Add transcription for: frames/MDA_TheSymbioteCreature_DownloadPirate.com_SYMBIOTE_CH014_CAMERA_ANIM_1080p_mp4_frames.zip

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+{
+  "text": " So this one, this chapter is going to be a small one just for the camera creation. Let's go and select our symbiote. So, smooth shaded, shows the UVs and stuff. This is the version that I, that it's lighter than the one for that we use for rendering. But yeah, I'll do the camera with this. Let's go back and create some containers, geometry containers. We'll name this GGOJosec and it will be disabled on the display. So we'll not use that node for rendering. Let's make a few containers for rendering GGOIBuddy. And this one's going to be GGOIFluid. And the third one will be GGOIGrand. I'll a little box around them, color it. And what I'm going to do is object merge. Object merge. And I'll object merge our Symbiote wrinkled interp just for now. And we have the other version, which is body render, which is much higher res resolution. It has the wrinkles there and all that stuff. I'll use this one for just for that. And let's make an output node. We'll connect this one to the output node. So this one's going to evaluate when we go out. But let's hide the UVs. I will handle the fluid later. But for the ground, we'll just use grid, which is going to be like a 20 by 20. And 200 rows. So it's a huge, huge grid. And what else? Yeah, I'm gonna paste the camera that I created earlier and we'll adjust it to the simulation that we have. So basically, we'll paste it here. Let's do that again. Copy, yeah. So this is the camera I used earlier in my experiments before. Oh, so it evaluates the, obviously the other node. So let's... It's a very stressful camera. So, yeah, let's adjust it a little. I just did some keyframes, turned it around, and changed the focal length on the way. And yeah, so let's readjust some of these keys. We'll click this button. The resolution that I rendered it at was the old Instagram format at the time, which is a four by five. So, yeah, let's keep it the same for the final render. I also animated the focal length, but we'll go back to that later. So let's readjust the framing of this camera. Yeah, go to these green frames, keyframes, keyframes, we adjust them a little. So yeah we have a keyframe here in the end. It's a really anxious camera here but what's funny about it is we're gonna skip the first 20 frames because we're going to render after the frame 20 when the creature is settled. So here we zoom in a little, maybe we adjust this. So the keyframes for this focal length are here. We have the zoom in somewhere here. Yeah, so yeah that's cool. I'll just maybe push this a little bit more to the right. Then we zoom in, maybe higher, then we zoom in onto the creature, maybe bend this out a little here. Print 200. Yeah, that's cool. So yeah, the camera movement is here, but on top of this camera movement, what I want to do is add some noise to the camera. So I'll show you how it's done. We go into the camera. I want to add some noise to the translate, to the position of the camera. So let's do that. In the motion effects, we'll just add some noise. And what this is going to do is add a noise, like a external motion effects chop network, which will import the channel name, the, basically the camera. and link up the camera to this motion effect. So here it just imports the camera and the range is going to be the value animation, which is the whole frame range. The noise is a node in chops, which adds noise. And the noise add is just an addition of the noise to the current position. You can see that combined chops is set to add, so it's going to add these chops to the existing chops. and yeah we'll leave this as is but we'll change some parameters in the noise so yeah we'll come here and then we'll change some parameters let's go here and type in 216, these are parameters that I said before Roughness to 1 and Exponent to 126 the amplitude will be really really low because we don't want to The higher it goes the further it just offsets from the current translation and This is the this high setup the camera earlier So I was pretty happy with it because it adds that really anxious Kind of movement. There's a lot of huge close-ups close up onto the monster and onto the inflating sax and It's really interesting Yeah, so we can split this pain top to bottom and and we can go into Viewers, Motion Effects View. So you can see the noise, what it does here. You can see that once you change the parameters, the curves that we had originally, they're modified by the noise. So the bigger, the more harmonics, the more levels are added to this noise. But I'm pretty happy with two because further it just becomes a vibrating motion. And these are the parameters that I used. The type was sparse, I didn't use any other types. So yeah, the amplitude is something that you can play with to see if you need a little bit more or less kind of movement. But yeah, 004 was fine for me. It adds just a little noise. So if you display the original curves here, they're kind of smooth, but these are the green ones. The orange one is the original one. The green ones are the modified curve by the noise. So let's hide this. And yeah, this is the camera thing. This was just a little chapter for the camera movement. I will use just one camera for this creature. So we have 280 frames to render in a really, in a 4x5 format. So yeah, next we'll be, in the next chapter, we'll see how we apply some shaders and displacement maps and some lighting and some yeah some really simple HDR lighting and displacement on the ground. See you in the next one.",
+  "segments": [
+    {
+      "text": " So this one, this chapter is going to be a small one just for the camera creation. Let's go and select our symbiote. So, smooth shaded, shows the UVs and stuff. This is the version that I, that it's lighter than the one for that we use for rendering. But yeah, I'll do the camera with this. Let's go back and create some containers, geometry containers. We'll name this GGOJosec and it will be disabled on the display. So we'll not use that node for rendering. Let's make a few containers for rendering GGOIBuddy. And this one's going to be GGOIFluid. And the third one will be GGOIGrand. I'll a little box around them, color it. And what I'm going to do is object merge. Object merge. And I'll object merge our Symbiote wrinkled interp just for now. And we have the other version, which is body render, which is much higher res resolution. It has the wrinkles there and all that stuff. I'll use this one for just for that. And let's make an output node. We'll connect this one to the output node. So this one's going to evaluate when we go out. But let's hide the UVs. I will handle the fluid later. But for the ground, we'll just use grid, which is going to be like a 20 by 20. And 200 rows. So it's a huge, huge grid. And what else? Yeah, I'm gonna paste the camera that I created earlier and we'll adjust it to the simulation that we have. So basically, we'll paste it here. Let's do that again. Copy, yeah. So this is the camera I used earlier in my experiments before. Oh, so it evaluates the, obviously the other node. So let's... It's a very stressful camera. So, yeah, let's adjust it a little. I just did some keyframes, turned it around, and changed the focal length on the way. And yeah, so let's readjust some of these keys. We'll click this button. The resolution that I rendered it at was the old Instagram format at the time, which is a four by five. So, yeah, let's keep it the same for the final render. I also animated the focal length, but we'll go back to that later. So let's readjust the framing of this camera. Yeah, go to these green frames, keyframes, keyframes, we adjust them a little. So yeah we have a keyframe here in the end. It's a really anxious camera here but what's funny about it is we're gonna skip the first 20 frames because we're going to render after the frame 20 when the creature is settled. So here we zoom in a little, maybe we adjust this. So the keyframes for this focal length are here. We have the zoom in somewhere here. Yeah, so yeah that's cool. I'll just maybe push this a little bit more to the right. Then we zoom in, maybe higher, then we zoom in onto the creature, maybe bend this out a little here. Print 200. Yeah, that's cool. So yeah, the camera movement is here, but on top of this camera movement, what I want to do is add some noise to the camera. So I'll show you how it's done. We go into the camera. I want to add some noise to the translate, to the position of the camera. So let's do that. In the motion effects, we'll just add some noise. And what this is going to do is add a noise, like a external motion effects chop network, which will import the channel name, the, basically the camera. and link up the camera to this motion effect. So here it just imports the camera and the range is going to be the value animation, which is the whole frame range. The noise is a node in chops, which adds noise. And the noise add is just an addition of the noise to the current position. You can see that combined chops is set to add, so it's going to add these chops to the existing chops. and yeah we'll leave this as is but we'll change some parameters in the noise so yeah we'll come here and then we'll change some parameters let's go here and type in 216, these are parameters that I said before Roughness to 1 and Exponent to 126 the amplitude will be really really low because we don't want to The higher it goes the further it just offsets from the current translation and This is the this high setup the camera earlier So I was pretty happy with it because it adds that really anxious Kind of movement. There's a lot of huge close-ups close up onto the monster and onto the inflating sax and It's really interesting Yeah, so we can split this pain top to bottom and and we can go into Viewers, Motion Effects View. So you can see the noise, what it does here. You can see that once you change the parameters, the curves that we had originally, they're modified by the noise. So the bigger, the more harmonics, the more levels are added to this noise. But I'm pretty happy with two because further it just becomes a vibrating motion. And these are the parameters that I used. The type was sparse, I didn't use any other types. So yeah, the amplitude is something that you can play with to see if you need a little bit more or less kind of movement. But yeah, 004 was fine for me. It adds just a little noise. So if you display the original curves here, they're kind of smooth, but these are the green ones. The orange one is the original one. The green ones are the modified curve by the noise. So let's hide this. And yeah, this is the camera thing. This was just a little chapter for the camera movement. I will use just one camera for this creature. So we have 280 frames to render in a really, in a 4x5 format. So yeah, next we'll be, in the next chapter, we'll see how we apply some shaders and displacement maps and some lighting and some yeah some really simple HDR lighting and displacement on the ground. See you in the next one."
+    }
+  ]
+}