Add transcription for: frames_zips/DJA_EpicEnvironmentsMovies_DownloadPirate.com_Part 06 - Rendering_frames.zip

transcriptions/frames_zips/DJA_EpicEnvironmentsMovies_DownloadPirate.com_Part 06 - Rendering_frames_transcription.json

@@ -0,0 +1,8 @@
+{
+  "text": " So, always have AV where it up. Make sure that you have your camera on. When using IPR, you can use render elements. I'm going to show you why and where. CPU, because I have a good CPU. So I'd rather use this mode rather than anything else, not using RTX or CUDA. For the images, type path, you can just put on the name for your files. And then these are the render elements. So they're basically your AOVs. We can just click generate and have the back to the templates. So it's like a basic template that you can edit. So once you click on this generate button, you'll have this V-Render channel. So I'm not gonna use this one. I'm gonna use, I'm just gonna copy paste. For the OpenEXR, write multi-part EXR always ticked on because otherwise you're gonna have like, hundreds of thousands of EXR, each EXR we have it's on AOV, so I don't think it's gonna, it's really useful. it's better to have one file for multiple AOVs. And for the renderer, I only have pocket for the type. And I have the subdivision from one to six and 0.03 for the noise threshold. I think if we go 0.1, it's gonna be noiseless, but you can always rely on the denoiser and I'd rather have a good sampling sample render with a little bit of noise that can just denoise after that than just wait for hours for a good render. But it really depends if you wanna do a still image or a complete sequence. I think my sequence had like 150 frames to do to render. to render and so this is why I put it to 6 I think it's more than enough you can just you can maybe put it to 8 but the more you the higher you go you know the longer it's gonna be and sometimes gonna calculate for nothing so point zero three was is completely fine and I think at that time I was like on seven or eight It made it to frame, or maybe 9 or 10. I don't know. I think it's around that range. So we can just wait a day and a half to render the whole thing. And then goblimination always go to boot force, because that's the way it's supposed to be. Cold mapping, SCCG. camera always have motion blur turned on. I don't know why it turned off, but it's better to have 3D motion blur than just 2D motion blur is more realistic, just like in real life. So you don't want to add motion blur in post. you have really good animated geo then you can set up set this parameter to 10 but I was set up to 2 the bias goes to 0 because yeah I think that's the way it is everything is set up by default the only thing the only time I change it is because I really want a specific motion blur like a realistic filming motion So I decreased this the shutter efficiency to 0.5 or 0.3 But I think it's best to leave it at 1 For the textures There's one thing that to note that is it's best you have this cache bit mass between the branders Turned on just in case And for the I don't know why the volumetric is set up like this But if you don't use volumetric I think it's best to turn it off And yeah, that's it. There's no I don't really have anything to show on these settings So for the render channels We can see that we have the alpha these at depth the normals the position map and we have all the light group set up correctly. So that's what we have as a as a whole. I don't know why I have atmosphere, but it's really not that useful, especially because I don't really use atmosphere. I think at the time I wanted to test out the real perspective effect, but I'd rather do it in post. So you can just tick user render elements on so we can have all the visible AOVs that we want to use in comp. So if you uncheck this you're not going to be able to see these. So for the AOVs I always use that depth because you know if you want to have this detailed or you can use this map to have atmosphere. I always use Death from Camera. In 3ds Max I think it's better to take this off and then set to 6,000 or so. I don't use that from camera. Always calm the values, normal. It's, I think you have the normal and normal, but it is normal. There's no position map really, like there's no AOV called position map. So you need to add it yourself. So we can use a text sampler node, connected to a RenderChannel extra texture node. And you can call it P because it's gonna use the name from the node and plug it the point to the text map. That's it. For the light group, they have the same setting. So the default setting is use a rental channel light select and type to full and you can choose the way you want it to be rendered but I always have to fall because I use the subtractive workflow or the additive workflow I think it depends on how you want to work about full is the way to go and then you want to add your light so Yeah, same thing goes for the anger, everything else. You can choose to denoise the UL light as well. For the Cryptomad, we have only have two. Sometimes I use three, but it depends on the project. I always use two. Cryptomad is the default node. And for the other one, I use material name as the ID type. By default, it's set up to no name, but this one is set to material name. Reflection glossiness and specular reflection and atmosphere, they're not really that useful. Again, depends on your task. As for the denoiser, you can use the Nvidia AI denoiser. I think it's one of the best ones to use. If you have, I think, Nvidia graphic card, but I don't know that much. But since I have one, I use this one. And the last time I checked, the Intel doesn't really work. And the default view of Dino is that Dino is there works but not as great as the end video preset by default always just in case and because you can read Dino is like after in post I think my default is it's set up to Dino is alpha you want to tick that off just in case because I had problems before and yep and you ready to render I think there's no hidden tricks you can just render your image and yep I think I think that's it yeah so we're gonna try to hit a render on I'm gonna stop it and have everything Up up the ships as well We got the trees and and we're gonna hit and let it load So here we have the, well, the Denoise version because when you use the Denoise, you're going to have this turn on so you can just turn it off and yeah we have all our little characters the ships the textures of course Yeah, I think you know they have the same these have the same textures as these ones I can see like the licks here as well the trees the cars I mean I mean the trucks and the cars we have the water, we have like a nice reflection of the water, and of course the light, so if we take a look at everything, yeah, you can see that everything is working well, and we can then move on to the compositing process, and you can see that when you put on the denozy, the denoiser, you're gonna have the A of V called denoiser and effects result, they're pretty much the same. So do not worry about this. And then we have the refraction effects. Albedo. You can see that these are the albedo, I think I don't know why it turned white because we don't have any shader or color for the water, but you know, it's better than nothing. So yeah, I think there's no, again, there's no secret process to have a project to look like this. I think it's more like an eye workflow where you want to train your eye based on your references. Always take real life references. You can as well take concept arts or CG references for your composition or some colors, but always take real life references because they're the one that reflects the real world. for trees, water, lighting, even like these textures, like oil leaking, panels, metal objects, so it all has to make sense in a way. So and of course, train UI in the composition wise, where you want to have details in some areas in some but in some others you want to let the I rest. But since we have the I think the subject here on the top third of the frame, that's the that's the way of putting the details and then after that you can just have less things, especially when you you can have atmosphere and the sky and the clouds. But yeah, I think for the CG part we're done. and we can move on to compositing.",
+  "segments": [
+    {
+      "text": " So, always have AV where it up. Make sure that you have your camera on. When using IPR, you can use render elements. I'm going to show you why and where. CPU, because I have a good CPU. So I'd rather use this mode rather than anything else, not using RTX or CUDA. For the images, type path, you can just put on the name for your files. And then these are the render elements. So they're basically your AOVs. We can just click generate and have the back to the templates. So it's like a basic template that you can edit. So once you click on this generate button, you'll have this V-Render channel. So I'm not gonna use this one. I'm gonna use, I'm just gonna copy paste. For the OpenEXR, write multi-part EXR always ticked on because otherwise you're gonna have like, hundreds of thousands of EXR, each EXR we have it's on AOV, so I don't think it's gonna, it's really useful. it's better to have one file for multiple AOVs. And for the renderer, I only have pocket for the type. And I have the subdivision from one to six and 0.03 for the noise threshold. I think if we go 0.1, it's gonna be noiseless, but you can always rely on the denoiser and I'd rather have a good sampling sample render with a little bit of noise that can just denoise after that than just wait for hours for a good render. But it really depends if you wanna do a still image or a complete sequence. I think my sequence had like 150 frames to do to render. to render and so this is why I put it to 6 I think it's more than enough you can just you can maybe put it to 8 but the more you the higher you go you know the longer it's gonna be and sometimes gonna calculate for nothing so point zero three was is completely fine and I think at that time I was like on seven or eight It made it to frame, or maybe 9 or 10. I don't know. I think it's around that range. So we can just wait a day and a half to render the whole thing. And then goblimination always go to boot force, because that's the way it's supposed to be. Cold mapping, SCCG. camera always have motion blur turned on. I don't know why it turned off, but it's better to have 3D motion blur than just 2D motion blur is more realistic, just like in real life. So you don't want to add motion blur in post. you have really good animated geo then you can set up set this parameter to 10 but I was set up to 2 the bias goes to 0 because yeah I think that's the way it is everything is set up by default the only thing the only time I change it is because I really want a specific motion blur like a realistic filming motion So I decreased this the shutter efficiency to 0.5 or 0.3 But I think it's best to leave it at 1 For the textures There's one thing that to note that is it's best you have this cache bit mass between the branders Turned on just in case And for the I don't know why the volumetric is set up like this But if you don't use volumetric I think it's best to turn it off And yeah, that's it. There's no I don't really have anything to show on these settings So for the render channels We can see that we have the alpha these at depth the normals the position map and we have all the light group set up correctly. So that's what we have as a as a whole. I don't know why I have atmosphere, but it's really not that useful, especially because I don't really use atmosphere. I think at the time I wanted to test out the real perspective effect, but I'd rather do it in post. So you can just tick user render elements on so we can have all the visible AOVs that we want to use in comp. So if you uncheck this you're not going to be able to see these. So for the AOVs I always use that depth because you know if you want to have this detailed or you can use this map to have atmosphere. I always use Death from Camera. In 3ds Max I think it's better to take this off and then set to 6,000 or so. I don't use that from camera. Always calm the values, normal. It's, I think you have the normal and normal, but it is normal. There's no position map really, like there's no AOV called position map. So you need to add it yourself. So we can use a text sampler node, connected to a RenderChannel extra texture node. And you can call it P because it's gonna use the name from the node and plug it the point to the text map. That's it. For the light group, they have the same setting. So the default setting is use a rental channel light select and type to full and you can choose the way you want it to be rendered but I always have to fall because I use the subtractive workflow or the additive workflow I think it depends on how you want to work about full is the way to go and then you want to add your light so Yeah, same thing goes for the anger, everything else. You can choose to denoise the UL light as well. For the Cryptomad, we have only have two. Sometimes I use three, but it depends on the project. I always use two. Cryptomad is the default node. And for the other one, I use material name as the ID type. By default, it's set up to no name, but this one is set to material name. Reflection glossiness and specular reflection and atmosphere, they're not really that useful. Again, depends on your task. As for the denoiser, you can use the Nvidia AI denoiser. I think it's one of the best ones to use. If you have, I think, Nvidia graphic card, but I don't know that much. But since I have one, I use this one. And the last time I checked, the Intel doesn't really work. And the default view of Dino is that Dino is there works but not as great as the end video preset by default always just in case and because you can read Dino is like after in post I think my default is it's set up to Dino is alpha you want to tick that off just in case because I had problems before and yep and you ready to render I think there's no hidden tricks you can just render your image and yep I think I think that's it yeah so we're gonna try to hit a render on I'm gonna stop it and have everything Up up the ships as well We got the trees and and we're gonna hit and let it load So here we have the, well, the Denoise version because when you use the Denoise, you're going to have this turn on so you can just turn it off and yeah we have all our little characters the ships the textures of course Yeah, I think you know they have the same these have the same textures as these ones I can see like the licks here as well the trees the cars I mean I mean the trucks and the cars we have the water, we have like a nice reflection of the water, and of course the light, so if we take a look at everything, yeah, you can see that everything is working well, and we can then move on to the compositing process, and you can see that when you put on the denozy, the denoiser, you're gonna have the A of V called denoiser and effects result, they're pretty much the same. So do not worry about this. And then we have the refraction effects. Albedo. You can see that these are the albedo, I think I don't know why it turned white because we don't have any shader or color for the water, but you know, it's better than nothing. So yeah, I think there's no, again, there's no secret process to have a project to look like this. I think it's more like an eye workflow where you want to train your eye based on your references. Always take real life references. You can as well take concept arts or CG references for your composition or some colors, but always take real life references because they're the one that reflects the real world. for trees, water, lighting, even like these textures, like oil leaking, panels, metal objects, so it all has to make sense in a way. So and of course, train UI in the composition wise, where you want to have details in some areas in some but in some others you want to let the I rest. But since we have the I think the subject here on the top third of the frame, that's the that's the way of putting the details and then after that you can just have less things, especially when you you can have atmosphere and the sky and the clouds. But yeah, I think for the CG part we're done. and we can move on to compositing."
+    }
+  ]
+}