Any Unreal Engine Experts Here?

[Huntn]

A screenshot would be handy here. If you're in Windows, you can make one by hitting Winkey + Prntscrn. It'll pop it over into your pictures folder.

I resolved the issue and posted in 158 hoping I’d catch you before you replied. Thanks for post 159. I’ll digest this and report back.

 

[Huntn]

I finished the vertex painting tutorial and liked it despite the mistakes the author made.
I’m almost finished with the UE Intro Tutorial. Thanks for posting your screenshots as I said I am digesting. I’ve gone from one video (the Vertex Painting tutorial) that covers UV, Spectral, Height maps for manipulating texture appearance, and World displacement, making for a complicated material to another author who is using much simpler material structures. I’ll say at first glance your examples are in the middle. So I’m seeing there is more than one way to skin a cat and the question becomes how much complexity is required to get a satisfactory result? Yes, I realize that much of the answer is getting into the rodeo and riding.

Since the Forest Scene author relied on channel packing, this is one other area I want to get educated about, I assume I need a 2D program like Gimp. Adobe is on the software rental bandwagon for some of their products, but can you actually buy Photoshop for $50?

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More likely I would Gimp for this purpose, but I notice there is at least two products in the UE Marketplace that claims you can use it to pack texture channels within UE, no 3rd party software needed.

RGBA Texture Channel Packer in Blueprints - UE Marketplace

Texture packer is a tool for custom RGBA texture packing without the need of using third-party software

www.unrealengine.com

Rapid Packer Textures Toolset in Blueprints - UE Marketplace

Fast, smart and easy to use selection based textures packing, repacking and generation tool. Editor tool, no need to drop into scene.

www.unrealengine.com

 

[Huntn]

I just watched this:


And based on a question asked and answered regarding improved performance for a limited texture project, for the Forrest Project, I don’t think I need to worry about it right now. Yet, it is still on my agenda.

What intrigued me is that the author of the Forest Scene tutorial used a packed channel texture to combine an image of leaves, with an image of twigs, but maybe he is just blending them which I have figured out kind of how to do.

I can see that instead of blending two textures, say grass and forest floor, I might want to combine 3 textures. One thing I remember distinctly is when the author paints with the green channel making green tracks, but maybe he was just using the grass texture To do this? Obviously I need to look at it again.

 

[Huntn]

The one thing that might help you the most is to break it down to it's most basic settings. In this case, the color/albedo textures. When you get right down to it, what' you're basically doing is repeating the same thing three or more times for each image that makes up a material.

Here's a shot of my material in UE, lerp only the three images in the albedo channel. If it looks like I'm covering old ground, or being condescending, don't be offended. I'm just trying to demystify the whole process as much as possible.

View attachment 9622

The nodes on the far left are probably the most mysterious. All they're doing is taking the UV map, and using a parameter to multiply it to shrink and grow the texture on your surface. This is good for those times when you grab a neat material you like, but it turns out it's out of scale with the rest of your stuff, giving you some HUGE ASS leaves or whatnot. 1 is UV x 1, or no change. 2 is UV x 2, or the texture repeated 2 by 2 times on the surface, 3 is UV x 3, or the texture repeated 3 by 3 times on your surface, and etc. etc.

The next stop on the noodle path is your image texture node (called Texture Sample in UE). In this case, your albedo. It's the texture that'll show up on your surfaces.

Further on down, you hit your lerp. This is where the magic happens. You want to blend two textures, your A and B. So you hook your nodes into socket A on the lerp, copy and paste them down below, add a new texture into your image texture node, and plug this new set of nodes into socket B.

Now you need a parameter to tell the engine how and where to blend these two nodes together. That's done by plugging a single color channel, in this case red, from the Vertex Color node into the alpha socket on the lerp node. This tells the engine that when you paint red in the vertex color channel, your 2nd texture will appear there. The topmost texture will go to the next undefined socket, which in this case is green. Now, when you paint red, you get your gravel, green will give you grass.

But you want that third texture, right? That's easy. Just lerp again. Copy one set of texture coordinates and image texture nodes, paste it down below, lead the Image Texture node to your 3rd texture, and hook your initial lerp to A, and your new texture to B onto another lerp. To define where it goes, take the blue color channel socket, and plug it the alpha on your 2nd lerp.

Why blue instead of green? Remember, the topmost texture defaults to the undefined color. I wanted green to be grass, so I made the 3rd texture blue.

Now, you can paint red, green, and blue on your surface to mix your grass, gravel, and dirt.

But what if you want to add in a roughness map, make your simple images more materially? Copy the image nodes and lerps above, and paste them down below your initial three. Change your textures so that the roughness image on A corresponds to the albedo on A, and so on and so on. You don't want to copy your Vertex Colors node, because you can just reuse it. Drag it down, and plug Red and Blue into the appropriate lerps.

But what about your texture coordinates? Well, you don't want your roughness map image to scale differently than its corresponding albedo. You'll want them to share the same size and space. To do that, just link your first texture coordinate nodes to the first set on your albedo and roughness, and repeat accordingly.

You'll end up with something like this:

View attachment 9623

For any other maps, just repeat the process, and plug the new lerps into their appropriate socket on the material node at the end.

View attachment 9624

So you can see what you're doing here. You're making a material out of three materials, and setting parameters to tell it how to blend the various parts of these materials together. Like I said, it's very simple, it just looks complicated because you're defining every little thing step by step by step.

Yeah, you probably gathered this from the videos you've watched, but I'm really wanting to hammer down the very basics here, to make triply sure you understand how this all works. Once you get the basics down, you can expand upon it, and start getting truly fancy.

The reason why I initially wanted to show you how to do things in Blender is because it's basically doing the same thing, but it's easier to follow, since it abstracts a lot of fiddly bits.

I’m going to take a closer look at these tonight. I assume you created a material instance so it’s really easy to adjust setting for how these materials blend.

In the vertex painting tutorial I just completed, there were 2 textures and 5 associated texture maps, normal, diffuse, and height.

• Tile N
• Tile D
• Tile H
• Grass N
• Grass D

And the way this was set up If you want to paint with the tile texture, in the color channels you would have R, G, B checked, but if you wanted to paint with the grass texture, you would just use the just Red channel R.

There was also a group of nodes used to define height (a tile texture). My understanding is that this was to give the tile height so the grass could be painted in the cracks between the tile, not covering the tile immediately in a straight blend.

Anyway, I‘m going to assume for the Forest scene, if I used 3 textures that I want to blend, it will be similiar to above with the RGB channels so to paint with the primary texture, say Forest floor, I would use RGB, then for the grass texture, I would use R, and then for a new third texture, say leaves, it would be tied to another color, like the G channel?

Another aspect of this blending is the scattering effect, and how to achieve that. Based on our discussion if you are painting with individual trees there is a way to select say 4 tree models and paint with them simo scattering them about. I need to nail this down.

But with painting a texture with grass, I need to play with the setting to see which one, msjes it more scattered ot more dense in appearance.

@Renzatic, as usual thanks for listening and your help!

 

[Renzatic]

And the way this was set up If you want to paint with the tile texture, in the color channels you would have R, G, B checked, but if you wanted to paint with the grass texture, you would just use the just Red channel R.

Yup. The painting process itself is fairly straightforward. You go into vertex paint, and choose your colors like so...

You want to use full values, so for whichever color you're picking, in this case blue, you'll want to bump the R and G sliders down to 0, and B to 1.0

There was also a group of nodes used to define height (a tile texture). My understanding is that this was to give the tile height so the grass could be painted in the cracks between the tile, not covering the tile immediately in a straight blend.

It's blending between two height maps based upon their various shades. What he's doing, but if it helps, think of it as him blending two greyscale images together where black represents the lowest point of a depth, and white the highest, and he's setting it up so that the mask on top is more likely to show up on the dark sections.

It really helps if you think of this as blend modes in Photoshop and/or your other favorite photo editing application (mine's Affinity Photo, but I can't use it here in Linux Land). What he's doing is taking the two heightmaps, applying a mask to one, then taking the mask and multiplying it upon itself.

I did a quick and dirt example here. Notice how on the edge of the brush strokes, where it's not entirely black or white, but shades of grey, you can see more of the underlying heightmap, This is more or less what's going on in his example. It makes it look like the grass is growing in the cracks before it gets to the taller parts of the tile.

And right now I'm a bit short on time, so I'll answer more later.

 

[Renzatic]

Anyway, I‘m going to assume for the Forest scene, if I used 3 textures that I want to blend, it will be similiar to above with the RGB channels so to paint with the primary texture, say Forest floor, I would use RGB, then for the grass texture, I would use R, and then for a new third texture, say leaves, it would be tied to another color, like the G channel?

Not quite. Each of your 3 textures is assigned to one of the color channels. Like for your base grass texture, it'll likely be blue, since it's the one color channel you probably won't assign. Remember, the texture on top of the stack will default to the first unused channel, since more often than not you're going to assign that first lerp node to red, and the 2nd lerp to green.

Of course, you can assign colors in any order, but for the sake of simplicity, we'll go from top down.

Also, I remember you asking about he painted twigs and leaves into his scene, and that it seemed like he was painting in more textures beyond the initial three. It's been awhile since I've watched that video, and I still have yet to watch it all the way through, but from what I remember, he uses vertex colors to mask in his three textures, and everything else beyond that is done with objects rather than textures. His twigs, leaves, and tall, 3D grass are all models he scattered about through the asset painter.

That's much easier to understand than vertex colors and materials, and yeah, you can set the density and randomness of the objects you're scattering in the brush settings. I'm not 100% sure how it's done in UE, but this is how it's done in Blender.

...and it isn't NEARLY as complicated as it looks.

 

[Renzatic]

I was curious about what exactly was going on with the height lerp in the vertex painting tutorial I posted earlier, and how best to illustrate it so that it really sticks. So I decided to recreate it in Blender and record it there.

What it's doing is using the height not for pure height value, but as a mask, mathing up the results so that it hightlights the darker sections first before filling in the rest. Or to better explain...

 

[Huntn]

Not quite. Each of your 3 textures is assigned to one of the color channels. Like for your base grass texture, it'll likely be blue, since it's the one color channel you probably won't assign. Remember, the texture on top of the stack will default to the first unused channel, since more often than not you're going to assign that first lerp node to red, and the 2nd lerp to green.

Of course, you can assign colors in any order, but for the sake of simplicity, we'll go from top down.

Also, I remember you asking about he painted twigs and leaves into his scene, and that it seemed like he was painting in more textures beyond the initial three. It's been awhile since I've watched that video, and I still have yet to watch it all the way through, but from what I remember, he uses vertex colors to mask in his three textures, and everything else beyond that is done with objects rather than textures. His twigs, leaves, and tall, 3D grass are all models he scattered about through the asset painter.

That's much easier to understand than vertex colors and materials, and yeah, you can set the density and randomness of the objects you're scattering in the brush settings. I'm not 100% sure how it's done in UE, but this is how it's done in Blender.

...and it isn't NEARLY as complicated as it looks.

View attachment 9647

In this tutorial:


There were 2 textures a tile and a grass, In UE when you selected all of the color channels RGB, at the beginning because of the way the author set it up, when RGB is turned on it covered the mesh with black (or grass with the color select turned off), yet the channels can still be selected or deselected to make changes, when color viewer was on, the tile texture was red, when off, it was tile.

This was the authors screw up because later he switched them so that the tile which had a diffuse, a normal, and a height map, became the primary texture on the bottom, because as I understand it, the tile needs the height element so the grass can be painted into the grout areas.

I still need to look at your example materials and will do so soon. Ideally I would like to be able to blend 3 textures, a rock or forest floor, a dirt, and a grass. I’m thinking like the tile-grass example before that you’d want a height map for the bottom texture, or maybe make rock or forest floor on bottom flat, and the middle texture with height. the the top one can be scattered on the middle texture?

So if 3 textures them I imagine it would be as you said one texture per R,G, and B.

 

[Renzatic]

There were 2 textures a tile and a grass, In UE when you selected all of the color channels RGB, at the beginning because of the way the author set it up, when RGB is turned on it covered the mesh with black (or grass with the color select turned off), yet the channels can still be selected or deselected to make changes, when color viewer was on, the tile texture was red, when off, it was tile.

Let's see if I can explain this from the very basics on up...

First, let's break down what a mask is. A mask, by itself, is a greyscale image that allows you to blend two textures together. Black is completely opaque, so if you flood your mask with black, it'll only show only the texture on top of the stack. White is completely transparent, so flooding it will completely remove the texture on top, showing the one on the bottom. The shades of grey between act as blends, with perfect grey being a 50/50 mix between your two textures.

But what if you want to add in another texture? That's where vertex color painting comes into play.

Think of your RGB channels as being three greyscale images. A computer will look at the shades of grey on these three channels to determine where to place, mix, and match these three colors on your image. As far as mask work goes, when you paint pure blue onto your object, it's laying down a big splotch of white on the B channel, but nothing on the R and G. The same obviously applies when you paint red or green for R and G. You can use this information to create three masks, which can be used to add and combine two extra textures onto a single material.

In the vertex painting video, he only has two textures on the material, the grass on top, and the tiled floor on the bottom. He can actually use straight black and white to paint between the two, since black and white are common across all three color channels, so painting shades of pure, desaturated grey will add information across all three channels. Since he only has two textures assigned to vertex colors, grey will work just as well to blend them together. If he had three textures, grey would be exposing blends of all three.

For painting in all three colors, think of your shades of your color + black. So painting a 50% desaturated blue, or blue darkened down to black halfway, will be exposing your topmost texture, and the texture you've assigned to the blue channel 50/50.

Yeah, it's confusing as shit starting out, but once it clicks, and it eventually will, you'll see it's all fairly straightforward. You just have to start thinking like a computer does.

 

[Huntn]

The one thing that might help you the most is to break it down to it's most basic settings. In this case, the color/albedo textures. When you get right down to it, what' you're basically doing is repeating the same thing three or more times for each image that makes up a material.

Here's a shot of my material in UE, lerp only the three images in the albedo channel. If it looks like I'm covering old ground, or being condescending, don't be offended. I'm just trying to demystify the whole process as much as possible.

View attachment 9622

The nodes on the far left are probably the most mysterious. All they're doing is taking the UV map, and using a parameter to multiply it to shrink and grow the texture on your surface. This is good for those times when you grab a neat material you like, but it turns out it's out of scale with the rest of your stuff, giving you some HUGE ASS leaves or whatnot. 1 is UV x 1, or no change. 2 is UV x 2, or the texture repeated 2 by 2 times on the surface, 3 is UV x 3, or the texture repeated 3 by 3 times on your surface, and etc. etc.

The next stop on the noodle path is your image texture node (called Texture Sample in UE). In this case, your albedo. It's the texture that'll show up on your surfaces.

Further on down, you hit your lerp. This is where the magic happens. You want to blend two textures, your A and B. So you hook your nodes into socket A on the lerp, copy and paste them down below, add a new texture into your image texture node, and plug this new set of nodes into socket B.

Now you need a parameter to tell the engine how and where to blend these two nodes together. That's done by plugging a single color channel, in this case red, from the Vertex Color node into the alpha socket on the lerp node. This tells the engine that when you paint red in the vertex color channel, your 2nd texture will appear there. The topmost texture will go to the next undefined socket, which in this case is green. Now, when you paint red, you get your gravel, green will give you grass.

But you want that third texture, right? That's easy. Just lerp again. Copy one set of texture coordinates and image texture nodes, paste it down below, lead the Image Texture node to your 3rd texture, and hook your initial lerp to A, and your new texture to B onto another lerp. To define where it goes, take the blue color channel socket, and plug it the alpha on your 2nd lerp.

Why blue instead of green? Remember, the topmost texture defaults to the undefined color. I wanted green to be grass, so I made the 3rd texture blue.

Now, you can paint red, green, and blue on your surface to mix your grass, gravel, and dirt.

But what if you want to add in a roughness map, make your simple images more materially? Copy the image nodes and lerps above, and paste them down below your initial three. Change your textures so that the roughness image on A corresponds to the albedo on A, and so on and so on. You don't want to copy your Vertex Colors node, because you can just reuse it. Drag it down, and plug Red and Blue into the appropriate lerps.

But what about your texture coordinates? Well, you don't want your roughness map image to scale differently than its corresponding albedo. You'll want them to share the same size and space. To do that, just link your first texture coordinate nodes to the first set on your albedo and roughness, and repeat accordingly.

You'll end up with something like this:

View attachment 9623

For any other maps, just repeat the process, and plug the new lerps into their appropriate socket on the material node at the end.

View attachment 9624

So you can see what you're doing here. You're making a material out of three materials, and setting parameters to tell it how to blend the various parts of these materials together. Like I said, it's very simple, it just looks complicated because you're defining every little thing step by step by step.

Yeah, you probably gathered this from the videos you've watched, but I'm really wanting to hammer down the very basics here, to make triply sure you understand how this all works. Once you get the basics down, you can expand upon it, and start getting truly fancy.

The reason why I initially wanted to show you how to do things in Blender is because it's basically doing the same thing, but it's easier to follow, since it abstracts a lot of fiddly bits.

I just downloaded these for closer examination. I can't see which maps you used for each texture, but I'm assuming it's 3 textures with 3 maps each, a normal, an albedo, and a roughness or something else? Can you tell me the order of the maps from top to bottom?


I'll assume you turned this into a material instance to change parameters in real time? Thanks!

 

[Renzatic]

I just downloaded these for closer examination. I can't see which maps you used for each texture, but I'm assuming it's 3 textures with 3 maps each, a normal, an albedo, and a roughness or something else? Can you tell me the order of the maps from top to bottom?


I'll assume you turned this into a material instance to change parameters in real time? Thanks!

Yup, I used three map types, and put them in order of how they appear on the material output on the right.

Albedo Grass - Lerp 1 Socket A
Albedo Gravel - Lerp 1 Socket B
Albedo Dirt - Lerp 2 Socket B

Roughness Grass - Lerp 1 Socket A
Roughness Gravel - Lerp 1 Socket A
Roughness Dirt - Lerp 2 Socket B

Normal Grass - Lerp 1 Socket A
Normal Gravel - Lerp 1 Socket A
Normal Dirt - Lerp 2 Socket B

The three textures in each map are all organized the same way to make them easier to follow.

And yeah, I did make it an instance.

 

[Huntn]

@Renzatic thanks for the info above.

I got a very interesting reply in a thread I've got going about UE Basics over at unrealengine.com forums. A guy jumps in and says drop UE...

UE Basics Thread, Talking, Learning, and Maybe More

Wasn’t really following whole of the discussion, but I feel like you should be told not to stop, drop this engine, and transition off to something that actually offers both look and performance. This engine is dying and getting worse with every “upgrade” they release, at a constant pace. It...

forums.unrealengine.com

This guy thinks I should drop UE and go to CryEngine. Hmm, most likely if I was to switch it would be to Unity, but what do I know? I'm looking for something easy to learn, that is basically free, and includes a good availability of low cost assets. One thing that caught my attention is that Quixel/Megascans is basically free with a UE account. I wonder if the same thing applies for either Unity or CryEngine?
Thoughts?

Wasn’t really following whole of the discussion, but I feel like you should be told not to stop, drop this engine, and transition off to something that actually offers both look and performance.
This engine is dying and getting worse with every “upgrade” they release, at a constant pace.

It isn’t capable of running anything “realistic” at a satisfactory speed not even with top of the line equipment.
In fact, is not even really capable of doing raytracing correctly, so much so that nvidia has to go out of their way and release their own branches.

For realistic looks and performance, in my opinion -because after all it’s just an opinion - go to CryEngine.

Since you are just starting to learn, you won’t miss out on much.

If your intent is to just render a single screenshot, or to make a rendered movie, then I guess ue4 can work, since performance doesn’t matter with those.
You’ll probably spend over a day on a 10m scene at 4k though.
Even 1080p logo work takes around 10m to properly render sometimes.

If your intent is to generate something playable - then UE 4.18 or even before is more likely a better choice.

I’d still suggest pulling the source and building from it in *all* occurrences.

Particularly since currently .27 is beyond broke off the launcher.

 

[Renzatic]

This guy thinks I should drop UE and go to CryEngine. Hmm, most likely if I was to switch it would be to Unity, but what do I know? I'm looking for something easy to learn, that is basically free, and includes a good availability of low cost assets. One thing that caught my attention is that Quixel/Megascans is basically free with a UE account. I wonder if the same thing applies for either Unity or CryEngine?
Thoughts?

UE4 is dying on the sense that UE5 is on the horizon, and does some absolutely freakishly amazing things that no other engine does.

Though if you do want to jump ship for some reason, I'd recommend Unity. CryEngine is okay from what I've seen, but it hasn't garnered the same amount of support as the other two. I think Crytek ended up selling the engine to Amazon recently, and they're now marketing it as Lumberyard or something like.

As for the Megascan stuff, they're only available for free when used with UE. Epic and Quixel are running something of an honor system here, because there's nothing stopping you from taking their assets to use elsewhere, but if you want to stay above board legally, you'll need to buy them.

 

[Huntn]

@Renzatic, looking over the images of your materials and thought I'd mention that if you make them Texture Sample Parameters instead of Texture Samples, when you create an instance, you can use that instance, and either replace the textures in that instance or make a copy of it, and then swap the textures, very handy, all without messing with the original material.
The key here is that when they become Texture Sample Parameters, they must each have unique names on the nodes or you'll end up with issues because the engine recognizes the node based on the parameter's given name. So they'd have to be Param1, Param2, etc or Albedo, Cavity, Roughness etc.

I got bogged down with a create a photorealistic world tutorial. the author talks about lighting and post processing setup with is important for my forest scene, since in the original the author flies thought it all.

Regarding your materials, I like that they have 3 textures in them, and am going to revisit the vortex painting tutorial where the author there adds in a height component in the material, and I'm going to see if I can incorporate height in yours or add a 3rd texture in his. Of course it is always possible that I don't need a 3 textures, nor need height.

To determine that, I'm going to start messing with the mesh I created in Blender.
As an experiment, first I'll hit it with 2 texture material and see what kind of results I get, then a 3 texture, and somewhere try out height too.

Btw, I went over to the Unity forum and started a thread called Game Engine comparisons, seeking opinions about why Unity users felt that Unity had advantages over UE, but worded neutrally. And I felt like I almost waked into a shit storm. The first comment was from a mod who said he might shut the thread down because they had "been there, done that and the best thing to do was just check it out". I'm like holy shit... It felt almost like being in PRSI. Anyway, last time I looked the thread was still open. Some responders were reasonable and some were pissy, like how can you possibly trust someone in our forum's trustworthiness and expertise??? It almost made me want to flee.

 

[MEJHarrison]

I wonder if the same thing applies for either Unity or CryEngine?
Thoughts?

If only there was a way to search the Unity Asset Store for free assets...

 

[Renzatic]

Regarding your materials, I like that they have 3 textures in them, and am going to revisit the vortex painting tutorial where the author there adds in a height component in the material, and I'm going to see if I can incorporate height in yours or add a 3rd texture in his. Of course it is always possible that I don't need a 3 textures, nor need height.

Remember, he's using his height map to act more as a controller for the mask rather than height displacement, since he only has the one in there, and he's running it alongside the vertex color node, and through the alpha channel on the lerps.

Btw, I went over to the Blender forum and started a thread called Game Engine comparisons, seeking opinions about why Unity users felt that Unity had advantages over UE, but worded neutrally.

I looked for your thread over on Blenderartist, and couldn't find it. Which Blender forum did you post it to?

As for my opinion, I'd recommend Unity over Unreal for the simple reason that it's a little more newbie friendly, and because I'm not good at compiling stuff, so UE takes me a good minute or two to load up on my computer, while the prebaked Unity binaries fire up in about almost immediately.

If it's quality you're worried about, check out this Unity demo from 2018.



...though if you were insistent on using UE5 rather than 4, we'd be having an entirely different conversation. UE5 has Nanite and Lumen, which are game changing features that nothing else can touch at the moment.

 

[Huntn]

Remember, he's using his height map to act more as a controller for the mask rather than height displacement, since he only has the one in there, and he's running it alongside the vertex color node, and through the alpha channel on the lerps.



I looked for your thread over on Blenderartist, and couldn't find it. Which Blender forum did you post it to?

As for my opinion, I'd recommend Unity over Unreal for the simple reason that it's a little more newbie friendly, and because I'm not good at compiling stuff, so UE takes me a good minute or two to load up on my computer, while the prebaked Unity binaries fire up in about almost immediately.

If it's quality you're worried about, check out this Unity demo from 2018.



...though if you were insistent on using UE5 rather than 4, we'd be having an entirely different conversation. UE5 has Nanite and Lumen, which are game changing features that nothing else can touch at the moment.

My bad, I went to the Unity not Blender forum.

 

[Renzatic]

My bad, I went to the Unity not Blender forum.

You were asking about Unreal in the Unity forum? You're lucky you didn't die!

 

[Huntn]

You were asking about Unreal in the Unity forum? You're lucky you didn't die!

Actually I asked Unity users what they thought made Unity the better choice as a game engine in a neutral tone.

Impressive video btw.
I’m not insisting on UE5 yet because it is in beta. I assumed that all of the support resources would be focused on UE4.

One thing I’m not sure about is when they speak of engine load when you are putting the project together, can I assume this load remains when the projected is converted into game status? Btw, I am oblivious (no surprise) to the transition from project to finished game that can be clicked on to launch. There are all these behind the scene nodes that dictate appearance in the game, Multiple materials and such, do all of these factors remain as is when the project is turned into a final project? Is there a step that converts the project into a game, and from the game, it can no lnger be taken apart in the same way as when it is being developed?

 

[Huntn]

Remember, he's using his height map to act more as a controller for the mask rather than height displacement, since he only has the one in there, and he's running it alongside the vertex color node, and through the alpha channel on the lerps.

My impression which maybe in error that this is how height is handled when it come to blending textures, you don’t want it to be a 50-50 situation, and you want one to appear to have height, such as the tile so the moss can appear to growing in the grout between the tiles? I see this as a significant factor when trying to naturally blend say grasses with a Forest floor. Or maybe for the latter a scattering kind of blend which I’m working on figuring out how to do.