Design Visualization Workflow From Autodesk Revit and Autodesk Maya to the Unity real time interactive creation engine.

ADAM CRESPI: My name is Adam Crespi. You should be here for design vis in workflow between Revit and Maya and Unity. That's Unity Interactive Creation Engine, the title is getting a little bit long to stick on here, but this is the right class. [? A little ?] calibration before I get going. How many design vis folk do we have in here? Fantastic. Folks who play in real time? This is good. OK, folks who manage first pants then shoes? Good, just checking. All right. Mazeltov.

A quick background on me so you understand my perspective in teaching this. I started out in 3D Studio release one for Dos. I have set 386's on fire trying to render, and worn holes in my desk banging my head there. Along the way, wrangled VFX and a lot of architecture. And learned compositing and editing and everything else that goes with, and transition to real time. Done a little bit of level design and that sort of thing. And also had to teach along the way, so [? some ?] concurrent careers there. Did architecture at SC and said, wow, I like printing much more than I like drawing it. So I didn't really look back from being digital.

Personally, I find I think better in forms, space, and light than I do in line, but that's just myself. What I also look for in design vis and what you'll see showing up in this is iteration and how fast can it be. I think that we can spend a lot of time on polish and you may not have the time. And so what I'm after in this, and in general in workflow, is that we can iterate as fast as possible, that we can present reasonable enough quickly. And if we need to, we can polish. But the point is also to get the work out there.

So with that, what I'm going to show, a couple of things here. What does a just raw Revit file look like, dropping in the Unity and where are some opportunities to improve, and then bringing it from Maya into Unity and showing a round trip workflow, a new thing in there. And what I'll end on is some quick polish, bring a model in from Maya and say, how fast can we get this lit and navigable? And that's kind of a goal in design vis a lot. We can go really far in, you know, animation and particles and all sorts of things.

But what I look for a lot is lit navigable, can I show it to a client quickly? And that's one of the things I want to show here is, how do we do this reasonably enough as fast as we can. Because can you spend all day on something? Yes. Do you have all day to spend on something? No. And I've been in that boat. I've had, you know, forced weekend [? surettes ?] where a client says we need this and I've said, yay, I'll just not sleep and I'll have it to them Monday. So I understand that situation. That's how I'm looking at things in this.

So a lot of what I do, I'm going to start with new Unity Project and import it right here so you can see it, so I'm not hiding as much as possible. So where I'm going to start on this, just a little bit, theme is iteration here. We've got to get things not only into Unity, but we want to iterate as rapidly as possible. And this really goes in with our three pillars of democratizing development, solving hard problems, and enabling success. You know, and this really, to me, really helps back it up.

We want the work to be as fluid as possible. And we also understand that we, as Unity, often sit at the end of a workflow of products that have gone through multiple packages. So quite possibly you may see Revit and Maya, or 3ds Max and one of the substances, and some Photoshop and so on, and all sorts of things in a workflow. And we know we do sit in a workflow like that and so that's why we have this partnership with Autodesk. And we're the only ones who have this-- we're the only ones with the access to the FBX SDK, unless I botched that acronym, so that we have that source code access to get this round trip going because we recognize where we do sit in there.

Some big things with Revit and Unity, in case you haven't tried this before. An FBX out of Revit, as I'll not get tangled on this, an FBX out of Revit will come across. You may see some minor things coming in with different families or references, but nothing out of the ordinary. Will come across pretty decently. It will take across the standard things, polygons, UVs, materials lights, cameras, these things will come in. But there is an opportunity in here for Maya. So I'm going to show, OK, what do we get when we bring an FBX in? And I have a fairly weighty one I'm going to bring in, and show some opportunities in there. So it's really kind of a starting point.

And I'm going to do this just with a clean scene so you can see it. And I am working the latest Unity available on our site, 2017.2 F3, which is the latest patch. I'm going to make a new scene and bring in an FBX, or bring a Revit file FBX. And then what I'll do is reset and go into Maya and bring in, there we go, we'll just call this bar. I'll just land it up here.

And for now, I'm going to not use analytics. We can always turn this on later. Very, very useful for finding out how people run around a scene. But for the moment, I'm going to leave it alone. I'm also not adding in any asset packages initially. OK, so I'm going to bring this in. I'm just going to bring in this FBX. It's going to take a minute. And I'm going to look at opportunities to bring this media across to Maya first and say, where do we need the round trip workflow?

So here in Unity, for those unfamiliar, we import our assets down to the project. I'll right click and important a new asset. And I'll just go here on my desktop. There we go, desktop. And there's a bar. It's only a 50 meg file, might just take a quick sec. So it had a couple of things going on. This is a full Revit scene. This had all of its different views, and drawings, and material specs, and all kinds of fun in there. So it's a fairly weighty file. So I really wanted to pick something that's got some pretty good complexity in it, not just, you know, just a chair or not just a bookshelf, but something that is fairly beefy and say, can we hold up to it? And the answer is, yes.

All right, take a second to import this small assets. Great. I'm going to give this a sec. How many have brought stuff from Revit and Unity again? Revit users, just so I can-- good, OK, now we're talking. What else? AutoCAD? Good, Inventor, Maya, Max, 3ds Max? Yay! Started in Max, well, started in 3D Studio. Take a sec, come in. It'll look reasonable. I'm going to give it a minute because it's big. But I think it's worth showing, OK, what's involved here. Neat things that are in here, right, like I said, all the stuff with FBX and we can take in larger meshes.

So if you're dealing in CAD files that are large, we now have in here and with further implementation coming, there it is, 32-bit mesh index for large things. So here is my bar. And there is the materials as they came across. Fairly straightforward. And again, I'm bringing it in here. And I'm just dropping it in the hierarchy here. So it actually goes into our scene. This is where we actually make stuff, play around with things. We'll just pick it, there it is. Come on, mouse. There we go.

So it's pretty big. But we can see here, and this is kind of cool, just for design vis. So all of my lights came in. Whole bar came in, all the lights came in. Actually the cameras came in. So if you want to bring a file in with all the things and say, really quick, can we run around it? Yes you can, in Unity. And we want to do this rapidly. And that, to me, again, is a big deal.

Now what I'll do quickly to spruce this up, is I'll take this model and I'll select it here in the project window on the bottom. And I'll go over to the inspector on the right side. And I'll say, yes, we want to generate some light map UVs, so if we bake lighting, please project it over the existing model. And for now, give me some colliders so we don't drop through the floor. I'll apply it. This will take a sec. It's going to run through all the different objects in here. OK, so this is the first part, can we bring a native Revit in? Yes.

All right, where are their opportunities for massaging, for iteration, for a little bit of an extra step in a workflow to get us maybe more flexibility in the design, or where you might want a little extra detail in the model. One of the things I notice, personally in Revit, and it's not a knock on Revit at all, but Revit models in their detail level don't always have the detail we would want in a visualization. They're not made for it. Sometimes the edges are fairly sharp or maybe if we want-- if we're doing a fly around or a navigable, we want little radii and shiny edges, that kind of thing.

So it's not a bad thing. It's just a question of where is this model intended for. That, to me, is an opportunity to take a model into Maya and say, let's buff out this model a little bit. So this first step is almost done and this model is ready to run around. I'm going to drop one other thing in here, a character. Now when I talk about a character, this is a first person controller. It's not like an actual guy you're going to see. It's really a camera and a capsule so you can collide with stuff, or run around. It's got some input controls. [? Hi, Mark. ?]

Input controls on. And this is all just standard stuff here with Unity ready to use. OK, it's going through. So I threw it a little bit of a task because I did say two things, give me some colliders and give me some light map UVs just so when I get to lighting. But this is a one time deal. And I want this navigable as fast as possible. Now the gentle hiss is my MacBook. It may catch on fire at some point, so a more powerful computer will speed this up. But again, I like real world constraints on things.

Can I buff out a demo to be beautiful, yes-- I'll not knock over the screen. Can I buff out a demo to be beautiful, yes? Do I like it, you know, on the fly in an airport? Yeah, because it had to do that. So that's what I'm looking at here. Almost there. While this is going, I'm going to show where we're going to go in Maya while I'm just waiting on my Revit here, my file.

So I have a quick idea, this is another model I brought in. I did a little work here in Maya, but I want to show this round trip workflow in a second. A simple small gallery, stairs, some common conditions we might encounter, a design. In this case, I was looking at an interior design experiment. I won't even call it a full building, just some experimentation saying, we know we're going to run around a space and want to see detail close up. And that's what I was looking for. I also wanted to look at some different lighting conditions and things.

And if you're wondering why do my stairs have a funny ramp, I'll get to that. That's going to be a collider, so you can walk up the stairs. OK, Unity is working. It's getting there. It's OK. I can let this go. I can stop. We have some flexibility on it. While that's going, pause for questions. I had a cup of coffee and so I may be speaking at like time and a half. At any point, if you're like, wait a second, my [INAUDIBLE] Greek is not working, can you slow down or repeat that, please feel free to just raise a hand, tell me to stop.

AUDIENCE: [INAUDIBLE].

ADAM CRESPI: Yeah.

AUDIENCE: [INAUDIBLE].

ADAM CRESPI: That is a really-- that is a really good question. OK, let me answer that one, two parts. Is it a round trip workflow between Revit and Unity currently? No. But if you put your Revit file into your Unity Project, so Unity works in a project structure. There are assets, which is the folder I'm in if you put your FBX in there and you overwrite the FBX, Unity will pick it up and show it. Just when you go back and forth in Unity, you will see whatever changed.

So short answer is yes. I tend to be careful, as a matter of practice, just in case of things. But yeah. I feel like I'm waiting here on Unity. So I may just let it go or quit. I've either hung or I'm just waiting for a while for what I did. That's OK. And this happens. Welcome to realism. OK, not a big deal. I'm going to show that setup again because I've got time just so you can see it one more. And this time I'll not check those disastrous check boxes. Actually, it's probably running nicely, but that's OK. Here's that project.

So this is my project. There's a bar again. Here's the materials as it came in. So all I did is pull it. So what you want to do for design vis-- ah, there it is. OK, now you get to see this workflow again. I'm really glad you asked the question, because if you notice, I've got an icon here and it's saying, no, you can't drag it in. That's Unity telling me something is a little goofy here. I'm going to take this bar, which I have just re-exported. I'm going to bring it back in. And it's going to reimport it and overwrite that.

So can you do that? Yes. Typically, I tend to keep my projects somewhat separate so I meter my export just for safety in there. But can you? Absolutely. It's all right, because you know, this worked fine the five times previous, and now it's going to face plant. And you know what? I am just not going to let it bother me today. That's OK. We'll come back to that one but I want to show the round workflow and I'll come back to that Revit. It's just a big file.

So I could probably sit there and wait but you don't want to sit there and wait and watch a swirling beach ball, so that's OK. All right, let's try it with something smaller so you can-- well, that's all right. OK, let's look at that round trip here in Maya. I'll come back to that Revit file, not a big deal. So here's my space. All right, and I stuck this together as a rough example of possible conditions, like I've said, things that I might want to see come across in lighting, or in material, or in detail, and also to show that round trip.

So I'm going to take this model and just do a standard export out. We'll just export this guy out and I'm going to put it on the desktop. And we will call you gallery. And here in the FBX I'm going to use the standard options. Do I want smoothing groups? Do I want smooth mesh, triangulated, et cetera? I don't have any animation. And I am exporting out, in this case, to centimeters. You have a choice in units here. I typically work out to Unity in metric because Unity units are meters. And I export this. We'll just export you out. Now--

Cool. We're exported out. So here's how this process looks for this round trip. I'm going to go and make a new project. And here my new Unity Project for the moment, no analytics. I will call this gallery and create it. There's a couple of things we want to bring in and they are free for you on the asset store to make this FBX workflow work. And I'm going to bring in the post processing because it's just really quick polish on this. So here in Unity, what I'll do first-- open up the screen a little bit-- I'll bring in that file. I'll right click on assets and import a new asset. There is my gallery.

Now, if you notice here in the import, I've got better looking materials and here is why. I was working in Maya and these are native Stingray materials that I brought across. What does that mean? OK, how many have worked in Stingray materials? PBS or PBR shaders? How many what PBR is besides something in a can? Good, OK now we're getting somewhere. Physically based rendering, things that will react physically correctly working in albedo, the raw color, working by the way the material lights and its other properties to shade the material, versus the color being painted in.

So these are Stingray materials that came across native from Maya. And in here, under this gallery, what I will do is under materials, make sure that I am using the embedded. And if you can see over here, I apologize it's small text, if you can see over here, these are the materials mapped as they came in. And those are all my native Stingray materials. So what you see in Maya is what you get here in Unity. This stuff transfers across. and I'll take this. And I will tell it, in this case, generate some light map UVs. And that's going be much quicker. And then I'm going to bring this into my scene and draw my character in.

There is my scene. Here's my directional light. That's my sun, this comes with my Unity scene. And now here's the stuff I'm going to import off the asset store. And this is free, so if you want to use it, go to the asset store. Download it. Play with it. Here's how this works. There's two things I'm going to bring in. I will bring in, free, the FBX exporter. I'll bring this in. I'll just import it right in. So we can import in packages here into unity. I'm going to bring this in. I can also copy it from a previous project, but I'd like to show the workflow.

I'm bringing in the FBX exporter. Here's all of what it comes with. There is an installer for Maya. I've already run it, so my Maya has it. There's help docs. There's export. There's all kinds of fun stuff. I'll just import that in. Take a quick sec. And so in here, in this FBX exporter, here are our integrations. So right now, there is Maya. So in here is the actual install we will run on your Maya. We'll go find Maya and say, great, I'm going to install from Maya 2017.

And install the exporter for the round trip. Now, the other thing I'm going to bring in off the asset store because we can, I will bring in the post effects stack. And again, this is fabulous. These are our post effects in one stack, one object, including depth of field, screen space occlusion, bloom, color correction modeled on DaVinci Resolve, really spectacular stuff. Really nice way in design vis to add some quick polish. So here is our processing stack essentials. I'll grab it and I'll bring it in. And the reason I'm doing it versus starting the project, is I want you to see it right now, real time, nothing behind the curtain.

So I'm going to bring in all of that post effects stack. And again, remember, while this imports, can I polish forever? Yes. Do I want it quickly and presentable reasonably? Yes. So what I'm after here is that I brought a model in and I'm going to drop in a ready made character. I'm going to put on post. I'm going to put a couple colliders so I don't fall through the floor. And I'm going to have my model ready to show and say, what do you think, quickly? All right, those two things are in, so here goes the last part.

I will bring in characters. Now, we've got ready made characters, if you haven't played in Unity. And again, these aren't-- one of them, the 3D, sorry, the third person is an actual character. But the first person I'm going to bring in is a capsule and a camera. It's ready made for navigation. So for design vis, spectacular. I'll just bring in all of my characters.

All right, characters are in. So here goes, ready for navigation. Here are my standard assets. I've got characters. In characters, the first person character, and there are prefabs. And I will take my FPS controller or first person controller. And I'm going to drag it into my scene. And I'll press f to focus or frame in, and pull it in. That's all it is. Now on to this, what I'm going to add onto the camera, add component, effects, post-processing. And I will make a post profile.

And so drag it in. And when I'm ready, I have post-processing. Now, I did say I was going to show the Maya round trip, so I'm going to do that one. But I wanted to show a little set up here. So I'm ready to start viewing this. For me, it's important to view things, essentially, through a camera, depth of field, color, occlusion, everything as fast as possible. So I say, not just in the abstract is look good, but in real conditions does it work, yes. All those are just check boxes, do I want them? Can I tweak them? Yes. Do I want them quickly? Yes.

Let's just turn on a couple of things in here. Now, I would like to take this display case. This display case. Actually, I'm going to bring in a chandelier. Really need a chandelier. If you notice when you look, up I've just got some canned lights in here. So I'm going to bring in the chandelier and place it in the room, and take it back to Maya because I think it needs a little work. But there is my space, at least, ready to run around. So I will import in a chandelier.

Actually, I haven't even had the chandelier in. I even have to bring it over. Let's show that export, that's great. I also like to do this, by the way. Anybody live in Southern California here? You know what my favorite lighting is? Southern California in late October in the late afternoon because you get long golden sunbeams through a space. So what do I do first in design vis when I'm just getting a space together to show it? I get in there and I tilt my sun long and low. And I'm just going to spin this camera around so that even without moving, we see our space as the game view here. So when we press play, what will we see? This.

I want to be able to run around that space and with the light that's in there say, how does this feel with this long, low light coming across? I like to think of it as a director of photography in this case. How does this run? Chandelier time. I need a chandelier because obviously I don't have one in here and I happened to have modeled one during lunch. So I get in here and I'll bring in a chandelier. And I'll say, great, let's open up my chandelier.

Nice modern chandelier will work nicely in that space. I'm going to take this and export it out as a separate object. You may have lots of separate stuff coming in. Export you out. So I'm placing it. You had asked on exporting in things, here's another place. I'm placing it my assets folder. Whatever goes in there, Unity will pick up. Whenever you go out and back in or when you drop something in, you'll see Unity just pick it up automatically. So I'll call this chan-- there's n-- there's no s in chandelier. There we go.

Back into Unity, Unity picks it up. There it is. I'm going to take this and drop it into my scene. And it's some-- there it is. There's my chandelier. So I'm going to move this over and pull it in. And again, I'm seeing it in Stingray materials here, so these are reacting physically correctly in the scene with no additional effort. And I'm going to pull this up. And I'll go into an ISO view from the side and into a wire frame and view it.

Now I apologize, it's a little hard to see. But this is going to help me really quick just line this up right here. That looks pretty good. All right, one chandelier in the room. Fantastic. Now I think this chandelier needs a little work. I've got it in here. It's hanging down. Looks pretty good. You can see it on the right side. But I want to take it back to Maya. So I'm going to take this chandelier and I've got my Maya integration installed. And I'm going to right click on it and convert it to a linked prefab instance.

Now what happens here, and you'll see it down in my assets, is I have the original. I've got a prefab. And I have chandelier one, it's an FBX. So it actually makes a clone to be able to bring this back. It's a link. I'll not walk into the podium. And then I can export this back. So I'm going to right click on it again and export this model. Just make sure my Maya is nice and clean. Just so we can see it pop in here, I'm working in the clean scenes. It's up to you where you want to work.

I will export this out. Chandelier one in assets. And here in Maya, from Unity, now I have a new menu we can import. I'm going to bring this back and forth. All right, import from the gallery in assets, here is chandelier one. And there it is. Now here's the neat one, how many Maya users again? Good, a couple. So you will recognize this one. If you notice here, in my outliner, Unity FBX export set, what's included, chandelier. So it's a new thing we're going to see here in the outliner.

So if you want to do things and start attaching them to this object, or save the transform, put it back in, you've got some flexibility. Biggest caveat? Single objects. Gets a little funny with parented things and hierarchies for the moment. OK, they'll work on that. But single objects back and forth, working great. So I've got this piece in, and I'm going to take these globes. And I'm going to go by vertices. And that was F9 for vertices, W for move. And I'm going to just pull these up, hit F8.

Now before I export it, I'm going to make sure I have a clear view so you can see this. OK, there we go. And so here I am, I will choose File and Unity and export. And back here in Unity, live. OK. This is fairly huge. If you notice, I did not save the scene. There are no hotkeys involved. That was just do something, export, back and forth. So if I want to assign new materials, move stuff around, add loops in, model it, go from a white box to a detailed model, great. So what do I see in design vis workflow, I'm going to bring in stuff from Revit, most likely, and kind of tune it up here in Maya.

There's better tools sometimes for detail. Maybe I want to play with the mapping and get textures to flow around, whatever it is, those kind of things will come in in this live update. Now, watching time, I promised a little polish on this. What I want to show for design vis, model from Revit, Maya, brought it into Unity. I want this to be able to be presentable quickly. So what do I do? I already did part of it. I already put on my processing profile. You can see it in the bottom right here.

And I took my directional light and angled it over. And I'm going to get rid of that-- see those little edges right there, the light's kind of bleeding through, I'm going to take this normal bias down, just get rid of those. And of course, soft shadows. Yeah, definitely. All right, now here goes the fun with lighting. Ready? I will take this gallery and I will market as static. That means I can bake lights on it.

If you notice in the bottom right, that little blue bar, that is my light baking engaging automatically. It's going to do that as I work. I'm going to do the same with my chandelier. We are static. And I'm going to look at those materials. Here's my chandelier. If you notice here, I've got one called lit globe, and I'll pull this up so you can see it. Yes, I want that to be emissive. Yes, I'd like to take that emissive texture there.

There you go. Now they look like they're on. We can always play with this. We can map it if need be. You can put a shader on that does a little rim on it or something, whatever you'd like. But now they look lit quickly. And if you notice, in my materials, I've also got another lit one in there. I'll just go into materials and there it is. OK, like diffuser. Great. This one came in really nicely. It's already lit, great.

Last things I want to do, ready? I'm going to take the floor and I will add on under physics, a mesh collider, because falling through the floor is a drag. I'm going to take my interior walls and do the same. And I'll do this just very quickly. And I don't like to walk through walls usually. So I'm going through these interior walls and just adding in simple box colliders, just so I can't walk through them. Here's one, two, and finally here are three, and four.

Now, stairs. If you notice here in my stairs, I've got kind of this gray ramp going. And here's what's happening on it. I modeled very quickly this object. This is going to be a custom mesh collider. And the reason I did this is I didn't want to bump up the stairs. I just wanted to go up smooth. And it was-- I can make it work, other ways, this is a really easy way to tackle it. So I'm going to take that object. I'm going to say, yes, in fact, you have a mesh collider, and turn off mesh renderer. I said you exist. You have a transform but you don't show it in the scene. Doesn't react to light.

And there is the collision mesh on it. Now I can just, [WHISH], right up those stairs easy. And just so I don't fall off the stairs, I'll do the same here. And again, this is what I'll do to get quick navigability. Here is a box collider on one railing. Here's a box collider on another railing. Here is a box collider on the last railing. How many people work in Substance Designer out here? I love Substance. It's great.

For those who haven't played in it, procedural materials works beautifully for architecture. I happen to have one I'm going to throw on the floor here. In addition, what I'm going to do on the floor, here under rendering, I will add on a reflection probe. What is a reflection probe? Sample what's going on around, put some reflections on. This is just common stuff I do in design vis, make it pretty, quickly. So I'm going to import in end block flooring.

I happened to make this one. It's kind of a rough approximate of end block. For those not familiar with end block, pieces cut of wood off the ends, so you're standing on the end grain, nice and durable stuff. Here is a substance brought in. There it is updated. And I'm just going to up the res on these. I like to push my res for design a little bit. And I'll take this flooring and I'll just drag it on. There we go.

Now we've got-- can we see this reasonably? Now we've got end block flooring going. All right, here's where stuff gets fun. There I am in my scene, and play. It's going to take a sec. It's going to drop me in. I am on the floor. I am working around. Controls are already on the character. Reflection is on the floor. And I am able to run around my space. I am able to get in and go up my stairs, and up in my gallery.

Whoops, I think I just fell through. I need one more collider there. That's OK. And what I'm after quickly is that my space is navigable, lit, viewable. Sorry. Navigable, lit, viewable, rapidly. OK, that is a huge deal to me. Again, have I spent days on a presentation? Yes. Sometimes I have to spend minutes, and that's what I'm after in this workflow. I recognize that I'm going to populate this with furniture. I recognize that I'm going to tuneup materials and map stuff, or I'm going to deal in masonry, or whatever else we're going to do, veneer, all kinds of things. I recognize that. What I am after, though, is you just saw me stick together this space and run around it quickly on this model.

So I got to get the collider up there. But one of the favorite things of mine in the post effects stack is this. I will pick in my assets my post effects. And in here, under color grading, which I will turn on, we've got a tone mapper under normal or [INAUDIBLE] workflow, up to you what color space and other things you like or what tone mapping you like to work in. But you know, Mr. Schulman is always one of my favorites.

So I'm going to scale that back to black and white here. I'm going to just give a little extra post-exposure, just a little bit of more light going on in there. I'm going to give it a little bit more contrast. And I would like a little bit of bloom. What I'll do is just take this bloom intensity up and lower that threshold. There we go. Now the lights have a little glow to them. They look like they're on, right, on my chandelier. Cool.

We'll turn on anti flicker. You can always play with radius, lots of cool stuff to tweak. But I want it quick. And by the way, here's a little motion blur, that works nicely. And if you'd like some screen space reflection, if you'd like play with that, great. And I'm in my space. There's the chandelier. And if I make changes back in Maya and export them over, they are going to come in. so really quick, in real time, no rendering, as fast as I can hit play, maybe I'll wait a sec for the light to bake. I will make changes, adjust the model, play with stuff, export it out of Maya, bring it back here in Unity, show it, and say, what do you think?

And I'm going to do it, because I work in interior design as well, I'm going to do it from the perspective of this close with this kind of detail. So it's important to me that I have this iteration, this flexibility and design. Questions? Things you want to see? Yes sir?

AUDIENCE: If you had imported this scene from Revit, all those modifications that you made, like applying your [INAUDIBLE] colliders, [INAUDIBLE], you have to redo that every time you re-import that [INAUDIBLE]?

ADAM CRESPI: So most of that should stick. It depends. If you've got new stuff coming in, it may not have a new collider on it. The more you modify, the more risk you get of things being off. If I am stretching or changing and re-importing, it should come in pretty nice. So yes. We do the Maya workflow, you'll see whatever you've done to it, as well, stick. So you know, here's the straight answer, simple stuff, great.

The more you do to something and the more complex it gets, the more you risk something breaking. And this is true in every app, isn't it? So I haven't been able to break it within reason. The worst I've found, typically, and this is a Revit thing, is where stuff laps. And I've got z fighting coplanar things where that's where I want to do some cleanup. Again, that's not an important function, it's a modeling function. OK, other questions? Sorry.

AUDIENCE: [INAUDIBLE].

ADAM CRESPI: Oh, yes. Why, I have something for you. No, go ahead. Go ahead. What was your question?

AUDIENCE: [INAUDIBLE].

ADAM CRESPI: Sure.

AUDIENCE: What would you recommend?

ADAM CRESPI: So I was thinking-- I was inspired in this space, if you've ever been to Rockefeller Center in New York up in the observation decks, really beautiful rooms that are, when it's cold, you can still look out and see the city. And that's what inspired me here. And so I said, I want to wrap maybe a night sky or a sky around. So I actually happened to have, I want to say it was-- it's in Norway and now I forget. But I have a sky I'll bring in and throw around. How do you do that? It's a good question.

Sky, wrap around, or six sided cube, easy. You could also add other stuff around. So yes.

AUDIENCE: [INAUDIBLE].

ADAM CRESPI: Sure. OK.

AUDIENCE: In city center.

ADAM CRESPI: All right, so you're in a city center. So most likely you've at least got a view across the street and kind of out. Sure and maybe to the back. Yeah. So you could-- OK. Let's imagine that this is a house. I would probably go out, if it's a lot, and sit a camera here, like a 360 camera, and take a bubble. And you can take that and bring it in. So yes.

Let me-- it's a good question. Let me grab a sky and throw it in.

AUDIENCE: Is the process to bring in the 360 the same as what you're doing here?

ADAM CRESPI: [INAUDIBLE] if it's a-- let's see. Depends what you're bringing in. If you're bringing in a video, right, because we have a new video player, you take it, drop it in, stick an inverted sphere with motion around. If it's a 360 picture, you could bring it in and map it, spherically, depends what you're bringing in. So short answer, yes. [? Noorvik. ?] Sorry.

OK, I'm going to bring in this image. I'm going to throw it around my scene quickly. It's a quick panorama. Let me turn up the lighting to match. So I'll take this and just copy it. And I'm going to stick it in my project. It's going to take a sec. And import in here. There we go. So I will take this, right, here is our texture shape. Is it a cube? Is it 2D? What's going on?

I'm going to leave it as 2D, we can wrap it around as a cube, if need be. Depends what we're dealing in here. This one is really a pano, so I'll leave it as 2D. Or we can say in here that this is something else, if need be. I'm going to leave it. It's good. And now make a new material.

So here are my materials. Under my standard shader I will go under sky box. And here is cube procedural otherwise. So depending on what you're after for context, if you take a standard six sided, right, you can put it in. You can bring in a cube map. Or a procedural is actually the wrap around sky you're seeing currently. So here is a cube.

You know, let's make a cube map in here or similar. Actually, let's map this guy differently. I want you to be cube. Let's go with you as a cube. That's a good. Convolution, mapping. Let's do it as a cylindrical. OK, now I can bring this in. So now I've remapped that night sky and I'll put it in this material, stitching. This is a big one. I think it's like 8K, so it's a really big pano. So it takes a sec. I'm going to bring it in. I've down-res'ed to, I think, 2K. I will take this, there it is, and drop it into my new material, which I will call night sky.

And then I'll take this night sky material in my scene view, and I will simply drag it back there. So in game, we're seeing my night sky. I really need some light in there, don't I? I have a few minutes. Let's put some lights in. Really desperately need some light. Let's say that it's low moon or something coming in here. Let's get some light in because you can't see anything. It's too dark. So I'm going to turn off those scene lights and I'm going to turn off that sky so I can just see what's going on here. And I will put in some lights very quickly. Here is a spotlight in a top view.

I sometimes work in [? ortho ?] so I can play stuff nicely. There we go. And I'm going to start to line these up with my cam lights. Here is one and I will duplicate this, command d two, three, four.

AUDIENCE: If you've got lights that you've built in Revit, [INAUDIBLE].

ADAM CRESPI: Yes. It depends what they are. Most of them that are points will, in some way, come across decent. Depends what you've done custom to them. If they're using an IES file, you may get some errors on import. If they're like a standard spot or something--

AUDIENCE: Standard Revit.

ADAM CRESPI: Standard Revit should come across OK. Yeah. Should. Sometimes I bother, sometimes I don't. It depends on where I'm going to show a model, typically.

AUDIENCE: [INAUDIBLE] materials [INAUDIBLE].

ADAM CRESPI: I'm sorry, say it again.

AUDIENCE: [INAUDIBLE] properly come through [INAUDIBLE].

ADAM CRESPI: They should. And if not, it's an easy tweak. It depends what materials you are using. So native Stingray emission should come across. Revit is working, currently, in a mental ray library. It's the Autodesk ones. And those basically, decently come across. Need to sort this out. Let's just sort by-- now I can see things clearly. Here's one, two, three, four. If you noticed up at the top of the transform, in the hierarchy, there I filtered by spot so I can see things. I'll just duplicate these guys and slide them down.

Here's one and two. And if you notice, I didn't light from my chandelier because it's emissive and the emission is set to real time. So if you've got emissive materials-- there we go. If you notice right here in the emission, it is saying, GI is real time. So that is actually contributing to my lighting from those globes. OK, now I've got some light in here. I'll go back to this game view. And just so you can see it, I'm going to pick my lights. And I will bring out their range a little bit so they hit the floor.

And I'm going to bring up their angle. And I'm going to let them run-- let's go baked. So it's going to trigger baked. It's going to take a sec. And we should start to see these on the floor and really light up the space so it's not quite so dim. OK, other questions while that bakes? Yeah?

AUDIENCE: [INAUDIBLE].

ADAM CRESPI: Oh, the build, yes. Let's do that. And I haven't gotten to much into build in this. But yes, I will show the build settings. And question?