I have over 12 years experience In the games industry and over 5 years of experience teaching unreal to a high level. I am also an Epic Unreal Authorised Trainer.
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Any idea how I could create new particles via the Emitter Update section when needed on runtime. For example I'm firing a weapon and the projectile/Particle would spawn everytime I press the LeftMouseButton and then spawn another particle in the emitter. the other particles would just continue flying and won't be impacted at all when we create a single new particle.
@@Thintastic have a look into niagara data channels, or just spawn a new system, ideally from a pool. There’s a few ways to do it depending on weapon fire rate etc
I had a random question regarding the Drag Module in ue5. I'm trying to use the wind Module, and noticed It needed to use drag. I had drag set to 0 for the emitter, but it doesn't seem to do anything without adding Drag. I'm wondering if drag had any real world formula to it, and why the default was 1.0.
Well... Calculate Accurate Velocity module already does that for you (you just need to dismiss its warning for the absence of the Solve Force module), but doesn't hurt to learn how to do it manually.
@@johninglis2622 using curves to control randomness could be used for anything with a non linear random distribution. For example a lot of small particles and a few big ones could be spawned from the same emitter. Fade over time is less frequently used since we tend to just animate parameters directly, but you could set up looping particles that changed their size this way, for example
Hi Tharle, thank you for your excellent content. I'd like to try and encapsulate some of the nodes in my niagara module script into a function, but im not sure if its possible. I tried to make a Niagara Function Script with my logic inside, but it wont allow to be dragged into my Niagara Module Script graph, im not sure how to make a function for use in a module, or what is the intended use for a Niagara function Script, or what is the difference between a niagara module script and a niagara function script..
@@gillgonzalez8479 sounds like a lot of moving parts that could cause this to break unfortunately. Generated foliage and nanite could both upset the object pivot data needed for the gradient
@@gillgonzalez8479 I've not really used PCG and nanite as you're describing but if you're generating the trees then you should also be able to generate vertex colour or uv's that have a gradient similar to what is being made in the video.
I've been searching for something like this for months! It's absolutely worth more than $100. Thanks for the amazing preview-I’ve already purchased the bundle!
Hello, looks like i can achieve farming system like in this video: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-n7dPrDwS6gs.html using your tutorial. At this moment I don't have any issue with selection points, creating field with tiles inside but I can't understand how to change/replace material inside each tile. @tharlevfx am I right?
Do you know how models in Banjo Kazooie handled vertex painting interpolation? I see all over the models on websites like noclip where textures are and aren't used, however, there are crisp borders around specific areas of the model that technically should have blending. For example: Banjo's stomach has a clearly defined perimeter that has no blending between the peach of his stomach and the brown of his fur. Was Rare using edge masks, do you know? Or is there some other technique that somehow prevents a vertices from interpolating across two separate faces its attached to? Hopefully this question makes sense to you.
@@VikVaughnMISC I don’t know the specifics I’m afraid but textures, uvs, or just doubled up verts would let you definite a hard edge in verts. It could also just be a contrast value in the material (or painted in another channel) so the interpolation gradient gets processed to just black and white values.
I am going to use this for a "this mesh is being edited by the user" highlight. That screenspace visual feels like it's pulling the object out of the game and into the world of the user so it feels appropriate to use it to highlight something that the user currently has more power over than usual.
Hello sir> hello can u send me link of file where blueprint and niagara particles are added preset for easy use directly> i want to use it for videos with alpha channel >added as material to a plane> and want to emit particles only from RGB channel of plane material
@@visualfinesse7445 you basically just do the same thing twice! So gradient between colours a and b, and then again between the output of the first lerp and colour c
@@baryafe it depends if how dynamic you want it. Easiest thing would be to have a pose the enemy goes into when rooted and then use a static mesh using this technique.
Awesome Video! But I do have a question. What if you want the particles to reduce in size as the camera gets further away? Also is there a way to reduce spawn rate as the camera gets further away?
@@tharlevfx thanks for the feedback! I have been checking other videos and its interesting that this topic is not really being covered on most of the yt tutorials regarding landscape material setup (even the most recent ones).. very intriguing tbh as this is a key element trying to achieve more realistic landscapes with "cheap" configurations. I cant stand seeing textures fading out as part of this transition to a second texture hehe! thx again :)
@@felixstief7830 foliage is an instanced mesh so it will do as you say. If you check out my video on the vertex interpolator you can get the instant position with that and then do your gradient calculation
what do you mean by optimisation WPO? world position offset is by its nature quite an efficient way of animating compared to skeletal meshes so it's unlikely that any WPO animation would be a bottleneck that needs optimisation.
Is there a way to use more than R G B A in the painting. I am using RGB for tint colour and Alpha for the 2nd layer blending, I've run out of channels, any way to get more for things like dirt etc?
So yes and no. You can’t add more channels of data but you can use the same channel for more than one thing. You have to do a bit more math in your shader but you can divide a single data channel down to be 0-0.5 dirt and 0.5-1 wetness for example. Generally I wouldn’t use full rgb for a tint. Just use a single channel and two fixed colours. So 0 would tint red, 0.5 no tint and 1 tint blue for example. This gives you less control but does free up two channels for other uses. Hope that makes sense!
turns out it does - you can create a curve asset and use that instead of the imported texture gradient and then keep all the functionality in the engine and dynamic. also i think you're thinking about this as a rendering engine, and not a game engine - colour ramps like this are powerful but they're an additional cost compared to static colours, so the way the engine would handle a "simple colour ramp" such as you might see in blender or maya, isnt going to be the same as those pieces of software because the final output is designed for realtime rendering.
Hello Im trying to make a material that fully disapears when you get close and enlarges when you walk away and then fully disapears after a certain distance however im having troubles tweaking this to work my material is also translucent and I would like it to be a sprite too if you could help that would be great I can pay if needed
Do you have a video showing how to spawn particles on an animated texture without using the g buffer? I can't find a simple, straight forward explanation on how to do it.
@@tharlevfx That's unfortunate. I'm new to Unreal and I can't believe how tedious and complicated these setups are. In Cinema 4D, I can set this up easily with a few clicks. Unreal requires far more steps and a mathematical approach. I'm hoping 5.4's motion design tools will expand to make tasks like this more intuitive.
@@kickheavy8982 basically you would need to recreate the animated texture logic in the niagara system and then use the particle spawn position as the uvs. It’s doable but not necessarily simple.
@@tharlevfx Yeah trying to get the logic in the scratch pad to match my animated material is exactly where my brain starts to melt lol. I'm doing a dissolve material that uses a cheap contrast node to keep the edges soft. It's the simplest material setup my brain can handle but the scratch pad doesn't have a cheap contrast node to match it so it falls apart. I'm gonna try to find a workaround. Thanks for the reply man.
