Add transcription for: Wind Material Homweork.wav

transcriptions/Wind Material Homweork_transcription.json

@@ -0,0 +1,8 @@
+{
+  "text": " For the first homework assignment for this lesson, we want to create a global wind material system for both cloth and foliage assets and use both material parameter collections and parameters in the material itself to create a material system where we can control the wind globally on all the assets at once. We want to develop an understanding of a more complicated material and how to read what's needed from your end to work with it to create your own visual effects and results. And we want to but be able to create this material so you can use it on any assets you create, not just the ones in this project here, but your own assets you've created, like your own trees, your own bushes, your own grass, your own banners or pieces of cloth. So we want to make sure that you walk away with the material that you can really rely on and plug into any natural or nature scene that really gets the results that you need. So without a doubt, this is going to be a very, this is probably going to be the most complicated material by far that we make in this course. There's a lot of moving parts here, and luckily, instead of doing a lot of different bits of math that are custom, we just have to pay attention and make sure that we're having that there's no wires crossed or any wires are going into the wrong ports or anything like that, and that we're just making sure that when you search out these nodes, that the naming is right because there's An example here is if you do breakout, you wanna make sure you don't get caught cause we have breakout float two components. We also have breakout, sorry, breakout float three components, four components, just lots of different little subtle things that if you don't catch it, it can be one of those things where it'll derail the entire pipeline or the entire block chain setup. So you just wanna make sure that you keep that in mind with what's going on here when you set this up. So the other factor is just be patient and really make sure to go back. It's like kind of like doing any math problem where you wanna go back and make sure that when you're looking at something, you're really looking at it and making sure that none of the labeling, none of the math assets are being misrepresented or the way that the wires are crossed up or going into certain ports. I've tried to in the video make everything as isolated as possible, because when everything is kind of just sort of cramped together and stacked on top of each other, that is very hard to read usually. I know firsthand when going back to reference my old materials. So in the end result, you want to make sure that if anything occurs where you're not getting the results that you need, that you get into that good trouble shooting mindset of going back and just isolating piece by piece. Now, granted for this, it's a little bit tough. It's not like the previous materials we've been doing where it's really easy to isolate. In order to get the final result that we need, everything kind of needs to be going in, everything has to kind of be working in unison together. But again, that kind of goes back to just double checking the reference and making sure that everything is set up and working properly. Or everything is named properly, being divided, added, multiplied properly, and everything is going into the right port. So just pausing the video and really making sure that everything is set up here. One bonus element that you'd want to do if you want to is if you want to take some of these nodes like in particular the bounding box and the object pivot point and see now there's no guarantee that this won't just break or get kind of useless data for you but if you take a lurp node or just hold down l and do that this is a value of zero to one and the alpha of the mass that differentiates between the two. If you take these nodes that gather data in the scene and and with your objects, you plug it into the alpha and you put this into the base color, you can obviously get something like this where it's like, hey, this isn't going to get the results that you need. So one thing that you can do is we can try normalizing this, maybe, maybe this will do it. Nope. Let me see. I know RGB won't work. Let's try that and see what happens with the with the bounding box. And there's no guarantee that this would yield any results, but experimenting, there's a good lesson that I've heard which is that the good way to understand what the data of this is doing is if you plug it into the base color, you can kind of see what is happening here. Let me go back to the original demo scene here. Actually, sorry, it was the wrong one there. Let me go with Unlit. We can see, in kind of an interesting sense here, there's this gradient that's going on. Let me go ahead and get rid of this. So you can see the red channel that you can see here, it's going from white to black with the bounding box here, which is kind of cool. The other thing I can do is if I plug this into the alpha channel here and I hit apply. So the bounding box space is 0 to 1 space of this object that's being collected. You can see that this is actually pretty cool. You can see that no matter where I put this in space, and no matter what the UVs, that's the really powerful thing about this is that regardless of what UVs you have on this thing, if you're like, hey, I want the base of this trunk to be black and I want the top of this tree to be white, the bounding box here can get that data for you. It doesn't matter what kind of UVs you have on your tree if you have something like, hey, and the other thing, if you want it really black, you can do something like you can multiply If I do something like 5 and plug it into the alpha here and hit apply. Once it's done compiling here, you can see that's really wide up top there. And it didn't really change the darkness on the bottom, but let me see if I can do another thing to do this. So let me do a power, like a power node. If I do this by something like 8, plug this into the alpha. And I, of course, can create a parameter where I can just change this on the fly. I might do that really quick here. Just call this test. Do this at a default value of 5, plug this into the power node here. Go ahead and save it. You can see that we have now a way more strong sense of dark to light. So if you want something where it's like, hey, I want, and this could be used for anything. If you want, hey, I want the base of the trunk to always be darker. If I want the base of this, or sorry, the base of this tree to always be darker. If I want the base of this tree to always have mud or I want the top of this tree to always have something like a yellow tint or something like that. It's a really, really powerful, easy tool or very, very useful tool to have because you can see too, it's a perfect gradient regardless of the polygons going on with this tree. It is a very, very nice gradient from black to white. And this would be extremely hard to get just from UVs in the local mesh here. And you can see it down here on the grass too. It's working really, really well. So just little elements like that. I just took this bounding box space, went to you. The object pivot point didn't really yield any fruit here, but it doesn't really matter because we got a really cool result. So coming off of this too, because we can see here if I plug in the green channel, so And I could even add this where it's like, you take the green channel and the blue channel. If you want something like say, uh, snow and frost is blowing in a certain way and you or moss always grows on the north side of the tree, that kind of thing. Uh, you can get that kind of results as well. So let's see what that does. So you can see, yeah, an interesting thing where like only the sort of top left or sorry, uh, top, uh, Y facing side of the tree is getting, um, this kind of value results. So really, really cool results like this. So I really encourage you to just kind of experiment and see what you can get, because this is a very daunting bit of math that was pulled out here, but we can also get some really, really cool bits of data that we have with the meshes that we have in our scenes here.",
+  "segments": [
+    {
+      "text": " For the first homework assignment for this lesson, we want to create a global wind material system for both cloth and foliage assets and use both material parameter collections and parameters in the material itself to create a material system where we can control the wind globally on all the assets at once. We want to develop an understanding of a more complicated material and how to read what's needed from your end to work with it to create your own visual effects and results. And we want to but be able to create this material so you can use it on any assets you create, not just the ones in this project here, but your own assets you've created, like your own trees, your own bushes, your own grass, your own banners or pieces of cloth. So we want to make sure that you walk away with the material that you can really rely on and plug into any natural or nature scene that really gets the results that you need. So without a doubt, this is going to be a very, this is probably going to be the most complicated material by far that we make in this course. There's a lot of moving parts here, and luckily, instead of doing a lot of different bits of math that are custom, we just have to pay attention and make sure that we're having that there's no wires crossed or any wires are going into the wrong ports or anything like that, and that we're just making sure that when you search out these nodes, that the naming is right because there's An example here is if you do breakout, you wanna make sure you don't get caught cause we have breakout float two components. We also have breakout, sorry, breakout float three components, four components, just lots of different little subtle things that if you don't catch it, it can be one of those things where it'll derail the entire pipeline or the entire block chain setup. So you just wanna make sure that you keep that in mind with what's going on here when you set this up. So the other factor is just be patient and really make sure to go back. It's like kind of like doing any math problem where you wanna go back and make sure that when you're looking at something, you're really looking at it and making sure that none of the labeling, none of the math assets are being misrepresented or the way that the wires are crossed up or going into certain ports. I've tried to in the video make everything as isolated as possible, because when everything is kind of just sort of cramped together and stacked on top of each other, that is very hard to read usually. I know firsthand when going back to reference my old materials. So in the end result, you want to make sure that if anything occurs where you're not getting the results that you need, that you get into that good trouble shooting mindset of going back and just isolating piece by piece. Now, granted for this, it's a little bit tough. It's not like the previous materials we've been doing where it's really easy to isolate. In order to get the final result that we need, everything kind of needs to be going in, everything has to kind of be working in unison together. But again, that kind of goes back to just double checking the reference and making sure that everything is set up and working properly. Or everything is named properly, being divided, added, multiplied properly, and everything is going into the right port. So just pausing the video and really making sure that everything is set up here. One bonus element that you'd want to do if you want to is if you want to take some of these nodes like in particular the bounding box and the object pivot point and see now there's no guarantee that this won't just break or get kind of useless data for you but if you take a lurp node or just hold down l and do that this is a value of zero to one and the alpha of the mass that differentiates between the two. If you take these nodes that gather data in the scene and and with your objects, you plug it into the alpha and you put this into the base color, you can obviously get something like this where it's like, hey, this isn't going to get the results that you need. So one thing that you can do is we can try normalizing this, maybe, maybe this will do it. Nope. Let me see. I know RGB won't work. Let's try that and see what happens with the with the bounding box. And there's no guarantee that this would yield any results, but experimenting, there's a good lesson that I've heard which is that the good way to understand what the data of this is doing is if you plug it into the base color, you can kind of see what is happening here. Let me go back to the original demo scene here. Actually, sorry, it was the wrong one there. Let me go with Unlit. We can see, in kind of an interesting sense here, there's this gradient that's going on. Let me go ahead and get rid of this. So you can see the red channel that you can see here, it's going from white to black with the bounding box here, which is kind of cool. The other thing I can do is if I plug this into the alpha channel here and I hit apply. So the bounding box space is 0 to 1 space of this object that's being collected. You can see that this is actually pretty cool. You can see that no matter where I put this in space, and no matter what the UVs, that's the really powerful thing about this is that regardless of what UVs you have on this thing, if you're like, hey, I want the base of this trunk to be black and I want the top of this tree to be white, the bounding box here can get that data for you. It doesn't matter what kind of UVs you have on your tree if you have something like, hey, and the other thing, if you want it really black, you can do something like you can multiply If I do something like 5 and plug it into the alpha here and hit apply. Once it's done compiling here, you can see that's really wide up top there. And it didn't really change the darkness on the bottom, but let me see if I can do another thing to do this. So let me do a power, like a power node. If I do this by something like 8, plug this into the alpha. And I, of course, can create a parameter where I can just change this on the fly. I might do that really quick here. Just call this test. Do this at a default value of 5, plug this into the power node here. Go ahead and save it. You can see that we have now a way more strong sense of dark to light. So if you want something where it's like, hey, I want, and this could be used for anything. If you want, hey, I want the base of the trunk to always be darker. If I want the base of this, or sorry, the base of this tree to always be darker. If I want the base of this tree to always have mud or I want the top of this tree to always have something like a yellow tint or something like that. It's a really, really powerful, easy tool or very, very useful tool to have because you can see too, it's a perfect gradient regardless of the polygons going on with this tree. It is a very, very nice gradient from black to white. And this would be extremely hard to get just from UVs in the local mesh here. And you can see it down here on the grass too. It's working really, really well. So just little elements like that. I just took this bounding box space, went to you. The object pivot point didn't really yield any fruit here, but it doesn't really matter because we got a really cool result. So coming off of this too, because we can see here if I plug in the green channel, so And I could even add this where it's like, you take the green channel and the blue channel. If you want something like say, uh, snow and frost is blowing in a certain way and you or moss always grows on the north side of the tree, that kind of thing. Uh, you can get that kind of results as well. So let's see what that does. So you can see, yeah, an interesting thing where like only the sort of top left or sorry, uh, top, uh, Y facing side of the tree is getting, um, this kind of value results. So really, really cool results like this. So I really encourage you to just kind of experiment and see what you can get, because this is a very daunting bit of math that was pulled out here, but we can also get some really, really cool bits of data that we have with the meshes that we have in our scenes here."
+    }
+  ]
+}