Camera：Especially in UE5, I think this aspect of lens transportation is difficult for me. Because it’s not just a normal display of images, it requires adjusting the aperture, depth of field, and focal length of the camera, which I think involves a lot of knowledge about photography. I had to go online to learn more about the lens aspect of photography before I started trying to make some animations.
Understanding some basic knowledge of photography is very helpful for me to apply it to ue, because the camera parameters in ue are the same as those of real cameras.
In the ue sequence, I imported the fabric animation I had previously created and imported the geometry cache in the Level Sequence, which effectively helped me animate the fabric as it floated around the scene.
This part is very useful for me, I can change the size of the aperture and the focal length to adjust the depth of field. The larger the aperture, the brighter the image will become and the background will become more blurred.
In addition, there is also the “bloom” in the camera settings to adjust the camera’s light spot, making the image more atmospheric!
Texture Detail：This week I finished mapping the architectural details in sp
LANTERN: This is a downloadable material from the internet, but I will make my own textures and add some dirt stains to make it more natural in the scene.
TEMPLE: Expanded UV for the temple doorway I finished making two weeks ago for better mapping inside the sp. And I gave it a wood texture, since many buildings in ancient China were made of wood
BANNER: I used c4d to make a banner to hang in front of the temple, making the scene more rich, and used “fabric simulation” in c4d to make the fabric floating animation and then imported it into ue5.
STONE STAIR: I adjusted the position of the scene again, I felt that the temple’s doorway shouldn’t be left alone on the ground, so I created a larger ladder to go with the temple’s doorway, making the scene more complete.
The stairs are made the same way as before
3D TEXT: At the very beginning, I tried to use maya to create 3D fonts, but that didn’t look like it fit the scene very well and felt a bit fake. So I tried again to use sp to create the bumpiness of the font. For example height and base color, this step was very useful and I was able to achieve a Chinese font in the form of calligraphy.
3D MODELING: In China, carp contains symbols of good luck and blessings. It is usually placed in front of doors or in homes with connotations of protecting people’s well-being. So I downloaded a carp model from the internet and used sp to make the carp texture, under the golden color appearance there are some rubbing marks, which also represents the erosion of time.
