[flow_default] Transcription: 02. Vignetting, Bloom and Distortion.json

transcriptions/02. Vignetting, Bloom and Distortion.json

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+{
+  "audio_file": "02. Vignetting, Bloom and Distortion.wav",
+  "text": "Hi everyone and welcome to the second part of the video where we will apply the final touches on our image. So I'm just gonna jump straight into it and start with the vignetting effect. So before we've added the box mask node to create the selection for our image, waveform, analysis, whatever, and now we're gonna use the ellipse mask. So it works exactly the same as the box one. When I just drag and drop it to the connection here we get this ellipse. Let's increase it. So I'm holding the shift key and pressing my left mouse button and then just dragging the value. So it gives me more control with the shift key. And yeah, I'm just gonna do something like this. So more or less, this will be the corners affected by the vignetting effect. I can actually go to something like that even. And now to readjust everything back to the normal look, I'm gonna add the color mix node, plug in the the nodes, change to multiply, so we get something like this. Now this obviously looks fake, so I also have to add the blur node, so it's under the filter blur. I just leave the default values here and just play around with the x and y values, So I usually just type 250. And we already have the vignetting effect, but I would still like to be able to control its opacity. So to do it, we just need to add one more multiply node. I mean the color mix node, reconnect the original render input with the vignetting applied here. Change to mix. And now just by changing the node alignment here and with the fact slider I'm able to change the opacity of the vignetting. So what I like to do is just keeping it at 35% so it's node. So it's under the filter glare. And when I just drag and drop it to the node link here, you can see we get this funny effect. So what I'm using as a glare is always the fog glow, the easiest setting here, which just gives me this good looking highlight brightness. So those bright areas look more realistic. What I'm doing here, I'm using more probably I think just a mix value here and I always set it up to minus 0.5 as a starting point just to see how it looks like. Usually I decrease it to minus 75 so the effect it's again not that much in your face and now by using this the size value and the quality here because when we change the quality to high the effect also tends to get a little bit less visible. So now if I want to have more of this glow in my image I can just play around with the size but I usually try to keep it around 7 so here on the lamps it's also not that much visible maybe that's a little bit., let's just keep it at 8. And the final effect will be adding the distortion and it's called a lens distortion. So when I just drag and drop it here, nothing changes and I'm only changing the dispersion value here. So if I just set it to 0.1, the dispersion is way, way, way too too high as you can see. When I use the 0.01 value I still think it's a little bit too much. It's maybe not that visible, you don't have this chromatic aberration visible at the corners but I still think that the blur here is too high. So what I normally use is either save value. If you really want to have this chromatic aberration visible then just use 007. But that's basically it for the image editing. And now I also mentioned in the chapter 13 that I'm rarely using the render settings color management. Since I do most of my color correction using those two nodes. However, what I like to do as a final touch on my image is actually using this look settings here. So you can see I already have it set up to high contrast. By default, it was the medium contrast, so something like this. So right now if I'm not happy with the image, instead of going back to the color balance and messing the things here, where Blender has to calculate all those extra nodes, so the update is very slow. What I'm happy with the general look of my image, I just go to the color management settings, apply the medium contrast, play with the exposure if I have to decrease the gamma if I need to boost the contrast a little bit and that's it. I'm more than happy so I'm using the color management settings as the last and final touch on this whole compositing post-production. So I hope those two videos are helpful to you. I must really say for the animation workflow, especially for architectural animation, this is a huge time saver because instead of using external applications, playing around with add-ons with different file formats here, you just drop everything back to Blender, set it up within the clean Blender file and it just works. Of course, as I mentioned, if you want to render a final animation, you need to add the composite node here, connect it to the final node of your setup. And remember, here within the output, use the file format for animation. So I'm usually using F ffmpg then within the encoding just choose the correct file format which I guess it's mpeg4 the output quality I usually use perceptually lossless because it's really like exactly what I see in blender plus the smaller file size and that's it you're ready to go with your animation please remember you can download this whole setup in the files section of this chapter of the course and play around with yourself. I also included some extra XR files from my recent animations so you can also try fine-tuning the colors within some other scenes that I've rendered.",
+  "language": "en",
+  "confidence": null,
+  "duration": 481.92
+}