Lightmaps for LOD’s in UE4

One of the confusing and undocumented parts of UE4 is how it handles lightmaps on items with LOD’s. Many ‘Answers’ has been that they don’t (that each LOD simply assumes similar UV layout and thus re-uses the lightmaps) but that’s simply not true. Just check your baked lightmaps yourself and you will see that UE4 generated a lightmap for each of your LOD’s.

Unfortunately there is no custom lightmap settings for each LOD. In my quick test it appeared that LOD1 was 66% size and LOD2 was 33% size, but is that perhaps depending on other factors, such as the distance values you set for each LOD transition? Who knows!

This confusion is highly annoying, because a lot of studios have a fixed asset pipeline where the artist needs to create a couple of LOD’s even if they feel the difference is small. For example imagine that you modelled a mint-condition carboard box, you find that the difference between the polycount in LOD0, LOD1 & LOD2 is negetable, then the extra lightmap space required for these might be way more expensive than what little performance you gain from saving a few polygons.

It’s funny how in modern games we can be so relaxed with polycounts since our graphics cards are getting so good with handling polygons, yet your lighting artist still have to make enourmous quality sacrifices to keep his lightmap resolutions down. Yet Epic doesn’t care about documenting or explaning much of what’s going on with the lightmaps, let alone add features such as custom LOD light map resolutions or the option to re-use lightmaps across LOD-levels.

For now my recommendation is probably to keep using LOD’s but only to a reasonable level. (If you’re using baked lighting) Don’t go thinking you’re making huge savings making 4 LOD’s for your hard-surface assets, because you may actually be adding performance cost than saving.

Why I Love Working at RocketWerkz

Surprised that I already spent a year working at RocketWerkz I thought I’d slow down for a second to reflect on my time here. Normally I’d consider it too formal to write about an employer on my crazy blog, but unlike a conventional studio, you’ll see why my experience working for RocketWerkz is well blog-worthy.

An evil manager pouring up drinks at a Skyscraper looking over in Bangkok

The RocketWerkz office celebrating my 1 year with fireworks! Or wait.. maybe those were for 4th of July.

Over the years I’ve come across my fair share of studios who think they are special. Rather than bragging (or even mentioning) salary-ranges they emphasize what an honor it is to work for their one-of-a-kind studio. Problem is, the company culture bragged about is usually neither special or advantageous.

My favorite example of pretentious meaningless company perks must surely be the infamous beanbag chair. All though I could think of a hundred potential perks that could improve my life, beanbag chairs is not one of them! It seems that every CEO thinks they can turn a stale corporate environment into a never-ending party  with the right beanbags. Of course my issue isn’t the beanbags themselves, but the lack of good answers when I ask “what else you got that makes you special?”.

An evil manager pouring up drinks at a Skyscraper looking over in Bangkok

I love making fun of pretentious beanbag offices, so it’s ironic that a previous employer asked ME to pose for their obligatory beanbag-shot on their career-page.

So imagine my surprise when I arrived to RocketWerkz. Not only are we blessed with a beanbag-free office space, our perks goes way beyond mere buzzwords.

We are so incredibly lucky with our perks that I’ve stopped keeping an eye on other career opportunities. Because of my somewhat rare experience working in China my LinkedIn is bombarded with offers from Chinese studios looking for western experience. Sometimes these offers comes with salary ranges that makes coffee spray out of my mouth! But regardless how lucrative I just can’t take any offer seriously. After getting spoiled with the creative freedom working for RocketWerkz it’s hard to imagine ever going back to work for a conventional studio again! Allow me to show you why…

Bake Normal Maps 3ds Max to UE4 with XNormal

A lot of game developers gets frustrated because UE4’s documentation regarding making normal map just doesn’t work! Following their steps kind of works, but faces that should be flat just becomes weird when the lighting hits certain angles.

Here is the missing important step that Epic forgets to mention in the documentation: ‘Computer Binormals in the Pixel Shader’.

  1. Open up the oh-so wonderful XNormal.
  2. Click the strangely hidden settings button that looks like a plug.
  3. Click the ‘Tangent Basis Calculator’-tab.
  4. Select Mikk-Tspace in the white area.
  5. Click configure.
  6. Check the checkbox for ‘Computer Binormals in the Pixel Shader’.
  7. Re-render your normal maps.

RocketWerkz New Game Living Dark Trailer

For a whole year working at Dean Hall’s new company RocketWerkz I’ve had to have my lips completely sealed about what I’m working on. While everyone’s been assuming I make VR games (because of our Out of Ammo releases) I’ve hardly even touched a Vive! Most of my time and energy has all gone into this one secretive game revealed today!

After my adventures making games in China, I had a difficult dilemma. On the one hand I wanted to move to New Zealand but on the other hand I really wanted to use Unreal Engine 4. With NZ’s games industry being tiny, it didn’t give me the luxury of being able to pick and choose jobs based on engine choice. Imagine my surprise when I finally received a job offer in my favorite place in the world using my favorite engine in the world!


At this stage I was so excited I gladly accepted the job knowing little about the secretive game I would be working on. Frankly I was so happy to move to NZ to use UE4 that I would gladly accept any project no matter how silly (I once even interviewed for ‘My Little Pony’ just because their studio was located in Auckland). But my luck was just about to begin…

At RocketWerkz they believe in letting developers work on what they want to work on. Al though I wasn’t officially introduced to Living Dark, I once saw their early prototype on someones monitor and immediately said “I wanna work on THAT!”

An evil manager pouring up drinks at a Skyscraper looking over in Bangkok

The game is being developed by a small indie team here in New Zealand. That’s me furthest to the right!

Having released over 20 children’s games, I’d gotten a little bit tired of their upbeat style. Especially when you consider that there’s nothing “casual” about the games I like to play as a gamer. Seeing the dark rainy neon-clad streets of Living Dark made me realize I wanted to join the project before even having any idea what the game was about!

What I really like about the game is its procedural aspects. When I played RPG’s in my younger years I truly felt like I was escaping into a another worlds, not so much these days! Perhaps because I’m a developer or perhaps I’m just too old, I tend to see through the smoke & mirrors of modern games which makes the worlds feel flat. Making the world procedural in a convincing (not ‘No Man’s Sky’ style) way is the best solution I can imagine to this problem.

I had finally found the game I wanted to spend my next year or years working on, only downside was that I couldn’t say a word about it! But finally the secrecy is slowly getting revealed!  Click to check out all 5 trailers!

3ds Max Camera Coordinates & Rotation to UE4

Today I wanted to match a camera between my 3ds Max scene and UE4, I found some plug-ins and stuff but really I just wanted to copy-paste the values rather. In case anyone wants to do something similar, I’ll save you 10 mins by posting my findings.

UE4 Camera Location:

X = 3ds Max X
Y = – 3ds Max Y
Z = 3ds Max Z

UE4 Camera Rotation:
X = 3ds Max Y
Y = 3ds Max X – 90
Z =  (3ds Max Z – 270) * -1


My New Job at RocketWerkz

In my previous post I announced my sad decision to leave my life in China, but it turned out it wasn’t so sad after all. Al thought it seemed there were no good jobs out there I somehow caught one that seems too good to be true. 

My desk at RocketWerkz, with beautiful ocean view

4k 27″ monitor, 6 core @ 3.60 GHz CPU, 1070 GTX graphics… I think I’m in love with my new work machine!

During my job hunt I had two primary wishes; I wanted to use my favorite development tool Unreal Engine 4 and to live someplace nice. These requirements initially seemed reasonable until my job searching gave me a grim view of the market.

My favorite development tool has started gradually fading from the job portals, although Unreal is the vanguard of cutting edge of technology, many game companies are switching to Unity to save cost. Although the choice of tool doesn’t affect conventional rewards such as salary, using the best technology is what makes the every day process of making games interesting.

Similarly my living requirements wasn’t easily met. Although I’ve matured past my adventurous phase of living in places like China, I also didn’t love the idea of returning to Sweden or UK. A few years ago I’d decided New Zealand would be my ideal place to live, but after discovering how tiny its game industry is I realized it wasn’t likely to happen.

It seemed impossible to find a job that meets my needs, but then right out of the blue the perfect offer popped up!  Click to find out where!

Amazing UE4 VFX from China (with Tutorial!)

During a recent binge-watching of Youtube I found a VFX reel that absolutely blew my mind. Far from anything I’ve ever seen in realtime VFX’s I was worried my brain might have short-circuited a fuse in amazement. With the unnamed Chinese artist shrouded in mystery I decided I must look deeper, to my surprise found an amazingly detailed 3 hour video-tutorial, available only for those with a little Chinese know-how.

Since my days of working with Unreal Engine 3, I was blown away when I discovered what an amazing improvement Unreal Engine 4 is. Everything from blueprints, constructor scripts, deferred lighting to PBR workflow made me feel like it was a brand new engine, until I opened up Unreal’s particle editor, Cascade…

Unlike my previous amazement, Cascade was the exact same mess I remembered doing my first Unreal VFX 10 years ago! The new black color-scheme did little to hide the fact that it’s the exact same tool with the same bugs still present. I was considering buying stocks in Apple, until I realized I’ve not traveled back in time, I’m still actually in 2016. Epic just hasn’t made much improvement to their particle editor.

What HAS happened however in the last 10 years is the vast improvement from the artists using the tool. I could show no better example of this than this VFX reel I found on Youtube, demonstrating some of the best realtime VFX’s I’ve ever seen.

Although I can pause this video at any time and reverse-engineer how a particular element was most likely made, if I attempt to do so at full-speed my mind just explodes of over-stimulation. I realized I MUST know more about these effects and its genius artist. With the uploader silent and anonymous I didn’t have my hopes high, but to my surprise my Chinese friend managed to dig up a 3 hour video-tutorial! It’s ridiculously difficult to find and requires a bit of knowledge how to log into Chinese services, hence I decided to share this knowledge for all to enjoy. Click to check it out!

3ds Max vs Maya: Which 3d Package Should I Learn

Since the dawn of human times the topic of 3ds Max vs Maya has repetitively shown up around the web. Althought a great question, I the answers are less great and often misleading. Today I want to share a very simple answer to which 3d software is the best.

The answers found around the web (that I myself once believed in) usually falls into the following categories. Discarding the question as a duplicate, referring to an ancient 6 year old thread. Claiming that the question is as pointless as “My religion is holier than yours!”. And finally, attempting to answer the question with an incredibly specific comparison about a tiny portion of the software, completely overlooking any bigger picture.

I strongly believe all these answers are wrong and would like to share the rule which I go by. 3ds Max vs Maya, which one is best?

Is UE4 Distributed Rendering Worth It?

There are countless tutorials how to set up UE4 (Unreal Engine 4) to distrubute lightmaps tasks across a network, but I wasn’t interested in the ‘how’. I wanted to know if it’s even worth all the hassles associated with DR (Distributed Rendering). My curiosity got the best of me so I dove in to find out!

After a life of experiments with buggy DR’s my question was “should I even bother?”. The time I’ve previously spent troubleshooting mysteriously idle render machines has by a hundred-fold exceeded the time I’ve gained from its marginally faster renders.

My results have been disappointing regardless of software (primarily I’ve used Mental Ray and V-Ray) yet one little fact made me wish to give UE4’s DR a try. Despite having frequently complained about poor documentation for the Unreal Engine, I must admit I’ve never once been disappointing with the software. Despite DR probably being a low priority feature, I had a feeling Epic might leave me jaw-dropped impressed as usual. I was not wrong.  Click to see the results of my Swarm/Lightmass Distributed Rendering.

High-Res UE4 Screenshots without Crash

One of the great things about GPU rendering is how insanely fast you can render high resolution. While rendering things like lightmaps with GI is still time-consuming and resource-hungry, the actual 3d rendering is near resolution-independent. Do you want to render at 4 times your usual resolution for a print? As long as you have an extra spare couple of seconds, you’re in luck!

Unlike most engines, in UE4 (Unreal Engine 4) taking a high-res screenshots needs neither custom code, plug-ins or even memorizing command-line syntax. Simply use Epic’s provided ‘High Resolution Screenshots Tool’.

There is only one little problem…

Althought the tool is programmed flawlessly (as is the case with all of Epic’s tools), you may run into a problem from another source. With hardware accelerated 3d being primarily developed for realtime graphics, your graphics card assumes you desire to run a smooth frame-rate. When your ridiculously detailed screenshot is taking forever to render, your graphics card assumes a bug and terminate the process.

Although 2 seconds may be an eternity in a world of 60 fps gaming, it’s nothing for rendering still images. Coming from CPU offline rendering where a single image render can be an overnight process, 2 or even 100 seconds is less than it takes me to go fill my cup of water.

Luckily I found there is a way to tell your well-meaning computer to take a chill-pill. To bump up its default panic mode threshold of 2 seconds into whatever value you desire. After setting mine to a glorious 40 seconds, I can now save screenshots at an arousing 15360 by 8640 pixels (including buffer visualization targets). I find this to be the ultimate resolution as it down-samples perfectly into 8k (my ideal editing resolution). So what’s the secret to taking high resolution screenshot without crashing? Click to find out!