Join Craig Barr for an in-depth discussion in this video Using the Director Track, part of Unreal Essential Training.
- Using Matinee in Unreal Engine 4 is a really quick and powerful way to create nice cinematics to showcase our scene. Now that we've taken a look at how we can create camera groups to build our cinematic, let's take a look at how we can direct or define how those cameras will work within our cinematic here. So, once again we want to open up our Matinee Viewport by going to Cinematics, and simply clicking on the Matinee actor that we're working with. So I'll just click that open, and it'll open up this UI. Now, just to explain what's going to happen here next, or just give a quick summary of this, you'll see that we've created two cameras.
This PanCamera1 and ZoomCamera1. And at any time if I want to view specifically through a camera that I'm working with within Matinee, I can simply click on the camera icon, and it will view that camera to the extent of it's animation, so even if I go beyond that animation, it's still viewing through this camera, because I'm working specifically with that. Now we're into the next area of animation on this ZoomCamera1, but we're not seeing it. Well, if I click this icon, it's going to click over to that Zoom Camera, so that we have that view.
If I go beyond that though, we're going to see the other camera move, because we're simply looking through that one camera in there. So let's turn that off, so that we're just looking specifically through the Into the Viewport here with the cameras that we're working with. Now what we want to do is define how these cameras are going to be essentially stitched together so that they transition from one to another to kind of define or direct that cinematic flow. So I'll right click in my workspace here, and we'll put in a new director group, so "Add New Director Group." And you'll see that the Tracks area has split top to bottom, and now we have this Director Group.
Now remember we pointed out these simple little camera icons, and how we can see specifically through those cameras as we work, well now we have that with the Director Group. This is where we're defining or directing how our cameras will work together. So what I want to do right now is come right back to zero, and then what we're going to want to do is add in a new camera in there, so we want to actually drive the Pan Camera to be wherever we want it to be within our Viewport. Let's just turn that one off in there.
So this is where we're going to want to add in a simple frame or area here to cut to within our cinematic. So by selecting that track, and then just hitting Enter, you're going to define a cut area, or where you want to cut to. We have in here just our two cameras in here, PanCamera1, ZoomCamera1, and we could also define different Director Groups of cameras if we wanted to. Now, I have PanCamera1 and ZoomCamera1, and I want to use Pan Camera, so we'll just leave that as the one selected and hit OK.
It's going to bring that into my Timeline, but you'll also notice that it brings it right out past the amount of animation that's in there. That's because that means you can hold that last frame on there for essentially infinity, or as long as you defined your Timeline to be for your Director Group. Let's actually change that to where we know that animation ends on that, and that's around this four and a half second point here. Snap works the exact same way in our Director Group, which is based on 0.5 snapping sequence that we have defined, and it works the same as if we're working within our Camera Groups here as well.
So let's now define how it's going to cut to a different camera in here, and that's where we'll just hit Enter. And I'm going to say I want ZoomCamera1 in this place, and it'll simply snap to exactly 4.5 seconds, and you can see it over here as well, ZoomCamera1. So now what we have, if we click on this camera, and scrub through, you'll see that we now have our cinematic working quite nicely in here, based off of what we're directing in view. So it's going to snap between those two cameras as it goes, and you can see that we're getting this kind of zoom effect happening in here.
So if we wanted these cameras to be quite different now, it's not a problem, we can come into the camera view point port here, and start to work with this Timeline specifically in here. Now I mentioned before that I like to work with the Viewport to be able to see the cameras from a distance, and I'll show you why here. So if we turn off our director group, and we're just working within the space of the Viewport camera, now this allows me to see what's happening with those cameras in there. So I'm going to select my Zoom Camera, the movement specifically on that, making sure that you have that camera selected is important, so that I can see it through this little space in here.
I don't want this camera so far out at that keyframe, so let's make sure we have that keyframe selected, which we do, we're in the movement track, select the keyframe, and now we can adjust the key movement as we can see in the Viewport, highlighted in red here. I want this camera to be maybe a little bit closer up so that transition isn't maybe so jarring as to what's happening in there. Now with that camera selected on the keyframe, it's done that adjustment on the fly for me so that we can see this in the Viewport there, or work with our director's camera, and scrub that Timeline there.
So we can see, here's our first camera, it comes in, and then we do the snap over to this other camera from above and kind of zoom right in here. Well this is where we can start to keep going back and forth, and working with the animation on this, or the view from this. Your view and your Viewport is always going to be locked to those cameras that you were working with, specifically, before. So I don't want this one to be as high. With my keyframe selected again, that's important, I want to make sure that I'm adjusting my camera as I go, and we'll bring it down to around that height, and maybe just keep it out here.
I'm just going to turn that view in a little bit more. So we're going to have a different transition, it's going to be in two different areas in here, but it shouldn't be as jarring as we work here. So that's fine, so we have this kind of zoom coming in, let's turn on our Director Group camera, and we'll see that we move this pan around, then we snap to a completely different view here, and we kind of zoom right in towards the car. So there's quickly how you assemble camera groups. Now, to create a full cinematic with many different cameras, we would repeat exactly what I'm doing here.
Placing your cameras, and then defining where they begin and end within your Director Group, to direct how the cinematic's going to flow. So this is a real simple example to get you going. I recommend you play with many different camera settings. Play with the field of view angle as well, and you could keyframe that in the exact same manner as what I'm showing here. And don't forget that your Details panel is going to be specific to what you're working with, within your Camera Groups or your Matinee Timeline for that matter, but if you click on Field of View over here, it's going to select that actor, that camera actor, and bring up anything related to that camera over in here.
And this is where I could dial in the field of view specifically as well, as well as any of the other attributes or parameters specific to that actor. So that's an overview of how we can create a Director Track in Matinee, to work with our camera groups for our Cinematic.
- Customizing the Unreal UI
- Creating a new project
- Creating landscapes
- Blocking out levels
- Assembling a scene
- Working with materials and lights
- Adding post-processing effects
- Defining bodies of water
- Adding atmospherics, foliage, and wind
- Working with the Blueprint editor
- Creating cinematics
- Monitoring performance
- Packaging a game for distribution