Add transcription for: frames/MDA_TheSymbioteCreature_DownloadPirate.com_SYMBIOTE_CH018_SLAP_COMP_1080p_mp4_frames.zip

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+{
+  "text": " So here's the final result, final render. It's the raw render, nothing was done to it yet. So this is what we're going to import into After Effects. I have After Effects here fired up. I'll import the XR sequence and the XR sequence is imported as a composition. Remove the contact sheet, I don't need that. And we'll have this imported here with all the passes. I'll open up the assemble comp which contains the whole of the passes. I'll hide all of this, remove this pro-axr description. And there's the RGB and I'll just resize this and let's get to a frame somewhere in the middle and work on this. I'm not going to do a like a conventional comp. Here I will just use some of the passes. SSS, subsurface, reflections, transmission, and AO. I'll put them above the RGB and put them on all of them in screen mode. I just want to boost some of these components and maybe decrease some of the, like if we isolate only some of those, yeah, it's barely visible, so let's leave that at 100. Transmission is a little bit stronger, maybe set it to 50% and the reflections I want like another 50% here. So I'll leave all of these enabled. So already we boosted some of those components. The AO will be on top of all of them. The AO is like this. It contains all the displacement detail and some of that the contact, basically the contact shadows and the AO also applies to the displacement. The sampling on the render wasn't the highest, I rendered that 600 samples which is usually not enough but for a test render like that's all right I mean it's something something in the middle I could have used the the noiser but the denoiser is a little bit heavy sometimes it adds some overhead to the memory used in the GPU so especially on big images I'll add the adjustment layer here it's going to be a really quick slap comp that I'm using just to that I'm doing it's just for you know checking if everything works fine in the adjustment layer I'll name it CC here, CCN effects basically. And I wanted to check if the emotion vectors were rendered properly, but it seems like we have the same kind of bug in octane. There's a few bugs that, you know, pop up sometimes with octane. This is why octane is still like, you know, not the production renderer at this time. It's not the number one production renderer, but it's uncomparable in terms of speed. And when everything fits in the memory, it has no comparison with other renders. That's why I love it, because it's really fast. And it's easy to achieve realism, because it's a spectral render compared to the other ones. So let's see the motion vectors. I'm not going to try to boost them with exposure, see if there's any info there. But I can do it underneath here, but the recording panel doesn't allow me to do this. Yeah, apparently we don't have any. Let me open up this info tab, see if there's any information here. It's zero all over the place, so even if I put the exposure to 100 motion vectors, it seems like there's no info there. So yeah, the info vectors don't render at all, apparently. Something that I was ready to expect. So yeah, let's use the Z. ZDepth here, I'm going to use an effect called FastBlockay. From Robite, it's a great plugin that I use all the time. It's faster to render than the FreshLift plugins because the FreshLift plugins were one of the most used depth of field plugins for After Effects. I used FastBlockay because it's really multi-threaded. It's much faster than the other one. Okay, so let's check a few boxes here. Linear working space, use GPU. edge behavior, repeat edge pixels, I picked the Z depth. And also there's a bug in octane in this current version. You can see that apparently when you use a displacement on objects, it just gives you some null, like absolute white pixels in the Z. I suppose this is because of the edges of the geometry. I don't know how it translates into the Z depth, but we have these artifacts here. But we can work with this. I don't think it's gonna be a big of a deal. Yeah, so there's no way to fix it at this moment. I tried a lot of things to fix it, but it doesn't really work. In the previous versions, I had this bug where the ZDAP was containing a lot of white pixels like this, but from the noise in the image. And usually, the ZDAP doesn't should not suffer from a low sampling. But yeah, it does in some versions. So it's really a bug. From version to version, some of these issues arise. So yeah, we have to work around this. Yeah, so this AO will be in multiply, and it's too strong here, so I'll leave it at like 20 maybe, 20%. And in the CC, I'll put here a, the fast bokeh will be here. I'll use the focus point. It will be a focus point that I'm going to set on the monster itself. What I'm usually doing for moving scenes like this, I will just keyframe this, set the focus point every time. Every 50 frames I will be animating, moving this point just so it's right there where I need it. And we'll animate this. And one last keyframe here. And that's cool. And in the blur radius I'll put like a hundred, something really shallow depth of field. And we have to check and use focus point every frame so it's not set only on the first frame. So this is going to animate this depth of field. That's cool. Now let's maybe boost with exposure here. I rendered in 16 bits per channel so this is enough information. So if I boost this SSS a little bit maybe it's at 100% but if we boost it a little bit more maybe seven and you can see that it boosts and adds that pinkish skin color as if there was a behind the skin layer and maybe it's too much, maybe four, something like this. So let it be a little bit subtle. Okay, right. And the comp is really not that serious. I'll just improve what's already in the beauty. Let me double-click here and go to the closest keyframe. Move this focus a little. Move this focus again. And I love having this shallow depth of field. It improves realism a lot. I think it's polygons, but it's not going to change a lot because we don't have any really strong specular highlights in the background. We have just that shiny grain of the asphalt texture. So yeah, quality. Yeah, all good. So it's really fast to calculate. You see that I'm scrolling through the... I have older 2080 Super Cards from MSI. These are from the 2000s. the year 2020 and these are not the fastest cars on the market right now but look how fast the fastblogging is working. So I appreciate the speed with other data field plugins it's not that fast really. The difference is huge. So let me see if I can... Oh the highlight, so it will maybe add some of that. barely changing much brightness gain. If we go back or we see some background, yeah so let's see if it's doesn't change much, especially it's basically for the highlights. If you have any really strong highlights it will boost them, give them more contrast with the background intensity boost. So yeah, it doesn't really change much, but let's leave that here. And I'm using colorista for magic bullet for coloring stuff because I'm really bad at color correction so I'll just use this this guided color correction which will allow me to just go through the basics and boost some of the features of my render. Temperature Pinkish kind of Finished and we'll maybe go down here in the contrast I'm going to abuse a lot this And highlight boost So yeah, that's cool, maybe I'll use some grain here. I want to add some grain. I use the subfire grain The reason why I switched from After Effects to Nuke is exactly this reason. Like, you see I'm using three different plugins from three different companies and I just, I don't like that at all. So I worked in 3ds Max for a decade and I've had the same story and I don't want to go through using licensing, buying plugins every time there's a new version and paying for subscriptions. on top of the subscription of the base software. And this is why I don't like the uncertainty that comes with using the different plugins from different companies. You will never know the incompatibilities that exist between these plugins. Same goes for 3ds Max. It's a lot of issues arise during production. And this is why I use Houdini and Nuke now. Because there's almost no plugins except the renderers for Houdini and maybe some plugins for Nuke. But those are really not necessary because Nuke has all of those features integrated. So yeah, s-grain, which is terrible right now, we will use a monochromatic grain. So the grain will be, yeah, I'll use the parameters by default, but I added some of that grain and maybe the size, the... let me increase that and see how big is the size. And as you can see that it's a colored noise and the color frequency you can increase that to 300, 400. Yes, something really 350 or something like this. Black and white. So yeah it uses the color amplitude so basically let's decrease this but do it black and white and use the same frequency. So now we have this black and white that will decrease the intensity. 0,0,4. So this is nice, this is not bad actually. And let's maybe add a fish. Again you see there's a revision plugin that I added my After Effects. It's a super fish effect basically. It just adds a fish eye and the intensities. Let's play around with these parameters. Or maybe I had this wide lens ultra wide, yeah, this guy. So this effect kind of adds that anxiety effect. I'll use the GPU here and the warp amount is the main parameter here. It doesn't want to update, which is weird. Okay, it takes a while to update. So yeah, the kind of zoom-in effect that it creates, you see that it pulls the corners in all directions, it's like a magnification effect as if we're looking through a really macro lens and there's this anxiety inducing effect. So 70. I'll not abuse it too much. It will eat out some of those pixels. It will auto-scale these things. So if you don't do the auto-scale, it will just do this. And maybe 50. Let's keep it really subtle. I'll use the s-grain and call rest after. So the distortion effects are first and then the last ones are the effects that just add something on top of the image like color correction of grain. And what else? Let's save this. Maybe add the curves. An s-curve. I'm not that great at this. with the crypto matte masks I can really increase the contrast of this ground but that's alright for now. We have some nice reflections here, some specular the noise adds some of that realism on top of it and yeah what else? We have all of these effects so if you compare just the RGB with the composite we boosted already the features that were there hit some of those issues and yeah that's that works nicely so yeah the last thing I would add maybe would be the some glow glow real glow I think was called yeah so another plugin from another company you see what I'm going with this so it just adds some glow some of that glow. And let's actually have this other glow effect glow glow. This guy is like... What's cool about this guy is you can you have integrated chromatic aberrations and you have the glow input. So usually let me turn on all of these. So that's interesting. DeepGlow doesn't like. So I'll put it after the color correction here. So let's see the glow input. And in the input here, we'll just increase the threshold. So I want to isolate those highlights with these two parameters. So you have these highlights. These are the areas that we see the glow. And also the final render here, 0, 0, 3, for example. And that's funny. this is what I was talking about actually, so the deep glow doesn't like the other plugins. If you disable all of them, all of the other ones, it works. But if you enable the ones, this is the funny thing. So introduction, you're not, you cannot risk this kind of stuff, especially if you have a specific set of plugins that were bought for you at work and then you have the licenses and this should not happen. But it happens. So let's disable this real glow and go back to that real glow effect I had. just a slight glow after the color correction here. Renabled it as grain and curves. Maybe push the curve, add some more contrast here like this. Yeah, and yeah, so now if you compare, the difference is pretty huge. And yeah, I think we'll stop at this. I'm pretty happy with this version. It has less liquid than the one that I had before, but I think it's a subtle effect. It doesn't overwhelm the animation. So yeah, I'll render this and come back to you. So this is the final result. There's some things that could have been improved, especially the meshing or the flip fluid, but I love the bubbles that create on the ground. They kind of still move around. They get thrown by the arms on all directions. The inflation is amplified, so I love that too. Before we had the lower settings for the inflation, but here it shows like there's something happening, something's boiling inside or something's moving inside that body. And the arms are kind of putting the body together. There's the wrinkling on the arms if you look closely. And yeah, there's a lot of interesting things happening here. And I hope you learned something from this tutorial. I think I covered a lot of topics, even though some of them are really at the surface. Houdini is an amazing software that that has all the needed capabilities to do anything. So I think creatures and vellum is one of the most underrated topics that wasn't ever covered in tutorials on the market right now. So let's see what I can come up with in the future about this topic. Stay tuned and thanks for watching and listening. See ya.",
+  "segments": [
+    {
+      "text": " So here's the final result, final render. It's the raw render, nothing was done to it yet. So this is what we're going to import into After Effects. I have After Effects here fired up. I'll import the XR sequence and the XR sequence is imported as a composition. Remove the contact sheet, I don't need that. And we'll have this imported here with all the passes. I'll open up the assemble comp which contains the whole of the passes. I'll hide all of this, remove this pro-axr description. And there's the RGB and I'll just resize this and let's get to a frame somewhere in the middle and work on this. I'm not going to do a like a conventional comp. Here I will just use some of the passes. SSS, subsurface, reflections, transmission, and AO. I'll put them above the RGB and put them on all of them in screen mode. I just want to boost some of these components and maybe decrease some of the, like if we isolate only some of those, yeah, it's barely visible, so let's leave that at 100. Transmission is a little bit stronger, maybe set it to 50% and the reflections I want like another 50% here. So I'll leave all of these enabled. So already we boosted some of those components. The AO will be on top of all of them. The AO is like this. It contains all the displacement detail and some of that the contact, basically the contact shadows and the AO also applies to the displacement. The sampling on the render wasn't the highest, I rendered that 600 samples which is usually not enough but for a test render like that's all right I mean it's something something in the middle I could have used the the noiser but the denoiser is a little bit heavy sometimes it adds some overhead to the memory used in the GPU so especially on big images I'll add the adjustment layer here it's going to be a really quick slap comp that I'm using just to that I'm doing it's just for you know checking if everything works fine in the adjustment layer I'll name it CC here, CCN effects basically. And I wanted to check if the emotion vectors were rendered properly, but it seems like we have the same kind of bug in octane. There's a few bugs that, you know, pop up sometimes with octane. This is why octane is still like, you know, not the production renderer at this time. It's not the number one production renderer, but it's uncomparable in terms of speed. And when everything fits in the memory, it has no comparison with other renders. That's why I love it, because it's really fast. And it's easy to achieve realism, because it's a spectral render compared to the other ones. So let's see the motion vectors. I'm not going to try to boost them with exposure, see if there's any info there. But I can do it underneath here, but the recording panel doesn't allow me to do this. Yeah, apparently we don't have any. Let me open up this info tab, see if there's any information here. It's zero all over the place, so even if I put the exposure to 100 motion vectors, it seems like there's no info there. So yeah, the info vectors don't render at all, apparently. Something that I was ready to expect. So yeah, let's use the Z. ZDepth here, I'm going to use an effect called FastBlockay. From Robite, it's a great plugin that I use all the time. It's faster to render than the FreshLift plugins because the FreshLift plugins were one of the most used depth of field plugins for After Effects. I used FastBlockay because it's really multi-threaded. It's much faster than the other one. Okay, so let's check a few boxes here. Linear working space, use GPU. edge behavior, repeat edge pixels, I picked the Z depth. And also there's a bug in octane in this current version. You can see that apparently when you use a displacement on objects, it just gives you some null, like absolute white pixels in the Z. I suppose this is because of the edges of the geometry. I don't know how it translates into the Z depth, but we have these artifacts here. But we can work with this. I don't think it's gonna be a big of a deal. Yeah, so there's no way to fix it at this moment. I tried a lot of things to fix it, but it doesn't really work. In the previous versions, I had this bug where the ZDAP was containing a lot of white pixels like this, but from the noise in the image. And usually, the ZDAP doesn't should not suffer from a low sampling. But yeah, it does in some versions. So it's really a bug. From version to version, some of these issues arise. So yeah, we have to work around this. Yeah, so this AO will be in multiply, and it's too strong here, so I'll leave it at like 20 maybe, 20%. And in the CC, I'll put here a, the fast bokeh will be here. I'll use the focus point. It will be a focus point that I'm going to set on the monster itself. What I'm usually doing for moving scenes like this, I will just keyframe this, set the focus point every time. Every 50 frames I will be animating, moving this point just so it's right there where I need it. And we'll animate this. And one last keyframe here. And that's cool. And in the blur radius I'll put like a hundred, something really shallow depth of field. And we have to check and use focus point every frame so it's not set only on the first frame. So this is going to animate this depth of field. That's cool. Now let's maybe boost with exposure here. I rendered in 16 bits per channel so this is enough information. So if I boost this SSS a little bit maybe it's at 100% but if we boost it a little bit more maybe seven and you can see that it boosts and adds that pinkish skin color as if there was a behind the skin layer and maybe it's too much, maybe four, something like this. So let it be a little bit subtle. Okay, right. And the comp is really not that serious. I'll just improve what's already in the beauty. Let me double-click here and go to the closest keyframe. Move this focus a little. Move this focus again. And I love having this shallow depth of field. It improves realism a lot. I think it's polygons, but it's not going to change a lot because we don't have any really strong specular highlights in the background. We have just that shiny grain of the asphalt texture. So yeah, quality. Yeah, all good. So it's really fast to calculate. You see that I'm scrolling through the... I have older 2080 Super Cards from MSI. These are from the 2000s. the year 2020 and these are not the fastest cars on the market right now but look how fast the fastblogging is working. So I appreciate the speed with other data field plugins it's not that fast really. The difference is huge. So let me see if I can... Oh the highlight, so it will maybe add some of that. barely changing much brightness gain. If we go back or we see some background, yeah so let's see if it's doesn't change much, especially it's basically for the highlights. If you have any really strong highlights it will boost them, give them more contrast with the background intensity boost. So yeah, it doesn't really change much, but let's leave that here. And I'm using colorista for magic bullet for coloring stuff because I'm really bad at color correction so I'll just use this this guided color correction which will allow me to just go through the basics and boost some of the features of my render. Temperature Pinkish kind of Finished and we'll maybe go down here in the contrast I'm going to abuse a lot this And highlight boost So yeah, that's cool, maybe I'll use some grain here. I want to add some grain. I use the subfire grain The reason why I switched from After Effects to Nuke is exactly this reason. Like, you see I'm using three different plugins from three different companies and I just, I don't like that at all. So I worked in 3ds Max for a decade and I've had the same story and I don't want to go through using licensing, buying plugins every time there's a new version and paying for subscriptions. on top of the subscription of the base software. And this is why I don't like the uncertainty that comes with using the different plugins from different companies. You will never know the incompatibilities that exist between these plugins. Same goes for 3ds Max. It's a lot of issues arise during production. And this is why I use Houdini and Nuke now. Because there's almost no plugins except the renderers for Houdini and maybe some plugins for Nuke. But those are really not necessary because Nuke has all of those features integrated. So yeah, s-grain, which is terrible right now, we will use a monochromatic grain. So the grain will be, yeah, I'll use the parameters by default, but I added some of that grain and maybe the size, the... let me increase that and see how big is the size. And as you can see that it's a colored noise and the color frequency you can increase that to 300, 400. Yes, something really 350 or something like this. Black and white. So yeah it uses the color amplitude so basically let's decrease this but do it black and white and use the same frequency. So now we have this black and white that will decrease the intensity. 0,0,4. So this is nice, this is not bad actually. And let's maybe add a fish. Again you see there's a revision plugin that I added my After Effects. It's a super fish effect basically. It just adds a fish eye and the intensities. Let's play around with these parameters. Or maybe I had this wide lens ultra wide, yeah, this guy. So this effect kind of adds that anxiety effect. I'll use the GPU here and the warp amount is the main parameter here. It doesn't want to update, which is weird. Okay, it takes a while to update. So yeah, the kind of zoom-in effect that it creates, you see that it pulls the corners in all directions, it's like a magnification effect as if we're looking through a really macro lens and there's this anxiety inducing effect. So 70. I'll not abuse it too much. It will eat out some of those pixels. It will auto-scale these things. So if you don't do the auto-scale, it will just do this. And maybe 50. Let's keep it really subtle. I'll use the s-grain and call rest after. So the distortion effects are first and then the last ones are the effects that just add something on top of the image like color correction of grain. And what else? Let's save this. Maybe add the curves. An s-curve. I'm not that great at this. with the crypto matte masks I can really increase the contrast of this ground but that's alright for now. We have some nice reflections here, some specular the noise adds some of that realism on top of it and yeah what else? We have all of these effects so if you compare just the RGB with the composite we boosted already the features that were there hit some of those issues and yeah that's that works nicely so yeah the last thing I would add maybe would be the some glow glow real glow I think was called yeah so another plugin from another company you see what I'm going with this so it just adds some glow some of that glow. And let's actually have this other glow effect glow glow. This guy is like... What's cool about this guy is you can you have integrated chromatic aberrations and you have the glow input. So usually let me turn on all of these. So that's interesting. DeepGlow doesn't like. So I'll put it after the color correction here. So let's see the glow input. And in the input here, we'll just increase the threshold. So I want to isolate those highlights with these two parameters. So you have these highlights. These are the areas that we see the glow. And also the final render here, 0, 0, 3, for example. And that's funny. this is what I was talking about actually, so the deep glow doesn't like the other plugins. If you disable all of them, all of the other ones, it works. But if you enable the ones, this is the funny thing. So introduction, you're not, you cannot risk this kind of stuff, especially if you have a specific set of plugins that were bought for you at work and then you have the licenses and this should not happen. But it happens. So let's disable this real glow and go back to that real glow effect I had. just a slight glow after the color correction here. Renabled it as grain and curves. Maybe push the curve, add some more contrast here like this. Yeah, and yeah, so now if you compare, the difference is pretty huge. And yeah, I think we'll stop at this. I'm pretty happy with this version. It has less liquid than the one that I had before, but I think it's a subtle effect. It doesn't overwhelm the animation. So yeah, I'll render this and come back to you. So this is the final result. There's some things that could have been improved, especially the meshing or the flip fluid, but I love the bubbles that create on the ground. They kind of still move around. They get thrown by the arms on all directions. The inflation is amplified, so I love that too. Before we had the lower settings for the inflation, but here it shows like there's something happening, something's boiling inside or something's moving inside that body. And the arms are kind of putting the body together. There's the wrinkling on the arms if you look closely. And yeah, there's a lot of interesting things happening here. And I hope you learned something from this tutorial. I think I covered a lot of topics, even though some of them are really at the surface. Houdini is an amazing software that that has all the needed capabilities to do anything. So I think creatures and vellum is one of the most underrated topics that wasn't ever covered in tutorials on the market right now. So let's see what I can come up with in the future about this topic. Stay tuned and thanks for watching and listening. See ya."
+    }
+  ]
+}