is here
01:33The version number is also here; it's usually the beta version, so be aware that it might come with some issues
01:40Honestly, it is very stable, but..
01:44Just, just in case, once you enable this, you will need to restart the editor
01:48I don't need to do that because I already have it, but once you restart, you will be able to see it here
01:58Okay, let's create some geometry
02:00Well, if we go to our modeling tools, the first thing you will see is that you have this shelf that allows you to do different operations such as modeling and creating some shapes, some booleans, and on the right, there is the Property panel
02:17So, let's create something to see
02:21If I click a box here, you will see I have a bunch of settings, and once my box is selected, you will see that if I drag here in the viewport, I will be able to create one
02:34Okay? So, once I create this and hit "Complete," it will automatically generate a folder
02:42Here and here I will have my username from my computer, and here is the static mesh I created
02:54Keep that in mind—every time you create something here, it will appear on your computer
03:01There are a bunch of things you can do here, and it's very straightforward
03:07First, are the dimensions of it
03:10Different shapes will have different dimensions
03:11For example, I can change the depth of this object, and now I have something larger like this
03:21Or I can change the subdivisions; by default, I can toggle "Show Wireframe," and you will see the wireframe here
03:31If I change it to, for example, 15 by 15 by 15, you will see that my wireframe is showing all these vertices here
03:40This way, I can control how many vertices I want to have, like 4 by 4 by 4, or something else
03:49Like that, and if this is modeling, uh, it's a little bit too annoying, then just click that off
03:57All right, so different shapes will have different properties
04:03For example, you have the torus, and the torus has a major radius and a minor radius
04:09For example, I can put the major radius to 250, and this will be very large, or I can change the minor radius to have something like this, and then I click OK
04:30All right, you can create different kinds of meshes before hitting Complete
04:37For example, I can create another box, and then I will create another sphere, and then I will click Complete
04:48Complete finishes the operation you already started, and this is the same for all the most
04:55So let's take a look at some of the most important ones I personally use
04:59First, it's the box, of course, and this is very useful
05:04One of the things you should notice is this positioning
05:10With positioning, we are able to align the box with the normals of the object
05:18For example, if I drag the box here, you will see that it is snapping very nicely to my sphere
05:26Since the normals are pointing this way, our cube is basically snapping to all the surfaces of our sphere
05:35However, this is something you may not want to have
05:41Another useful property is to click here on "Align to Normal." If I uncheck this, you will see that my cube is always looking up, regardless of where I put it
06:01It's always looking upward, which is very nice and useful too
06:06But there is another thing that you can take care of
06:09And that is, the target surface by default is on the sink, which means you will place this object based on the same objects that are already here
06:21So, if I have a cube here and I put it here—well, my floor—when I put a cube, then of course, it will be here
06:30But if I drag the mouse here, the cube will be on top of the surface
06:36If I want to uncheck this, I just need to change the target surface from "Sink" to "Ground Plane," and the ground plane is basically the zero, zero, zero, which is this one here
06:50So, no matter where I put it, my object will always be in the same position
06:59Alright, another thing you can do is to change the rotation
07:03By default, normally I don't touch this one, but, and another thing is of course changing the material—you can try to put
07:14Like a something like this, and when it glows, it will show
07:17But anyway, I just want to keep it with a default material, so just keep in mind that all these objects are generated here inside my Content folder
07:30However, let's create a new level, something like this, and let's not save it
07:40What we will do is save this level and name it "Modeling Tools Tutorial." Okay, and here we will have a level—our demo map
07:55Now, when we create objects, let's go to our Modeling Tools again
08:03We have this modeling mode quick settings, and one of the options is the new asset location, which is set to AutoGEM folder, and will be world relative, meaning this world
08:17Let's take a look at what happens
08:20Now, we can click on the box to create it, and let's go to our Content folder
08:27Browser, and now you will see that in my modeling tools tutorial, I have my demo map here, and I have generated a folder next to my demo map
08:40So, basically, this is the same structure, but now all the meshes will be generated in the same hierarchy as my level, which is quite useful
08:50If you don't want to do that, you can put the global folder
08:58For example, if I create a torus here and click Complete, then that arrow will be created here instead of in the new generated folder
09:08Okay, personally, I like to use the word "relative" because I create meshes based on the level I'm working on, but you can also use the global if you want to put all your placeholder meshes there or your current folder
09:30For example, I can create a new one here
09:32Called test, and in this test, I will create this one
09:40Now, my sphere will be in the test folder, so I can create a custom folder for all the images that I'm creating
09:48All right, so let's get back to normal here, like Word relative
09:51This is what I want
09:56Okay, and here, if you click on this one, you will be able to change whether you want autosave, like generate but do not autosave
10:10So, by default, let's close this
10:13I created the sphere, but it's not saved yet
10:15So, if I close this project and I don't save this object, I will lose the model
10:21So, what I can do is go here to the plugins, and as a generation mode, I can put autosave
10:29All right, that's one thing
10:30I also have auto-generated asset pad
10:36I can change this name to have another folder, and of course, also the asset
10:41Generation location, which is what we had here, uh, change here, but this will change, of course, the defaults of the creation of our meshes
10:55So, with this in mind, we have a lot of, uh, power with us because now we know how to create models here, and we can use the primitive that best suits the needs of what we want to do inside our level
11:13So, we have the modeling panel here, and we have different shapes we can create
11:21Within those shapes, we can change the properties, and we can also change how we position these meshes in the world
11:29One thing to notice is that you can see I created my box in this location; you don't need to worry about it, since originally, when I put it here, it will be automatically moved to the origin, so the pivot point will always be..
11:52Here in the middle of the object, talking about pivot points, there is one last important thing to notice
12:03Let me change the height of this and also the height of this one, something like this
12:13Here, you will see that if I click this, my pivot point is on the bottom
12:18I can also change this, so pivot point location can be at the base, at the center, or at the top
12:33These meshes here—this one, this one, and this one—will have pivot points in different locations
12:37This one will have it in the middle, this one at the top, and this one at the bottom
12:45If I want to get back to normal, just click the defaults here
12:50All right, so this covers the creation of shapes, the Shapes panel
12:55With this, you're able..
12:57To create any mesh you want, you can choose the most basic primitives such as spheres, cubes, rectangles, planes, or circles
13:12This will be very important for us when modeling in the future, as we will be able to create shapes that best fit our needs
13:25If you want to model something like a church or a similar structure, these primitives may be helpful
13:32If you want to model something more like a cube, then a primitive like this will be more useful
13:39All right, so now let's take a look at what happens if you need to create a more complex shape other than a cube, such as a cylinder or a torus
13:51For this kind of situation, we have the Create tab here
13:53The Create tab allows us to draw polygons
13:59So, let's take a look at it
14:02Draw extrude polygons and create static mesh assets
14:07So, if I click on this one, let's take a look at the properties
14:10Later, you will see that I have a small gizmo here
14:12All right, so notice that I don't need to click on here, although I can move it here if I want
14:26I can just click here like this, and I can draw here, and it will snap to the grid
14:33So, let's put something like this
14:40We can keep drawing and clicking until we have a shape we want, and it can be as complex or as simple as you want
14:50And here, before finishing it, you will see that the mesh turns white, at least the lights turn white
14:59So, if I click on this one, you will see that now I can drag the mouse and change the height of this
15:10So, this is a very interactive mode, and very useful for creating
15:15Different, uh, walls, and notice that as I drag here, the UVs are also changing, so you don't need to worry about the UVs here
15:28Once you're satisfied with it, you can just click OK
15:33Complete
15:35Okay, so now that you know this mode, let's take a look at some of the properties that we can change here
15:44The first type is the freehand
15:47Freehand means that as I click on this, I will draw the polygon myself to get something like this
15:57Then I will drag again and click again to complete
16:01This is freehand
16:03On the other hand, the circle will have a shape that, as I click here and drag, you will see that I am creating a circle here
16:16Now I can change the height, and of course, I can also change the number of steps, which means the subdivisions for..
16:24For example, I can input something like 32, and if I click here and drag again, and then drag again, you'll see that I have a much smoother cylinder compared to this one because I have more polygons
16:31So, let's take a look at the next one
16:38The next shape is a square
16:46Of course, click here and you will have a perfect square
16:53All right, and the next one is the rectangle
16:57If I click here, I just click on two points, and the third point you will drag like this, and then you can click again
17:12Of course, the next shape is a rounded rectangle
17:14It's pretty much the same, you just click here and click here, and then you'll see the roundness
17:21This is very nice, actually, very, very useful
17:25So, if I click on this, you will see that my..
17:28Rectangle, it's very round here, and I call—I can also change the ratio, for example, something like 0.5
17:38If I drag again, you will see that this is more rounded compared to this one
17:45So, a lot of power here
17:50They have the circle and the circle with a hole; it's very simple
17:54You just drag the circle, and it will draw with a hole
18:00By default, it's 0.5, which is basically the same radius as here, or I mean 0.25, but I just changed it
18:08So just change it again, and you will have something like this
18:16Okay, so another thing you can do—let's go back to freehand—because all these are different shapes with different properties, for example, the steps, the ratio, and the roundness of the circle
18:34So, if we click here, interactive..
18:38Extrude what we will do, and this is by default
18:42If I click here, I will drag again to get the height
18:47However, if I set the extrude to height, you will see I have another option: I can type the height I want, for example 250, and I can input it here
19:02I only need to click once; the height will be automatically generated
19:09I don't need to drag it
19:10Of course, the next option is Flat Mesh
19:13I do something like this; there is no height, it's only a plane
19:16All right, so another feature you have here is Self-Intersections
19:27By default, if I want to do something like this, I cannot
19:36All right, so it will only create something like this if I click it
19:41I will be able to create Self-Intersections, for example, something like this—I cannot finish it
19:49If you want to finish it, just click "Allow Self Intersections." Now, when you click here, here, here, and here, and then raise it up, you will see that you have your mesh perfectly aligned
20:04Okay, so the next thing is snapping
20:07By default, snapping is enabled
20:11If I unclick this, you won't see any snap; it will only snap to whatever (you choose)
20:18For this kind of mode, just hit the "Snap To" toggle
20:28What's very important is that you can change the type of snap—for example, you can snap to vertices
20:36Here, let's try to find something
20:40When you see the vertex, it turns yellow
20:45If I click on one vertex and then click on another, and they turn yellow, it means I am on the same vertex
20:50So now, I can create another mesh and these..
20:55One will be perfectly aligned with the vertex here, and that's great
21:02Also, another very important thing about this mode is that you can hit Scene Objects
21:09By default, if I drag here and I want to create something like this, you will see that I can go through the objects, and that's okay for most parts
21:19But if you really want to snap everything, what you can do is hit Sync Objects
21:26When you activate that, if I try to go through, I cannot, so this will allow you to simply snap much more easily without going through the mesh
21:42Alright, so once you have this, you have a mesh that is perfectly aligned
21:48And that’s it for the pulley, extruding the material, and some other settings
21:57These are shared between different tools
21:59You will see that each tool has its own
22:02Properties, but there are some properties that are here, such as this one
22:10The material is shared; if you go to the material here, it's not only in the Shape mode but also in the Poly Extrude mode, so be aware that some of these properties are duplicated
22:25All right, so this is the Poly Extrude mod, extremely useful if you want to create some walls
22:31Next, we're going to look at different ways to create paths
22:41Okay, so let's take a look at the Patch tool
22:51The Patch tool is a little bit different from the Poly Extrude, and as the Poly Extrude is useful for walls, the Patch tool will be useful for floors or paths
23:01If you click here, these are the default values, and you will see that it is very similar to Poly Extrude
23:06Now, if we click on here and perform the same operations, then close it, you will see that I can change the width of this
23:18Instead of filling the holes here, I will be able to add a border
23:24When I click once, I can then change the height of this
23:29This is extremely useful; for example, if you want to make some hats, you can of course create them and use them for your games
23:36For instance, if you want some players to follow a path like this—going here, turning left, then going again here, and then returning to the original position—you can create a path like this
23:56It can also, of course, be used as walls if you want, but personally, I like to use it for hats
24:10The other thing is that you can change the output mode
24:15Instead of instruction, you can put our ribbon
24:20So what it will do is, basically, it will change the width of this and create a plane
24:29So sometimes you may want to use this, and of course, you have the situation and the ramp
24:38Personally, I don't use the ramp because it's very hard to see what it does
24:45But the struct extrusion, where you can change the mode to constant, for example, the width to 100
24:53So when I click on this, the width is automatically set here
24:59Let's try to do it again with another value, such as 200
25:03Okay, something like this
25:04Then I only need to take care of the height, and if I want to set the constant height, I can also do it here
25:11For example, I can put 100 instead of interactive, and I just need to take care of my pad here
25:20I don't need to click again, so this is the pad, screwed a little bit differently from the poly, from the polyester, right? All right, now let's take a look at the 'Revolve' feature
25:35This is a very cool feature
25:38So, if you click on 'Path Revolve,' you will see that I have a grid here, snap on this plane, and basically you have an axis here in the middle
25:52We will create a cylinder around this
25:55The way to do this is to draw the profile
25:58If I click on the points here, they will automatically snap to the grid, so you don't need to worry about it
26:08We can just draw a profile something like this
26:13Okay, and if we are satisfied, we can go back here and close it
26:23Alright, so now you will see that I have a shape like this
26:30What this will do is create this shape here, duplicate it, and extrude it along a cylinder, which is very useful
26:42Now, there are some properties here that, if we take a look at first, is the Revolution Degrees
26:48If I reduce this, you will see that my shape gets cut off
26:53Of course, 360 is the full circle, but I can go 180 or maybe 90, or just go 160
27:08Explicit steps will allow me to change the number of subdivisions
27:11For example, I can change this to something like 50, and now I will have a very smooth surface here
27:18Very smooth
27:22So, if I want something lower, I can go back to 24
27:25I can just revert back to 24 or something like this to create something more square
27:32Okay, then there is the Long Axis
27:35Let's go back to this one to default
27:38The Long Axis Offset, we can do..
27:42Something like this, and it may or may not be something you want, but you can do it if you want
27:52We can go to negative one, or zero, or one
27:57The next is the reverse rotation; basically, it will be counterclockwise or clockwise, so it doesn't really affect that much
28:08The next one is the UVs, for example, the normals, I mean
28:15So here, if you click here, the normals are pointing outward, but if I flip the mesh, the normals will be pointing inward
28:20Why would you need to do this? It's because you can create a level like this, just like that, and you have the inside
28:29You already have your corridor here, which is pretty useful and very cool
28:37Okay, the next one is the sharp normals, so based on the angle of the normal, and you can change it
28:44The threshold, like if it's zero, will be very sharp, and if it's 90, it will be very smooth
28:51So, if you find the sweet spot between sharp edges and flat edges, you will be able to just have sharp faces here and sharp faces there, and you won't be able to see the polygons
29:06 Another thing—now, if we have explicit steps, we can also change the degrees
29:15The lower the degrees, the more resolution we have
29:18Go back to 5, and by default, it's 15
29:24So, you can either use max degrees per step or explicit steps, where you can increase or decrease the steps
29:34 Alright, so let's move on because we have a hidden property here
29:41If I go here versus the connect, if I uncheck this one, this will not be connected
29:49 Okay, the next is the revolution degrees, so basically, it's..
29:55Just rotates in case you want something specific
29:58It can be useful or not, depending on your needs
30:03In case you want it, it is there
30:05Okay, the profile is a cross section according to the description of this
30:08If you want to create some square columns such as this one, you may want to put something like this
30:18Just like that, you will see that in my grid, I have one step for each column here, which is very nice actually
30:28So, you can create really nice profiles with this, and if you unclick this, of course, you still have the same, but you know, you are rotating in a different direction
30:39So, if you have something like six or so, it may become useful in the future
30:44Okay, so let's uncheck this—polygroups
30:46We will see more polygroups in the future when we go to the body
30:53Model, but basically, it is the way you handle the polygroups here, and this will be useful for selection in the future
31:02Okay, and the next one is the split— not really something I use personally
31:09Of course, the well tolerance, like, for example, if I set it to something like 500 or 20, is the max
31:16You will weld these vertices, and sometimes you will have, like here, you put a vertex here and you want to weld it, so make sure you play with this
31:29Okay, and of course, flip the UVs, or in this case, the V's— only this part
31:35Okay, so this is the Poly Revolve— super useful, in case you want to create a column with this
31:44I'm sure you cannot really see the possibilities
31:47For example, I can create something like this, and then I can go to my box here and create..
31:54Something like this here, let's do something nice, just like this
32:02Okay, let's rotate it 40 degrees, make it like this, rotate it more—45 degrees
32:13Actually, make this one a little bit bigger
32:19Okay, we're losing time here, but anyway, you can create something extremely nice with this tool
32:27So, just this is the Path Reverb
32:31Next, we're gonna take a look at this one, at our wolf mesh
32:35Cool
32:39Okay, so let's take a look at the Body Revolve
32:43[Music] The mesh revolve, unlike the Path Revolve, requires a mesh to work with
32:47This is why this is great
32:51Um, you cannot select this
32:55If I click on this, I cannot—so let's create a box
32:58Okay, now, if I create a box and click on this, I will get an error
33:06It will say, "This mesh does not have any boundary loops to display and revolve." Delete some faces or use a different mesh, so basically what it's telling you is I can only work with a plane
33:18So, what you can do here is, for example, put a rectangle here or a rounded rectangle and put it here, just to show what it does
33:32Now that I only have a face, if I click on PolyMesh Revolve, you will see that it will create an envelope around this radius, right? It will extrude here, here, here, and here, and it will do this 24 times
33:51If I want to increase the resolution, I can do the same like I did with the Path Revolve; I can set it to 50, and this will be much smoother
33:58Okay, and I can do the same here, or like we did with the Editable Mesh, you can flip the mesh and sharpen the normals or do things like that
34:11We also have the same options
34:15Properties that we have with the pad revolve is just that we're using a mesh now
34:20So, a very interesting thing about this is that I can use the poly extrude and I can put a flat mesh here
34:32And then, when I do that, I can basically create a profile here, something like this—let's just put it like this
34:41Now that I have a profile, I can do the revolve, and you will see that here I have a profile; it's a much more interesting cylinder
34:55All right, so this mode is extremely useful if you want to create complex shapes, and you can either draw here and use a mesh or what you could do is to use a path revolve
35:14Those are valid options, so these two go hand in hand, and this is the revolve mesh
35:24Let's take a look at the append tool
35:29The append tool allows you to… Combine meshes
35:32For example, I can create something like this, okay, and then I can create another one here just like this
35:39I can click to complete
35:43These two meshes are different objects
35:46However, what I can do is select one of those and then select the other one, and this will be the first one I choose
35:52I can click on Append
35:57There are a bunch of options here in the Append tool that are similar across different tools
36:03The first thing is that if you want to create a new asset, okay, if I create a new asset, this will delete my previous ones in the editor
36:18They will still exist in the Content Browser, actually, and they will create a new one
36:24So, let's try that out
36:30Click Accept, and now you will see that I have one mesh for this one
36:36Right, so let's continue
36:42Let's create one box here and then one cylinder, okay? Just like that
36:47Let's click the box and then the cylinder, and then click Append
36:52I can also change the first input asset
36:56So here, you can see my first input asset was the box, and the last input asset was the sphere
37:07Okay? You can also combine more than two, of course
37:10But if I put the first input asset—let's try to save this and name it Box Test
37:20Okay? And this is my Box Test; it's here
37:26So remember this
37:32 What I want to do now is click on the box, click on Append, and my first input asset is the Box Test
37:35So what I can do is accept
37:38Okay? And now this will change
37:42Now, this will be the new asset
37:48It hasn't been created as a new asset, but this one has been updated
37:55That's one
38:03Thing, so I can put more assets here, like this one, and I choose this, and then choose this one, click Append, and I have a bunch of options here
38:11I can delete the sources here, like I have been doing, but what I can also do is keep the first source, the last source, or keep both sources, or hide it
38:23For example, I will hide them
38:27Okay, click Accept, and now when I move this, this will be my new mesh, but the other one hasn't been deleted; it's just hidden
38:35So I will click Ctrl + H, and now you will see that I have my asset here
38:42Okay, let's create this one, and then let's create another one here and another one here
38:50Okay, so what we can also do is select all this, Append, and we can keep the sources, or keep the first source, or keep the last source
38:55So, if I keep..
39:00The sources are here
39:05See, when I move it now, this one is because we're using the new approach
39:13Instead of creating a new asset, we're changing the first one
39:17These two stay here, but if I wanted to have something like this, I have three assets here
39:22I append, and I don't want to change the first input asset; I just want to create a new one, and I want to keep the sources
39:31I just click Accept and then move it, and this will be my new asset, while this one is the previous one
39:37So, this is the Append tool, which is extremely useful if you want to combine meshes
39:42Okay, let's take a look at the Duplicate tool
39:45By default, let's save everything, replace this map, okay? So, by default, if you check the Content Browser, Ctrl+B, and let's create a new one
39:56Let's create a sphere here
39:59Okay, let's Ctrl + B to check where it is
40:03It's here, okay? So, if you want to duplicate this asset, one of the ways is to right-click and then choose Duplicate, and this will be my new asset
40:10Okay, and it will be here
40:16 There is a better way to do that, and it's with the Duplicate tool
40:23So, if I do this, I can either delete the sources like before, or I can change the name, for example, ask for new
40:35I can hide them, and I can click Accept
40:37If I move this with Ctrl + H, you will see the previous one is this one, and here is my new asset
40:45 We don't need to go to the Content Browser to duplicate objects, and this is extremely useful because if you want to modify a mesh, make sure you're duplicating this one, because otherwise, you will replace all the instances
41:02So, this is a..
41:05Very good way to duplicate meshes
41:08Of course, you can still go to the Content Browser, but this way is much faster
41:13Now, let's take a look at the Poly Editor tools
41:15The Poly Editor is a way to modify the mesh and perform modeling operations in a very simple way
41:24All the groups are condensed into groups of faces
41:26For example, you may have a lot of triangles here, and this can be very hard to select
41:37So, polygroups are extremely useful for selecting faces
41:38Let's look at Poly8 here first
41:40The first thing is that you can show the wireframe; for example, you'll see that I actually have more subdivisions here, but the polygroup contains all the faces here
41:55All right, so the polygroups don't work for each individual face; they work as groups of faces
42:02That's one thing to notice
42:09If I click on this, you will see that I have a gizmo, and I can scale it, move it, and also rotate it if I want
42:16Okay, the gizmo can be from the geometry or from the object
42:23Okay, so you can lock the rotation or things like that
42:26Simply, I can lock the rotation here
42:32Okay, and I can click on here and just move my mesh anywhere I want
42:39I can also snap to the world grid, and this will snap my faces to the world grid
42:48Okay, that's one thing to notice
42:51And of course, you can also select faces here, select edges or vertices
43:00For example, I can select the edge here very carefully
43:02Okay, let me remove the wireframe for a moment, and I can move this edge
43:09I can also select a vertex, and I can move it if you don't want to select one of these
43:18Selections: you can just unselect faces, and now you won't be able to select the faces—only the edges or the vertices
43:26Okay, by default, it's always useful to select this
43:32Edge loops allow you to select all the loops
43:36By default, we don't have one, so let's check that in the future
43:43Selecting edge rings will be like in 3ds Max or Blender
43:47I'm a 3ds Max user, so I'm not sure if Blender has this
43:55It will create a ring around the area, just like this
43:57And if you choose this one, it will create or go all the way down to select all the edges in the ring
44:08Okay, so this is the most basic operation you can do
44:12Another thing is the extrude: you can click on extrude, and you'll see that I can click on this, extrude here, and I can..
44:28Also, click on extrude, and here I can change the axis
44:35For example, the local Z-axis
44:37I can extrude it upward, or I can just change the axis
44:40This is extremely useful
44:43I click Escape; notice that if I click Escape, none of my changes will be applied
44:56So, if I want something like this, I want to move it, and let's not select the edge loops and rings
45:01I only want to use this one
45:06But let's say I want something like this, I need to click Accept, so be aware of that
45:10 Another thing is the offset
45:12For example, I can do something like this, and I can change the offset by moving it up or down, just like that
45:22I can do something like this
45:25 Okay, another one is the Insert Inset
45:27If I click on this one and select Inset, you will see that I can select the face here that I want to..
45:38I can use this one here, or I can move it like this, or I can extrude it if I want
45:49Okay, the next one is the inset; it's basically what it does: creates an inset for this one, and of course, you can move this one here
46:00Okay, the next is delete; you can delete faces like this, or you can also use the delete button
46:11You can also select all of this and delete—not just the selection, only this one
46:18Okay, you can delete the faces you don't really want
46:23Okay, next is merge; it will merge them into a single face, for example
46:28I want this to be another face, so I can just cut here and here
46:45Okay, if I can make it right—accept—let's try to do it again with another mesh
46:53This one is quite messy, so I can just add faces
47:00I can
47:07Just click here and then click again, and you will add a loop here
47:14Okay, recalculate normals, it's very simple—flip again, like flipping normals
47:22For example, this one, you can flip it, accept, and you will flip the normal here
47:32And basically, all the basic operations—for example, I can delete this face and build a hole, for example, here
47:43It will hold, and it will fill the hole
47:53Okay, or I can move something like this
47:57Okay, good
48:00Patience
48:04Okay, this one is already straight, so you don't need to worry about it
48:08And of course, weld vertices
48:16Another thing you can do is change the UVs in one of the phases, for example, UVs planar projection, and you will check where you want to do this
48:24First, click, and then drag it like this, and then you will have..
48:30Different UV sets for different, uh, holy faces
48:32Okay, so this is the PolyGroup, PolyEdit
48:36It's very simple, actually, very simple operations, but it's very powerful in a way that you can deform your meshes very easily
48:50Okay, let's take a look at the PolyDeform
48:54So, the PolyDeform is a little bit different from PolyEdit
49:00This one has fewer options, but what it allows you is to select one PolyGroup and then just move it freely and do something like this
49:09Okay, you can move really on your PolyGroups
49:12Okay, so I can go move up or down, or I can move here, and you will see it will interpolate
49:19The reason it interpolates is because I have more edges here
49:24So, if I want it to be linear, I can just drag here and move it like this
49:33So, this is a free way to modify your..
49:39Mesh, and it's very useful
49:44For example, you move this one and you want to move it like this, so it's a very simple way to deform your meshes and extremely useful, actually
49:49So, another thing you can do is, of course, you can rotate or scale
49:56Rotate or transform, sorry
50:00So, you can select one of these, this one
50:01You can rotate; I personally use the translate a lot, but if you want to rotate, that's also fine
50:14And of course, you can show the wireframe, like always, and it's supposed to work great
50:20So, you can have your mesh snapping to the grid in the world
50:22All right, okay, so let's do the edge insert now
50:24The edge insert is very simple
50:27I will just click on one edge, and I will click here, for example, on another one, and I will create an edge
50:39I can also go here and go to..
50:42Another vertex, and notice that they will snap here, like here—snap to the edges or to the vertices automatically
50:49This can be useful, for example, if you want to extrude some of this, like extruding only this face, or only extruding this face
51:02You can model the faces inside another face and then modify them as needed
51:06This is very simple, actually
51:11Insert, as the name implies, just click and draw an edge, and that's all it does
51:19You can also have the triangulate option, but you know you don't really need it for now, and that's it
51:33Before that, of course, there is a vertex tolerance setting; when you cut the mesh, they will snap to the vertices
51:46If you change the vertex tolerance, you will be able to adjust the snapping
51:51Let's take a look at the loop insert
51:56The insert, as the name implies, will create an edge loop that goes all around your mesh
52:06You can create loops very easily, and of course, it will create a polygroup
52:15So if I select this, I can extrude it, select this one, and move it, and so on
52:24The poly loop is very useful if you want to add loops, and of course, it depends on the geometry—if it's too bad, the loop won't go all the way through
52:42But for most simple shapes, it works quite nicely
52:44Okay, let's take a look at the booleans
52:46So, let me create a box here, and also a sphere, and I will place it here
52:55Booleans are operations that you perform in 3D modeling to..
52:59Subtract or add some surfaces so booleans by default will be great
53:05You cannot select them in order to use them; you need to select at least two
53:17Okay, so if you check the boolean, you will see what it does
53:22First, it will perform an operation of A minus B
53:25So, if you do A minus B, you'll be like the second one you choose, which is B
53:36So, minus A is the operation; it will subtract all the polygons that are intersecting here, and it will create new geometry based on the intersection
53:45You can also do the intersection; this is the one that is intersecting, or you can use the union, which will create a new geometry
53:57Here, you don't have anything, and here, it will create new geometry for this
54:02This is what the boolean does, and it is extremely useful because you can… Actually, move this one and place it in any position you want
54:12You can also scale it if you want or move it to another location, and you can always change the mode here by subtract, intersect, union, etc., so it's pretty useful, especially if you want to create destruction assets
54:29 One thing to keep in mind here is that you will create a new asset
54:41This is the output options we have when we append or duplicate
54:47This is the same, so I will not go through this again
54:53Basically, you can select a new asset or the first input asset—for example, the box will be replaced or the sphere will be replaced
55:01 In my case, I will just create a new asset and keep the sources
55:09Click OK, and you will see that my box and my sphere are still there
55:15Here is my new asset
55:16This uses booleans, which are extremely useful for creating very complex geometry
55:21Booleans in Unreal Engine 5 are particularly powerful in the sense that they don't crash the engine; it has never happened to me, and I use them a lot
55:34In most 3D applications, booleans can crash the program, but in Unreal, it's quite reliable
55:40So I highly recommend you to use them
55:41 Okay, now that we’ve seen the Boolean, let’s look at the Mesh Cut
55:47The Mesh Cut is a little bit different
55:51It doesn’t have as many options
55:55So, let me create a box here and another sphere, and we will do the same to show you what the Mesh Cut does
55:59If I click on this one, then scale it down a little bit, click the box and then the sphere, and then go to..
56:08Mesh cut, so it looks like it does the same, right? It does an intersection, but we don't have the other options, right? But, uh, let me show you
56:18When I click Accept and move the box, and this one, you will see that I still have my mesh here, and it doesn't look like anything, but here you can have the mesh here
56:38Of course, uh, you can add some physics to it or something, so you can have, like, this wall is destroyed and this is the remaining part of this wall, so it looks something like this—like this, this thing got destroyed
56:54But, you know, here is the missing piece
56:59So, this is the mesh cut, and it's a little bit different, and it's also extremely useful
57:08All right, let's take a look at the SubD modeling
57:11SubD is a performance subdivision, so if I have— My box here, and I click on Subdivide
57:17You will see that my box turns into a sphere
57:24So, you have a subdivision level here; for example, 0 will be..
57:29Well, 1 is the minimum, 2 and 3
57:34So, the higher the subdivisions, the smoother your surface will be, but it will also have more polygons
57:39Another thing you can change here is the subdivision algorithm
57:45Smoothing mode, such as Catmull-Clark, is a very popular one, and I highly recommend it
57:50You can also use linear, which will produce a different result, and using the loop makes another different result
57:58You can also change the normals and everything else
58:01Additionally, you can change the cage, like if you want to see your original mesh
58:10This is how it looks
58:18So, if I want to have some nice..
58:27Smooth edges
58:35I can go to my loop insert, like we did before, and I can just put them here, and I will just apply them to the areas where I want my mesh to be smooth, not here but only in these areas
58:43Okay, so when I click accept and go to SubD, you will see that these parts will be sharp because they will subdivide here
58:55Here, I will have more polygons, but it won't be as smooth, whereas this part, when I don't have many polygons, will interpolate from this part
59:04These three points will make an average and put it here
59:09So, because the average here is between this point, this point, and this point, it only does a small smoothing
59:19This is a very common operation to use if you want to do some modeling someday
59:24You certainly can in Unreal Engine
59:30So, this is… The way to do it, all right, so let's take a look at triangle selection
59:36If we go to our modeling tools and then select the mesh, you'll have the triangle selection option
59:41I have a mesh with some subdivisions here
59:43The first thing is that you'll see a brush-like green stroke, so you can change the size of the brush if you want, making it bigger or smaller
59:55I can click on this, and as I drag the mouse, I can paint which triangles I want to choose
01:00:01Also, if I shift-click, I can delete the ones I want
01:00:06I can click and hold to paint, and I can also shift-click to remove some triangles here
01:00:16There are a couple of things to do here
01:00:18For example, the selection mode can be a brush, or it can be..
01:00:25this is one of the most..
01:00:32Common ones I use, I won't go through all of them, but all connected is very useful
01:00:38One, uh, let's go here to the selection and click Clear
01:00:41Some more things, uh, all link group, for example, this polygroup is one selection, this polygroup is one selection, and this polygroup is another selection
01:00:51So if you want to deselect the polygroups, you just need to shift-click and it will deselect the whole polygroup
01:00:59Okay, shift-click, and then if you click, then you can select by material
01:01:03Of course, this one has the same material, but if you have multiple materials, you can select by material here, and then shift-click
01:01:12You can also select by UV island
01:01:14This one is a UV island, this one is a UV line, and so on
01:01:20Okay, so these are the most common ones, and of..
01:01:25Of course, we think about angles, for example, one or 90 degrees
01:01:29In this case, the surface is very good, so you won't really see a difference
01:01:33But let's just select back to the brush
01:01:39Okay, so you can assign a group or material ID, change the color of this
01:01:47You can also show the points here, okay, for each triangle, or you can set it by UV island
01:01:57You can check the UV islands here, which have different polygroups, and of course, the body groups
01:02:07It's a coincidence that the UV islands are the same as the polygroups, but if you have different polygroups, you'll see something different
01:02:15So, or you can choose not to, just to keep it as it is
01:02:16I like to set it by group or basically by group so I can know which polygroup I am affecting
01:02:22But if it's a little bit annoying, you can always go back to normal
01:02:29Okay, so another thing you need to do is the selection edits
01:02:35For example, I can—I already showed the clear one—I can click here to clear the selection
01:02:43I can also select all, and I can invert the selection, which is basically here, invert, and it will select the ones I didn't choose
01:02:52I can grow my selection to expand it, I can clear it, I can grow it like this, and we will go to the neighbors, basically
01:02:59It will go to the neighbors again and then keep growing the selection like this
01:03:06I can also optimize my selection here
01:03:11To optimize selection, for example, this optimize is usually used when you have more polygons; it will smooth it out to make it look a little bit better, and expand to connect it
01:03:29Basically, all of these faces are connected, so all of this turns red
01:03:31Click here, largest component by area, and there is component by triangle count
01:03:38Uh, these ones I really never use
01:03:43Then you got the mesh edit; you can delete triangles
01:03:50For example, I can choose these two and delete them, and I can also choose these two and press the delete button—it does the same
01:03:57Then I can do separate triangles, which is different from disconnect triangles
01:04:03Separate triangles will separate it into another mesh
01:04:09So, if I click accept, you will see that now I have another mesh here
01:04:15Disconnect triangles, on the other hand, if I go to triangle selection, I can like this and disconnect the triangles
01:04:24They are still part of the mesh; it’s just that they are not, you know, they are not connected, they are not welded, okay, so..
01:04:34You can also flip the normals if you want, just like we have done many times
01:04:43You can select all this and then leave the normals as they are
01:04:47You can also create a polygroup here or this one
01:04:52So, if you want to go to PolyEdit, you can move this, and because this is not connected, you will not affect the other ones
01:05:03So, this is basically the triangle selection tool in a nutshell
01:05:05It's basically a tool to select triangles and create different groups, and to do some small operations like separating the triangles or creating different meshes
01:05:16This kind of mode is actually not used to model; we have the PolyEdit which is much more intuitive and much easier to work with
01:05:27But the triangle selection is used to select triangles, right? So, let's take a look at the..
01:05:34Triangle edit, so the triangle edit is pretty much the poly edit, but instead of doing it by polygroups, you do it by triangles
01:05:46For example, I can just select this triangle, and as you can see, it's much harder to work with because you're working at a triangle level, but you can still perform the same operations—you can extrude some parts, you can inset, like this one
01:05:53Let's select it
01:06:00Okay, oops, something I'm doing here—oh, the insert button is too far—let's cancel this
01:06:07So, triangle edit is basically the poly edit but at the triangle level
01:06:16Essentially, you'll be able to perform the same operations, but now you do it with a triangle
01:06:27For example, like this one, you can fill the hole if you want, and it does the same—it's just as a..
01:06:39It's a little bit harder to work with compared to the Poly Edit mode
01:06:42You can select all of those at the same time and they will move, but the Triangle Edit will only do so if you want to perform the same operation
01:06:51You need to select all of them and then move them to achieve a similar result
01:06:56They're meant to be used for different purposes; for example, if you're doing some terrain or similar projects, the Triangle Edit will work pretty nicely since you can easily move vertices here and there
01:07:09However, most of the time, you'll use the Poly Edit mode, especially for hard surface modeling
01:07:13Use Triangle Edit for very specific cases
01:07:18Another important mode is the Whole Fill, in order to do..
01:07:22First, we need to create a hole, so let's go to our PolyEdit, click here, and delete
01:07:37Let's accept
01:07:38Okay, so the hole field will take care of all the holes in the model
01:07:41Actually, if I click on the Hole Field, which stands for hole field, I can just click here
01:07:49I can clear my selection, too
01:07:53I can select all if I have more than one hole, or I can just click on this one, and that's all it does
01:08:06You also have some statistics, for example: initial calls, one; selected holes, one; successfully built, one
01:08:08If it fails, it will say if it failed to make the hole and how many holes you have left
01:08:23You have zero—that means there are no holes in this mesh
01:08:28For example, you can select this mesh and add some holes here and there, like that
01:08:32Putting the holes each time like this, and this, and this
01:08:36What you can do is just click Select, Alt, and there you go, you have your holes ready
01:08:49Another thing to notice is that the holes, actually, that's the UVs
01:08:53These are not connected, but at least it does a planar projection, so you have some UVs when you do the holes
01:09:03Now, let's take a look at the plane cut
01:09:06The plane cut would cut the mesh with the plane, so if I click on this, you will see that I have a grid here, and nothing will happen if I move it because the plane only will cut the mesh in all directions
01:09:21So, if I rotate this, you will see that I'm cutting the mesh here
01:09:28All right, I can also keep both halves with the space between them here
01:09:32So if I want it, it's extremely close; I can just put zero, or one, or two
01:09:41You know, have some kind of design to it
01:09:44If I want it, I can click this, the fill hole, if I don’t want the hole there
01:09:51I can check this and export separate pieces as a new mesh
01:10:05Of course, this can be a new mesh
01:10:06I can also flip the plane to have different sections of my model
01:10:14I can just accept, and this will update on my mesh, and I have my new image here
01:10:24Basically, this is the plane cut
01:10:27The next tool is the mirror one, and this one is very straightforward
01:10:32The mirror tool will mirror the mesh according to the grid that is here
01:10:38If you want to move the grid, it will offset the mirror position
01:10:43You can mirror an append or mirror an existing mesh, if you only want one side or both sides
01:10:52The other thing is that you can..
01:10:55I have some presets
01:10:57For example, you can put the left one, the right one, or go up, down, forward, and backward
01:11:07Not only that, but you can also rotate this and create something more unique
01:11:10As you mirror these elements, it will weld the mesh, so you don't need to worry about the topology anymore
01:11:24The mirror tool is extremely useful sometimes, and it's very straightforward
01:11:29So, remember, I personally always use the presets and update assets
01:11:35If I want something like this, then my new asset will be the mirrored one
01:11:46Okay, let's take a look at the PolyCut
01:11:52Let me create a box here
01:11:55This tool is very straightforward
01:11:59The PolyCut will create a hole based on this axis and will cut through the mesh
01:12:02By default, it creates a circular hole
01:12:08Change the width, for example, have something like this, and you can also move it into another position
01:12:17Even if it's outside the bounds, it will only cut the parts that are intersecting with the mesh
01:12:27Okay, so that's a good throw
01:12:29You can also insert a polygon here, in case you want something like this, or you can stream inside or stream outside, something like this, just to have only the two intersections
01:12:44It can be useful if you want it to cut through by default
01:12:50That's the magic here
01:12:54You can also change the scale, for example, something like this; if you want to change the scale of this one, you can also change it to another shape, such as a square, and modify the polygon
01:13:07Scale the width and you can change it to a rectangle, change, uh, long, uniform square, or the rounded rectangle, where you can change the radius to have a full radius, which will be like a circle; zero will be the square
01:13:23Having something like this could work, and also you can change the subdivisions
01:13:28If you increase it, of course, you will have more subdivisions
01:13:30It's very useful
01:13:32The last one is a custom option
01:13:35You need to draw a custom polygon, so let's cancel, and here in the public code polycut, you can do a custom shape
01:13:47Click on the draw polygon here, and you will draw something like this, for example, a triangle, so it can be very obvious
01:13:57Now you draw your own shape, and you can click accept if you want, or let me cancel this, and let's draw something else
01:14:07That it's outside the bounds, so let's do the poly cut, draw polygon, and then let's do something with a more interesting shape that we could use here, something like this
01:14:22Okay, and this is much more interesting
01:14:23We can do something like this, and of course, we can change the scale and change the width or something like that
01:14:38But well, with this custom shape, you only change the scale, and there you go
01:14:46Now you have your polygon cut
01:14:47It's a very fun tool to use
01:14:48So let's move on
01:14:51Right, let's take a look at the trim
01:14:54For the trim, you need another mesh here, so let's grab this one, let's put it here just like that
01:15:02And it's a little bit different from the Boolean
01:15:05If you do this, you will see that basically the intersection is removed
01:15:13Okay, you can trim A or trim B
01:15:14Basically, it will create a hole here so you can remove the inside or remove the outside, but in any case, the intersection will only create a plane, not a closed shape
01:15:29All right, so of course, you can do the same—you can move this one around, and of course, you can create a new asset or change it to a new one, only the first input asset or the last one to create your assets
01:15:49Then click Accept, and you will have your new mesh here
01:15:54This can be useful sometimes when you don't want to have some hidden holes or something like that, to optimize your geometry; it can be a little bit useful
01:16:06But to be honest, I never use it, but it's there if you want it
01:16:13Okay, so now let's go to the deform options, and I will handle these three scopes here
01:16:18Actually, these two, and in order to do that, I will import a mesh from Megascans
01:16:28I already have it here; I will just drag this one and place it here
01:16:34Of course, I can fill this up a little bit if I want
01:16:39This mesh has a lot of triangles, and you don't see it because it's using Nanite, but if you want to see them, go to wire mode and enable Nanite, then go to triangles, and there you go
01:16:50You can see there are a lot of triangles here
01:16:52So, these scopes allow you to basically sculpt in Unreal Engine
01:16:56If I click on this one, there are some ways to make it look—uh, you know, be faster by leveraging Nanite and Lumen
01:17:04We don't want the global illumination, and also, we don't want to generate distance fields to make it faster
01:17:18But, let's just go through this
01:17:21The first one is the size, of course, and you can use the brackets to make it bigger or smaller, or you can use the slider here and just scope here
01:17:34So let me do something here—let me just add something here
01:17:39The flow rate will be basically like less smooth if I put, let me put something at 2.4, so I can't really do that, but with this one, with the flow rate at one, it works much better here
01:18:00It's basically much more smooth
01:18:03This one is more bumpy, and this one's more smooth
01:18:05Okay, and the spacing—of course, if you want to make it more spaced out and have some bumps here, you can do this
01:18:17So, put the spacing back to zero, and of course, the laziness will be super smooth like this
01:18:22Okay, there you go, very nice
01:18:32So you can have very..
01:18:41Interesting patterns that you can use here just by using the lazy mouse, okay? So, um, the first mode is the scope mode, and I won't go through all of them, but I will highlight the most important ones
01:18:51One of the most important ones is the move tool
01:18:55So, if I make this a little bigger, I can move the mesh a little bit, just like this
01:19:00I can make this character's muscles stronger or longer, like this, or you can twist the shape of the limbs, something like that
01:19:08Very strong
01:19:17Okay, and another one is the smooth; of course, this will smooth the mesh a little bit, and the name is very straightforward
01:19:25Okay, and another one is the inflate
01:19:31Let me do it once more, but this will create some bumps here, like inflating the tool
01:19:41Okay, and then you hold shift or control
01:19:45And go negative, so let me try to sculpt here
01:19:48Normal, I go control, I go negative
01:19:50If I go normal, I go positive
01:19:56Okay, and the next one is the pinch
01:20:03I can grab one of these here, I can just pinch it to make it sharper, or I can reduce this one and make this one sharper, like this here, like that
01:20:19Okay, and then I can just smooth here, making sure my mesh is working, and now I have a sharper edge here
01:20:30Okay, another one is the flatten
01:20:33So, if I increase the size here and I want to flatten this area, I can just go here and do something like this
01:20:43This one is very useful, like if you want to make some rocks or something like that, it can work very nicely
01:20:48We can just flatten all this area
01:20:54Okay, and just have to play with the normal, something like this
01:21:00Okay, very, very useful too
01:21:04If you want to do some rocks or something, I'm working from the viewpoint here
01:21:11It depends on the angle of the camera; we will do the same sculpting here
01:21:17Okay, um, this is basically sculpting with a lot of embossing, so that's what the tool does
01:21:26Of course, you can have an alpha mask, like you can import your own mask, have your own brushes, and achieve really nice results
01:21:43 So, this sculpt mode—if I go back to the normal one—let's move
01:21:50The problem with this sculpt mode is that it doesn't create new geometry
01:21:56For example, I want to move this part here, and when I do, you'll notice that my vertices are essentially getting lower here, and I really don't want this stretch
01:22:06So, let me..
01:22:17Accept this now, and it will take a while to compile because it's the night
01:22:22Okay, almost done
01:22:27There you go, so this is our new mesh, and see, it's the form
01:22:32Okay, so let's do the dynamic sculpting now
01:22:36I decided to change the mesh because the other one was really, really heavy
01:22:42I don't recommend you use a very heavy mesh unless you really need to, but this one is very, very simple actually compared to the other one
01:22:51So, this sculpt is the dynamic sculpting, and what you can do here is you can move it, and it will create polygons just like that
01:23:02You get this one, which is very useful for trees or things like that
01:23:08So, if you want to, you can add this and do more polygons just like that
01:23:16It's very useful, like if you..
01:23:23Want to create trees or things like that, but of course it's very, very powerful, and it's the same one we use in CBrush
01:23:31We'll be able to use this kind of tool just to move it a little bit, okay? And of course, you have the same features as always, like the flat tank here
01:23:46The difference is that you're modifying the topology, so the thing is, it may mess up the UVs, or it may not, but it might—like this one
01:23:57In any case, this will be rude
01:24:08So, just to show you, if I do the PolyEdit, I mean, the UVs—let's check if the UVs are here
01:24:20Very easily, just go to the same Edit, you'll see these are the original UVs
01:24:27So, they got stretched a lot, but I mean, you can use this tool to deform objects, especially with rocks or things like that, like you
01:24:38You don't need to modify the mesh a little bit, but you can just move it slightly to fix things, and it will work perfectly
01:24:50So that's it for the sculpting here
01:24:53Of course, the next tool is the smooth surface, which will just smooth the polygons if you really want to use it
01:25:00However, in my case, I don't use it that much
01:25:08For example, here I used the box, then I can apply the smooth function and adjust the steps a little bit
01:25:20Because I don't have any geometry selected, it would really destroy my mesh
01:25:29In any case, these are the sculpting tools, which are extremely useful in very specific situations
01:25:33The next tool is the offset
01:25:38I'm including this all in the sculpting tool set because it's kind of like shaping the form in
01:25:50The mesh, but for this one, it will just inflate the whole mesh and also create a shell, something like this
01:25:59Of course, you can increase the number of steps, or you can have something like this
01:26:07It looks very cute, actually, if you're making a stylized thing
01:26:10Now that you know the sculpting tools, these tools are extremely good for deforming meshes
01:26:16The pose pin tools are very specific, but if you want to do more complex operations, then we have the warp, the lattice, and the displace
01:26:29We're going to do that next
01:26:32Okay, so now let's take a look at the deformers
01:26:35For the deformation, we have the warp node and the lattice one
01:26:41The warp node will essentially put a stick here and warp the mesh around it, so you can change the..
01:26:46The intensity of the warp, the degrees, and the direction of it can be adjusted here with the handles
01:27:03You can also modify it here in the bend degrees, which is very useful if you are creating rows and want some curves
01:27:10The warp node works extremely well for that
01:27:12The other settings are the upper bound and the lower bound
01:27:16The upper bound determines how much influence you want the warp to have on the upper side, and of course, the lower bound affects the lower side
01:27:26For example, if you set the upper bound to zero, then this part will remain straight, providing a smooth transition until the next rotation
01:27:33This is the red mode
01:27:40Of course, you can move the gizmo; different pivot points will give you different results
01:27:48Let's put 200 here, and we can move it
01:27:55Depending on the pivot point, we will have a different result, and of course, you can change the blending here
01:28:08This is extremely useful
01:28:10You can also rotate this to bend the mesh in a different direction, just like this, and you can get some interesting results
01:28:19Now, the next tool we need to use to deform the mesh is the lattice
01:28:26The lattice will add some points to the mesh, and it will move the vertices that are closest to these points
01:28:37So, if I select these corner points, I will move the vertices that are close to them
01:28:44I can also select the middle ones, take these, and move them here
01:28:48Of course, if you have a lot of points, let's accept this and do it again
01:28:55Let's just try to..
01:28:57Change the axis, like for example, the X1 will have a 3 by 3 by 3 grid, and personally, I like to use a 3 by 2 by 3 grid because it has fewer points to worry about
01:29:10So, you can have something like all of these, and just move it here
01:29:17You see that the transition is very rough, and the reason is we're using the linear interpolation type
01:29:26If you change it to cubic and do it again, now you will have a much smoother transition
01:29:32This allows you to move the points and deform the mesh freely
01:29:39This method is particularly useful when you want to make very specific changes to your mesh, but you don't want to move the vertices
01:29:50Okay, we're going to take a look at the display mode
01:29:55The display mode will
01:29:57Allow us to display our mesh based on different properties, so in order to do this, we're gonna create a rectangle and we're gonna put some subdivisions on it, like something like, uh, maybe 100 by 100 should be enough
01:30:11We complete
01:30:14Okay, so now we have a lot of subdivisions here
01:30:16Now, when we apply this, you will see that it will do some subdivisions, increasing the polygon count
01:30:28We can decrease the subdivisions here, like one, just to put one for now
01:30:35We can increase the intensity, like 50 or 100 or 200, to have something very soft if that's what you want, and also increase the subdivisions here
01:30:49Of course, you can change the randomness to something else; it will give different results in the noise
01:31:03Okay, so let's set the default value to 10
01:31:06Now, 201 or even 0
01:31:08Okay, good
01:31:09So, what you have here are different types of noises, and different noises will have, you know, different properties
01:31:19For the Perlin noise, there are various types of noise that you want to experiment with
01:31:28So, let's click Cancel and go back to the original one
01:31:37Go back to the modeling tools, go back to this place, and here, let's play with the Perlin noise
01:31:46The frequency determines how much the noise is repeated, so if I set it to 1, you'll have a lot of frequency
01:31:52If I set it to 0.001, you'll have less frequency
01:31:56Different values of the index will produce different results, like 0.1, 0.05, 0.05
01:32:00As you can see, I can adjust all the indices, making them smaller or more intense, like this one, this one, which can be more intense, like this
01:32:09The frequency is lower
01:32:19I have some kind of bobbing effect, and you have different types of noises
01:32:29For example, you have the sine wave, and for the sine wave, you have different properties
01:32:39For example, you can change how many waves you have
01:32:42Basically, from zero to one, it will look something like this, and of course, you can change the phase shift, which basically offsets the direction of the sine wave if you want to do it like that
01:32:50Very cool
01:32:57The other one is the random noise; of course, it's just random noise and can be anything
01:33:05The next one is a constant; I really don't use it
01:33:11One of the apps I want to show you is the textual one
01:33:19To do that, I already have a material here from Megascans
01:33:25Let's put this one here, and I want to add some
01:33:30Bumpiness to it, so what I'm gonna do is go to this place, and you will see that if I go to the early noise, I'm losing the shape of my brick
01:33:41So what I want to do is add a random noise, I mean the texture 2D map, and for the texture to the map, we need to specify the map source, which comes from Quixel Megascans, with these textures here, all the masks
01:33:58And if we check the channels individually, you see the red is the Ambient Occlusion, the green is the roughness, and the blue is the displacement map
01:34:06What I did was extract the displacement map, put it in Photoshop, and then import it again so we can use it in the future
01:34:14This won't be necessary, as it's already working in the branch on GitHub from Unreal Engine 5, but for now, we need to use it
01:34:22So, in order to use it, we just need to drag this one
01:34:27Just put it here, and you will see now that my mesh is actually following the displacement direction of my texture
01:34:35Of course, I can change the displacement intensity if I want something like 20 or something very subtle like one, two, or three
01:34:48You can have something really nice there
01:34:50There you go
01:34:51With this, you can create really, really nice surfaces
01:34:53Okay, you can set it very prominently, like 25; that's a little bit too much
01:35:02Maybe 10, or maybe 8 is the right spot for this
01:35:07You can click accept if you want, and because the texture is stylized, you can always adjust it
01:35:15I'll click and move this one here
01:35:18All right, you can do the same, and you have your alien texture working perfectly
01:35:25All right, so this is the displacement tool
01:35:27It's very useful for detailing surfaces
01:35:29And we're going to use it for detailing walls and things like that, so it's one of the tools that I love to use most, and this is the way to use it
01:35:47Okay, so let's take a look at the transform tools
01:35:51Transform tools allow us to do operations inside Unreal Engine that typically would require us to leave the editor and go to other 3D modeling applications
01:36:03These are the most important tools: the align tool, the pivot point, and the bait (probably meant to be "bend") transform
01:36:10Let's take a look at those first
01:36:13Let's start with the pivot point because it's very straightforward
01:36:18The pivot point allows you to change the position of the pivot of a mesh and put it anywhere you want
01:36:24For example, I can put it here, and if I click accept, my mesh will automatically change its pivot point and..
01:36:31You don't need to export it and import it again, so the pivot point comes with a handful of useful tools
01:36:39It has some presets, for example, you can align to the center, the bottom, the left, the back, and so on
01:36:48You can also align to the world origin here, in case you want your meshes to be at zero, zero, zero
01:36:58All right, so the pivot point becomes extremely useful when you want to change the pivot point of one mesh
01:37:06Just keep in mind that changing this will update all the instances
01:37:12All right, the next one is alignment
01:37:14So let's grab a cylinder and place it here
01:37:17A cylinder will align to the box based on some of the parameters we give, or we can make the box align to the cylinder
01:37:31This is very useful when we want to make objects snap perfectly
01:37:35So, in..
01:37:38In order to get the align tool, you need to select both of them
01:37:42So, let's say I select the box first and then the cylinder
01:37:48Now, when I align this to the first object, both of them are combined, and the box's position is at the center
01:37:54Okay, so instead I want to align to the first selected object, and this one will align to my box
01:38:02I will align to the Z, Y, and X axes, and I can set a different position
01:38:15For example, I can align to the bottom one, or I can align to the top, or align to the left, and so on and so forth
01:38:31You can also do this with the last selected object; instead of aligning the cylinder, you can align the box, or you can combine these methods to have a middle point between the two objects
01:38:39The last one is very important, and that is the big transform tools
01:38:41The big..
01:38:44Scale and rotation are extremely important because usually you will perform operations on a mesh
01:38:48For example, you're rotating like this, and then you want to do something like this
01:38:55Let's say you have a column, and you want to duplicate it and place it here
01:39:03The problem with modeling this way, which is very common in 3D modeling operations, is that the transform is not the same
01:39:08If you see these numbers, the scale values are 1, 1, and 6, and the rotation values are quite different from zero
01:39:20 So, what this means is that if I try to find my asset here and place it here, you will see that it doesn't match exactly
01:39:29The reason is that I am only adjusting the transform of the body
01:39:31This is where the transform bank transform feature becomes very handy
01:39:35To do that, you..
01:39:37You need to select this one, then select "Bake," and then just click "Accept." Notice, sorry, notice that the columns here are very different, and the reason is that the transforms are not the same
01:39:52So, what you can do is reset these to zero and one, zero and one
01:40:11Okay, so the original position is this one
01:40:13If I want to drag this one, then of course my mesh has changed
01:40:19All right, and my original scale is now one and not six
01:40:22This is very helpful
01:40:25All right, so let's take a look at the mesh operations
01:40:29The first one is the simplifier
01:40:31I have a mesh here with a lot of triangles, and usually, you want to reduce the number of triangles, and the best way is to use the "Simplify" option
01:40:44When we use "Simplify," it will try different algorithms to finish it, and you can..
01:40:48See how many triangles and vertices you have
01:40:53For example, you can put 100, and of course we have like 30,000 triangles
01:40:58If we want half, we will have 15,000, and if we want, like, ten percent or one percent, you can really simplify a lot
01:41:09Okay, so different options here will give you different results
01:41:13Some of them are better but require a lot of extra time
01:41:20To be honest, I haven't really tried, I haven't had any issues with the better ones
01:41:28So, if you try like the UI Standard or existing positions, usually they will do a better job, like minimal safe preservation
01:41:45This one is the best one, especially for this kind of thing
01:41:48It will tell you, even if I put like 50, it will check the angles, and if the mesh is..
01:41:59If flat, then it will do a nice job
01:42:04Of course, this one is the fastest, but also it has fewer results, so feel free to experiment with this
01:42:09We don't really need this for now; we're just going to have a glance at the simplify option
01:42:15So, let's click Accept
01:42:20 Another one is the Remesh
01:42:26Unlike the simplify option, Remesh will unify all the triangles and basically perform a remeshing operation
01:42:32It doesn't matter what the original mesh looked like; when you click Remesh, it will generate new triangles on each surface
01:42:41Of course, here you can specify the number of triangles you want, for example, 10 or 500
01:42:50You can try to make all the triangles more or less the same size
01:42:57 This can be quite useful if you want to displace the mesh with the Displace tool
01:43:01So, you have uniform distribution on the triangles, and it's really, really nice
01:43:07The other one is the weld, so let's create a sphere here, something like this
01:43:11Okay, and what we're going to do is triangle select and select this one like this
01:43:17We will then do disconnect triangles
01:43:23Now, all my triangles are disconnected
01:43:29If I go to PolyEdit, or if I try triangle selection, you'll see that these triangles are different
01:43:36What I can do here is use the weld tool
01:43:43You will see in the weld window that the ones I disconnected are white, so I can just click accept
01:43:59Now, when I click weld again, see, there's nothing here
01:44:01It's working as expected
01:44:03Yes
01:44:06So, if we go to triangle selection..
01:44:08And then select, uh, not triangle edit, triangle selection, and then go to select all connected
01:44:18Now everything is connected
01:44:23Okay, let's do the same here—go to triangle selection, go to brush, and this will disconnect the triangles
01:44:33Then we'll go to triangle selection and select all connected
01:44:38You will see that this one is disconnected, so just when we weld, let's see where I can find it
01:44:42There you go
01:44:46Then click Accept
01:44:50Now, let's go to our triangle, select all connected, and now you have everything there
01:44:54The next step is the "Remove Hidden Triangles from Selected Meshes." This one is a little bit special
01:45:01For example, I will show you the merged one first
01:45:09So, I will put a cylinder here like this
01:45:13Okay, and I will put it here
01:45:19So, here are the intersections between these two
01:45:24Actually, you don't see these faces, so what I will do is to merge this here
01:45:29There you go
01:45:34Ah, let's go here, mesh operations, merge
01:45:39Okay, and here you will see that my mesh inside disappears
01:45:46So, of course, you have the same operations available for everything
01:45:49So, let's choose accept, and now we don't have any hidden triangles
01:45:55Okay, so, what next? Let's go to the jacket
01:46:04One will make sure this one is also not visible, so just making sure of that
01:46:14Okay, then the project
01:46:16Okay, let's try the project
01:46:21So, the project will basically morph one sphere or one object into another one
01:46:27For this, you may need to add some subdivisions
01:46:33So, let's start with this one
01:46:41So, we will..
01:46:50Click the first one, then we will click the second one, and then we can click "Project." Okay, uh, what you will see is that it will try to move the vertices in a way that matches the same topology, and it does quite a good job actually
01:46:58It creates new geometry, but you know, it's usually used when, for example, you're baking objects and you want to make sure the low poly and the high poly are pretty much the same
01:47:14The project mode will help you do that
01:47:18Okay, so this is it for the mesh operations
01:47:20Next, we will go to the box operations
01:47:22Okay, now let's take a look at the voxel operations
01:47:26Box cells are basically pixels, but in 3D, and boxes are very useful when you want to create new topology and not worry too much about the 3D constraints that Normally, polygons have so, let's try to create a cube first, okay? So if you create a cube, let's create two of them
01:47:48What you can do with this is to create a box here, for example
01:47:58You will go here to Box Operations, hit Box Wrap, and now you will create new topology
01:48:05The Box Cell Count will be the density of the mesh
01:48:07For example, if I lower this to 32, you'll have a much lower mesh here that you can use, and of course, look at this, you have nice sharp edges here too
01:48:21You can also do auto-simplify, and what this will do is to simplify the faces that don't need polygons
01:48:27Okay, so another thing you can do is you can, well, threshold—well, that's when we have two objects
01:48:36But basically, what's the difference between this? So you can see that..
01:48:42The voxel mesh is always very smooth, kind of like that
01:48:51When you have something like this and the voxels operate differently than Boolean, if I choose this one and then select this one and go to Box Selection operations, you can blend the selected meshes
01:49:06What this will do is blend them together; you see, when I go here, I create new topology—kind of like Boolean, but in reverse, where instead of subtracting, I’m adding the geometry and actually merging them
01:49:17It’s like combining and creating new topology
01:49:28Not only that, but I can change the size and resolution, so I can create sharper meshes
01:49:38This allows me to generate new meshes that have proper topology, like this
01:49:43Of course, you can change the blending mode for… For example, the blend power you can set to 1 to be more smooth, or 0.1, or 5 to be more sharp
01:49:5910 and 2 are nice numbers, and of course, the falloff will increase the blend falloff
01:50:01The plane power can be something like 1 or 2, and of course, you have the union mode, or you can choose the subtract mode, which basically works the same but with subtraction
01:50:19It will create new topology, so for this one, let's click Accept here
01:50:22Now we have our voxel mesh, and you can see it creates a nice, natural transition between the two meshes
01:50:33This is very useful if you want to create organic environments
01:50:40You can use boxes to block out your level and then use the voxel mesh to quickly generate some really nice shapes
01:50:47Let's take a look at another example here
01:50:48Let's put another cube here just like this, okay? And this, let's just move it a little bit here, like that
01:50:56What I want to do is merge these two, so if I click on both of them, I can use the voxel merge, and you will see that it will combine all this, even if they are far apart, it will try to match them
01:51:14You can try to change the vertex count, like 32 or 64 or something like that, and of course, you can also do that with the simplify tool, which will simplify the faces that you don't need
01:51:34Okay, you click OK
01:51:36You can also use the box warp
01:51:40What this will do is to basically offset, usually this is used when you want to bake objects or similar tasks, and you can use this as a cache
01:51:51So this one is the original, and this one is the..
01:51:56Of course, you have options like delayed contract close and open, so different kinds of options for this, and of course, you have the box wrap pre-process
01:52:05But to be honest, most voxel operations work like the same, and of course, you have the Boolean operation
01:52:14Let's choose this time a sphere; you can use the Boolean here
01:52:22So let's select these two, and instead of using this Boolean, we're going to use this one
01:52:29Of course, nothing has happened yet because we haven't actually intersected these two objects, but what we can do is place it here, just like this, and click this one—then select voxel one and this one, and then perform the Boolean operation
01:52:46Now you can see that it’s working, and you can change it by switching the Boolean mode to either Intersect or Union
01:52:53Will unify everything here, only the parts that we are seeing, and of course you can change it with anything you want
01:53:03And there you have a boolean operation with the box elements, so the voxels are pretty safe in a way that is very freeing to add any kind of geometry
01:53:18You can create really, really complex shapes with the box cells
01:53:24 The next one we're going to do is to take a look at some of the attributes, not all of them, but some of them are pretty important
01:53:34So let's take a look at that next
01:53:36 Alright, so let's take a look at the attributes
01:53:38The Attribute Inspector is basically some operations you can do to change the attributes of a model
01:53:43A model can have several attributes, such as normal maps, tangent maps, vertex data, and all of this
01:53:48Part of the 3D model, so the attributes will allow you to take a closer look at what the attributes are
01:53:58One of these is the wireframe; of course, you can also examine the UV seams, for example
01:54:06These are the UV seams of this 3D model from Megascans
01:54:12Okay, then you have the normal seams and the normal vectors
01:54:16This will help you check the direction of the normals, since this will allow you to have different shading on your model
01:54:24Okay, you can also view the UV seams and tangent vectors, which help a lot too
01:54:32But this is only to keep in mind how your mesh is composed
01:54:36So, basically, some operations you can do here are, for example, adjusting the normals
01:54:41I will choose another mesh for this, for example, this one
01:54:48So I will put the mesh here, and let's go to the normals
01:55:00What I can do is set a normal threshold here, and I can change it to something like this
01:55:07What this means is that the normals will change gradually, so let's just duplicate this
01:55:16The normals will change depending on the direction the vertices are pointing
01:55:22For example, this face and this face are different because they are flat, but if you want to make more rounded ones, all we need to do is, let's create another one here just like this
01:55:40Okay, we have to do that, and what we will do is change the normals for this
01:55:47So let's go to the normals editing operation and adjust the normal threshold
01:55:56Okay, so once you do that, you will see that this one has a different shading
01:56:05This one is more smooth, like a ball
01:56:07And if you check the normals here, let's go to the inspector and look at the normal vectors, you will see that I have something like this—very sharp
01:56:19If I go here and check the inspector, you will see that I only have one normal pointing here, which is the average of these three points
01:56:31On the other hand, the same applies to the tangents—honestly, you don't really need to use them for now
01:56:39Then, generate new polygroups based on the normals
01:56:41Of course, you can assign different polygroups depending on the normal angles— that's something to consider
01:56:48Let's keep going and paint new mesh polygroups
01:56:52Of course, you can paint some polygroups here, and I have some polygroups already
01:57:06Now, when you use PolyEdit, you will be able to paint polygroups more easily, you know, change them
01:57:17Okay, so actually, this is a very special tab, but what I want to show you is the Material Edit
01:57:31So, um, let's go back to this one, and what I want to do is change the materials here
01:57:41So, you know how I'm going to do that is I'm going to select the triangles I want, and I will select by UV island
01:57:54I will select this one, and then I will go to Materials and click a new one
01:58:01I will try to select another material, let's try to select this one, click here, and then with the selected material, press index 1
01:58:09Now, you don't press Accept
01:58:17Now, what you need to do is assign the selected material here, and now your mesh has two materials; one is for this ID, another
01:58:25One is for the original one, okay? So this is a good way to add more materials to your mesh
01:58:33If you check here, you will see that you see the two materials
01:58:41So this one is very important
01:58:44The next thing we're going to do is bake some textures
01:58:48Okay, so we're going to bake that low-poly model and a high-poly model, and we're going to do that next
01:58:57All right, so now we're going to learn how to make pictures
01:59:02This is a Nanite bench, and it has a lot of triangles
01:59:06Let's say you want to simplify this, but you want to use the traditional method of using a low-poly and a high-poly model
01:59:15To do that, we need to do some things first
01:59:18Let's go to the Attribute Editor or this one, and it will take a while the first time because it's a very heavy mesh
01:59:25Look at the Attribute Editor
01:59:29Just wait a little bit because it's going to take some time, and what we're going to do is optimize for editing
01:59:38Okay, so let's optimize for editing and disable some settings that need to be rebooted and rebuilt each time in order for the mesh to function correctly
01:59:48 Okay, so now that we have our mesh, what I want to do is duplicate this one
01:59:59Like this—actually, let me rotate this to be in the same spot
02:00:03Okay, let's change the lining here
02:00:06So now, we're going to duplicate this; this will be our low-poly version only
02:00:10Okay, let's click accept, and this will duplicate our mesh
02:00:14 Now that we duplicated our mesh, it's very heavy
02:00:23So, what we need to do is make a low-poly version
02:00:33It will be very easy; we just need..
02:00:38To go to mesh operations and do a remesh if we want, we could try
02:00:43Let's see what happens if we do remesh, and it will take a while, so I will come back when it's processing
02:00:53Okay, so I will put 10,000 triangles like this, and let's see how it handles it
02:01:01Okay, so now that we have remeshed this one, let's click Accept, and this will give us our new mesh with new topology
02:01:16We can actually simplify this one and use the minimal shape-preserving option
02:01:28Wait a little bit
02:01:31Okay, maybe use this one
02:01:35This one looks fairly low poly
02:01:38We can do something like 10,000 triangles, something like that
02:01:41Okay, and there you go
02:01:45Now, sometimes in this case, the remesh really reshapes our UVs
02:01:51Sometimes that's not the case
02:01:58For example, if I want to use my Box Wrap, I will have something… Like this, and then I will lose my UVs
02:02:08Usually, you want to do this kind of operation so that you don't have loading issues
02:02:19What you can do is go to maybe this one and select Box Wrap Pre-Process, okay? And then this will handle the small dots
02:02:31So, what you need to do is, of course, create a whole auto UV process, something like that
02:02:40And of course, before that, we need to remesh this, so let's simplify it and just position it like this
02:02:58Okay, so let's do the auto UV just like that, and let's check the checkerboard
02:03:09Is it good or not? Try to normalize to world or noise, killing both; they are okay
02:03:17Have a look, click accept, and it looks like this could work
02:03:20It's not perfect UVs, but it's something
02:03:28What I want to do is to make this
02:03:36This is my low poly
02:03:38Actually, I will simplify this a little bit more
02:03:45Let's go back, let's not simplify it so much, otherwise my low poly will be too different from the high poly
02:03:53So, let's simplify it, but just by about 75%, or something like that, okay? So now that we have this, from a distance, it's most likely the same shape
02:04:12We click on this one, then we click on this one, and then we will do a big texture
02:04:20Okay, so now that we have baked, let's wait a little bit for processing
02:04:24Now, you will see here that I have my normal map working, but it's very small
02:04:31So, what I want to do is to increase the resolution to something like 2048, and let's see how our normal map looks
02:04:46And now, our normal map starts looking very nice
02:04:48Let's increase the thickness to 10 in case we're missing some of the details of the rock
02:04:52There you go, and maybe let's try 50
02:05:00Okay, so this looks like it works, so let's just click OK
02:05:04Now, here we will have our normal map; we can put it in here if we want
02:05:13We have a new material
02:05:16Okay, now this is the normal map that we baked
02:05:25If we want to bake again, just bake this, and we can create the albedo map
02:05:32So, let's try to do that
02:05:39Let's go here, and we can set the texture to the image, and the source texture, of course, will be the cliff
02:05:45This one
02:05:51It may work or it may not; it may look darker as expected
02:05:55It does, it does look darker, so just don't worry about it
02:05:59It looks darker than it should normally; it shouldn't
02:06:03You can also adjust the occlusion multiplier with..
02:06:07Like zero here or the base grade label, something like that, but for us, uh, now the normal map works fairly nicely, so be aware of the albedo
02:06:28The normal map works nice, but the albedo map doesn't work as we might expect
02:06:35So, this is the way we bake textures inside Unreal, and this one has much fewer polygons
02:06:42We can try to create the night version of this one, try to find it
02:06:50We go to night mode, enable it, and here, when we go to Nanite visualize triangles, you will see that we have much fewer triangles here
02:07:06Now, you may or may not want to use this, but the tool is here—you can bake inside Unreal, and you don't need to go to any other 3D modeling application
02:07:18Okay, so now we are in the last part of this introduction to modeling inside Unreal Engine 5
02:07:23The last thing we need..
02:07:28To do this, you need to take a look at the UVs
02:07:34By default, all the meshes come with some basic UVs, but there are times when you need to modify them
02:07:43In the UVs tab, you will be able to select between different options to UV map your object
02:07:48For example, I can try auto UV, and this will produce a different result
02:07:52I can try to normalize the UVs to the world, or I can apply noise killing, or I can change the stretch here, something like this
02:08:02Okay, so now that I have this, I can have different UVs
02:08:07Now, if this one doesn't really fit your needs, you can try to unwrap it as well
02:08:11When I unwrap it, it will look like this, and I can use the polygroups or the existing UVs if I want
02:08:25Usually, when you create different polygroups, you will have different UV islands, so that can be..
02:08:32Helpful for you, another thing you can do is try to change the unwrapped type to conform with minimum stretch; different surfaces will give you different results, so try to play with this
02:08:44Another thing you can do is check the preview; you can change the checkerboard, or you can try to change the UV map size
02:08:56Okay, you can also try to overwrite it with another material
02:08:59Let's say I want to use one of my surfaces here and put it here
02:09:05Now I can take a look at how my UVs are working
02:09:10I can also change the scale here, like two or three, to repeat my texture if I want
02:09:17I will just leave it on one for now, and I can just change UV channel 0 for now
02:09:27Okay, the project will do a different thing, so depending on the surface, you will want to change it
02:09:35The different projection sizes, like this, or you can scale along the Y or X axis
02:09:40If you have a different shape, for example, a cylinder, you can use the Projection Mode
02:09:47Instead of using a cube, you can use the cylinder, and now it will unwrap nicely
02:09:54So, if you apply the checkerboard pattern, it will look like this, and just make sure all the checkers are square
02:10:03 Another feature is the UV Editor
02:10:06Let's try to set up an Auto UV, or something similar
02:10:09To do that, we can click here and drag, just like this
02:10:15There you go
02:10:16Then, click this one, and drag it as well
02:10:21After that, click this one and drag it, allowing you to adjust the UVs in any way you want
02:10:32Another thing you have is the transform node
02:10:38If you check this one, you will be able to scale your UVs or move them around in the X or Y position
02:10:52If you want to check how it looks with the original material or with the override material, you can take a look here
02:11:05You can scale down or scale up if you want to increase or decrease the resolution, and this is a good way to adjust your textures
02:11:15Let's try to apply this material here so we can have a look at how it looks
02:11:21 Another thing you can do is to change the layout
02:11:24By default, it will repack everything and put it in the 0 to 1 space, or you can also transform this to change from 1, 2, 3, 0.1, 0.2, or 1
02:11:33Additionally, you can translate the UVs to rotate them in case you need the texture to be in another orientation
02:11:41So, this really concludes the tutorial on how to use the modeling tools, and also for the UV section
02:11:49This concludes our tutorial on the modeling tools
02:11:53Thanks a lot for watching, and remember that if you want to learn more, we have more videos for people like you on our website
02:12:03Make sure you check out our tutorial on how to model the entire castle in Unreal Engine 5, and let us know in the comments what kind of video you would like to watch
02:12:19We may make a video about it
02:12:21Until next time.
언리얼 엔진 5에서 모델링 작업을 하려면 '모델링 툴 플러그인'을 활성화해야 하며, 이를 통해 다양한 기본 도형을 생성하고 속성을 조절할 수 있다. 
