00:00www.mesmerism.info
00:04www.mesmerism.info
00:14www.mesmerism.info
00:14You always want this freedom
00:15for artists, right? There was always constraints
00:18and this feels like an order of magnitude
00:20leap as far as freedom
00:21to create goes. With Unreal
00:23Engine 5, the most important thing
00:26is you want to be able to play what you create
00:27right away. We wanted to do more of a
00:29gameplay-oriented experience
00:31that would be able to function
00:33on the next-gen consoles that were coming
00:35about. What could we do beyond
00:37what we thought we could achieve
00:39that we had no choice but to invent
00:41new ideas? So what we wanted to do with that
00:43demo is to push Unreal Engine to this limit
00:45and see what he's capable of doing.
00:59Our artists spend a ton of time
01:01making these beautiful
01:03high-polity
01:05sculpted models and what ends up
01:07in the game is a baked-down, watered-down
01:10version of their artistic vision.
01:12The Nanite technology is the realization
01:13of the graphics industry's
01:15goal which is we want artists to be able to
01:17author multi-billion polygon meshes
01:19and for an engine like Unreal
01:21to be able to ingest that and for
01:23performance to become the engine's problem
01:25and not the artist's problem.
01:28In the cave we're using
01:29Quixel high-res mega-scan assets
01:31so when you look down in the cave down to
01:33pebble scale you can see the detail.
01:35Now you don't have to worry about generating normal maps
01:37or low-resolution proxies.
01:39You can load in full movie-quality assets
01:41straight into the engine and be able to use them in your game.
01:43The fidelity level that we've seen
01:45in films before but then running
01:47at an interactive frame rate
01:49is really just kind of startling at times.
01:57Lumen is an amazing feature because
01:59it really unleashes the power of bounce light
02:01and bounce light to
02:03photography and cinematography
02:05is the holy grail.
02:06And it's not a baking process, it's completely live
02:09so you can move geometry, move characters
02:11you know, open a wall, open a window
02:13and you get live results in front of you
02:15that look just like they would do to a camera.
02:18My favorite part of the demo by far
02:19is when you're in the temple
02:21it's dark and eerie
02:22and all of a sudden the ceiling opens up
02:25and it just completely changes
02:27the way you feel about the scene.
02:39This demo really does represent
02:41a coming of age of Niagara
02:43as a visual effects tool.
02:45It's programmable, so users
02:47are no longer constrained by
02:49a fixed function simulation
02:50they can write their own behaviors
02:52to create visual effects that people have never seen before.
02:55For example, bats
02:56and ambient bugs skittering through the environment
02:59these are actually very complex
03:01Niagara simulations.
03:02All of these interesting features
03:04and we're going to give them to the community
03:06and just see what comes out.
03:10This has to be the right way.
03:17The way contextual animation works in these environments
03:20is we want the character to interact
03:21and be a part of this environment.
03:23So we're starting off with photogrammetry assets
03:26and in the past animation systems
03:28can count on things like grid systems
03:30and flat surfaces
03:31and we had this very organic environment to work with
03:34and our big goal was to have the character
03:36interact organically with these assets
03:38and so we had to do a lot of animation
03:40manipulation and warping
03:42to get that to work.
03:43The animation alliance with the world
03:45it's believable
03:46and it didn't require the animator
03:48to make a lot of content
03:50to make that happen.
03:53What excites me the most about NextGen
03:54is to be able to have access to the latest technology
03:57and work with the greatest tools
03:58to create the most compelling experience.
04:00We want to try to create technology that just works
04:03that really frees developers from having to worry
04:05about the technical constraints of making their games
04:08and focus on making great art
04:10on making games that are fun.
04:12No longer are you having to wait hours and hours
04:14for a frame to be generated
04:15that looks pleasing and believable.
04:17It actually can happen in front of your eyes.
04:19I feel like the combination of Unreal Engine
04:21and NextGeneration hardware
04:22has the potential to give us things
04:25we've never seen before.
04:27It's time to see what's next.
04:29You can start your games now
04:30and when UE5 is ready to go
04:33you can transfer over
04:35and get all these new capabilities.
04:37The most exciting part of this NextGeneration
04:39is the ability to achieve complete photorealism
04:41in all of the pixels in the scene
04:43and to put that capability within reach of every artist.
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