This class taught us about the material system in Unreal Engine and some basic practical steps.
1. Material Core Concepts
Material Domains:
Surface: Used for things like characters, walls, and objects.
Volume: Used for environmental effects such as clouds or fog.
Transparency:
Fully Transparent / Visible: Uses black and white textures; it’s fast to render.
Translucent: Has adjustable transparency — good for glass or water.
Shading Models:
PBI/PPI: Texture-based and most common.
Light-Affected: Color changes depending on the light.
Wax: Used for glowing or soft materials like skin.
Special Effects:
Use “Time + Sine” nodes to make flicker or loop animations.
Turn on “Double-Sided” for objects like leaves, so both sides are visible.
2. Basic Operations
Create a new map.
Import a model (FBX or SPX file).
Drag it into the scene and adjust its position and rotation.
To create a material:
Right-click → Create Material.
Add Vector Parameter (to control color).
Add Scalar Parameter (to control brightness or roughness).
Connect them to the right ports (for example, to self-illumination for a neon effect).
WEEK 4
Adding Core Elements: This section explains how to add two key scene components: parallel light and spatial atmosphere. Some content also covers how to set up exponential light sources.
Basic Operation Techniques:
I learned how to modify object positions using the Reset Location function, how to quickly move the camera to an object by double-clicking a Static Actor, and how to add a Voluntary Clock into the project by dragging it into the scene.
Adjusting Scene Effects:
I learned how to create different lighting atmospheres, such as daylight or dusk, by rotating the Sun. I also practiced changing the Long Passengers setting to adjust the sky’s thickness, and increasing the Darkness value to make the stars appear more clearly.
I also learned how to adjust the materials.
WEEK 5
We did not have a formal lesson today. Instead, the teacher gave us a self-study session to continue improving the content of Assignment 1.
After that, the teacher explained the requirements for Assignment 2. For this task, we need to use Unreal Engine to create animations for two theme park rides and design interactive shaders. Using Blueprint, Timeline, or Level Sequence, we must produce dynamic effects such as ride movement, mechanical parts animation, or environmental changes. In addition, we need to apply interactive materials that react to player input or the environment, such as glowing effects, texture changes, or dynamic lighting. The goal is to enhance animation quality and interactivity, making the scene more realistic, immersive, and smooth in performance.
WEEK 6
Today’s class focused on the hands-on workflow of importing assets, creating animations, and setting up interaction triggers in game development. The main task was to animate a door and allow the player to open it through interaction, and I made sure to follow each step clearly.
We started with asset import and project organization. I downloaded a compressed package from Microsoft Teams, extracted it, and obtained the necessary model files such as the door. After that, I created specific folders in the project—like “door models” and “classic model”—and placed the imported assets into their proper directories. This helped maintain a clean structure and made it much easier to locate files later.
The next step was creating the animation sequence. I selected the “Symmetry” option in the Content Counter to generate a Level Sequence. After giving it a proper name, I double-clicked it to open the sequencer. Inside the sequencer, I dragged the door model in and used the Location and Rotation tools to add keyframes—for example, rotating the door 90 degrees to form the opening and closing motion. I could also adjust the timeline duration to control how fast or slow the animation plays.
The final stage was setting up the interaction trigger. I created a Figure Box, resized it, and positioned it in front of the door so the player character could step into it. Then, in the Level Blueprint, I added a Begin Overlap event for the Figure Box and connected it to the door’s animation sequence. With this setup, the moment a player enters the Figure Box, the door’s opening animation automatically plays. After compiling the blueprint, the entire interactive function was ready to use.
WEEK 7
This week, the teacher didn't give any lessons, giving us plenty of time to complete assignment 2. The teacher also brought VR glasses for us to experience.
WEEK 8
This week, the teacher asked us to continue with homework 2.
WEEK 10
This lesson focuses on using Control Rigs within the engine to create animations.
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Core Concept:
Control Rigs are a built-in visual programming tool that removes the reliance on external software for animation production. They allow you to directly define object behavior and logic inside the engine—such as controlling position, rotation, scale, and other transformation attributes. This makes them especially suitable for game and interactive project development, offering greater flexibility and dynamic control.
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Core Operations:
• Basic Setup: After preparing a skeleton, you can add control elements and bind them to the skeleton. Parameter linkage is achieved through simple drag-and-drop actions.
• Linked Controls: Multiple bones can be associated with a single control (e.g., several bones reacting proportionally to one controller) to produce mechanical or robotic motion effects. Controls can also be connected to parts like the head or arms so that one controller can drive several components simultaneously.
• Animation Recording: Animations can be created by breaking them into sequences and setting keyframes. The Sequencer tool can further refine and edit these animation clips.
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Project Practice Workflow:
• Launch the engine, choose a virtual reality template to start or continue a project, then download and import the required asset packs.
• Find the skeleton asset and its Control Rig, open them, and set up the parameters and bindings, ensuring only the necessary attributes (such as position) are manipulated.
• Open Sequencer, drag in the Control Rig to generate references, and add keyframes to finalize the animation. Once completed, export the project as an APK file for submission.
WEEK 11
This lesson first introduced core techniques such as subdivision surface modeling and NURBS surface modeling, as well as methods for achieving high-precision models through topology optimization and Boolean operations. It also covered enhanced approaches to UV unwrapping and texture rendering.
In the animation section, the course focused on advanced applications of skeletal rigging, including IK/FK hybrid control, adding auxiliary deformable bones, and refining keyframe settings and interpolation methods. Additionally, it explored cloth and hair simulation systems. The lesson also introduced global illumination setup, advanced renderer operations, and particle flow effects.
Practical exercises were included to help us address issues such as model deformation errors and unrealistic visual effects. Given the highly specialized content, I will concentrate on strengthening my modeling techniques and understanding of animation rigging logic to improve my hands-on abilities.
Lastly, the instructor provided a simple example of the final project assignment for reference.
WEEK 12
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