- 11 ore fa
Trailer dell'Early Access per l'Unreal Engine 5.
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00:05Ciao, sono Chance Ivey, Senior Technical Designer di Epic Games.
00:09E sono Galen Davies, Producere e Evangelist per Quixel di Epic Games.
00:13L'anno scorso, abbiamo visto la prima volta in Unreal Engine 5,
00:17la prossima generazione di real-time tecnologia,
00:20e la demo, Lumen in the Land of Nanite.
00:22Sì, abbiamo lavorato con l'enginio e l'enginio per preparare l'enginio
00:26e l'enginio per i creatori all'interno del mondo
00:28e che hanno un'esperto so che possano
00:30so che possono trovare le nuovi miei e conoscenze di feedback.
00:33Giustamente un po' di asteo, abbiamo assemblato una team di creazioni
00:36per sapere cosa che possono creare
00:37con queste nuove le spiegel.
00:39L'evoluzione è una nuova, un progetto,
00:41chiamato, Valley of the Ancient.
00:43E oggi abbiamo unito di darevi la prima intenzione
00:46al alcune delle nuove funzioni e funzioni che usate per creare.
00:49Abbiamo un po' di azzerciare,
00:51quindi abbiamo un po' di azzerciare.
00:59Quando setting out to make our demo,
01:00we wanted to push the boundaries of what's possible with UE5 today,
01:04while targeting next-gen hardware specifications.
01:07Here are sequences running in real-time on PlayStation 5 and Xbox Series X.
01:19Ok, welcome to the brand new UI in Unreal Engine 5.
01:22While a lot of the same features and functionality that you've come to know in UE4
01:26are still present in the new UI, we've added several new systems
01:29that put you at the center of the experience.
01:32For example, the content browser can now be accessed like a drawer using hotkeys,
01:36allowing you to keep a clean workspace while still having access to all the content that you need.
01:40We can also collapse and restore editor tabs to and from the sidebar,
01:44maximizing the viewport experience.
01:46And you're going to see a lot more of the UI as we get further into this presentation,
01:49but we can't wait for you to get your hands on it.
01:52Now, one of the main features of Unreal Engine 5 is Nanite.
01:55Our virtualized micropolygon geometry system that frees artists
01:59to create as much geometric detail as the eye can see.
02:02Virtualized geometry supports orders of magnitude more triangles without compromising speed
02:07and replaces the traditional system of mesh LODs,
02:10handling all detail transitions seamlessly without any additional setup.
02:15In other words, Nanite lets the artist create while the engine does the work.
02:19Switching to this Nanite visualization,
02:21you can see individual triangles rendered out as different colors here in the viewport.
02:26And because the geometry is now virtualized,
02:28you can feel free to place assets like these all throughout your scene
02:31to fill out a massive player space.
02:33Using this debug view,
02:35you can see individual instances represented by different colors from swatch to swatch.
02:40Each instance in this environment contains around 1-2 million triangles,
02:44providing enough detail for the camera to roam with complete creative freedom.
02:49Now, UE5's new anti-aliasing solution,
02:52Temporal Super Resolution,
02:54keeps up with all this new geometric detail
02:56to create sharper, more stable images than before,
02:59with quality approaching true native 4K at the cost of 1080p.
03:05While highly detailed assets are great on their own,
03:08high-quality lighting that realistically reacts to your scene
03:11is what opens the door to more dynamic worlds and immersive gameplay.
03:15Lumen is our fully dynamic real-time global illumination solution
03:19that immediately reacts to scene and light change,
03:21making for more believable experiences.
03:24And the GI hooks in directly with our time of day settings,
03:27allowing for true physically-based setups for photorealistic environments.
03:30The Megascans library has meticulously calibrated physically-based surfaces
03:34and objects in the thousands of assets as of today.
03:37And the assets that we're highlighting here
03:39show just how powerful it is to have nanite and lumen working in tandem.
03:44Also, thanks to the new sky atmosphere system,
03:46it is incredibly simple to quickly simulate realistic time of day,
03:50carefully arc-direct volumetric clouds,
03:52and make modifications to things like atmospherics,
03:55sun position, and fog.
03:57And for this example, we wanted a fully dynamic scene.
04:04of course, when in development,
04:07having access to high-quality content that's easy to use
04:09helps you iterate quickly
04:11and saves lots of time that can be better spent elsewhere on your project.
04:15With Quixel now being a part of the Epic Games family,
04:17we've made the full Megascans library free and open
04:20for all Unreal Engine users.
04:23Bridge, our online browser for Megascans assets,
04:25has historically functioned as a standalone application
04:28for quickly exporting assets in bulk directly into the Engine,
04:32albeit separate from Unreal.
04:34Today, we're happy to announce that Bridge is now natively integrated directly into the Engine UI.
04:39Now you can simply drag and drop assets directly into your scene
04:42for a more intuitive and connected experience.
04:45And simply logging in with your Epic ID gives you immediate access
04:48to thousands of assets to use for free in your Unreal Engine projects.
04:54We are constantly looking to enhance the value of the Megascans library.
04:57And today, we're excited to announce that we're adding a brand new asset type called Mega Assemblies.
05:02Mega Assemblies are the natural next step for us in removing even more barriers for artists in crafting their worlds.
05:09By combining existing assets from the Megascans library,
05:12our artists are pre-assembling elements that can be quickly accessed and leveraged to populate your scenes.
05:18Using the MOAB set, let's add an assembly to our scene.
05:22And just like that, we were able to quickly change the composition of this area in our map.
05:28With UE5, we are reimagining what collaboration looks like for teams and projects of all sizes.
05:33A common challenge when collaborating on large worlds is deciding how to structure map content
05:39so that everyone on the team can easily work without asset contention,
05:43while also avoiding painful merge conflicts.
05:46A new system called World Partition makes traditional world-building workflows obsolete
05:51by changing the way that we think about map files.
05:54Rather than requiring artists to build out map content as a series of streaming levels,
05:59World Partition allows teams to think of a single map as one large world
06:02that gets broken down automatically into many smaller, streamable cells on a grid.
06:07These cells can be selectively loaded or unloaded in the editor to save on edit time resources,
06:13allowing artists to only load up the sections of the map that they need.
06:17On top of that, changes to actors in a World Partition map are tracked at the actor level,
06:21not at the map level.
06:23This one-file-per-actor approach empowers different team members
06:26to work on different actors in the same map
06:28without having to worry about their changes getting clobbered in a merge
06:31or having to revert to get someone else's edits.
06:35Now, this approach means you could have artists lighting, set dressing,
06:39and reworking the landscape simultaneously,
06:41all within the same virtual space.
06:50Managing this much content at runtime typically requires a ton of thought
06:54about how to stream relevant content in and out to stay inside performance budgets.
06:58Fortunately, World Partition handles that as well.
07:00At runtime, only the cells in a user-defined radius from our player are loaded,
07:05and as we move, new cells are streamed in
07:07while cells no longer needed are replaced by their lower-resolution,
07:10and hierarchical level of detail, or HLOD version.
07:13And since all projects have different requirements,
07:15the cell size and loading radius are fully configurable
07:18to match each project's content streaming needs.
07:22Another feature that comes along with World Partition is data layers.
07:26Data layers are a way to categorize map assets
07:29and collectively enable or disable them
07:31when you want to alter the state of the world.
07:33Working in data layers,
07:35a separate group of artists was able to assemble
07:37a mythical reimagination of the environment
07:39with more interactive elements for our demo.
07:46At runtime, we can swap between these two modes,
07:49streaming thousands of actors in and out,
07:51and enter into the dark world.
07:53Let's see this in action as we go back to chance.
08:02Thanks, Galen.
08:03Many runtime and interactive frameworks in Unreal Engine
08:05are getting significant updates in UE5.
08:08One thing we've added for animation
08:09is an experimental new full-body IK solver,
08:12which is designed to give you better results with less work.
08:15Here, you can see it in action
08:16as the rig for our player character, Echo,
08:19corrects itself to adjust for variations on the ground below her.
08:22It's deterministic, reliable,
08:24and around 10 times faster than before.
08:26To build and maintain more scalable gameplay systems,
08:29we've also added a new framework called Game Feature Plugins
08:32that will allow you to build and ship game content
08:34in a more modular way.
08:36With Game Feature Plugins,
08:38numerous core gameplay features can be built in parallel
08:40with better encapsulation and finer content organization.
08:43Game Feature Plugins allow developers
08:45to add activation instructions
08:46to extend base game functionality,
08:48register new input actions for players,
08:50and interface with other frameworks such as animation.
08:54When we shifted into the dark world,
08:56we also activated a new game feature
08:57to give Echo a brand new attack ability.
09:02All of the assets in Logic needed for the ability,
09:05including new animations, input controls,
09:07blueprint code, VFX, and audio,
09:09are contained inside this plugin,
09:11and core game classes have no idea
09:13that these assets exist until we activate it.
09:16We've also added a feature called animation motion warping,
09:19which allows you to manipulate root motion animations
09:22to adapt them to the world.
09:24Echo's vault animation was authored
09:26to the specific dimensions of this rubble.
09:31Leveraging motion warping,
09:33we were able to add notify states
09:34in the vault animation asset
09:36that can react to transform data
09:37passed in via blueprints.
09:39This allowed us to reuse the same animation
09:41to vault over other assets of different dimensions,
09:43like these pieces of debris,
09:45by sending information about their size
09:47into the motion warping system.
09:48Before triggering the vaulting animation,
09:50a blueprint script determines her rotation,
09:53how high up she jumps,
09:54how far she needs to move to get to the other side,
09:56and where her feet should land.
09:58Motion warping then adapts the root motion
10:00of the vault animation to match this data.
10:03Also, for the Rift Interact animation,
10:05we used motion warping to place Echo
10:07in the perfect position
10:08in order to ensure her hand
10:10would always touch the rift.
10:13So on the topic of animation,
10:16Unreal Engine 5 also includes
10:17our in-editor rigging tool, Control Rig.
10:39Meet the Ancient,
10:41a film-quality creature imagined
10:43and built by our friends
10:44at the Aaron Sims Creative Company.
10:47We partnered with Aaron Sims
10:48and his group of talented artists
10:50to concept the dark world
10:51and to bring it to life
10:52through an enormous mythical adversary.
10:54Now, every single animation
10:56for the Ancient was authored
10:57wholly in-engine by the Aaron Sims creative team
11:00using Control Rig and Sequencer.
11:01our linear cinematic animation tool.
11:04Also, just to push the boundaries a bit,
11:06they even built it out of a collection
11:07of nanite meshes
11:08totaling over 50 million triangles
11:10attached directly to the skeleton.
11:13Control Rig was designed
11:14to keep artists close to their creations
11:16without having to bounce back and forth
11:17between software packages,
11:19allowing them to quickly iterate
11:20all inside Unreal.
11:23While imagining the battle
11:24between Echo and the Ancient,
11:26we wanted to give the creature
11:27a heavy laser attack
11:28that Echo would have to avoid.
11:29We needed it to track Echo's location,
11:31in the arena
11:32and fire a slow, sweeping blast towards her.
11:39Taking advantage of the full-body
11:41IK solver mentioned earlier,
11:42we were able to influence
11:43the direction and distance
11:45the Ancient reaches out
11:46during the firing animation
11:47based on where Echo is in the scene.
11:49Let's see the results.
11:52Here is what the base firing animation looks like.
11:59And here it is again,
12:01with the full-body IK post-process layers enabled,
12:04and our info about Echo
12:06passed into Control Rig.
12:08With full-body IK and Control Rig,
12:10designers and artists
12:11can now author fully dynamic animations
12:13that react to gameplay
12:14without having to build complex animation state machines
12:17composed of numerous animation assets.
12:20In Unreal Engine 5,
12:22we've completely overhauled the audio engine,
12:24centered around MetaSounds,
12:25a new asset type used for every sound effect in our demo.
12:29MetaSounds bring the power and flexibility
12:31found in material editors to audio creation,
12:33providing fine control for authoring procedural game audio.
12:37With full audio synthesis capabilities
12:39and a rich audio function library,
12:42MetaSounds give unprecedented control
12:44over sound effects and runtime applications.
12:48Using MetaSounds,
12:49we built the Ancient's laser attack
12:51out of a combination of sound samples
12:52and synthesized audio.
13:00Let's briefly break down how it was set up.
13:03Using the stereo mixer,
13:04let's isolate and play
13:05just the synthesized charge sound.
13:13This effect is made by using
13:15a handful of sound wave generators
13:16and multiple modulation widgets.
13:19Now, let's mix back in our sound samples
13:22to hear the final result again.
13:33Alright, let's take down the Ancient.
13:54Now, everything we've been showing you in today's demo
13:57focuses on some of the new features in UE5,
13:59but many of your favorite UE4 features
14:01such as Niagara Particles and Visual Effects,
14:03Chaos Physics,
14:05Blueprint Visual Scripting,
14:06and more have also received numerous updates
14:08in Unreal Engine 5.
14:10Plus, all your UE4 projects
14:12can be upgraded to UE5,
14:14so you won't have to worry about forward compatibility
14:16for what you're working on now.
14:18Here at Epic,
14:19we are passionate about building great tools
14:21and new technology.
14:22And a big part of our excitement
14:23is being able to bring you,
14:25the developer community,
14:27on the journey with us.
14:28So today,
14:29we're making an early access build of Unreal Engine 5
14:31freely available on the Epic Games Launcher
14:33and the Unreal Engine GitHub,
14:35so you can explore and test out these tools yourself
14:37to get an early look at what's coming later
14:40in the full release of UE5.0.
14:42Also, we're releasing the project source
14:45for Valley of the Ancient,
14:46so you can check out how we use these features
14:48to build everything you've seen
14:49in today's demonstration.
14:51We've got a series of deep dive conversations
14:53on these topics lined up for Inside Unreal,
14:56our official weekly live stream,
14:58where you can hear from the Engine dev team
15:00and ask your questions.
15:01Now, these are still the early days of UE5,
15:04and you can expect more news and features
15:06to be announced as we move closer
15:08to a production-ready release targeting early 2022.
15:11Follow the Unreal Engine social channels
15:13for more information,
15:14and feel free to download the Early Access release
15:17of Unreal Engine 5
15:18and the Valley of the Ancient project today.
15:21Thanks, everyone, for watching,
15:22and welcome to Early Access.
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