Add transcription for: Motion Beast 2 Lesson 11 Part 3.wav

transcriptions/Motion Beast 2 Lesson 11 Part 3_transcription.json

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+{
+  "text": " This is the third part of the lesson. Look Dev and Render. Before moving on to Look Dev, collect some references regarding the materials and lighting. In this way, it would be easier for you to understand what result you want to achieve and in what direction to move. To start with, I switch to the Render Settings and select Render Redshift. Now I set the composition size, in our case it will be 1080 by 1080. Framerate should be set to the default value, that is 30. In the parameter frame range, select all frames. You can disable the parameter save multi-pass, and I create a folder for render. In Format select PNG 16 bit. We'll configure Render Redshift later. Create a camera. To ensure that the viewport displays the image from the camera, you should click this button. Now let's have a look at the reference. I enable the front view. I place it slightly to the right, so that mesh doesn't overlap with it. I remove the opacity of the color to see the colors better. This angle is more like the orthogonal frontal projection than the perspective camera. We can use the front view, but I don't really like this option. I will configure the camera differently. I rotate the camera. In focal length I set 135mm and sensor size 8mm. Now I set the position of the camera in a way that the object is in the center of the composition. I disable the display of the polygonal lines using the hotkeys NA, and we see some weird artifacts on the model. To remove them, switch to the Details tab and increase the value of near clipping approximately to 100 in my case. Excellent. Now let's adjust the position of the camera to ensure that it's easy for us to navigate Use Composition Helper. I enable the grid and set the position of the camera. Excellent. The camera is set. To ensure that I accidentally don't displace it, I add the protection tag to it. Now the camera is fixed. If you need to rotate the object, you can exit the camera and move it in the scene. Now we need to add the background. I create a plane and increase its size. We need to bend the plane, so add the Bend Deformer. Apply Move It to the parent object to ensure that the deformer matches the object's size. I set the parameter strength to 90 degrees, I need to select another option for alignment. I rotate the bend to minus 90 degrees. I reduce the size on one axis to ensure that bend applies only in the specific area instead of bending at all. Now increase the number of segments on the plane. I increase the number of segments until I get a smooth bend. I take a look at it from the camera to ensure that plane covers the whole background. You can disable the composition grid because we have already configured its position. Check the plane to make sure that it doesn't overlap with other objects. Now rectangle intersects the plane. That's why I move Bend slightly further. Before creating the materials, I make the lighting, because without it, we won't be able to configure the materials correctly. The fastest way to add an HDRI map, create dome light. to the Object tab, in the Texture parameter, add the HDRI map. To do this, go to the website of Polyhaven and select the map that, in my opinion, suits the project the best. In this case, it's Studio. Download it and add it to Dome Light. In the Render tab, select Render to render view. Next, the Redshift render window opens. Select the camera to ensure that the object is rendered according to it. Now, the scene includes the source of light, shadows, and the spots of light. I set saturation to 0 to ensure that the light sources do not add any unnecessary colors to the object. I switch to the coordinates parameter and rotate dome lights on one of the axes to find the best lighting position. I'll stick with this option for now. In our case the background should be black, that's why excluded from the lighting source. To do this select the lighting sources, switch to the project tab and move the background there. the lighting sources do not affect the background, but at the same time the objects in the scene throw shadow on it. Let's move on to creating the materials. By clicking this button, you open the tab with materials, click the plus icon to automatically create RS material, because Redshift Render is selected now. I create the glass material for the rectangles and the pyramid. Before configuring it, I add the material to the objects. I name the material glass and move on to configuring the glass. Double click the material to open Material Editor. In Preset, select Glass. For reflection, I set the Roughness parameter approximately to 0.5 to ensure that the glass is matte. I changed the IOR parameter a little bit and set 1.8. I unselect the Link to Reflection checkbox, set Roughness to 0.1, and set IOR to 2.7. I set the color blue for the glass, try to select a color that's similar to the one in the reference. I spend quite a lot of time on finding these values and achieving the necessary result. You can experiment and configure the material as you wish. I create a new material for the circle object. I name it blue. It will be the textured plastic, color it blue and add the texture. I select the color blue and make it more dull. Add the material to the object for further configuration. Now, go to Node Editor to add the texture to bump. In the search field, find the texture node and select Bump Map. We need to add the normal to the texture. I open the Polyhaven website and go to the Material tab. I will download this one, for example. From all downloaded files, we'll need only the normal map because I only need to add the texture. Select it. Link the texture node with the bump node. Select the input path and connect the bump node to the material. In the bump node, in the node type parameter, select tangent space normal. Now the material has acquired the texture. In the texture node, you can change its size. Let's set for example 2. In the bump node in the scale parameter, you can set the height scale. I set it to 0.5. By selecting the material right on the object, you can configure the UVW displacement if it's necessary. I don't like the material appearance now. I will experiment with the texture scale a bit more. I I preserve the default size value. That is 1. To create all other materials, I will simply duplicate the plastic material, change its name and color. I add the yellow material to the sphere with the smile and to the sphere in the circle object. I duplicate the material, change its name, and change its color. Now apply it to the objects. I speed up this part of the video because the process is similar for all materials. Almost all materials are ready. Now we need to create the material for the plane object. I duplicate the black material, go to node editor, delete bump map. I add the material to plane, go back to material settings, I will make it completely dull and change the color to a lighter one. In this case, the lighter is the color of this material, the more vivid will be the reflection on the floor. I set such a gray color to it. Almost everything is ready. Now let's make a test render. Click this button. Picture viewer window opens. Wait for a little while for one frame to be calculated. In my case, one frame took 29 seconds. I don't see any vivid flaws. If your computer's performance is good enough, you can preserve the default render settings. Of course, it would be better to optimize the render. Let's make several test versions and select the most optimal option. Go to Render Settings. In Redshift, select the Advanced mode for you to see all additional settings. Go to the Sampling tab. It contains the most important settings you need. To reduce the render time, increase the Threshold parameter, but at the same time, it will increase the image noise in the render, meaning that the quality will be lower. For example, let's set 0.05. Let's see what we got. The rendering time was reduced by 2 times. But the image is very noisy. To decrease the noise, we can use denoising. Select the enable checkbox. Now let's see how the rendering time has changed. Excellent. With the denoiser enabled, the rendering time slightly increased, but the noise has disappeared. The image is almost identical to the renderer with the standard value of the threshold parameter. However, the rendering time is reduced approximately by 30%, when there are many frames, such a change makes a huge difference. Now let's increase the threshold parameter even more to 0.1. The render took significantly less time, but the small texture details are blurred. It's because the noise increased. The noise or smoothed them and thus the material texture is smoothed too much. It looks really bad. That's why let's stick with the previous option. This result is the most optimal one, and render all the frames. Excellent. The whole animation is calculated. Click play to watch the final result. That's it for this lesson. Thank you. Thank you.",
+  "segments": [
+    {
+      "text": " This is the third part of the lesson. Look Dev and Render. Before moving on to Look Dev, collect some references regarding the materials and lighting. In this way, it would be easier for you to understand what result you want to achieve and in what direction to move. To start with, I switch to the Render Settings and select Render Redshift. Now I set the composition size, in our case it will be 1080 by 1080. Framerate should be set to the default value, that is 30. In the parameter frame range, select all frames. You can disable the parameter save multi-pass, and I create a folder for render. In Format select PNG 16 bit. We'll configure Render Redshift later. Create a camera. To ensure that the viewport displays the image from the camera, you should click this button. Now let's have a look at the reference. I enable the front view. I place it slightly to the right, so that mesh doesn't overlap with it. I remove the opacity of the color to see the colors better. This angle is more like the orthogonal frontal projection than the perspective camera. We can use the front view, but I don't really like this option. I will configure the camera differently. I rotate the camera. In focal length I set 135mm and sensor size 8mm. Now I set the position of the camera in a way that the object is in the center of the composition. I disable the display of the polygonal lines using the hotkeys NA, and we see some weird artifacts on the model. To remove them, switch to the Details tab and increase the value of near clipping approximately to 100 in my case. Excellent. Now let's adjust the position of the camera to ensure that it's easy for us to navigate Use Composition Helper. I enable the grid and set the position of the camera. Excellent. The camera is set. To ensure that I accidentally don't displace it, I add the protection tag to it. Now the camera is fixed. If you need to rotate the object, you can exit the camera and move it in the scene. Now we need to add the background. I create a plane and increase its size. We need to bend the plane, so add the Bend Deformer. Apply Move It to the parent object to ensure that the deformer matches the object's size. I set the parameter strength to 90 degrees, I need to select another option for alignment. I rotate the bend to minus 90 degrees. I reduce the size on one axis to ensure that bend applies only in the specific area instead of bending at all. Now increase the number of segments on the plane. I increase the number of segments until I get a smooth bend. I take a look at it from the camera to ensure that plane covers the whole background. You can disable the composition grid because we have already configured its position. Check the plane to make sure that it doesn't overlap with other objects. Now rectangle intersects the plane. That's why I move Bend slightly further. Before creating the materials, I make the lighting, because without it, we won't be able to configure the materials correctly. The fastest way to add an HDRI map, create dome light. to the Object tab, in the Texture parameter, add the HDRI map. To do this, go to the website of Polyhaven and select the map that, in my opinion, suits the project the best. In this case, it's Studio. Download it and add it to Dome Light. In the Render tab, select Render to render view. Next, the Redshift render window opens. Select the camera to ensure that the object is rendered according to it. Now, the scene includes the source of light, shadows, and the spots of light. I set saturation to 0 to ensure that the light sources do not add any unnecessary colors to the object. I switch to the coordinates parameter and rotate dome lights on one of the axes to find the best lighting position. I'll stick with this option for now. In our case the background should be black, that's why excluded from the lighting source. To do this select the lighting sources, switch to the project tab and move the background there. the lighting sources do not affect the background, but at the same time the objects in the scene throw shadow on it. Let's move on to creating the materials. By clicking this button, you open the tab with materials, click the plus icon to automatically create RS material, because Redshift Render is selected now. I create the glass material for the rectangles and the pyramid. Before configuring it, I add the material to the objects. I name the material glass and move on to configuring the glass. Double click the material to open Material Editor. In Preset, select Glass. For reflection, I set the Roughness parameter approximately to 0.5 to ensure that the glass is matte. I changed the IOR parameter a little bit and set 1.8. I unselect the Link to Reflection checkbox, set Roughness to 0.1, and set IOR to 2.7. I set the color blue for the glass, try to select a color that's similar to the one in the reference. I spend quite a lot of time on finding these values and achieving the necessary result. You can experiment and configure the material as you wish. I create a new material for the circle object. I name it blue. It will be the textured plastic, color it blue and add the texture. I select the color blue and make it more dull. Add the material to the object for further configuration. Now, go to Node Editor to add the texture to bump. In the search field, find the texture node and select Bump Map. We need to add the normal to the texture. I open the Polyhaven website and go to the Material tab. I will download this one, for example. From all downloaded files, we'll need only the normal map because I only need to add the texture. Select it. Link the texture node with the bump node. Select the input path and connect the bump node to the material. In the bump node, in the node type parameter, select tangent space normal. Now the material has acquired the texture. In the texture node, you can change its size. Let's set for example 2. In the bump node in the scale parameter, you can set the height scale. I set it to 0.5. By selecting the material right on the object, you can configure the UVW displacement if it's necessary. I don't like the material appearance now. I will experiment with the texture scale a bit more. I I preserve the default size value. That is 1. To create all other materials, I will simply duplicate the plastic material, change its name and color. I add the yellow material to the sphere with the smile and to the sphere in the circle object. I duplicate the material, change its name, and change its color. Now apply it to the objects. I speed up this part of the video because the process is similar for all materials. Almost all materials are ready. Now we need to create the material for the plane object. I duplicate the black material, go to node editor, delete bump map. I add the material to plane, go back to material settings, I will make it completely dull and change the color to a lighter one. In this case, the lighter is the color of this material, the more vivid will be the reflection on the floor. I set such a gray color to it. Almost everything is ready. Now let's make a test render. Click this button. Picture viewer window opens. Wait for a little while for one frame to be calculated. In my case, one frame took 29 seconds. I don't see any vivid flaws. If your computer's performance is good enough, you can preserve the default render settings. Of course, it would be better to optimize the render. Let's make several test versions and select the most optimal option. Go to Render Settings. In Redshift, select the Advanced mode for you to see all additional settings. Go to the Sampling tab. It contains the most important settings you need. To reduce the render time, increase the Threshold parameter, but at the same time, it will increase the image noise in the render, meaning that the quality will be lower. For example, let's set 0.05. Let's see what we got. The rendering time was reduced by 2 times. But the image is very noisy. To decrease the noise, we can use denoising. Select the enable checkbox. Now let's see how the rendering time has changed. Excellent. With the denoiser enabled, the rendering time slightly increased, but the noise has disappeared. The image is almost identical to the renderer with the standard value of the threshold parameter. However, the rendering time is reduced approximately by 30%, when there are many frames, such a change makes a huge difference. Now let's increase the threshold parameter even more to 0.1. The render took significantly less time, but the small texture details are blurred. It's because the noise increased. The noise or smoothed them and thus the material texture is smoothed too much. It looks really bad. That's why let's stick with the previous option. This result is the most optimal one, and render all the frames. Excellent. The whole animation is calculated. Click play to watch the final result. That's it for this lesson. Thank you. Thank you."
+    }
+  ]
+}