Creating a VR spectator camera | Inside Unreal

Creating a VR spectator camera | Inside Unreal


HEY FOLKS! WELCOME TO YOUR WEEKLY NEWS
AND COMMUNITY SPOTLIGHT FROM UNREAL ENGINE. WHEN ILM ENVISIONED
THE VISUAL EFFECTS FOR SOLO: A STAR WARS STORY,
THEY WANTED TO RAISE THE BAR. USING STAGECRAFT VR, THEIR UNREAL ENGINE-POWERED
VIRTUAL PRODUCTION TOOL, THEY WERE ABLE TO PLAN
THEIR SHOTS WITHOUT FLYING BLIND—AND GET THE WHOLE TEAM
ON BOARD A MOVING TRAIN. IN A SHORT INTERVIEW,
JAMES CLYNE, LUCASFILM DESIGN SUPERVISOR, EXPLAINS HOW THE TEAM
USED STAGECRAFT VR TO DESIGN THE TRAIN
AND UNDERSTAND ITS PHYSICAL DIMENSIONS WHEN IT CAME TO
PRE-VISUALIZING THE STUNTS. CHECK OUT OUR BLOG FOR
THE FULL VIDEO AND INTERVIEW! CORNFOX & BROS., A SMALL BUT SCRAPPY TEAM OF SIX
BASED IN HELSINKI, FINLAND, WHO HAS ALREADY
EARNED ACCOLADES FOR ITS INNOVATIVE
MOBILE TITLE OCEANHORN: MONSTERS OF UNCHARTED SEAS, IS NOW LOOKING TO IMPROVE
UPON ITS ORIGINAL OFFERING WITH OCEANHORN 2:
KNIGHTS OF THE LOST REALM. THE TEAM IS LEVERAGING
ITS DEVELOPMENT EXPERIENCE AND EXPANDING ON THE GAME’S CORE
CONCEPTS TO TAKE THE SERIES, AND MOBILE GAMING,
TO A WHOLE NEW LEVEL – NOW IN UNREAL ENGINE.
WE CAUGHT UP WITH THE TEAM TO LEARN WHAT HELPED THEM
MAKE THE SHIFT. PROVING HOW GAME ENGINES ALSO
SUPPORT MILITARY APPLICATIONS, CUBIC GLOBAL DEFENSE
DEVELOPS INNOVATIVE AND REALISTIC TRAINING SOLUTIONS
FOR THE UNITED STATES AND ALLIED FORCES
IN MORE THAN 35 NATIONS. THEIR TRACK RECORD IS BASED
ON DECADES OF EXPERIENCE IN PROVIDING SIMULATION
SOLUTIONS TO TRAIN WARFIGHTERS AND LAW ENFORCEMENT PERSONNEL. SINCE ADOPTING UE4,
CUBIC HAS USED IT FOR AN EXTENSIVE SERIES
OF DARPA PROJECTS AND LARGE-SCALE
EXERCISE CONTROL/MANAGEMENT APPLICATIONS—SOMETHING
TRADITIONALLY DONE IN 2D. FIND OUT JUST HOW THEY MAKE
TRAINING MORE EFFECTIVE WITH GAMIFICATION, BLENDING THESE WILDLY
DIFFERENT WORK CULTURES AND WHAT THE FUTURE MAY HOLD. CURRENTLY IN DEVELOPMENT
BY AN EXPERIENCED TEAM FROM PROLETARIAT INC, SPELLBREAK IS A VISUALLY
STUNNING ESCAPE INTO A WORLD FILLED
WITH BATTLEMAGES, SPELLS, AND RPG-STYLE GAMEPLAY. ITS CEL-SHADED AESTHETIC
IS ALREADY GORGEOUS EVEN IN ITS EARLY
PRE-ALPHA STATE. FOLLOWING ALONG
ON THE STUDIO’S MISSION TO PUT “PLAYERS FIRST,” PROLETARIAT SHAKES THINGS UP
BY FLYING IN THE FACE OF THE USUAL BATTLE
ROYALE CONVENTIONS AND ADDING A TWIST THAT NO OTHER
BATTLE ROYALE GAME HAS DONE YET. BLENDING TOGETHER RPG
AND ROGUELIKE MECHANICS, PROLETARIAT IS WORKING
TOWARDS AN EXPERIENCE THAT BALANCES SKILL, STRATEGY,
AND DEPTH THAT IS FUN FOR ALL PLAYERS. WE TOOK THE TIME TO CHAT
WITH THREE OF THE FINE FOLKS AT THIS MOTIVATED STUDIO AS WE DISCUSSED THEIR DESIRE
TO DO SOMETHING DIFFERENT, THEIR MISSION TO PUT PLAYERS
AT THE FOREFRONT OF EVERYTHING THEY DO, AND HOW THEY’VE LEVERAGED
UNREAL ENGINE 4 TO CREATE A UNIQUE BATTLE
ROYALE EXPERIENCE THEY CAN BE TRULY PROUD OF. ARE YOU READY FOR GDC 2019?
JOIN US AT THE SHOW AS WE CELEBRATE
THE GAME DEVELOPMENT COMMUNITY! WE’LL SHARE THE LATEST FEATURES
COMING TO UE4, YOU’LL HAVE THE OPPORTUNITY
TO CONNECT WITH US AND OTHER DEVELOPERS, AND HAVE PLENTY
OF AWESOME GAMES TO PLAY. THE SCHEDULE OF TECH
TALKS AT YERBA BUENA AND OUR LEARNING THEATER
TALKS IS NOW AVAILABLE, WHERE WE’LL COVER
A NUMBER OF TOPICS SUCH AS THE FUTURE OF PHYSICS
AND DESTRUCTION IN UE4, RAY TRACING, NIAGARA, AUDIO,
ANIMATION, AND MORE! WE ARE HUMBLED TO BE A PART
OF FAST COMPANY’S MOST INNOVATIVE
COMPANIES IN 2019. THIS IS ONLY POSSIBLE THROUGH
THE EFFORTS OF DEVELOPERS, PARTNERS, EDUCATORS, AND OTHER DEDICATED MEMBERS
OF THE UE4 COMMUNITY. THANK YOU FOR ALL YOUR EFFORTS! ON TO OUR WEEKLY KARMA EARNERS! WE’D LIKE TO GIVE
A HUGE SHOUTOUT TO: THOMPSONN13, NEBULA GAMES INC, EVERYNONE, CHYROS,
CROWLEY CAINE, SHADOWRIVER, MAVERICK_TANGO, TUERER,
NINJIN,BNC THESE LOVELY FOLKS ARE HELPING
THEIR FELLOW DEVS ON ANSWERHUB! SHARE YOUR UE4 KNOWLEDGE AND YOU COULD HEAR
YOUR NAME UP HERE TOO! NOW FOR OUR SPOTLIGHTS:
FIRST UP IS AN ENVIRONMENT TEST, BY THE INCREDIBLE TEAM
AT EMBARK STUDIOS. THEY AIMED TO PUSH VISUAL
FIDELITY ON A LARGE SCALE (256 SQUARE KILOMETERS), WITH A COMPLETELY DYNAMIC
WEATHER & LIGHTING SYSTEM. THIS SCENE WAS CREATED BY JUST
THREE PEOPLE OVER THREE WEEKS, USING REAL-WORLD SCANNED DATA
AND PROCEDURALLY PLACED OBJECTS. OUR TEAM WAS STUNNED AT THE
QUALITY – GREAT, GREAT WORK! ART STUDENT ALEX TAYLOR CREATED
THIS LITTLE SCENE, JADE FOREST. INSPIRED BY A PIECE BY KAY TANG, IT WAS A STUDY IN LIGHTING
AND SET DRESSING. THEY’VE DONE A NICE JOB RECREATING THE SCENE
AND DRESSING SETTING IT UP. OUR FINAL SPOTLIGHT THIS WEEK
IS ANOTHER STUDENT PROJECT – FABLE FOR TWO,
IT’S A 2-PLAYER COOPERATIVE ACTION-ADVENTURE
GAME INSPIRED BY THE WORLD OF FABLES
AND FAIRYTALES. BOTH PLAYERS EMBODY STORYTELLERS
SINGING WITH A RAVEN TO GO ACROSS A MAGICAL FOREST. THE PROJECT IS OFF
TO A BEAUTIFUL START AND WE CAN’T WAIT TO SEE IT
IN ITS FINAL STATE! THANK YOU FOR JOINING US FOR OUR
NEWS AND COMMUNITY SPOTLIGHT!>>AMANDA BOTT: HEY, FOLKS,
WELCOME TO THIS WEEK’S UNREAL ENGINE LIVESTREAM.
I’M YOUR HOST, AMANDA BOTT. . WE ALSO HAVE VICTOR,
FELLOW COMMUNITY MANAGER, BUT HE IS ALSO
YOUR INSTRUCTOR TODAY>>VICTOR BRODIN: I WILL BE.>>AMANDA: HAHA.
SO YOU WILL BE GOING OVER HOW TO DO SPECTATOR CAMERA
IN VR, CORRECT?>>VICTOR: YEP, BUT I WON’T BE
MAKING ANY VR. I WILL BE MAKING IT
ON A REGULAR SCREEN. BUT IT IS TO BE USED
WHEN YOU HAVE A VR GAME, AND YOU WANT TO EAT
OR DISPLAY SOMETHING THAT IS NOT
THE VR PLAYER’S VIEW, OR YOU CAN USE IT
TO RECORD TRAILER FOOTAGE, AS WELL AS, YEAH,
YOU ESSENTIALLY — THE GOAL HERE IS THAT YOU WILL
BE ABLE TO BE THE DIRECTOR OF THIS SECONDARY CAMERA
IN THE SCENE, AND WE CAN USE IT TO MAKE
A SYMMETRICAL MULTIPLAYER GAME, SO TWO PLAYERS ON ONE COMPUTER,
ONE IN VR, ONE A MOUSE AND KEYBOARD,
MAYBE A GAME PAD. AND SORT OF WHAT YOU CAN DO
WITH ALL THAT.>>AMANDA: AND WE HAVE SEEN
A NUMBER OF ELEMENTS LIKE THAT, ACTUALLY, IN A NUMBER OF GAME
JAM GAMES BEFORE, WHERE PEOPLE LIKE — ONE PERSON IS IN VR,
AND SOMETIMES AR, YOU ARE WANDERING AROUND
AND HAVE THEM INTERACT. SO IT IS A REALLY COOL FEATURE
THAT YOU CAN USE, AND DEFINITELY VERY USEFUL, AGAIN, FOR TRAILERS, YOU KNOW,
TRYING TO SCAN SOMETHING IN VR, YOU ARE NOT ALWAYS GOING TO GET
REALLY GREAT FOOTAGE.>>VICTOR: NO.>>AMANDA: IF WE KNOW
WHAT YOU ARE DOING, TAKE IT FROM A SEPARATE CAMERA
CAN HELP A LOT.>>VICTOR: THE BIGGEST PROBLEM
THAT I HAD WITH TRYING TO RECORD TRAILERS FOR VR
IS THE FACT THAT YOU ARE LIKE, OH, I WANT TO GAZE
ACROSS THE SCENE. AND IF YOU ARE
DOING IT SLOW YOURSELF, YOU ARE LOOKING AT THE FOOTAGE, AND IT JUST LOOKS LIKE,
OH, HE JUST LOOKED ALL OVER IT.>>AMANDA: IT TAKES A LOT OF
PRACTICE TO BE A FACE — YEAH.>>VICTOR: AND YOUR MUSCLES
ARE ALWAYS MOVING, AND SO IT’S NOT STEADY. SO, SHOULD WE GET STARTED?>>AMANDA: YEAH, GO FOR IT.>>VICTOR: WE WILL BE STARTING
FROM SCRATCH. SO, IF YOU WANT TO FOLLOW ALONG,
YOU CAN DO THAT. I’M TRYING SOMETHING NEW HERE, WHICH I LIKE TO DO WHEN I DO
THESE KIND OF PRESENTATIONS, WHICH IS TO USE THIS —
MY CONTROL KEY ON THE MOUSE AND KEYBOARD SHOW
WHERE THE MOUSE IS. YOU SHOULD LET US KNOW WHETHER
YOU LIKED THAT AFTERWARDS, OR IF YOU DIDN’T. YEAH, SO JUST TO GO
OVER OUR GOALS, WE WANT THIS BLUEPRINT
TO BE ABLE TO BE DRAG AND DROP INTO ANY SCENE,
OR EVEN SPAWN ON DEMAND, IF YOU WANT TO USE IT
AS A GAME PLAY FEATURE, RATHER THAN SOMETHING
THAT YOU DO IN THE EDITOR. AND, I WOULD ALSO LIKE
TO MENTION THAT I WILL RELEASE
A SAMPLE PROJECT, MAYBE THIS WEEKEND OR SO, WITH SOME MORE BELLS
AND WHISTLES, SOMETHING THAT WE WON’T HAVE
TIME TO GET INTO TODAY, AND HOPEFULLY DO RECENT STUFF
FROM QUESTIONS LATER THAT I WANTED TIME
TO IMPLEMENT TODAY, BUT I SHOULD BE ABLE
TO DO THAT THIS WEEKEND, AND WE CAN TAKE A LOOK
AT THE PROJECT. SO WE ARE STARTING OFF,
I’M IN 4.21. AND WE WILL START OFF WITH
THE VIRTUAL REALITY TEMPLATE. I LIKE TO SET IT
TO SCALABLE 3D OR 2D, BECAUSE YOU ARE TURNING OFF
SOME THINGS THAT — SOME THINGS THAT, IF YOU WANT TO CRANK UP
YOUR VISUAL FIDELITY LATER, YOU CAN DO THAT. AND THEN WE WILL TURN OFF
STARTED CONTENT AS WELL, BECAUSE WE’RE NOT
GOING TO USE THAT. I NAMED THE VR SPECTATOR CAMERA, SO WE WILL GO AHEAD
AND CREATE IT. LET’S SEE. OH, THE LOAD SCREEN
IS ON THE OTHER SCREEN HERE.>>AMANDA: IT IS HIDING.>>VICTOR: YEAH, WE WILL BE
DISPLAYING MEANS WHILE IT IS LOADING. ALL RIGHT. CONTENT BROWSER,
WE’RE GOING TO NEED THAT. GO AHEAD AND EXPAND THIS, I LIKE THE, UM,
THE VERTICAL VIEW OF THEM BETTER THAN JUST ALL
THE FOLDERS IN HERE. YOU CAN GO TO VIEW OPTIONS AND CHANGE IT TO LIST
IF YOU PREFER THAT. ALL RIGHT. SO, FIRST OFF, WE’RE GOING
TO NEED A FOLDER TO DO ALL OF THIS WORK IN. THE REASON WHY I’M PICKING
A FOLDER RIGHT BELOW CONTENT IS BECAUSE IT ALLOWS US
TO EASILY MIGRATE THIS TO ANOTHER PROJECT LATER,
AND IT WON’T HAVE ANY REFERENCES TO ANYTHING
IN THE PROJECT ITSELF, EXCEPT IN I FILE,
WE WILL GO OVER THAT IN A BIT. WE WILL CALL IT
VR SPECTATOR CAMERA. ALL RIGHT. AND, ALL RIGHT.
THERE’S ONE PIECE OF PREPARATION THAT I LIKE TO DO
IN ALL OF MY PROJECTS. SO I HEADED OVER TO THE EDITOR
PREFERENCES HERE, WE ARE GOING TO GO TO LEVEL EDITOR,
PLAY, SCROLL DOWN, AND THE WINDOW SIZE HERE, I WOULD LIKE TO HAVE IT BEING
DISPLAYED IN FULL SCREEN, WE ARE CURRENTLY ON
A 1080 MONITOR HERE, I WILL SET IT TO 1080,
AND WHEN I HIT PLAY IN VR NOW, OR VR PREVIEW, THE ENTIRE —
THE ENTIRE SCREEN IS COVERED, INSTEAD OF IT JUST BEING
A SMALL WINDOW. AND THEN, SECOND, ANOTHER THING I LIKE
TO DO UNDER EDITOR PREFERENCES IS TO SEARCH FOR
STRAIGHTEN CONNECTIONS, AND I LIKE TO BIND
THIS TO SPACEBAR, BECAUSE IT ALLOWS ME
TO KEEP MY BLUEPRINTS VERY TIDY, REAL QUICK. WE WILL HEAD OVER
TO VIRTUAL REALITY, BP, WE WILL OPEN UP THE MOTION
CONTROLLER MAP WHICH, IF WE HIT PLAY, WE WILL IMMEDIATELY LAUNCH
A VR PAWN THAT HAS HANDS, WE CAN TELEPOST, MOST OF YOU
HAVE PROBABLY SEEN THIS ALREADY. IT COMES WITH
A BLUEPRINT INTERFACE THAT ALLOWS ACTORS
TO BE GRABABLE, AND WE CAN GRAB. GOOD FUN, AT LEAST IN THE EARLY
DAYS OF ALL THE DEV KITS. WE ARE HEADING TO VR SPECTATOR
CAMERA FOLDER, AND LET’S MAKE A BLUEPRINT.
ALL RIGHT. ACTOR, BP, VR SPECTATOR CAMERA. THE REASON WHY, YOU MIGHT ASK,
WHY WOULD WE DO THIS IN AN ACTOR WHEN, MOST COMMONLY,
WE USE PAWNS TO, SORT OF — SO THE PLAYER USES A PAWN,
WHICH TAKES THE INPUT. AND THE REASON WHY IS THAT, THERE’S ONLY
ONE PLAYER CONTROLLER BY DEFAULT IN UNREAL ENGINE
IN THE GAMEPLAY FRAMEWORK. WE USE ONE PLAYER CONTROLLER THAT IS
THEN POSSESSING ONE PAWN. AND WITHOUT DOING SOME EDITS
TO THE ENGINE, OR SOME HACKY WORKAROUNDS, WE WOULDN’T BE ABLE TO PASS
THE KEYBOARD, OR GAME PAD INPUT,
TO A SECOND PAWN IN THE SCENE. SO THIS ALLOWS US TO EASILY, WITHOUT DOING ANY, SORT OF,
NETWORKING STUFF, WE CAN ESSENTIALLY HAVE
TWO PLAYERS ON THE ONE COMPUTER, WHICH IS REALLY NEAT. ALL RIGHT. I AM HEADING OVER
TO THE EVENT GRAPH. WE CAN GET RID OF EVENT ACTOR
BEGIN OVERLAP, BECAUSE WE’RE NOT
GOING TO USE THAT. AND THE FIRST THING WE’RE GOING
TO DO IS THAT WE’RE GOING TO GO AHEAD
AND ADD COMPONENT, AND CREATE
A SCENE CAPTURE COMPONENT. WE WILL JUST NAME THAT — WE WILL LEAVE IT,
NAME BY DEFAULT. THE SCENE CAPTURE COMPONENT IS
THE COMPONENT THAT WILL ALLOW US TO CAPTURE A PORTION
OF THE WORLD, THE GAME WORLD, AND THEN RENDER IT ON
TO A TEXTURE. AND THAT TEXTURE IS CALLED
A RENDER TARGET. SO WE’RE GOING TO GO AHEAD
AND CLOSE ALL OF THE POST PROCESSING OPTIONS HERE,
WE WILL NOT NEED THEM YET. AND UNDER SCENE CAPTURES,
IN THE DETAILED PANEL, WE HAVE THE TEXTURE TARGET. AND WE CAN EITHER CREATE IT
FROM RIGHT HERE, RENDER TARGET, THAT’S HOW I LIKE TO DO IT.
MAKE SURE WE PICK THE FOLDER WHERE WE ARE
PUTTING ALL OF OUR WORK IN, RENDER TARGET,
VR SPECTATOR CAMERA. AND THERE’S ONE THING
WE’RE GONNA HAVE TO DO, WHICH IS TO CRANK UP
THE RESOLUTION TO 1920 BY 1080. ALWAYS KEEP THIS,
IF YOU’RE DOING FOR THIS PURPOSE IN,
SORT OF, A NORMAL ASPECT RATIO, 16 BY 9, YOU WANT TO KEEP THESE
RESOLUTIONS IN THAT ASPECT RATIO. I’LL POST THE DOCUMENT LATER
WITH ALL OF THEM, WHERE YOU CAN JUST GOOGLE IT. BUT THAT’S ALL WE GOTTA DO
FOR THE RENDER TARGET. ALL RIGHT. SO NOW WE HAVE OUR SCENE
CAPTURE COMPONENT SET UP, WITH THE RENDER TARGET TEXTURE THAT WE WILL BE DRAWING
OUR SCENE TO. SO WE WILL GO AHEAD
AND COMPILE THAT. AND, TO GET THE SPECTATOR CAMERA
TO WORK AT THIS POINT, WE ONLY NEED TO DO TWO THINGS. WE WILL, ON BEGIN PLAY,
SET OUR SPECTATOR SCREEN MODE, HOOK THAT UP, TO TEXTURE. THESE OPTIONS HERE ALLOWS YOU
TO DO DIFFERENT KINDS OF SPECTATOR SCREEN MODES. WE’RE GOING TO GO AHEAD
WITH TEXTURE TODAY, BECAUSE WE WILL REPLACE
THE ENTIRE VIEW. YOU CAN ALSO DO, UM,
SINGLE LETTERBOX, SINGLE I CROP TO FILL,
THOSE ARE THE TWO ONES YOU WOULD PRIMARILY USE
TO DISPLAY THE VR, THE PLAYER IN VR,
HIS POINT OF VIEW. IT IS ALSO COOL TO DO TEXTURE
PLUS I, ON HALF OF THE SCREEN, YOU WILL SEE WHAT WE ARE DRAWING
FROM THE SCENE CAPTURE COMPONENT AND, ON THE OTHER SIDE
OF THE SCREEN, YOU WILL SEE WHAT THE VR
PLAYER IS VIEWING. ALL OF THAT IS ACTUALLY OUTLINED
IN THE DOCUMENTATION, PRECISELY HOW TO DO THOSE STEPS,
WITH ALL THE CORRECT SETTINGS TO GET THE TEXTURE
TO FIT PROPERLY.>>AMANDA: THEY ARE
ACTUALLY WONDERING, DOES THE RENDER TARGET IN 2D
HEAVILY TAX A GAME?>>VICTOR: IT —
HEAVILY IS RELATIVE. BUT, YES, THIS WILL ADD
A SIGNIFICANT COST TO YOUR GAME.>>AMANDA: OKAY.>>VICTOR: AND SO THAT’S WHY
I’VE — IF YOU WANT TO USE THIS
FOR ASYMMETRICAL MULTIPLAYER PURPOSES ON THE SAME GAME, YOU PRETTY MUCH HAVE TO START
OUT WITH THIS FROM THE GET-GO AND ALWAYS PLAY TEST
WITH THIS IN MIND. BECAUSE IT’S — I THINK
FOR SOME OF THE TESTS I DID, WHERE I MADE A SNIPER SCOPE,
IT WAS ABOUT 25 PERCENT.>>AMANDA: YEAH.>>VICTOR: AND THAT IS WHEN
YOU ARE RUNNING IT AT, LIKE, HIGH RESOLUTION,
AND AT A HIGH FRAME RATE, SO 90.>>AMANDA: UH-HUH.>>VICTOR: AND WE CAN
CONTROL THAT. SO, IF YOU ARE JUST BARELY
HITTING YOUR PERFORMANCE, WE CAN CHANGE — LET’S SEE HERE. WE CAN CHANGE THE FRAME RATE
OF HOW OFTEN WE’RE CAPTURING. CAPTURE EVERY FRAME,
WE CAN DISABLE THAT. AND THEN I THOUGHT
WE WERE SUPPOSED TO HAVE — THAT MIGHT BE IN THE 3D WIDGET. I WILL GO OVER
SOME OF THAT LATER. I HAVE A PASSIVE — JUST GOING OVER THE OPTIMIZATION
THINGS THAT YOU CAN DO, TO SORT OF BALANCE THAT,
IF YOU ARE HAVING PROBLEMS. I’M SURE WE WILL GET –>>AMANDA: WE CAN COME
BACK TO THAT.>>VICTOR: YEAH, WE WILL. AND THEN, FOR THE SECOND
FUNCTION WE HAVE TO CALL, IS TO ACTUALLY TELL
WHICH TEXTURE WE WANT TO USE. SO, WE’LL GO SPECTATOR AGAIN, AND THEN WE’LL PICK
SET SPECTATOR SCREEN TEXTURE. AND THIS SHOULD ONLY BE,
OH, WE HAVE A COUPLE. WE CAN SEARCH RT UNDERSCORE,
THAT’S WHAT I NAMED IT, RENDER TARGET SPECTATOR
VIEW CAMERA. WE WILL GO AHEAD AND COMPILE
AND SAVE THAT, AND NOW,
I ALMOST MISSED ONE STEP THERE. IF WE TAKE OUR BLUEPRINT,
WE JUST DRAG IT IN THE SCENE E AND I HIT F TO FOCUS ON IT, AND I’M GOING TO
ROTATE IT AROUND, SO THAT WE’RE LOOKING AT
WHERE THE VR PLAYER IS STANDING. AND SHIFT TO DRAG, IF YOU WANT
THE CAMERA TO FALL ALONG. WE HIT PLAY,
AND NOW WE’RE SEEING THE VIEW FROM THE SPECTATOR CAMERA
TOWARDS OUR PAWN, WHERE WE ARE. SO, IF I DON’T HAVE
THIS GUY HERE AND I JUST HIT PLAY,
YOU CAN SEE THAT, WHOOPS, AH. OH, AND I MADE A THING THERE. IF WE GO IN HERE, AND WE CHANGE
IT BACK TO DISABLED, AND WE RUN THAT AGAIN, NOW —
OKAY. THAT WAS NOT INTENDED,
I’M NOT SURE WHAT HAPPENED THERE. WE WILL JUST PASS OVER THAT
EXTRA STEP THAT I HADN’T PLANNED.>>AMANDA: THIS IS WHAT
A DEVELOPMENT IS ACTUALLY LIKE.>>VICTOR: IT IS. I SAY THAT
A LOT, LIKE, OBVIOUSLY, I HAVE PREPARED
SOME OF THIS CONTENT AND, TRUST ME,
IT TOOK A LITTLE LONGER THAN WHAT IT WILL TAKE HERE,
JUST TO WALK THROUGH IT, EVEN THOUGH
I’M TALKING OVER MOST OF IT. I LIKE TO LISTEN TO MUSIC
WHEN I WORK. SO, ALL RIGHT, WE’RE BACK, I WILL DRIVE
THAT BACK INTO THE SCENE. I WILL MAKE SURE THAT WE ALREADY
HAVE IT THERE, PERFECT. IT IS RIGHT THERE.
IT IS A LITTLE LAME, THOUGH, JUST SEEING NOTHING HERE,
ESPECIALLY IF WE HIT G, THERE IS NO INDICATION
WHERE THE CAMERA IS. SO WE’RE GOING TO ADD
A STATIC MESH COMPONENT, AND THIS IS GOOD
FOR THE VR PLAYER, TOO, SO THAT HE CAN SEE
WHERE THE CAMERA IS. WE WILL GO AHEAD AND, LET’S SEE. WE WILL GO AHEAD AND CHANGE
THE STATIC MESH TO A MATINEE CAM, PART OF THE ENGINE CONTENT. YOU DON’T NEED
TO START A CONTENT TO GET THIS. THIS IS JUST PART OF ENGINE. AND KEEP IN MIND THAT, IF YOU
LIKE TO DISABLE ENGINE CONTENT WHEN YOU PACKAGE OUT YOUR GAME
TO HAVE A SMALLER BINARY SIZE, YOU HAVE GOING TO HAVE TO MAKE
A DUPLICATE OF THIS AND MOVE IT TO A FOLDER
ON THE CONTENT BECAUSE, IF YOU DISABLE THAT, NOTHING IN
ENGINE CONTENT WILL WORK, AND YOU WON’T BE ABLE
TO SEE THAT. SO WE CAN GO TO THE VIEW PORT,
AND NOW YOU CAN SEE THAT WE ACTUALLY HAVE
A CAMERA MESH FOR OUR CAMERA. AND THAT ALSO MAKES IT A LOT EASIER
TO LINE IT UP IN THE SCENE. AND THIS IS ONLY REALLY
IMPORTANT FOR NOW, WHEN AS OF YET
WE CAN’T CONTROL IT. WE JUST HIT PLAY, MAKE SURE EVERYTHING
WORKS AS INTENDED, GREAT. I CAN PUT ON THE HEADSET,
AND WE WILL SEE TWO HANDS WAVING WHICH, OBVIOUSLY, WE WOULD LIKE
TO ALSO HAVE A HEAD. SO LET’S GO AHEAD
AND DO THAT FOR OUR PAWN. I WILL SELECT THE VR PAWN
IN THE SCENE HERE. IF YOU HIT CONTROL E, THAT WILL OPEN UP
THE BLUEPRINT IMMEDIATELY, WHICH IS ONE OF MY FAVORITE
KEY BINDS EVER IN THE ENGINE. AND ALL WE’RE GOING
TO DO HERE IS, UNDER CAMERA, WE WILL ADD ANOTHER STATIC MESH.
WE CAN CALL IT A HEAD MESH. AND, BY DEFAULT,
WE CAN JUST FIND A NICE SPHERE. I LIKE TO USE THIS ONE, BECAUSE
THE SIZE IS 100 BY 100 BY 100. WE WILL MAKE SURE SCALING
IS SET TO UNIFORM, AND THEN JUST SET IT TO .5. IN MY PREVIOUS EXPERIENCE, THAT HAS ALLOWED US
TO GET A GOOD SIZE FOR THE HEAD. WE WILL MOVE IT BACK A LITTLE,
WE WILL FIND SOME DEFAULT, IT’S LIKE A WHITE MATERIAL. IT IS NOT CALLED DEFAULT,
THOUGH. I THINK IT IS NOT UNDER WHITE,
EITHER. IS IT BASIC? BASIC SHAPE MATERIAL, PERFECT,
THAT’S WHAT I WANT. WE WILL GO AHEAD AND COMPILE, SAVE THAT, THAT’S ALL WE NEED
TO DO IN MOTION CONTROL PAWN, AND THIS IS SOMETHING THAT
YOU DO IN YOUR OWN PROJECT. WE’RE JUST DOING THIS
FOR SOME PURPOSES SO WE CAN SEE
WHERE THE VR PLAYER’S HEAD IS. AND SO NOW, IF WE GO AHEAD —
OOPS. I FORGOT ONE THING,
I’M GOING A LITTLE FAST HERE. LET’S DO CONTROL E AGAIN,
SINCE I HAVE THE PAWN SELECTED, AND WE NEED EYES,
EYES ARE IMPORTANT.>>AMANDA: [ LAUGHTER ].>>VICTOR: AND WE HAVE DEFAULT STUFF
WE CAN USE THAT FOR, I WILL GO TO THE VIEW PORT, F TO FOCUS,
I WILL MOVE THAT BACK A LITTLE, MAYBE MAKE IT
A LITTLE BIT BIGGER, NON UNIFORMLY SCALE, AND THEN WE CAN GO AHEAD
AND DO TWO ON, OH. ACTUALLY, I DON’T WANT X. I WANT IT ON Y AND Z. AND NOW, WE HAVE A LITTLE BIT —
YEAH, THAT’S GREAT. AND WE WILL GO AHEAD AND, OOPS,
ONE MORE THING. YOU WILL MAKE SURE THAT THIS IS
NOT SET TO BE HIDDEN IN GAME, THAT IS DEFAULT,
BECAUSE THESE COMPONENTS ARE PRIMARILY
USED FOR DEBUGGING, AND NOW WE WILL USE THEM AS ART. RIGHT, I COPIED THAT ONE.
AND I WILL MOVE IT OVER THERE, AND NOW WE HAVE OUR BEAUTIFUL,
BEAUTIFUL VR PAWN HERE. AND NOW, THERE WE GO. ALL RIGHT. AND I CAN SEE THE CAMERA
IN THE SCENE THERE, WHICH IS GREAT. OKAY. LET’S SEE HERE, PROJECT SETUP.
AND NOW WE HAVE MADE IT SO THAT WE CAN ACTUALLY SEE THE SCENE
FROM A DIFFERENT PERSPECTIVE. AND THE VR PLAYER CAN SEE
WHAT HE NORMALLY SEES. AND SO, NOW WE GET TO SOME OF
THE FUN STUFF, WHICH WILL INVOLVE CONTROLLING
THIS CAMERA FROM — I AM ONLY DOING MOUSE
AND KEYBOARD HERE. BUT THE WAY THAT I WILL BE
SETTING IT UP ALLOWS YOU TO VERY EASILY USE
OTHER MEANS OF DEVICE INPUT. AND SO, WE ARE GOING TO HEAD
OVER TO THE PROJECT SETTINGS, AND THEN WE’RE GONNA
GO DOWN TO INPUT AND, UNDER ACCESS MAPPINGS, YOU CAN SEE THAT WE ALREADY HAVE
SOME DEFAULTS HERE THAT COMES WITH THE VR TEMPLATE. AND NOW YOU MIGHT THINK, OH,
HOLD ON THERE A MINUTE. IF I ADD ANY AXIS
OR ACTION MAPPINGS, I WON’T BE ABLE TO USE
THIS CONTENT IN MY PROJECT. AND I WILL SHOW YOU LATER
HOW YOU CAN JUST EASILY GRAB THESE INPUT MAPPINGS
FROM THE INI FILE, AND THEN YOU CAN COPY AND PASTE
THOSE INSIDE OF YOUR OWN PROJECT IF YOU ARE INTENDING TO USE THIS
IN A PROJECT THAT ALREADY EXISTS. SO WE WILL GO AHEAD AND ADD
THE FIRST ONE, THIS IS AXIS MAPPINGS,
BECAUSE WE WANT A CONTINUOUS OUTPUT OF WHAT THIS VALUE IS,
INSTEAD OF ACTION MAPPINGS, WE GIVE YOU A BINARY,
LIKE PRESS, AND RELEASE. SO THE FIRST ONE IS GOING TO BE
CAMERA MOVE FORWARD, AND WE’LL SET THAT TO BE W,
AND SCALE IT ONE, AND THEN THE OTHER ONE
WILL BE S. AND NOW YOU ARE LIKE, WELL, WHY DO WE WANT
TO GO FORWARD WITH S? WELL, THIS ONE AXIS MAPPING
CAN ALLOW US TO, OOPS, I WANT TO DO ONE, MINUS ONE. W WILL OUTPUT ONE,
WHICH WE WILL USE TO GO FORWARD, AND THEN WE CAN USE THE AIM AXIS
MAPPING WITH S TO GO BACKWARDS. THAT’S HOW MOST OF THE SAMPLES
WORK AS WELL, LIKE I THINK THAT’S IN
THE SHOOTER GAME EXAMPLE. CAMERA MOVE RIGHT,
AND WE WILL DO 8. GO AHEAD AND FIND D, I HIT D,
I SAID A. I DID THE RIGHT THING,
SAID THE WRONG THING. D, AND THEN A TO GO LEFT. AND WE GOT A, AND THEN
WE WILL SET A TO MINUS 1. AS THE DIRECTOR
OF THIS VR TRAILER, I WOULD ALSO LIKE TO BE ABLE
TO GO UP AND DOWN. AND SO MOVE CAMERA, MOVE UP. AND THEN WE WILL GO AHEAD AND —
I HIT SPACEBAR, I SHOULD TYPE SPACEBAR,
LIKE SPACEBAR FOR ONE, AND THEN WE WILL GO AHEAD
AND PICK LEFT SHIFT. OBVIOUSLY,
YOU CAN PICK YOUR OWN HERE. AND I PREFER TO DO THIS SETUP, BECAUSE IT ALLOWS ME
TO VERY EASILY CHANGE THESE KEY BINDS LATER ON, WITHOUT HAVING TO MESS
WITH THE BLUEPRINT AT ALL. I ALMOST FORGOT TO SET SHIFT
TO MINUS ONE. ALL RIGHT. WE WILL DRAG OVER
TO PROGRESS SETTINGS HERE JUST SO THAT WE CAN HAVE A LAYER,
IF YOU WANT TO ADD SOME MORE. I’M BACK INTO OUR VR SPECTATOR
CAMERA BLUEPRINT. AND THE FIRST
LITTLE INPUT BLUEPRINT I’D LIKE TO WRITE
IS FOR OUR MOUSE TO SORT OF CONTROL
WHERE THE CAMERA IS LOOKING. AND THERE IS ONE THING
WE NEED TO DO FOR THIS ACTOR TO BE ABLE TO LISTEN TO INPUT,
AND IT’S VERY SIMPLE. WE WILL GO AHEAD
AND ENABLE INPUT. AND WE WILL PLUG THAT IN, AND HERE
I WILL SHOW YOU THE COOL TRICK. THEY ARE NOT STRAIGHT,
I CAN MARK THEM, HIT SPACEBAR, AND NOW THEY ARE STRAIGHT.
THAT IS NEAT AND HANDY. WE CAN GET PLAYER CONTROLLER,
THIS IS SOME OF THE STUFF I WAS MENTIONING ABOUT
ONLY HAVING ONE PLAYER CONTROLLER IN THE SCENE.
WE ARE USING THE SAME PLAYER CONTROLLER
THAT IS POSSESSING THE VR PAWN, BUT THIS IS ESSENTIALLY
JUST A WAY FOR US TO ALLOW THIS ACTOR
TO LISTEN TO OUR INPUT. OKAY, COOL. ALL RIGHT. AND SO, I —
I’M GOING TO USE TICK, WHICH A LOT OF PEOPLE
SAY DON’T USE IT. BUT, FOR THIS
PARTICULAR PURPOSE, IT IS THE BEST WAY TO DO IT. ALL RIGHT, A LITTLE BIT OF WATER
BEFORE I GO ENTIRELY DRY. ALL RIGHT, SO LET’S GO AHEAD
AND ADD AN ACTOR, LOCAL OFFSET. I PREFER TO WORK
WITH DELTAS AND OFFSETS, RATHER THAN SETTING
A SPECIFIC LOCATION. I CAN PERHAPS EXPLAIN
A LITTLE BIT MORE ABOUT THAT WHEN WE GET DOWN
TO SOME MORE OF THE INPUT STUFF. I WILL GO AHEAD AND BREAK
THIS DELTA LOCATION HERE, BECAUSE WE ONLY WANT,
FOR MY FIRST PURPOSE HERE, WE WANT TO MOVE AN X AND Y,
WE DON’T MOVE UP AND DOWN, I WILL SHOW YOU HOW TO DO
SOME ASYMMETRICAL PAWN STUFF. NOW WE CAN GET CAMERA
MOVE FORWARD, AND YOU MIGHT BE USED
TO DOING THIS. CAMERA, MOVE, FORWARD. YOU MIGHT BE USED TO IT
LOOKING LIKE THIS, AND THIS IS ACTUALLY A — AN INPUT EVENT
THAT IS FIRING CONTINUOUSLY. AND SO, WE HAVE TO LISTEN
FOR THIS ACCESS VALUE, AND WHAT IT IS DOING. INSTEAD, I’M JUST GOING TO GET
THAT DATA CONSTANTLY ON TICK, AND THEN WE WILL GO AHEAD
AND GET CAMERA, MOVE, RIGHT. AND WE’LL PLUG THEM IN THERE. ALL RIGHT. I SAID I WAS GOING
TO DO MOUSE MOVEMENT, I ACTUALLY
DID KEYBOARD MOVEMENT. SO THIS IS OUR KEYBOARD MOVEMENT,
ON TICK, I WILL GO AHEAD AND DO
THE MOUSE MOVEMENT AS WELL, AND THEN WE WILL HAVE
BOTH OF IT. FOR THAT, I WILL GO AHEAD
AND DO ADD WORLD ROTATION. ACTUALLY, ADD ACTOR. ADD ACTOR, WORLD, ROTATION.
THAT’S WHAT WE WANT. AND I’M GOING TO DO SOMETHING THAT MIGHT SEEM
A LITTLE STRANGE HERE, BUT IT MAKES SENSE
FOR A VERY PARTICULAR REASON. I WANT TO ADD A DELTA
TO THE ACTOR’S WORLD ROTATION SO THAT I CAN ALWAYS GET
THE FORWARD VECTOR OF THE ACTOR. I PREFER TO ALWAYS HAVE
THE ACTOR ROTATED THE RIGHT WAY, JUST ALWAYS. I CAN’T REALLY SPEAK FOR WHY —
WHATEVER WORKS TO YOU. BUT THAT’S SOMETHING
THAT I PERSONALLY LIKE. AND, FOR DELTA ROTATION ROLE,
WE ALREADY HAVE DEFAULT INPUT A ACCESS
MAPPING SET UP FOR A MOUSE. SO I WILL GO AND GET MOUSE X,
WE WILL PLUG THAT INTO OUR — THAT WILL BE OUR YAW. OH, SORRY. NO, NO, THAT’S RIGHT. ALL RIGHT. ADD ACTOR, WORLD, ROTATION,
GET MOUSE, X, YAW, AND THEN WE’RE GOING
TO ADD RELATIVE ROTATION FOR OUR SCENE CAPTURE COMPONENT. ALL RIGHT.
ALL NEAT AND TIDY, I LIKE MY BLUEPRINTS
NEAT AND TIDY. AND WE WILL GET MOUSE, Y. AND, LIKE I SAID,
THESE TWO HERE, GET MOUSE Y, GET MOUSE X, THEY ARE
ESSENTIALLY THE SAME IDEA AS THE ONES THAT WE SET UP, BUT THEY EXIST AS DEFAULT
ACCESS INPUT MAPPINGS. AND, FOR Y, THIS IS FOR US
TO CONTROL PITCH. AND THE REASON WHY I’M DOING
LOCAL ROTATION HERE, AND WORLD FOR YAW, IS THAT I ONLY WANT OUR CAMERA
TO PITCH LOCALLY. I ACTUALLY DON’T WANT
OUR ENTIRE ACTOR TO PITCH. AND YOU COULD DO
THE ENTIRE ACTOR AS WELL. THIS IS JUST A WAY
THAT I’VE DONE IT IN THE PAST. ALL RIGHT. SO, WITH ALL OF THIS SET UP
ON TICK HERE, TO GO OVER IT QUICKLY,
ON BEGIN PLAY, WE ARE ENABLING
OUR SPECTATOR SCREEN MODE, WE ARE SETTING THE TEXTURE
TO BE USED BY THAT SYSTEM, AND THEN WE MAKE SURE
THAT WE ENABLE INPUT. AND IF WE DIDN’T ENABLE INPUT HERE,
THESE WOULD NOT RETURN ANYTHING. THEY WOULD JUST NOT — THE ACTOR
WOULD NOT LISTEN FOR THEM. GO AHEAD AND HIT SAVE. AND NOW IF I HIT PLAY,
I ACTUALLY HAVE MOUSE MOVEMENT, AND WE CAN STEER THE CAMERA,
AND I CAN MOVE FORWARD, I CAN MOVE RIGHT,
I CAN MOVE LEFT, AND BACK. IT IS ALL WORKING. AND THIS,
RIGHT NOW, IS KIND OF LIKE — OH,
I’M A WALKING SIMULATOR PAWN. I CAN WALK AROUND, AND IF WE TRY
TO DO A LITTLE MULTI-TASKING, I CAN ALSO BE IN VR, AND I CAN MOVE
THE CAMERA TOWARD ME. WE CAN WAIVE AT IT. AND THIS RIGHT HERE COULD BE
THE BASIC SETUP FOR YOUR
ASYMMETRICAL MULTIPLAYER GAME. YOU WOULD OBVIOUSLY USE
THIS ACTOR, THE BP VR SPECTATOR CAMERA, AS YOUR MOUSE AND KEYBOARD PAWN
OR, YOU KNOW, GAMEPAD PAWN, OR BOTH, DEPENDING ON
HOW YOU SET UP YOUR PROJECT. HOWEVER, THIS RIGHT HERE,
IT IS A LITTLE HARD TO TRANSLATE HUMAN MOUSE AND KEYBOARD INPUT INTO, LIKE,
NICE-LOOKING CAMERA MOVEMENTS. AND SO, WE ARE GOING TO GO AHEAD
AND, I THINK WE’RE AT THE POINT
WHERE OUR — ALL RIGHT. OKAY.
I HAD ONE MORE STEP HERE BEFORE WE START WITH
THE FUN INTERPELLATION STUFF. I’M GOING TO GO AHEAD
AND MAKE SURE THAT WE CAN ALSO
MOVE UP AND DOWN. AND SO, THIS RIGHT HERE IS JUST
THE EXAMPLE FOR, LIKE, A TYPICAL ASYMMETRICAL VR
LOCAL MULTIPLAYER PAWN, TOO MANY WORDS,
CALL IT WHATEVER YOU WANT. WE WILL GO AHEAD AND GET
OUR SCENE CAPTURE COMPONENT, AND I’M GOING TO GET
THE FORWARD VECTOR OF IT. BECAUSE, WHEN WE HIT W, I WOULD PREFER
TO GO IN THE DIRECTION THAT MY CAMERA IS LOOKING AT. THAT’S WHY I’M WORKING INSIDE
THE SCENE CAPTURE COMPONENT SPACE. WE WILL GO AHEAD AND MULTIPLY
THAT VECTOR WITH A FLOAT, AND THAT WILL ACTUALLY BE
OUR CAMERA MOVE FORWARD. ALL RIGHT? SO THERE WE HAVE THAT. MAKING SOME SPACE. WE WILL GO AHEAD AND CONTROL W
TO DUPLICATE THAT, AND GET THE RIGHT VECTOR. MAKE SURE THAT IS NEAT AND TIDY, AND WE WILL CONTROL W THAT,
USE THAT AGAIN. AND NOW,
WE HERE HAVE THE FOUR-VECTOR MULTIPLIED BY THE AXIS VALUE,
FROM CAMERA MOVE FORWARD, WHICH IS SET UP TO BE W AND S. AND THIS COMES IN, WHERE WE CAN
SORT OF USE THIS DATA ONLY TO DRIVE
BOTH FORWARD AND BACKWARDS, WHICH WORKS REALLY WELL WITH YOU
ARE USING DELTAS INSTEAD OF SETTING,
ABSOLUTE WORLD, OR RELATIVE LOCATION. WE WILL MAKE THESE NIGHT
AND TIDY — NICE AND TIDY. AND NOW, WE NEED TO ADD
THESE TOGETHER. WE WILL MAKE SOME SPACE. AND WE WILL SPLIT THIS ONE
AT THE BOTTOM BECAUSE WE ARE GOING TO ADD GET
CAMERA, MOVE UP. SINCE WE ARE,
SINCE I’M ROTATING THE ACTOR AND NOT JUST THE RELATIVE YAW,
THE CAPTURE COMPONENT, WE CAN USE CAMERA MOVE-UP TO DRIVE THE ACTOR,
THE ACTOR/LOCAL OFFSET. AND, I GUESS I SHOULD MENTION
THAT ACTOR LOCAL IS DIFFERENT FROM ADD ACTOR WORLD OFFSET. THIS ALLOWS US TO JUST ALWAYS
ADD RELATIVE LOCATION AND — IT ALLOWS US TO ADD
RELATIVE LOCATION TO WHERE WE ARE IN WORLD SPACE.
SO IF I SAY, GO ONE FORWARD, IT DOESN’T MATTER WHERE I AM
IN THE WORLD, I DON’T NEED TO KNOW ABOUT THAT,
I CAN JUST SAY MOVE ONE FORWARD, AND IT WILL ALWAYS BE
ONE UNIT FORWARD FROM WHERE THE ACTOR
IS IN THE WORLD. I DON’T NEED TO GET WHERE
THE ACTOR IS AND THEN, SORT OF,
ADD ONE UNIT TO THAT, AND THEN ADD
TO ACTOR WORLD OFFSET. THAT’S WHAT WE’RE USING,
USING LOCAL. ALL RIGHT. SO GO AHEAD AND,
ADDING THIS HERE — OH, ACTUALLY,
WHAT DID I END UP DOING HERE? OKAY. NOW I NEED TO THINK,
WHICH SHOULDN’T BE TOO HARD. I’M GOING TO RE-COMBINE THIS,
MAKE SURE THAT WE PLUG THAT IN. AND, WHAT IS IT
THAT I’M ACTUALLY DOING? ALL RIGHT, ALL RIGHT.
WE WILL GET TO THIS. I MIGHT AS WELL TALK IT THROUGH,
SO I KNOW WHAT I’M DOING. GET FORWARD VECTOR, AND THEN
WE ARE GETTING THE RIGHT VECTOR. WE OBVIOUSLY WANT BOTH OF THESE TO GO INTO OUR LOCAL OFFSET
RIGHT HERE. LET ME JUST TAKE A BREATH,
THIS IS MY FIRST STREAM, GUYS, OR IT IS NOT MY FIRST STREAM,
BUT FIRST LIVE TRAINING IN FRONT OF ALL OF OUR AMAZING CREATORS
AND DEVELOPERS. I’M SURE I HAVE
SOME FRIENDS IN THERE.>>AMANDA: SO IN THE SURVEY LATER, MAKE SURE TO GIVE HIM
HONEST FEEDBACK.>>VICTOR: SOMETHING LIKE THAT.>>AMANDA: CONSTRUCTIVE, THOUGH.>>VICTOR: CONSTRUCTIVE, YEAH.>>AMANDA: BECAUSE WE WANT
TO KEEP HIM.>>VICTOR: DON’T TALK ABOUT MY HAIR,
OR WHAT CLOTHES I’M WEARING, BECAUSE THAT DOES NOT REALLY
CHANGE MY OPINION OF THINGS. UM, ALL RIGHT THEN. I HAVE
A PICTURE HERE OF WHAT I DID, AND NOW I HONESTLY DON’T KNOW
WHAT THAT NOTE IS. BECAUSE I HAVE BROKEN IT
INTO SEVERAL PIECES, SO I’M JUST GOING TO GO AHEAD
AND FIGURE THIS OUT, AS I’M DOING THIS. SO WE WILL GO AHEAD AND ADD
THESE TWO VECTORS BECAUSE WE WANT BOTH OF THEM
TO EVENTUALLY AFFECT OUR OUTCOME OF THIS FUNCTION
THAT WE’RE RUNNING. AND LET’S GO AHEAD AND PLUG
THAT IN AND SEE WHAT HAPPENS. ALL RIGHT. SO WE GOT MOVEMENT,
HOWEVER, WHEN I PUSH S, WE ARE GOING FORWARD AND W,
WE ARE GOING BACKWARDS. SO WE ARE ALMOST THERE. I THINK I CAN JUST GO AHEAD
AND — OH, RIGHT, THAT’S WHAT I DID. SO IF YOU DIDN’T FOLLOW THAT,
JUST REALLY QUICK, I WILL GO AHEAD AND REMOVE THAT.
AND THE VECTOR ADDITION NODE, IT ALLOWS YOU
TO ADD SEVERAL VECTORS, THAT’S WHAT I DID,
I SPLIT THIS RIGHT HERE. AND NOW YOU CAN ADD OUR CAMERA
MOVE UP INTO Z, SO THAT WE ACTUALLY GO UP. AND WE WILL GO AHEAD AND PLUG
THAT INTO ADD THE LOCAL OFFSET, COMPILE, SAVE, ALWAYS SAVE,
AND NOW SPACEBAR, WE ARE GOING UP, LEFT SHIFT,
GOING DOWN, WE ARE GOING BACKWARDS
AND FORWARDS, I THINK. OH, I KNOW WHAT’S GOING ON. I DID ALL THIS SHPILL ABOUT
ADD ACTOR LOCAL OFFSET, THAT’S WHY I DID SOME
EXPERIMENTS WITH IT EARLIER. I ACTUALLY WON’T ADD
ACTOR WORLD OFFSET. BOOM. DO IT LIVE. LET’S DO IT LIVE. GO AHEAD AND PLUG THAT IN, MAKE SURE
THE MOUSE CONTROL IS IN THERE. AND NOW WE HAVE FULL MOVEMENT. BUT YOU CAN STILL SEE,
IT IS BINARY. I TAP LEFT, I GO LEFT.
I TAP RIGHT, I GO RIGHT. THE MOUSE IS KIND
OF A LITTLE STIFF, AND SO IT IS INTERPOLATION TIME! THIS IS, FIRST, IF YOU DON’T
KNOW WHAT INTERPOLATION IS, IT IS JUST TAKING
A LINEAR VALUE FROM, WELL, THAT IS LINEAR INTERPOLATION,
ALSO KNOWN AS LERP. AND INTERPOLATION IS GOING
FROM VALUE A, TO VALUE B. IT IS EITHER BY
SOME SORT OF CURVE, OR STRAIGHT, WHICH IS LINEAR.
ALL RIGHT. LET’S SEE. SO LET’S START OFF
BY DOING OUR MOVEMENT. AND SO WE’RE GOING TO TAKE
ALL OF OUR INPUT, WE’RE GOING TO ALT CLICK TO UNHOOK A NODE,
WHICH IS VERY NICE. WE WILL GO AHEAD
AND V INTERP, TOO, AND WE WANT TO USE TWO,
BECAUSE IT GIVES US SS TOOL TIP A NICE, SMOOTH FEELING
IN TRACKING A POSITION. IF WE USE CONSTANT,
IT WILL HAVE A CONSTANT RATE. AND I WOULD LIKE TO HAVE THAT, A LITTLE BIT OF
A SMOOTH TRANSITION. OOPS, I DOUBLE CLICKED THAT,
VISUAL STUDIO, I DON’T NEED THAT TODAY. I ALSO WANT TO SHOW YOU
ANOTHER WAY THAT YOU CAN USE
AND DO INTERPOLATION IN BLUEPRINTS
IS USING THE EAST FUNCTION. AND THIS IS GREAT,
BECAUSE YOU CAN ACTUALLY PICK WHICH TYPE OF INTERPOLATION
YOU WANT TO USE, WHICH IS REALLY USEFUL. IT WORKS A LITTLE BIT DIFFERENT
FROM THE INTERP NODES, TAKING ALPHA INSTEAD. BUT, YEAH, I WANT TO SHOW THAT
BECAUSE IT IS REALLY NEAT. WE WILL GET OUR DELTA,
WORLD DELTA SECOND. AND FOR INTERPOLATION SPEED,
WE’RE GOING TO PICK TWO. AND THEN I WILL MAKE SURE
TO PROMOTE THIS TO A VARIABLE, AND I’M DOING IT IN THIS ORDER. I’M SETTING TWO,
AND THEN PROMOTING, BECAUSE IT WILL IMMEDIATELY
SET TWO AS OUR DEFAULT VALUE
FOR THIS VARIABLE, THIS FLOAT HERE.
CAMERA, MOVEMENT, INTERP, SPEED. YOU SHOULD ALWAYS PROMOTE,
UNLESS YOU ARE JUST PROTOTYPING. I WILL MAKE SURE THIS IS
SOMEWHAT LEGIBLE. I CAN TRY TO MAKE IT
A LITTLE BIT MORE SPACE HERE, OKAY I NEED THAT, TOO MUCH.
AND FOR INTERPOLATION MODE, WE DON’T WANT TO USE THIS
AS THE CURRENT. THIS IS ACTUALLY
WHERE WE WANT TO GO. I WILL CLEAN THIS UP AS WELL. AND SO, FOR CURRENT,
WE ACTUALLY WANT TO PROMOTE THAT TO OUR MOVEMENT OFFSET. BECAUSE THIS WILL BE OUR ACTUAL
MOVEMENT OFFSET THAT WILL BE OUTPUTTED
FROM THE INTERP, INTO OUR ACTIVE WORLD OFFSET. AND SO WE WILL GO AHEAD
AND SET MOVEMENT OFFSET. AND, TO RECAP, WE ARE GOING FROM
OUR PREVIOUS MOVEMENT OFFSET TO OUR NEW ONE, WHICH IS BASED ON
OUR NEW INPUT VALUES. AND WE’RE DRIVING
THE INTERPOLATION NODE USING DELTA TIME,
AND OUR INTERPOLATION SPEED, AND MAKE SURE TO PLUG THAT
INTO THE FUNCTION, OTHERWISE, NOTHING
IS GOING TO HAPPEN. GO AHEAD AND COMPILE, HIT SAVE. AND NOW, WHEN REMOVING,
IT’S A LITTLE SMOOTHER. AND IF I — OKAY. I’M CLICKING. IF I LET GO, WE’RE — WE HAVE
A NICE LITTLE DRIFT THERE. IT LOOKS A LITTLE BIT
MORE CAMERA-ESQUE, LIKE YOU ARE ON GIMBAL
OR SOMETHING, YEAH. MAKE SURE THAT WE STAY. WELL, THERE IS
AN AUTOMATIC GIMBAL BECAUSE WE ARE NEVER
TELLING IT TO RUN. YEAH. DOESN’T THAT LOOK BETTER? I THINK IT LOOKS A LOT BETTER.>>AMANDA: YEAH.>>VICTOR: AND OBVIOUSLY,
YOU CAN GO AHEAD AND CONTROL HOW FAST YOU WANT
THAT INTERPOLATION MOVEMENT. YOU COULD ALSO MULTIPLY
THE ACTUAL INPUT VALUES, OR YOU CAN GO
TO PROJECT SETTINGS AND INCREASE THE SCALE HERE. IF YOU SET ALL OF THESE TO TWO
INSTEAD, WE WOULD DOUBLE THE AMOUNT THAT
WE’RE ACTUALLY MOVING IN WORLD. ALL RIGHT. SO WE GOT
OUR MOVEMENT INTERPOLATION, AND THEN OBVIOUSLY
WE WOULD LIKE OUR — WHEN THE CAMERA LOOKS AROUND,
TO ALSO LOOK A LITTLE SMOOTHER. SO, FOR THIS PURPOSE, WE’RE GOING TO UNHOOK
GET MOUSE X HERE. PREVIOUSLY, WE WERE PUMPING THIS
RIGHT INTO THE FUNCTION AND NOW WE’RE GOING TO
MANIPULATE IT A LITTLE BIT FIRST SO, WHEN WE CHANGE
THE ROTATION HERE, WE GET A LITTLE BIT
SMOOTHER MOVEMENT. WE WILL USE F INTERP TO,
THE SAME IDEA THERE, DELTA SECOND, ANOTHER VALUE,
INTERPOLATION SPEED TWO, AND THEN PROMOTE THAT
TO ROTATION INTERP SPEED. GET MOUSE X GOES INTO TARGET, AND THEN WE WILL PROMOTE CURRENT
TO YAW ROTATION DELTA, AND THEN WE’LL GO AHEAD
AND SET YAW ROTATION DELTA.>>AMANDA: [CHUCKLES].>>VICTOR: WHAT ARE YOU
LAUGHING ABOUT?>>AMANDA: YOUR INCREMENTAL
TIDYING.>>VICTOR: WHAT?>>AMANDA: THE INCREMENTAL
TIDYING.>>VICTOR: OH, UM — I AM KIND OF PICKY
ABOUT MY BLUEPRINTS, AND I THINK IT ALSO HELPS
WHEN YOU ARE VIEWING, INSTEAD OF IT BEING
LIKE SPAGHETTI.>>AMANDA: YES, ABSOLUTELY.
IT IS IMPORTANT. I WASN’T SAYING THAT.>>VICTOR: OH, ALL RIGHT THEN.
INCREMENTAL TINY, YEAH, IT SHOULD BE VICTOR
INCREMENTAL TIDY INSTEAD. EITHER WE CAN PLUG THIS
RIGHT INTO YAW OR, IF FOR SOME REASON WE WANTED TO
CALL SOMETHING IN HERE LATER ON, IT HELPS IF WE ACTUALLY
JUST USE THAT RIGHT THERE. I GUESS I SHOULD
FOLLOW BEST PRACTICE AND DO THE SAME THING OVER HERE. MOVEMENT OFFSET. THERE WE GO. ALL RIGHT. SO WE HAVE OUR YAW ROTATION
INTERPOLATION SET UP, AND THEN WE’RE GOING TO GO AHEAD
AND DO PITCH AS WELL. I WILL CLICK TO UNHOOK THE NODE,
F — ACTUALLY, WHY DON’T WE JUST — WE CAN DO THIS TO SAVE
OURSELVES SOME TIME. WE WILL GRAB THAT, CONTROL W, AND OUR TARGET IS GOING TO BE
OUR MOUSE Y VALUE AND, FOR CURRENT, WE WILL PROMOTE
THAT TO PITCH ROTATION DELTA. AND OBVIOUSLY,
THAT GOES INTO PITCH. ALL RIGHT. COMPILE, HIT SAVE, AND NOW —
OOPS, I CERTAINLY DID A MISTAKE THERE,
BECAUSE WE DON’T HAVE PITCH. DIDN’T I PLUG IT INTO PITCH? I CERTAINLY DID. IS THERE A VALUE HERE
THAT IS POSSIBLY NOT SET? OH.
OBVIOUS ROOKIE MISTAKE, WE ARE JUST PASSING SIRI
ALL THE TIME HERE, SO WE WILL SET
PITCH ROTATION DELTA. AND THEN GO AHEAD AND USE PITCH
ROTATION DELTA, COMPILE, HIT SAVE,
AND NOW WE HAVE MUCH SMOOTHER-LOOKING
CAMERA MOVEMENTS. AND SO, LET’S SEE HERE.
IF I POP INTO VR, I CAN AT LEAST
DO MY HEAD AT THE SAME TIME. OH, THIS IS HARDER
THAN BEING TWO PEOPLE. THE IDEA HERE IS THAT
YOU WILL HAVE ONE PERSON SITTING IN FRONT OF THE MOUSE
AND KEYBOARD, AND THE OTHER ONE BEING VR,
OBVIOUSLY. BUT TO GIVE SOME FLY-BY SHOTS,
ZOOM, AND BACKWARD SHOT, HELLO SCENE THERE.>>AMANDA: DODGING
YOUR OWN CAMERA.>>VICTOR: YES, THERE’S A LOT OF
COOL GAMEPLAY THAT YOU CAN DO WITH THE FACT
THAT ANOTHER PLAYER IS IN THE SAME WORLD
AS THE VR PLAYER.>>AMANDA: YEAH, I’M SURE.>>VICTOR: SOMETHING THAT I WAS
TOSSING AROUND THAT I WOULD DO WITH, LIKE, UM —
YOU ARE TOSSING CUBES, OR LIKE THE CAMERA
IS SHOOTING CUBES, AND THE VR PLAYER
IS HAVING TO CATCH THEM, SOMETHING QUICK THAT WE CAN DO.
HOW ARE WE DOING ON TIME? WOW, WE ALREADY
BLASTED THROUGH THAT. OKAY, COOL. ARE THERE ANY
QUESTIONS RELATED TO ANYTHING THAT I HAVE BROUGHT UP SO FAR?>>AMANDA: I MEAN, THEY DID
MENTION ON, LIKE, UI ELEMENTS, BUT I FEEL LIKE YOU ARE GOING
TO COVER THOSE A LITTLE BIT.>>VICTOR: YES, THERE WAS
A QUESTION ON THE FORUM AND I WAS GOING TO GET
INTO THAT AS WELL. AND BEFORE WE GET INTO MORE Q&A,
I WANTED TO SHOW SOME — IF THIS IS SUPPOSED TO BE
A TRAILER CAMERA, YOU MIGHT WANT TO HAVE
SOME COOL EFFECTS. SO I’M GOING TO GO AHEAD AND OPEN UP OUR BLUEPRINT
VR SPECTATOR CAMERA, I HAVE A COUPLE OPTIONS
OF THINGS THAT WE CAN DO. BUT THE BASIC ONE
IS TO CHANGE THE FIELD OF VIEW. AND THIS IS SIMPLE WITH
THE SCENE CAPTURE COMPONENT 2D. IF YOU GO TO DETAILS SEARCH,
JUST SEARCH FOR FIELD, OR FOV IS BETTER,
YEAH, GET TO IT. FIELD OF VIEW,
IT IS EXPOSED IN BLUEPRINTS AND WE CAN JUST
MANIPULATE THIS AS WE WANT. SO LET’S GO AHEAD
AND GO OVER TO PROJECT SETTINGS AND ADD ANOTHER ACCESS
MAPPING FOR, WE WILL NAME
IT CAMERA FIELD OF VIEW. AND I WILL GO AHEAD AND ASSIGN
THAT TO SCROLL — OH, IT IS MOUSE WHEEL.
MOUSE WHEEL ACCESS. AND I WILL JUST SCALE IT ONE, WE DON’T HAVE TO COMPILE THIS
OR ANYTHING. IT IS A TEXT FILE
THAT IS BEING READ. AND THEN,
RIGHT BELOW OUR TICK HERE, WE’RE GOING TO GO AHEAD AND —
WE CAN JUST DO FOV. OH, I NAMED IT FIELD OF VIEW. THERE IS ALWAYS ONE THING HERE
THAT CONFUSES ME A LITTLE BIT. THAT’S THE WRONG ONE. WHEN YOU GRAB THE SCENE
CAPTURE COMPONENT 2D, AND YOU WANT A FIELD OF VIEW,
AND THEN YOU GET FIELD OF VIEW, BUT THIS ACTUALLY RETURNS
FOV ANGLE, WHICH IS REALLY CONFUSING,
BUT IT IS THE SAME THING, IT IS THE METADATA BEING STORED
THERE FOR WHAT IS BEING EXPOSED, THE DIFFERENCE A LITTLE.
AND WE ARE GOING TO USE THIS. SO, I MIGHT AS WELL LEAVE IT
RIGHT THERE. LET’S SEE. I’M ACTUALLY GOING TO
DO THIS ON TICK. I CONFUSED MYSELF BY INITIALLY
ADDING THE EVENT, BUT WE’RE JUST GOING TO GO AHEAD
AND, LET’S SEE, ALL RIGHT. SO WHAT WE’RE DOING HERE IS THAT WE HAVE
OUR SCENE CAPTURE COMPONENT, 2D, AND WE WANT TO DYNAMICALLY
ADJUST THE FIELD OF VIEW USING THE MOUSE
WHEEL ON OUR MOUSE. AND SO, THE FIRST THING
WE’RE GOING TO DO IS THAT WE’RE GOING
TO MAKE SURE THAT WE — WE ALREADY HAVE
THE CURRENT FOV ANGLE, AND WE’RE GOING TO WANT
TO GO AHEAD AND ADD A DELTA TO THAT. AND THAT DELTA WILL BE SET
BY OUR MOUSE WHEEL. SO WE WILL MAKE SURE THAT THIS IS SET TO ZERO
BEFORE WE PROMOTE IT, BECAUSE OTHERWISE IT WILL HAVE
A DEFAULT OF ONE THAT WE DON’T WANT TO.
FOV ANGLE DELTA. WE WILL GRAB OUR SCENE
CAPTURE COMPONENT AGAIN, AND WE’RE GOING TO GO AHEAD
AND SET FOV ANGLE. THIS IS WHAT I MEANT.
IT IS CALLED FOV, BUT WE WILL CALL
IT FIELD OF VIEW. IT CONFUSES ME AT LEAST. IT MIGHT MAKE MORE SENSE
TO SOMEONE WHO KNOWS MORE ABOUT
THAT STUFF THAN I DO. ALL RIGHT. AND, NOW YOU MIGHT ASK,
BUT HELLO, WE’RE NOT DOING ANYTHING
WITH THE DELTA JUST YET, LIKE, THIS IS NOT GOING
TO DO ANYTHING, IS AND YOU ARE ABSOLUTELY RIGHT. THIS IS HOW WE WILL END UP
AND SET THE FIELD OF VIEW ANGLE, BUT WE CAN ACTUALLY CHANGE
THE FOV ANGLE AND IT’S TIME
FOR INTERPOLATION AGAIN. SO LET’S GO AHEAD
AND SET F ANGLE DELTA, CONTROL, DRAG THE NODE.
I HAVE A LOT OF FAVORITES, I SHOULD STOP SAYING
THEY ARE MY FAVORITES. I LOVE EVERYTHING ABOUT UNREAL. AND WE WANT TO INTERPOLATE
THIS AS WELL. SO IT’S INTERP, TO, AND CURRENT IS GOING TO BE OUR ACTUAL DELTA
THAT WE ALREADY HAVE. MAYBE I WILL CLEAN
THIS UP LATER, AND FOR TARGET I’M GOING TO USE
A MULTIPLY FLOAT. NOPE, IT’S TIME. WE GOTTA
CLEAN THIS UP. IT’S TIME. AT LEAST GIVE US SOME SPACE.
ALL RIGHT. AND NOW, WE CAN JUST GET MOUSE
WHEEL AXIS. AND WE CAN ACTUALLY GO AHEAD AND ADD THAT —
THIS IS SO STUPID. THIS WAS INTENDED TO BE
TO RESET IT, WE WILL RESET IT, FOV, AND I WANTED TO ASSIGN
THAT TO MOUSE WHEEL — OH, IT IS ACTUALLY,
WAS IT CALLED CLICK? UHH, WHEEL, IT IS NOT CLICK,
OBVIOUSLY. THAT’S A MOUSE WHEEL. ALL RIGHT. LET’S JUST PICK
ANOTHER KEY FOR NOW. I’M GOING TO NAME IT,
LET’S SAY, H. H IS GREAT. JUST SO WE HAVE IT IN THERE.
ALL RIGHT, OKAY, COOL. ALL RIGHT. MOUSE WHEEL AXIS IS ALSO
JUST DEFAULT FROM THE ENGINE. SO WE DON’T ACTUALLY NEED TO
MAKE AN AXIS MAPPING FOR THAT, FORGET EVERYTHING
I SAID ABOUT THAT. THAT IS ALREADY SET UP.
AND THEN WE WILL GO AHEAD AND IS MULTIPLY THE MOUSE
WHEEL AXIS THAT WE’RE RETURNING, AND WE WILL MULTIPLY THAT
WITH JUST A MULTIPLIER THAT CAN BE
WHATEVER VALUE YOU THINK, I THINK I’M USING
TWO HERE AS WELL, JUST TO GET
A LITTLE BIT MORE SPEED TO IT. FOV, SPEED, MULTIPLIER. SOME PEOPLE LIKE TO
JUST NAME THEM MULTI, I LIKE TO NAME ALL THE VARIABLES
EXACTLY FOR WHAT THEY ARE. ALL RIGHT.
AND WE ALSO NEED TO COMPILE, SO THAT WE CAN SET
A DEFAULT VALUE FOR THIS. WE’RE GOING TO SET IT TO TWO.
AND ONCE AGAIN, DELTA SECONDS, AND LET’S DO INTERP SPEED
OF TWO HERE AS WELL, PROMOTE THAT FOV INTERP SPEED,
AND HOPEFULLY IT IS LEGIBLE. SO WHAT IS HAPPENING
IS WE ARE INTERPOLATING THE MOUSE WHEEL AXIS VALUE, WHICH WE ARE MULTIPLYING
JUST A LITTLE BIT TO — TO DO A MORE SIGNIFICANT CHANGE
IN FIELD OF VIEW THAN IF WE WOULD JUST BE PIPING
THAT STRAIGHT INTO OUR TARGET. WE ARE INTERPOLATING
THAT DELTA VALUE AND THEN, RIGHT AFTER THAT, WE ARE SETTING
THE NEW FOV ANGLE, WHICH WE ARE BASING OFF
OF CURRENT FOV ANGLE, PLUS THE DELTA WE COMPUTED. AND I WENT AHEAD AND HIT SAVE,
HIT PLAY, AND NOW HOPEFULLY MY MOUSE WHEEL CAN CHANGE OUR FIELD OF VIEW,
WHICH IT IS. IT IS INVERTED. SO, WHAT THAT MEANS IS WE CAN GO
RIGHT HERE TO OUR SPEED MULTIPLIER AND WE CAN SET THIS
TO BE MINUS TWO INSTEAD. AND NOW, WHEN I SCROLL FORWARD,
WE ACTUALLY INCREASE FIELD OF VIEW. SO IT IS ESSENTIALLY ASSUME, OR AT LEAST THAT’S KIND OF
WHAT IT LOOKS LIKE IN THE END. SOMEBODY HERE IN THE VIDEO
PRODUCTION TEAM CAN COME AND YELL AT ME DIFFERENTLY.
IT IS NOT THE SAME! WE HAVE A LENS,
AND IT HAS A FIELD OF VIEW, AND THEN IT IS, LIKE — YEP. ANYWAY.>>AMANDA: YEP, JASON
IS NODDING HIS HEAD.>>VICTOR: HE IS NODDING
HIS HEAD, HAHA. JUST SOMETHING THAT
I HAVEN’T BEEN DOING HERE, TO SHOW YOU WHAT THE ENTIRETY
OF THIS LOOKS LIKE, I LIKE TO PROMOTE —
COLLAPSE THESE TO FUNCTIONS. SO HANDLE FIELD OF VIEW,
AND THEN HERE, FOR THE ENTIRETY OF THIS
WE WILL GO AHEAD AND PROMOTE THAT,
NOT THAT ONE, THESE GUYS. COLLAPSE THE FUNCTION,
HANDLE CAMERA ROTATION, AND THEN, FOR OUR MOVEMENT,
WE WILL DO THE SAME THING. RIGHT CLICK, COLLAPSE
THE FUNCTION, HANDLE CAMERA ACCELERATE?
NOPE, CAMERA MOVEMENT. AND THEN THEY ARE ALL LOOKING
LIKE CRAP, WE CAN JUST MARK IT, HIT SPACEBAR,
AND THEY LOOK FANTASTIC, MINUS THE OBVIOUS
SPACING THAT HAPPENS THERE. AND EVERYONE ELSE IS
GOING TO BE LIKE, VICTOR, I’M SO TIRED OF WATCHING
YOU CLEANUP YOUR BLUEPRINTS. THE THING IS, WHEN YOU WANT
TO USE THE PROJECT THAT I BUILT, YOU ARE GOING TO BE HAPPY
THAT IT IS ALL CLEAN, BECAUSE YOU ARE GOING TO
UNDERSTAND WHAT IS GOING OUT.>>AMANDA: YEAH, AND YOU ARE
PLANNING ON SHARING THIS — ALL OF THE BELLS
IS AND WHISTLES?>>VICTOR: YES, SOME OF THE BELLS
AND WHISTLES. OBVIOUSLY I ONLY SHOWED YOU
ONE HERE, WHICH WAS JUST A FIELD OF VIEW. SOME OF THE STUFF THE PROJECT
WILL CONTAIN IS FADE AND FADE OUT,
WHICH CAN BE A LITTLE TRICKY ONCE YOU FIRST START WORKING
WITH SCENE CAPTURE COMPONENT, BECAUSE YOU ARE GOING TO GO
TO THE POST PROCESS EFFECTS AND YOU ARE GOING TO CHANGE THEM AND YOU ARE GOING
TO SEE THAT NOTHING HAPPENS.>>AMANDA: UH-HUH.>>VICTOR: AND THE REASON BEING
IS THAT WE NEED TO CHANGE, UM, LET’S SEE HERE. WE NEED TO CHANGE
OUR CAPTURE SOURCE. I AM NOT TOO KNOWLEDGEABLE
ABOUT ALL OF THESE OPTIONS, BUT PLEASE CORRECT ME
IF I’M WRONG. BUT ESSENTIALLY,
IT IS WHICH PATHS OF ALL OF THE BUFFERS
THAT IS BEING PRODUCED BY THE GPU THAT WE ACTUALLY WANT
TO CAPTURE FROM THE WORLD. AND SCENE COLOR DOESN’T ALLOW US
TO DO ANY POST-PROCESSING EFFECTS
ON THE CAPTURE COMPONENT. SO WE HAVE TO CHANGE THAT
TO FINAL COLOR, LDR INSTEAD, COMPILE AND SAVE. AND IN THE DOC THAT WILL COME
WITH THE TEMPLATE, I WILL ALSO SHOW YOU AN IMAGE OF
WHAT THE DIFFERENCE LOOKS LIKE. IT DEPENDS WHAT KIND OF EFFECTS
YOU ARE DOING IN YOUR SCENE AND WHICH ONE YOU WANT TO USE. AND OBVIOUSLY, IF YOU DON’T USE
TO USE EFFECTS ON THE SCENE CAPTURE
POST-PROCESSING COMPONENT, MAYBE HAVE SOME OTHER WAY
OF DOING IT, LIKE PUTTING A CUBE IN FRONT OF
THE CAMERA OR SOMETHING, I DON’T KNOW. BUT, FOR POST-PROCESSING, YOU’RE GOING TO HAVE
TO USE FINAL COLOR. LET’S SEE. HOW ARE WE ON TIME?
WE’RE OKAY. LET ME GO THROUGH SOME OF
THE OPTIMIZATION OPTIONS THAT WE HAVE TO OUR DISPOSAL. LET’S SEE. I DID —
SO THERE IS SUPPOSED TO BE A WAY THAT WE CAN ACTUALLY ADJUST
THE RATE OF HOW FAST THE SCENE
CAPTURE COMPONENT IS CAPTURING. I WILL WRITE THAT UP INSTEAD OF
TRYING TO FIGURE THAT OUT HERE, RIGHT NOW,
WHEN MY BRAIN IS ALL FUZZY. ALL RIGHT. BUT SOME OF THE —
SOME OF THE BASIC ONES THAT WE CAN GO
AHEAD AND TOGGLE ON AND OFF IS THAT WE CAN
HIDE CERTAIN EFFECTS. SO, LIKE,
ANYTHING WITH TRANSLUCENCY, OR EVEN POSSIBLE ACTORS,
AND THIS IS CAN ACTUALLY LEAD US TO REALLY COOL
GAMEPLAY EFFECTS AS WELL. AND, LET’S SEE HERE, IT IS UNDER
RENDERING, OH, SCENE CAPTURE. WE GO TO SCENE CAPTURE
IN THE DETAILS PANEL OF THE SCENE CAPTURE COMPONENT.
AND IF WE DROP THE DROP-DOWN, IT GIVES US OPTIONS HERE
FOR SHOW FLAGS. SO THIS IS WHERE YOU COULD
TURN OFF ANTI-ALIASING, SAY, IF YOUR RENDER TARGET
IS AT A REALLY HIGH RESOLUTION, WHICH CAN BE MUCH — HIGHER
THAN THIS CAN BE REALLY HARD. BUT IF IT IS,
YOU CAN TURN OFF ANTI-ALIASING AND SAVE A LITTLE BIT THERE. FOG LANDSCAPE, AND WHAT I MEAN
BY GAMEPLAY METHODS IS THAT, BY JUST TOGGLING
SOME OF THESE THINGS OFF, YOU CAN CREATE A GAMEPLAY WHERE THE PLAYER
AND VR SEES EVERYTHING, BUT THE MOUSE
AND KEYBOARD PLAYER, HE DOESN’T.>>AMANDA: HE CAN’T SEE IT.>>VICTOR: AND THERE IS ANOTHER
COOL WAY YOU CAN DO THAT. AND YOU ARE LIKE,
WE WANT TO SEE THE FOG, WE ALL NEED ANTI-ALIASING, YOU CAN ALSO GO AHEAD AND SET —
OKAY, THAT IS NOT THE ONE. WE CAN SPECIFICALLY, IF WE HAVE
OUR SCENE CAPTURE COMPONENT, WE CAN GO AHEAD AND HIDE — HIDE ACTOR COMPONENTS
AND HIDE COMPONENT. I’M NOT SURE IF THERE’S
AN ACTOR, BUT OBVIOUSLY, YOU CAN GRAB
ALL THE COMPONENTS. THIS WILL ACTUALLY HIDE —
OH, IT DOES — AH, OKAY. SO IT TAKES —
THE TARGET IS ACTOR. BUT IT WILL HIDE ALL OF THE
VISIBLE COMPONENTS OF THIS ACTOR. AND THAT WAY, YOU CAN HAVE,
LIKE, OH, THE PLAYER WHO IS — YOU KNOW,
USING THE SPECTATOR CAMERA, HE CAN’T SEE ANY ENEMIES,
FOR EXAMPLE. BUT MAYBE HE IS THE ONLY ONE
THAT CAN ATTACK THEM. AND SO THE VR PLAYER IS LIKE, HE’S RIGHT THERE,
HE’S RIGHT THERE.>>AMANDA: AND GET YOU TO
RUN AWAY FROM HIM.>>VICTOR: YEAH. I MEAN, THERE’S PLENTY OF THINGS
YOU CAN DO THERE. AND THAT’S ALSO
JUST DEFAULT EXPOSED, TWO DISTINCT CAPTURE COMPONENT. ANOTHER SIMPLE WAY OF OPTIMIZING
THIS, AND THIS,
DEPENDING ON WHAT YOU’RE DOING, IF IT IS FOR GAMEPLAY FEATURES,
YOU CAN GO AHEAD AND LOWER. THIS WILL PROBABLY BE
THE MOST SIGNIFICANT — THIS IS THE MOST SIGNIFICANT
PERFORMANCE CONTROL YOU HAVE OVER THE SCENE CAPTURE, IS BY SETTING THE OUTPUTTED
RESOLUTION, WHAT WE’RE OUTPUTTING,
TO THIS TEXTURE. FOR GAMEPLAY FEATURES,
YOU CAN GO AHEAD AND LOWER THIS TO WHATEVER YOU ARE
COMFORTABLE WITH. BUT, WHEN IT COMES
TO CAPTURING TRAILERS, YOU PROBABLY WANT THEM
AT A 1920 BY 1080. AND I WOULD SUGGEST,
AT THAT POINT, IF YOU ARE LIKE, OH, OUR GAME IS JUST
HITTING THE THRESHOLD ON OUR MINIMUM
COMPUTER REQUIREMENTS, PERHAPS YOU CAN FIND
A HIGHER-END PC TO RECORD A TRAILER ON
>>AMANDA: YEAH.>>VICTOR: AND THEN POSSIBLY BEING
ABLE TO HIT EITHER FRAMEWORK.>>AMANDA: DEFINITELY WANT
TO EXPORT AS MUCH, OR HAVE AS HIGH
A RESOLUTION AS POSSIBLE FOR THOSE KINDS OF THINGS.>>VICTOR: I WOULD ALSO POINT OUT
THAT, FOR A TRAILER, IF YOU’RE, YOU KNOW, IF YOU ARE DIPPING A LITTLE
BELOW 90 FRAMES PER SECOND, WHICH IS WHAT YOU ARE SUPPOSED
TO HIT, NO ONE WILL SEE THAT. BECAUSE YOU ARE CAPTURING IT
FROM — THIS IS A LITTLE BIT. I’M NOT SAYING A LOT,
BECAUSE THEN YOU WILL ACTUALLY SEE A STUTTER ON THE MOTION
CONTROLLERS, ON THE CAMERA. BUT IF IT IS JUST A LITTLE,
YOU CAN STILL GO AHEAD AND GET REALLY DECENT TRAILER
CAMERA FOOTAGE, WHICH IS NEAT. I THINK I’M READY
FOR SOME QUESTIONS.>>AMANDA: YEAH?>>VICTOR: IF THERE WERE ANY.>>AMANDA: THERE HAS BEEN A COUPLE.
SO ONE OF THEM WAS — THERE HAVE BEEN A COUPLE FOLKS
ASKING ABOUT THE UI ELEMENTS, IF YOU WANT —
DO YOU WANT TO DO THAT?>>VICTOR: I DO. SO, BY DEFAULT,
WITHOUT DOING ANY MAJOR CHANGES, WE HAVE NO WAY OF DISPLAYING A UMG WIDGET
SORT OF IN THIS TEXTURE.>>AMANDA: UH-HUH.>>VICTOR: AND THERE IS NO
DEFAULT WAY WE CAN APPLY IT, AS PART OF THE SPECTATOR
SCREEN SYSTEM. AND SO THE WAY THAT I HAVE HAD
TO DO IT IN THE PAST, AND THIS IS A HACK, YOU CAN DO IT
DIFFERENTLY IN C++, I’M SURE. IF YOU WANT TO STAY WITHIN
BLUEPRINTS, IT IS ENTIRELY POSSIBLE. WHAT YOU DO
IS YOU ACTUALLY END UP MAKING A 3D WIDGET COMPONENT
IN THE WORLD THAT YOU ATTACH TO THIS —
IN FRONT OF THE SCENE CAPTURE. AND SO WHAT IS ESSENTIALLY
HAPPENING IS THAT, YOU’RE RENDERING A WIDGET
IN THE WORD THAT JUST HAPPENS
TO BE ATTACHED TO THE CAMERA, AND IT IS IN FRONT OF IT.>>AMANDA: UH-HUH.>>VICTOR: AND YOU CAN HIDE THAT
FOR THE VR PLAYER AS WELL. THAT’S THE WAY TO DO IT. AND THEN YOU GO IN AND SO — SORT OF, IF WE ARE PRETENDING
THIS EVENT HERE, WE WILL CALL IT,
ENABLE SPECTATOR MENU, MEN UI, SURE,
THAT KIND OF WORKS. IF THIS WAS THE BUTTON OR EVENT
THAT CALLED IT, YOU’VE GOT TO MAKE SURE
TO ENABLE, LET’S SEE, GAME INPUT. SO, YEAH, WE’VE GOT TO CHANGE
INPUT MODE TO MAKE SURE IT IS UI GAME,
AND UI IS IN THERE. SO IF YOU CLICK OUTSIDE
OF THE WIDGET, I BELIEVE, YOU WILL BE
TAKEN BACK TO THE GAME. WE’VE ALSO GOT TO DO SOME
OTHER STUFF, LIKE SHOW MOUSE, WHICH IS ACTUALLY IN REFERENCE
TO THE PLAYER CONTROLLER. AND THEN I WILL SHOW MOUSE CURSOR,
AND SO A COUPLE OF THESE THINGS. I WILL SET THIS UP
IN THE SAMPLE PROJECT, WITH A LITTLE BIT OF FANCY MATH
THAT I WROTE, THAT ALLOWS US TO — SO IF I CAN DO THIS,
AND NOW I CAN SHOW THE MOUSE. SO IT ALLOWS US TO TAKE THE
MOUSE POSITION IN THE VIEW PORT, AND PROPERLY TRANSLATE THAT IN, LIKE, THE EXACT
LOCATION BEHIND THE MOUSE, IN OUR VIEW PORT,
ON TOP OF THE WIDGET.>>UH-HUH.>>BECAUSE THAT’S
A LITTLE TRICKY BECAUSE OF THE DIFFERENCE IN — WHERE THAT MENU LIVES IN
WORLD SPACE AND THE SIZE OF IT, THERE’S A LITTLE TWEAKING
THERE INVOLVED. BUT I WILL SET ALL OF THAT UP. I DID BUILD AN ASYMMETRICAL GAME
LIKE THAT, IT WAS A
POINT-AND-CLICK ADVENTURE AND THE MOUSE
AND KEYBOARD PLAYEROGE HAD THAT MENU TO CLICK,
LIKE, GO HERE AND DO THAT. OH, AND INSPECT
THIS AND HIGHLIGHT THIS, WHICH IS KIND OF COOL.>>AMANDA: THEY ARE WONDERING IF YOU CAN LOCK THE MOUSE
TO THE WIDGET, ACTUALLY. OR IS THAT SOMETHING
YOU WOULD WANT TO DO?>>VICTOR: IF YOU –>>AMANDA: IT DEPENDS HOW YOU
ARE NAVIGATING?>>VICTOR: YES, I GUESS. AND WHEN YOU USE
THIS INPUT MODE, I THINK THERE IS INPUT MODE FOR
ONLY UI AS WELL, YEAH, UI ONLY. IF YOU USE THIS, THE MOUSE
SHOULDN’T LEAVE YOUR MONITOR. IS THAT WHAT THEY MEANT? OR MAYBE THEY MEANT
IF YOU HAVE A SMALLER –>>AMANDA: IT WON’T
LEAVE THE MENU.>>VICTOR: OR IF YOU HAVE
A SMALLER WIDGET, YOU CAN JUST CLAMP THE ALLOWED
VECTOR, LIKE, 2D VECTOR OFFSET. YOU CAN JUST CLAMP THAT,
AND YOU CAN MANUALLY TRY TO FIGURE OUT
WHAT THAT CLAMP SHOULD BE OR, I’M SURE YOU CAN
DO MORE FANCY MATH, WHICH IS OPTIMAL IN CASE
YOU EVER WANT TO CHANGE THE SIZE OF THE WIDGET,
WHICH YOU TEND TO DO A LOT OF –>>AMANDA: DYNAMIC —
>>VICTOR: — CHANGES IN DESIGN DECISIONS
THROUGHOUT THE PROJECT. AND SO I ALWAYS RECOMMEND
TO BUILD EVERYTHING IN A WAY THAT IT MAKES IT EASY
TO CHANGE IT LATER.>>AMANDA: UH-HUH.>>VICTOR: BECAUSE WHEN IT COMES
TO THESE THINGS. DEFINITELY POSSIBLE,
BUT IT IS A MANUAL. THERE IS NO, JUST, LOCK IT, BECAUSE IT IS ESSENTIALLY
A HACK THAT WE’RE DOING, TO BE ABLE TO DO THAT, ANYWAY.>>AMANDA: LET’S SEE. THEY ARE WONDERING
IF YOU USE SCREEN OR WORLD SPACE FOR THE UI POSITION
IN FRONT OF THE CAMERA.>>VICTOR: THAT IS —
SO, I CAN SHOW YOU REAL QUICK, IF WE MAKE ANOTHER BLUEPRINT. WE WILL JUST CALL IT
BP3D WIDGET. WE WILL ADD A 3D WIDGET. IT IS NO LONGER
CALLED 3D WIDGET. I THINK IT USED TO MAYBE.
THIS IS A WIDGET COMPONENT WHICH ALLOWS YOU TO PLACE
A UMG WIDGET IN WORLD SPACE. NOW, IT WOULD BE ATTACHED
TO THE CAMERA SO, YOU KNOW,
IT IS RELATIVE TO THE CAMERA. BUT IT ACTUALLY LIVES
IN WORLD SPACE. WE ARE NOT ADDING IT LIKE YOU
TEND TO DO, WHAT IS IT, VIEW PORT, THAT’S FOCUS,
WHERE IS ADD WIDGET? WIDGET. I WILL JUST — I HAVE BEEN DOING VR FOR SO LONG
THAT SOME OF THESE — WELL, BY DEFAULT,
THERE’S A FUNCTION THAT WE NEED TO CALL
TO ADD THE WIDGET TO VIEW PORT, AND THAT’S NOT WHAT WE WOULD
BE DOING IN THIS CASE. BECAUSE WE ACTUALLY HAVE
A 3D WIDGET COMPONENT THAT CONTAINS A UMG WIDGET,
AND THIS ACTOR, OR COMPONENT, IT DEPENDS
ON HOW YOU WANT TO SET IT UP, THAT WILL LIVE IN WORLD SPACE,
AND YOU CAN — YOU CAN SEE IT THERE
A LITTLE BIT WHEN I’M MOVING IT AROUND, LIKE IT IS ACTUALLY
DRAWING CAMERAS RIGHT THERE. AND THIS WOULD BE THEN ATTACHED
TO YOUR SPECTATOR CAMERA, AND THEN WHEN YOU WOULD
FLY IT AROUND, IT WOULD JUST FOLLOW IT
IN WORLD SPACE. AND SO SO I WILL TRY TO MAKE
A VIEW PORT A LITTLE BIT. YEAH, I WILL MAKE SURE
TO WRITE UP A LITTLE BIT OF DOCUMENTATION
ON THAT AS WELL. IT IS A HACK, NOT THE TYPICAL
WAY THAT WE WOULD DO IT. BUT ANY WAY THAT WORKS IS OKAY,
IN MY BOOK. AS LONG AS IT DOESN’T BREAK
YOUR PROJECT TWO YEARS LATER.>>AMANDA: ALL RIGHT. UM, SO YOU ARE DEMONSTRATING
CURRENTLY ON OCULUS, BUT LIVE WOULD BE APPLICABLE?>>VICTOR: JUST DRAG AND DROP,
NO CHANGES.>>AMANDA: THEY ARE WONDERING
IF — CAN YOU ALSO — DOES IT ALSO SUPPORT PS VR?>>VICTOR: I BELIEVE IT WOULD. THERE IS NOTHING HERE
IN ANY OF THE LOGIC THAT I HAVE USED THAT
IS SPECIFIC TO ANY VR HARDWARE. I DO KNOW THAT, ON PLAYSTATION,
SOME GAMES, THEY HAVE — THEY HAVE, LIKE, I THINK THEY CALL IT
LIKE A SOCIAL VIEW, WHERE YOU CAN DO ESSENTIALLY
THIS — SOME OF THE GAMES —
I THINK THE FIRST GAME YOU PLAY, THE DEMO PACK SAMPLE,
THAT’S WHAT THEY HAVE. SO THERE MIGHT BE
A DIFFERENT WAY YOU DO IT ON PS VR, I’M NOT ENTIRELY SURE. BUT, IN TERMS OF ALL OTHER
PC PIECES OF VR HARDWARE, THIS WOULD WORK OUT OF THE BOX. YOU JUST NEED TO MAKE SURE
TO HAVE THE RIGHT PLUGIN INSTALLED BY DEFAULT AND, BY DEFAULT,
THEY ARE ALL ENABLED. THEY BOTH HAVE OCULUS,
WE HAVE STEAM VR. AND SO I’M ACTUALLY NOT SURE
IF THIS — IF THESE FUNCTIONS
WILL DO THE SAME ON PS VR. BUT THAT WILL BE RELEASED
TO TEST.>>AMANDA: SO WE CAN LOOK IT UP?
>>VICTOR: YEAH.>>AMANDA: THEY ARE WONDERING,
HOW CAN YOU SET A LOWER FRAME RATE
FOR THE SCENE CAPTURE?>>VICTOR: ALL RIGHT. I KNOW
IT IS POSSIBLE TO DO THIS, AND I HAVE DONE IT IN THE PAST.>>AMANDA: NOTHING LIKE DEVELOPMENT
ON THE SPOT, HUH?>>VICTOR: SO THIS IS ONE WAY
TO DO IT. WE CAN TURN OFF CAPTURE
EVERY FRAME. AND THEN — AND IN THIS CASE,
WE WOULD ALSO TURN OFF CAPTURE ON MOVEMENT,
AND I THOUGHT — I GUESS THAT MIGHT ACTUALLY
JUST BE IN THE WIDGET COMPONENT THAT WE CAN SET
THE REFRESH RATE OF IT. BUT, WHAT WE COULD DO HERE, IF THIS IS, LIKE,
A CONCERN THAT YOU ARE JUST — I JUST NEED THIS,
IS THAT ON TICK, WE CAN DECIDE A FRAME RATE
MULTIPLYING DELTA TIME, OR TAKING DELTA TIME
INTO CONSIDERATION, AND THEN ONLY EXECUTE
THAT SO AND SO. SO ACTUALLY,
WE DO IT EVEN EASIER. SO SET TIMER BY EVENT,
AND EVENT, CUSTOM EVENT,
CAPTURE SPECTATOR VIEW, AND HERE, WE WILL TAKE A SCENE
CAPTURE COMPONENT 2D, AND WE WILL TAP IN CAPTURE, AND THEN WE WILL HAVE
THE FUNCTION TO CAPTURE SCENE. AND SO SAY, IF YOU WANT
10 FRAMES A SECOND, WE WILL DO .1 HERE. I WILL HOOK THAT UP,
LET’S ACTUALLY — LET’S JUST DO THIS.
WE WILL DO THIS ON BEGIN PLAYER. ALL RIGHT.
MAKE SURE IT IS LOOPED. AND SO NOW WE’RE DOING IT
10 TIMES A FRAME — I MEANT 10 TIMES A SECOND,
OR 10 FRAMES PER SECOND. AND NOW YOU CAN SEE THAT IT IS ONLY CAPTURING
EVERY 0.1 SECONDS. THAT COULD BE
SOME KIND OF EFFECT, THAT IS WHAT YOU ARE DOING. YOU SHOULDN’T HAVE
TO GO THAT LOW. .3 MIGHT BE CLOSER
TO WHAT WE WANT. SO — OH. I’M — SO WE WANT IT EVEN LOWER
THAN THAT, OF COURSE. SO THAT WOULD BE LIKE 0.011,
THAT IS AROUND 90 TIMES. SO 0.05. SO IT LOOKS ALL RIGHT. I’M NOT SURE HOW IT IS COMING
THROUGH ON THE STREAM, EITHER. AS LONG AS YOU CAN STICK
WITH A HIGHER FRAME RATE, I WOULD SUGGEST THAT. BUT THIS IS,
AS FAR AS I KNOW RIGHT NOW, THERE MIGHT BE A PARAMETER HERE
THAT I’M MISSING. BUT THIS IS HOW
YOU CAN DO IT MANUALLY, BY JUST CAPTURING THE SCENE. AND SAY, I DON’T KNOW, IF THIS
IS LIKE SOME KIND OF A — IF IT WAS
A SINGLE PICTURE CAMERA, YOU CAN USE THIS FUNCTION
TO JUST CAPTURE THAT SCENE. YOU COULD ALSO, I THINK,
TAKE THIS TEXTURE AND RENDER THAT IN, LIKE,
A MATERIAL THAT IS APPLIED TO, LIKE, YOUR PHOTO BOOK,
AND THEN IT COULD BE, LIKE, I DON’T KNOW,
THE FLYING CAMERA FAIRY, AND TAKING PICTURES FOR YOU,
WHILE YOU ARE ON YOUR ADVENTURE.>>AMANDA: LIKE NAVIE,
TAKING PICTURES OF –>>VICTOR: YEAH, SOMETHING
LIKE THAT.>>AMANDA: BEING SUCH A TROLL.>>VICTOR: I WILL FIGURE OUT IF THERE’S
A MORE PROPER WAY TO DO THIS. I THOUGHT THERE WAS ONE HERE,
BUT MAYBE NOT.>>AMANDA: WE CAN FOLLOW
UP THERE. THEY ARE WONDERING
IF IT IS POSSIBLE TO SEND VENDOR TARGET REFERENCES
OVER THE NETWORK. YOU ARE DOING IT LOCALLY
IN THE BLUEPRINTS, CAN YOU DO IT WITH C++, AND THEN GET IT
FROM ANOTHER DEVICE? SO, FOR EXAMPLE,
A CLIENT IN EVENT TECH.>>VICTOR: YES, I WOULDN’T.
BECAUSE SENDING — THAT IS A LOT OF DATA,
AND ESPECIALLY DOING IT 9 TIMES A SECOND, LIKES,
ON BLUEPRINT TICK. IF THAT’S THE ONLY THING
YOU’RE DOING, AND MAYBE IT’S ON
A LOCAL NETWORK, YES, THAT COULD WORK. BUT YOU DON’T NEED TO SEND THAT
DATA OVER THE NETWORK BECAUSE, IF YOU ALREADY HAVE A NETWORKED
ENVIRONMENT, WITH TWO PLAYERS, AND MAYBE ONE IS A LISTEN
OR A DEDICATED SERVER, THEY CAN CAPTURE THE SAME THING. SO PLAYER A CAN CAPTURE
WHAT PLAYER B IS DOING LOCALLY. SO PLAYER A WILL HAVE THIS
SPECTATOR CAMERA, AND THAT WILL SEE, YOU KNOW,
WHAT THE SECOND PLAYER IS DOING. SO I’M NOT SURE WHAT THE EXACT
USE CASE WOULD BE.>>AMANDA: I KNOW WHEN
WE DID STUFF LIKE THAT, FOR THE DEMOES WE WORKED ON
AT NVIDIA, WE HAD MULTIPLE —
IT WAS A HOLODECK, AND SO THERE WAS
A MULTIPLAYER SCENE, AND WE WOULD ALL COME IN. AND WE EACH HAD
OUR OWN VIEW POINTS, AND THEN WE HAD ANOTHER PERSON THAT WAS NETWORKED
INTO THIS CLIENT, OR THIS SERVER, AND THEY WERE
JUST THE SPECTATOR, AND THAT WAS THE CAMERA THAT WE
ACTUALLY SHOWED THE DEMO FROM.>>VICTOR: YEAH.
YOU CAN ABSOLUTELY DO THAT.>>AMANDA: IT CAN BE DONE.>>VICTOR: YEAH, BUT YOU WOULDN’T
BE SENDING THE TEXTURE DATA ACROSS THE NETWORK.>>AMANDA: YOU ARE JUST THE CAMERA.>>VICTOR: YOU ARE JUST THE CAMERA.
UH-HUH.>>AMANDA: SO IT IS
A DIFFERENT SETUP?>>VICTOR: IT IS. YOU WOULDN’T NEED TO DO
ANY OF THIS SPECTATOR STUFF, BECAUSE YOU — IN THAT CASE,
YOU CAN ACTUALLY HAVE A PAWN THAT IS POSSESSED BY THE PLAYER
CONTROLLER ON THAT PC. THAT IS ACTUALLY
HOW I USED TO RECORD, BEFORE –>>AMANDA: SO THIS SET UP
IS PREFERABLE IF YOU ARE DOING
SOMETHING LOCAL?>>VICTOR: CORRECT.>>AMANDA: AND THERE ARE WAYS
TO SET UP FOR MULTIPLAYER, OR NETWORKED CLIENTS?>>VICTOR: CORRECT.>>AMANDA: AND SET UPS?>>VICTOR: THE ONLY PROBLEM THERE, IF THAT IS NOT INTENDED
TO BE A MULTIPLAYER GAME, YOU ARE DOING
A LOT 06 EXTRA WORK TO MAKE SURE THAT ALL YOUR GAME MECHANICS
WORK ACROSS THE NETWORK, JUST FOR THAT SPECTATOR.
THAT’S HOW I DID IT BEFORE 4.17, WHEN I BELIEVE
THE SPECTATOR SCREEN MODE WAS RELEASED IN THE ENGINE. AND WE RECOMMEND SENDING
THE TEXTURE DATA OVER, BUT USING ANOTHER CLIENT, IF YOU WANT TO USE THE
CHARACTER MOVEMENT COMPONENT, AND HAVE ALL OF THE
CLIENT-SIDE MOVEMENT AUTHORITY AND ALL OF THE NEAT THINGS THAT COME WITH THE CHARACTER
MOVEMENT COMPONENT, YOU SHOULD DEFINITELY DO THAT.
BUT THERE IS NO — YOU DON’T HAVE TO USE SPECTATOR
SCREEN MODE IN THAT SETUP.>>AMANDA: HMM.>>VICTOR: BECAUSE SPECTATOR
SCREEN MODE, THIS RIGHT HERE IS ONLY IF YOU
ARE DOING IT ON ONE MACHINE.>>AMANDA: GOTCHA. THEY ARE DOING A LIVE MOTION
CAPTURE EVENT, WHERE THE USER WEARS THE MOTION
CAPTURE SUIT AND THE VR HEADSET, BUT THEY WANT TO HAVE
A SPECTATOR CAMERA, DO YOU RECKON THAT WILL WORK
ON A SINGLE PC, OR WILL A SECOND PC
FOR SPECTATOR BE RECOMMENDED?>>VICTOR: IT DEPENDS ON
HOW MUCH LOAD IS PUT ON THAT PC.>>AMANDA: UH-HUH.>>VICTOR: BUT IT IS DOABLE, AND THIS IS THE WAY
THAT YOU WOULD DO IT. AND THEN YOU CAN, YOU KNOW, DO WHATEVER SET UP YOU WANT
WITH SEVERAL MONITORS, AND THEN OUTPUT THIS PREVIEW
WINDOW TO WHICH EVER MONITOR YOU WANT ALL OF YOUR SPECTATORS
IN THE STUDIO TO SEE. SO, UM, IN THAT REGARD,
YOU HAVE TO BALANCE, LIKE, MAYBE YOU DON’T HAVE ENOUGH,
LIKE, HORSEPOWER LEFT TO DRIVE THIS
AND, DEPENDING ON HOW COMPLEX, IF THAT SEEMS LITERALLY
JUST MOTION CAPTURE DATA, YOU MIGHT WANT TO DO IT
ACROSS NETWORK INSTEAD. BUT DEFINITELY TRY TO DO IT
ON THE SAME PC FIRST, BECAUSE IT WILL BE A LOT EASIER
TO MANAGE THE SET UP. IT WOULD LITERALLY JUST BE THIS,
WHAT I DID RIGHT HERE. YEAH. AND THAT IS REALLY COOL,
BY THE WAY. I WANT TO SEE YOU TEST
THAT KIND OF STUFF. REALTIME MOCAB,
AND THEN YOU CAN SEE YOURSELF, EVEN IF IT IS ON A MONITOR
IN FRONT OF YOU, SUPER IMMERSIVE.
IT CAN BE A ZOMBIE –>>AMANDA: THAT’S WHAT WE WERE
TALKING ABOUT IN THE MEET-UP TODAY.>>VICTOR: I DIDN’T THINK WE WERE
GOING TO MENTION THAT. I DID DISCUSS PREPARING
A DIFFERENT HEAD, AND THEN HAVING AMANDA
IN THE HEADSET CAN GO AROUND, I’M NOT SURE
WHAT HAPPENED THERE. I BROKE SOMETHING.>>AMANDA: WELL, ALL RIGHT, IS THERE ANYTHING ELSE
YOU WANTED TO SHARE TODAY?>>VICTOR: LET ME SEE
IF I HAVE ANYTHING. OH, I HAVE TIME FOR ONE OTHER
THING THAT IS KIND OF COOL. THE VR TEMPLATE COMES
WITH A SIMPLE SYSTEM FOR GRABBING ACTORS. AND IF YOU WANT TO, SORT OF,
EXPAND UPON THAT AND BE ABLE TO GRAB
OTHER ACTORS, WE CAN DO THAT EASILY. YOU CAN TAKE
THE VR SPECTATOR CAMERA AND MAKE THAT GRABBABLE
REALLY QUICK. SINCE THIS WILL BE SOMETHING
THAT IS SPECIFIC TO THIS PROJECT AND HOW THEY IMPLEMENTED
GRABBING, I WILL GO AHEAD AND INHERIT
FROM THE SPECTATOR CAMERA, VR SPECTATOR CAMERA, PICK UP. AND IF WE OPEN THAT UP,
WE HEAD OVER TO CLASS SETTINGS, AND ALL WE HAVE TO DO HERE —
ACTUALLY, IT IS TWO THINGS. FIRST WE HAVE TO
A BLUEPRINT INTERFACE, WHICH IS CALLED PICK UP, AND THIS COMES
WITH A VR TEMPLATE. AND, ONCE WE ADDED
THIS INTERFACE TO THE ACTOR, LET’S GET RID OF ALL OF THIS, BECAUSE WE’RE NOT
GOING TO NEED IT, WE CAN LISTEN IF ANY OTHER CLASS
IS TELLING US THAT, HEY, I WANT TO PICK YOU UP. SO IF YOU DON’T HAVE THIS
INTERFACE HERE, AND ACTUALLY, LET ME GO AHEAD AND SHOW YOU
THE INTERFACE AS WELL. I THINK THAT IT IS HERE. UM, PICK UP ACTOR INTERFACE. SO BLUEPRINT INTERFACE
IS A GREAT WAY TO MAKE AN AGNOSTIC WAY
OF CALLING FUNCTIONS ON ACTORS THAT YOU DON’T NECESSARILY NEED
A HARD REFERENCE TO. THIS IS ONE OF THE MOST
PREPARED WAYS OF DOING IT, BECAUSE IT ALLOWS YOU
TO BUILD YOUR PRODUCT IN A WAY THAT YOU DON’T HAVE
A BUNCH OF REFERENCES TO THINGS, AND THEY GET DELETED
AND YOU GET ERRORS. WITH A BLUEPRINT INTERFACE,
YOU IMPLEMENT IT, AND ANY ACTOR CAN SEND MESSAGES
TO THE ACTOR THAT IMPLEMENTED THIS INTERFACE. AND YOU CAN SEE THAT WE HAVE
PICK UP AND DROP, THOSE ARE THE TWO ONES
THAT HAVE BEEN IMPLEMENTED. SO ON PICK UP, LET’S GO AHEAD
AND ATTACH TO COMPONENTS, I BELIEVE SELF IS ACTOR,
AND PARENT IS COMPONENT. PERFECT. AND WE’RE GETTING THAT
PATCHED THROUGH THAT INTERFACE. WE WILL MAKE SURE AND CHANGE
THIS TO KEEP WORLD, ALL OF THEM. SO, LET’S ATTACH AND WE CAN ALSO
DO DISABLE INPUT. WHAT I’M DOING HERE
IS THAT I’M MAKING IT SO THE VR PLAYER CAN GRAB
THE CAMERA TO USE AS, LIKE, A SELFIE
CAM, OR A GO PRO OR SOMETHING. WE WILL DISABLE INPUT. AND, WHEN HE DROPS IT,
ON EVENT DROP, WE WILL JUST
SIMPLY DETACH FROM ACTOR, AND WE WILL ALSO MAKE SURE
THAT WE KEEP WORLD, AND THEN WE WILL — SO,
WHAT I TEND TO DO HERE IS THAT — SO THIS FUNCTION RIGHT HERE,
WE ARE BACK IN THE PARENT CLASS. IF I JUST GO AHEAD AND COLLAPSE
THIS INTO FUNCTION, AND INITIALIZE INPUT, THEN I NO LONGER HAVE TO HAVE
MORE NODES THAN NECESSARY. SO WE GO BACK TO OUR CHILD, AND WE CAN GO AHEAD
AND INITIALIZE INPUT AGAIN. OOPS, THAT WAS THE EVENT.
WE DON’T WANT TO OVERRIDE IT, BECAUSE THEN
NOTHING WOULD HAPPEN. WE WILL GO AHEAD
AND INITIALIZE INPUT. FILE THAT. AND NOW, IF WE — OH,
WHAT HAPPENED WITH INPUT THERE? DID I, UM, DID I BREAK
EVERYTHING HERE? OH, RIGHT. I FORGOT — I REMOVED OUR LITTLE
OPTIMIZATION THAT WE DID HERE. WE ALSO GOTTA GO BACK
AND TURN BACK ON, WE WANT TO CAPTURE EVERY FRAME
AND CAPTURE MOVEMENT TWO, IT IS GREAT.
WE WILL GO AHEAD AND HIT PLAY. SO WE CAN FLY UP THERE,
GET REALLY CLOSE, AND THE HEADSET,
TELEPORT A LITTLE CLOSER, AND THEN NOW YOU ARE WONDERING,
YOU ARE NOT GRABBING. AND THAT IS BECAUSE
THE DEFAULT MESH THAT WE ARE USING FOR THE CAMERA
DOES NOT HAVE COLLISION. SO THIS GOES BACK
TO WHAT I MENTIONED ABOUT MAKING A COPY ABOUT IT. SO WE CAN GO TO ENGINE CONTENT,
WE WILL CONTROL W TO DUPLICATE THAT,
SM, MATINEE CAM, AND WE WILL JUST HAVE IT
THE OPPOSITE WAY. WE WILL MOVE IT TO OUR FOLDERS SO WE CAN MIGRATE
THIS VERY EASILY LATER. WE WILL MOVE THE SEARCH
SO WE CAN SEE EVERYTHING THAT WE ARE WORKING
WITH CURRENTLY, A MATINEE CAM, AND THEN WE WILL ADD A COLLISION
OF SOME SORT, SIMPLIFIED ENOUGH
FOR OUR PURPOSES. SAVE THAT, AND IT SHOULD BE
ENABLED BY DEFAULT, BECAUSE I DIDN’T MESS
WITH ANY OF THOSE SETTINGS. OOPS, WHAT IF I TELEPORT
TO THE CAMERA THIS TIME INSTEAD. STILL NO COLLISION. OH, OH, BECAUSE THIS RIGHT HERE
IS OUR PARENT. I NEVER REPLACED IT
WITH THE CHILD. SO ONE EASY WAY TO DO THIS, FIRST MAKE SURE
THAT WE SAVE THAT. WE WILL SELECT THE ONE WE WANT
TO REPLACE WITH IN THE SCENE, RIGHT CLICK, REPLACE SELECTED ACTORS
WITH SPECTATOR CAMERA PICK UP. OH, AND I ALSO HAVE TO TELL IT
TO USE THIS ONE. SO LET’S GO TO THE PARENT CLASS
AND REPLACE THE STATIC MESH WE ARE USING WITH THE COPY
THAT WE JUST DID, WHICH IS SM MATINEE CAM. COMPILE THAT, SAVE, AND NOW
THE THIRD TIME IS THE CHARM. EVERYTHING IS JUST GOING TO WORK,
AND NOW WE CAN GRAB THE CAMERA. AND SO, NOW I HAVE
A LITTLE CAMERA.>>AMANDA: THAT’S REALLY COOL.>>VICTOR: BY DEFAULT,
YOU CAN SEE THAT WE CAN DO SOME STRANGE THINGS
THAT YOU PROBABLY DON’T WANT TO. IN MY TEMPLATE, I ADDED —
JUST SOMETHING SIMPLE, LIKE A — ON DETACH, ACCEPT WORLD
ROTATION, SET ACTOR. ACTOR, ROTATION,
AND WE WILL ZERO OUT OUR ROLE. SO WE WILL GET ACTOR ROTATION,
I THINK BY DEFAULT IT IS ACTUALLY GRABBING
THE ACTOR AND NOT — WE WILL GO AHEAD AND LEAD PITCH,
AND PLUG THAT IN. AND THIS IS JUST TO RESET
THAT ROLE, BECAUSE OBVIOUSLY
THAT DOESN’T LOOK TOO GOOD WHEN YOU JUST DROP IT.
THERE YOU GO. SO EVEN IF YOU GET
THAT SLIGHT LITTLE TILT, IT WILL JUST
AUTO CORRECT ITSELF.>>AMANDA: AND YOU CAN CERTAINLY
ADD THINGS IN AND EASE IN TO THAT MODE,
AS OPPOSED TO SNAPPING.>>VICTOR: OH, ABSOLUTELY. YES, WE COULD DO A —
THERE ARE MANY WAYS TO DO THAT.>>AMANDA: YEAH.>>VICTOR: AFTER THAT. AND YOU COULD ALSO, SOMETHING
THAT’S COOL, JUST TO BE QUICK, ON TAB, KEYBOARD EVENT,
WE CAN GO AHEAD AND SET SPECTATOR
SCREEN MODE TO DISABLED, JUST FOR THE SIMPLE PURPOSE,
WE KNOW IT IS ON BY DEFAULT, WE ARE RUNNING IT ON BEGIN PLAY. SO UNPRESSED WILL DISABLE,
AND WE WILL ACTUALLY — LET’S JUST DO
THE FLIP FLOP INSTEAD. FLIP FLOP, FLIP FLOP IS GOOD.
THIS IS A MACRO THAT, THE FIRST TIME IT EXECUTES,
IT FIRES A. THE SECOND TIME IT EXECUTES,
IT EXECUTES B. AND SO THE FIRST TIME,
WE WILL DISABLE IT, AND THE SECOND TIME, WE CAN ALSO GO AHEAD
AND DO THIS. RIGHT HERE, WE WILL COLLAPSE
THIS TO A FUNCTION. INITIALIZE SPECTATOR MODE, AND NOW WE CAN GO AHEAD
AND USE THAT HERE. AND SO NOW, HIT PLAY,
WE CAN SWITCH BETWEEN — THIS IS THE SPECTATOR MODE,
AND — OH, RIGHT. IF YOU JUST DO DISABLE,
HOW DID I DO THIS? IT IS NOT SUPPOSED
TO BE THAT HARD. I JUST CAN’T THINK RIGHT NOW. RIGHT, WE ARE DISABLING
EVERYTHING ENTIRELY. SO LET’S DO SINGLE
I CROP TO FILL. AND THEN WE ARE ACTUALLY GOING BACK
TO THE VR CAMERA’S PERSPECTIVE, AND NOW WE’RE BACK
AT THE SPECTATOR CAM. SO THAT’S GOOD
IF YOU ARE DOING VR TRAILERS, AND I’M SORT
OF THE DIRECTOR HERE, SAYING WHAT ARE WE SUPPOSED
TO CAPTURE, AND YOU’RE LIKE, NOPE,
I WANT THIS FROM THE VR PLAYER, LIKE, BECAUSE IT IS COOL.
AND THEN YOU ARE LIKE, OH, THAT’S A COOL SHOT,
I WILL FLY IN THERE AND JUST CHANGE FIELD
OF VIEW AND — YEAH. TRY TO AIM. SOMETHING THAT I WAS GOING
TO ADD IN THE SAMPLE PRODUCT, WHEN YOU DECREASE FIELD OF VIEW,
THE MOUSE GETS REALLY SENSITIVE. SO I WANTED TO DECREASE
THE SENSITIVITY OF THE MOUSE, DEPENDING ON, LIKE,
HOW FAR YOU — HOW MUCH YOU DECREASE
YOUR FIELD OF VIEW. SO THAT’S — THAT’S ALSO
SOMETHING YOU CAN DO, AND THERE ARE MORE THINGS
THAT YOU CAN DO.>>AMANDA: UM, LET’S SEE. YEAH, SO THAT’S — IT IS KIND OF
WHAT YOU ARE DOING, BUT THEY ARE ASKING,
CAN YOU EXPLICITLY SET WHICH SCREEN
TO RENDER THE SPECTATOR WINDOW TO IN CASE YOU HAVE
MULTIPLE WINDOWS?>>VICTOR: MULTIPLE WINDOWS
AS IN SCREENS?>>AMANDA: THAT’S WHAT I’M THINKING,
THAT’S WHAT IT SOUNDS LIKE.>>VICTOR: IF YOU ARE
DOING THIS IN EDITOR, AND NOT A PACKAGED GAME,
IT IS FAIRLY SIMPLE TO JUST — HIT SHIFT F1, AND ACTUALLY,
SINCE I HAVE SET OUR — I CAN’T DO THAT,
BECAUSE I CHANGED THE EDITOR PREFERENCES,
BUT I CAN CHANGE IT BACK. AND YOU ARE BASICALLY LIKE, OH, MY GOD VICTOR,
WHY ARE YOU SHOWING THIS? AND LET’S GO AHEAD
AND SHOW THIS 27 INSTEAD. AND I DON’T KNOW
WHAT PEOPLE KNOW OR DO NOT KNOW. AND I GUESS IT LIKED THAT,
WE ARE NOT ON A 27. LET’S JUST GO 1920 BY 1080,
AND HIT PLAY. I GUESS IT DOESN’T LIKE
CHANGING THAT BACK AT ALL. HMM THAT IS STRANGE. I WONDER
IF WE CAN JUST DO — OH, YEAH. SO YOU CAN DO, UM, JUST WHOLE
WINDOWS AND KEYS RIGHT AND LEFT, AND THAT IS HOW YOU ACTUALLY
CHANGE –>>AMANDA: MOVE AROUND, AND EXPLICITLY STATING
WHICH MONITOR IT COMES OUT OF.>>VICTOR: AS FAR AS I KNOW, THERE’S NO WAY TO DO
THAT USING UNREAL, I MEAN, IT MIGHT BE THERE
UNDER EDITOR PREFERENCES, BUT I DON’T THINK SO. BUT YOU CAN CHANGE WHICH DISPLAY
IS YOUR PRIMARY, AND THAT IS JUST
DEFAULT WINDOWS.>>AMANDA: COOL.>>VICTOR: WINDOWS STUFF.>>AMANDA: ALL RIGHTY. WELL –>>VICTOR: ARE WE —
IS THERE ANYTHING ELSE? ARE WE DONE FOR TODAY?>>AMANDA: WE ARE DONE FOR TODAY.>>VICTOR: DONE FOR TODAY.>>AMANDA: YOU MADE IT TO THE END
OF THE LIVE STREAM.>>VICTOR: I DID IT.>>AMANDA: WOO! JASON OVER THERE –>>VICTOR: HIS FIRST TIME, TOO,
ACTUALLY.>>AMANDA: YEP. SOMEONE NEW BEHIND THE SCENES,
A NEW, NEW OLD PERSON, AND A NEW OLD PERSON?
A NEW OLD PERSON. HE RAN THE STREAMS
FOR UNREAL TOURNAMENT, OR UNREAL UNREAL ENGINE,
WHEN THEY FIRST STARTED. WE’RE HAPPY TO HAVE JASON BACK.
BUT, YEAH. SO NICE WORK.>>VICTOR: THANK YOU.>>AMANDA: I FEEL LIKE FOLKS
GLEANED A LOT AND ARE STILL EXCITED ABOUT VR, IT HAS BEEN A WHILE
SINCE WE HAVE DONE A VR ONE, AND EVEN LONGER SINCE WE HAD
A HEADSET ON THE STREAM.>>VICTOR: I MADE SURE
IT ALL WORKED.>>AMANDA: [ LAUGHTER ].>>VICTOR: BECAUSE I’M
A FAN OF VR.>>AMANDA: A BIT OF A VR
ENTHUSIAST. IF YOU HAVE FEEDBACK FOR US,
HOW THE STREAM WENT, ON THINGS YOU WOULD LIKE
TO SEE OR IMPROVE, OR WHAT TOPICS YOU WOULD LIKE
TO SEE IN THE FUTURE, I TOSSED A SURVEY IN THE CHATS.
PLEASE LET US KNOW, IT IS THE BEST WAY FOR US
TO OFFER THE CONTENT THAT YOU NEED TO YOU.
THESE STREAMS ARE FOR YOU. SO IT IS THE BEST
IF WE KNOW WHAT YOU WANT. AND IF YOU INCLUDE
YOUR EMAIL ADDRESS, WE WILL PICK ONE OF THEM
FROM EACH SURVEY, AND SEND YOU A T SHIRT. SO YOU COULD GET SOME UNREAL
ENGINE SWAG, NO HARM IN THAT. AND ALSO, ALWAYS CHECK FOR LOCAL
UE4 MEET-UPS IN YOUR AREA IF YOU ARE NEEDING HELP, OR YOU ARE NEEDING FELLOW DEVS
TO PLAY TEST YOUR GAME, OR JUST LOOKING FOR, YOU KNOW,
COOL PEOPLE TO HANG OUT WITH. IT IS A PRETTY RAD COMMUNITY. IF THERE ISN’T ONE IN YOUR AREA,
YOU CAN START ONE YOURSELF. AGAIN, THAT IS
MEETUP.COM/PRO/UNREALENGINE. DO YOU WANT TO TALK
ABOUT SPOTLIGHTS?>>VICTOR: SURE. WE TEND TO LOOK ON THE RELEASE
CHANNEL, OF THE FORUMS. SO IF YOU MAKE SOMETHING COOL, AND YOU
POSE IT THERE, WE WILL SEE IT. AND IF IT IS YOUR LUCKY WEEK, WE WILL MAKE SURE
TO SPOTLIGHT YOU ON THE STREAM.>>AMANDA: AND WE ALSO CHECK OUT
THE WORK IN PROGRESS, SO SOMETIMES, YOU KNOW, NOT A LOT OF PEOPLE
ARE RELEASING THINGS. PINGING US ON DISCORD,
ON TWITTER, AND ALL KINDS OF PLACES.>>VICTOR: AND IF YOU DON’T FEEL
LIKE DOING IT ON A FORUM, YOU CAN PING US ON DISCORD,
OR THE FORUMS AS WELL. HEY, I JUST MADE THIS, WE WOULD LOVE
TO SEE EVERYTHING THAT YOU MAKE.>>AMANDA: AND WE ALSO HAVE A
[email protected] ALIAS. SO YOU CAN SEND US YOUR PROJECTS
DIRECTLY OUR WAY USING THAT EMAIL, OR WE HAVE THIS LOVELY
5-MINUTE COUNTDOWN AT THE BEGINNING OF OUR STREAMS. IF YOU TAKE ROUGHLY
30 MINUTES OF DEVELOPMENT, RECORD THAT, COMPRESS IT
INTO A 5-MINUTE VIDEO, BE SURE TO SEND OVER
THE NAME OF YOUR STUDIO, THE NAME OF THE PROJECT,
AND WE WILL WORK ON GETTING THAT TO OUR VIDEO TEAM
TO HAVE IT UPLOADED. PEOPLE ARE TALKING
ABOUT THE DISCORD. IT IS — WE ARE REFERRING
TO UNREALSLACKERS.ORG. ALL OF THOSE COMMUNITY MANAGERS: VICTOR, MYSELF,
AND TIM ARE ALL IN THERE. YOU CAN SCREAM AND SHOUT AT US
ABOUT ALL KINDS OF THINGS.>>VICTOR: ALL KINDS OF THINGS.>>AMANDA: [ LAUGHTER ].
AND THAT’S IT.>>VICTOR: OR JUST TALK.>>AMANDA: YEP, WE PREFER THAT.
WE LIKE TALKING. BUT, YEAH, WATCH US
ON ALL THINGS SOCIAL, WHETHER IT IS TWITCH,
TWITTER, FACEBOOK, WE’RE AROUND. GET IN TOUCH WITH US
AND, YOU KNOW, NONE OF THIS WOULD BE POSSIBLE
WITHOUT ALL OF YOU. SO WE’RE GLAD YOU’RE AROUND.>>VICTOR: THANK YOU, GUYS. AND NEXT WEEK,
WE WILL HAVE JAY HERE. JAY HAASFELT.>>AMANDA: THE ANIMATION MASTER.>>VICTOR: AND HE WAS HERE
WHEN GWEN WAS HERE. HE IS ABSOLUTELY AMAZING,
I HAD A VERY LONG CHAT WITH HIM. IT WAS SUPPOSED TO BE LIKE,
HEY, CAN YOU DO IT, AND WE SPENT THE NEXT TWO HOURS, I THINK, TALKING ABOUT
ALLP KINDS OF THINGS.>>AMANDA: THAT SOUNDS LIKE JAY.>>VICTOR: SO BE EXCITED FOR THAT.
I AM.>>AMANDA: YEAH, WE WILL DO SOME
FOLLOW-UP ON TURNING AND A NUMBER OF ANIMATION STUFF. SO WE ARE EXCITED
TO HAVE HIM BACK.>>VICTOR: YEAH, HE IS
AN ANIMATION PRO IN UNREAL.>>AMANDA: AND HE WILL BE AT GDC, SO YOU CAN EVEN TRACK HIM
DOWN IN PERSON AND TALK ABOUT
ALL THINGS ANIMATION. SO –>>VICTOR: AND WISH US LUCK,
WE ARE GOING TO REVIEW –>>AMANDA: ALL OF THE GAME
JAM GAMES.>>VICTOR: ALL OF THE GAME
JAM GAMES. THAT’S OUR BIGGEST TASK
COMING UP.>>AMANDA: PRETTY EXCITED. THERE’S A LOT OF
REALLY GREAT CONTENT. SO YOU GUYS CRUSHED IT,
AND WE WILL SEE YOU NEXT WEEK.>>VICTOR: WE WILL, BYE GUYS.>>AMANDA: BYE.

12 thoughts on “Creating a VR spectator camera | Inside Unreal”

  1. For someone that has never done any VR, this was pretty informative. Makes me think of a use case for "regular" multiplayer games. Allowing spectators to use VR in (live) replay if they wish, for instance. Mmmmh.

  2. Does Unreal also support the Oculus Go? If not, where can I find more information on how to implement the basic teleportation in Unreal? 😀

  3. This was freaking awesome thank you. My controller input won't work though, I double checked the input, and made it so that mouse and keyboard work with the same input functions as the controller, but no luck for the controller. Also I can't find a way to make the speed a bit faster.

  4. I am late to the stream. This is great. Can you connect the HTC Vive tracker to the spectator camera along with keyboard? If so, how?

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