[flow_default] Transcription: 01_image-based_lighting_08.json

transcriptions/01_image-based_lighting_08.json

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+{
+  "audio_file": "01_image-based_lighting_08.wav",
+  "text": "Practically every object can be turned into a light source. That's the fun part of this workflow. Let's go back to 3D viewport, then choose some other part. Like for example, I don't know, maybe this sign at the top. Okay, let me tell you exactly what is this. It is the shop underscore zero three underscore three sign from the shop zero three collection. This time I'll do it a bit quicker. If after opening the shader editor you see nothing, just like I do here, hit home on the keyboard. And it should fix it and refocus the view on the nodes. Okay, what we need to do is find our texture, grab the texture again, and it goes into Emission. Right away I'll set up its color grading controls. First, the Hue Saturation value, and then the Mix RGB node right away. I'm doing it faster this time, hopefully not too fast. Then click and drag, Shift P to draw a frame. Where is our tool shelf to give it a label. Then we should add the strength controls. As we remember, we started last time with adding the color ramp. And here we shall repeat the steps. So the color ramp. And what else? The math node, of course, to multiply it to control the strength. Multip we should mask it out. Maybe ever so slightly. As for the color, I think we can lower its temperature or make it more orange in other words. Because lower temperatures in Kelvin's, as we remember, produce orange and red tones. I will keep the mix factor at bay to not make it super orange, just to warm it up ever so slightly. That's it for the color adjustments for this one. To adjust the strength we have our multiplier where we have it. We have it here. Just a friendly reminder. If you scrub it really fast like me, chances are you'll remember your first read of Stephen King's crouch and or something or the 90s horrors, why not? Well, all is left is grouping these two and giving them the strength label. We spent even less time setting this up now, right? Took us a moment. Maybe we should have copy pasted the nodes, but anyway. It's better to repeat the steps to memorize them, I guess. Next, I think I'll just fast-track the recording to show that I have lit this sign using the same technique that I'm sure you have no problem reproducing now. The same setup, practically, nothing new. You can see me adjusting the strength multiplier after the material was set up. And that's pretty much it for this object. What else? Maybe this sign as well? Let's fast-track the process. It's easy stuff once you grasp the principle of using the color texture as a emission, basically, to turn every object into light source. Alright, we scattered a few focal points of interest here and there. These sources visible in frame are also called practical lights in cinematography and photography, I guess. Practical lighting is one of the most amazing cinematic techniques. We can use it in 3D rendering as well, of course. It is a very elegant way to give everything motivation. It's not just some light coming out of nowhere. It is a part of the cinematic world now. To drive it home, every texture, every mesh object can become a light source. I'm selecting the William Lundgren's character here to prove the point. Going over to materials by clicking on that sphere and scrolling to the shader that is called Fabric Emissive with the capital letters. Very easy to find. Now in the Material Editor, all we have to do, because I set it up in advance, is adjust the emission strength. The color is just this red brick color. Okay, ready for some Blade Runner? Ready? In fact, not to make it overly bright, so it breaks our composition that we have set up. So maybe I'll give it this strength of, I don't know, a fairly low strength, let's say. Maybe 25 or something like that for a bit of flavor, cyberpunk vibes.",
+  "language": "en",
+  "confidence": null,
+  "duration": 383.77
+}