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Tutorial video #7 for creating an endless runner game with the Unreal Engine 4.

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Tutorial video #6 for creating an endless runner game with Unreal Engine 4.

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Tutorial video #5 for creating an endless runner game with the Unreal Engine 4.

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Tutorial video #4 for endless runner game on the Unreal Engine 4.

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Video tutorial #3 for creating an endless runner game with the Unreal Engine 4.

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Video #2 for creating an endless runner game on Unreal 4 Engine.

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Tutorial video #1 for creating an endless runner game on Unreal 4 Engine.

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Introduction to Game Engines Scoring Guide

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Introduction to Game Engines Scoring Guide

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Current Stable Version

The current stable release of GIMP is 2.10.36 (2023-11-05).

Show downloads for GNU/Linux | macOS | Microsoft Windows | All
(we think your OS is ... Well, we don't actually know. Either JavaScript is disabled, or I am not working quite right... So I am showing you all the options )

GIMP for Unix-like systems

Warnings and information

Flatpak build available in: x86-64 and AArch64 ( note: i386 and ARM-32 versions used to be published, yet are now stuck at GIMP 2.10.14 and 2.10.22 respectively).

If available, the official package from your Unix-like distribution is the recommended method of installing GIMP!

The flatpak build is new and has known limitations, though it will likely provide faster updates, following GIMP releases closely.
Therefore choose your installation medium according to your needs.

Flatpak additional instructions

The flatpak link above should open your software installer and prompt you to install GIMP. Yet it may not work out-of-the-box on some platforms since the flatpak technology is new. If that is the case, ensure flatpak is installed and if clicking the link still does not prompt to install GIMP, then manually install by command line:

flatpak install https://flathub.org/repo/appstream/org.gimp.GIMP.flatpakref

Once installed, it will be made available exactly the same way as other applications (menus, desktop overview, or any specific application launch process used by your desktop).
If this is not the case, we suggest to report a bug to your desktop or distribution asking for proper support of flatpak. In the meantime, you can still run it by command line (not as the recommended method, only a workaround):

flatpak run org.gimp.GIMP//stable

This installation will also provide regular update. You don't have to come back on this page and install again (it will not work!) when a new version of GIMP is released. Instead if your distribution and/or desktop has a good support for flatpak, it should propose to perform updates.
Once again, if your distribution does not have proper support, you can always fall back to using the following command line:

flatpak update

Systems without flatpak support

GIMP can also run on Solaris and is available for the BSD family of systems such as FreeBSD and OpenBSD.

Please refer to the documentation for your Unix-like system on the installation of software.

GIMP for macOS

Warnings and information

Supported OS: macOS 10.12 Sierra or newer

!IMPORTANT! ⚠️ App Store: GIMP team does not provide any package on Apple's App Store at the moment. Any downloads on the store are created by third party and is not in anyway connected to the GIMP team. ☢️

These are vanilla builds without any third-party add-ons. Just open the downloaded DMG and drag and drop GIMP into your "Applications" folder.

Since version 2.8.2, GIMP runs on macOS/OSX natively. No X11 environment is required.

Security

Older Downloads

Previous installers for macOS/OSX can be found on download.gimp.org.

Third Party Downloads

Third party packages are not officially supported by the GIMP project. Therefore you should report issues to the packagers first, before reporting to the GIMP team. We only list some of these package systems here because they are widely used FLOSS projects, though we won't list projects providing very outdated versions.

Macports

An easy way to compile and install GIMP and other great Free software on your Mac is by using Macports. The installer allows you to choose from a large directory of packages. To install gimp using Macports, you simply do sudo port install gimp once you have Macports installed.

Last we checked, the GIMP port file pointed to the current stable release and we have reports from people who've built GIMP successfully this way.

Homebrew

Homebrew is similar to Macports and provides packages (aka formulas) to install, either by compiling them from source or by using pre-made binaries. There are indications that there is now a formula for GIMP, installable with: brew tap homebrew/cask && brew install --cask gimp.

NOTE! Please be aware that it was announced recently that Homebrew is using analytics. To turn this off, run: brew analytics off
You can read more about this on Brew Analytics.

Source for version 2.10 (Stable)

GIMP releases are also available as source tarballs from gimp.org and its mirrors, containing the source code to compile for your system: https://download.gimp.org/gimp/v2.10/

Hashes of latest releases to check the integrity of the tarballs

gimp-2.10.36.tar.bz2 (sha256):

3d3bc3c69a4bdb3aea9ba2d5385ed98ea03953f3857aafd1d6976011ed7cdbb2

gimp-2.10.34.tar.bz2 (sha256):

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gimp-2.10.32.tar.bz2 (sha256):

3f15c70554af5dcc1b46e6dc68f3d8f0a6cc9fe56b6d78ac08c0fd859ab89a25

gimp-2.10.30.tar.bz2 (sha256):

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gimp-2.10.28.tar.bz2 (sha256):

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gimp-2.10.24.tar.bz2 (sha256):

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gimp-2.10.22.tar.bz2 (sha256):

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gimp-2.10.20.tar.bz2 (sha256):

e12f9f874b1a007c4277b60aa81e0b67330be7e6153e5749ead839b902fc7b3c

gimp-2.10.18.tar.bz2 (sha256):

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gimp-2.10.16.tar.bz2 (sha256):

cbf9fe9534b913a9487b00cd9710cbc569bfd71fdd2f8c321547701a7d70cbeb

gimp-2.10.14.tar.bz2 (sha256):

df9b0f11c2078eea1de3ebc66529a5d3854c5e28636cd25a8dd077bd9d6ddc54

gimp-2.10.12.tar.bz2 (sha256):

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gimp-2.10.10.tar.bz2 (sha256):

12d1f243265c7aee1f2c6e97883a5c90ddc0b19b4346cf822e24adbb6c998c77

gimp-2.10.8.tar.bz2 (sha256):

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gimp-2.10.6.tar.bz2 (sha256):

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gimp-2.10.4.tar.bz2 (sha256):

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gimp-2.10.2.tar.bz2 (sha256):

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gimp-2.10.0.tar.bz2 (sha256):

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For instructions on how to build GIMP from source code, you will want to read our developer website.

You may want to read the Release Notes for GIMP 2.10.

User Manual

GIMP's user manual can be dowloaded separately on the documentation website either as language-specific Windows installers or as source tarball.

The manual can also be browsed online

Development snapshots

🤫Pssst... want to check out GIMP 2.99.16 development release? Get it on our development downloads page 🧪.

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The official download page for all things GIMP! Please only use the official binaries provided here unless you really, really know what you're doing (it's the only way to be safe). We try to provide binaries in-time with regular releases, but may occasionally be delayed as the packagers ...

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Video tutorial on how to edit images using Photoshop, and apply the modified images to 3ds Max. The video shows how to use image planes in order to create references for 3D modeling.

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Part 5 of 5 video tutorial series on how to create a treasure chest in 3ds Max. In this final video, learn how to create final textures in Photo Shop and then apply them to the 3ds Max model.

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Creating and Applying Textures Tutorial

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Part 4 of 5 video tutorial series for creating a treasure chest. In this video, learn how to create textures in Photoshop and then apply them in 3ds Max.

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Unwrapping UV Tutorial

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Part 3 of 5 video tutorial series on how to create a treasure chest. In this video, learn how to use the UV Editor in order to separate the UV maps of the treasure chest. This is an important skill to have as it is the first step in properly texturing 3D objects.

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Video tutorial shows how to use Photoshop to create reference images for 3D modeling.

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It's rare that a 3D model will start in the 3D application, it's actually just the opposite. Most 3D models begin their life on paper as 2D reference. This could be anything from photo reference, or conceptual drawings for the 3D modelers to use when creating the asset or character. The latter is what we'll be discussing in this article, also known as the model sheet. The model sheet is a 3D artist's best friend, and serves many purposes, the main being a great source of reference, as well as a sort of style guide. When working in a game or movie pipeline, a model sheet is key for eliminating re-works. And as we all know re-works mean more money spent on the project. Simply just telling a 3D artist what a character should look like is not going to be enough, this leaves a large amount of room for interpretation on the 3D artist's side, and often can result in a final 3D model that is drastically different from what was explained by the artist. Interpretation should not be confused with creative freedom, because it's still up to the 3D modeler to know what will work better in the 3D environment. An artist explaining that the character has a large nose could end up being greatly skewed down the pipeline and a large nose in the 3D artists mind could be a massive exaggeration of what was actually intended. Some productions will handle thousands of assets and making sure all of them conform is essential. Could you imagine what the cast of Toy Story would look like if each modeler took on a character with their own interpretation? Sure, it might be entertaining but the lack of consistency would have led to some serious problems throughout the entire creation of the film: models that don't match in size, Buzz with a giant head and baggy suit and so on. In a basic sense, the model sheet is what a concept artist will hand off to a modeler to have him or her recreate an asset or character in 3D space. Model sheets tend to have three different views to help the modeler see all aspects of what they will be creating. Like any plan, these details outline what the modeler will need to do to bring the asset to life in 3D without losing anything in the interpretation process. While a basic model sheet is typically three othrographic views that the 3D modeler will often bring into the 3D application to basically trace the form and shape of. This isn't what it's limited to. A great model sheet will include the typical orthographic views, but can also include things like different poses for the character, as well as detailed designs of the wardrobe. How it Helps Modelers One of the biggest benefits of a model sheet for 3D modelers is the fact that it greatly speeds up the modeling process. Great model sheets will eliminate any guessing on the 3D artists side, and allow them to quickly block in the mesh, following exactly along with the model sheet, and ultimately bringing the vision to life, from 2D concepts, to the final 3D mesh. Working on a production, a model sheet is a luxury you'll probably have, as in any pipeline, a model sheet is something you'll receive on nearly every model. However, if you're a student studying character modeling, and you don't have the benefit of receiving a model sheet from someone before you in the pipeline, you still need to spend the time to create one.

Spending the time to draw up the orthographic views will help you tremendously during the modeling process. You don't necessarily have to be an excellent artist to make a decent model sheet, just something you'll be able to study, and use as a guide inside the 3D application. Another great approach is to find real-life reference, and use those as a model sheet. Being able to build your 3D model off of something that is anatomically correct is a must. While we all think we know how people look, it's nearly impossible to create a convincing model straight from memory. Another important aspect of the model sheet which we kind of touched on previously is the fact that you can bring it directly into the 3D application to use almost as tracing material. It's vital that you don't think of using a model sheet as cheating in some way, because it's not. Simply having your model sheet on a separate monitor is not enough, because you want to get the final 3D model as close as possible to what the concept artist had created, and the only way to do this is to create the 3D mesh directly on top of the model sheet. Creating the Model Sheet If you're a concept artist creating a model sheet to pass down the pipeline to the 3D Artist then there are a few things you need to remember so that you create the best possible model sheet that will be of best use to the modeler.

The first is probably an obvious one, and that is clear and concise details. You don't want your model sheet to look "sketchy" at all in nature, meaning lots of quick and rough lines that make up the character's form. The sketching process should be something done in the conceptual phase. When it comes to the model sheet, you want precise lines that clearly make up the character. The same goes for anything the character is wearing, whether it's a belt, holster, body armor, glove, etc. The 3D modeler shouldn't have to guess at all what was trying to be drawn, it should be completely clear. For instance, if a character is wearing chest armor it should be easy to read. You don't want the modeler to be confused if it's actually an added on piece of armor, or part of the character's vest. This can also be clearly explained through detail notes. It's also important to work in layers when creating the model sheet, start with the base, and build off of that. The character's body, then the clothes, then the armor, and so on. This will make it easier for the 3D modeler to see the various pieces that make up the character. You also want to make sure that everything is consistent, as their is typically a front, side and back view you want to ensure that it truly looks like the character is turned, and not as if there are three completely different characters drawn. Model sheets are a vital part of any 3D production, having a great model sheet will speed up the overall process, and ensure that there is no confusing between the design and concept team and the 3D artists that create the final asset. If you want to learn more about model sheets watch the Drawing Character Model Sheets in Photoshop tutorial.

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Create 3D Models More Quickly with a Model Sheet

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It's rare that a 3D model will start in the 3D application, it's actually just the opposite. Most 3D models begin their life on paper as 2D reference. This could be anything from photo reference, or conceptual drawings for the 3D modelers to use when creating the asset or character.

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This area will contain practice work. It will only have unfinished work and work in progress.

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Video tutorial on how to import the random number module and use implement it in Python.

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Video tutorial that explains while loops and how to use them in Python.

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Video tutorial on how to step through and use nested for loops.

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Video tutorial on how for loops work and how to use them in Python.

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Video demonstrating several if statement examples.

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Video tutorial on the logic behind if statements in Python

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(3 Points)
Must complete Part 1 first

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Part 2 of a 5, this tutorial demonstrates how to create a treasure chest for use in a video game, animated movie, or 3D printing. This video also covers some 3D modeling basics such as the importance of reference images and model topology.

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(3 Points)

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Part 1 of a 5, this tutorial demonstrates how to create a treasure chest for use in a video game, animated movie, or 3D printing. This video also covers some 3D modeling basics such as the importance of reference images and model topology.

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(2 Points)

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Learn some of the basic functions and features of 3ds Max as you create a Pokeball.

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(3 Points)

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Video tutorial on how to create a simple chair with curved legs in 3ds Max.

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(2 Points)

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(2 Points)

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Video tutorial on how to create a simple chest of drawers using 3ds Max.

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Choose at least 5 points worth of tutorials to work through to

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Tutorial covers applying a basic health system to NPCs, as well as having rag doll physics applied to NPCs when health is drained.

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Tutorial video on how to get NPCs to switch between tasks (e.g., wandering, chasing).

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In this tutorial, learn how to create character animations in Unreal 4 using Blendspaces, Animation Blueprints, and State Machines.

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Tutorial shows the basics of making an NPC's AI work. Users will learn how to apply a navmesh to their levels, set up a Wander task, create a behavior tree, and create an AI controller for their NPC(s).

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Learn the technical skills you need for the job you want. As leaders in online education and learning to code, we've taught over 45 million people using a tested curriculum and an interactive learning environment. Start with HTML, CSS, JavaScript, SQL, Python, Data Science, and more.

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Character Creation and Animation for Unreal 4 Tutorials

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Character Creation and Animation for Unreal 4 Tutorials

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Unreal Engine 4 is a collection of game development tools capable of producing everything from 2D mobile games to AAA console titles. It is the engine behind titles such as ARK: Survival Evolved, Tekken 7 and Kingdom Hearts III.

Developing in Unreal Engine 4 is very simple for beginners. Using the Blueprints Visual Scripting system, you can create entire games without writing a single line of code! Combined with an easy-to-use interface, you can quickly get a prototype up and running.

This Unreal Engine 4 tutorial is focused on helping beginners get started. Here are the key points that this tutorial will cover:

Installing the engine

Importing assets

Creating materials

Using Blueprints to create objects with basic functionality

To learn these, you will create a spinning turntable that displays a banana.

Note: This tutorial is part of a 10-part tutorial series on Unreal Engine:

Installing Unreal Engine 4

Unreal Engine 4 uses the Epic Games Launcher for installation. Head over to the Unreal Engine website and click the Get Unreal button at the top-right corner.

You will need to create an account before you can download the launcher. After you have created an account, download the launcher for your operating system.

Once you have downloaded and installed the launcher, open it. The following window will appear:

Enter the email and password you used to download the launcher and click Sign In. Once signed in, this window will appear:

At the top-left corner, click Install Engine. The launcher will take you to a screen where you can select which components to install.

Note: Epic Games is constantly updating Unreal Engine, so your engine version may be slightly different than this. For example, since I wrote the first draft of this tutorial, the version has already updated to 4.14.3! As long as you have at least version 4.14, you should be set for this tutorial.

Starter Content: This is a collection of assets that you can use for free in your projects. It includes content such as models and materials. You can use these as placeholder assets or in your final game.

Templates and Feature Packs: Templates set up basic functionality relating to your chosen genre. For example, picking the Side Scroller template will create a project with a character, basic movement and a fixed plane camera.

Engine Source: Epic provides source code access, which means anyone can make changes to the engine. For example, if you want to add custom features to the editor, you can do it by changing the source code.

Scrolling down the list, there are different platforms available. If you don't plan on developing for a specific platform, feel free to disable it.

Once you have selected your components, click Install. When the installation completes, the engine will appear in your library. Now it's time to create the project.

Creating a Project

Click one of the Launch buttons to open the Project Browser. Once it opens, click the New Project tab.

Click the Blueprint tab. Here, you can use one of the templates. However, since you are starting from scratch, select the Blank template.

Further below, you will find additional settings.

Here's what each option does:

Target Hardware: Selecting Mobile/Tablet will disable some post processing effects. It will also enable using the mouse as a touch input. Set this to Desktop/Console.

Graphical Target: Selecting Scalable 3D or 2D will disable some post processing effects. Set this to Maximum Quality.

Starter Content: You can enable this option to include Starter Content. For the sake of simplicity, set this to No Starter Content.

Finally, there is a section to specify the location of your project folder and the name of your project.

You can change the location of your project folder by clicking the three dots at the end of the Folder field.

The project name does not represent the game's title so don't worry if you want to change the title later on. Select the text in the Name field and type in BananaTurntable.

Finally, click Create Project.

Navigating the Interface

Once you have created the project, the editor will open. The editor is split into multiple panels:

1. Content Browser: This panel displays all your project files. Use this to create folders and organize your files. You can search for your files by using the search bar or by using filters.

2. Modes: This panel lets you select between tools such as the Landscape Tool and the Foliage Tool. The Place Tool is the default tool. It allows you to place many different types of objects into your level such as lights and cameras.

3. World Outliner: Displays all the objects in the current level. You can organize the list by putting related items into folders. Also has the ability to search and filter by type.

4. Details: Any object you select will have its properties displayed here. Use this panel to edit the settings of the object. Changes made will only affect that instance of the object. For example, if you have two spheres and change the size of one, you will only affect the selected object.

5. Toolbar: Contains a variety of different functions. The one you will use the most is Play.

6. Viewport: This is the view of your level. You can look around by holding right-click and moving your mouse. To move, hold right-click and use the WASD keys.

Importing Assets

What's the point in having a turntable with nothing to display? Download this model of a banana. Inside are two files: Banana_Model.fbx and Banana_Texture.jpg. Alternatively, you could use your own model but why would you when you have this badass banana?

Before Unreal can use any files, you need to import them. Navigate to the Content Browser and click Import.

Using the file browser, locate the folder where Banana_Model.fbx and Banana_Texture.jpg are. Drag-select both of the files and click Open.

Unreal will give you some import options for the .fbx file. Make sure Import Materials is unchecked as you will be creating your own material. You can leave the other settings alone.

Click Import. The two files will now appear in your Content Browser.

Note that in Unreal, models are called meshes. So now that you have a mesh for your banana, it's time to place it into the level.

Adding Meshes Into the Level

The level is looking pretty empty at the moment so let's spice it up.

To add a mesh into the level, left-click and drag the Banana_Model from the Content Browser into the Viewport. Releasing left-click will place the mesh.

Objects in a level can be moved, rotated and scaled. The keyboard shortcuts for these are W, E and R. You can then use the manipulator like so:

About Materials

If you look closely at the banana, you will see that it's not yellow at all! In fact, it almost looks gray.

To give the banana some color and detail, you need to create a material.

What is a Material?

A material determines how the surface of something looks. At a basic level, a material defines four things:

Base Color: The color or texture of a surface. Used to add detail and color variations.

Metallic: How "metal-like" a surface is. Generally, a pure metal will have the maximum Metallic value whereas fabric will have a value of zero.

Specular: Controls the shininess of non-metallic surfaces. For example, ceramic would have a high Specular value but clay would not.

Roughness: A surface with maximum roughness will not have any shininess. Used for surfaces such as rock and wood.

Below is an example of three different materials. They have the same color but different attributes. Each material has a high value for their respective attribute. The other attributes are set to zero.

Creating a Material

To create a material, go to your Content Browser and click the green Add New button. A menu will appear with a list of assets you can create. Click Material.

Name the material Banana_Material and then double-click the file to open it in the material editor.

The Material Editor

The material editor is composed of five main panels:

1. Graph: This panel will contain all your nodes and the Result node. Pan by holding right-click and moving your mouse. Zoom by scrolling your mouse wheel.

2. Details: Any node that you select will have its properties displayed here. If a node isn't selected, the panel will show the material's properties instead.

3. Viewport: Contains a preview mesh that will display your material. Rotate the camera by holding left-click and moving your mouse. Zoom by scrolling your mouse wheel.

4. Palette: A list of all the nodes available to your material.

What is a Node?

Before you start making your material, you need to know about the objects used to make it: nodes.

Nodes make up the majority of a material. Many types of nodes are available and offer different functionality.

Nodes can have inputs and outputs, represented by a circle with an arrow. Inputs will be on the left side and outputs will be on the right side.

Here is an example using a Multiply and Constant3Vector node to add yellow to a texture:

Materials have a special node called the Result node, which has already been created for you in this case as Banana_Material. This is where all your nodes will eventually end. Whatever you plug into this node will determine how the final material looks.

Adding Textures

To add color and detail to a model, you need a texture. A texture is just a 2D image. Typically, they are projected onto 3D models to give it color and detail.

To texture the banana, you will use Banana_Texture.jpg. The TextureSample node will allow you to use a texture within your material.

The menu that comes up will list all the textures in your project. Select Banana_Texture.

To see the texture on the preview mesh, you need to plug it into the Result node. Hold left-click on the white output pin of the TextureSample node. Drag it to the Base Color input pin of the Result node.

Go back to the Viewport to see the texture on the preview mesh. Rotate it around (by holding the left mouse button and dragging) to see the other details.

Click Apply in the Toolbar to update your material, and close the Materials editor - you are done here.

Using Materials

To use your material with the banana, you need to assign it. Go back to the Content Browser and double-click on Banana_Model to open it. The following editor will appear:

Go to the Details panel and locate the Materials section. Click the drop-down located to the right of Element 0 and select Banana_Material.

Close the mesh editor, go back to the main editor and look at the Viewport. You will see that your banana now has a texture. Congratulations, you now have everything it takes to be a level designer!

Note: If the lighting is too dark, you can change it by going to the World Outliner and clicking on Light Source. In the Details panel, locate the Intensity setting and set it to a higher value.

About Blueprints

Even though the banana is looking amazing, it would look even better spinning on a turntable. Creating one is easy using Blueprints.

In its simplest sense, a Blueprint represents a 'thing'. Blueprints allow you to create custom behaviors for your objects. Your object can be something physical (like the turntable) or something abstract such as a health system.

Want to make a moving car? Make a Blueprint. What about a flying pig? Use Blueprints. How about a kitten that explodes on impact? Blueprints.

Just like materials, Blueprints use a node-based system. This means all you need to do is create nodes and link them; no coding needed!

Note: If you prefer to write code, you can use C++ instead.

While Blueprints are easy to use, they are not as fast as C++ code. So, if you need to use something computationally heavy like a complex algorithm, you should consider using C++.

Even if you prefer using C++, there are times where it is a good idea to use Blueprints. Here are some of the benefits of Blueprints:

Generally, it is quicker to develop using Blueprints than C++.

Easy organization. You can separate your nodes into different areas such as functions and graphs.

If you are working with non-programmers, modifying the Blueprint is easy due to its visual and intuitive nature.

A good approach is to create your objects using Blueprints. When you need extra performance, convert them to C++.

Creating a Blueprint

Go to the Content Browser and click Add New. From the list, select Blueprint Class.

A window will appear prompting you to select a parent class. Your Blueprint will inherit all the variables, functions and components from your chosen parent class. Take a moment to read what each class does.

Note: Since you can place and spawn the Pawn and Character classes, they are also Actors.

The Blueprint Editor

First, make sure that you have the Event Graph tab selected in the Blueprint editor.

The Blueprint editor has four main panels:

1. Components: Contains a list of the current components.

2. My Blueprint: This section is primarily used to manage your graphs, functions and variables.

3. Details: This will display the properties of the currently selected item.

4. Graph: This is where the magic happens. All your nodes and logic go in here. Pan by holding right-click and moving your mouse. Zoom by scrolling your mouse wheel.

5. Viewport: Any components that have a visual element will appear here. You can move and look around using the same controls as the Viewport in the main editor.

Creating the Turntable

To create the turntable, you need two things: a base and a display. You can create both of these by using components.

What is a Component?

If a Blueprint is a car then components are the building blocks that make up the car. The doors, wheels and engine are all examples of components.

However, components are not limited to being physical objects.

For example, to make a car move, you could add a movement component. You could even make a car fly by adding a flying component.

Adding Components

Before you can see any components, you need to switch to the Viewport view. Click the Viewport tab to switch to it. This is what it looks like:

Note: The DefaultSceneRoot component will not show when playing. It will only show in the editor.

The turntable will use two components:

Cylinder: A simple white cylinder. This will be the base that the banana sits on.

Static Mesh: This component will display the banana mesh.

To add the base, navigate to the Components panel. Click Add Component and select Cylinder.

It's a good idea to make the base a bit shorter. Activate the scale manipulator by pressing R and then scale it down (the exact size doesn't matter, you can tweak it later if you want).

Note: If you don't do this, the next component will be attached to the Cylinder component. This means it will also inherit the scale of the Cylinder component. Since you scaled the cylinder down, the next component would also be scaled down.

Next, click Add Component and select Static Mesh from the list.

To display the banana, select the Static Mesh component and then click the Details tab. Click on the drop-down located to the right of Static Mesh and select Banana_Model.

Move the banana if it is not in the correct position. Activate the move manipulator by pressing W and then move it up.

About Blueprint Nodes

It's time to make the turntable rotate. This is where Blueprint nodes come in..

Unlike their material node cousins, Blueprint nodes have special pins called Execution pins. A pin on the left is an input and a pin on the right is an output. All nodes will have at least one of these.

If a node has an input pin, it must have a connection before it can execute. If a node is not connected, any subsequent nodes will not execute.

Here is an example:

Node A and Node B will execute because their input pins have a connection. Node C and Node D will never execute because Node C's input pin does not have a connection.

Rotating the Turntable

Before you start, have a look at the Components panel. You will see that Cylinder and Static Mesh are indented but DefaultSceneRoot is not. This is because they are attached to DefaultSceneRoot.

If you move, rotate or scale a root component, the attached components will too. Using this behavior, you can rotate Cylinder and Static Mesh together rather than individually.

Creating a Node

To start scripting, switch back to the Event Graph tab.

Note: If the node isn't listed, uncheck Context Sensitive at the top-right of the menu.

Your graph will now have a new AddLocalRotation node. The Target input will automatically have a connection to the component you selected.

To constantly rotate the turntable, you need to call AddLocalRotation every frame. To execute a node every frame, use the Event Tick node. It's already in your graph. If it's not, you can create one using the same method as before.

Drag the output pin of the Event Tick node to the input pin of the AddLocalRotation node.

Note: In this implementation, the rotation rate is dependent on the frame rate. This means the turntable will rotate at a slower rate on slower machines and vice versa. That's fine for this tutorial because I wanted to keep things simple, but I'll show you how to solve this in a future tutorial.

Finally, go to the Toolbar and click Compile to update your Blueprint, then close the Blueprint editor.

Adding Blueprints Into the Level

Before adding the Blueprint, go back to the Viewport in the main editor and delete the banana model. To do this, select the model and then select Edit\Delete or press your Delete key.

Adding a Blueprint is the same process as adding a mesh. Hold left-click on the file and drag it into the Viewport.

Navigate to the Toolbar and hit Play to see all your hard work in action!

Note: If you didn't delete the original banana model, you may get a warning stating the lighting needs to be rebuilt. If you delete the model, the error will no longer appear.

Where to Go From Here?

You can download the completed project here.

You've learned a lot throughout this tutorial but that's just a tiny portion of Unreal. If you want to keep learning more, check out the next post in the series, where I cover more about Unreal Engine blueprints.

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Unreal Engine 4 Tutorial for Beginners: Getting Started

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Unreal Engine 4 is a collection of game development tools capable of producing everything from 2D mobile games to AAA console titles. It is the engine behind titles such as ARK: Survival Evolved, Tekken 7 and Kingdom Hearts III. Developing in Unreal Engine 4 is very simple for beginners.

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Unreal Engine 4 Tutorial - Equipping and Unequpping a Weapon

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Hi, in this video I'll be showing you how to use Unreal Engine 4's blueprints system to equip and unequip skeletal mesh weapons to your (third person) character. Leave a like if you liked the video, a dislike if you didn't and don't forget to leave a comment if your feelings are otherwise or if you have any advice, suggestions or questions.

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How Do I Set Up A Basic Blueprint Health System For A Player? - UE4 AnswerHub

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I am currently trying to set up a very basic health system for my player, so that every 0.5 secs (delay) the player's "Health" Int Variable will decrease by 20, (Default Int Value Of The Variable "Health" = 100).

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UE4 Tutorial - Health Bar + 2 Ways to Take Damage

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Transitioning From 3rd Person to 1st Person Unreal 4

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Transitioning From 3rd Person to 1st Person Unreal 4

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Tutorial on how to change between 3rd and 1st person camera views in Unreal Engine 4.

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Tutorial on how to apply animations to characters in Mixamo, and import them to Unreal 4.

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Webinar that discusses how to animate 3D models in Mixamo and export them to Unreal Engine 4.

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Survival Game Inventory and Crafting (Part 8)

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Survival Game Inventory and Crafting (Part 8)

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Create a Crafting & Inventory system in Unreal Engine 4 Pt 8 Finish Crafting To Completion

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Survival Game Inventory and Crafting (Part 7)

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Survival Game Inventory and Crafting (Part 7)

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Create a Crafting & Inventory system in Unreal Engine 4 Pt 7 Populate Crafting Recipie Lists & Data

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Survival Game Inventory and Crafting (Part 6)

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Survival Game Inventory and Crafting (Part 6)

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Create a Crafting & Inventory system in Unreal Engine 4 Pt 6 Recipies & Finish Crafting Menu GUI

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Survival Game Inventory and Crafting (Part 5)

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Survival Game Inventory and Crafting (Part 5)

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Create a Crafting & Inventory system in Unreal Engine 4 Pt 5: Interact & Drop Buttons & Polish

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Survival Game Inventory and Crafting (Part 4)

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Survival Game Inventory and Crafting (Part 4)

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Create a Crafting & Inventory system in Unreal Engine 4 Pt 4: Item stacking & prepare for buttons

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Survival Game Inventory and Crafting (Part 3)

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Survival Game Inventory and Crafting (Part 3)

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Create a Crafting & Inventory system in Unreal Engine 4 Pt 3: Finish Inventory & Start Crafting

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Basic Unreal Engine 4 and 3DS Max Tutorials

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Basic Unreal Engine 4 and 3DS Max Tutorials

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YouTube channel that contains several basic tutorials for Unreal 4 and 3DS Max

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Character Animation Tutorial Part 1 - Adding poses

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Character Modeling for Game Development (3DS Max)

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Character Modeling for Game Development (3DS Max)

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3ds Max: Character Modeling for Game Development

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Box and Edge Modeling a Character (Autodesk 3ds Max)

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Good evening, and for my last hit I'd like to take you back to the classics. 3D Studio Max of course. This is a box and edge modeling tutorial for creating a character. This is a very beginner type tutorial that will show some intro level techniques, tips, terms and tools for creating characters in 3D.

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Video tutorial on how to use Unreal Engine 4's Matinee tool to create a basic cutscene within a game project.

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Need help making an object collection counter - UE4 AnswerHub

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Simple searches use one or more words. Separate the words with spaces (cat dog) to search cat,dog or both. Separate the words with plus signs (cat +dog) to search for items that may contain cat but must contain dog.

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Energy, Health Bar, Main Menu Setup, and Collectible Counter

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Video tutorial on how to create a simple start menu in Unreal Engine 4.

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Survival Game Inventory and Crafting (Part 2)

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Survival Game Inventory and Crafting (Part 2)

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Create a Crafting & Inventory system in Unreal Engine 4 Pt 2: Pickup logic & Add Items to Inventory

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NASA is already planning the first manned space landing on Mars in the 2030s. But thanks to Epic Games' Unreal Engine 4, anyone who owns a virtual reality headset will be able to explore the Red Planet in 2016.

NASA has teamed up with Fusion Media, MIT's Space Systems Laboratory, and game developers from former studio Irrational Games to develop The Mars 2030 Experience for Oculus Rift, Google Cardboard, and Samsung Gear VR in 2016. The free cross-platform virtual reality experience will also expand to Sony PlayStation VR and HTC Vive, thanks to Unreal Engine 4.

Julian Reyes, virtual reality producer for Fusion, said Unreal Engine 4 has enabled the development team to start building this experience with the highest regard to visual fidelity.

"We want people to truly feel like they are on Mars, and the engine is perfect to make this happen in VR," Reyes said. "We've worked closely with Epic Games developers before and believe this engine is revolutionizing real-time graphics."

Justin Sonnekalb, who was a technical designer at Irrational Games, said Unreal Engine 4's visual programming for both materials and gameplay logic enabled the team to easily add new content and bring new systems online in a matter of hours rather than days or weeks.

"At the end of the first day of development we had a shared project environment with players able to walk and drive around terrain based on real Martian altimetry data from the University of Arizona's HiRISE project," Sonnekalb said. "Being able to get the fundamentals down so quickly is crucial for having the time and space to really bring Mars to life and create a truly immersive experience."

Sonnekalb said Unreal provides numerous tools in its material editor and elsewhere that allowed the team to target multiple performance tiers of lighting quality and different shader models, ranging from OpenGL ES 2 on mobile to DirectX 11 on the most powerful gaming desktops, and previewing each at any time with just a couple clicks.

"The addition of the seamless Mobile Previewer in 4.8 was incredibly helpful for developers targeting a wide range of hardware profiles," Sonnekalb said. "Early development generally emphasizes the higher-end as we work to establish the visual identity of a game, but these tools make it very easy to ensure you're not boxing yourself into a corner on lower-performing hardware in the process."

This partnership is the result of a Space Act Agreement between NASA and Fusion, in which the space agency will share the results of ongoing studies on space transportation systems, concepts of operations, and human health and performance.

Although more details will be announced during a panel at South by Southwest 2016, the virtual reality experience will bring to life a series of mini-missions that occur within the Mars habitat as well as on the planet's surface. Players will be able to walk on the Red Planet as well as drive the Mars Rover.

Reyes said the virtual reality project began when a few game developers inside of Fusion began experimenting with the medium last year.

"It's evolved, and we see it as something very exciting to use to tell stories in ways that have not been experienced before," Reyes said. "VR is uncharted territory and it's part of Fusion's DNA to tread through it."

According to Erin Mahoney, senior communications manager at NASA, space exploration has always been considered an experience for the elite few in the astronaut corps.

"An important part of NASA's Journey to Mars is the work we are doing to make space more accessible to individuals and non-governmental entities," Mahoney said. "With more aerospace companies making human spaceflight part of their core business models, we expect that spaceflight will be an option for more people in the future than it is today. Hopefully, individual immersive VR experiences in space will bring the concepts closer to reality for those who truly enjoy virtual life off of Earth."

Mahoney said advances in virtual reality, which are quickly becoming the standard in the video game industry, also benefits NASA's future.

"Our Mars astronauts are likely in kindergarten through ninth grade right now, so the ability to share with that generation the work that we are doing now to send them to Mars is a tremendous opportunity," Mahoney said. "We hope they will learn and be inspired by all VR experiences that allow them to be immersed in space missions."

The multiplatform Mars 2030 experience will also connect with a large audience through a Fusion television special, as well as a Twitch stream. It also will be available for iPhone and Android on iTunes and Google Play.

The plan is for additional NASA virtual reality experiences to come to life in the future, powered by Unreal Engine 4.

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NASA Is Using Unreal Engine 4 To Make Mars A Virtual Reality

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NASA is already planning the first manned space landing on Mars in the 2030s. But thanks to Epic Games' Unreal Engine 4, anyone who owns a virtual reality headset will be able to explore the Red Planet in 2016.

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By Stealth_Snake | 3D Studio Max | Intermediate

This tutorial will teach you a couple of methods to use to texture your objects in 3D Studio Max. Texturing an object is understood as the process of adding skin and colour to an object. We are going to use UVW and Unwrap UVW Maps to texture our objects in this tutorial. This method involves the creation of a 2D map that is 'glued' to our 3D model. You are assumed to have the basic knowledge on how to model your own objects in 3D Studio Max. We will provide you with a plain 3DS model and JPG textures to use in this tutorial to create the scene displayed in the image below.

The point of this tutorial is to teach you how to apply textures to models that you have already created. To learn how to model a 3D object in 3DS Max please review our other tutorials.

To follow this tutorial please download this file.

Part I - Create and Apply Textures using UVW and UnWrap UVW Maps

The first part of this tutorial will teach you how to texture using UVW and UnWrap UVW Maps. Using this method we will first apply standard materials to certain parts of our model to distinguish between different parts of it and then make 2D UVW Maps out of these models that we can edit using any external image editor. These images created using our external image editor are then easily applied to our materials to fit perfectly on our model. The procedure will now be explained step by step.

Open the file that you downloaded, you should see the model on the screen. We will first texture the house only, so start off by hiding all the other objects on the scene. You do this by clicking on the Display Tab, and accessing the Hide panel from there.

Hiding objects that you are not using gives you more spaces and speeds up the viewport updates.

Use We will start by applying generic materials to distinguish between the different parts of the model, we have to create these before we apply them. Hit "M" on your keyboard to open the "Material Editor". Select a free a slot in there and change the type from "Standard" to "Multi/Sub-Object". Name the material "House" (We are going to texture the body of the house first).

Notice that you get 10 Sub-Materials by default, change that to 6 and click on "Set Number". Name the Sub-Materials below in accordance to the different walls the house house, for the sake of the tutorial, name them in this order: Front, Back, Left, Right, Top, Rest. Notice the ID Number next to each of the Sub-Materials, we are going to use this later on. For now however, change the colour of each material using the "Colour Selector", just use a different colour for each of the materials, we need to distinguish them from each other.

Multi/Sub-Object.

It is now time to assign the materials that we have created to our model. Click on the "Assign To Selected" button ( ). In the "Modify Tab", change the selection mode to "Polygon", now select all the outer polygons of the front wall of the house by holding CTRL and then selecting the walls, make sure you don't select the inner polygons of the windows and the door though. Now that you have the front wall selected, find the "Polygon Properties" rollout menu, and set the "SetID" field to "1". The number 1 here is the ID Number of the Sub-Material we created earlier on for the front wall of the house, putting this ID number should assign the material that we created earlier to this part of the house.

Repeat the same process for the other four parts of the house (Back, Left, Right, and Top). You do this by selecting the polygons on a single wall and then setting the Material ID to them accordingly. If you have named your layers in the order that we suggested you should put these values to your walls, Back: ID 2, Right: ID 3, Left: ID 4, Top: ID 5. The rest of the polygons should be assigned to material ID 6.

Click to enlarge.

We now have different materials assigned to the different parts of our model. The next stage is creating textures for those Sub-Materials and then mapping them to the object. We will have to create a separate UVW Map for each of our materials, doing them on a turn, we will select the material, create a UVW Map, edit the map using an external image editor, and the map the texture to the object.

Select the house by clicking once on it and then access the "Modify Tab", and select the "Select Mesh" entry the "Modifier List". Change the selection mode to "Polygon", the enter the number "1" in the "Select Material by ID" field and then click on "Select" to select only the front wall part of the house.

Click to enlarge.

We will now add a UVW Map to the material we selected. Select the "UVW Map" entry from the "Modifier List", make sure it goes above the "Select Mesh" entry that we created earlier. Scroll down below and find the "Alignment" parameters, select "X" to align the projector map to the X-Axis and then click on "Fit" to make it the same size as the selected polygons. Finally, we have to make dimensions of the projector map a perfect square, because otherwise our UVW map will be distorted as it gest stretched to make a square when used. We can easily make the original dimensions of our map a square by pasting the value of the length as a the width as well. (Check the image below)

Click to enlarge.

We will now create our Unwrap Map, select the "Unwrap Map" entry from the "Modifier List". Find the Parameter" rollout menu and then click on "Edit". You should see the UVW Mapping for the selected polygons only in the Edit UVWs window. This is the front wall of the house, notice the holes in the centre that make up the windows and the door.

Edit UVW's Window.

If you are making your own model and texture from scratch you would have to copy this image and paste it in your image editing software to draw your map there. You can simply press Alt+Print Screen to take a snap shot of the active window. Pasting this in an image editor and then using the screenshot as a reference should be an easy job. Notice how I draw the texture on the wall in accordance to the holes that make up the windows and the door. Once you are done with it, save your new map as a JPG image. You do not have to do this for this tutorial as we have provided you with all the textures you need, but now you should know how to make these on your own.

Notice that the brown area is outside the scope of the texturing mapping area.

Back to 3D Studio Max now, open the "Material Editor" and select the "House" Material. Click on the Sub-Material "Front", this should open up the properties panel of the material, click on the box next to "Diffuse", select "Bitmap" and then locate the image of the front wall (You downloaded this). The texture should be already applied now to the front wall of the house, click on the "View in Viewport" button ( ) in the "Material Editor" to be able to view what you have just done in the view port.

Our first wall is done! And come on, it looks cool. You can repeat the process for the rest of the walls of the house, here is a small reminder:

1. Select the "Select Mesh" entry from they "Modifier List" in the "Modify Tab". Select the polygons "by Material" enter the ID number of the material used, e.g. "2" for the "back" wall.

2. Select the "UVW Map" entry from the "Modifier List", align the projector to selected polygons, resize the projector map by fitting it to the selected polygons, and finally make sure that the project map size is a perfect square in dimensions.

3. Select the "Unwrap Map" entry from the "Modifier List", click on "Edit" to open the "Edit UVWs Window".

4. Take the screenshot of this and edit it using an external image editing software, draw the texture on it.

5. Open the "Material Editor", select material ID for the texture, and locate the texture that you have for it.

The files for these textures have been included in the file that you have downloaded at the beginning of this tutorial. I made a texture for the chimney as well, you can unhide it from the Display Tab and then apply the material to it the same way you did to the walls.

Once you're done, unhide all the objects and you should get a similar scene to the one displayed below.

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By Stealth_Snake | 3D Studio Max | Intermediate This tutorial will teach you a couple of methods to use to texture your objects in 3D Studio Max. Texturing an object is understood as the process of adding skin and colour to an object.

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By Stealth Snake | 3D Studio Max | Intermediate

This tutorial will teach you how to use the UVW mapping texture technique in 3DS Max in order to be able to apply complex textures to your created models. The UVW mapping technique involves the creation of a 'template map' which we extract, colour and then stitch back onto the model as a texture. Unlike our previous UVW and Unwrap UVW Maps Tutorial, we are going to apply the texture using a single map instead of creating multiple ones for the various sections in the model and this is the method that is usually used for creating textures in games. This is an intermediate level tutorial, you are assumed to have decent knowledge on how to use Max. Our tutorial is not going to cover any modeling, please download the house model to be used in this tutorial here.

Applying Unwrap UVW Mapping

Once you have the model you downloaded opened, start off by selecting the house and then accessing the click the plus sign Modify tab and applying Unwrap UVW from the Modifier List to the house. On the Editing the Stack box list, + next to Unwrap UVW modifier to unveil a three item sub list. The three available options (Vertex, Edge, and Face) make it possible for us select a group or a single vertex, an edge or a face from the viewport. We are going to use the most common option Face, so go ahead and select it.

Unwrap WUV Mapping to The House Roof

Go back to the scene and select all the faces that form the roof. You will have to hold the Ctrl key on your keyboard while doing this process to be able to select multiple objects at the same time. Once you are done, look for the Parameter rollout and click on Edit, the Edit UVWs window shall open up. You might not recognise the red shape, this is the initial UV mapping with other selected faces which we shall modify .

While the Edit UVWs window is still open, access the Modify tab, scroll down to Map Parameters, then click on Planar and that shall change the UV mapping on the Edit UVW window. Finally, make sure you uncheck the Normalize Map option before you move to the next step.

Note: Once you uncheck the Normalize Map option, the UV Map of the roof should fill your Edit UVWs window. You will have to zoom out using the mouse scroll wheel to be able to see it. The Normalize Map option is turned off to prevent the UV Map from being scaled to fit the texture area, which is not a 1:1 scale, un-Normalized UVs are easier to draw texture on.

You can try using the other available options for map parameters: Pelt, Cylindrical, Spherical, Box, Align X, Align Y and Align Z. It would be a good practice for you to test how those other options map the selected faces.

Back on track, hit the Planar button once again to deactivate it. You will now be able to move the UV map of the selected faces to the side. You may need to zoom out and rescale the image down using a 1:1 scale. This was done to make it easier to work with the UV Maps as this creates a larger workspace to work with other UV maps that will be created later on.

Adding the chimney UV Maps to Unwrap UVW Mapping

In the viewport, select all the faces that form the chimney. You might need to minimize the Edit UVWs window for a better view. While those faces are selected, access the Map Parameter rollout, click the Cylindrical button and then finally hit the Fit button to fit the UV map to the size of the chimney. Deactivate the Cylindrical map parameter and use the Move and Scale tools to place the UV map somewhere next to the roof of the UV Map.

You should use the method that we have just repeated to unwrap the rest of the models using Planar, Pelt, Cylindrical, Spherical or Box. Here is another quick summary on how to do it:

1. Select the faces you want to map, e.g. the front walls.

2. Use one of the mapping parameters, Planar, Pelt, Cylindrical, Spherical or Box, you may also need to use one of the align tools e.g. Align X, Align Y, Align Z.

3. Deactivate the parameter you used and then Move or Scale the UV mapping and place it somewhere next to the previous UV map.

4. Repeat to map all the faces of the model.

Here are some screenshots illustrating the way I mapped all the needed faces. (Click to enlarge.)

You should end up with a map similar to the one you see below. I rearranged mine for easier texture editing. We have our UVs Maps ready, the next step is to take them to an image editor to draw the actual textures on them now. We are going to render the UV Maps to get an image of the UVs Maps. Go through Tools>Render UV Template. The UVs Render window shall open, change the width and height to 512 pixels and hit the Render UV Template button. Once the render is complete, save the file and open it in your image editor.

Creating the Texture in an External Image Editor

This tutorial is not going to cover the process of creating the actual texture in an external image editor. You can use any editor that is capable of saving images in a JPEG, GIF, PNG or PSD formats (I created mine using Adobe Fireworks). You must make sure not to alter the dimensions of the map during this process, you may reduce the overall size of it as long as you maintain the same aspect ratio. Once you finish creating your texture using the UVs render as a reference, save in the JPEG, GIF, PNG or PSD file formats and head back to Max.

Applying the Texture to the House

Hit M on your keyboard to open the Material Editor, select a free slot and click the box next to Diffuse. Select Bitmap from the list and then browse for the texture you made and hit OK. Select the house model on the scene and click on the Assign Material to Selection button on the Material Editor. Do not forget to click on Show Map on Viewport button to be able to see the texture on the scene.

The texture should perfectly fit as long as you do not add any more objects to the model. You can see the result I got below, I colored each UV map in a different color so that you can easily see it on the model.

This concludes our tutorial, I hope that you learnt how to texture using UVs Mapping. Please feel free to ask any questions you have at the Forum.

Links to related tutorials:

- End of Tutorial

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Unwrap UVW Mapping of model to single UV Map for Texture Making - Game Texturing

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By Stealth Snake | 3D Studio Max | Intermediate This tutorial will teach you how to use the UVW mapping texture technique in 3DS Max in order to be able to apply complex textures to your created models.

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Beginner's Guide to 3ds Max - 01: Introduction to the 3ds Max Interface

(Score 4.09 out of 5 after 113 Votes)

Date Added: 18th March 2013

In this exclusive, 10 chapter tutorial series, Isaac Oster provides an all-inclusive guide to 3ds Max. If you're a newcomer to Max, looking to switch from another software, or just want to recap some of the basics of this wonderfully versatile program, then this series is just what you've been looking for. Over the following ten parts, Isaac will be covering everything from the Max interface and modeling tools through to materials, textures, lights and rendering. A full chapter breakdown can be found below:

1. Introduction to the 3ds Max Interface
2. Creating and Editing Splines
3. Creating and Editing Primitives
4. Creating and Editing Editable Polys
5. Modeling Demo: Creating A Wrench
6. Graphite Modeling Tools
7. UV Creation and Editing Process
8. Materials, Procedural Textures and Texture Maps
9. Lights and Rendering
10. Render to Texture, Ambient Occlusion and Normal Bakes
11. Rigging and Skinning

Video

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// Beginner's Guide to 3ds Max - 01: Introduction to the 3ds Max Interface by Isaac Oster / 3ds Max, Project Overview tutorial from 3dtotal.com

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Racing Tutorial (Part 15): Final Polish and Additional Maps

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Racing Tutorial (Part 15): Final Polish and Additional Maps

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Video tutorial on how to create a racing game in Unreal Engine 4.

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Racing Tutorial (Part 14): UMG Animation - Race and Lap Records

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Racing Tutorial (Part 14): UMG Animation - Race and Lap Records

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Video tutorial on how to create a racing game in Unreal Engine 4.

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Racing Tutorial (Part 13): Pre-Race Polish and New Record Display

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Racing Tutorial (Part 13): Pre-Race Polish and New Record Display

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Video tutorial on how to create a racing game in Unreal Engine 4.

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Racing Tutorial (Part 12): Splash Screen and Countdown Timer

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Racing Tutorial (Part 12): Splash Screen and Countdown Timer

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Video tutorial on how to create a racing game in Unreal Engine 4.

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Racing Tutorial (Part 11): In-Game HUD System

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Racing Tutorial (Part 11): In-Game HUD System

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Video tutorial on how to create a racing game in Unreal Engine 4.

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Racing Tutorial (Part 10): Save Game System

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Racing Tutorial (Part 10): Save Game System

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Video tutorial on how to create a racing game in Unreal Engine 4.

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Racing Tutorial (Part 9): Checking for Lap and Race Records

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Racing Tutorial (Part 9): Checking for Lap and Race Records

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Video tutorial for creating a racing game in Unreal Engine 4.

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Racing Tutorial (Part 8): Race and Lap Timers

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Racing Tutorial (Part 8): Race and Lap Timers

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Video tutorial on how to create a racing game in Unreal Engine 4.

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Racing Tutorial (Part 7): Lap Display and Respawn Handling

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Racing Tutorial (Part 7): Lap Display and Respawn Handling

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Video tutorial on how to create a racing game in Unreal Engine 4.

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Racing Tutorial (Part 6): Checkpoint Tracker Functions and Testing

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Racing Tutorial (Part 6): Checkpoint Tracker Functions and Testing

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Video tutorial on how to create a racing game in Unreal Engine 4.

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Racing Tutorial (Part 5): Checkpoint Tracker Event Graph Script

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Racing Tutorial (Part 5): Checkpoint Tracker Event Graph Script

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Video tutorial for creating a racing game with Unreal Engine 4.

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Racing Tutorial (Part 4): Checkpoint Tracker Variable and Functions

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Racing Tutorial (Part 4): Checkpoint Tracker Variable and Functions

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Tutorial video #4 for creating a racing game in Unreal Engine 4.

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Racing Tutorial (Part 3): Setting Up the Checkpoint Blueprint

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Racing Tutorial (Part 3): Setting Up the Checkpoint Blueprint

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Tutorial video #3 for creating a racing game in Unreal Engine 4.

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Racing Tutorial (Part 2): Project Creation and Prep Work

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Racing Tutorial (Part 2): Project Creation and Prep Work

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Video tutorial #2 for creating a racing game in Unreal Engine 4.