Jay Versluis Dialogues are a little tricky, complex and unintuitive to setup in Story Framework, so here’s an overview that will aid my (and perhaps your) memory. The hierarchy goes like this, no wonder I’m confused about it: Basic Conversations Each index in the Dialogue represents an independent conversation. We need at least one section, while others …
To interact with a Non-Player Character in Narrative Pro, we need to first In addition we’ll see how to bring up a dialogue option only if the player has an item in their inventory, and how we can give it to the NPC. Let’s take a look how all this works. Creating and spawning an …
Narrative has a component we can add to a blueprint that will turn it into an interactable object. It’s aptly called NarrativeInteractible. Once added to the class, we can select it and override the OnInteracted event. This will let us implement custom code that executes on interaction. The Interaction section on the component lets us …
In the player controller (SFDemoPlayerController_BP in the default project), select the camera manager component. Under Camera Settings on the left, switch between ThirdPerson and FirstPerson. This will determine what mode the game starts in. To switch camera modes while the game is playing we can press C to toggle (or hold Y on the gamepad). …
If you want to properly convert Genesis 8 and some Genesis 3 clothing over to Genesis 9 without using auto-fit, there’s a handy Developer Tools menu we can use. To convert into a native G9 item, the clothing needs to be stripped of its existing rigging, then re-rigged with Transfer Utility. Here’s how the Developer …
I’ve recently invested in Narrative Pro, a very comprehensive game framework for Unreal Engine 5. It features maps, quests, dialogues, inventory, combat, Metahuman support and a whole bunch of other stuff – in short, the glue code that would take me a good year write from scratch. As I get into it, I’ll need to …
I was working on a scene for which several actors needed to wear long draping robes as they walk slowly across a scene. This proved challenging to Unreal Engine’s native Chaos Cloth solver, which isn’t designed to drape high-res self-colliding cloth. While it can work, the results looked less than stellar as you can see …
I had an interesting issue today with rendering cloth simulations with Movie Render Queue in Unreal Engine: my cloth was either not showing up at all, or it was royally freaking out, as illustrated in the above screenshot. I spent two whole days testing and researching, until I found the issue my animations were having: …
Importing Daz content into other applications is tough on a good day, but trying to use Transformer with Reallusion’s Character Creator pretty much takes the cake: 9 out of 10 attempts will fail guaranteed. In addition, not all textures come in by default. Genesis 8 and older generations usually work, but 8.1 and 9 can …
When you work with other members of your team, you may get files for designs that contain content elements you don’t own. Character Creator will still let you view them, but you won’t be able to export them into other apps or create renders with them without a watermark. Your viewport will look something like …
Nanite for Foliage Assets has been available since Unreal Engine 5.1, and there’s an easy way to enable it on multiple assets even if they’re already part of a scene. Since UE 5.5 we often get the yellow “Nanite buffer overflow” warning, which can be eliminated by turning assets including foliage into Nanite meshes. Here’s …
Cinematics behave differently from real time gameplay. Since I focus on the former, I’ve had my fair share of issues in which some objects were working fine in the viewport during preview, but didn’t come out in the final render. It can drive you mad! Here’s a list of things to check, just in case …
Instead of replacing a landscape layer with a different material, I wanted to add a quick color tint function to Brushify. The Auto Material is a tad complex, so here’s where to go and do that. Open the Landscape Mater Material (M_Landscape) and find the MF_LandscapeLayers function. Double-click the node to open it. Pick the …
I tend to use an 18mm focal length for shooting in Unreal Engine, with a standard 16:9 aspect ratio. I find that it matches well what I see in the default viewport, which gives me roughly 90 degrees field of view. This leads to a relatively deep focus with an object tracked close to the …
If you’ve ever tried to set additional keyframes in a looped part of a motion clip in iClone, you’ll probably be familiar with your desired bone change to snap back immediately, accompanied by the following message: This is happening because iClone will instance whatever happens in the main clip (front part) in every looped part …
I like using iClone as animation front-end for Unreal Engine. Although a lot can be done directly in UE, not everything is as convenient to achieve as it is in iClone. The pipeline is designed with humanoid characters in mind and works well enough, but things get hinky when it comes to non-standard characters like …
When using tileable textures in Unreal Engine, you may need to change the scale of the texture to achieve the intended effect. An example would include a brick texture that appears too big or too small on an object. We can setup texture tiling like this: Multiply a Texture Coordinate node with a Scalar Float …
Unreal Engine doesn’t have a native input for height maps, but it has the next best thing, which is a conversion from height information to normals. We can supply a texture and a strength parameter, then add both to a NormalFromHeightmap node. This can be useful if you only have a base texture for your …
Vertex Colour information is great and all, but not if you have to be in Vertex Paint mode to actually see it. If only there was a way to display it in Blender’s Object Mode, ey? Thankfully there is! Head over to the Viewport Shading options (that little drop-down menu next to the Viewport Render …
Spring Effects in iClone are “faux physics” if you will, something that lets a skeletal mesh bounce as it moves. We can create this from scratch on custom figures, and it’s a little finnickety to setup, but very straightforward if you know how to do it. These effects are not baked to the timeline (like …
It’s easy to setup rigid body physics in Blender, although far from obvious. I don’t do it often enough to remember by heart, so here are the basics: Physics Objects I’ll create a plane and an icosphere for this example, then move the sphere up above the plane by a few meters. Both objects need …
Alembic cache files play back automatically in Blender. At first it seems we have very little control over how this happens, but when we take a closer look at the Modifiers Tab, we’ll see that that’s the place where all the magic happens: We’ll see some path information and a Time section. Expand it to …
Let’s take a look at recovering badly saved or crashed files in Blender, and a quick setting that will improve the likelihood of recovery. It’s inspired by an incident at the coffee shop the other day, and I thought I’d share it with you and my future self. So while I was out at a …
By default, Sky Creator adjusts the exposure of our scenes automatically, and a bit too abrupt. Pitch black night time scenes are being regulated as if it’s the middle of the day and vice versa, which is not great out of the box. There’s an easy way to disable the exposure settings in Sky Creator …
Since Unreal Engine 5.3 we can use static or animated VDBs in our project, thanks to a Heterogenous Volume and a built-in engine material. Here’s how to set this up. I’m using one of the excellent free assets from the JangaFX website. Import the VDB Right-click in your content browser and select “import” to bring …
You might have been as surprised to see Smart UV Project missing at first glance in Blender 4.3. If you’re used to the menu from 4.2 and before, you had expected to see something like this: Yet when you’re trying to use the same menu in 4.3 and above, all we see is this: What …
I’ve recently picked up Sky Creator by Dimitry Karpukhin. It gives much more fine-grained control over cloud creation than what I’m used to from Ultra Dynamic Sky. It also contains rain and surface puddle effects. Naturally I wanted to animate the clouds with sequencer and make sure the way the clouds evolve is the same …
The simplest way to animate a morph target directly in Sequencer is by writing a small helper function that sets the timeline’s value in the Tick Event. The morph targets themselves can be Shape Keys made in Blender, and their names will be retained. It is also possible to import morph targets into our mesh …
If you’re insane like me and have several versions of Unreal Engine installed side-by-side, you’ll notice that the system recognises what version a project was made in. As such, it will open the correct version of Unreal Engine on launch. You may on occasion have to change this, especially when you have multiple versions installed …
This week I had to animate material properties on a number of objects from Sequencer. That’s not a big problem when you can access the object directly, but in my case it was a blueprint that had several child blueprints attached (an array of lightbeam objects, each of which was setup with a dynamic material …