Add transcription for: Quick Scene Preperation.wav

transcriptions/Quick Scene Preperation_transcription.json

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+{
+  "text": " So the basis to start off is we want to take this base scene that we have created here, the same one that we used for the fire demo. And we want to see how we can kind of create up the lighting and just change the basic materials on here so we can start adding some water elements that coincide with it a little bit better. So with this I'm going to just take this one, I'm going to delete any kind of bounce light that I've set dressed in here. I'm going to go under the directional light and I'm going to take away the warm tones that I've put with the light here. I'm going to turn this down to a pretty low value for the directional sunlight. So something like 0.01. For the fog, I'm going to make this like a pretty dull gray, something like that, instead of an intense blue that we were getting for the skylight. I'm going to go for the hot height fog falloff and I'm going to crank that down to 0.001. I'm gonna maybe actually, no, I'm going to keep the fog density at something like 0.08 or actually 0.1, something like that. I'm gonna get rid of any fog planes that I have in the scene. And then under the skylight here, I'm going to set the intensity scale back to one. I'm going to put the light color at a neutral gray and a value of one. And then I'm going to recapture really quick. And you can see that this is pretty dark. So what I want to do is I'm going to drop down the source type to a scenic cube map. And I'm going to do just a default daylight here. This is just going to be a base ambient color that we can sort of use to flood the scene here. And then I'm going to turn the intensity down to something like 0.5 or 0.3 or 0.4, something like that. And so we kind of have this nice sort of overcast scene now with not a strong sunlight. So we have ambient light sort of going down to this forest scene. And then the exponential height fog is relatively high because we have kind of a rainstorm scene happening here. I'm gonna turn this value down just a little bit more, something like that. And so that's kind of a basic lighting, ambient lighting setup that you can set for your scene here. So now what we wanna do is make all these surfaces wet like it's raining. So that's actually extremely simple to do as far as a material element. All you need to do is with whatever scenes or objects that you have set up in your scene. I'm just going to grab one of the material instances that I have here. And really all you need to do is go to the roughness that you have set up. And you can even do this in the material. But your roughness used to be set at a very low standard, something like 0.1 for the rough high and 0.1 for the rough low. If you have just a basic value going into the roughness setting in the material, I might go into the material just really quick and show you what I mean. So this roughness value, to set up a rainy or wet scene, really all you need is a default value of 0.1, and you don't even need a parameter going into this. You would just set that at a roughness of 0.1. And then you should have a basic material that looks very, very wet or very glossy, like it's just been rained on. And by doing that, you're going to have a scene set up where you can start adding some of the particle elements. Just for the sake of demo purposes, I'm going to jump ahead to where I've created material instances where all these objects in the scene have a default value of roughness of 0.1. So it all has that wetness value and it's ready to go. So you can see now I've swapped the materials with everything with a low roughness value. And you can see how you can see that these are now a lot more glossy, but something is a little bit off where you see that these reflections are, kind of has this ambient light over them all over the place. So one way that you can help fight that is to just drag a sphere reflection capture into the scene. And you'll see that this kind of unifies and helps take away those sort of strange ambient effects. Because what's happening is the reflections that are being, so what I'm doing here is the influence radius that you see here at the reflection capture options. If I have that at a lower value, You can see the radius of this reflection sphere is contained within this volume that you see right here. Everything outside of that is not gathering the reflection data that's being captured in here. So what you can see is that this sort of ambient glossiness is going off of the ambient cube map that's being provided by the skylight that you can see right here. And so this doesn't really capture the accurate reflection detail that you'd see kind of in this sort of scene that we've built here with all these rocks, all these trees, everything. So what a reflection sphere capture will do is everything inside this radius will take a sort of reflection cube map that's within this sphere and will then project it back into the scene. So the more I expand this radius here, the more you see it's capturing kind of the accurate data that you're seeing that we did when we were set dressing this scene when I was set dressing this scene. You can see it's still a little bit inaccurate out here in the Vista, but I'm not gonna worry too much about that because the ambient lighting is kinda taking care of that. And you kinda want some lighter values out there anyway. So for now, I think this should be fine.",
+  "segments": [
+    {
+      "text": " So the basis to start off is we want to take this base scene that we have created here, the same one that we used for the fire demo. And we want to see how we can kind of create up the lighting and just change the basic materials on here so we can start adding some water elements that coincide with it a little bit better. So with this I'm going to just take this one, I'm going to delete any kind of bounce light that I've set dressed in here. I'm going to go under the directional light and I'm going to take away the warm tones that I've put with the light here. I'm going to turn this down to a pretty low value for the directional sunlight. So something like 0.01. For the fog, I'm going to make this like a pretty dull gray, something like that, instead of an intense blue that we were getting for the skylight. I'm going to go for the hot height fog falloff and I'm going to crank that down to 0.001. I'm gonna maybe actually, no, I'm going to keep the fog density at something like 0.08 or actually 0.1, something like that. I'm gonna get rid of any fog planes that I have in the scene. And then under the skylight here, I'm going to set the intensity scale back to one. I'm going to put the light color at a neutral gray and a value of one. And then I'm going to recapture really quick. And you can see that this is pretty dark. So what I want to do is I'm going to drop down the source type to a scenic cube map. And I'm going to do just a default daylight here. This is just going to be a base ambient color that we can sort of use to flood the scene here. And then I'm going to turn the intensity down to something like 0.5 or 0.3 or 0.4, something like that. And so we kind of have this nice sort of overcast scene now with not a strong sunlight. So we have ambient light sort of going down to this forest scene. And then the exponential height fog is relatively high because we have kind of a rainstorm scene happening here. I'm gonna turn this value down just a little bit more, something like that. And so that's kind of a basic lighting, ambient lighting setup that you can set for your scene here. So now what we wanna do is make all these surfaces wet like it's raining. So that's actually extremely simple to do as far as a material element. All you need to do is with whatever scenes or objects that you have set up in your scene. I'm just going to grab one of the material instances that I have here. And really all you need to do is go to the roughness that you have set up. And you can even do this in the material. But your roughness used to be set at a very low standard, something like 0.1 for the rough high and 0.1 for the rough low. If you have just a basic value going into the roughness setting in the material, I might go into the material just really quick and show you what I mean. So this roughness value, to set up a rainy or wet scene, really all you need is a default value of 0.1, and you don't even need a parameter going into this. You would just set that at a roughness of 0.1. And then you should have a basic material that looks very, very wet or very glossy, like it's just been rained on. And by doing that, you're going to have a scene set up where you can start adding some of the particle elements. Just for the sake of demo purposes, I'm going to jump ahead to where I've created material instances where all these objects in the scene have a default value of roughness of 0.1. So it all has that wetness value and it's ready to go. So you can see now I've swapped the materials with everything with a low roughness value. And you can see how you can see that these are now a lot more glossy, but something is a little bit off where you see that these reflections are, kind of has this ambient light over them all over the place. So one way that you can help fight that is to just drag a sphere reflection capture into the scene. And you'll see that this kind of unifies and helps take away those sort of strange ambient effects. Because what's happening is the reflections that are being, so what I'm doing here is the influence radius that you see here at the reflection capture options. If I have that at a lower value, You can see the radius of this reflection sphere is contained within this volume that you see right here. Everything outside of that is not gathering the reflection data that's being captured in here. So what you can see is that this sort of ambient glossiness is going off of the ambient cube map that's being provided by the skylight that you can see right here. And so this doesn't really capture the accurate reflection detail that you'd see kind of in this sort of scene that we've built here with all these rocks, all these trees, everything. So what a reflection sphere capture will do is everything inside this radius will take a sort of reflection cube map that's within this sphere and will then project it back into the scene. So the more I expand this radius here, the more you see it's capturing kind of the accurate data that you're seeing that we did when we were set dressing this scene when I was set dressing this scene. You can see it's still a little bit inaccurate out here in the Vista, but I'm not gonna worry too much about that because the ambient lighting is kinda taking care of that. And you kinda want some lighter values out there anyway. So for now, I think this should be fine."
+    }
+  ]
+}