GAME ENGINE DEVELOPER Reacts to UNREAL ENGINE 5 EARLY ACCESS
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- เผยแพร่เมื่อ 26 พ.ค. 2021
- Twitter ► / thecherno
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Discord ► thecherno.com/discord
Check out Hazel (my engine) ► • My Game Engine can now...
Why I left my job at EA ► • Why I left my job at EA
Second channel (with more reactions) ► / morecherno
Welcome to Unreal Engine 5 Early Access ► • Welcome to Unreal Engi...
#UE5
Me: Holy shit those shadows look amaz....
Cherno: Those shadows are looking so noisy
Me: ...ingly noisy. Yes, amazingly noisy.
Noisy is more far better that aliased/block effects/etc ...
In this video, theirs shadows seems stable and coherent .. it's kind an exploit on full dynamic environnement (with this scale) like this !
GG Epic Games ^^
Me: Those shadows look so good-
Cherno: Those shadows are looking so noisy
Me: Disgusting. Absolutely horrible. Couldn't be worse.
@@Chrome_Flux lmao so true
@@yoyonel1808 There are problems with shadows produced by Lumen and they are documented with workarounds as well.
@@chupasaurus can you share some links/urls about this documentation? Thx :)
So far, we've only seen a deserted area in this engine. I wanna see a dense forest, with heavy foliage, water, particle effects and atmosphere.....
Good point, real time lighting tends to tank in forests.
I expect it's because most foliage isn't likely to be a straight static mesh.
@@kev1nno really hope they get something to work on natural elements like trees and water. That'll be awesome
i wanna, i wanna, i wanna...
That's what I was thinking. I want to see more biomes, and have they put as much work into foliage assets. I'm curious how devs will make games look different, if how hard it will be for dev teams to create custom assets.
This is going to be huge for film productions too.
Especially ILM's StageCraft screen stage
they are using it i guess
Mandalorian as a Link!?
Would you kindly explain how
@@lock77down28 if you have D+, check out the behind the scenes Mando series. There's a while episode dedicated to their virtual stage that runs in Unreal.
finally green screens can start to fuck off, with time
Saw this earlier and first thing I thought of was "I want to see Cherno's reaction to this."
Same
He wouldn't let us down on this :D
Same :D
I was watching thinking, looks good but means nothing to me. I'll wait for Cherno to explain.
Ditto
_BRB, off deleting Hazel!_ Vol. 2
Zzzz oppression triggering depression
@Calvin Something Yeah, that's what I'm doing with the engine I am currently concepting. It will be a 2D engine with no native physics, but instead has HLSL shader integration, a procedural animation system, and a system for making complex particle systems. I personally like hard-coding individual physics, so to me this is fun.
:|
@Calvin Something Just because the source is open it doesn't mean that someone can copy your source code and use it in a commercial project, that's regulated by the License a open source project uses. But other than that I agree!
@@cankarkadev9281 well Hazel is licensed with the Apache 2.0 license, so you're free to use the source code as long as you keep the copyright and license notices.
Bruh 5 years ago, I said graphics were getting so realistic, it looks like real life...I didn't think it could get much better but, it did.
There is still a looot of room for improvement left, just not visually but physically. I believe virtual environments won't be indistinguishable from real life for at least a few decades.
People have been saying graphics can't get better for decades. I remember Cliff Blezsinski giving a talk about how Virtua Tennis and NFL 2K on Sega Dreamcast (circa 2000) had perfect graphics and animation that probably couldn't be topped.
Yet, somehow some way we still outdo our expectations
@@tehama4321 if someone actually said that at the time, he was an idiot, without question. not sure how they manage to breathe.
@@Jonaasti He's the creator of Gears of War. He said it during a GDC presentation. People 20 years from now will probably say that we're idiots for thinking graphics can't get any better than they are now.
That's the point.
@@tehama4321 There is definitely room for improvement for some things, but other things are perfectly realistic provided games devs are willing to spend the time/money to get it and unreal is making some of that easier. the main issue is performance so we can have more going on in a scene. I expect things will branch out more into more features that take more computations. Though right now there is some interesting work with AIs... For instance someone made a AI that does fluid simulations(smoke, water etc) its about 99% accurate and uses a absolutely tiny amount of computations compared to a 'real' simulation. I have no doubt this tech will come to games where 100% accuracy isnt needed and when it does we will get an explosion in performance on various things. Though one thing we may be at the limit on is triangles for objects. there isnt much reason to go beyond what we have now which means companies can invest into assets that they can reuse, great to bring down game costs rather then remaking them every generation, possibly why unreal is doing that now.
Dang... Putting that fortnite money to good use.
"We programmed amazing shadows in our game, looks so amazing, enjoy"
"Starts game, opens options ...Yeee I am gonna turn shadows down as much as I can for performance"
"Bruh..."
I am one of those players that can't play without shadows. My brain just can't handle something floating in space and not casting a shadow. But at the same time I am kinda ok with just a dot under a character in older games.
hahaa
I have seen several Twitch streamers, that turn off all dynamic shadows, making the game look completely flat, even if performance is still ok. Never understood that. Shadows are one of the biggest improvements to visuals. I would rather turn down the texture resolution or post processing.
@@vast634 Sadly shadows and Ambient occlusion is one of the most demanding effects that gives biggest FPS boost.
25:08 I find it funny that the blueprints for the shooting sound effect look like a gun
12:38 "That's too real"
No,
it's unreal
*get out*
NOW
imagine watching a David Attenborough documentary and then see the Unreal Engine logo in the credits 🤣
Why nobody mentions the Utah monolith at the beginning? That’s the real highlight.
Facts I need to go and see it lol I live close enough.
@@josephlabs I live on Europa
Would you say that I'm close enough
@@Kholanee 🤣
@@josephlabs 😂😂
@@Kholanee Of course you are, for love is never far away.
...nanite love, that is!
JFYI: UE5 editor works under linux.Yeah!! It took me 3 hours to build, no crashes yet :-)
did unreal 5 after downloading compile itself, maybe thats why my computer couldnt handle it via the epic Launcher?????
Is the support good tho? Godot probably still has better support
@@godnyx117 Godot has de advantage of being free and open-source
@@rodrigoceccatodefreitas1656 Unreal Engine is open-source aswell and kind-of free (licencing)
@@toyb-chan7849 We mean free as in free speech, not just free as in free beer.
"It's like Minecraft"
Thanks for the summary :D
Unreal finna gonna catch up to minecraft in graphics :D
Will you research how the Nanite geometry works and possibly even make a video on it?
Upvote
it works by duplicating what you make multiple times and then adding noise to the textures, this way popping in textures will be much less likely, but the cost of this is that the lowest texture setting in the game must be atleast 4K so its a trade-off
@@XTripleJaxX I think how he meant how nanite work with the micropolygons. how they are stored.
My personal bet is that its some kind of SDF texture slices what then are fed to GPU that extracts the texel data as mesh cordinates with a color. I am not even sure if those polygons even have textures or if one polygon basically is just color and material data. What I agree with you is that mostlikely those packs of SDF texture slice stacks are made in different resolutions so in that sense there it a LOD system. So they stream in and out in some form of partion tree diffrent sizes of those SDF texture slice stacks depending on needs (distance, focus area etc.. could be customizable) This is also the reason it only work in general on static geometry. Its easy to just on the fly create those texture stacks when combining meshes, moving things around as its just texel brute force copy. But if the tex data = the mesh would change and deform in some way that would be a lot more expensive. So for those meshes it makes sense to go with more traditional low res baked models that can be deformed
@@litjellyfish Unreal Engine's official channel has a video from June 4, 2021 that covers the technical details. It clusters triangles, and the LOD's the clusters. It's still all triangles - no SDFs. Limitations are that it's pretty much just for static geometry (for now?).
I feel like Animation Motion Warping would be really good for games where a lot of the animations are used over extremely similar shapes, but shapes that still differ enough to more visibly impact more static animations. For example if you were doing something like a cover-based shooter, most of the cover you'll be moving in, out and over are going to be extremely similar but still different enough that you could benefit from the warping without looking particularly odd.
(Which I realise now might make sense when you consider Epic also makes Gears of War)
was thinking this exactly instead of a room of waist high walls(i'm playing mass effect 2 and yeah) even a room of thigh to stomach high walls add alot of variety haha.
My thoughts: Definitely interested in your technical breakdown/analysis on their features when they've given those details, or you've scoured their code. :D
I know for myself, my programming/analysis level is not at that level at all.
I believe Unreal Engine is closed source so he can't really look at their code.
@@ashwinrohit8387 If you sign up for an Unreal account, you get access to their github source repository, including the branch with the early access code and all the new features.
@@davidbutler522 oh okay
13:12 "Also avoiding painful merge conflicts"
Developers: *Vietnam Flashback*
What exactly does "merge conflict" mean in this instance? I've worked in UE4 but I haven't heard about that and I'm curious.
@@LaraWarriorWolf A merge conflict can occur when the same file is edited in several branches of the same code and then those branches are ultimately merged together or merged into a common branch.
If I change line 5 of the file and you also changed line 5 of the file, this creates a merge conflict which must be "solved" so that the final state of the file can be determined. Often merge conflicts can get very messy to solve. Whoever solves the conflict, must make sure that the final state of the file still achieves what each individual change was trying to achieve. Sometimes this is not even possible if two changes are actually in logical opposition with each other. In this case, one set of changes needs to be discarded
@@spaarks84 I see, thanks a lot!
The video audio is so quite but your vocals were loud so I couldn't turn the video up because I didn't want it to make it super loud when you commented. I appreciate your narration and input, you are giving such good content for video game tech that we just have not had before as regular fans of video games. I am very excited to see video game creation get so streamlined and smooth that all these creators can just create art to their hearts content. I feel like games are going to skyrocket from the release of these improvements and it's only going to improve from here.
Incredible video! I was waiting for this video to happen
Cherno, I would love that after you will learn all of this technology of nanite, you will make a video on that.
Upvote
The source is open so you could see how they build it yourself right away :D
@@kidmosey Well, my looking at how it works (i.e. looking at the source code) you're not "using it"
was waiting for this video of yours. thanks, Cherno!
Interesting you mention Tatooine as a bunch of early UE5 development prototyping apparently was done working on solutions for The Mandalorian.
9:54 It is Geonosis you had on mind, from Attack of the Clones.
The smoke effect is propably done houdini and exported as image sequence, unreal can then stitch the images into animation.
This is the specific video I wanted to hear. This, and Digital Foundry. I'm loving these unique perspectives on gaming, it makes me appreciate the medium more as a whole
As for that motion warping looking unnatural, it should be possible (if motion warping can export variables) to use the existing animation system to blend other versions of the animation depending on how far motion warp has to modify the animation.
Exactly, you want to have maybe 3 vault animations, for small, medium and large obstacles, everything that is in-between those sizes could then be warped and matched perfectly. This way you wouldn't even need to blend 2 different animations, you just take the one that is closest to the size/distance and warp it. But I guess if you could additionally blend 2 animations together you get an even more realistic and unique end result. Helps with variations too. Mirroring the animation would also be a method of increasing animation variety.
Nanite sounds really great. I hope it can eventually be applied to non-static meshes. Vegetation is so important for a lot of levels / scenes but it seems like you'll only really be able to scatter them like crazy if they have no bend / wind deformers etc. Like, this could allow you to make crazy dense forests as far as the eye can see but then they will probably not be affected by weather etc right?
As soon as Unreal released this video my first thought was, “I can’t wait for Cherno to react to this.”
I was keeping my eye out for this reaction in particular!
This blew me away, I remember my first desktop computer, purchased in 1984. Thousands of dollars ... lol ... a blinking DOS cursor. But I loved it. Gamming has had a big part in driving the technology.
Thanks for your commentary! It was interesting to watch!
Excellent review. You have a good way of explaining things.
Great reaction,looking forward on what will be created with this engine.
Excellent video The Cherno!
I love this new stuff... it's like instead of trying to "improve" development and quality they went full-on at trying to "solve" it. I can even imagine a couple of full-length movies made completely in UE5 in the near future.
Great commentary right here. Thank you so much!
Was very curious to hear your input on the early access, thx for your point of view!
Noise of shadow edge is caused by cashing algorithm of Lumen. Populating surface cache and simulating light bouncing are calculated in different frames and light simulation takes several frames to be stable for each pixel. Or you can call it temporal accumulation illumination.
in movie cgi tooling that use spline geometry, the common technique is to dynamically adjust the subsurface division based on distance to the camera. Kind of amazing hardware has gotten to the point where these techniques can be used for real-time game engines.
I had never seen a 30 minute video before on the TH-cam . THIS VIDEO IS SO, SO GOOD. He told everything which seems important and cool ❤️
I don't know how I stumbled upon your channel but I'm glad I did. It's cool to see a developers point of view.
I watched this for the second time with your commentary. Thanks for breaking it down im excited for the future of game development even more now :)
love the data layer implementation, i feeel like that may help me stepping into game dev
i think here 8:37 when they say instances, they meant mega scan asset. all those colored blobs are individual quixel assets. which contain around 1-2 million triangles each.
something might look like a big singular mesa, but its actually built out of multiple assets, and this view shows you each individual asset as a different color
NICE, I was expecting this!
@The Cherno this is amazing, but I want to start seeing some workflows. How do you assemble an expansive environment from THOUSANDS of indiviual meshes? It there a tool or are you just hand placing every one of those? They've apparently removed displacement completely, so there is no more sculpting a landscape from planes and applying a Quixel material. I'm assuming you won't be able to just vertex paint rain puddles on something like this because it's fully 3D, no more cheating. It's both a leap forward and several steps backward from what I'm finding so far.
Nanite-like tech in Hazel in about month. :D
Lumen seems to need a few frame to compte the shadows and gi accurately, but usually, you don't see the world lighting changing that fast, so it shouldn't be a problem here. It might be important for scene where the lighting change quite quickly (like last year example where the ceiling came down crashing, letting the light goes in) but maybe it should be ok if this is done at a smaller scale I imagine.
Last year demo already had some "temporal" artifact when the lighting was changing quickly at the begining of the demo.
Beat me to it! Great video man, always enjoy your stuff.
I love hearing your opinion on this kind of stuff. You da man 👍👍
Hey Cherno, I was wondering what was your very first engine like?
It was terrible.
@@TheCherno Hahaha, and if you don't mind me asking. How did you start learning about game engine development and how did you approach the whole thing?
@@fudgeracoon2529 especially considering there were no "The Cherno" videos🤔
@@fudgeracoon2529
why you asking?
you are using Internet dude
Would love to see some breakdown and exploration of the nanite code and honestly if possible Unreal code in general from an experienced engine dev. Comparisons to how things are done in Hazel and maybe other things you've worked on in the past and what not. Anyway great stuff!
4:20 I am a senior graphic designer and had no idea about the tab shortcut 😂💀
yeah the smoke was weird to me too. It is probably like a 2D card simulated in embergen and then just placed in the scene. The lighting looks kind of correct but the motion doesn't have any collision really.
26:23 i think its because its a solid smoke cloud where really all that it should be is a brownish thin dust cloud
e3 is coming up, would love to watch your analysis of new game previews
Was interesting, as ever getting the view of a real developer brings new light to the subject.
I relay do like your videos and the insight you bring, thanks.
PS the smoke looked off in part as the colours of the smoke did not match the land, It looked like the smoke was not from the dust and sand of the desert but some generic smoke effect.
That is ignoring the kind of soft shape that was less natural, I think with the colour fixed to match the environment the texture/shape is easy to overlook.
I would suspect that the „instance“ may be a meshlet or a meshshading executing unit that then gets its lod dynamically generated on the gpu to get the right triangles covering the right pixels. Probably there is also a hell a lot of pre culling done to compensate for this expensive meshshader.
The consensus is that: The lods are pre-generated mipchains and regenerated at runtime in compute, the culling seems to be pretty much the same as Virtual Texturing methods as the meshes themselves are stored as textures and paged in and out of memory.
I have been so waiting for this!
I was waiting for this video 😄
I think it's obvious that this is all the technology that they have been developing with Disney for the volume that they are currently filming Obi-Wan Kenobi with.
I'm not sure, if ILM is the one behind the VFX of Obi-Wan Kenobi then they won't be using Unreal Engine. ILM has started using their own custom rendering engine StageCraft. Season 2 of Mandalorian is already using this and not Unreal Engine.
Why would they use technology that is focused on real-time rendering on a movie?
@@notlekrut Aren't they still using Unreal though? I thought they just switched to their own renderer for the output but everything else is still Unreal.
@@human-ft3wk look up BTS footage on the mandalorian. instead of green screens they use huge monitors to show backgrounds in real time.
@@VIIIaron Damn, I had no idea virtual sets were a thing. Amazing. I guess you can use a real-time engine for movies
24:38 That's cool. It's a full blown modular synthesis engine like Max/MSP.
The smoke looked bad because they didn't do a good job keying out the black background from behind the smoke in the stock footage. Guess we'll have to wait for UE6 for that.
The nearby smoke when the monster fell was dark, and then went entirely translucent though.
I'm certainly not a game developer but I feel like one area where games fail to deliver, is in drafts and shockwaves. For example, referring to what you were commenting on about the smoke effect. I feel like its visual appeal was largely affected by the lack of drafts (movement of air) created by objects in motion (The giant robot guy) affecting the smoke any. If you were to swing a large object through smoke, the smokes generative path as it expands/ disperses, would inevitably be altered. We need to see more of this in gaming if we want more convincing effects in general, not just in smoke effects. Fire, dust, smoke, floating debris etc.
as someone who made tons of electronic music in my life i can tell you all no one is going to nerd out on these synthesizer features. vsti synths came a long way already, especially workflow-wise and you can clearly observe how that enabled everyone to make better sounds. going back to weird modulation matrixes and stuff to do sounddesign would only make everyone frustrated now. i think it's cool that they want to make games more interesting sound-wise, but they should take a look at how it's done in actual DAWs and synth plugins to get a better idea of a good audio workflow.
Was wondering when this would pop up on my feed
The thing whith separate files for every actor has been done by Jonathan Blow for years. They used that for every entity in the world for The Witness. The only downside was that Windows can't handle tens of thousands of files in one folder, so they had to split up the entities by id (which was just an incremented int I believe) and had folders for every thousand of entities or something like that. Version control was one of the major benefits.
I do advice to look at some Jonathan Blow videos on how they solve certain problems. Just as Casey Muratori's view on memory management.
This is extreme HYPE
Great video as always. One thing to keep in mind with Nanite are the ridiculous file sizes requiring insane hard drive space...which means don't expect existing pipelines to disappear overnight...
Something I noticed was that, while placing the environment and the Ancient standing up resulting in rocks falling, the actual laser didn't seem to affect the ground at all. Is there an actual limitation there or was it an oversight?
I love how high-definition the meshes and textures are with Nanite.
The problem with that however, is that the rest seems a bit lacklustre in comparison.
While the smoke, grass animation and lighting mistakes would have blended in with a lower definition environment, here they stood out like a sore thumb.
Actual games built using this will probably be more balanced in that regard.
Another banger upload
I'm curious about realistic sound propagation. If I am fighting a mountain-sized enemy at a distance of many tens of meters or more, that's far enough that when they fire an energy/light weapon at me, I should see that immediately but I should only hear the firing sound a fraction of a second later. Even if the effect is very small and hard to notice consciously, it can contribute a lot to perceived realism in such epic/monumental scenes. This is one thing that movies usually do very well, often even exaggerating the delays for impact.
It would be so awesome to see a video of you reviewing the source code and teaching us how they achieve so many polygons on screen with nanite
Someone brought up a good point about UVs and texturing for these high res assets on Reddit. It's been awhile since I did some modeling and sculpting work but I believe tools like Substance Painter can auto generate UVs for high res assets, correct? Meaning that texture artists can paint freely and just export the high res model or sculpt when completed without tirelessly trying to UV a billion polygon model. Or is retopologizing and UVing still necessary?
The TAA Gen5 on Unreal Engine is very good. And with TAAU, it does some amazing work.
Compared to how bad the TAA was in Battlefield 5....
I like how the metal thing they added to the environment on 3:58 went above everyones heads. LOL
There was a remote area in the US in a similar looking environment where they found a piece of metal just like that and then all of a sudden it disappeared days later.
Genuine question: not meant to be offensive: Since large game engines like unity or unreal are continuously evolving and improving, what gives you motivation to keep developing hazel in such a competitive world? Personal interest and youtube content, or something else?
While we may want a one-size-fits-all approach to game engines, Unreal Engine doesn't do small games. At all. Ever. The basic engine will usually come in at 100 - 200mb depending on the game engine you've created. The data files increase it from there.
A flappy birds game doesn't require 8k texturing (unless you're Fat Dino), so a smaller engine like Godot or Hazel becomes a much better choice. You can make a 1.5 tb flappy birds game in Unreal Engine (and it'll be the MOST gorgeous flappy bird game ever), or it can be a 20 mb download, and that's a lot friendlier. Not as pretty, but definitely more functionally acceptable technically.
@@radarodonnell Thank you. What about mobile games that are 10-20 mb in size? Are they developed with unity?
@@maxemore Perhaps. The size of the game itself is dependent on two main factors.
1. The size of the game engine used to render the game. A simple Break Scheduler (for my real job) in Unreal Engine clocks in at about 150 mb with minimal assets. Dart can do a basic program with a 10 mb installer. I can't speak of Unity as I haven't tried it yet. The Unreal Engine engine has a minimum installation size to do what it needs to.
2. Assets. Audio and visual will inflate that number VERY quickly. 1 second of audio is about 500kb, so every sound effect, every moment of music adds up quickly. Textures can range from low quality JPGs of about 50kb to 8k textures in excess of 400 mb. EACH.
The game engines available today are amazing as they do so much of the pain-in-the-backside programming for us. And it's only getting better for creators. However, don't expect an Unreal Engine 5 game to be space friendly. That quality will eat storage as fast as you can buy new hard drives.
If a small installer is what you want, then program directly for Android or iOS. Every layer added on top of those environments will inflate your final product size. I found Dart to be a good compromise.
@@maxemore Unity does have experimental/preview tech called Project Tiny that can do really small builds and is aimed at browser. mobile and playable ads e.t.c. Lots of native mobile games built using things like Kotlin/Swift for their respective platforms can also get really small final builds assuming the assets aren't crazy and the game is small in scope.
As for your original question I obviously can't speak for anyone else but it could simply be passion and desire to make something his own. The intent doesn't have to be to go head to head with Unreal or Unity but to make something for yourself and share that experience with others.
That and you can focus on features you want to implement and do things the way you want to. A lot of control and freedom that you don't get using someone else's tech. End users might simply want something less complex and bulky. Unreal and Unity are powerful and filled with features but that adds complexity, learning curve and in general are just a lot to digest.
Don’t be frustrated. Your Hazel engine will also be outstanding in the future. No doubt that UE5’s Lumen global illumination solution and Nanite virtualized micropolygon geometry have given you some brilliant ideas. Starting from reading source code from Unreal Engine 5 and borrow some ideas from that and make your engine glorious.
With all due respect, but Hazel is nothing like this.
@@kraenk12 its not about Hazel anyway, he is developing Hazel to have a reason for the youtube channel and get money from that and not have a gamedev job at some company :). Surely he likes doing it, but the frustration grows each time Epic or Unity are spitting new features and releases :D, been there...
@@diycoding9400 thats how companies work and are successful. nokia cant blame apple or samsung just cause they release better phones. u either need to be first, better or more efficient
@Stay EZ My Friends Well, maybe its not full on direct targeted frustration, but there is some internal pain and sadness you don't have the time to achieve those features, we're humans after all, we have feelings, I am pretty sure he is not a robot, or is ...he ? ... :D. But then again, as I said, his engine is an educational project linked to this youtube account, not something that will have to compete with the big boys.
totally looking forward to that, i've been playing with nanite and lumen, and is a total game changer, specially nanite, is pure black magic
That huge soundboard intimidated me more than everything else.
A great Idea for a UI for my IDE, UE5 and Hazel would be to work with the fact that many people already have 2 monitors and to be able to have the viewport in one and have the toolbars in another.
Man gaming is soon going to be out of this world. Cheers for the upload. I was here the first time you covered this and sub that day.
The smoke cloud as the ancient fell was constrained like a cloud or smoke, it should have been less dense and without defined plume edges, and had more travel away from the impact point as dust does when you drop a brick into fine powder.
well epyc really is making everybody think that is pointless to try to compete with them, and instead they should join them. There has to be a catch though, can't be all that easy and good.
There is a catch. Ue4 games had framerate hitches anytime there is scene loading or heavy calculations. Their codebase is 10+ years old and is begging to be depreciated. Instead they are focusing on the gpu side of things and hoping people notice.
@@andrewherrera7735 seems like they put some work on that though, they probably clean out the code also. Seeing that part where they load only the parts that the player is using by divding the map in chunks I mean. The system looks a lot like "object containing streaming" from star citizen, looks like everybody is kind of going the same direction... interesting. At least they make it look like is super smooth in this demo. I can't imagine loading problems with the nvme drives we have today and 16 cores cpu's, they have to make it work smoothly to be honest.
The biggest catch is your game size coming in Terabytes because mesh size
@@ComplexAce didn't knew that, makes sense because of nanite with lots of textures
I really want to mess around with it. I know it would probably take forever to try to figure it out myself to the level of doing it properly, but it would be so amazing to be able to do something myself. And probably be the most rewarding and fun thing I can think of doing, even if it was trash to others lol
Migrated a large project from 4.26 to 5. The project is primarily artwork at this point but it is large. Migration succeeded but now the fps playing the game is a third of what it was in 4.26. Have enabled/disabled what options I can find regarding lumen and nanite but nothing has helped. That is my real life experience. I am not alone in this - other posts on the Unreal early access forum had similar stories. I am not wanting to spend a lot of time on a wild goose chase where there may not even be a goose at the end so I will persist with 4.26 for now.
Would be awesome to see you use the UE5, maybe check the demo and tell us what you think about it and of course the UI.
Blender 2.9 has the concept of workspaces - basically, UI presets for different kinds of work. And then there is just a shortcut to toggle viewport only and back.
You look like you'd be Aloy's brother from Horizon.
I uh,,
I mean thanks for the video. Awesome stuff! xD
Thanks very much for the balanced look at UE5! Its really good to see an experienced dev think through the tech, and what's being said!
I gave UE5 a go, and it is really good! But it definitely isn't perfect - nanite has a lot of fringing artefacts, especially on lower-poly assets. I'll definitely closely follow how UE5 develops leading into its release next year.
Loving all your videos as well! Hazel is looking great!
I was thinking Nanite might have something to do with how virtual texturing works. In virtual texturing, instead of switching out mipmaps for the entire texture, the texture is split into smaller grid cells, each having a low resolution counterpart which are switched out in screen space for each cell individually. Maybe they've used the same technique for meshes by splitting them into a bunch of smaller meshes which each have decimated counterparts which are switched out in screen space.
EDIT: I just looked at the documentation and apparently that's indeed how it works.
Cool video on your reaction to the demo of the updates for UE5. It'd be cool to see a video or videos of you checking out the project of the demo.
You aked what they mean by instances. UE has static mesh instancing system. It's called Hierarchical Instanced Static Mesh (HISM) . Is you place regular static meshes, each one is a separate draw call. But with instanced meshes, all meshes that are the same and have the same materials, they are batched together in a single draw call. The only thing they have individually is a transform, so each instance can have different location, rotation and scale, and some material parameters(there's per-instance material data, but it's small). For example the foliage tool in ue utilizes HISM under the hood. So yeah, I am pretty sure that's what they meant. So if you see there two objects of the same color in the viewport on the video, they are a single draw call.
would love to see you do a video exploring the early access and that beastly project file, if you have time that is haha
As someone who grew up playing Lemmings and Apple green screen games I really appreciate how far tech has come. this looks so real to me. It will be amazing to see this tech in a full game like Project Athia. Incredible stuff. I can also see this being used in the new Hellblade 2 game for the xbox.
When I saw that smoke at the end I thought it was going to be for some new dynamic particle system lmao
26:10 the smoke plumes are not catching the same light bouncing off the metal creature. They're more of lit from above. Not from the same light direction as everything else. I would expect more highlights on the right side of the bubbly stacks.
I can’t wait to see the progress in the next decade!