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RinCity Train Station Unreal 4 upgrade :)

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  • #16
    Amazing work! would you share the blueprints you used for the camera?

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    • #17
      I didn't work on Infinite I swear :P
      The original Unreal 3 scene (which is all those assets and arrangement) were build at the end of 2010, after I finished the last Bioshock 2 DLC.
      At that time, my brain was all wired to make any scene look like a theme park facade XD (So more or less influenced by Bioshock itself lOl)
      RinDream.com
      RinCity-TrainStation UE4 Technical Breakdown
      Rin Blueprint DicePack
      twitter.com/RinDream

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      • #18
        Originally posted by devel.bmad View Post
        Amazing work! would you share the blueprints you used for the camera?
        Will share the information when I write the technical breakdown for the scene creation.
        I have few problems with the camera system itself that I hope by sharing it gave me some feedback on how to solve it.
        RinDream.com
        RinCity-TrainStation UE4 Technical Breakdown
        Rin Blueprint DicePack
        twitter.com/RinDream

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        • #19
          Great, looking forward for the breakdown

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          • #20
            Wow, Amazing work.

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            • #21
              Originally posted by RinDreamX View Post
              Hi All,
              Being a camera nerd, I uses blueprint to modify Camera Actor Class to have effective focal length FOV system and true dof system just like real camera.
              Impressive work!!!

              I'm really curious about the modification on the camera actor...I mean, the actual focus is always done in keyframes or the modification on the class improve some aspects?
              ENTER REALITY

              VR Solutions

              Contact us for more informations

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              • #22
                Inspiring work! I really love the feel of the camera shots!

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                • #23
                  Originally posted by Cruward View Post
                  That's amazing, good job.. makes me want to learn more, and faster. Too bad I can't find any courses to take where I live.
                  The internet is a wonderful thing for that
                  Trevor Lee
                  State Machine Studio
                  @StateMachines

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                  • #24
                    Impressive work! I would personally add a little bit wind to your trees

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                    • #25
                      Beautiful work, only thing I see is that in the last pic you might want to bring in the camera a bit since you can see some areas where there are fewer details(trim, rubble seams, etc.). Every other picture looks excellent!

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                      • #26
                        Technical breakdown of RinCity Train Station.

                        RinCity Technical breakdown:

                        A. Unreal 3 to Unreal 4 asset conversion.
                        B. Physical Based material cheat/shortcut (Master Material).
                        C. HDR lighting n Lightmass.
                        D. True focus Camera BluePrint.
                        E. Output.
                        F. Summary for the conversion.


                        A. Unreal 3 to Unreal 4 conversion:
                        Things that I did for the conversion:
                        1. There's no longer ASE support (which is what I typically use for simple static meshes)
                        2. There's no longer VERTEX Lighting bake support.
                        (this took me 5 days every night to complete LM for all the assets).
                        3. There's no spline actor to mesh conversion export from UE3.
                        4. There's no BSP UE3 to UE4 export.
                        5. Location and rotation from the original scene.
                        6. Vertex re-paint.
                        7. Scale in UE4 finally do 1 unit 1 cm.

                        1. Having all my MAX source files, makes this a non issue.
                        Make profile for FBX generic static mesh export in MAX to speed things up in export.
                        (important one to check: Smoothing groups, Tangents and Binormals, and Preserve edge orientation.)

                        2. No vertext lighting, means lightmaps (spelling this gave me a headache already lol).
                        I decided to use lightmap for my indirect lighting for quality and performance test reasoning. (UE3 scene was using indirect lighting bake too.)
                        The technique I use is to break the geometry, do UV unwrap in planar as much as possible, then copy it back to the original mesh as UV2 (or whatever desired).



                        3. Spline is used for the UE3 hanging rail. Spline actor export from UE3 only shows the spline point, and doesn't show anything other than that.
                        The way I solve this is to export part of the scene to obj and recreate the spline object as best as I can and export it as a single static mesh for UE4 (and lightmapped it too off course XD).


                        4. Was thinking to re-create BSP, but ended up thinking it'll take too much time. Ended up with pretty much an obj Export from UE3,
                        cleaned the triangle, set proper Material IDs and finally lightmapped it XD.

                        5. Since I'm trying to do an almost 1:1 setup, I would like to use the original rotation and location of the meshes in UE3 to be in UE4. To achieve this:
                        - I copy a single type of static mesh placed in my UE3 scene to a notepad++
                        - Extract the Location and rotation coordinates.
                        - Convert the rotation from integer to degree (in this case UE3 Rotation/65536*360), depending on how many object I was converting from I might sometimes use excel to to batch number conversion.
                        - Then duplicate the same number of that particular static mesh in UE4, paste it in notepad and replace the Absolute Location and Absolute Rotation with the one I've prepped from UE3 extraction.
                        It's a lot of manual work unfortunately and I'm not proud of it XD (It took 3 days, wish I can make a conversion application for this lol)

                        6. Vertex painting for the object for material blend is A LOT OF INFO to copy.
                        It gets to the point that it'll chug your Notepad scroll. Because of this I decided to just do vertex repaint in the UE4 scene.
                        Plus its a lot of fun to do material blend paint using vertex (Vertex Paint addict here :P)

                        7. Ok so now all my mesh are half the size than the intended scale, but considering the amount of time it took to bake the lighting, I dediced not to do 2x scaling as I'm not planning to walk around in this demo.
                        I did found a way to scale it to proper 2x by using attach to function. (basically select all object, then attached it to a box that has 0,0,0 coordinates, then scale the box to x2 and then voila).


                        B. Physical Based material cheat/shortcut (Master Material).

                        Material obviously don't translate from UE3 and UE4 and to begin with, PBS is the reason to go to Unreal 4
                        In my scene I create a basic master material that I use for 90% of the scene assets.


                        I would like to save time as much as possible, hence I didn't do much with the diffuse texture and normal map. I did some metal parameters textures and use as much as specular mask from my old scene as my roughness base as possible.
                        I use a simple lerp function and 2 constants to control my roughness that's derived from specular mask.


                        The rest of 10% materials I create are for:
                        1. Skybox and Emissive.
                        2. SubSurface for plants.
                        3. Paralax shaders and water movement for the underground surface.
                        4. Light functions for the clouds.
                        5. Car shaders that comes color changing parameters.

                        C. HDR Lighting and lightmass.
                        Lightmass took forever to build lighting, to mitigate this, I did a quick simple evnrionment with box (that built less than 30 second) to estimate the light color and value for the scene.
                        *It took 23 hours on the build where I didn't know the previous light build busted my cpu radiator coolant, my poor i7 building lightmass under fire lol. In properly cooled machine it'll roughly render around 5 hours.


                        As you all have known, HDR if you're not careful can be a double edge sword.
                        People get confused on what value they need to put in the light intensity.
                        If you were to make a scene with proper light bulb and sunlight and time of day cycle, you need to make sure you know what's your light bulb ratio towards the sun and moon and what type of light you're using.
                        I think it's best to measure light in Exposure value range considering we're dealing with HDR.

                        Here's some technical value that I found out that might help some people figuring out their lighting.
                        - In the case of Spotlight/PointLight w/ inverse sq. falloff it'll be measured in Lumens.
                        (if I have to guess that Unreal 4 lumens is based on lux/1m² surface area of a sphere intensity, roughly 0.282m radius).
                        Sphere area= 4*pi*r² (http://en.wikipedia.org/wiki/Sphere#Area)
                        - If you didn't activate the inv. Sq fall-off, your intensity value is the origin point of your light and fall-off according to radius and exponent.
                        - Based on my test. On Unreal 4.1 The light Intensity internal value for non inv. sq lights is a multiplication of 2.5x
                        - For Lights with inv. sq, the intensity at 28.2cm of the lux base is a multiplication of 20x.
                        - For people who are interested in setting base exposure checkout table 3 on this wiki link: (see the lx) where 20lux = 3EV [CORRECTION]
                        http://en.wikipedia.org/wiki/Exposur...nd_illuminance
                        - To test it, point a pure white directional light with 2.5 intensity down to a surface and checkout the HDR logarithmic histogram, it'll show a value of 1/1 (EV 3) [CORRECTION]
                        - With Exposure value, Each time you want your lighting to go to the next EV brightness, you need to double the value of your light. (eg. base light 1, to make the second light 3 EV brighter, you need to put value of 8 [3 power of 2].

                        Why are the real internal value important?
                        It's because you have to know what value to put for anything that will be affected by the Tone mapper (e.g emissive) :P
                        People who do real world lighting and photography exposure will understand UE4 lighting easier than others. In the end, it's all about light Ratio.

                        Since I'm not trying to match proper light bulb value with my sun, I didn't use the real sun value (which if you were to go with sun typical EV 14-16 = 40,960 - 163,840.
                        I want my sun and hemisphere ratio to be 1 to 4 EV (3 EVs brighter) so in my case I just use the value of
                        Directional light 768 and lightmass Environment scale 96 rather than dealing with extreme numbers value.
                        At the end of the day as long as your light ratio is proper and you set the eye adaptation limit properly, it'll be the same regardless the EV level you use.
                        Also don't forget that FOG will also require to use the HDR value to match
                        Multiply the value of your fog in the color picker (in my case I set mine to be value 32 and 20)
                        My Skybox emissive multiplier is 35.

                        D. True focus Camera BluePrint.
                        The idea is to animate the camera using real world variable input and capture some of the proper camera characteristic.

                        The closer you focus, the narrower the FOV supposed to be and vice versa.

                        The input variable I placed in BP are as following:


                        The one I animate in Matinee:
                        lens_focallength (mm), aperture (f/stop), Focus Distance(mm), AutoExposureBias(mm)

                        This blueprint is created based on Camera Actor (which is very prone to crash during compile on 4.02 to 4.1.1 XD)
                        The stuff I override are these:


                        Now for the calculation:
                        For the effective focal length I use thin lens formula to keep things simple.
                        1/f = 1/s1 + 1/s2
                        (where f = focal length of the lens, s1 = focus distance, s2 = effective focal length)

                        Once you got the effective focal length, then to convert it to Horizontal FOV I use this formula:
                        FOV = 2*ATAN(x/(2*s2))
                        (where x = the size of the film horizontal, s2 = effective focal length)
                        For some reason unreal FOV description said it's Vertical FOV, but after testing I figure it is a Horizontal FOV, so you can hooked this final value directly to the Field of View of the camera.
                        (Horizontal size of the film of a full frame 35mm sensor is 36mm)
                        http://en.wikipedia.org/wiki/Sensor_...sensor_formats
                        In case people wondering how to make that ATAN calculation in BP:


                        So those pretty much handle the effective focal length based on Focus distance and Lens focal length.
                        Things gets complex when trying to control the DOF and I believe I might get things wrong here (I'm looking for discussion on these for UE4 implementation).
                        I started by trying to understand the variable I'm overriding from the docs: https://docs.unrealengine.com/latest...eld/index.html
                        Since I'm trying to imitate true focus, then I override these with constant:
                        DOF Focal Region = 0
                        DOF Scale = 1

                        Now then we're left with the need to figure out:
                        Near transition region, Far transition region, and Max Bokeh size

                        To figure Near focus and Far Focus limit you need to figure out hyperfocal of the camera configuration:
                        HyperFocal = (f^2/N*c) + f
                        (where f = focal length, N is Aperture, c is Virtual Circle of Confusion)

                        Hyperfocal: http://en.wikipedia.org/wiki/Hyperfocal_distance

                        Once Hyperfocal result is achieved, now here's the calculation of the Near focus distance and far focus distance:
                        http://www.dofmaster.com/equations.html
                        Dn= s1*(H-f)/(H+ s1 - 2*f)
                        (where Dn = Distance Near focus, s1 = focus distance, H = hyperfocal, f = focal length of lens)
                        Df= s1*(H-f)/(H-s1)
                        (where Df = Distance Far focus, s1 = focus distance, H = hyperfocal, f = focal length of lens)

                        Once you figure that out you just substract the focus point with Dn for Near focus range
                        and focus point with the Df for Far Focus range and feed it to unreal DOF parameters.

                        Finally we got the Maximum Bokeh size: (need input for people who understood this in Unreal4)
                        This confused me as I think there should be FAR max bokeh size and NEAR max bokeh size.
                        In this case I just do a calculation for Infinity Bokeh size.
                        This will be OK for most cases where your subject is in focus on the foreground without any foreground out of focus element (this makes the near blur wrong after certain focus distance because Near blur becomes larger than far blur, hence why I hacked in a force near bokeh size to 2.0 for certain scene)

                        In any case,
                        To calculate infinity bokeh size, you need to figure out magnification ratio
                        (check the FOV calculation 2 pic above, there's small stub in the picture that shows the Magnification ratio)
                        magnification ratio = s2 / s1
                        (where s2 = final focal length , s1= focus distance,

                        Once I got the magnification ratio:
                        I use this formula to calculate Far end largest bokeh
                        Cfar = f*M/N
                        (where Cfar = Bokeh size at infinity, f = focal length, M = Magnification ratio, N = Aperture

                        (check the result is multiplied by 100, because Unreal wants the max bokeh size in Percent)

                        And that's it for the calculation. Congratulation for reading up to down here.
                        Now here comes the problem of the entire setup XD
                        1. The BP camera actor "constructscript" DOF effect can only be previewed when you preview the camera actor from Matinee actor.
                        2. Well construct script don't run in runtime lOl so you need to duplicate all those stuff into event graph and make it run.
                        Unfortunately you can't TICK Blueprint based on camera Actor.
                        Making this entire thing from Actor based BP and add camera to the component doesn't allow you to adjust post process, a.k.a useless camera BP.
                        I solve this by doing a custom event that I called from Level blueprint. In level blueprint I run a ticker that called that camera custom event.
                        3. The BP camera actor keyed variable does NOT reflect in the viewport during playback/scrubbing in Matinee. To preview the whole scene, you need to close matinee, run simulate, then open matinee and playback (it'll play for 2x speed for some reason) to see the result of all your key.

                        For the above reason, making the scene focus animate the way I want it becomes very tedious, I hope the community or Epic developer team can help me out on this

                        That's it for the True Focus Camera blueprint (took me quite a while to complete the BP because of the shenanigans or probably lack of knowledge on my end lOl)

                        Some final tips for the Camera: make sure to cap Maximum Bokeh size to not be larger than 20 or else it'll kill your GPU :P (like CRASH your GPU kind of kills)
                        These settings for real size bokeh is typically only used for Cinematic and not in game as it can be very heavy in perf.
                        I didn't post my original BP because it's kind of hairy and it has some extra info for personal test so I post only the important nuggets in this breakdown, but should allow people to re-create the camera if needed.

                        E. Output.
                        This is straight forward After Effects editing from all the BMP frame outputted in matinee. (for some reason JPG output didn't work for me)
                        But incase anybody wondering it's outputted to:
                        MainConcept H.264 1080P 30FPS @CBR 20Mbps Profile: High, Level 5.1
                        Then Vimeo and Youtube does additional encoding on top of it after the upload XD

                        F. Summary for the conversion.
                        At the end of the day this small project turns out to be quite a task to complete.
                        It's not as simple as I've planned to begin with but the end result didn't disappoint me and I get more familiar with UE4
                        Unreal 4 Physical based shaders, HDR lighting, Tone Mapper curve, Temporal AA and blueprint blows me away.
                        It made my 3 weeks effort worth the while UE4TW
                        The only thing I wish UE4 had in the future is either GPU Based Lighting baked (like Octane render) or realtime precalculate radiosity that's stable and light in performance like Enlighten.

                        I'll post some screen comparison between UDK and UE4 version at some point in the future.
                        Please don't hesitate to ask question, flame me if I made stupid mistake for any of the camera calculation above and/or help me out in figuring out the proper way to do DOF control in UE4
                        Thanks for looking at my video post and reading the breakdown.
                        Last edited by RinDreamX; 10-07-2015, 07:02 PM. Reason: Correction on EV information.
                        RinDream.com
                        RinCity-TrainStation UE4 Technical Breakdown
                        Rin Blueprint DicePack
                        twitter.com/RinDream

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                        • #27
                          A work of beauty, well done!

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                          • #28
                            Thanks for this very informative technical breakdown

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                            • #29
                              Originally posted by Hyperloop View Post
                              The internet is a wonderful thing for that
                              Yeah I've been doing my best by following tutorials.. but it's difficult when you get stuck, maybe I just need a clearer view of what I want to make.

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                              • #30
                                Lovely work. The end result is really great

                                Awesome job (even if I don't remember seeing the UDK version) !
                                Stevie's corner
                                A blog dedicated to UE4, UDK, UT99 / 2004 / III / 4

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