[flow_default] Transcription: 02_Lighting and Camera setup.json

transcriptions/02_Lighting and Camera setup.json

@@ -0,0 +1,7 @@
+{
+  "audio_file": "02_Lighting and Camera setup.wav",
+  "text": "So let's get to rendering. I'm going to start by creating a camera. I think we can try to start with close-up and increase the focal length. I think that 200 will be enough here. Setting a large focal length when drop it onto the geometry. And we'll also create a redshift drop. Let's split the screen into two parts and on the right side let's go to Redshift render view. So let's try to render. Yes, this is what we get. First of all, let's switch off background and adjust the shader. In this setup, I did not use diffuse color. so let's set it to zero and let's do a little bit less roughness so that the highlights are less blurred. Also let's make the background white. Let's create another light dome with no texture just white color but we see that now from it goes strong reflections on the geometry. And to make the picture more contrasty, we go to the Contribution tab and put all values to zero, so that from this light source there was no interaction on the geometry, only the background too strong. So let's make the saturation lower so that the reflections are more monochrome. Let's reduce the cusp angle value in the normal node. Reducing the cusp angle allows for more accurate representation of sharp corners and transitions between surfaces. If the cusp angle is smaller, the normal node will treat the finer details of the geometry as separate surfaces and it will calculate normals for them independently. This can make the visualization more realistic and accurate. We can compare how it was and how it is now. And I think we can bring the camera in a little bit closer. Just a little bit. Let's see. And thickness scale maybe a little bit smaller. Maybe something like that. And let's rotate the light dome a little bit more. And maybe we'll go ahead and rotate the light dome a little bit more and maybe we'll find some more interesting looks. Actually, I already like that there's some highlights that are here now. We'll turn it on bokeh and we'll pick a point somewhere in the middle of the frame. Let's make the aperture a little bit smaller so that we have a higher blur area. And we'll add a little bit of color correction, increase the exposure, and a little bit more contrast. Let's see what the geometry looks like in the other frames. To make the renderer update with every action, let's go to Rob and turn on LiveSopLevel updates. So there's quite a bit of detail in the rendering which is cool. It might be worth reducing the aperture value a little bit more. Reducing this setting can create a more intense background blur which can enhance the visual effect of depth and focus attention on the objects in focus. The higher the value, the more of the scene remains in focus. This can be useful when you want to keep many objects or details in focus and present the scene in more detail. Let can try to reduce the thickness scale. Let's set it to 0.5. Let's see how that works. So we can see that the geometry is sharper and I think we can make the distance value a little bit bigger. I don't like the reflections and the detail that's missing here, so it's worth putting it back in because in the previous version I like the reflections on this part. It gives it such an interesting texture. Let's do a camera movement but first we'll create a time shift and remove the expression and put any frame number. Add a little bit of camera movement, right click on rotate and choose motion fax noise. This is a little bit of movement. Check it out. It's a very strong movement. Let's make the amplitude smaller and increase the period. And reduce the roughness a little bit. You've got a little bit of camera movement like that. Maybe we should make the amplitude a little bit smaller so that the camera movement is a little bit smoother. I think that's enough. Let's disable time shift. And I would like to slow down the movement of geometry, create a node retime, and I think the value 0.5 will be enough. We'll do a post extend so that we don't limit retime to default values. Let's rename the camera, I think three cameras will be enough to set up for this scene. Let's create another camera and look for some interesting angles. I think make the value smaller here. We're going to add a little bit of exposure as well. We'll add a little bit of contrast. And let's do some camera movement. Let's create a null. Let's put it roughly where the camera rotate relative to that point. Before we connect the null to the camera, we need to switch on keep position when parenting. The camera will keep its absolute position in world coordinates no matter what object or transformation you use to bind the camera. This is useful when you want the camera to stay in the same position and maintain a view of the scene no matter which object is its parent. Otherwise, the camera position will be recalculated relative to the new coordinate system, parent transformation. This may result in a change in the position and orientation of the camera in the scene. Let's switch on TimeShift again to make it easier to adjust the camera accelerations. Let's see what we got. Disable time shift. Let's see what the render looks like here. And look for the focus point and let's do an animation. Let's go to the optical tab and let's go on to the last frame. Let's see what we've got. Here I think the geometry in the foreground is too much overlapping a lot of the space and if we focus on the background it's not going to be very good. So let's hit a point in the foreground somewhere a little more interesting like this. Interesting to look at and then we'll have an interesting movement of focus on the geometry. And again, we go into the animation editor and we set the linear key motion. Let's go somewhere in the middle and see what the frame looks like. Somewhere around here, quite interesting. And the focus will go from the background to the foreground. Now let's create another camera and let's put some kind of general view already. Let's look for it again. Hit render. Let's do some of the manipulations we've already done, which means that here we now need to slightly increase the exposure.h and let's put the focus Focus right here and set the aperture value pretty small and here. Let's increase the exposure a little bit more. A little bit more contrast. Just a little bit. Let's add focus distance animation here to start from somewhere from here. Yes, let's put a key here and let's do let's say frame 200, well, just a little bit here somewhere. Shift over here. Here we want to look like this is where we want to look. Here we have these details. Maybe I've blurred it too much. Now let's do it. Let's try to reduce it a little bit. I think that should be enough. And make the keys linear. Let's see if we can see a little bit of We've got that part centered now and it looks better. We've got that part centered now and it looks better. Actually three cameras here is enough and we can render now. Switching on bucket rendering. No noise. Default auto sampling is enough. Render time is almost 19 seconds per frame. Overall, this is a very good result. Let's set up the Rop node. Let 50 to 150 frames. Let's go here to settings. Usually I do that in the folder with the name of the scene. There are folders with the name of the that the files weigh not so much without loss of quality. Everything else is just default. In order for the renderer to retain all the correction settings that I've configured, you need to enable these options. And then the render will be in sRGB. Set up the rest of the Rop nodes and set the Frame Range Only parameter. Thus each Rop will be rendered with its own frame range. That's enough now. Save the scene and click render. So this is what we got after the rendering. Thank you for your attention and see you in the next lesson.",
+  "language": "en",
+  "confidence": null,
+  "duration": 1219.52
+}