[flow_default] Transcription: 02_night_scene_03.json

transcriptions/02_night_scene_03.json

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+{
+  "audio_file": "02_night_scene_03.wav",
+  "text": "With the first layer finished, let's do the second one, diving once more into the waters of image-based mesh lights. This time I'll switch our first key light, which is at the same time our backlight off temporarily to clear up the scene by hitting this checkbox. And I'll go ahead and light up the storefront on this side, just near the cars, to create a nice alternative key light to show you how it may work here. I'll open up the shop underscore 01 collection within the scene collection and here we can find all the sub-objects of this shop or storefront including the glass, the building itself and the sign. I'll click on the sign object to highlight it and let's make it shine now. We need the shader editor opened. So let's go there. We have the default printable BSDF shader. What we need, it's a mission property which we can find by scrolling down to it. Here it is. Together with the mission strength, it controls self-illumination of this object I've left this hook here for you close to the mission socket we just have to drag it into the mission strength like that this way just like in the previous chapter we'll make this mesh object emit light and you can already see it's also placed at the back of the scene kind of, not on the camera side. That is important. Due to this placement, it creates nice deep shadows that fall in our direction, let's say. And we also get nice rendering of edges. The strength can be controlled by a multiplier. You can flicker as if you wish, who can resist after all. And basically, it's better to keep this value fairly realistic, not overly punchy. If you scroll up you'll find the color controls there as well. Basically we have the Hue Saturation value node to be able to shift the hue or change the saturation and we also have the Mix node set to Color Mode. As a quick refresher we use the Color or or multiply blending modes when we want to blend in a specific color. What is the difference between these modes once again? Color is slightly more definitive, slightly more authoritarian mode. It kind of replaces the colors from the original image with the one that you provide in the B socket. The multiply, on the other hand, is slightly less intrusive. It kind of mixes in the chosen color, but doesn't fully replace the original values. For the full setup, feel free to watch the previous image-based lighting tutorial. Just a quick reminder. That's all we need to do for now. It works and gives us a nice starter. A nice reverse key light. Reverse because it's on the opposite side of the scene, not on the camera side. And we call it key light because it's gonna be an important source that will sculpt the main shapes like the car curves. That is a fairly easy setup for making the object emit light, to turn it into a light material in other words. Now I wanna do the same thing with the shop main building. So let's select shop underscore 01 underscore 1. It's the main storefront very close to the cars. Here it is. This is going to be our big softbox. Imagine that it is a softbox indeed. Its function would be to wrap a good amount of soft light around our subjects. So imagine that this is a soft light in disguise. You know what? Let's recreate the image-based lighting setup for this object from scratch. I thought it will be useful to practice this once more. So I'll delete this bunch of nodes and we'll repeat the steps for you really quickly in case you haven't watched the dedicated tutorial about it. So we have our storefront image, the texture. The point is to use the pixels or the colors of this image as a light source. Each pixel be in a light source, technically. I'm gonna grab the color of that texture and it should go into emission. The emission strength now should control its strength, obviously. That shouldn't come as a surprise, I guess. I'll add a few basic nodes to better tune the color and the strength of this effect now. It is precisely what we did in the previous tutorial. So feel free to re-watch it anytime. I will start with the color ramp. It will be our strength mask. Let's plug the texture in and we will also need the math node after that to be able to tweak the general brightness of the light. So I'm dropping the math node afterwards and swapping it to multiply. I want to make the light coming out of the storefront fairly punchy but not too much. Not too much. Maybe something like that. The mask could be used to limit the effect to the brighter portions of the source image. And it could look fairly cool but probably not this time. I'll leave it alone for now. Maybe I'll push the blacks into the gray zone ever so slightly to make darker areas amid some light. And that's all. Again, it is crucial to not make it absurdly luminous. It is so easy to just break it by going too hot. 35 looks good to me. Okay, I usually draw a frame around groups of nodes with Shift P and usually I give it a proper name. So Strength this time. This is it for the strength. Now it's time to create the color controls and we will be set. Hue saturation value and mixColor will be the nodes that we'll use to control our color. The mix node should be either set to multiply or color and we can mix it in with, let's say, with blue or with any color. That's just for the sake of the example. By using this node, we can increase or reduce the color temperature among other things, imitating different types of lamps, neon, tungsten, whatever. Do I want to tint it for a certain mood? I'm not sure. I'm not sure yet. It looks good as it is, I think, even without nudging it one way or the other temperature wise. But if you want to make it more tungsten-like or if you want to just paint it stylistically, you can use this opportunity. I think it looks good as it is. A nice warm and soft light motivated by something that exists in the virtual world. I'll shift P to draw the frame around this one as well. This shall be our color. And this is it. What we just did is repeated the steps for creating controls for color and strength of the emission. These are all technical details. What matters is why we may need a light layer like this. Firstly, it is a soft box in disguise. Secondly, it's another backlight or reverse key light if you wish. It can be both at the same time. It works quite well on its own even and it could have been a perfectly fine main light if we choose to go this direction. In a moment though, I'll merge it with the previous background light and other minor practicals. All of these has been prepared in advance. I prepared it in advance so you don't have to repeat the steps over and over again. And all we have to do now is just go into the storefronts materials, like for example this shop underscore zero one underscore two and reconnect the loose hooks into the inputs that are just nearby. Emission strength in this case. All right, here goes the next one. What do we have next? Maybe this one? Or this one? Shop underscore zero three. These two guys that share the same material so it doesn't matter which one you choose, grab the loose dot that I prepared for you and slump it into the emission strength to activate the light texture. That is unbelievably cool. I think we should have a small sign somewhere here. As far as I remember. Yup. side transformed into a giant light panel. By definition it should offer us a soft light and beautiful reflections. invented this little trick with the storefront. It wraps the light around the curves of the cars, highlighting the edges and doing all the work for us. These storefronts are also the soft boxes if you think about it. And this sign is also the smaller soft box with slightly harder light. All in all, all of this is a giant wall of light, shoving exposure this way, pushing it into the scene. Technically, we couldn't go softer than that, and again, note that if we draw the action line here, the camera will end up standing on one side and all the main lights on the opposite side of that line. That is the alpha and omega, which is also called reverse key lighting. That is it for this part, in the next we'll merge it with the first layer that we set up.",
+  "language": "en",
+  "confidence": null,
+  "duration": 755.73
+}