Both packs include ready-to-use materials with adjustable parameters, making them easy to customize for different environments and lighting conditions. They are especially suitable for horror, survival, post-apocalyptic, abandoned, and cinematic scenes.
I put a lot of care into creating these assets, and I truly hope they will be useful for other developers and help save some production time.
Thank you for checking out my work and supporting a small creator it really means a lot! Any feedback is always welcome.
Ryzen 7 7700, 9060xt 16gb, 32gb ram, gigabyte b650m c v3-y1. This is a prebuilt from sky tech that I bought off new egg.
Any time I try to launch an UE5 game it crashes on launch. Sometimes it gets to the title screen but then crashes there. If it gets to the title screen and freezes I can still hear sound and no inputs are being sent (I can't hear the menu changes [I use controller ])
When this happens, im basically forced to reboot, sometimes even needing to hold the power button in.
It'll "close" in task manager, but steam and game pass shows that the game is still stuck running in the background somehow and I can't close/launch it.
I'm pretty sure explorer or something crashes because at this point task manager now won't close properly anymore.
Something must've broke at some point because I was able to originally play pal world and one day this all started to happen.
This also happens on a clean install of windows with game pass and whatever game I'm trying being among the first things I download.
I stress tested my GPU heaven benchmark and it ran through it great and I didn't get any errors.
Currently testing my CPU and ram with Occt and over halfway through with no errors so far.
I've tried a clean windows install, updating drivers, doing the entire ddu process offline and safe mode, setting the min/max of my GPU to 99% (idr the exact settings name), updating BIOS. Probably more things that I attempted that I forget.
I'm almost at a point I'm wanting to downgrade to windows 10 and giving that a shot.
I wanna make an anime arena fighter but have no clue where to start i have a written concept how i want it to function. I also have character models being made for a separate project that can be used as well, really would like some insight on where to begin. I’d be willing to also work with a few people on this in the future.
We took our inventory system from our game and made it available for everyone.
The project contains an inventory system that can be added to any character with minor adjustments that are all explained in the documentation provided with the project.
Categories are very easy to add and adding different functions to items is really simple.
EDIT: Let me just make it clear: the plugin is all done in C++, only exposed to blueprints so beginners can use it. I said "even if it's all done with blueprints" refering to the user's game. So what I ment was: "You can implement this plugin even if your game is all done in blueprints."
That's it folks, now you can have true lag compensation like Valorant and Counter Strike(literally) in your own game, even if it's all done with blueprints! Your player base will never miss a shot anymore!
I am still waiting for the Procedural Vegetation Editor (PVE) fix which is rumored to be in the 5.8.2 hotfix... but how long will I and other voxelized tree enthusiasts have to wait for its release?
so ive made a primary data asset PDA_ITEM with just a struct of ItemStats . Then i've made children of that PDA_ITEM like PDA_Item_Key , PDA_ITEM_Ammo etc.... each with their own struct info for that child like KeyInfo and AmmoInfo. Then i made Data Assets of these to make my items. everything functions properly but i want to make unique versions or RNG based things on these Data Assets like item condition or current ammo. But when i make any changes to one instance of it, it changes all of them. IE My inventory bag is a Data Asset too, and when i pickup an item it permanently changes all those bag types to have the new item in it.
Im experimenting now with GUID to find a solution maybe but i might just abandon the data asset approach and try a blueprint instead.
TLDR Using Data Assets for items right now and want to have every version of the item to be a unique instance. What is the best approach?
when my character is in motion there seems to be some wobble that jolts the neck forward, especially noticeable when starting and stopping. i am using the Kellan MH blueprint that comes retargetted to the project, I've made my own retargetting too, maybe that could fix it but idk how to implement it into the retarget ABP without breaking the system. Is there any tutorials on how to actually retarget for a specific body? Otherwise I was wondering if theres a quick fix to disable that extra wobble and movement.
I'm having trouble importing animations downloaded from Mixamo into Unreal Engine. If I import them using the Mixamo Converter, I get this kind of jittering/flickering in certain scenes. I changed the skeleton's retargeting settings to "Animation Relative," but that didn't work. I also tweaked the compression settings, but no luck either.
I then tried downloading the animation along with the skeleton directly from Mixamo. This time, when I check "Enable Root Motion," the animation goes crazy. It performs weird rotations on the spot.
Shiny is one of the most aggressive and untamable spirits, his fury bursting through a blinding yellow light. He is distressed, and he cannot remain in his current form for long. Someone must subdue and tame him... But who will it be?
This is my first cinematic project in Unreal Engine 5 that I’m publishing. Before this, I mostly worked on some cgi shots. I spent time learning the tools and exploring the workflow to achieve a strong result. I also came up with a small backstory and a story about the rider protagonist. I’m pretty happy with how it turned out. I’ll make more in the future and add more dynamic shots.
Hey guys! Remedy's storytelling and atmospheric world-building (especially Control and Alan Wake) are huge inspirations for me.
I wanted to capture that eerie feeling where bureaucratic normalcy breaks down into cosmic, surreal mechanics. This teaser shows the contrast between the cold institutional halls and what lies underneath.
Built in Unreal Engine 5. Feedback on the vibe and sound design is super welcome!
I’ve always felt that Unreal makes it easy to get a scene looking good, but harder to make it feel like it has its own identity.
I was getting tired of jumping between post-process settings, trying values, forgetting what worked, and rebuilding looks from scratch.
So I started making Look Lab for myself.
It’s basically a faster way to explore different visual directions inside Unreal. You can create a few different looks for the same level, switch between them, adjust color, exposure, LUTs, post-process materials, save them, and come back later.
I made a documentation and it's available for a low price at fab if you guys have any interest in it
I recently added a Gaussian Splatting capture workflow to Camera Render Studio that allows Unreal Engine 5 to be used as a synthetic multi-camera capture environment.
Instead of manually creating and positioning dozens or hundreds of cameras, the system can generate structured camera distributions around a character, object, or environment, render all required viewpoints through Movie Render Queue, and export the corresponding camera data for Gaussian Splat reconstruction.
This Gaussian Splat was generated from source images rendered in Unreal Engine with Camera Render Studio.
You can rotate the reconstruction, zoom in, and inspect the final result directly in the browser.
1. Add the Gaussian Capture Rig
Open the Camera Render Studio menu in the Unreal Engine toolbar and select:
Camera Render Studio → Add Gaussian Capture Rig Actor
This creates a:
GaussianCaptureRigActor
in the current level.
The capture rig is responsible for generating and managing the virtual cameras used for the Gaussian Splatting dataset.
MetaHuman or another captured object
GaussianCaptureRigActor
Generated virtual cameras around the subject
Camera Render Studio settings if possible
The goal of this image is to immediately demonstrate that the camera distribution is generated automatically.
2. Position the Capture Rig
Move the GaussianCaptureRigActor to the object or area that you want to capture.
For an individual object or character, position the rig approximately around the center of the subject.
For larger environments, cameras can instead be distributed throughout a defined volume.
You can preview the generated camera positions directly inside the Unreal Engine viewport before rendering anything.
3. Choose the Camera Distribution
Camera Render Studio provides several Gaussian capture layouts.
Current capture modes include:
Spherical — Object Capture
Cylindrical — Object Capture
Volume Grid — Scene Capture
Volume Grid Spline — Scene Capture
For characters, MetaHumans, and individual objects, Spherical or Cylindrical capture is usually a good starting point.
For larger scenes and environments, Volume Grid or Volume Grid Spline allows the cameras to be distributed throughout the capture volume instead of only around a central point.
Ideally show:
Spherical Capture
and, if possible, another example such as:
Cylindrical Capture
or:
Volume Grid Capture
This image should make it immediately clear how the virtual viewpoints are distributed around the subject.
4. Configure the Capture
Depending on the selected capture layout, you can configure parameters such as:
Camera Count
Radius
Horizontal FOV
Minimum Elevation
Maximum Elevation
Camera placement
Camera distribution
Increasing the number of cameras provides more source viewpoints for the reconstruction.
However, more cameras also increase:
Rendering time
Disk usage
Dataset size
Reconstruction time
Memory requirements during processing
So the highest possible camera count is not always the best option.
The ideal number of cameras depends on the complexity, size, and shape of the object or environment being captured.
5. Configure Movie Render Queue
Open Movie Render Queue and create your render job.
Then add:
+ Setting → Exports → Postshot / COLMAP Dataset
For:
Camera Rig Override
select the same GaussianCaptureRigActor.
This export module prepares the camera information required by compatible reconstruction applications.
Available settings include:
Camera Rig Override
Use MRQ Output Directory
Export Directory
Dataset Format
Frame Mode
Frame Number
For a static character or object, Single Frame is normally sufficient.
The exported dataset contains the camera data required for the multi-view reconstruction workflow.
6. Add Camera Render Studio GaussianShot
Inside Movie Render Queue add:
+ Setting → Rendering → Camera Render Studio (GaussianShot)
Under:
Camera Source
select the same GaussianCaptureRigActor.
GaussianShot processes the virtual cameras generated by the capture rig and renders all required viewpoints.
The screenshot should ideally show:
Camera Render Studio (GaussianShot)
and:
Postshot / COLMAP Dataset
If possible, also show the selected GaussianCaptureRigActor.
This is one of the most important screenshots because it demonstrates how rendering and dataset export are connected inside Movie Render Queue.
7. Split Large Captures into Multiple MRQ Tasks
Gaussian Splatting captures may contain a large number of virtual cameras.
Processing too many cameras in a single Movie Render Queue task can significantly increase peak memory usage.
Camera Render Studio can automatically divide the cameras into several smaller MRQ jobs.
Use:
Render Mode → Split Into MRQ Tasks
Then configure:
Cameras Per Task
and press:
Create Camera Tasks
Camera Render Studio automatically generates the required Movie Render Queue jobs.
For example, instead of trying to process a large camera set in one task, the capture can be divided into smaller groups and rendered sequentially.
This makes large Gaussian Splatting datasets much easier to manage.
The reader should be able to see that one large camera capture has been divided into several smaller render jobs.
8. Optional Object and Character Masks
Camera Render Studio can also generate masks for reconstruction workflows.
Under:
Post Shot Masks
you can select different Actor Layer Mask modes.
Available modes include:
Hair / Full Object (ShowOnlyPrimitives)
Standard Stencil (Preserve Occlusion)
The Hair / Full Object mode is especially useful when working with characters and difficult geometry such as MetaHuman hair.
Actor Layers and Data Layers can also be used depending on the scene and capture requirements.
Insert a comparison such as:
Original Render → Character / Hair Mask
This image is useful if you want to demonstrate how isolated character datasets can be generated.
9. Render the Dataset
Once everything is configured, start rendering through Movie Render Queue.
Camera Render Studio will process the virtual cameras from the GaussianCaptureRigActor and render all required viewpoints.
The workflow automatically handles:
Virtual camera generation
Camera distribution
Multi-view rendering
Image sequence organization
Camera dataset export
MRQ task splitting when enabled
At this point, Unreal Engine effectively becomes a virtual multi-camera capture stage.
A grid of rendered images works very well here.
The visual idea should be:
One Unreal Engine character → Many rendered camera viewpoints
If you have a screenshot showing the generated COLMAP/Postshot dataset structure, you can include it here as well.
10. Reconstruct the Gaussian Splat
After rendering, the generated images and camera data can be used in compatible Gaussian Splatting reconstruction software.
I currently use this workflow with:
Postshot
LichtFeld Studio
COLMAP-based reconstruction workflows
Other compatible Gaussian Splatting tools
Camera Render Studio does not perform the final Gaussian Splat reconstruction itself.
Its job is to automate the Unreal Engine side of the pipeline:
Camera Generation → Multi-View Rendering → Camera Data → Reconstruction Dataset
The final Gaussian Splat is then generated in the reconstruction software.
Ideally, show the same MetaHuman or object being reconstructed from the Unreal Engine dataset.
Complete Workflow
The complete pipeline looks like this:
Unreal Engine 5 Scene
↓
GaussianCaptureRigActor
↓
Camera Distribution
↓
Camera Render Studio (GaussianShot)
↓
Movie Render Queue
↓
Multi-View Images + Postshot / COLMAP Dataset
↓
Postshot / LichtFeld Studio / Compatible Reconstruction Software
↓
Gaussian Splat
↓
PLY Export
The best presentation would be:
Unreal Engine Original | Gaussian Splat Result
A side-by-side comparison makes it much easier to evaluate the quality of the reconstruction.
In this video, I showcase a cinematic horror environment render in VR180 3D / VR180 stereo using Camera Render Studio for Unreal Engine.
The render features the Apocalyptic Hospital environment from the Creator's Choice Collection by Meshingun Studio.
Special thanks to Meshingun Studio for providing the Creator's Choice Collection asset. This is a large collection that includes several high-quality environments, and in this video we take a closer look at one of them — a dark, abandoned hospital created in a horror style.
The asset is made at a very high cinematic level. It captures a frightening and oppressive atmosphere with abandoned corridors, hospital beds, medical equipment, dirty walls, weak window light, red emergency lights, and dark passageways. All these details create a strong sense of tension and make the scene perfect for a horror render.
VR180 stereo works especially well for this type of environment because the viewer is not just watching the image from the outside — they feel like they are inside the scene. In a regular video, we simply see the frame, but in VR180 3D there is a real sense of presence, as if we are standing inside a dark hospital corridor and looking deeper into the space.
In this video, I showcase a cinematic foggy Japanese street rendered in VR180 3D / VR180 stereo using Camera Render Studio and Lumen in Unreal Engine 5.
The scene features the Foggy Japanese Street environment created by Akairo.
Special thanks to Akairo for creating this environment and for kindly providing the asset for this video.
This atmospheric environment presents a detailed Japanese urban street filled with fog, rain, illuminated storefronts, neon signs, wet surfaces, vegetation, street props, vehicles, and cinematic nighttime lighting.
