Datasets:

samfred2
/

ATO_TG

+{
+  "file": "3 - Presentation of PBR materials.wav",
+  "transcription": {
+    "audio_file": "3%20-%20Presentation%20of%20PBR%20materials.wav",
+    "text": "This is what the scene looks like with the PBR materials I applied to the models I created earlier. As for the kitchen cabinetry, I made it out of dark wood. From a technical standpoint, I made it exactly the same way as the floor panels, meaning I used the same textures. Color textures, Ronas textures and normal textures. I adjusted their parameters accordingly to achieve the effects I want. In this case, I had to lower the normal value. Map from 1 to 0.1. At a value of 1, I was getting very strong indentations. And very pronounced bumps, which I definitely wanted to avoid. The value of 0.1 turned out to be the most appropriate here. When it comes to the normal map and values, Everything generally depends on the texture. There isn't a one size fits all rule that the value of one will always be okay, or that the value of 0.1 will always be okay. You need to adjust it manually for each specific example, as for the walls when doing that, just like with the panels in the kitchen. And here I also adjusted the values accordingly. I used the same textures. In this case, there was no need to adjust the reflections in any way. I added not brightness contrast, but as you can see, the values are zero, so nothing changed. I managed to achieve a nice interesting texture using these textures. I juggled the scale of each texture. I actually changed it to get a pretty good match of the texture to my object. However, we can do the same when mapping objects, but we'll cover that in the next lessons. I also created a concrete material that I used on my beam. This is a material that consists of several elements. Here we have another element called displacement. However, I didn't end up using that displacement. Displacement can be used to subtly enhance the bumps. We have the displacement map here. We didn't use it for the previous materials. We connect the displacement map with the displacement node. Of course, the map itself must have the color space set to non-color, as I mentioned earlier. And we can connect the displacement to the material output in place of displacement. It significantly enhances the unevenness and brings out a more profound, sharper and more intricate texture. We can slightly juggle the scale value here, or perhaps in terms of the strength of those unevenness. In the end, after careful consideration, I ultimately decided indeed not to use that displacement because the bumps were too large and I gave up on it. The display stand has its application in other materials as well. As I mentioned in the previous lesson, such as sails, cubes, pebbles, etc. Where does this bump need to be? Pulled out, this unevenness is shown quite precisely. However, a slightly different application mechanism will be used. This texture, because we need to connect it with the appropriate modifiers. In the case of interiors, though. If there is no brick, then displacement is usually not used. Or it's used in this form, like here, to subtly enhance the properties. That's why in this course we won't be dealing with a broader approach to displacement. On the ceiling, you can notice that we have a material that imitates boards. This is a quite commonly seen effect in interiors done in this style. Here the material was made exactly the same way, except that in this case displacement is actually applied. It has a set value. It's very small because the scale is set to 0.005, but thanks to that we achieved a nice effect of visible boards. In the end, I also created a material that looks like uneven copper, or copper with uneven reflections, and color, I might say it that way. This is a cover that was used in the kitchen. As for the model of this overlay, it's like the letters C when viewed from the side. It has a thickness of 1 cm. I'm switching back to the camera view, just to ensure you get the most comprehensive and detailed view possible. And as for this material itself, it was also made using classic textures. Color textures, rones and normal textures. In this case, however, I also applied anisotropy. Anisotropy, which means subtly adjusting reflections at a different angle, here on the thumbnail we can see that these reflections run in a characteristic stripe in slightly different directions than usual. This is not typically done. However, I wanted to achieve something different here, something more interesting. This effect is not that great, very visible, but if we compare it with the lack of anisotropy, we can see that somewhere something is changing slightly here. Very gently, very subtly, but still. At first glance it may seem almost invisible. The material I haven't mentioned yet is marble material. Here I might switch to another camera so that this material is more visible. This is a material that I created using a texture of marble, exclusively. I also added rones here. In this case, I skipped the normal texture because this is a polished material, so I don't want any imperfections on it. Here it's a bit more complicated. It might can turn off the notes that are in the way. This is remove the saturation to make it a strict material. Black and white. Next, I used the invert color node to reverse the color scheme. I didn't want a material that would be black and white, but rather a material that would be black and white. I'm getting to the point that I wanted most of the material to be black and the highlights to be white. And then I used the node again, hue saturation value to gently reduce the darkness of this material. The Rohn's texture is responsible for the reflections and it added something a bit more interesting than if it were without this texture. With all these reflections we might still be looking for something in the future. I think it's a bit too big but for now I'll leave it like this. As for PBR materials, that's it for this lesson. You can see how our scene has changed compared to the beginning, where all the elements were white. Besides our completed panels, the difference is drastic. This is what I was talking about. That after completing all the materials, we might still come back to something and make some adjustments. At this moment, I think everything is fine.",
+    "language": "en",
+    "duration": 461.24,
+    "timestamp": "2025-12-10T17:47:26.158459"
+  },
+  "timestamp": "2025-12-10T17:47:26.161996",
+  "processing_time_seconds": 80.22759890556335
+}