Have you ever wanted to use Unreal Engine 5 to try out virtual reality? We’ll demonstrate to set up any VR headset using Unreal Engine 5.1 as per ‘Smart Poly’ in under ten minutes.

Additionally, we’ll demonstrate how to load a unique map into the VR template, whether it’s one you created yourself or one you purchased from the Unreal Engine marketplace. So without further ado, let’s start right now.

How To Get Started With VR In Unreal Engine When Using The Oculus Quest 2

If you’re utilizing the Oculus Quest 2, the first step to getting started with VR in Unreal Engine is to obtain the following:

• Download the Oculus desktop app for your computer.
• Install the Oculus desktop application after the download is complete and log in using the same credentials you use to log into your headset.
• Turn on your headset and select the quest link from the settings to pair.
• Confirm the pairing code and click continue to pair your headset to the Oculus desktop application.
• Download steam VR and log in with your steam account and launch it.
• To test out VR inside Unreal Engine, open steam VR and leave it open.

When Creating an Actual Unreal Engine VR project With Unreal Engine 5.1, you need to follow these steps:

• Launch on religion 5.1
• Virtual reality template under games and click create.
• Click the three-dot icons at the top to play the test.
• Make sure the Oculus desktop application and steam VR are open before playing tests.
• After opening steam VR, put on your headset, go to settings, quest link, select your computer, and click launch to launch the application on your headset.

So basically, this means that you are good to go on your headset. Literally, all you need is the Oculus desktop app, steam VR, and a copy of Unreal Engine. And so now we can actually test out the VR inside of Unreal Engine 5.1.

Watch How You Can Set Up VR In Unreal Engine 5.1

More Related To Unreal Engine

NC Soft Visual R&D Team has come up with extraordinary behavior of characters in the gaming industry, all through the Unreal Engine Game Development platform.

The production team at CACCIA pays special attention to the story and its components in accordance with the tenet that “live tales arise from living characters.” They double-checked the character’s history using real-world images of Europe in the fourteenth century as part of this endeavor. The heroine Beatrix, who attempts to flee the shocking truth, is seen going through several cognitive processes throughout the film. Producers devoted attention to even the smallest elements in order to create dynamic pictures.

They took into account the character’s past, personality, favorite foods, and musical tastes, as well as the personality and background of her parents and the area where she was raised. They specifically looked into a real-life lady, “Christine de Pizan,” the first female poet in history, and modeled the protagonist’s persona on her while considering how to properly explain the term “suppression.” The producers were immediately reminded of “Beatrix,” the swordsman in Quentin Tarantino’s film “Kill Bill,” who later served as the protagonist when the poet’s pen was shown to be a sword.

The group created a technique to communicate the term, suppression, in a way that was neither direct nor obvious after choosing the character. They used a metaphor, showing how painting the protagonist is like locking someone within a box or a canvas. The team carefully constructed the narrative, which serves as the story’s framework, and then used cutting-edge technology to fill in the blanks.

They devoted close attention to the characters’ emotional expressions in particular. Based on 3D scanning of a real model, they produced 35 facial expressions and transformed them into 142 morph targets. Then, using roughly 30 masks for the expression of wrinkles, the team constructed the wrinkle map using three “normal maps” and “diffuse maps” that could accurately convey the sensation of volume and texture.

The group gave oil colors and lion saliva, among other sticky substances, careful consideration. The simulation was run using the 3D application Houdini, which has a feature called “flip solver” that is good at expressing unique effects. This function allowed the stickiness of oil colors to be naturally depicted so that they would flow like actual fluids. In order to show the lion’s saliva-based on realistic motions, the “vellum simulation” function was also used to describe the items that were flexible and readily modified after sketching the gums and the lines between them. The hair in the film was beautifully represented, including the painter’s beard and the lion’s fur.

Watch CACCIA Full Version Trailer

The painter’s whiskers and hair are represented in ‘Maya Xgen’ and helped create short, dense objects such as hair and grass. It was also rendered more realistic using Unreal Grooming, a real-time hair rendering feature that allows the hair to react to forces such as wind and gravity in real-time. In addition saying, “We will introduce a new program ‘Marvelous Designer’ that specializes in rendering clothes and will render clothes more efficiently. At ‘CACCIA’, we were able to create more natural and realistic medieval costumes based on the ‘Marvelous Designer’ patterns used in the actual costume production“.