Always great to see a legendary studio like Blur move their pipe to the engine and embrace it despite all the challenges of moving from a traditional offline DCC pipe.
This is such an inspiration for independent UE artists and storytellers, my fav episode for sure, too. Loved every bit from picking on a default metahuman hair to some of the beautiful little UE graphic giveaways throughout the whole episode and was happy to see all the Epic Technical staff in the credits when I watched. Love the team and much love for UE for existing!! Such a great big demo for an all-in engine production.
@DaDarkDragon my point is what is the point of showcasing these videos when normal artists can not benefit from it? It shows that the engine is not capable yet to perform a task that requires production level quality
@@shash8085the point is so that we can take their lead, the custom scripts are the norm for all studios no duh normal artists can’t solo what a literal full team did, but the technical artists in our community know it’s their bread and butter to make some custom scripts and they absolutely can use this video resource for their own scripts. Maya is production level and needs custom script, Houdini is production level etc and so on… all 3D production softwares need technical artists writing custom scripts when doing an animated production, writing any more or any less or not using any custom scripts at all does not change the production level quality when it’s the industry standard to do custom scripts.
@@hardwire666too Yea, unless the game is balanced so you don't get one guy that can easily dominate the entire map, Overwatch-like games are as close as we'll get. I just realized, what if Epic revived UT as a hero shooter?
Unreal Engine's modular approach is its true strength, allowing me to write custom Code and Content plugins. This flexibility enhances my ability to optimize animation production pipelines for clients. It’s a truly powerful and beautiful piece of software. It is now becoming a key tool in the pipelines of many major studios.🔥👏
Very very impressed with this! They left me hanging though. How in the world did they add custom bokeh textures to their DOF in-engine? If you freeze frame the shots in the episode, its obvious they used a custom texture but I have not been able to find anything in UE5 documentation on how to add bokeh textures anywhere after UE4.23. I thought they were gonna say that they exported World Position and depth and did all the DOF in Nuke, cuz its way easier to add bokeh textures in Nuke but I guess not. If anyone has an answer, I will appreciate you forever.
@@gabetandy Yeah! Thanks for the quick reply. I use the desqueeze in UE5 a lot for work. I took 600+ screengrabs from this episode so I could study it and the close ups all have a very visible texture in the bokeh that isn't possible if you just crank the aperture blade count and the desqueeze at 2. If you want I could email you some of the close up shots. Its not present in all the shots, but in multiple medium and close ups it was very obvious it was more. Its very possible that the 5% of the shots that weren't on those render settings they showed were just done in Nuke DOF compositing where they could use the textures and the rest of it was just default desqueeze in the camera settings. Or maybe they found a way to build a custom post process material that uses scene texture and world/custom depth to do it in-engine... idk. Just very curious. BTW I love your videos. Great work in them.
@@АрыйаанКолодезников True, but that looked like mostly stuff like lens chromatic aberration, distortion, etc. They also showed them adding subtle extra DOF in Nuke on the character layer, but the layers exported from UE5 already had DOF baked in, hence my interest in knowing more. I may just have to email one of the senior artists or supervisors and ask to get a real answer.
@@owenjenkinsofficial I'm more interested in the question of how they took depth information to add DoF in Nuke. Because I didn't see the pass of the Depth.
Wait... so you're telling me this episode was, in fact, made using Unreal Engine, and not BLUR's in-house tech they were using for decades now? Like, what?.. Come again. WHAT? (O__________O) This is some sorta black magic, I'm telling ya. I just... ... Wow.
What a tease Epic... You shelve Unreal Tournament on UE5 and then push for stuff like this to be shown. Haven't had a good shooter to sink my teeth into for years.
Boss-UE5.5 has a built-in plug-in to isolate post-processing effects separately-Post Process Material Chain Graph How to use it...I haven't seen anyone mention it
He says they used lumen but the rendering console variables show ray traced reflection and GI samples. Do these CVARs have an affect on lumen reflections and GI?
Hi Unreal Engine project, would it be possible to activate the automatic youtube audio transcription to spanish or another language, the whole world will thank you for it.
This is why this episode has the WORST VFX... worst characters, unrealistic humans, hair is actually terrible and conveniently quite dark, really sad because the narrative and concept is great. It actually remembers me to the Matrix short they did, were acting is horrendus plus humans looked weird, meaning the cinematic art is good, while the realism is poor. Specially the female character... so bad, EPIC should focus back to videogames and while this new features improve the engine, itself runs slower or worst than UE4 and many new features are useless for console or cheats to convince new people to use it, while in fact the real game industry does not and keeps using Haircards, LODS, etc. not meaning they should not progress, but...
There's truth to that, this episode, while an impressive achievement in terms of mood & cinematography and a fun watch overall, still had this "gamey", fake artificial look to it. You could tell immediately it was made with Unreal.
JESUS loves you all ❤️, REPENT and follow JESUS because he is the truth, the way and the life ✨️ 🙏 🙌 ❤️. Sin leads to destruction, rejection of the word of God is to have the mark of the beast, but JESUS leads to peace, love, joy, wisdom, mercy, prosperity, and eternal life ❤️ 🙌 🙏 ✨️. JESUS died for our sins. PRAISE BE TO GOD OUR LORD ✨️ ❤️ 🙏 🙌.
Always great to see a legendary studio like Blur move their pipe to the engine and embrace it despite all the challenges of moving from a traditional offline DCC pipe.
This is such an inspiration for independent UE artists and storytellers, my fav episode for sure, too. Loved every bit from picking on a default metahuman hair to some of the beautiful little UE graphic giveaways throughout the whole episode and was happy to see all the Epic Technical staff in the credits when I watched. Love the team and much love for UE for existing!! Such a great big demo for an all-in engine production.
EPIC, BRING BACK UNREAL SERIES PLEASE. RESPECT YOUR ORIGINS.
My favorite episode of the show. Very inspiring.
In-engine omg…that is incredible!! 👏🔥
Wait until you see the episode. It's amazing!
Along with dozens of other custom scripts they made in house
@@shash8085like any other competent devs would do?
@DaDarkDragon my point is what is the point of showcasing these videos when normal artists can not benefit from it?
It shows that the engine is not capable yet to perform a task that requires production level quality
@@shash8085the point is so that we can take their lead, the custom scripts are the norm for all studios no duh normal artists can’t solo what a literal full team did, but the technical artists in our community know it’s their bread and butter to make some custom scripts and they absolutely can use this video resource for their own scripts. Maya is production level and needs custom script, Houdini is production level etc and so on… all 3D production softwares need technical artists writing custom scripts when doing an animated production, writing any more or any less or not using any custom scripts at all does not change the production level quality when it’s the industry standard to do custom scripts.
We need unreal tournament back in the gaming world
I'd settle for a 90 minute movie at this point
@Daniel_WR_Hart hell ya anything, hopefully they take some of that fortnite money and relaunch it
Agreed. Problem is Arena Shooters have been dead for a long time now. However history always repeats itself.
@@hardwire666too Yea, unless the game is balanced so you don't get one guy that can easily dominate the entire map, Overwatch-like games are as close as we'll get.
I just realized, what if Epic revived UT as a hero shooter?
@@Daniel_WR_Hart Unreal Championship 2 exists and is a banger so I can see them going down that path.
Can’t believe they made that episode in UE…absolutely 🔥🔥🔥
Super talented team, on the bleeding edge. Super inspiring. Thank you.
Unreal Engine's modular approach is its true strength, allowing me to write custom Code and Content plugins. This flexibility enhances my ability to optimize animation production pipelines for clients. It’s a truly powerful and beautiful piece of software. It is now becoming a key tool in the pipelines of many major studios.🔥👏
Fascinating 🥰 . Thank you 😊 for upload Unreal
33:26 - This is what happens when UI goes in hand with Experience. Amazing setup!
One of the best Unreal Fest conference
Aaaawesome!
That outro was good
thanks for the Cvars!
We really need an Unreal Tournament 5 made in UE5 and this shows how awesome it would be
Epic Games is busy milking money with Trashnite.
Unreal Engine King ! I love Unreal Engine
UE and Maya has always been a powerful mix.
Very cool, great job on the episode
Very very impressed with this! They left me hanging though. How in the world did they add custom bokeh textures to their DOF in-engine? If you freeze frame the shots in the episode, its obvious they used a custom texture but I have not been able to find anything in UE5 documentation on how to add bokeh textures anywhere after UE4.23. I thought they were gonna say that they exported World Position and depth and did all the DOF in Nuke, cuz its way easier to add bokeh textures in Nuke but I guess not. If anyone has an answer, I will appreciate you forever.
Hey Owen, are you sure its custom bokeh and not the lens squeeze factor and diaphragm blade count inside of Unreal?
@@gabetandy Yeah! Thanks for the quick reply. I use the desqueeze in UE5 a lot for work. I took 600+ screengrabs from this episode so I could study it and the close ups all have a very visible texture in the bokeh that isn't possible if you just crank the aperture blade count and the desqueeze at 2. If you want I could email you some of the close up shots. Its not present in all the shots, but in multiple medium and close ups it was very obvious it was more. Its very possible that the 5% of the shots that weren't on those render settings they showed were just done in Nuke DOF compositing where they could use the textures and the rest of it was just default desqueeze in the camera settings. Or maybe they found a way to build a custom post process material that uses scene texture and world/custom depth to do it in-engine... idk. Just very curious.
BTW I love your videos. Great work in them.
@@owenjenkinsofficial So they also show the stages of layers in Nuke. There is a layer called Optics. Could this be it?
@@АрыйаанКолодезников True, but that looked like mostly stuff like lens chromatic aberration, distortion, etc. They also showed them adding subtle extra DOF in Nuke on the character layer, but the layers exported from UE5 already had DOF baked in, hence my interest in knowing more. I may just have to email one of the senior artists or supervisors and ask to get a real answer.
@@owenjenkinsofficial I'm more interested in the question of how they took depth information to add DoF in Nuke. Because I didn't see the pass of the Depth.
Wait... so you're telling me this episode was, in fact, made using Unreal Engine, and not BLUR's in-house tech they were using for decades now?
Like, what?.. Come again.
WHAT?
(O__________O)
This is some sorta black magic, I'm telling ya. I just...
...
Wow.
Nah they used Godot and unity for this episode
Amazing presentation!! Thanks for the valuable inputs. Pleeease put the UE Synoptic tool on the market place / fab!!! :)
Wow that is so cool that it was done and unreal engine! :-) and that was actually one of my favorite episodes as well. :)
Wait??? This isn't the episode with the minors and they battle it out with in the arena?
What a tease Epic...
You shelve Unreal Tournament on UE5 and then push for stuff like this to be shown.
Haven't had a good shooter to sink my teeth into for years.
OK I Need to know if that Unreal Synoptic plugin will be made available in Fab MarketPlace ASAP......GIB NOW!!!! Pretty PLEASE!!!!
You try tatools or locodrome metahuman facerig plugin?
UT5 should be about arenas that move and shift and rearrange themselves just like in Secret Level.
Wow can’t believe that was mass in unreal. Did you use mega lights ?
Time to bring back the game and make it a part of the big verse.
Boss-UE5.5 has a built-in plug-in to isolate post-processing effects separately-Post Process Material Chain Graph
How to use it...I haven't seen anyone mention it
Where was the event held?
Even a big studio still can’t get get out of the unreal look
Why would a show set in the Unreal universe try to go for a different look
You are telling the guys who made their own games can't use their own engines?????
He says they used lumen but the rendering console variables show ray traced reflection and GI samples. Do these CVARs have an affect on lumen reflections and GI?
Wow, reminds me of the original blade runner at the beginning
What we need is training coming from 3dsmax !
noice!
Great, where is Alessandro Baldasseroni?
Hi Unreal Engine project, would it be possible to activate the automatic youtube audio transcription to spanish or another language, the whole world will thank you for it.
2025 big companies : time to jump into this software
Интересно
would love to have heard from the FX sup as well. Very impressive if all of the FX simulation was Niagra.
Now bring back the game in UE5
26:25 😶🌫
first guys 4explanation for their structure was terrible
This is why this episode has the WORST VFX... worst characters, unrealistic humans, hair is actually terrible and conveniently quite dark, really sad because the narrative and concept is great. It actually remembers me to the Matrix short they did, were acting is horrendus plus humans looked weird, meaning the cinematic art is good, while the realism is poor. Specially the female character... so bad, EPIC should focus back to videogames and while this new features improve the engine, itself runs slower or worst than UE4 and many new features are useless for console or cheats to convince new people to use it, while in fact the real game industry does not and keeps using Haircards, LODS, etc. not meaning they should not progress, but...
There's truth to that, this episode, while an impressive achievement in terms of mood & cinematography and a fun watch overall, still had this "gamey", fake artificial look to it. You could tell immediately it was made with Unreal.
JESUS loves you all ❤️, REPENT and follow JESUS because he is the truth, the way and the life ✨️ 🙏 🙌 ❤️. Sin leads to destruction, rejection of the word of God is to have the mark of the beast, but JESUS leads to peace, love, joy, wisdom, mercy, prosperity, and eternal life ❤️ 🙌 🙏 ✨️. JESUS died for our sins. PRAISE BE TO GOD OUR LORD ✨️ ❤️ 🙏 🙌.
Jesus probably uses Unity