Hello, I'm greeting you from the 15th lecture.
EX sprite level
I will open the level I worked on last time.
Yes, then the level opens like this.
There's a sequence here, right?
Let's see if it comes out properly by opening the simple sequence we set together.
It's coming out well.
The camera is also in this view.
Then, this time, I'll make a radial material that I often use.
This time, I will only proceed with the production of the master material.
Then I'll name it RadialUV.
Open the material window.
I think the material I made this time will be the most complicated of the works I've done so far.
It's not difficult, but there are things that need to be repeated in terms of texture.
And in the meantime, I'll check the results or the different expressions and proceed.
It's important to understand and move on.
Change the preview to plan.
Brand mode is Translucent.
Light mode is Onit.
Then I'll use the basic composition as a normal texture.
And I'll use a diffuser texture that is the target of the song.
And I'll use a mask-shaped texture that controls the area.
And when we talk about color in an artistic expression,
we need a composition that can generate a color channel offset called Chroma Arboration.
First of all, there should be a basic UV in these parts.
UV texture coordinate.
I always used this basic shape.
UV color comes out like this.
The material I'm going to make this time is not a basic UV direction in this direction and the V direction.
I'll use UV that makes it in the direction of radiation.
So I'll search for Radial.
Then there is a Vector2 Radial value here.
It means that the vector has been changed to a radial direction.
You don't have to have input here.
I'll check the result value first.
It comes out like this.
Then you can see that the direction has changed.
This is a separate channel.
This direction and this direction.
This is a combination of UV and Radial coordinate.
This is a form of a variable.
This direction is a circle.
The V direction is expressed as a distance value from the center to the outside.
The more the center part, the more the color comes out black.
The shape of the node is blue because it is called a function.
I'll just briefly explain this part.
The direction of the basic UV we use is calculated in advance.
This function is made by adding a function to make it easier to use.
In the old Unreal version, this function was not provided.
But as the Unreal version increased, it also provided functions.
In the past, I used to write a script and make a UV shape.
It's very convenient.
Now you can simply use this function.
If you are a beginner, I recommend that you understand the structure of the inside later.
Then I'll start with UV.
I'll start with the most basic UV styling and pen structure.
I'll use the normal texture first.
And whenever I press the Ctrl Space, I can easily use the Content Browser.
The screen view is not easy to see, so I'll take it out and use it.
I'll use the normal texture that I provided in advance.
This is a master material, so it doesn't matter what kind of normal texture you use.
In the case of the original, I use the texture in advance.
So I think you can think of it as an example.
Usually, you can just put the UV channel here and the preview will come out.
The UV direction is selected.
Master material can have as many possibilities as possible if you can control it as much as possible.
You need a lot of changes to be able to use it most conveniently.
So I'll put a tiling channel or parameter.
Take it out with the up hand.
I'll multiply each channel with a parameter.
It will be a U channel and a V channel.
I'm not using this completed UV that's out.
So that you can manage the tiling separately.
I'll give you a value of about 0.75 and a value of about 0.3.
And change each parameter to the name to normal.
I'll call it U.
I'll copy this and change it to a parameter.
This is V.
So I'll make it a two-flow channel with the up hand node.
So that the tiling of each one-flow channel can be managed separately.
You can connect by clicking on the RGB.
The output is already on the channel.
You can see that the UV has been changed.
There's an option that you have to keep until you use the radial UV.
When I set the U channel to 1, you can see the boundary line here.
This part is like a pixel is falling down.
This shouldn't come out.
It's very annoying.
To get rid of that, you have to set the lip value mode to 0.
This is the only way to get rid of it.
You don't have to modify the other UV shapes.
When you use the UV direction of this radial value,
You have to check this part and remove the unnecessary parts.
The lip value is an option related to optimizing the resolution.
You have to set it to 0 to use it at the maximum resolution.
Please remember this part.
I'll change the texture sample parameter.
I'll name this node Normal Texture.
Then you'll see the basic texture sampling parameters.
I'll call it a lump.
You can control the tiling of each one.
The boundary line is only available on the outer part of the sylis texture.
Because the value of 0.75 is in it,
It's a result of bringing the middle value and making it dark.
You have to be careful about this and use the parameter.
I'll copy this value.
But you always have to change the name.
This part is the texture we're going to use for the outside.
You can see that it's a parameter that can replace tiling and texture.
I'll copy this value.
This is the parameter that can replace the tiling and texture.
The copied part is the part that will be the object of the outside.
I'll put a Gradation Texture here.
The name is the same, so it's changed to Normal Texture.
I'll change the name quickly.
I'll name it Fused Texture.
It's in here.
I'll put Normal Texture back in here.
The names have changed, so now they're all different textures.
The texture in here is the default value for the instance.
I'll change the name of this parameter.
You have to think a lot about creating a master tutorial.
If you do a lot of these things, you'll be able to understand it later.
Connect the Add to this part.
I'll take out a Component Mask.
I'll take it and connect it to the Add part.
I'll connect it here, too.
I have to bring the UV Channel and use it.
The output here is always 0 to 1, so the tiling changes as it gets higher.
If you connect this part to the output,
This texture is expressed in the form of a curve.
The square is 1 because there is no opacity value.
But in this tutorial, we're going to give you the effect of spreading out in the direction of the V.
I think it won't be too difficult to use the G Channel.
I'll just use the G Channel.
But the output value of the R Channel and G Channel is different.
You can always use this by choosing it yourself.
If you know the difference.
This is the basic configuration for the foreign country.
I'm going to put a value that can adjust the intensity of the foreign country.
But we're going to control this value with the Dynamics parameter.
I'll use it as the second parameter.
I'll change the name.
I'll put it in.
And the first parameter is...
We're not panning here.
The texture panning animation is not working.
The timing of this panning is also controlled by Particle.
That's how we can adjust the tension of the detailed feeling we want.
I'll add another pad here.
I'll make another Upended Mode.
You don't need the animation of this channel.
In this material.
I'll connect parameter 1 to the V Channel.
The name is...
I'll make it panning.
If you add this value,
The value of the dynamic parameter will be the same as the value of the dynamic parameter.
But the texture offset will be the same as the offset.
Then,
I made a shape with the most basic UV direction that gives a sense of distortion.
It's the most basic structure.
The shape of the distortion is very basic.
If you make a lot of materials custom,
You can use this color texture as a double or a distortion as a double.
I often use it by calculating it several times.
That's also fun to make materials.
I recommend you to test a lot of things like that.
If you do it often, you'll get a sense of it.
You might have your own know-how.
Now, I'll add the Opacity.
I'll bring the Opacity texture and use the Mask texture as an Opacity.
I'll copy the texture sample node and change the name to Opacity.
And I'll put the texture shape as a base.
I'll put it here.
Let's connect the Opacity to the basic.
You can't see it well, right?
I'll take out the preview scene.
Now you can see it well, right?
The texture brightness is not very bright.
It looks like this.
But the middle part is without Opacity.
Only the gray part in the middle is expressed lightly.
Because it's too bright, I'll make a value that can control the brightness.
I'll make the gold value a parameter.
I'll call this Opacity.
I'll make the Str a Str.
You can change the custom part when you work.
In the case of naming.
So, I'll add the Opacity to the color value.
Then the Opacity will have the same shape as the mask.
And this color texture can be used as it is,
To make more detailed control,
To use the edge more strongly or to adjust the area,
I'll make a parameter.
But with the Power function,
With the Multiply function,
You can control the area of the Power part.
You can control the brightness and the dark area.
If you make the output strong, only the edge will remain.
I'll make these parameters.
I'll call this Edge Power.
But with the Edge Power,
I'll raise the power value and leave only the edge.
If you make the brightness strong, the edge becomes clearer.
I want to control the brightness in Particle.
I'll connect to the third parameter.
Then you can control the brightness value in Niagara.
The edge part of the color.
I'll name it Bastial.
It won't be expressed here.
In the Material view.
So I can't check it right now.
It's okay.
I'm roughly predicting it.
Then here,
To make the color value of the opacity combined
To be able to control the same.
I'll change the name.
I'll call it Power.
Here,
I'll change it to Parameter.
I'll call it Tear.
Since the names are the same,
I'll change the name.
I'll change it to Mask.
With the concept of final Mask.
So I'll connect the calculated value here.
If you connect it here again,
It's applied right away.
The reason why I put the same method here is
Sometimes we mix this area with a dark tone.
There's a reason to express it.
For example,
If you give me a strong opacity like this,
If the area is less than the opacity,
It's good to express black tone like this.
I've got control so that I can use this feeling.
I'm sure there's a time when you feel like this material.
To make as much feeling as possible in the instance,
I put this control.
Then,
So far, I think I've got all the basic color textures and the opacity.
Then,
Lastly,
I'll try the color texture part.
It's easy to take the tiling part and use it.
Take both this channel and V channel directions.
I'll have to change the name first.
Because the same texture comes in again.
I'll move it to color texture.
Here too.
Color tile.
I'll make it a color tile V.
The default value is not important right now.
The color texture part is a little different.
I said I was going to use the regulation function.
So I'll divide this color texture into three parts.
Because I'm going to offset this UV,
Last time, when we expressed sharpness,
I made each of them offset and expressed the edge.
I think you can think of it as a similar concept.
So I'll use this texture first.
Because the name is the same,
I think the same texture will be added.
However, I will give the offset of this part a little different.
I'll check the default value with this value.
The texture that gave this outline value is here.
But the color value is also a color texture that functions as a mask.
I keep calling this part a color texture.
I'll call it a diffuse texture.
This part is called a color texture.
Anyway, the diffuse and color parts have to be blended.
It would be nice to have the same feeling of distortion.
Because it looks more like one.
So I'll add a distortion function here.
Instead,
Multiply
I'm going to connect the color texture to this dynamic parameter.
It's too much to express, so I'll just add a proper number here.
From the top, I think you can understand that it's R, G, B channels.
The G channel does not have a UV offset.
Other channels will only give a little offset value to the R channel and the B channel.
Here, I used the Add and here I used the Subtract.
Then the offset will happen in the opposite direction.
Add and Subtract
Make this a parameter.
I'll name this RGB offset.
I'll save it because I've done some progress.
It's not like it suddenly stops working.
It's not like that with computers.
It didn't connect.
I connected the offset value like this.
Now I'm going to bring each channel separately and combine them.
So if you bring the Make Flute 3 channel, you can combine XYZ separately.
Here, bring the R channel, bring the G channel, and bring the Blue channel.
Here it is.
But I'll also add a desaturation here.
I said it was a part that adjusts the saturation of the color value.
The value of 0 and the value of the color itself is expressed.
The saturation goes up and down according to the number.
So this part will also be made a parameter.
So this part...
Here, because we used the normal texture in the company,
The type is normal, so the error is coming out.
I'll change it to color.
It comes out like this.
The timing of the value 1 is too small.
But if you give this a minus value, it's a little less obvious.
The offset value is 0 now.
But the 0.1 value has moved a lot.
I gave you a number to show you an extreme change.
If you move the 0.01 value, it comes out like this.
Now the number is very small, so the change is small.
I think it would be good to adjust this.
So like this...
Here, the Diffuser Texture just plays a role in shaping the shape of this outline.
If you blend this pattern one more time,
It'll feel a little more like that.
So I've made a color texture.
Now I'll blend it.
Before that, I'll connect the power.
I'll connect one parameter here.
This part will make the color value stronger.
If the area in the image is reduced,
I said that this black tone is expressed.
To control that part,
I'll name this part ColorPower.
So, Multiply...
I'll make a parameter that can control the brightness.
The default value of the Multiply is always 1.
If it's 0, I can't tell what parameters worked.
So I'll name it ColorSTR.
Add... I'll add the part that's been calculated so far.
Let's see.
Anyway, the mask shape hasn't changed here.
You can't tell right now.
And because the power value is now set to the default value,
It's possible.
I'll add the value I gave you earlier.
The blending is going well.
I checked that this is working properly.
This is...
The opacity part is low here.
This part wasn't expressed well.
Saturation...
I'll just use the cell value.
Like this.
I think this is the best value.
It's all expressed.
So, with the change of this color text,
The color feels a little different, right?
I think it's a node configuration that makes the black and white texture look like this color.
If you want to use a black and white texture, you can set this value to 0.
But even if I set it to 0, this texture is already there.
This texture.
This texture itself is already...
It's a texture with color offset.
The blue is a free texture.
The person who made this texture wanted to give this kind of feeling, so he made it like this.
But we didn't have that kind of texture,
We just used black texture and gave this effect on the material.
I think you can think like that.
So now, there aren't many types of textures.
There are a lot of other textures besides this one.
So if you put in those textures,
If you look at the changes, the branding feels different,
You can take the expression of this color value.
It's almost finished.
I don't know if there's anything wrong.
Now, let's check the function on the material.
The last thing we need to calculate is the particle color.
And make the multiply on both sides.
The color part is always...
I said we needed to calculate it at the end.
Because you have to connect the color part to the Niagara and control it.
The same goes for the opacity part.
The last opacity...
When the color touches the mesh,
The protruding part is annoying to the eyes.
There's a node that makes that part fade naturally.
If you search for fade, you'll see the depth fade.
So you can see the depth fade.
If you search for fade, you'll see the depth fade.
This is as far away as the mesh.
You can think of it as a soft gradient.
It doesn't feel like it's being cut like a knife.
You can make the two parts smooth.
Connect to opacity.
I hope you can control the distance by connecting the two parts.
I'll make it a palette.
I'll call it fade dist.
And...
I'll search for a switch.
There's a static switch parameter.
This is also a parameter.
We're going to check and check.
I think you can think of it as a toggle parameter.
If you check, there's true and false.
That means you don't use the depth fade function.
I'll give you a parameter to use the depth fade only when you check.
I'll name it fade.
I'll give you a parameter.
Then...
I think the composition of the motor is almost complete.
I used a lot of parameters with MasterMotorial.
I used it to control the tiling part.
I'll save it so that you can control the intensity of the edge.
I'll save it so that you can control the edge.
I'll use the color part and the diffuse texture part.
I need one more multiply.
I think it's a little more blended.
I don't have to play with the color texture.
And...
I'll change it to create water real instance.
I'll name it the first instance.
I'll check it.
I'll check if the parameters we made work properly.
I'll check it.
It's important to make sure the materials you use are correct.
I'll change the texture.
Color part, brightness,
color texture part, tiling.
Color texture part, brightness,
tiling.
The tiling is getting denser.
The desaturation works well.
The texture tiling on the mask part.
The V channel has the same color value.
The tiling changes the shape of the mask.
The power part.
It's getting thinner.
The mask texture's brightness part.
The normal tiling that creates distortion.
The mask texture's brightness part.
The opacity power.
I took out the dynamic parameter from Niagara.
If you look at it this way,
you can still see the black and white
You already saw the RGB offset a while ago.
you already saw the RGB offset a while ago.
Then I think all the parameters are working normally.
Then,
This lecture is finally the first master material production.
It is a material that can be used most frequently with a spright particle.
This material brings the most basic radial UV and makes it easy to express the feeling of a wave.
Then, even with one particle, it can be expressed in a complicated way.
Not using a lot of particles,
Even with a single particle,
It can be expressed in a very detailed way.
Then, this lecture will end here.
Thank you for your hard work.