![]() ![]() For example, a V value of 1.25 is usually treated as 0.25. Texture coordinates are usually kept between 0 and 1, where (0,0) represents the bottom left of the texture, and (1,1) represents the top right. However, this is not always true. By default, when a U or V value exceeds 1 or is below 0, the Material will "wrap" around to the other side of the texture. The U in "UV channel" refers to the horizontal axis of the texture the V refers to the vertical axis. An overlap just means that the same part of the texture gets applied to multiple parts of the 3D Static Mesh geometry. When the same image texture is applied to the Static Mesh, it changes what parts of the texture get applied to what parts of the Static Mesh. On the other hand, the image below shows UV Channel 1, which rotates and skews the mapping between the triangles and the UV texture space. When you use this UV Channel (set by the Coordinate Index property of the TexCoord node), the Material applies the full width and height of a texture to the plane. The Material uses the mapping between 2D coordinates and 3D vertex positions contained in the selected UV Channel to determine which areas of the texture should be used to shade what triangles in the 3D model.įor example, UV Channel 0 in this simple plane Static Mesh (shown at the top right of the following image) shows the simplest way to map the two triangles of the mesh (A and B) into texture space. Texture coordinates in Materials: When you create a Material that samples a texture map and applies it to the surface of a Static Mesh, you can use a Texture Coordinate (or Texcoord) node to specify a UV Channel. UV Channels have two main purposes in the Engine: ![]() However, the Editor does offer a few possibilities for working with the UV Channels of your models, outlined below on this page. You typically create and manage your UV mappings in a dedicated modeling tool-the same tool you use to create the geometry of your Static Mesh. These mappings define how 2D texture maps get wrapped around the 3D geometry when the mesh is rendered. With those settings, I simulated the kind of god-rays which aren't available with ray-tracing features.Option 2: Projecting Mesh Geometry into a UV ChannelĪ UV Channel is a set of data within a Static Mesh that maps each of the mesh's vertices to coordinates in 2D space. For both of them, I modified the source radius/length and added a high volumetric value. The two other volumetric lights are above the opened book and the cauldron. One volumetric PointLight with a very low brightness above the scene illuminates the environment and the fog itself, giving the impression that the fog does only appear on the scene, following its shape. I also added fog which helped me to give more ambiance to the scene. I have even highlighted some shiny objects to help with the composition of the scene, like the lighting around the cauldrons, the chair with metallic decorations, and the stone, which helps the eye to be attracted at some points of interest in the scene. I tried to keep a natural look by bringing many lighting details using props reflections, highlighting its edges, etc. I wanted to try creating and lighting a diorama in UE4 using ray-tracing. I thought of the back of the cabinet as if it was a storage room, the unused cabinet door is stored here with used containers on the chair. The left side of the scene is the resting area, a calm and green place to read a book. ![]() The top part of the triangle is the first thing that catches your eye, and which lets you read the scene freely down from one side to another. I think that dividing elements into multiple parts makes the environment more readable as long as everything is coherent. The second is the cabinet, heavy objects are stored in the lower part of it, taking those out creates marks in the texture of the cabinet and I used the top part as a bookshelf. The chair is staggered, the book opened and a key on it to keep the book open on the right page, the herbalist will come back soon. The first one is the table, where preparations are made. I thought of each part of this environment as multiple little scenes with their own stories. The scene itself is composed in the form of a triangle divided into four parts. The shapes of large objects are supported by smaller objects which themselves are supported by even smaller objects. I used the cabinet as the centerpiece of the scene and built the diorama around it. ![]()
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