Add transcription for: Motion Beast 2 Lesson 14.wav

transcriptions/Motion Beast 2 Lesson 14_transcription.json

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+{
+  "text": " Hello everyone! Now we switch to working in software called After Effects. It's often used for 2D motion design, but it's also an extremely powerful tool for compositing. In this tutorial, I will demonstrate to you a very basic compositing principle which I almost always use to finalize the results of my work. First of all, I will show you the most important main windows. The first window is Tools. Here are the icons for the main tools that are commonly used in work. The next window is Project. In this window, we organize the project. It's where all the files are. The Effects Control contains all the effects settings. It's used for applying the layers. The next window is Composition, where we'll see our image. It's similar to Render View in Cinema 4D. the timeline window where we'll manage the layers. Before starting to work, make sure that these timeline parameters are enabled. Okay, the first thing to do is to import the layers. To do this, click with the right mouse button in the project window space and select Import File. Select the rendered passes and click Import. So in the project window, the files with which will work appeared. So let's select the beauty render and drag and drop it into the composition icon at the bottom of the project window. A composition is automatically created and opened with the settings of this file. By holding the spacebar button pressed, we can move in the composition window. Using the mouse wheel, we can zoom in and zoom out. Let me show you what settings I often use for compositing. For this purpose, click the bits of our project at the bottom of the project window. These are the configured settings. It's 16 bits in the sRGB color space. Now, in this composition, I can select the necessary passes and drag and drop them into the timeline. Let's add the reflection pass here. In the composition window, we can see what it looks like, but I often use the Curves tool to slightly change the contrast for further layering. To add an effect, I use the FX console by Andrew Kramer. It reminds me of the Commander in Cinema 4D, but it's for After Effects. It's quite a convenient tool. It's free, so you can download it from the official website of Videocopilot. Let's call the console using the shortcut Ctrl-Space and enter the name of the effect. It's Curves. Click on it to add it to the reflection layer. In the Effects Controls, you can see the Curves effect. Let's adjust it so that the reflection pass becomes more contrasting. Okay, now set the application mode to Screen. To do this, in the Mode field on the timeline, select the Screen mode. Okay, let's have a look at the result. To do this, enable and disable the AOV pass for several times to see the difference. In this way, we can add additional characteristics to an already existing render. Let's add the specular lighting pass to the composition to the timeline. Okay, here we see how it looks. In this case, the chipping and fragments attracted my attention. I want them to be more visible in a place highlighted by the key light in the scene. To select a specific part, we should create a mask. To create a mask, select the pen tool in the tool pane and using the left mouse button, the necessary part in the composition window. Okay, now let's make the edges of this mask smoother so that they don't end so abruptly. To do this, click on the arrow of the layer on the timeline to unfold it. Go to the Masks section, unfold the masks details and increase the Feathers parameter, and set the mode to Screen 2. Let's zoom in to see the circle and have a look at the changes by enabling and disabling this layer. I think that we can make this pass brighter. Again, let's do it using the curves. Call the FX console and apply the curves effect. Here, adjust the curves in a way that the necessary zones stand out more. Okay, I'm satisfied with such a result. I want to intensify the fog. To do this, add the volume lighting pass to the composition. Apply the Curves effect to it too. I increase the contrast. Set the mode to Screen. Let's have a look at the difference. It looks cool, but in this case I want to highlight a specific part of the pass again. Select the Circle tool to draw a mask. To adjust the circle, click on the empty space in the timeline and select the layer once again. Now we can move this mask using the points. Let's set the feature parameter for this mask to ensure that the edges are smooth. Unfold the parameters of the mask and increase the value of feathers. Let's have a look at the difference. Okay, I'm satisfied with it. Let's see what other passes we can add. I have decided to add global illumination. Let's drag and drop it to the composition. We see that here, global illumination affects only the circle. Let's see what will happen if we apply the screen mode to it. Let's have a look at the difference. I like it, but let's simply make this pass less intense. To do this, unfold its parameters and decrease the value of opacity. I set its value to 70. Okay, let's add the Crypto Matte Pass. This pass contains all the objects in the scene and we can create a mask from any object, but for it to function, we must apply the CryptoMatte effect to it. So let's apply it using FX console. Okay, we see all the objects colored differently. Now with the left mouse button, we can select the objects. I select the background and additionally to the background, I also select the grid holding the shift key pressed. Okay, now to make this mask black and white, in the crypto matte mask parameters set matte only in output. Now we see that the pass is black and white. Let's use this mask to make the background slightly darker. To do this, create an adjustment layer. To create the adjustment layer, go to the layer tab at the top, select new, adjustment layer. So the layer is created. We can use this layer to apply the effects to it. These effects will affect all other layers that are situated lower in the hierarchy. To ensure that this adjustment functions with the black and white mask, move it underneath the crypto matte layer, and on the timeline in track matte, set the luma matte mode. Now add the curves effect to the adjustment layer, and we see that this effect is applied only to the mask. In this way, we can make the background darker. So let's do it. We can check out the difference by enabling and disabling this effect in the effects control window. To do this, click on the FX icon. Okay, let's move Crypto Mat from the adjustment layer downwards so that this adjustment applies only to beauty render at the bottom. To do this, holding the shift key pressed using the left mouse button, select the layers and drag them downwards. So let's have a look at the difference. Slightly Adjust the curves. Okay, I like this result. Now we can have a look at the Beauty render without the applied compose. Click on the solo mode of this layer on the timeline. Let's create one more adjustment layer for the final color correction. Let's add the uni finisher effect. I use it often. It contains the basic parameters for the color correction. We see that the image has changed. Let's remove the detail parameter and add the saturation parameter. Now let's have a look at the difference. Okay, I like everything. Also, to set an even more magical mood, let's try to add the legendary optical flares. To do this, create a solid, go to Layer, New, Select Solid, click OK. Now, let's apply the optical flares effect to this layer. Go to the Options parameter, and here, select a preset. In this case, I'll use the tactical light. Let's slightly adjust it, set the layering mode of the solid to screen, and move it underneath the adjustment layer containing the color correction. In optical flares settings in the colors parameter, using the color picker tool, select the blue color from the composition. Let's slightly adjust the position of the effect using the points in the composition. Over the optical flares, add the curves effect. And add some contrast. Also, let's select the circle tool and make a mask for the solid. Select a part and increase the value feathers for this mask to ensure that the edges are really soft and smooth. The final touch is the organization of the project. Let's rename the layers for our convenience. To do this, select the layers and press the Enter key. Also go to the composition settings and rename it. In the Project tab, using the Folder icon, add a new folder. Name it AOV Passes, and move all the passes there. In the very same way, create all other folders. Okay, the project is finished. Let's render the final result. But I'll disable the Flares effect, because I like it more without this effect. In the timeline, reduce the zone to 1 frame. Go to the Composition tab, click Add to render queue. Here in Render Settings, set the format to JPEG Sequence. In the Color Management tab, select the checkbox Preserve RGB. In this way, we disable the conversion of the color space. Click OK. Specify the path. Click the render button. That's it guys. That's all for the first part. We have covered the basic principles of creating the visual part using this Stull Shot. Thank you for your attention. See ya.",
+  "segments": [
+    {
+      "text": " Hello everyone! Now we switch to working in software called After Effects. It's often used for 2D motion design, but it's also an extremely powerful tool for compositing. In this tutorial, I will demonstrate to you a very basic compositing principle which I almost always use to finalize the results of my work. First of all, I will show you the most important main windows. The first window is Tools. Here are the icons for the main tools that are commonly used in work. The next window is Project. In this window, we organize the project. It's where all the files are. The Effects Control contains all the effects settings. It's used for applying the layers. The next window is Composition, where we'll see our image. It's similar to Render View in Cinema 4D. the timeline window where we'll manage the layers. Before starting to work, make sure that these timeline parameters are enabled. Okay, the first thing to do is to import the layers. To do this, click with the right mouse button in the project window space and select Import File. Select the rendered passes and click Import. So in the project window, the files with which will work appeared. So let's select the beauty render and drag and drop it into the composition icon at the bottom of the project window. A composition is automatically created and opened with the settings of this file. By holding the spacebar button pressed, we can move in the composition window. Using the mouse wheel, we can zoom in and zoom out. Let me show you what settings I often use for compositing. For this purpose, click the bits of our project at the bottom of the project window. These are the configured settings. It's 16 bits in the sRGB color space. Now, in this composition, I can select the necessary passes and drag and drop them into the timeline. Let's add the reflection pass here. In the composition window, we can see what it looks like, but I often use the Curves tool to slightly change the contrast for further layering. To add an effect, I use the FX console by Andrew Kramer. It reminds me of the Commander in Cinema 4D, but it's for After Effects. It's quite a convenient tool. It's free, so you can download it from the official website of Videocopilot. Let's call the console using the shortcut Ctrl-Space and enter the name of the effect. It's Curves. Click on it to add it to the reflection layer. In the Effects Controls, you can see the Curves effect. Let's adjust it so that the reflection pass becomes more contrasting. Okay, now set the application mode to Screen. To do this, in the Mode field on the timeline, select the Screen mode. Okay, let's have a look at the result. To do this, enable and disable the AOV pass for several times to see the difference. In this way, we can add additional characteristics to an already existing render. Let's add the specular lighting pass to the composition to the timeline. Okay, here we see how it looks. In this case, the chipping and fragments attracted my attention. I want them to be more visible in a place highlighted by the key light in the scene. To select a specific part, we should create a mask. To create a mask, select the pen tool in the tool pane and using the left mouse button, the necessary part in the composition window. Okay, now let's make the edges of this mask smoother so that they don't end so abruptly. To do this, click on the arrow of the layer on the timeline to unfold it. Go to the Masks section, unfold the masks details and increase the Feathers parameter, and set the mode to Screen 2. Let's zoom in to see the circle and have a look at the changes by enabling and disabling this layer. I think that we can make this pass brighter. Again, let's do it using the curves. Call the FX console and apply the curves effect. Here, adjust the curves in a way that the necessary zones stand out more. Okay, I'm satisfied with such a result. I want to intensify the fog. To do this, add the volume lighting pass to the composition. Apply the Curves effect to it too. I increase the contrast. Set the mode to Screen. Let's have a look at the difference. It looks cool, but in this case I want to highlight a specific part of the pass again. Select the Circle tool to draw a mask. To adjust the circle, click on the empty space in the timeline and select the layer once again. Now we can move this mask using the points. Let's set the feature parameter for this mask to ensure that the edges are smooth. Unfold the parameters of the mask and increase the value of feathers. Let's have a look at the difference. Okay, I'm satisfied with it. Let's see what other passes we can add. I have decided to add global illumination. Let's drag and drop it to the composition. We see that here, global illumination affects only the circle. Let's see what will happen if we apply the screen mode to it. Let's have a look at the difference. I like it, but let's simply make this pass less intense. To do this, unfold its parameters and decrease the value of opacity. I set its value to 70. Okay, let's add the Crypto Matte Pass. This pass contains all the objects in the scene and we can create a mask from any object, but for it to function, we must apply the CryptoMatte effect to it. So let's apply it using FX console. Okay, we see all the objects colored differently. Now with the left mouse button, we can select the objects. I select the background and additionally to the background, I also select the grid holding the shift key pressed. Okay, now to make this mask black and white, in the crypto matte mask parameters set matte only in output. Now we see that the pass is black and white. Let's use this mask to make the background slightly darker. To do this, create an adjustment layer. To create the adjustment layer, go to the layer tab at the top, select new, adjustment layer. So the layer is created. We can use this layer to apply the effects to it. These effects will affect all other layers that are situated lower in the hierarchy. To ensure that this adjustment functions with the black and white mask, move it underneath the crypto matte layer, and on the timeline in track matte, set the luma matte mode. Now add the curves effect to the adjustment layer, and we see that this effect is applied only to the mask. In this way, we can make the background darker. So let's do it. We can check out the difference by enabling and disabling this effect in the effects control window. To do this, click on the FX icon. Okay, let's move Crypto Mat from the adjustment layer downwards so that this adjustment applies only to beauty render at the bottom. To do this, holding the shift key pressed using the left mouse button, select the layers and drag them downwards. So let's have a look at the difference. Slightly Adjust the curves. Okay, I like this result. Now we can have a look at the Beauty render without the applied compose. Click on the solo mode of this layer on the timeline. Let's create one more adjustment layer for the final color correction. Let's add the uni finisher effect. I use it often. It contains the basic parameters for the color correction. We see that the image has changed. Let's remove the detail parameter and add the saturation parameter. Now let's have a look at the difference. Okay, I like everything. Also, to set an even more magical mood, let's try to add the legendary optical flares. To do this, create a solid, go to Layer, New, Select Solid, click OK. Now, let's apply the optical flares effect to this layer. Go to the Options parameter, and here, select a preset. In this case, I'll use the tactical light. Let's slightly adjust it, set the layering mode of the solid to screen, and move it underneath the adjustment layer containing the color correction. In optical flares settings in the colors parameter, using the color picker tool, select the blue color from the composition. Let's slightly adjust the position of the effect using the points in the composition. Over the optical flares, add the curves effect. And add some contrast. Also, let's select the circle tool and make a mask for the solid. Select a part and increase the value feathers for this mask to ensure that the edges are really soft and smooth. The final touch is the organization of the project. Let's rename the layers for our convenience. To do this, select the layers and press the Enter key. Also go to the composition settings and rename it. In the Project tab, using the Folder icon, add a new folder. Name it AOV Passes, and move all the passes there. In the very same way, create all other folders. Okay, the project is finished. Let's render the final result. But I'll disable the Flares effect, because I like it more without this effect. In the timeline, reduce the zone to 1 frame. Go to the Composition tab, click Add to render queue. Here in Render Settings, set the format to JPEG Sequence. In the Color Management tab, select the checkbox Preserve RGB. In this way, we disable the conversion of the color space. Click OK. Specify the path. Click the render button. That's it guys. That's all for the first part. We have covered the basic principles of creating the visual part using this Stull Shot. Thank you for your attention. See ya."
+    }
+  ]
+}