I appreciate you for making this. It does however solidify for me how unnecessarily complicated Unreal is for these kinds of things. Adding a backplate to your camera is incredibly simple by comparison.
@@LaneCarter well it’s a give-and-take, it’s more effort upfront with the advantage of having more control in post than just adding a backplate realtime. The other major advantage is being able to use near-real-time rendering speed for your final output. It’s a little more time on the front end to avoid having to render a sequence for five hours in something like blender!
Amazing Andrew!! If you can show us some Ian Hubert style "wizardry" for longer shots with occlusions, shadows etc for Unreal Engine, that'd be great :D
Big fan of your tutorials-truly top-notch! Subscribed a few months ago. Quick question: why not bring the footage into Unreal already composited? Might get better hair detail that way. I made a short film in Unreal with composited footage, on the festival circuit now! would love to share it with you. Let me know if you’d ever be up for a chat sometime!
@@FergusMulligan Thanks! Send it on IG so I can see! You got a point, it’s definitely a little more work in unreal. I’m using the overlay as a reference, that’s why I don’t bring it composited. I’d rather have it play back at a normal speed - large TIFFs or EXRs can slow things down a bit in sequencer. More importantly, I wanted to show that it can be done right in Unreal!
THANK YOU! I just learned so many little nuggets of gold from this video! I have been trying to develop my own little workflow for green footage to Unreal Engine sets, but with stopmotion animation footage. This video really helped improve my current pipeline. Here's a look at what I came up with: ruclips.net/video/n6IfLs9GiG0/видео.html I can't wait to add in some of your workflow to my own! Thanks again!
That’s super cool!!!! You should look into using alternating shaders to simulate clay, maybe try using a media player and as a stop motion normal map for a clay normal? Just a thought!!! Could be a cool style as well to make your environment look like clay!
![Blox Fruits Dragon Rework Update [Full Stream]](http://i.ytimg.com/vi/EqDAp8udhm0/mqdefault.jpg)
As promised 😉
❤🔥
I absolutely love your tutorial videos because the pacing is incredibly fast, yet you never miss any details or points where users might get stuck.
Glad you like them! Thanks so much! I have peoples time in mind and don’t mind sacrificing a bit of time to distill this material
Great breakdown and explanation of the shot! Thanks alot. 💯
Good to see another DiLeo into the digital arts 😏
Great job, thanks for sharing these ideas! ❤
@@StevenDiLeo no prob! You share a first name with my brother and dad!
@ !🤯 that’s awesome 🤩
nice, a few days ago i watched your previous video and struggled
Yeh try this one, honestly the blender tracking part can usually be the hardest part to wrap your head around. After that it’s more creative!
@@andrewdileo it all looks some kinda hard also put these things together in UE, someday i will make it haha, thanks for the Video
PLEASE make the additional video about the movie render queue!
Coming right up! The Movie Render Graph is where it’s at!!!
I appreciate you for making this. It does however solidify for me how unnecessarily complicated Unreal is for these kinds of things. Adding a backplate to your camera is incredibly simple by comparison.
@@LaneCarter well it’s a give-and-take, it’s more effort upfront with the advantage of having more control in post than just adding a backplate realtime. The other major advantage is being able to use near-real-time rendering speed for your final output. It’s a little more time on the front end to avoid having to render a sequence for five hours in something like blender!
Thanks for the tutorial. Def trying this workflow myself.
Give it a go!
you're giving away Gold
Amazing Andrew!! If you can show us some Ian Hubert style "wizardry" for longer shots with occlusions, shadows etc for Unreal Engine, that'd be great :D
Coming soon! I've got some really cool stuff planned! Specifically a method for shadows that I think people are going to find fascinating.
@andrewdileo Can't wait 😊😊
Great vid!
Thanks! 🎉
Very Helpful 😍😍😍😍😍
@@MahdiNami-o3e awesome! Glad I could help!
Big fan of your tutorials-truly top-notch! Subscribed a few months ago.
Quick question: why not bring the footage into Unreal already composited? Might get better hair detail that way.
I made a short film in Unreal with composited footage, on the festival circuit now! would love to share it with you. Let me know if you’d ever be up for a chat sometime!
@@FergusMulligan Thanks! Send it on IG so I can see! You got a point, it’s definitely a little more work in unreal. I’m using the overlay as a reference, that’s why I don’t bring it composited. I’d rather have it play back at a normal speed - large TIFFs or EXRs can slow things down a bit in sequencer.
More importantly, I wanted to show that it can be done right in Unreal!
thanks bro
No problem!
hello
Hi!
THANK YOU! I just learned so many little nuggets of gold from this video! I have been trying to develop my own little workflow for green footage to Unreal Engine sets, but with stopmotion animation footage. This video really helped improve my current pipeline. Here's a look at what I came up with: ruclips.net/video/n6IfLs9GiG0/видео.html
I can't wait to add in some of your workflow to my own! Thanks again!
That’s super cool!!!! You should look into using alternating shaders to simulate clay, maybe try using a media player and as a stop motion normal map for a clay normal? Just a thought!!! Could be a cool style as well to make your environment look like clay!