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🤩This Unreal Engine project is so GOOD we had to dissect it piece by piece! Fully rigged + in-engine animated, packed with hidden gems. 🎥 My takeaways + pro tips: #UnrealEngine #Animation #UE57 #GameDev #Rigging #InEngineAnimation Epic Games Store Ágora Studio Design

Stéphane Biava

1,224 subscribers

41,367 views • 8 months ago •via X (Twitter)

Arts #UnrealEngine #Animation #UE57 #GameDev #Rigging #InEngineAnimation

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Unreal Engine

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Hello again #Cardano, and here’s another daily ISPO announcement 🔥🚨 An EPIC game? Yes, it IS an epic game, but it is also part of EPIC Games! 😉 Chains of War ® is one of the most incredible blockchain games that I have seen come out recently. Built with Unreal Engine, so you already know that it is going to be good. They have joined my amazing ISPO, so make sure you check them out and see just what this giveaway will be unlocking for you. If they impress you as much as they do me, then be sure to check out their catalyst proposal here:

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Phoenix𝕏

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Solon Lee (Producer at Kuro Games): Thank You for Playing My Game "Wuthering Waves: Exploring Game Creation Under Unreal Engine." Interview by Nvliu66 When you think of Unreal Engine, what comes to mind? A few days ago, at the Epic Games Shanghai office, I met the producers of Clair Obscur: Expedition 33 and Wuthering Waves. Both games are developed based on Unreal Engine, and they shared the stories behind their game creation. My biggest takeaway was that while a great game stems from a producer's emotional expression, its realization relies on the "escort" of technology. Let's return to the interview scene and listen once more to their unique insights on game development. Wuthering Waves and Unreal Engine Bill Clifford (VP and GM of Unreal Engine at Epic Games): With Wuthering Waves, they used many complex artistic techniques to present this anime style, and it's truly outstanding. They are among the first companies to create a role-playing game in an open world that is also cross-platform, which is another incredible feat. They introduced console-level graphics and combat systems while maintaining a consistent update frequency. Furthermore, as they adopt and integrate new Unreal Engine technologies into the game, the experience is continuously enhanced. It’s a truly inspiring success story. Solon Lee (Producer at Kuro Games): We have grown alongside the updates of the UE engine, including the release of UE5. Throughout the process, we’ve been able to learn from UE’s updates. When UE5 was released, it introduced many new technical features, especially ray tracing. Everyone currently praises the ray tracing effects in Wuthering Waves, which is actually due to the continuous updates of the engine. We found those highlights and ported them over to UE4.26. During this process, our engineers were learning the logic of the engine, following its updates, and developing an engineering mindset and a way of creating visual effects. So, my biggest personal takeaway is that choosing a top-tier engine doesn’t just make the game better; it makes us better in the process. "Punishing: Gray Raven" was developed on the Unity platform, while "Wuthering Waves" is based on Unreal. What was the reasoning behind this change at the time? Solon Lee: Psychologically, we don’t have a heavy dependence. We don't feel that just because we've used Unity, we must continue using it. We are a bit more pragmatic. When we were about to start Wuthering Waves, we clearly knew we wanted to make an open world. UE obviously offers more support for open worlds. We felt that "standing on the shoulders of giants" to make a game was definitely a more practical decision. At that time, we could also sense that most engineers in the industry had an aspiration toward UE. "Wuthering Waves" has been live for a year and a half. At this stage, could you use a short summary or a few words to introduce "Wuthering Waves" to the players? Solon Lee: Wuthering Waves is a game that strives to continuously create resonance with players. From the excitement and design of the action to the scriptwriting and performances, we strive to find "highlight segments" or moments in every version that can trigger internal resonance, touch the heart, or make players "scream" with excitement. This is actually a creative consensus our team has slowly formed over the past year. When we find that moment in a version and we ourselves "scream" for it, we feel that there is a high probability that when the version is released, it will be recognized by the users. Because the most important thing about a game is that it must be fun, as developers, we often think about what kind of game qualifies as "fun." What is a "Fun" Game? Solon Lee: One point I can think of right now is that the rules should be as simple as possible. As soon as you start, after two slashes or casting a skill, you should feel, "Wow, that was so cool! I want to do it again! Wow, so cool!" Specifically for action games, the "fun" is often hidden in very small granularities. For example, if you compare two different games where you are just running and jumping, the running in some games feels fun. Why? It might just be because the "grip" is better, the animation swing feels better, or it gives you a sense of gravity or momentum. Whether a point in a game is fun can be subjective. For me, there are a few games that have had a significant influence on my work. One is definitely NieR; when we were making Punishing: Gray Raven in the early days, we were very inspired by NieR. When Devil May Cry 5 came out, it gave us a lot of new inspiration for our combat system. Death Stranding is indeed one of my personal favorite games from recent years. When Elden Ring was released, it also gave us a very strong impression and touched us deeply. The project for Wuthering Waves started in the first half of 2020. At that time, there were very few open-world action games on the market because most action games back then were stage-based (linear/hub-based). All excellent action games required very tight level design. Later, Elden Ring came out, and experiencing it gave us strong resonance. We felt that action games definitely have potential in an open world, and we believe it should be that way. A Message to the Players Solon Lee: I am truly grateful that so many players like Wuthering Waves. It is because of everyone’s love whether it's encouragement or criticism that we are given a lot of motivation to maintain our continuous passion to make our game better. I believe the only way we can give back to the players who like Kuro and Wuthering Waves is by producing better and better versions and content, and making more and more great games. Happy New Year, and thank you for playing my game. translated by Xu #WutheringWaves #WuWa

Solon Lee (Producer at Kuro Games): Thank You for Playing My Game "Wuthering Waves: Exploring Game Creation Under Unreal Engine." Interview by Nvliu66 When you think of Unreal Engine, what comes to mind? A few days ago, at the Epic Games Shanghai office, I met the producers of Clair Obscur: Expedition 33 and Wuthering Waves. Both games are developed based on Unreal Engine, and they shared the stories behind their game creation. My biggest takeaway was that while a great game stems from a producer's emotional expression, its realization relies on the "escort" of technology. Let's return to the interview scene and listen once more to their unique insights on game development. Wuthering Waves and Unreal Engine Bill Clifford (VP and GM of Unreal Engine at Epic Games): With Wuthering Waves, they used many complex artistic techniques to present this anime style, and it's truly outstanding. They are among the first companies to create a role-playing game in an open world that is also cross-platform, which is another incredible feat. They introduced console-level graphics and combat systems while maintaining a consistent update frequency. Furthermore, as they adopt and integrate new Unreal Engine technologies into the game, the experience is continuously enhanced. It’s a truly inspiring success story. Solon Lee (Producer at Kuro Games): We have grown alongside the updates of the UE engine, including the release of UE5. Throughout the process, we’ve been able to learn from UE’s updates. When UE5 was released, it introduced many new technical features, especially ray tracing. Everyone currently praises the ray tracing effects in Wuthering Waves, which is actually due to the continuous updates of the engine. We found those highlights and ported them over to UE4.26. During this process, our engineers were learning the logic of the engine, following its updates, and developing an engineering mindset and a way of creating visual effects. So, my biggest personal takeaway is that choosing a top-tier engine doesn’t just make the game better; it makes us better in the process. "Punishing: Gray Raven" was developed on the Unity platform, while "Wuthering Waves" is based on Unreal. What was the reasoning behind this change at the time? Solon Lee: Psychologically, we don’t have a heavy dependence. We don't feel that just because we've used Unity, we must continue using it. We are a bit more pragmatic. When we were about to start Wuthering Waves, we clearly knew we wanted to make an open world. UE obviously offers more support for open worlds. We felt that "standing on the shoulders of giants" to make a game was definitely a more practical decision. At that time, we could also sense that most engineers in the industry had an aspiration toward UE. "Wuthering Waves" has been live for a year and a half. At this stage, could you use a short summary or a few words to introduce "Wuthering Waves" to the players? Solon Lee: Wuthering Waves is a game that strives to continuously create resonance with players. From the excitement and design of the action to the scriptwriting and performances, we strive to find "highlight segments" or moments in every version that can trigger internal resonance, touch the heart, or make players "scream" with excitement. This is actually a creative consensus our team has slowly formed over the past year. When we find that moment in a version and we ourselves "scream" for it, we feel that there is a high probability that when the version is released, it will be recognized by the users. Because the most important thing about a game is that it must be fun, as developers, we often think about what kind of game qualifies as "fun." What is a "Fun" Game? Solon Lee: One point I can think of right now is that the rules should be as simple as possible. As soon as you start, after two slashes or casting a skill, you should feel, "Wow, that was so cool! I want to do it again! Wow, so cool!" Specifically for action games, the "fun" is often hidden in very small granularities. For example, if you compare two different games where you are just running and jumping, the running in some games feels fun. Why? It might just be because the "grip" is better, the animation swing feels better, or it gives you a sense of gravity or momentum. Whether a point in a game is fun can be subjective. For me, there are a few games that have had a significant influence on my work. One is definitely NieR; when we were making Punishing: Gray Raven in the early days, we were very inspired by NieR. When Devil May Cry 5 came out, it gave us a lot of new inspiration for our combat system. Death Stranding is indeed one of my personal favorite games from recent years. When Elden Ring was released, it also gave us a very strong impression and touched us deeply. The project for Wuthering Waves started in the first half of 2020. At that time, there were very few open-world action games on the market because most action games back then were stage-based (linear/hub-based). All excellent action games required very tight level design. Later, Elden Ring came out, and experiencing it gave us strong resonance. We felt that action games definitely have potential in an open world, and we believe it should be that way. A Message to the Players Solon Lee: I am truly grateful that so many players like Wuthering Waves. It is because of everyone’s love whether it's encouragement or criticism that we are given a lot of motivation to maintain our continuous passion to make our game better. I believe the only way we can give back to the players who like Kuro and Wuthering Waves is by producing better and better versions and content, and making more and more great games. Happy New Year, and thank you for playing my game. translated by Xu #WutheringWaves #WuWa

Naru

55,609 views • 5 months ago

Village in the Clouds by Lucas Cavalcanti 3D, is a personal, game-ready environment project based on the artwork of 简繁, created to improve his understanding of large-scale environments in Unreal Engine 5. The scene was crafted from scratch, including props, vegetation, textures, VFX, landscape and buildings. In addition to this, the main character was created in VRoid Studio, the modeling and texturing of the Yak was done by 3D Artist Guilherme Miles and the art direction was handled by Concept Artist Dan Vitoria. "I built this project from scratch, using mostly information freely available on the internet. Planning and persistence were crucial to achieving this result. Unreal Engine’s native tools made my work much easier, such as the Vertex Paint tool for texturing the house walls and the Niagara System for creating real-time waterfalls." - Lucas Cavalcanti

Village in the Clouds by Lucas Cavalcanti 3D, is a personal, game-ready environment project based on the artwork of 简繁, created to improve his understanding of large-scale environments in Unreal Engine 5. The scene was crafted from scratch, including props, vegetation, textures, VFX, landscape and buildings. In addition to this, the main character was created in VRoid Studio, the modeling and texturing of the Yak was done by 3D Artist Guilherme Miles and the art direction was handled by Concept Artist Dan Vitoria. "I built this project from scratch, using mostly information freely available on the internet. Planning and persistence were crucial to achieving this result. Unreal Engine’s native tools made my work much easier, such as the Vertex Paint tool for texturing the house walls and the Niagara System for creating real-time waterfalls." - Lucas Cavalcanti

Unreal Engine

45,598 views • 5 months ago

Impromptu test on the Mark3 turbojet engine😎😂: The Ear Muffs are arriving next week, but again, I couldn't hold back but to run the engine at mild power today😂. I am probably the first person in Nigeria 🇳🇬 & probably all of Africa to build a self sustaining turbojet engine 🔥🤔, please correct me if I am wrong tho🙏🏻, but I doubt. Incase u don't know what a turbojet engine is, it is the engine that powers most fighter jets🚀. The engine is self sustaining because once it gets to idle speed, it runs at about 35,000 RPM on its own without the starter motor & batteries, and can only be shut down if the fuel supply is shut off, as demonstrated by my assistant in the clips. We will do a full power test with the afterburner next week when the ear Muffs arrive😎, so we don't go deaf🤣😂. We built this beast in Ebonyi State, Nigeria 🛠️⚡️ #Zedora #madeinEbonyi #madeinNigeria 🇳🇬

Impromptu test on the Mark3 turbojet engine😎😂: The Ear Muffs are arriving next week, but again, I couldn't hold back but to run the engine at mild power today😂. I am probably the first person in Nigeria 🇳🇬 & probably all of Africa to build a self sustaining turbojet engine 🔥🤔, please correct me if I am wrong tho🙏🏻, but I doubt. Incase u don't know what a turbojet engine is, it is the engine that powers most fighter jets🚀. The engine is self sustaining because once it gets to idle speed, it runs at about 35,000 RPM on its own without the starter motor & batteries, and can only be shut down if the fuel supply is shut off, as demonstrated by my assistant in the clips. We will do a full power test with the afterburner next week when the ear Muffs arrive😎, so we don't go deaf🤣😂. We built this beast in Ebonyi State, Nigeria 🛠️⚡️ #Zedora #madeinEbonyi #madeinNigeria 🇳🇬

Ziko Abara

626,591 views • 1 year ago

Our last AI episode with Jonathan Ross @ Groq exploded and there was just one piece of feedback everyone had: “Get Andrew Feldman on next.” So we did. And it breaks more conventional rules on AI than ever before 📈 Scaling laws are total BS 📉 AI algorithms are so inefficient ⚔️ NVIDIA is not suited to a world of inference 😮 CUDA is not defensible for NVIDIA More high fives in this than the Wiz boardroom and my 8 key takeaways 👇

Our last AI episode with Jonathan Ross @ Groq exploded and there was just one piece of feedback everyone had: “Get Andrew Feldman on next.” So we did. And it breaks more conventional rules on AI than ever before 📈 Scaling laws are total BS 📉 AI algorithms are so inefficient ⚔️ NVIDIA is not suited to a world of inference 😮 CUDA is not defensible for NVIDIA More high fives in this than the Wiz boardroom and my 8 key takeaways 👇

Harry Stebbings

13,158 views • 1 year ago

$🎓 Learn how to create a powerful Dynamic Snow gradient Map in a matter of seconds in my latest video series (AAA) Pro Tips! This special Map can be used to adjust the amount of snow coverage on any 3D asset straight inside a game engine or during in-game run time. In this video, the steps are as follows: 1. Bake out the following maps: World Space, AO, Curvature, and Position. 2. Create a fill layer and apply a dust generator to it. 3. Apply a histogram scan above the dust generator to preview the transition effect. 4. Add a Dirt 3 grunge just above the dust generator set to overlay. (This can be used to add small snowflakes around the pile of snow) 5. A blur slope filter can also be applied to the mask to help add randomness to it. 6. Apply the snow gradient information in a User Channel, that way the mask can be exported out of Painter. (Be sure the histogram scan is disabled before doing so) 7. You are finished and the mask is now ready to be utilized inside a Game Engine such as Unreal Engine or Unity. More AAA Game Dev Tips\Tutorials can be found on my YouTube channel here: Stay tuned for more weekly Tips. Happy Texturing! 💚 #gamedev #gameart #tutorial #3dmodeling #hardsurface #texturing #substancepainter #art #ue4 #ue5$

🎓 Learn how to create a powerful Dynamic Snow gradient Map in a matter of seconds in my latest video series (AAA) Pro Tips! This special Map can be used to adjust the amount of snow coverage on any 3D asset straight inside a game engine or during in-game run time. In this video, the steps are as follows: 1. Bake out the following maps: World Space, AO, Curvature, and Position. 2. Create a fill layer and apply a dust generator to it. 3. Apply a histogram scan above the dust generator to preview the transition effect. 4. Add a Dirt 3 grunge just above the dust generator set to overlay. (This can be used to add small snowflakes around the pile of snow) 5. A blur slope filter can also be applied to the mask to help add randomness to it. 6. Apply the snow gradient information in a User Channel, that way the mask can be exported out of Painter. (Be sure the histogram scan is disabled before doing so) 7. You are finished and the mask is now ready to be utilized inside a Game Engine such as Unreal Engine or Unity. More AAA Game Dev Tips\Tutorials can be found on my YouTube channel here: Stay tuned for more weekly Tips. Happy Texturing! 💚 #gamedev #gameart #tutorial #3dmodeling #hardsurface #texturing #substancepainter #art #ue4 #ue5

Cohen Brawley

28,955 views • 2 years ago

I can't believe my eyes! I compared Cavalry render speed to After effects and this happened: forget about that Cavalry rendered a complicated Motion graphic piece without a single lag and very minimal Layer usage that would take a ton of work in after effects, but when I RENDERED animation and gave it to After effects It had a problem playing the RENDERED MP4 VIDEO! and during that it used more ram to play a normal video than Cavalry to just play the raw project file with all the layers and effects. this is just crazy. we might be witnessing a new era of motion design.

I can't believe my eyes! I compared Cavalry render speed to After effects and this happened: forget about that Cavalry rendered a complicated Motion graphic piece without a single lag and very minimal Layer usage that would take a ton of work in after effects, but when I RENDERED animation and gave it to After effects It had a problem playing the RENDERED MP4 VIDEO! and during that it used more ram to play a normal video than Cavalry to just play the raw project file with all the layers and effects. this is just crazy. we might be witnessing a new era of motion design.

Adam | Editor

40,648 views • 3 months ago

I built a fully playable 3D platformer game in exactly 3 days, using almost entirely AI-generated assets. To test whether AI can really replace the asset grind, I came up with a steampunk cat universe from scratch and brought it straight into Unreal Engine 5. Here is how it was done, step by step: 👇 🎨 World and prop concepting 🧩 Tripo 3.1 for low-poly smart meshes and PBR textures 🩹 Blender for geometry cleanup and AO baking 🦴 AccuRIG for character animation 🚀 UE5 for level design and blueprints The craziest part is that AI handled the routine, and I still had the creative energy to make the level actually fun. Watch the full workflow and gameplay reveal: #GameDev #TripoAI #UnrealEngine5 #3DModeling #IndieDev #Blender3D

I built a fully playable 3D platformer game in exactly 3 days, using almost entirely AI-generated assets. To test whether AI can really replace the asset grind, I came up with a steampunk cat universe from scratch and brought it straight into Unreal Engine 5. Here is how it was done, step by step: 👇 🎨 World and prop concepting 🧩 Tripo 3.1 for low-poly smart meshes and PBR textures 🩹 Blender for geometry cleanup and AO baking 🦴 AccuRIG for character animation 🚀 UE5 for level design and blueprints The craziest part is that AI handled the routine, and I still had the creative energy to make the level actually fun. Watch the full workflow and gameplay reveal: #GameDev #TripoAI #UnrealEngine5 #3DModeling #IndieDev #Blender3D

Stefan 3D AI

17,426 views • 2 months ago