Add transcription for: frames_zips/DJA_EpicEnvironmentsMovies_DownloadPirate.com_Part 07 - Compositing_frames.zip

transcriptions/frames_zips/DJA_EpicEnvironmentsMovies_DownloadPirate.com_Part 07 - Compositing_frames_transcription.json

@@ -0,0 +1,8 @@
+{
+  "text": " So here I am in the compositing process. I'm going to show you how I did some DMP, put on atmosphere and all some other things. That makes it look like how it looks. So here we have the render sequence that I rendered as NP4. This is the final one. So this is not the rendered one. We can see that we have some glow bloom, chromatic aberration atmosphere in the back. We have some cities in the background and some color correction and grain. So I'm gonna show you how I did all these things. So this is the render. This is the raw render without any denoiser. We can see how the... I'm going to take the daynoiser look and we can see that the daynoiser sometimes removes the bump in some areas. So it's not really what we want. So instead what we're going to do is use the crypto mat and select the water and just invert. So what we want to do is put on the denoise version of the render into an interpolated median so what's gonna do is gonna smooth out the interframes in between the frames so we can have less noise and like this and this smoother render I would say so we're gonna use this as a mask so if we if we hit hey this is the this is the mask and we're gonna merge the denoised version with the with the noise version sorry the denoised version with the noise version so in the end we're gonna merge everything using the mask so what we want is to keep the denoids version for the trees, the buildings, the ships, everything except the water. And we're going to isolate this render but only for the water. So this is where everything comes in, comes in hand. We can, we can just avoid this invert node. So we can have only the water and then invert these but this is how we do it. You can use whatever the way you want so because the purpose is to just isolate the water so we can have our bump. Then we're going to do the imprimult. This is the basic workflow when you want to have you know some minor grading color correction before everything else and as well as editing some AOVs and editing or adding the aerial perspective or atmosphere. So we have this and now what I want to do is I want to decrease the the light on my sky because for now I think it's a little bit too bright so what I did I I'm gonna isolate this the sky AOV so using a shuffle you can just select your L sky and then you're gonna merge it here as from so it it basically deletes the sky lighting. So it remove the sky and we only have the other lights. So you can see that we have some issues in there. And what we want is, if you want to grade the sky, you have to put a grade node, color correction node after this. So we can see that we decreased the light just a little bit, not too much because if you if you do it too much, you're gonna have you're gonna see the the noise in the like darker area. And that's not what we want to have. And then once we have this, we're gonna re-merge the sky AOV back to the original render. So that's nice. Here we want to have the the spaceship a little bit brighter because for now they are completely merged into the background like the wall. That's what want we can see here that there's no clear silhouette of this ship because this is gray and brown and this is gray and dark as well so we might want to edit that so I isolated the spaceship and put on the gray node I just increased the light not too much. I think I was 2 at first. 2 is fine. So we can, they're still a little bit merging to the background but we can see them a little bit more clearly. Then, Promult. You don't have to put the premult here. You can always put it here. It's just a step by step, so I'd rather... But I'm done with my Yovis or minor grading. I just put a premult and then unpromote again. This is just for my save zone, I would say. So for my atmosphere, I have a little note called depth hazard. This is like a note, especially for an unconventional nuke. You don't really have to use it, but there's a way where you can use or add atmosphere without the use of any gizmo. because I use gizmo because it's way simpler and it's faster than having a huge setup. So I'm gonna show you how it looks first. This is the atmosphere so you can see that it has more depth to the environment. You can see that the scale is now set up. this is the actual depth. This is using the depth channel. This is why we have a depth channel aside from having it for a depth of field. But we can use it in another way. So what I do is I just isolate my render, use the shuffle node and convert the depth node to an RGBA node. So now we can see that the alpha is, I mean the RGB and the alpha are one of the same and they're coming from the depth channel. And I use a gray node. So I just increase the intensity of the depth channel and just decrease the white points to have the exact same result at this one. So if you look at the alpha, that's pretty much what we want. And then once we get that, you want to merge it. And that's what we have. So except that it's merging into the sky. But we can always use the alpha to promote everything. So I'm going to have this alpha on. once we have that, I'm gonna copy the alpha back, like the original alpha from my render to the current state of my comp, and then I'm gonna promote the death just in case. And then what I also do is copy the data field from the original render to here, and used the depth of the ZD focus. I don't think we can see that much, the difference because it's still a really huge environment. I mean, if I had a really close up foreground, we would have seen a difference, but I don't think it's necessary there. So I'm gonna disable it. And now we wanna have the city the the city because if you can if we check I'm gonna If we check the render we have a little bit of city there as well as what are some spaceships But I just I just quickly realized that they're not really moving but you know, so gonna show them So we're gonna add these little city here and here and here to bring more like a civilization. I just downloaded like a simple simple, like New York City, PNG on Google, you know, just basic thing. Primulted everything. And I, what I did was to isolate the bottom part of the city so we don't really, so we don't have this like the C I think so we only have this and I put on the on the card and now it's time for some DMP. The thing is that you want to have your camera because what you can do is load in a camera through your classic node and take read from file and select your camera as an ABC. If you don't if you didn't touch anything in Udini regarding your camera placement or animation you can just import the one from Maya but I think it's better if you just re-export the camera from Udini so what you can do is you can go to file Export Alembic. We're gonna choose our camera. Where's it? Oh yeah. Here, here, there. And then export frame range. That's my frame range. And then just save it to wherever you want. Once I got the camera I'll put the geo into a card with To transform geo so I can place my city And if I set the view is here So it's really far away from the from the from my my geo and and yeah I just did some grading because since we have the atmosphere in here I wanted to match the the color a little bit more we can see here and what I want to do now is you have the sky so the the sky isn't is a simple constant white here that is not trying to match the the light on this one. Let's go to it. Yeah, here. We can see that we have a lot of gradient because here I suppose this is the sun and here is like the city. We can see that there's small antennas and some factories there. So this is the basic color. It's not really white. It has a little bit of blue in there. put some grade and added a ramp with the right gradient just to try to match the the reference and another grade and then put it on the card and we can see that this we have our card with the transform geo I just can't render with the object in the camera connected. You can see that this is how it looks. So it can move with the animation in the camera. And now we have this result. I'm just going to put something here. I think I moved some stuff. Not sure why but... Yeah, I don't know why it's here. So we have our cities and now I want to add some birds. So we have here like a little setup for the birds that you can find on I think it's on Yuccapedia. It's like they are animated birds I think. I'm just going to check. Yes, they are animated with a particle limiter. put into an transform job because I want to animate them. I'm not sure that we can actually see them but I think they're fine. Yes, they're here. I didn't really put the camera. So we have our birds and can see that they're moving. So we don't really have to do anything with the birds because they're already animated and if you want to edit the animation except to you, you only have to go into the particle emitter and just set your settings as you want. for this I only wanted to isolate the arches because obviously the the city and as well as the birds in the spaceships they're they're gonna be behind the arches so we wanted to mask out everything just in case so they're here we're not gonna see them but there once I'm done with it. I'm just gonna hit a clamp node. So there's no pure black even in real life But when you're filming with a camera, there's no pure black. So you can't have Really like zero darkness So what we want to do is just use a clamp node. I'm gonna and Clamp the node Never go past point zero three because otherwise it's going to be too messy and that's not what we want. So 0.3 is fine. We can see the difference a little bit here. And now on to lens effects or color grading, all that what's supposed to be on the lens. So I use a node called LeuphorNuke. It's a really useful tool that pregroups pretty much everything that you might need on the compositing process. So that's the look without the node and with the node. I only played with some exposure, temperature, tint. That's up to you on this part. This is how I do things and how I want things to look. But it's up to you. But these things that you need to do is adding some glow and some vignettes. So the camera always have, you know, some vignette, like vignette effects. So you can, what you can do, If you don't have the node, you can just put on a roto, put it here, add a grade, basically. just do this. Of course, we need to invert. I'm gonna here put on blur so we can just blur the edges. Like here's something like this. And it's too much. You can just do this. It has to be subtle because otherwise it's gonna be fake and then I use another called FL virtual lens you have like a bunch of settings for camera such as haze, commercial aberration, astigmatism or diffraction glow you have a bunch of things that are really useful and but that's why it is actually this is also like a VNet effect what I use the most or especially like the glow here you can see that it's pretty useful and also use the halation actually the a halation is more visible on the highlights also here so we can see that here it's fine and as well as here usually the halation is more like reddish or orange depending on the color of the sun and the lens And after that, I'm just going to add some grain. There's always some grain on the render, so it's really important to add some. Yeah, nothing in particular. I usually go for a more like a vintage analog grain, so there's no saturation, no color on the grain and yeah I think we're ready to export everything. I usually before mad because since I'm using new for non-commonical I can't I mean you can export footage beyond 1080p. So I have this tool made from one of my friend, Emanuel. So this is a useful tool which you want to have different film format. and this is the one that I'm using, HDsco. And yeah, you're ready to export everything. All right, so I think this is the end of it. I hope you guys enjoyed the workshop. This is actually my first time doing a small tutorial workshop for a project. I hope I did great and you were able to understand me while I was explaining all that stuff. But this is a little recap of everything that we've seen throughout the workshop. Is there always use references? This is the most important one. You can't work without any references. If it's either concept art or real life photos, I tend to go for real life photos. concepts are only useful for like art direction and no lighting. But other than that, I think if you were to work on an environment, I think it's best to search for real life photographs. They're the best example, of course, because that's real life. Don't really bother on on modeling too much. It really depends on the distance from the camera. The type of shot, you know, how many cameras you got, and if it's going to be seen from like a far, if it's in the background, if it's in the if it's a closer, really depends on a lot of factors. But sometimes you don't really have to bother mulling in quads or in your sub D method. I think it's up to you. I tend to not to do this because it's it could be time consuming in some cases as well as you can prioritize tri-planner and procedural methods for texturing because it's more flexible and it's way faster but if you find with actual texturing in the in the software like Sub-Satispaner or Marvid then you get to go. It depends on your needs and your ease with each software and each workflow. There's no universal workflow. There's hundreds of thousands of methods to use. I think it's up to you. But this is how I work. And of course, there's some, you know, tweak here and there depending on the stage and the type of project you're doing. But I think that's the generic view of how I handle my project. And yeah, I hope you guys enjoyed it. Thanks Thanks for watching and I hope you learned something new and see you guys in the next one. Thank you.",
+  "segments": [
+    {
+      "text": " So here I am in the compositing process. I'm going to show you how I did some DMP, put on atmosphere and all some other things. That makes it look like how it looks. So here we have the render sequence that I rendered as NP4. This is the final one. So this is not the rendered one. We can see that we have some glow bloom, chromatic aberration atmosphere in the back. We have some cities in the background and some color correction and grain. So I'm gonna show you how I did all these things. So this is the render. This is the raw render without any denoiser. We can see how the... I'm going to take the daynoiser look and we can see that the daynoiser sometimes removes the bump in some areas. So it's not really what we want. So instead what we're going to do is use the crypto mat and select the water and just invert. So what we want to do is put on the denoise version of the render into an interpolated median so what's gonna do is gonna smooth out the interframes in between the frames so we can have less noise and like this and this smoother render I would say so we're gonna use this as a mask so if we if we hit hey this is the this is the mask and we're gonna merge the denoised version with the with the noise version sorry the denoised version with the noise version so in the end we're gonna merge everything using the mask so what we want is to keep the denoids version for the trees, the buildings, the ships, everything except the water. And we're going to isolate this render but only for the water. So this is where everything comes in, comes in hand. We can, we can just avoid this invert node. So we can have only the water and then invert these but this is how we do it. You can use whatever the way you want so because the purpose is to just isolate the water so we can have our bump. Then we're going to do the imprimult. This is the basic workflow when you want to have you know some minor grading color correction before everything else and as well as editing some AOVs and editing or adding the aerial perspective or atmosphere. So we have this and now what I want to do is I want to decrease the the light on my sky because for now I think it's a little bit too bright so what I did I I'm gonna isolate this the sky AOV so using a shuffle you can just select your L sky and then you're gonna merge it here as from so it it basically deletes the sky lighting. So it remove the sky and we only have the other lights. So you can see that we have some issues in there. And what we want is, if you want to grade the sky, you have to put a grade node, color correction node after this. So we can see that we decreased the light just a little bit, not too much because if you if you do it too much, you're gonna have you're gonna see the the noise in the like darker area. And that's not what we want to have. And then once we have this, we're gonna re-merge the sky AOV back to the original render. So that's nice. Here we want to have the the spaceship a little bit brighter because for now they are completely merged into the background like the wall. That's what want we can see here that there's no clear silhouette of this ship because this is gray and brown and this is gray and dark as well so we might want to edit that so I isolated the spaceship and put on the gray node I just increased the light not too much. I think I was 2 at first. 2 is fine. So we can, they're still a little bit merging to the background but we can see them a little bit more clearly. Then, Promult. You don't have to put the premult here. You can always put it here. It's just a step by step, so I'd rather... But I'm done with my Yovis or minor grading. I just put a premult and then unpromote again. This is just for my save zone, I would say. So for my atmosphere, I have a little note called depth hazard. This is like a note, especially for an unconventional nuke. You don't really have to use it, but there's a way where you can use or add atmosphere without the use of any gizmo. because I use gizmo because it's way simpler and it's faster than having a huge setup. So I'm gonna show you how it looks first. This is the atmosphere so you can see that it has more depth to the environment. You can see that the scale is now set up. this is the actual depth. This is using the depth channel. This is why we have a depth channel aside from having it for a depth of field. But we can use it in another way. So what I do is I just isolate my render, use the shuffle node and convert the depth node to an RGBA node. So now we can see that the alpha is, I mean the RGB and the alpha are one of the same and they're coming from the depth channel. And I use a gray node. So I just increase the intensity of the depth channel and just decrease the white points to have the exact same result at this one. So if you look at the alpha, that's pretty much what we want. And then once we get that, you want to merge it. And that's what we have. So except that it's merging into the sky. But we can always use the alpha to promote everything. So I'm going to have this alpha on. once we have that, I'm gonna copy the alpha back, like the original alpha from my render to the current state of my comp, and then I'm gonna promote the death just in case. And then what I also do is copy the data field from the original render to here, and used the depth of the ZD focus. I don't think we can see that much, the difference because it's still a really huge environment. I mean, if I had a really close up foreground, we would have seen a difference, but I don't think it's necessary there. So I'm gonna disable it. And now we wanna have the city the the city because if you can if we check I'm gonna If we check the render we have a little bit of city there as well as what are some spaceships But I just I just quickly realized that they're not really moving but you know, so gonna show them So we're gonna add these little city here and here and here to bring more like a civilization. I just downloaded like a simple simple, like New York City, PNG on Google, you know, just basic thing. Primulted everything. And I, what I did was to isolate the bottom part of the city so we don't really, so we don't have this like the C I think so we only have this and I put on the on the card and now it's time for some DMP. The thing is that you want to have your camera because what you can do is load in a camera through your classic node and take read from file and select your camera as an ABC. If you don't if you didn't touch anything in Udini regarding your camera placement or animation you can just import the one from Maya but I think it's better if you just re-export the camera from Udini so what you can do is you can go to file Export Alembic. We're gonna choose our camera. Where's it? Oh yeah. Here, here, there. And then export frame range. That's my frame range. And then just save it to wherever you want. Once I got the camera I'll put the geo into a card with To transform geo so I can place my city And if I set the view is here So it's really far away from the from the from my my geo and and yeah I just did some grading because since we have the atmosphere in here I wanted to match the the color a little bit more we can see here and what I want to do now is you have the sky so the the sky isn't is a simple constant white here that is not trying to match the the light on this one. Let's go to it. Yeah, here. We can see that we have a lot of gradient because here I suppose this is the sun and here is like the city. We can see that there's small antennas and some factories there. So this is the basic color. It's not really white. It has a little bit of blue in there. put some grade and added a ramp with the right gradient just to try to match the the reference and another grade and then put it on the card and we can see that this we have our card with the transform geo I just can't render with the object in the camera connected. You can see that this is how it looks. So it can move with the animation in the camera. And now we have this result. I'm just going to put something here. I think I moved some stuff. Not sure why but... Yeah, I don't know why it's here. So we have our cities and now I want to add some birds. So we have here like a little setup for the birds that you can find on I think it's on Yuccapedia. It's like they are animated birds I think. I'm just going to check. Yes, they are animated with a particle limiter. put into an transform job because I want to animate them. I'm not sure that we can actually see them but I think they're fine. Yes, they're here. I didn't really put the camera. So we have our birds and can see that they're moving. So we don't really have to do anything with the birds because they're already animated and if you want to edit the animation except to you, you only have to go into the particle emitter and just set your settings as you want. for this I only wanted to isolate the arches because obviously the the city and as well as the birds in the spaceships they're they're gonna be behind the arches so we wanted to mask out everything just in case so they're here we're not gonna see them but there once I'm done with it. I'm just gonna hit a clamp node. So there's no pure black even in real life But when you're filming with a camera, there's no pure black. So you can't have Really like zero darkness So what we want to do is just use a clamp node. I'm gonna and Clamp the node Never go past point zero three because otherwise it's going to be too messy and that's not what we want. So 0.3 is fine. We can see the difference a little bit here. And now on to lens effects or color grading, all that what's supposed to be on the lens. So I use a node called LeuphorNuke. It's a really useful tool that pregroups pretty much everything that you might need on the compositing process. So that's the look without the node and with the node. I only played with some exposure, temperature, tint. That's up to you on this part. This is how I do things and how I want things to look. But it's up to you. But these things that you need to do is adding some glow and some vignettes. So the camera always have, you know, some vignette, like vignette effects. So you can, what you can do, If you don't have the node, you can just put on a roto, put it here, add a grade, basically. just do this. Of course, we need to invert. I'm gonna here put on blur so we can just blur the edges. Like here's something like this. And it's too much. You can just do this. It has to be subtle because otherwise it's gonna be fake and then I use another called FL virtual lens you have like a bunch of settings for camera such as haze, commercial aberration, astigmatism or diffraction glow you have a bunch of things that are really useful and but that's why it is actually this is also like a VNet effect what I use the most or especially like the glow here you can see that it's pretty useful and also use the halation actually the a halation is more visible on the highlights also here so we can see that here it's fine and as well as here usually the halation is more like reddish or orange depending on the color of the sun and the lens And after that, I'm just going to add some grain. There's always some grain on the render, so it's really important to add some. Yeah, nothing in particular. I usually go for a more like a vintage analog grain, so there's no saturation, no color on the grain and yeah I think we're ready to export everything. I usually before mad because since I'm using new for non-commonical I can't I mean you can export footage beyond 1080p. So I have this tool made from one of my friend, Emanuel. So this is a useful tool which you want to have different film format. and this is the one that I'm using, HDsco. And yeah, you're ready to export everything. All right, so I think this is the end of it. I hope you guys enjoyed the workshop. This is actually my first time doing a small tutorial workshop for a project. I hope I did great and you were able to understand me while I was explaining all that stuff. But this is a little recap of everything that we've seen throughout the workshop. Is there always use references? This is the most important one. You can't work without any references. If it's either concept art or real life photos, I tend to go for real life photos. concepts are only useful for like art direction and no lighting. But other than that, I think if you were to work on an environment, I think it's best to search for real life photographs. They're the best example, of course, because that's real life. Don't really bother on on modeling too much. It really depends on the distance from the camera. The type of shot, you know, how many cameras you got, and if it's going to be seen from like a far, if it's in the background, if it's in the if it's a closer, really depends on a lot of factors. But sometimes you don't really have to bother mulling in quads or in your sub D method. I think it's up to you. I tend to not to do this because it's it could be time consuming in some cases as well as you can prioritize tri-planner and procedural methods for texturing because it's more flexible and it's way faster but if you find with actual texturing in the in the software like Sub-Satispaner or Marvid then you get to go. It depends on your needs and your ease with each software and each workflow. There's no universal workflow. There's hundreds of thousands of methods to use. I think it's up to you. But this is how I work. And of course, there's some, you know, tweak here and there depending on the stage and the type of project you're doing. But I think that's the generic view of how I handle my project. And yeah, I hope you guys enjoyed it. Thanks Thanks for watching and I hope you learned something new and see you guys in the next one. Thank you."
+    }
+  ]
+}