[flow_default] Transcription: 02_Lighting.json
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transcriptions/02_Lighting.json
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"audio_file": "02_Lighting.wav",
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"text": "So here's what I got. In the viewport, usually the quality of the volumetric display is worse than it really is. So let's start rendering. Let's check what attributes are preserved. There is a shop material path, which is automatically created by Pyrosolver. Let's delete it. Now let's create RS light. Rotate it minus 90 degrees and put it on the left. Let's make it a little bit narrower and a little bit taller. Let's see what happens on the render. Let's do a split screen. Switch to Redshift Render View. And before we render, let's create a material. We delete the standard material and create RS volume and plug it into the volume and just drag this material into the viewport and click render. So the material here has some basic settings. This is the absorption coefficient, which is responsible for the volume density. If you turn on Alpha channel, you'll see how the smoke density changes. And the second basic attribute is scatter coefficient, which defines how intensively the light inside the volume interacts and scatters. A large scatter coefficient will mean more intense scattering of light, which can lead to a softer appearance of the volume. Let's put in some rough settings for now. Now let's tint the light source a little bit blue. Let's make it a little brighter. Copy the light source, move it to the right side and rotate it. Let's select both lights so we can adjust them at the same time and reduce the spread so that the light is not so soft and make the brightness a little bit lower. Now we need to create more mesh light, but for that we need to prepare the geometry first. So here's the box we created originally. Let's create null and rename it. Press Ctrl C. Create a new geometry and in Object Merge we're going to specify a path. We'll add thickness to it using Extrude and reverse it. I will use this geometry as a light source. Let's create another light. Select mesh and specify the geometry. Let's render. Firstly, remove visibility so there are no artifacts. And secondly, we'll reduce the intensity and let's switch off the first two lights to make it easier to adjust the mesh light. We'll also add a Let's render it. Now we can add a little color correction. Raise the exposure a little bit. Add some vignetting. Make it a little bit more contrasty and turn on tone mapping, increase the highlights and lower the saturation a little bit. Save the image and compare it to the way it was. Yeah, it's a little bit better. The render time is now 44 seconds. Let's go to Rop Settings, Advanced, Globals. Here we have the volume trace depth parameter. This parameter is responsible for how many times a ray can scatter around inside a volume. The higher this parameter is, the more realistic the volume will look, but the higher the render time will increased a lot, 2 minutes and 4 seconds. I'm happy with this result. Now let's move on to the render passes setting. I want to render each light in a pass so that on the composite I can adjust them all separately. To do this, in each light in the light group tab, write a name. Let's write Light 1. Light 2. Light 3. You can call it anything you want. You can give several light sources the same name to unite in one pass. Let's go to Rop, AOV Manager, add AOV, select Volume Lighting. In the Light Groups tab, switch on All Light Groups. Again, Render. We can see that we have passes for each light. Let's turn on color lid controls so that the color correction settings are preserved. And let's add another pass, beauty, which will be without color correction. By default, ACE's mode is enabled, but if you enable post effects, the render will be an sRGB. But if we add beauty pass, it will be rendered in ASEC, which will give more flexibility on the composite if desired. You can see that the beauty pass is different from the render I've set up. Thank you for your attention and see you in the next lesson.",
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"language": "en",
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"confidence": null,
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"duration": 663.19
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}
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