Add transcription for: frames_zips/CGMA_IntroAssetCreationGames_DownloadPirate.com_Wk09 06 PostProcess_frames.zip

transcriptions/frames_zips/CGMA_IntroAssetCreationGames_DownloadPirate.com_Wk09 06 PostProcess_frames_transcription.json

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+{
+  "text": " So before we get into post-processing, I just wanted to touch on a couple of little extra visual flourishes and tweaks I did to images to finalize them. So in this final image, you can see there's a couple of extra little sections to this that I haven't covered in the tutorial. So you can see here that we've got these water droplets and we also have these kind of fine hairs and things. These particular techniques are all done using the geometry nodes in the same modelling techniques that I showed in the earlier parts of the class. So instead of spawning the hairs like we do here, we're just spawning smaller water droplets and then we're spawning thinner hairs. So the models for those are just slightly different versions of what we have here and I reuse the same geometry setup for the hairs. So that's some flexibility that that technique gives you is that you can just reuse the network to create these kind of looks. So just wanted to cover that in terms of this image. And then in terms of this one, you can see this is pretty similar to what we have covered here in the blue one, like very similar kind of layout setup and everything. Just different color scheme and everything. And then one of the other things I didn't cover is that in some of my other screenshots, I used the rig poses an animation to basically adjust the position of certain bones so that I could create slightly different shots. So like in the top down shot you can see that we can see into the shell and underneath and everything. And then here as well same kind of thing the wings are folded out and we can see into the back of the shell. So this is just done by editing the rig. The camera stays in the same position and the lights and everything are all the same. I just animated or moved the bones basically into place for those shots. So I just wanted to show that as well. So as far as post-processing is concerned, I usually have a similar kind of document where I do some refinement to this kind of stuff and I will just show sort of what I tend to do. So the first part of the process is usually I'll apply some just like basic adjustment levels to things. So I usually will have a levels, The basic levels I tend to just lift up the blacks in an image because I like to just not have anything looking too dark. So tend to just make a simple levels adjustment. The color lookup tables are really useful. So I will usually just grab one of those guys in there. So you just choose from the adjustment layer color lookup and then you can select different LUTs. So these will basically recolorize the image. And so what I do is I tend to find a LUT that I like the look of, if it's giving a certain visual kind of tweak to the colors and everything. And then from there, I'll basically drop the opacity of that down. So if it's a little bit too strong, I can adjust it, sort of turn it on and off to see a before and after, right? So depending on the one that you select, you can get different looks for. So if I just kill that off, so this is just adjustments. I usually will add bit of film grain in there. This is just like a standard film grain sort of texture. So when you zoom in, you'll see that it gets like a little bit of grain to everything, which I think adds a nice little visual to everything. And then I have these auto adjustment layers. So these are basically done. If you just add a levels in there, you can open up the settings for this. So just come over into so I think it's in the auto options so if you click this little thing here go to auto options you can choose the type of algorithm that it applies and so basically what this is doing is if we were to collapse down the image so I'll just do that here and applied an image auto tone or an image auto contrast or an image auto color it basically tries to adjust the image based on whether or not the tone of the image, whether or not it's the contrast or the color, right? That's generally what those guys are doing to try and balance out the histograms and adjust the image in general. So these are a dynamic way of doing that, and I tend to have these on a slightly lower opacity, but you can basically apply a levels and then come over to, I mean, you can use an auto levels or you can go to the auto options and choose these algorithms. And if you hover over them, they'll tell you which one they are. So that one is the auto contrast. This is the auto tone This one is the auto color so you can see what it's doing So auto contrast is actually quite nice in there. You can see that it makes the image a bit more punchier So that's another adjustment that I'm basically making to that And we have this Color look up basically on top and then this is just adding black bars to the image if I need black bars basically So that's kind of all those do they're just very light adjustment layers for this particular project one of the things I did also adjust was I tried to tweak the levels a little bit of the beetle because I basically wanted the beetle to just have a little bit more of a darker texture on him So I just adjusted this kind of mid gray kind of value just by tweaking it slightly to get a little bit more contrast out of it And you can kind of see the the look that that kind of gives it So it makes this darker material appear a little bit darker. That's one of the things that I was basically adjusting So you can see like in these shots We have kind of darker material here So I light in the background and then darken the the dark gray parts basically I actually did that on the beetle itself, but I made a mask for the beetle using crypto map data so to do that that's That's essentially when you come into your renders, if we go over to Blender, you would turn on the Cryptomap. So I come over into that guy, it's in one of these options for rendering here. So I think it's in the passes. So here you wanna come to a view layer, and then you have Cryptomap. So I think I turned on the material one, and so when you do a render, this will basically render out that data we come over to compositing you can see that we have the crypto map materials and then you can use search for crypto map. Whoops, search for the other one. Not the legacy one, the this guy. And then you just basically plug this into into here and then you can press the plus button and it will allow you to color pick masks for the individual material of the scene. So that's what I did to essentially generate a mask and so if I open that up you'll be able to see that mask in the final presentation. So if I show that in here I've essentially got like a black and white mask for the beetle and then I can adjust the levels on the beetle specifically. So I can just say make the beetle a little bit darker if I need to make the beetle darker. So yeah, because generally this is, these materials are dark materials, but if you shine a very bright light on a dark material, it tends to be, it's a lot brighter, right? You can see that here in the render. So to get that contrast back, I basically just adjust the levels of the beetle down a little bit so he's sits in the scene how I want him to visually look. So that's something I had to do there just by making that mask. Just wanted to cover that as well. But you can see that the basic adjustment for everything is the same. So we just have our post-processing and everything kind of coming in on top. It gives that kind of overall color adjustment to the final shot there. So that's that's my post-processing pass. It's a very simple. Mostly just using adjustment layers to tweak some of the values and the colors. I do most of the work as far as tweaking how I want it to visually look over when I'm actually rendering it. So that tends to be my workflow in general. and then we can see our beetle and the flower render here so that's how it's looking.",
+  "segments": [
+    {
+      "text": " So before we get into post-processing, I just wanted to touch on a couple of little extra visual flourishes and tweaks I did to images to finalize them. So in this final image, you can see there's a couple of extra little sections to this that I haven't covered in the tutorial. So you can see here that we've got these water droplets and we also have these kind of fine hairs and things. These particular techniques are all done using the geometry nodes in the same modelling techniques that I showed in the earlier parts of the class. So instead of spawning the hairs like we do here, we're just spawning smaller water droplets and then we're spawning thinner hairs. So the models for those are just slightly different versions of what we have here and I reuse the same geometry setup for the hairs. So that's some flexibility that that technique gives you is that you can just reuse the network to create these kind of looks. So just wanted to cover that in terms of this image. And then in terms of this one, you can see this is pretty similar to what we have covered here in the blue one, like very similar kind of layout setup and everything. Just different color scheme and everything. And then one of the other things I didn't cover is that in some of my other screenshots, I used the rig poses an animation to basically adjust the position of certain bones so that I could create slightly different shots. So like in the top down shot you can see that we can see into the shell and underneath and everything. And then here as well same kind of thing the wings are folded out and we can see into the back of the shell. So this is just done by editing the rig. The camera stays in the same position and the lights and everything are all the same. I just animated or moved the bones basically into place for those shots. So I just wanted to show that as well. So as far as post-processing is concerned, I usually have a similar kind of document where I do some refinement to this kind of stuff and I will just show sort of what I tend to do. So the first part of the process is usually I'll apply some just like basic adjustment levels to things. So I usually will have a levels, The basic levels I tend to just lift up the blacks in an image because I like to just not have anything looking too dark. So tend to just make a simple levels adjustment. The color lookup tables are really useful. So I will usually just grab one of those guys in there. So you just choose from the adjustment layer color lookup and then you can select different LUTs. So these will basically recolorize the image. And so what I do is I tend to find a LUT that I like the look of, if it's giving a certain visual kind of tweak to the colors and everything. And then from there, I'll basically drop the opacity of that down. So if it's a little bit too strong, I can adjust it, sort of turn it on and off to see a before and after, right? So depending on the one that you select, you can get different looks for. So if I just kill that off, so this is just adjustments. I usually will add bit of film grain in there. This is just like a standard film grain sort of texture. So when you zoom in, you'll see that it gets like a little bit of grain to everything, which I think adds a nice little visual to everything. And then I have these auto adjustment layers. So these are basically done. If you just add a levels in there, you can open up the settings for this. So just come over into so I think it's in the auto options so if you click this little thing here go to auto options you can choose the type of algorithm that it applies and so basically what this is doing is if we were to collapse down the image so I'll just do that here and applied an image auto tone or an image auto contrast or an image auto color it basically tries to adjust the image based on whether or not the tone of the image, whether or not it's the contrast or the color, right? That's generally what those guys are doing to try and balance out the histograms and adjust the image in general. So these are a dynamic way of doing that, and I tend to have these on a slightly lower opacity, but you can basically apply a levels and then come over to, I mean, you can use an auto levels or you can go to the auto options and choose these algorithms. And if you hover over them, they'll tell you which one they are. So that one is the auto contrast. This is the auto tone This one is the auto color so you can see what it's doing So auto contrast is actually quite nice in there. You can see that it makes the image a bit more punchier So that's another adjustment that I'm basically making to that And we have this Color look up basically on top and then this is just adding black bars to the image if I need black bars basically So that's kind of all those do they're just very light adjustment layers for this particular project one of the things I did also adjust was I tried to tweak the levels a little bit of the beetle because I basically wanted the beetle to just have a little bit more of a darker texture on him So I just adjusted this kind of mid gray kind of value just by tweaking it slightly to get a little bit more contrast out of it And you can kind of see the the look that that kind of gives it So it makes this darker material appear a little bit darker. That's one of the things that I was basically adjusting So you can see like in these shots We have kind of darker material here So I light in the background and then darken the the dark gray parts basically I actually did that on the beetle itself, but I made a mask for the beetle using crypto map data so to do that that's That's essentially when you come into your renders, if we go over to Blender, you would turn on the Cryptomap. So I come over into that guy, it's in one of these options for rendering here. So I think it's in the passes. So here you wanna come to a view layer, and then you have Cryptomap. So I think I turned on the material one, and so when you do a render, this will basically render out that data we come over to compositing you can see that we have the crypto map materials and then you can use search for crypto map. Whoops, search for the other one. Not the legacy one, the this guy. And then you just basically plug this into into here and then you can press the plus button and it will allow you to color pick masks for the individual material of the scene. So that's what I did to essentially generate a mask and so if I open that up you'll be able to see that mask in the final presentation. So if I show that in here I've essentially got like a black and white mask for the beetle and then I can adjust the levels on the beetle specifically. So I can just say make the beetle a little bit darker if I need to make the beetle darker. So yeah, because generally this is, these materials are dark materials, but if you shine a very bright light on a dark material, it tends to be, it's a lot brighter, right? You can see that here in the render. So to get that contrast back, I basically just adjust the levels of the beetle down a little bit so he's sits in the scene how I want him to visually look. So that's something I had to do there just by making that mask. Just wanted to cover that as well. But you can see that the basic adjustment for everything is the same. So we just have our post-processing and everything kind of coming in on top. It gives that kind of overall color adjustment to the final shot there. So that's that's my post-processing pass. It's a very simple. Mostly just using adjustment layers to tweak some of the values and the colors. I do most of the work as far as tweaking how I want it to visually look over when I'm actually rendering it. So that tends to be my workflow in general. and then we can see our beetle and the flower render here so that's how it's looking."
+    }
+  ]
+}