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Valley of the Ancient is a short gameplay segment demonstrating early access features in Unreal Engine 5. Players control Echo, who appeared in the UE5 announcement trailer, as she explores an arid landscape and finds a portal to a mysterious dark realm. Inside, she navigates through a series of obstacles and battles the massive Ancient One. This sample provides a snapshot of the many quality of life features, rendering enhancements, and workflow innovations available in UE5.

This document will take you on a guided tour through these exciting new features, and how the team at Epic Games used them to both push the limits of what is possible with real-time rendering technology while also greatly streamlining the workflow for building a vast, high-fidelity scene.

You can download both the Unreal Engine 5 Early Access build and the Valley of the Ancient sample in the UE5 tab in the Epic Games Launcher.

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This sample is especially graphically intensive, and requires a powerful video card to run at a stable framerate. We also recommend installing it on an SSD, as Nanite and Virtual Textures depend on fast read speeds for the best possible results. The recommended hardware specifications are as follows:

Nanite is only supported by Nvidia Maxwell generation GPUs and AMD GCN generation GPUs or higher. Make sure you also have the most up to date drivers for your graphics card.

On lower spec systems, you can adjust the viewport screen percentage setting to get better performance. On the minimum spec, we recommend 50% or lower. You can set this in the Viewport Options Menu located in the upper-left corner of your editor viewport, using the Screen Percentage slider.

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While the Unreal Editor in UE5 retains all the functionality from Unreal Engine 4, it has several workflow and user experience improvements which you should familiarize yourself with briefly before exploring the Valley of the Ancient sample.

The Content Drawer is located in the lower left corner of the editor. You can click the button for the Content Drawer, or you can press CTRL+Spacebar to summon and dismiss it.

Clicking Dock in Layout will also create a permanently docked Content Browser, similarly to how it functioned in UE4. You can simultaneously use both a docked Content Browser and the Content Drawer, and you can also manage Content Browsers by clicking the Content dropdown in the main toolbar. This increases the flexibility of the content browser and provides more usable screen real estate inside the editor when it is not in use.

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The Content Browser itself has a revised layout with a folder tree permanently displayed on the left hand side, as well as a new Settings menu where you can configure how it displays assets, including view types, thumbnail sizes, and content filters.

This includes modes that will be familiar to UE4 users, as well as several new modes with powerful new features. They are as follows:

Classic brush geometry editor. Use the pen tool to draw brushes in orthogonal viewports, then use other tools to refine shapes as desired.

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Most files supporting this world are located in the game's Content directory, but the assets for the Hover Drone and Ancient One are contained in Game Feature Plugins separated from the game's base project. The Hover Drone's assets are contained in the HoverDrone Content directory, while the Light Dart ability and the battle with the Ancient One are contained in the AncientBattle Content directory. To make these directories visible, click the Settings button in the Content Drawer, then toggle Show Plugin Content.

While Valley of the Ancient showcases a large world, there are no sub-scenes as you would traditionally use for level streaming in UE4. Instead, this sample uses World Partition and Data Layers to break up a scene into separate, editable parts.

You can use your mouse wheel to zoom in on different regions of the world, and you can click-drag through the cells in this map to select them. Right-click after selecting some cells, then click Load Selected Cells to load them up in the main viewport. Similarly, you can use Unload Selected Cells to remove cells that you do not want to be visible, reducing the load on your computer.

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We recommend that you avoid loading all of the world partition cells at once, and that you load only the sections of the level that you want to view or edit. The number of cells you can load will depend on the amount of memory your system has available. See the World Partition section below for more details about this system.

You can use this window to enable or disable any of the layers that make up the scene. To view the dark world, enable the Dark World data layer. To view the light world, enable the Campfire Replace, Foliage, and Hero Area Mountain Range data layers. The Campfire Geometry data layer should always be present. You can experiment with enabling and disabling these layers to compare both versions of the world.

More details about these systems, how they are implemented in the sample, and their workflow benefits are available in Collaboratively Constructing a Large World .

Using Layered Animations

Unreal Engine 5 aims to provide not only a new standard in high-fidelity visuals, but also the most accessible pipeline for real-time high-resolution applications in the world. In this section, we will detail how UE5's new rendering features contributed to the level of detail in the Valley of the Ancient, as well as the speed and convenience of the team's process for constructing it.

All of these are available in the Canyons of Utah Megascans pack. Moreover, Quixel Bridge is now integrated directly into Unreal Editor, removing the need for any external programs when importing or managing Megascans assets. UE5 automatically generates the needed material instances and meshes, and they can be used directly in-game. In the sections below, you will see not only how easily UE5 handles these high-resolution assets, but also how its tools gave the environment art team an impressive range of flexibility in crafting the landscape.

None of these assets use traditional LODs or require additional optimization. Instead, all of them have Nanite enabled. Nanite streams static mesh assets from disk, then represents them using virtualized geometry, dynamically scaling the number of polygons they use based on the resolution of the user's viewport. Virtual texturing behaves similarly for texture detail. This representation changes as the user moves through a scene, updating the level of detail on the fly. Closer objects receive more detail, while farther objects receive less -- but the total detail onscreen is roughly uniform.

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Thanks to Nanite, the Valley of the Ancient environment can use hundreds of incredibly polygon-dense Megascans assets directly in the scene without any additional preparation. Even cliff faces weighing in at tens of millions of polygons and using massive textures render instantly, with no additional setup necessary on the part of technical artists. Even a high-polygon Zbrush sculpt can be used directly in a game.

Nanite does not support deformations, so it functions only with static meshes. However, this is more than enough to vastly simplify the pipeline for developing environments. Meanwhile, although Nanite can not use skeletal deformations, the towering Ancient One in the finale uses static meshes attached to a skeletal mesh, taking advantage of Nanite to render its ultra-high-resolution armor.

Lighting for this detailed valley is powered by Lumen, Unreal Engine 5's new fully dynamic global illumination and reflections system. Lumen creates dynamic, believable scenes where indirect lighting adapts to changes in direct lighting and geometry, combining new and old techniques to achieve high-quality real-time results. Lumen is built with next-generation consoles and high-end PCs in mind, and is targeting 30-60 FPS on these platforms when Unreal Engine 5.0 ships.

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Lumen Scene. The Surface Cache only operates for the first 200 meters before falling back to screen traces for the distance scene.

Lumen works with all movable light sources, including emissive materials as light sources. Skylighting uses Lumen's Final Gather for sky shadowing, which allows indoor areas to be much darker than outdoor areas, and helps bring out lightly-colored surfaces that reflect more light.

Thanks to the balance of quality, speed, and the it just works nature of Lumen, the team was able to light Valley of the Ancient's massive landscape intuitively without needing to worry about all the configuration options that are present with traditional lighting techniques. For more information about Lumen and more details about how it works, see Lumen Global Illumination and Reflections and Lumen Technical Details .

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Many of the Megascans meshes in the environment are not stock meshes as originally imported, but rather have been altered inside Unreal Editor to suit the unique needs of the landscape. The environment artists for Valley of the Ancient achieved this with the new Modeling Editor Mode in UE5.

While you can use the modeling editor to build meshes from scratch the same way you would in any DCC tool, you can also select any static mesh or instanced static mesh in the environment and modify its geometry. While editing these on a per-polygon basis would be cumbersome, the Modeling editor mode features numerous deformers

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