For the boat, I created two model versions and 4 material versions of boats.
After that, I created some props for boats like anchors, lifeguards, fishing nets, paddles, and some assets from Megascans like chains and small oil containers.
Just to avoid repetition, I have created many versions of boats by adding props through blueprints in UE4.
Additionally, I added the Physics property to the boats to make them float.
Adding Micro Details
I tried to make this environment realistic, so I gave a major focus on adding micro details. For that, I added many small elements like wooden debris, garbage, ropes, chains, decals, dry grass, and moss alpha cards.
添加微观细节
我试图让这个环境逼真，所以我把重点放在添加微观细节上。为此，我添加了许多小元素，如木屑、垃圾、绳索、链条、贴花、干草和苔藓 alpha 卡。
Decals and dry glass were downloaded from Megascans and the debris was created in Houdini.
贴花和干玻璃是从 Megascans 下载的，碎片是在 Houdini 中创建的。
Shaders
For this project, I had created two shaders that help in adding contact dirt and moss.
着色器
对于这个项目，我创建了两个着色器来帮助添加接触污垢和苔藓。
RGB Mask Shader
I have created this shader to add some unique details to the dock. I combined the dock planks and took them to 3ds Max to create a unique UV in UV set 2. Then through Substance Painter, I created an RGB Mask.
RGB 蒙版着色器
我创建了这个着色器来为 Dock 添加一些独特的细节。我组合了码头木板并将它们带到 3ds Max 中，在 UV 集 2 中创建一个独特的 UV。然后通过 Substance Painter，我创建了一个 RGB 蒙版。
This shader can blend 4 textures at a time.
To reduce the texture memory, I used a greyscale mask for adding dirt and highlights. Through this, I was able to achieve unique details in modular pieces.
为了减少纹理记忆，我使用了灰度蒙版来添加污垢和高光。通过这个，我能够在模块化部件中实现独特的细节。
Ground/Directional Dirt Shader
I created this shader to give a feel of contact between assets. So, for that, I have created a Gradient Map in UE4 by subtracting Object position from absolute world position then dividing it with the local bound size of the object. Then I took the Z-values from the output and used them as a mask for the dirt area.
地面/定向污垢着色器
我创建了这个着色器来给人一种资产之间接触的感觉。因此，为此，我通过从绝对世界位置中减去对象位置，然后将其除以对象的局部边界大小，在 UE4 中创建了一个渐变映射。然后我从输出中获取 Z 值并将它们用作污垢区域的蒙版。
Then I use this material function to blend my dirt texture.
然后我使用这个材质函数来混合我的污垢纹理。
Lake
For the lake, I used the UE4 default water system and adjusted its material as per requirement.
湖
对于湖泊，我使用了 UE4 默认的水系统，并根据需要调整了其材质。
Also, I added some VFX fog particles for far water areas.
此外，我为远水区域添加了一些 VFX 雾粒子。
Lighting
I tried to set a pleasant lighting mood. So, I chose golden hour time which also helps in getting golden reflection on the water.
灯光
我试图设置一个愉快的照明气氛。所以，我选择了黄金时段，这也有助于在水面上获得金色的倒影。
Directional Light
I have adjusted the color and intensity (3 lux) then added some light shafts and bloom.
定向光
我已经调整了颜色和强度（3 勒克斯），然后添加了一些光轴和光晕。
Cascaded Shadow Map
To get the good shadow on the background forest I have increased the dynamic shadow distance of movable light, I found this option in Cascaded Shadow Map in Directional Light.
级联阴影贴图
为了在背景森林上获得良好的阴影，我增加了可移动光的动态阴影距离，我在定向光的级联阴影贴图中找到了这个选项。
Sky Light and Exponential Height Fog:
天光和指数高度雾：
Clouds and Sky
For the sky, I used HDRI which helped me in getting realistic background clouds. The clouds that are moving over the mountains are volumetric.
云和天空
对于天空，我使用了 HDRI，它帮助我获得了逼真的背景云。在山上移动的云是体积的。
Post-Production
In post-production, I tweaked a few parameters like white balance, shadows, and tones to make the scene more saturated and lusher.
后期制作
在后期制作中，我调整了一些参数，如白平衡、阴影和色调，使场景更加饱和和更丰富。
I have spent around 3 months on this project. My major focus was to create an automatic system that helps in creating rich lush natural open-world environments and try new tools of UE 4.26. I really enjoyed the journey and faced a lot of challenges in understanding volumetric clouds and water.
我在这个项目上花了大约 3 个月的时间。我的主要重点是创建一个自动系统，帮助创建丰富的自然开放世界环境并尝试 UE 4.26 的新工具。我真的很喜欢这段旅程，并且在理解体积云和水方面遇到了很多挑战。
反馈对于提高整体质量非常重要，你的大脑最适合你，但如果你想向世界展示你的作品，你必须应用不同的观点并从中学习。特别感谢我的朋友们为改进整体构图而不断投入。
呼吁对于整体整体质量非常重要的你的大脑最适合你，但如果想要世界展示你的作品，你的作品必须应用不同的观点，并学习。
