WEBVTT

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Game Advanced
Beta Type Version 2

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Hello everyone, this is Park Hyun sang, 
responsible for FPS game development lessons

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In this lesson, I will be giving a lecture on

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light mapping and optimization

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As you reach the beta version and continue development,

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you naturally end up adding

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a lot of graphic resources to the project

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However, in a real time rendering environment,

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unlimited resource usage is not feasible

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Therefore, we will learn how to optimize

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various graphic resources such as lights, 3D meshes, and textures,

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to provide smooth content delivery,

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 and how to effectively utilize graphic elements

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라이트 매핑

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We will cover the concept of light mapping

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When we say light mapping, it is generally

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a combination of the two words light and map

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Light literally means light,

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and when the expression map is added,

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you can understand it as a texture

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without much difference

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In that case, it could be interpreted as

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an image file for light

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The process of creating a lightmap is the process of turning information

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about light into an image file

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Now, let's first understand why we convert information

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about light into an image file

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All objects in the real world can generally be

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moved if there is enough force applied

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On the other hand, if all objects in content created using a real-time engine

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were to move based on physical calculations,

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it would cause the computer

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to perform heavy computations and operate very slowly

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And inevitably, when the calculations become heavier,

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the FPS (Frames Per Second)

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the number of frames drawn per second

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will decrease

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The FPS value is one of the key indicators

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of how smooth the content is

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When users look at the screen, the term FPS

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is often used to refer to the genre of games

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It stands for First Person Shooting

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In such cases, the target is usually set to 60 frames per second as the baseline

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For content that focuses

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more on visual aesthetics and storytelling,

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the baseline is usually around 30 frames per second

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Similarly, TV shows and movies often use

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a lower frame rate of 24 frames per second

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So, when users look at the screen,

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we can tell how smooth

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the experience is by using the FPS value

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If it exceeds 60 frames per second, it will feel very smooth

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Moreover, nowadays, there are monitors

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that maintain very high frame rates,

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such as 140 frames or 240 frames per second,

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which has raised the expectations of users' eyes

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However, as mentioned earlier,

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if all objects are constantly performing

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physical collisions or calculations,

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In some cases, this could lead to providing a screen

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with choppy visuals, such as 10 frames or even 5 frames per second

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As a result, objects are typically divided into 
two main categories for management

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The first category is what you refer to as characters,

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or movable objects,

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commonly known as Dynamic objects

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The second category is objects that do not move,

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such as background objects,

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which are referred to as Static objects

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Moving objects, like shadows,

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change constantly, so there's not much we can do about them

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However, for stationary Static objects,

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we can precalculate tasks that require high computational costs

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and provide them to users in advance

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If we can pre-calculate parts like

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lighting calculations and other elements such as navigation meshes,

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which involve the movement paths of objects,

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users will be able to enjoy

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the content more smoothly and comfortably

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A lightmap, in essence,

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is used to precalculate lighting

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for objects that are set as Static,

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or non-moving, objects

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In the example screen,

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on the left is the image with no lightmap drawn,

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and on the right is the image with the lightmap drawn

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As you can see, here we have shading for the light,

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effects like the red wall reflecting light onto the opposite wall,

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and many other details

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such as dark shadows under the eaves

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These elements help create a more 3D

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and realistic background image,

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which can be provided to users

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To achieve this, we will work on creating a lightmap

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using the assets we have already received

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The screen you're currently viewing

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shows the Map v1 from the RPG FPS game assets

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Since there is no camera,

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the game view will display, No cameras rendering

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so let's focus on the scene view for now

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When you open the map,

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you might see some strange, blotchy, angular shapes

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on a structure that looks like a water tank,

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resembling odd, uneven patterns

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In the actual RPG FPS game assets industrial folder,

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there's a folder with the same name of Map v1

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Here, you can see a lightmap,

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and since it contains only background objects,

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it is applied to all of them

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You can confirm that the lightmap is created,

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with all the lighting information pre drawn as texture files

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During the import process,

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some data was modified,

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and as you can see, some of the map data appears

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to be corrupted or broken visually

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We won't be using this as it is

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We will drag the RPG FPS map into the Main Scene

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that we have been working on, and add it to the scene file

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We will deactivate the test objects we placed for testing purposes,

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so they won't be visible in the scene

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If you look at all the objects placed here, you'll notice that

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that all the visible 3D objects have

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then Static option enabled

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in the top-right corner

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of the Inspector window

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And all the building objects are set as Static as well

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If you click the arrow to the right of the Static option,

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 a list of various settings will appear

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Here, you can see that the

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Contribute GI option is enabled, as shown on the screen

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When this option is enabled,

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it means that the selected object

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is the target for expressing

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the lightmap's texture

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So, all the background objects here

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have already been neatly organized

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by the developer and set as Static

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So, we will drag this

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directly into the Main Scene,

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where the character is,

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and then right click on Map v1,

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and select Remove Scene

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And then, we will click

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the "Don't Save" button to avoid saving it

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Then, you'll be able to confirm

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that the strange images,

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like the ones on the water tank, are gone

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Before we create the lightmap,

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we need to make some settings for the lighting first

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Inside the Map_v1 game object,

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there are particles, 3D objects, and light elements

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In Unity, when you create a new scene,

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a Directional Light and a Main Camera are

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provided by default

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Since there is an additional Directional Light,

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we will delete that light

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and only use the default light

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provided in the Main Scene

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A lightmap is essentially

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the process of turning light information into a texture

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So, when there is light,

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you can see the direction of the light, as it is shown here

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And when an object casts a shadow

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based on the direction of the light,

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not only is the shadow information generated,

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but the information about the object's light

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and dark sides is also captured

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and turned into an image file

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Now that we've covered the basic preparations for the lightmap

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We will now start creating the lightmap

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by going to Window to Rendering to Lighting

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And if the Lighting Settings asset in the Scene is empty,

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If it is empty, I will briefly delete it

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If it's empty, you can click the New button to create a new one

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The New Lighting Settings has been created now

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here are several options, but for now,

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we will change the lighting mode to Subtractive

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The process of creating a lightmap

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involves detailed light calculations,

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so it is a task that typically takes a significant amount of time

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Here, the Direct Samples will be set to half, which would be 16

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The Indirect samples for the ambient light are also halved,

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and the same goes for the Environment

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Finally, the Lightmap Resolution

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is set to 12 to speed up

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the process and get quicker results

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If we create the lightmap

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for the current map using the default settings,

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it will take over 40 minutes

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In the industry, depending on the situation,

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creating a lightmap can sometimes take an entire day or even overnight

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But since we can't afford to spend that much time,

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With these settings, and an important note

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if you check the mode of the Directional Light,

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it is set to Realtime

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ou need to change this to either Mixed or Baked

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I will set it to Mixed

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That's because "Realtime" means

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 the light calculation for the selected Directional Light

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will only be done in real time, rather than being pre computed

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Baked" refers to the process of pre computing the lightmap,

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which is commonly referred to as baking the light

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Baking means turning the light information into a texture,

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and when you bake, it indicates that

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the Directional Light's information will be used 
only during the baking process

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Since the Directional Light typically

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acts like the sun,

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it needs to affect both Dynamic objects

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and Static objects as well

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Therefore, it's common to set it to Mixed

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so that it influences both types of objects

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Once everything is prepared, save the Scene

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Save it by clicking Ctrl and S

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The Generate Lighting button

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is at the bottom of the Lighting window
We will click that

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While the lightmap is being generated,

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the time taken will be displayed at the bottom right

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Right now, the time is gradually decreasing

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While the lightmap is being baked,

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let me first explain

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the concept of Global Illumination

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Earlier, we checked

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the Contribute GI option in the Static settings

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The abbreviation GI stands for Global Illumination

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Generally, light can be direct, like sunlight

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which directly hits objects,

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and it can also be indirect where the direct light hits an object,

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bounces off, and then influences other objects

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This is referred to as Indirect light

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Also, this light can eventually escape outward,

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hit the sky, and then come back down

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The light hits the particles  floating in the air from the sky

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So, it's not just the effect from the Directional Light

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light that scatters in all directions after hitting clouds in the sky

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or particles in the atmosphere is also considered

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This type of light is referred to as GI (Global Illumination)

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So, when we create a lightmap,

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it's not just the direct light from a Directional Light like the sun

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It also includes the assumption that the light bounces 
multiple times and hits from all directions,

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 incorporating Global Illumination,

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as part of the baking process to generate the texture

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The samples below are mostly

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what we calculate as a single pixel data

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when we ultimately create an image file

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We refer to obtaining information

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about multiple lights to determine

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what color to represent this pixel as a sample

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In other words, 16 samples are needed

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to calculate for the Directional Light

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It means that for Indirect or Environment,

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hundreds of samples will be used

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Below here, it's about collecting information

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from those numerous samples to generate an image

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If you look at the Lightmap Resolution section,

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you'll see the term Texels per unit

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1 unit in the real world is based on 1 meter,

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and Unity has set 1 unit to represent 1 meter

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When drawing 1 unit,

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the number of pixels in the texture is referred to as a Texel

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In other words, it's about how many pixels are

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used to represent a 1m space

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Naturally, the higher the number of Texels,

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 the more detailed the light representation becomes,

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and shadows and other elements also become much more refineㅇ

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However, this also means it takes more time

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This means that you're dividing 1 meter into 12 parts to represent it

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Now, the calculations for the light are complete 
according to the explanation

267
00:15:42.326 --> 00:15:43.876
Here, let me quickly

268
00:15:43.876 --> 00:15:45.876
turn off the gizmo beforehand

269
00:15:45.876 --> 00:15:48.726
In this way, zombies and similar objects are dynamic,

270
00:15:48.726 --> 00:15:52.126
so the shadow calculations

271
00:15:52.126 --> 00:15:53.776
are done in real time

272
00:15:53.776 --> 00:15:56.026
The background objects are static,

273
00:15:56.026 --> 00:16:00.626
so even if they move, the shadows don't change

274
00:16:00.626 --> 00:16:05.226
Moving the water tank won't change the shadow

275
00:16:05.226 --> 00:16:07.826
The same applies here

276
00:16:07.826 --> 00:16:10.176
That's because it was pre made

277
00:16:10.176 --> 00:16:13.976
as a texture file like this

278
00:16:13.976 --> 00:16:17.476
This is the texture file called a lightmap

279
00:16:17.476 --> 00:16:20.676
Among them, the area occupied by the water tank is

280
00:16:20.676 --> 00:16:25.026
highlighted in yellow by the Baked Lightmaps section

281
00:16:25.026 --> 00:16:29.326
You can check by clicking the Open Preview button,

282
00:16:29.326 --> 00:16:31.826
and in the Window menu,

283
00:16:31.826 --> 00:16:34.276
under the Lighting panel, you can see that

284
00:16:34.276 --> 00:16:39.776
the lightmap has been generated in a total of 5 images,

285
00:16:39.776 --> 00:16:42.376
from 0 to 4, under the Baked Lightmaps section

286
00:16:42.376 --> 00:16:45.726
The Subtractive method I used means

287
00:16:45.726 --> 00:16:49.376
that all the shadows, highlights, and everything related to light

288
00:16:49.376 --> 00:16:52.626
are represented in a single image

289
00:16:52.626 --> 00:16:55.576
To be more precise, it means representing

290
00:16:55.576 --> 00:16:57.426
everything in a single type of image

291
00:16:57.426 --> 00:17:00.676
By enabling Baked Indirect here,

292
00:17:00.676 --> 00:17:03.776
it will only represent the information related to indirect lighting

293
00:17:03.776 --> 00:17:07.076
This means that shadows and other effects caused by direct light,

294
00:17:07.076 --> 00:17:11.576
such as those created by direct lighting,

295
00:17:11.576 --> 00:17:15.726
will be excluded, and only the indirect lighting will be drawn

296
00:17:15.726 --> 00:17:18.876
Since Baked Indirect does not

297
00:17:18.876 --> 00:17:21.476
include shadows,

298
00:17:21.476 --> 00:17:24.676
only the information about the light and dark areas will be drawn

299
00:17:24.676 --> 00:17:28.526
If you change the light, the shadow information can change as well

300
00:17:28.526 --> 00:17:31.576
Instead, it will use one more texture

301
00:17:31.576 --> 00:17:36.276
The Shadowmask method uses a total of three images

302
00:17:36.276 --> 00:17:40.676
to represent shadows, bright areas, dark areas, and GI,

303
00:17:40.676 --> 00:17:43.376
because it expresses by using three images

304
00:17:44.076 --> 00:17:47.376
which makes it the slowest

305
00:17:47.376 --> 00:17:50.376
and heaviest method among the lightmap techniques

306
00:17:50.376 --> 00:17:53.226
Therefore, according to the Unity manual,

307
00:17:53.226 --> 00:17:56.076
when targeting low spec platforms like mobile games,

308
00:17:56.076 --> 00:18:00.526
it's recommended to use the Subtractive method

309
00:18:00.526 --> 00:18:04.776
For high spec platforms, using options like Shadowmask

310
00:18:04.776 --> 00:18:07.676
for baking is suggested

311
00:18:07.676 --> 00:18:10.126
In this way, the light information is

312
00:18:10.126 --> 00:18:12.276
organized into a single type,

313
00:18:13.076 --> 00:18:17.326
and among the options,  you can also see that additional information is

314
00:18:17.326 --> 00:18:20.826
added separately regarding the direction

315
00:18:20.826 --> 00:18:24.926
in which these 3D objects are facing in the world

316
00:18:24.926 --> 00:18:28.526
So, this information is what we refer to

317
00:18:28.526 --> 00:18:31.026
as baking the lightmap

318
00:18:31.026 --> 00:18:33.726
The lightmap creation is now complete,

319
00:18:33.726 --> 00:18:36.826
but it feels very dark and dull, right?

320
00:18:36.826 --> 00:18:40.976
One reason for that is because the current environment's sky is

321
00:18:40.976 --> 00:18:44.376
Unity's default sky

322
00:18:44.376 --> 00:18:50.176
We need to make some adjustments to the Sky settings

323
00:18:50.176 --> 00:18:54.126
First, let's look at the Skybox section

324
00:18:54.126 --> 00:18:57.826
under RPG FPS game assets of Texture

325
00:18:57.826 --> 00:19:02.026
Here, you can see an image of the sky with clouds

326
00:19:02.026 --> 00:19:04.726
In the Window menu, go to Rendering and to Lighting panel,

327
00:19:04.726 --> 00:19:08.776
and then drag the Skybox_v9

328
00:19:08.776 --> 00:19:13.926
into the second Environment section next to Scene

329
00:19:13.926 --> 00:19:17.576
As you can see now,

330
00:19:17.576 --> 00:19:21.676
the Skybox in the background has been changed

331
00:19:21.676 --> 00:19:26.176
If anyone can't see the updated Skybox,

332
00:19:26.176 --> 00:19:29.176
you can toggle it on and off using the Toggle button in the viewport,

333
00:19:29.176 --> 00:19:32.126
so feel free to try that you can turn it off and on again

334
00:19:32.126 --> 00:19:34.726
Typically, when baking a lightmap,

335
00:19:34.726 --> 00:19:38.626
you need to bake in information like

336
00:19:38.626 --> 00:19:41.726
like red or blue hues from the Sky

337
00:19:41.726 --> 00:19:45.276
in the environment to create more natural lighting

338
00:19:45.276 --> 00:19:48.126
Previously, there wasn't enough Sky information

339
00:19:48.126 --> 00:19:50.476
to use for that kind of lighting,

340
00:19:50.476 --> 00:19:54.676
which is why the result appeared relatively dull

341
00:19:54.676 --> 00:19:57.926
I will regenerate the lighting

342
00:19:57.926 --> 00:20:00.376
and show you the comparison

343
00:20:00.376 --> 00:20:03.076
once the Skybox has been applied

344
00:20:03.076 --> 00:20:06.326
Now that the Skybox is set,

345
00:20:06.326 --> 00:20:08.976
I will click the Generate Lighting button

346
00:20:08.976 --> 00:20:12.776
In order to receive lighting information from the Skybox,

347
00:20:12.776 --> 00:20:15.926
the Source section in the Environment Lighting settings

348
00:20:15.926 --> 00:20:20.126
needs to be set to Skybox and this allows the lighting information

349
00:20:20.126 --> 00:20:22.726
to be used as a reference when generating the lightmap

350
00:20:22.726 --> 00:20:26.176
By default, you can modify the type of Environment Light

351
00:20:26.176 --> 00:20:29.326
based on the result as needed

352
00:20:30.126 --> 00:20:32.476
There are two results

353
00:20:32.476 --> 00:20:35.226
The image at the top is the result

354
00:20:35.226 --> 00:20:37.976
with the default Unity Skybox

355
00:20:37.976 --> 00:20:39.376
The image shown here is a screenshot

356
00:20:39.376 --> 00:20:42.326
taken after it was added later

357
00:20:42.326 --> 00:20:43.926
The one below Unity's Skybox

358
00:20:43.926 --> 00:20:47.126
is actually the result of

359
00:20:47.126 --> 00:20:51.426
baking with the Skybox version 9 that we applied

360
00:20:51.426 --> 00:20:52.876
There's not a big difference

361
00:20:52.876 --> 00:20:56.876
he only noticeable difference here might be

362
00:20:56.876 --> 00:21:00.376
that the shadow details are a bit more visible,

363
00:21:00.376 --> 00:21:04.026
and a few points are slightly more defined

364
00:21:04.026 --> 00:21:07.526
Other than that, the change is subtle

365
00:21:07.526 --> 00:21:11.676
Of course, people with sharp eyes

366
00:21:11.676 --> 00:21:14.826
might notice that the darker areas

367
00:21:14.826 --> 00:21:16.826
have brightened a little

368
00:21:16.826 --> 00:21:21.126
As for me, I prefer

369
00:21:21.126 --> 00:21:25.026
using the Gradient option rather than

370
00:21:25.026 --> 00:21:28.976
 directly taking the information from the Skybox

371
00:21:28.976 --> 00:21:31.326
It’s a bit more tedious,

372
00:21:31.326 --> 00:21:33.776
but with the Gradient option,

373
00:21:33.776 --> 00:21:37.676
you define the light from three directions

374
00:21:37.676 --> 00:21:43.176
light coming down from the sky, light coming from the horizon,

375
00:21:43.176 --> 00:21:48.376
and light bouncing off the ground

376
00:21:48.376 --> 00:21:52.076
You can then choose custom colors

377
00:21:52.076 --> 00:21:55.876
to represent these directions

378
00:21:55.876 --> 00:21:59.476
So, I use the color picker to select a color

379
00:21:59.476 --> 00:22:02.176
that closely matches

380
00:22:02.176 --> 00:22:05.676
the brightest areas of the Sky I’ve added,

381
00:22:05.676 --> 00:22:10.776
ensuring it doesn’t stray

382
00:22:10.776 --> 00:22:15.176
too far from the original

383
00:22:15.176 --> 00:22:19.176
For the light intensity, I’ll set it to 1 for now

384
00:22:19.176 --> 00:22:22.926
Similarly, for the Equator, I click

385
00:22:22.926 --> 00:22:27.976
and use the color picker to select the color of the light at the horizon,

386
00:22:27.976 --> 00:22:30.026
setting the intensity to 1 as well

387
00:22:30.026 --> 00:22:32.476
Finally, for the Ground,

388
00:22:32.476 --> 00:22:35.026
I pick the color from the largest area,

389
00:22:35.026 --> 00:22:39.126
which is the ground surface,

390
00:22:39.126 --> 00:22:40.773
and set the color accordingly

391
00:22:40.773 --> 00:22:46.373
Since it's been set to a bright value, if you feel it's too bright,

392
00:22:46.373 --> 00:22:49.873
you can lower the intensity a bit

393
00:22:49.873 --> 00:22:53.023
Even at 0, it will still maintain a basic level of brightness

394
00:22:53.023 --> 00:22:56.422
If 1 is too bright, adjusting it down slightly is

395
00:22:56.422 --> 00:22:57.622
another way to fine tune the expression

396
00:22:57.622 --> 00:23:01.222
The value of 1 is just an arbitrary reference value

397
00:23:01.222 --> 00:23:03.222
that I set for later adjustments

398
00:23:03.222 --> 00:23:07.722
Once the light calculations are done, I’ll compare the results

399
00:23:07.722 --> 00:23:09.922
with the third screenshot as well

400
00:23:09.922 --> 00:23:13.722
In this situation, where the colors

401
00:23:13.722 --> 00:23:16.122
from the Skybox were picked

402
00:23:16.122 --> 00:23:20.072
and set using the Gradient, you can now see

403
00:23:20.072 --> 00:23:23.022
that the shadowed areas have brightened significantly

404
00:23:23.022 --> 00:23:27.322
compared to when the Skybox was directly used

405
00:23:27.322 --> 00:23:29.922
The shadows aren't as harsh and they smoothly blend in

406
00:23:29.922 --> 00:23:35.522
Also, you can notice that the blue in the Equator section 
has been emphasized more

407
00:23:35.522 --> 00:23:39.322
This is something you can choose to use

408
00:23:39.322 --> 00:23:42.722
depending on the person or the situation

409
00:23:42.722 --> 00:23:44.872
When using this lightmap,

410
00:23:44.872 --> 00:23:49.172
I'll show you another way to use it

411
00:23:49.172 --> 00:23:51.522
by installing a custom light

412
00:23:51.522 --> 00:23:54.222
By using Light Point Light

413
00:23:54.222 --> 00:23:57.172
with the Only Baked setting,

414
00:23:57.172 --> 00:24:01.472
which means it will only affect static objects by default,

415
00:24:01.472 --> 00:24:03.922
This is how such effects can be expressed in some cases

416
00:24:03.922 --> 00:24:07.872
I’ve set it to a slight red hue, so that

417
00:24:07.872 --> 00:24:11.722
a red tint subtly blends into the surrounding environment

418
00:24:11.722 --> 00:24:13.722
If we bake the lightmap in this state,

419
00:24:13.722 --> 00:24:15.472
there is one issue

420
00:24:15.472 --> 00:24:19.772
The "Baked" option only affects static objects

421
00:24:19.772 --> 00:24:23.122
However, if a dynamic object approaches

422
00:24:23.122 --> 00:24:26.072
in a situation like this with red light,

423
00:24:26.072 --> 00:24:28.772
it won't have any effect

424
00:24:28.772 --> 00:24:30.872
So, if the background is red

425
00:24:30.872 --> 00:24:34.922
and the dynamic object is still only receiving the light from the sky,

426
00:24:34.922 --> 00:24:37.222
it would create a very awkward situation

427
00:24:37.222 --> 00:24:39.222
To prevent this,

428
00:24:39.222 --> 00:24:42.272
there is a game object that,

429
00:24:42.272 --> 00:24:46.972
after baking the light in the lightmap,

430
00:24:46.972 --> 00:24:51.272
holds the information of the baked light

431
00:24:51.272 --> 00:24:53.422
and then transfers it to the dynamic objects

432
00:24:53.422 --> 00:24:56.972
This is called a light probe

433
00:24:56.972 --> 00:25:00.722
It's the Light Probe object at the bottom of

434
00:25:00.722 --> 00:25:03.572
the Light section in the hierarchy

435
00:25:03.572 --> 00:25:07.322
I will install it and move its position to the world origin

436
00:25:07.322 --> 00:25:12.072
So, if you look at the position, you'll see circular markers

437
00:25:12.072 --> 00:25:14.722
To an appropriate starting position,

438
00:25:14.722 --> 00:25:16.622
move these circles

439
00:25:16.622 --> 00:25:20.422
If you click the Edit Light Probe Positions button,

440
00:25:20.422 --> 00:25:24.222
you will be able to select the individual spheres

441
00:25:24.222 --> 00:25:27.072
When placing light probes, you should generally ensure

442
00:25:27.072 --> 00:25:31.072
 that the light probes can encompass the character

443
00:25:31.072 --> 00:25:33.922
If the character is jumping, consider the jump space as well

444
00:25:33.922 --> 00:25:38.622
Then, drag and select the area you need

445
00:25:38.622 --> 00:25:41.622
You can expand the area

446
00:25:41.622 --> 00:25:46.322
by copying and pasting using

447
00:25:46.322 --> 00:25:48.772
Ctrl C and Ctrl V

448
00:25:48.772 --> 00:25:51.422
Ctrl C and V like this

449
00:25:51.422 --> 00:25:55.922
If there is a lot of change in lighting, you should place the probes closer together

450
00:25:55.922 --> 00:25:59.422
If there is little variation in the light,

451
00:25:59.422 --> 00:26:01.672
it's fine to space them out more

452
00:26:01.672 --> 00:26:04.922
So, here's the downside of light probes

453
00:26:04.922 --> 00:26:07.172
It doesn't apply to those cases,

454
00:26:07.172 --> 00:26:12.222
but light probes are always connected,

455
00:26:12.222 --> 00:26:14.522
so they cannot function separately

456
00:26:14.522 --> 00:26:18.372
So, once you start placing them this way,

457
00:26:18.372 --> 00:26:22.072
it has the downside that you will constantly

458
00:26:22.072 --> 00:26:25.572
need to keep placing them

459
00:26:25.572 --> 00:26:28.022
Of course, I won't cover this in full

460
00:26:28.022 --> 00:26:30.672
due to the length of the video,

461
00:26:30.672 --> 00:26:34.572
but as you can see, the range of this triangle is visible

462
00:26:34.572 --> 00:26:38.222
When the character enters the range of this triangle,

463
00:26:38.222 --> 00:26:40.722
the probes within it will distribute

464
00:26:40.722 --> 00:26:43.972
the light information from their current position

465
00:26:43.972 --> 00:26:46.522
to the dynamic objects

466
00:26:46.522 --> 00:26:49.422
So, in areas with a lot of light variation

467
00:26:49.422 --> 00:26:52.722
or shadowed regions,

468
00:26:52.722 --> 00:26:55.022
you need to place the probes very closely together

469
00:26:55.022 --> 00:27:00.822
Otherwise, you should carefully select and adjust the spacing accordingly

470
00:27:00.822 --> 00:27:03.772
Typically, a level designer handles this task

471
00:27:03.772 --> 00:27:07.222
while adjusting the lighting

472
00:27:07.222 --> 00:27:11.022
If there's a mistake or the spacing is too tight,

473
00:27:11.022 --> 00:27:14.772
you can select and delete specific areas as needed

474
00:27:14.772 --> 00:27:18.772
Since the computer will automatically handle the connections,

475
00:27:18.772 --> 00:27:21.722
we'll leave the placement like this for now

476
00:27:21.722 --> 00:27:24.372
Then, let's go to Window Rendering and click

477
00:27:24.372 --> 00:27:26.522
the Generate Lighting button

478
00:27:26.522 --> 00:27:28.922
to bake the lightmap

479
00:27:29.322 --> 00:27:31.472
I increased the intensity value slightly more

480
00:27:31.472 --> 00:27:34.972
than what was explained earlier and then baked the light

481
00:27:34.972 --> 00:27:38.972
I will press play and compare how this object

482
00:27:38.972 --> 00:27:41.122
looks in the game

483
00:27:41.122 --> 00:27:44.072
Currently, it's outside the light probe's area,

484
00:27:44.072 --> 00:27:47.072
or more specifically, outside the red region,

485
00:27:47.072 --> 00:27:48.922
so it's not receiving any light

486
00:27:48.922 --> 00:27:51.672
However, as you get closer,

487
00:27:51.672 --> 00:27:54.422
you can see the red light casting onto the object

488
00:27:54.422 --> 00:27:59.922
Even if you deactivate the red light here,

489
00:27:59.922 --> 00:28:02.472
even if it's deactivated

490
00:28:02.472 --> 00:28:05.222
the red light still

491
00:28:05.222 --> 00:28:08.872
lingers around the barrel of the object

492
00:28:08.872 --> 00:28:11.872
This is how light probes are used

493
00:28:11.872 --> 00:28:15.572
In the same context, reflection probes serve

494
00:28:15.572 --> 00:28:16.972
a similar role for light

495
00:28:16.972 --> 00:28:20.522
Right now, there is no data,

496
00:28:20.522 --> 00:28:23.722
but if you place the reflection probes

497
00:28:23.722 --> 00:28:28.522
in appropriate areas and click the Bake button,

498
00:28:28.522 --> 00:28:32.722
it will capture the surrounding environment in a 360 degree view

499
00:28:32.722 --> 00:28:35.772
This captured image will then be applied

500
00:28:35.772 --> 00:28:38.772
to shiny surfaces like glass, creating a reflective effect

501
00:28:38.772 --> 00:28:41.022
Let's take a closer look at it here

502
00:28:41.022 --> 00:28:45.872
I will intentionally increase the fabric's texture to an exaggerated level

503
00:28:45.872 --> 00:28:48.372
If you increase the Smoothness value like this

504
00:28:48.372 --> 00:28:53.472
and compare before and after adding the Reflection Probe,

505
00:28:53.472 --> 00:28:56.472
you can temporarily remove the texture to set it to None,

506
00:28:56.472 --> 00:28:58.972
and then increase the Metallic

507
00:28:58.972 --> 00:29:02.622
This will show that the surrounding environment is reflected

508
00:29:02.622 --> 00:29:05.772
What the Reflection Probe does is that right now,

509
00:29:05.772 --> 00:29:09.472
it’s only casting light around without any objects

510
00:29:09.472 --> 00:29:11.472
but if a 3D object exists

511
00:29:11.472 --> 00:29:16.522
within the area of the Reflection Probe

512
00:29:16.522 --> 00:29:21.422
Now, I will lower this and place it around the 3D object

513
00:29:21.422 --> 00:29:24.072
By doing that, as you can see now,

514
00:29:24.072 --> 00:29:28.722
it creates the feeling that the surrounding environment

515
00:29:28.722 --> 00:29:31.072
is being directly reflected

516
00:29:31.072 --> 00:29:35.022
 Instead, the Reflection doesn't reflect in live,

517
00:29:35.022 --> 00:29:38.872
the images that Reflection Probe holds,

518
00:29:38.872 --> 00:29:41.622
are reflected to show

519
00:29:41.622 --> 00:29:43.522
as if it's reflecting it

520
00:29:43.522 --> 00:29:47.722
If you turn off the Reflection Probe, 
only the default Sky will be reflected

521
00:29:47.722 --> 00:29:51.872
So, by baking the Reflection Probe like this,

522
00:29:51.872 --> 00:29:55.972
what is created at this time is the Reflection Map

523
00:29:55.972 --> 00:29:58.872
So, it's not just baking the light

524
00:29:58.872 --> 00:30:00.922
you can also pre-calculate data

525
00:30:00.922 --> 00:30:04.372
like the baked light from these probes

526
00:30:04.372 --> 00:30:07.172
Just like the Reflection Probe,

527
00:30:07.172 --> 00:30:11.672
you can pre-calculate the surrounding environment’s image,

528
00:30:11.672 --> 00:30:16.372
which reduces the computational load on the hardware

529
00:30:16.372 --> 00:30:18.722
when the content is

530
00:30:18.722 --> 00:30:21.322
running in real-time

531
00:30:21.322 --> 00:30:25.322
These series of tasks are mostly referred to as optimization

532
00:30:25.322 --> 00:30:28.172
What you need to remember in optimization is

533
00:30:28.172 --> 00:30:30.722
that it's not just about saving resources for the sake of it

534
00:30:30.722 --> 00:30:34.672
It’s about saving resources,

535
00:30:34.672 --> 00:30:37.772
but still making things look better,

536
00:30:37.772 --> 00:30:40.472
or improving performance without creating

537
00:30:40.472 --> 00:30:43.172
a big difference before and after applying a technique

538
00:30:43.172 --> 00:30:45.672
We’ve looked into optimization techniques,

539
00:30:45.672 --> 00:30:47.422
and these techniques

540
00:30:47.422 --> 00:30:50.722
can also be applied while creating 3D objects

541
00:30:50.722 --> 00:30:53.622
When controlling your content,

542
00:30:53.622 --> 00:30:56.722
using one zombie object

543
00:30:56.722 --> 00:30:59.372
instead of three will consume

544
00:30:59.372 --> 00:31:00.972
fewer resources, right?

545
00:31:00.972 --> 00:31:04.572
One method is to consolidate the health of three zombies into one,

546
00:31:04.572 --> 00:31:08.072
instead of splitting 10, 10, and 10, you make it 30

547
00:31:08.072 --> 00:31:11.772
This way, you make the player invest more time

548
00:31:11.772 --> 00:31:12.872
to defeat just one zombie

549
00:31:12.872 --> 00:31:14.772
Simply put, optimization

550
00:31:14.772 --> 00:31:18.022
doesn't only apply to graphics

551
00:31:18.022 --> 00:31:20.872
It's important to understand that it's a process

552
00:31:20.872 --> 00:31:23.322
where all parts work together

553
00:31:23.322 --> 00:31:26.872
It’s not always good to save resources just for the sake of it

554
00:31:26.872 --> 00:31:28.822
Sometimes, additional effects are intentionally used

555
00:31:28.822 --> 00:31:32.372
to provide a more immersive environment for the users

556
00:31:32.372 --> 00:31:35.972
A good example of this is the use of 
post-processing effects on the camera,

557
00:31:35.972 --> 00:31:38.972
so it's important to

558
00:31:38.972 --> 00:31:40.622
 activate them

559
00:31:40.622 --> 00:31:43.272
No matter how it looks in the scene view,

560
00:31:43.272 --> 00:31:47.422
if the post-processing effects are not applied to the screen

561
00:31:47.422 --> 00:31:50.072
the users actually see, it wouldn't make any sense

562
00:31:50.072 --> 00:31:54.172
So, to ensure the effects are displayed on the screen the users see,

563
00:31:54.172 --> 00:31:59.572
you need to activate the post processing checkbox

564
00:31:59.572 --> 00:32:03.922
In the same context, you can see

565
00:32:03.922 --> 00:32:07.122
that the camera also has

566
00:32:07.122 --> 00:32:09.522
the Anti-aliasing option added here

567
00:32:09.522 --> 00:32:11.722
In the case of Anti-aliasing,

568
00:32:11.722 --> 00:32:15.622
it's about how to make the screen appear smoother

569
00:32:15.622 --> 00:32:19.172
If you zoom in, you’ll notice that the current No Anti-aliasing state

570
00:32:19.172 --> 00:32:23.272
actually hasn’t completely removed the effect

571
00:32:23.272 --> 00:32:28.522
sssssssssssssssss

572
00:32:28.522 --> 00:32:32.472
In URP, under Project Settings Graphics,

573
00:32:32.472 --> 00:32:38.572
the current applied URP quality setting is HighFidelity

574
00:32:38.572 --> 00:32:43.022
When you look at the default settings of URP,

575
00:32:43.022 --> 00:32:44.922
you'll see that

576
00:32:44.922 --> 00:32:49.022
Multi Sampling Anti-Aliasing is applied by default

577
00:32:49.022 --> 00:32:53.621
You can see the rendering result with sharp, jagged edges,

578
00:32:53.621 --> 00:32:58.171
which is one of the algorithms, in addition to multi sampling

579
00:32:58.171 --> 00:33:00.571
there are other types of Anti-aliasing

580
00:33:00.571 --> 00:33:03.021
that the camera can use,

581
00:33:03.021 --> 00:33:05.921
and you can apply them to see the difference

582
00:33:05.921 --> 00:33:09.321
So, for Anti-aliasing options,

583
00:33:09.321 --> 00:33:13.171
you don't need to use them redundantly

584
00:33:13.171 --> 00:33:16.671
It's better to either use the default multi-sampling provided

585
00:33:16.671 --> 00:33:19.071
or use the additional Anti aliasing

586
00:33:19.071 --> 00:33:21.821
attached to the main camera,

587
00:33:21.821 --> 00:33:25.321
You should choose based on

588
00:33:25.321 --> 00:33:29.921
what looks smoother to the eye

589
00:33:29.921 --> 00:33:31.471
or consider the impact on performance

590
00:33:31.471 --> 00:33:36.321
There are post-processing effects that allow you

591
00:33:36.321 --> 00:33:39.321
to control the rendered results across the entire screen

592
00:33:39.321 --> 00:33:42.971
Besides this, there are various data

593
00:33:42.971 --> 00:33:45.371
available on the screen after the rendering is complete,

594
00:33:45.371 --> 00:33:49.221
such as depth values, color values,

595
00:33:49.221 --> 00:33:51.871
position values, direction values, and more

596
00:33:51.871 --> 00:33:53.921
Using these imformation,

597
00:33:53.921 --> 00:33:56.571
let's create a simple effect

598
00:33:56.921 --> 00:34:00.221
Generally, in Core3D environments,

599
00:34:00.221 --> 00:34:04.971
you need to import the post-processing package

600
00:34:04.971 --> 00:34:07.221
via the package manager

601
00:34:07.221 --> 00:34:11.971
However, in URP, the basic post-processing is built in,

602
00:34:11.971 --> 00:34:14.521
and you can create and manage it

603
00:34:14.521 --> 00:34:16.921
through the Volume system within URP

604
00:34:16.921 --> 00:34:19.971
In the hierarchy, click on Volume, Global Volume

605
00:34:19.971 --> 00:34:22.321
to create post-processing effects

606
00:34:22.321 --> 00:34:25.021
that will affect the entire map

607
00:34:25.021 --> 00:34:28.271
Once the Volume object is created, click the New button

608
00:34:28.271 --> 00:34:30.871
to fill the currently empty Profile

609
00:34:30.871 --> 00:34:34.971
After that, click Add Override, Post Processing

610
00:34:34.971 --> 00:34:36.821
to select the effect you want

611
00:34:36.821 --> 00:34:39.721
There are a lot of options,

612
00:34:39.721 --> 00:34:42.621
but I won’t explain all of them

613
00:34:42.621 --> 00:34:44.021
Let's add one that is commonly used, like Bloom

614
00:34:44.021 --> 00:34:48.021
I will set the Intensity to 1 for now

615
00:34:48.021 --> 00:34:52.721
If you set the Intensity to 1, as you can see,

616
00:34:52.721 --> 00:34:56.171
even with the Smoothness or Metallic values 
being very high on the object,

617
00:34:56.171 --> 00:34:59.871
the intensity will still cause a glaring,

618
00:34:59.871 --> 00:35:03.471
almost painful shine like this

619
00:35:03.471 --> 00:35:06.871
At this point, you shouldn't only adjust the Bloom

620
00:35:06.871 --> 00:35:12.121
You also need to tweak the texture of the object itself a bit,

621
00:35:12.121 --> 00:35:14.421
exploring other methods

622
00:35:14.421 --> 00:35:17.471
to express a more comfortable

623
00:35:17.471 --> 00:35:20.621
and less glaring shine

624
00:35:20.621 --> 00:35:22.171
With Bloom,

625
00:35:22.171 --> 00:35:25.671
As you saw when we created the dissolve effect earlier,

626
00:35:25.671 --> 00:35:29.071
the Emissive value plays a key role

627
00:35:29.071 --> 00:35:34.221
By adjusting the color of the Emissive,

628
00:35:34.221 --> 00:35:36.921
it's not just about making the color brighter,

629
00:35:36.921 --> 00:35:39.921
but also increasing the Intensity

630
00:35:39.921 --> 00:35:44.321
you're seeing now, this results in the bright glowing effect

631
00:35:44.321 --> 00:35:46.571
This is how you use it

632
00:35:46.571 --> 00:35:49.621
It's not necessarily better just because it's strong

633
00:35:49.621 --> 00:35:53.371
I'll turn off the light probe for now 
since it might be distracting for the explanation

634
00:35:53.371 --> 00:35:56.371
In addition to this effect, another

635
00:35:56.371 --> 00:35:59.221
commonly used one is Depth of Field

636
00:35:59.221 --> 00:36:03.071
which is a camera focusing technique

637
00:36:03.071 --> 00:36:04.871
Let's try it out

638
00:36:04.871 --> 00:36:08.871
First, in the Global Volume, right below Bloom,

639
00:36:08.871 --> 00:36:11.021
click the Override button

640
00:36:11.021 --> 00:36:14.171
and add Depth of Field to the post processing effects

641
00:36:14.171 --> 00:36:18.621
Here, when you activate the mode,

642
00:36:18.621 --> 00:36:22.571
it will change from Off to two options: Gaussian or Bokeh

643
00:36:22.571 --> 00:36:27.121
Gaussian is quite easy to use

644
00:36:27.121 --> 00:36:29.971
However, since this effect determines

645
00:36:29.971 --> 00:36:33.021
how sharp the target appears in the camera,

646
00:36:33.021 --> 00:36:35.571
you can add or remove a slight effect

647
00:36:35.571 --> 00:36:38.171
in the game view

648
00:36:38.171 --> 00:36:41.071
to see the changes applied

649
00:36:41.071 --> 00:36:43.821
But we can't be sure if it's exactly

650
00:36:43.821 --> 00:36:47.871
as we intended just by doing that

651
00:36:47.871 --> 00:36:51.321
So, I’ll quickly adjust the position of the main camera

652
00:36:51.321 --> 00:36:54.921
and set it up

653
00:36:54.921 --> 00:36:57.821
so that the player is aligned

654
00:36:57.821 --> 00:37:00.721
in a straight line with the red building

655
00:37:00.721 --> 00:37:04.821
 I'll turn off the gizmos for a clearer view

656
00:37:04.821 --> 00:37:09.121
First, set the angle in the scene view like this,

657
00:37:09.121 --> 00:37:11.971
then select the main camera

658
00:37:11.971 --> 00:37:15.071
and click the GameObject Align With View button

659
00:37:15.071 --> 00:37:17.921
Then, the game object you selected

660
00:37:17.921 --> 00:37:22.071
will be set to the position and angle

661
00:37:22.071 --> 00:37:24.021
that you're currently viewing in the scene view

662
00:37:24.621 --> 00:37:27.371
When comparing the game view and the scene view like this,

663
00:37:27.371 --> 00:37:30.121
you can see that Depth of Field is applied,

664
00:37:30.121 --> 00:37:32.821
so the background appears slightly blurred in the game view

665
00:37:32.821 --> 00:37:35.421
To make more detailed adjustments,

666
00:37:35.421 --> 00:37:39.471
I'll activate the Start and End sections here

667
00:37:39.471 --> 00:37:43.971
Start and End are parameters that determine

668
00:37:43.971 --> 00:37:48.221
where the sharpness begins

669
00:37:48.221 --> 00:37:51.271
and how far the sharpness extends

670
00:37:51.271 --> 00:37:56.271
I’ll temporarily move the camera view in the scene view

671
00:37:56.271 --> 00:37:59.171
I'm not moving the main camera, just changing the view

672
00:37:59.171 --> 00:38:01.271
I'll activate the gizmo,

673
00:38:01.271 --> 00:38:03.921
and when comparing it with the camera position,

674
00:38:03.921 --> 00:38:07.121
you'll see that the current Depth of Field's Start value is set to 10

675
00:38:07.121 --> 00:38:12.271
So, anything up to 10 meters from the camera 
will appear sharp and in focus

676
00:38:12.271 --> 00:38:16.471
On the other hand, anything beyond 
that point will gradually start to blur

677
00:38:16.471 --> 00:38:19.771
So, by adjusting these distance parameters,

678
00:38:19.771 --> 00:38:23.371
you can control how sharp or blurry objects appear

679
00:38:23.371 --> 00:38:26.771
For example, if you set the distance to 30m,

680
00:38:26.771 --> 00:38:30.271
objects that are further away will appear blurry,

681
00:38:30.271 --> 00:38:33.971
and those closer will stay sharp

682
00:38:33.971 --> 00:38:35.471
This is a simple way to control depth of field

683
00:38:35.471 --> 00:38:39.821
without needing in-depth knowledge of

684
00:38:39.821 --> 00:38:41.721
camera mechanics

685
00:38:41.721 --> 00:38:44.471
The Bokeh option, on the other hand, is

686
00:38:44.471 --> 00:38:48.721
based on the actual camera working principles

687
00:38:48.721 --> 00:38:53.871
and involves three main factors, Focus Distance, Focal Length, and Aperture

688
00:38:53.871 --> 00:38:57.571
Aperture, specifically, is the camera's diaphragm,

689
00:38:57.571 --> 00:39:01.271
which controls the amount of light that enters

690
00:39:01.271 --> 00:39:04.071
So, if you switch to the Bokeh format,

691
00:39:04.071 --> 00:39:07.521
you can create some unique effects

692
00:39:07.521 --> 00:39:11.221
For example, when we worked on Reflection

693
00:39:11.221 --> 00:39:14.271
and settings like Metallic and Smoothness earlier,

694
00:39:14.271 --> 00:39:17.221
you saw that when these values were too high,

695
00:39:17.221 --> 00:39:21.771
the light would appear to spread in a circular shape, like this

696
00:39:21.771 --> 00:39:24.971
To achieve this circular light spread effect,

697
00:39:24.971 --> 00:39:28.821
I'll set the Blade Count to 5

698
00:39:28.821 --> 00:39:31.221
and adjust the distance slightly

699
00:39:31.221 --> 00:39:34.171
To explain the Bokeh effect on screen,

700
00:39:34.171 --> 00:39:37.071
I intentionally adjusted the settings to extreme values,

701
00:39:37.071 --> 00:39:41.021
even though I wouldn't normally

702
00:39:41.021 --> 00:39:43.921
use these in practice

703
00:39:43.921 --> 00:39:45.871
For example, I changed

704
00:39:45.871 --> 00:39:47.821
the Focus Distance and Focal Length,

705
00:39:47.821 --> 00:39:50.571
but generally, the Bokeh effect draws attention

706
00:39:50.571 --> 00:39:54.171
to the shape of the highlighted light, like the one you're seeing now

707
00:39:54.171 --> 00:39:57.921
If the Blade Count is set to 3,

708
00:39:57.921 --> 00:40:02.121
the shape will be triangular

709
00:40:02.121 --> 00:40:05.571
it will be square, and with 5 or 6,

710
00:40:05.571 --> 00:40:09.071
it will form pentagonal or hexagonal shapes

711
00:40:09.071 --> 00:40:13.521
you can control how the light appears, 
adjusting the way light is shaped

712
00:40:13.521 --> 00:40:17.971
This filter that controls the shape of light is

713
00:40:17.971 --> 00:40:20.371
commonly referred to as Bokeh

714
00:40:20.371 --> 00:40:25.821
In Depth of Field, since it focuses on controlling

715
00:40:25.821 --> 00:40:28.771
how sharp objects appear,

716
00:40:28.771 --> 00:40:31.621
to show more realistic values,

717
00:40:31.621 --> 00:40:33.821
I’ll temporarily turn off the Stats

718
00:40:33.821 --> 00:40:37.421
Please remember what looks sharp here

719
00:40:37.421 --> 00:40:41.671
I’ve set the Distance value to 5 units

720
00:40:41.671 --> 00:40:44.421
in front of the current camera position

721
00:40:44.421 --> 00:40:46.771
This means that with the current camera position,

722
00:40:46.771 --> 00:40:51.821
it will focus on the point that is 5 units away from the camera

723
00:40:51.821 --> 00:40:55.021
This means that the camera will focus sharply on that point

724
00:40:55.021 --> 00:40:59.021
Then, based on the Focal Length,

725
00:40:59.021 --> 00:41:01.371
as the value decreases

726
00:41:01.371 --> 00:41:04.871
the area that appears sharp will expand

727
00:41:04.871 --> 00:41:10.071
As you can see, the Bokeh effect gradually disappears naturally

728
00:41:10.071 --> 00:41:12.771
So, depending on the Focal Length,

729
00:41:12.771 --> 00:41:15.720
if you fill the sharp area,

730
00:41:15.720 --> 00:41:18.620
only a narrow range will be in focus

731
00:41:18.620 --> 00:41:21.920
Conversely, if the Focal Length decreases,

732
00:41:21.920 --> 00:41:27.020
it determines the range in front
and behind the object you want to focus on

733
00:41:27.020 --> 00:41:31.170
This is controlled by the Focal Length

734
00:41:31.170 --> 00:41:34.320
The Aperture controls how strong the effect will be,

735
00:41:34.320 --> 00:41:37.270
adjusting the intensity of the blur and focus in the scene

736
00:41:37.270 --> 00:41:40.070
To make it more natural,

737
00:41:40.070 --> 00:41:43.220
For a person, we always keep the focus sharp and steady

738
00:41:43.220 --> 00:41:45.970
on the exact spot we need to look at

739
00:41:45.970 --> 00:41:49.220
These are the basic effects provided by Unity

740
00:41:49.220 --> 00:41:52.620
Other than these, you can also extend

741
00:41:52.620 --> 00:41:55.120
functionality through the Asset Store

742
00:41:55.870 --> 00:41:59.020
If you look at the edges of the object,

743
00:41:59.020 --> 00:42:01.320
you can see that the shadows have become darker

744
00:42:01.320 --> 00:42:03.870
One effect that fits well with this is

745
00:42:03.870 --> 00:42:06.970
called Ambient Occlusion

746
00:42:06.970 --> 00:42:11.670
In the previous Core3D, Ambient Occlusion 
was managed through post-processing,

747
00:42:11.670 --> 00:42:16.470
but in URP, if you go to Project Settings, Graphics

748
00:42:16.470 --> 00:42:20.470
and check the current URP quality setting,

749
00:42:20.470 --> 00:42:24.870
HighFidelity, you'll see that

750
00:42:24.870 --> 00:42:26.270
Screen Space Ambient Occlusion is

751
00:42:26.270 --> 00:42:30.820
already applied under the Renderer List

752
00:42:30.820 --> 00:42:35.570
If you turn this off, you'll notice that the dark areas

753
00:42:35.570 --> 00:42:38.220
along the edges are treated more weakly

754
00:42:38.220 --> 00:42:42.320
However, if you turn it back on, you'll see the dark areas 
become darker and lighter accordingly

755
00:42:42.320 --> 00:42:44.770
The term Ambient Occlusion refers to

756
00:42:44.770 --> 00:42:47.370
ambient, environment

757
00:42:47.370 --> 00:42:50.570
and occlusion, blocked

758
00:42:50.570 --> 00:42:54.520
In simple terms, for large, open surfaces,

759
00:42:54.520 --> 00:42:58.220
light can reach from any direction

760
00:42:58.220 --> 00:43:00.770
On the other hand, if there’s a corner or angled surface,

761
00:43:00.770 --> 00:43:03.370
light coming from the opposite side won’t reach it

762
00:43:03.370 --> 00:43:06.570
The area where light can hit will be limited

763
00:43:06.570 --> 00:43:09.770
This is a visual representation of whether

764
00:43:09.770 --> 00:43:11.570
an area can receive light or not

765
00:43:11.570 --> 00:43:16.520
So, it's important to note that, unlike in Core3D,

766
00:43:16.520 --> 00:43:20.520
the management of these effects has shifted

767
00:43:20.520 --> 00:43:24.120
to a different system in URP

768
00:43:24.120 --> 00:43:27.470
It's a shame that I couldn't explain every feature,

769
00:43:27.470 --> 00:43:32.370
but I wanted to clarify, as it might be confusing

770
00:43:32.370 --> 00:43:35.320
to mix optimization with post processing

771
00:43:35.320 --> 00:43:37.320
To summarize,

772
00:43:37.320 --> 00:43:40.020
optimization and post-processing,

773
00:43:40.020 --> 00:43:45.470
along with tasks related to graphic resources,

774
00:43:45.470 --> 00:43:48.770
are complementary to each other

775
00:43:48.770 --> 00:43:51.370
If you increase the quality,

776
00:43:51.370 --> 00:43:54.520
then naturally, optimization will suffer

777
00:43:54.520 --> 00:43:57.920
In such cases, you need to make slight technical adjustments

778
00:43:57.920 --> 00:44:00.620
o improve quality without significantly compromising optimization

779
00:44:00.620 --> 00:44:05.470
It's important to find the right balance

780
00:44:05.470 --> 00:44:07.920
in these overall tasks and configure them accordingly

781
00:44:08.620 --> 00:44:12.520
In this section, we learned about the use of light mapping

782
00:44:12.520 --> 00:44:14.870
and post processing techniques

783
00:44:14.870 --> 00:44:19.320
topics related to light mapping, including Reflection Probes,
Light Probes, and their integration

784
00:44:19.320 --> 00:44:21.920
Along with features for graphic optimization,

785
00:44:21.920 --> 00:44:26.270
we also controlled graphic resources in a real-time engine

786
00:44:26.270 --> 00:44:28.720
Various features like post processing

787
00:44:28.720 --> 00:44:31.520
consume resources in the post processing stage

788
00:44:31.520 --> 00:44:34.170
These effects, however, also help

789
00:44:34.170 --> 00:44:36.620
enhance immersion for the users

790
00:44:36.620 --> 00:44:39.720
It's important to strike a balance

791
00:44:39.720 --> 00:44:42.020
for efficient visual expression,

792
00:44:42.020 --> 00:44:44.220
rather than just focusing on saving resources

793
00:44:44.520 --> 00:44:49.420
This concludes the lecture on light mapping and post processing

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00:44:49.420 --> 00:44:49.920
Light mapping

795
00:44:49.920 --> 00:44:50.420
ㅁ way of pre storing the information of an object
receiving light in a texture

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00:44:50.420 --> 00:44:50.920
It precomputes the lighting for static objects
to reduce the computational load on the computer

797
00:44:50.920 --> 00:44:51.420
Light settings
selecting Window, Rendering, Lighting

798
00:44:51.420 --> 00:44:51.920
Click the New button under the Lighting Setting Asset section to create a new one,
then change the mode to Subtractive

799
00:44:51.920 --> 00:44:52.420
Set Direct Samples to 16 and Indirect Samples to 256

800
00:44:52.420 --> 00:44:52.920
Set Environment Samples to 128 and Lightmap Resolution to 12

801
00:44:52.920 --> 00:44:53.470
Change the Directional Light mode to Mixed, then save
and click the Generate Lighting button

802
00:44:53.470 --> 00:44:53.970
Graphic optimization techniques

803
00:44:53.970 --> 00:44:54.470
Light Probe, An object that makes dynamic objects appear
to receive the same lighting as static objects

804
00:44:54.470 --> 00:44:54.970
In the hierarchy window, select Light Point Light,
then change the light mode to Baked

805
00:44:54.970 --> 00:44:55.470
In the hierarchy window, select Light Light Probe Group,
then set its position to the world origin

806
00:44:55.470 --> 00:44:55.970
When you click the Edit Light Probe Positions button,
you can select each individual probe and adjust its position

807
00:44:55.970 --> 00:44:56.470
Drag the probes to cover the necessary areas,
and then use Ctrl C and Ctrl V to duplicate and expand them

808
00:44:56.470 --> 00:44:56.970
Select Window, Rendering, Lighting, then click the Generate Lighting button

809
00:44:56.970 --> 00:44:57.470
Even when the light is deactivated, the probes still hold the light information,
allowing the lighting effects to be applied to dynamic objects

810
00:44:57.470 --> 00:44:58.120
Reflection Probe, An object that makes dynamic objects appear
to receive the same reflections as static objects

811
00:44:58.120 --> 00:44:58.820
In the hierarchy window, select Light Reflection Probe to add it

812
00:44:58.820 --> 00:44:59.470
Click the Bake button to capture the surrounding environment image,
then increase the Smoothness value in the Surface Inputs section

813
00:44:59.470 --> 00:45:00.120
Placing a Reflection Probe around a 3D object will create
the effect of reflecting the surrounding environment

814
00:45:00.120 --> 00:45:00.820
The reflection effect is applied using the image stored in the Reflection Probe,
rather than reflecting the real-time screen

815
00:45:00.820 --> 00:45:01.470
By using Light Probes and Reflection Probes,
you can reduce the hardware load during content operation

816
00:45:01.470 --> 00:45:02.120
Post-processing
additional image effects applied to the rendered screen after the rendering is completed

817
00:45:02.120 --> 00:45:02.820
In the main camera object,
check the Post Processing option under Rendering to activate it

818
00:45:02.820 --> 00:45:03.470
In URP, post-processing is built in
and managed through Volume

819
00:45:03.470 --> 00:45:04.120
Bloom effect
A visual effect where light spreads naturally, similar to how neon signs glow

820
00:45:04.120 --> 00:45:04.820
In the hierarchy, select Volume Global Volume,
then click the New button in the Inspector window under the Profile section

821
00:45:04.820 --> 00:45:05.470
Click the Add Override button, then select the Bloom effect

822
00:45:05.470 --> 00:45:05.970
Depth of Field
A post processing effect that uses camera focusing techniques

823
00:45:05.970 --> 00:45:06.470
In the Global Volume Inspector window, click the Add Override button,
then select the Depth of Field effect

824
00:45:06.470 --> 00:45:06.970
After enabling the mode, select Gaussian mode

825
00:45:06.970 --> 00:45:07.470
In the hierarchy, select the Main Camera,
then choose GameObject Align With View from the menu bar

826
00:45:07.470 --> 00:45:07.970
Set and enable the Start and End values for Depth of Field

827
00:45:07.970 --> 00:45:08.470
The Bokeh mode properties

828
00:45:08.470 --> 00:45:08.970
Blade Count: The more blades you use,
the rounder the Bokeh effect will appear

829
00:45:08.970 --> 00:45:09.470
Focus Distance, sets the distance from the camera to the point where the focus is sharp

830
00:45:09.470 --> 00:45:09.970
Focal Length, sets the range based on the distance between the object
in focus and the camera lens

831
00:45:09.970 --> 00:45:10.470
Aperture, adjusts the intensity of the blur effect

832
00:45:10.470 --> 00:45:10.970
Ambient Occlusion
Affects the boundary areas where objects overlap

833
00:45:10.970 --> 00:45:11.470
In URP, Screen Space Ambient Occlusion is applied by default