0:05 - The sonar effect was achieved through the use of material function in unreal engine. I created a function with different types of masks and comparators, which could be added into any material to give it the ability to appear and disappear. The location of these masks are set every time a sound is made within blueprints so that the world appears to be revealing from the sound source.
0: 10 - The notes system was created entirely in blueprints, with parameters set up to allow me to plug in any amount of text that I needed. The location and rotation of the note when picked up is dynamically set based on the position of the player relative to the note when it is picked up.
A sphere trace is used to detect when the player is looking at the notes, and a visual indication gives feedback, since I didn’t want to rely on a crosshair which could have ruined the immersion.
0:22 - ambient sounds can also contribute to the revealing of the world. This is achieved in a similar way to the player sonar pulse, but is static and is triggered by the player just being in the vicinity. It is set up in such a way that different sounds and particle effects can be plugged into the blueprint to trigger with the pulse, as well as settings for the size and shape of the pulse.
0:30 - the music boxes are a way to provide a constant source of ‘sight’ while in their vicinity. They rely on a sine wave to control their pulse size, but will detect when the player leaves the area and they will deactivate.
2:50 - the mountain was created using world machine, with changes to the shape as well as textures and retopology done in zBrush. The lightning is achieved as a particle effect in ue4, using the beam data node.
3:50 - a radial tracer is used for the repeaters, which detects when a sonar pulse is emitted near them and triggers them to send out their own. This let me create chain reactions of pulses, which I used to guide the player through the courtyard.