Office Hours 2024-08-30

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[00:00:00] Scott: There we go. Yeah, sure. Yeah, that's cool. Um, and I'll probably just screen recording just in case, um, because I've just got a few things to pick your brain with my thought rather than emailing you. Um, so, hold on a sec. So basically, I'm running into some issues with, so it's importing fine. So I checked all the plugins, they're all, Configured properly.

[00:00:27] Scott: Um, but the main issue that I'm running into is, um, and I'm getting so basically, it's also a feature request, actually, because it doesn't exist yet. So I've looked through the, uh, the Python files and the yaml files, try and figure it out. But basically, um, the problem I've got is I've named everything wrong when we were on set, cause we were in such a rush that day, and it'd be good to have a feature when, when you import to auto shop that you, it still keeps its unique user ID, like [00:01:00] unique ID that it's got, but so that you could rename the take.

[00:01:04] Scott: So that you, you know what I mean? Cause that, that would, um, it's fine. Like I'm just, I've just left them as they are. Cause I look, when I looked through the Python stuff, I thought I can't change any of these names now because. It will ruin that. And I can't even move the folder from where it is because it's on the root of the drive.

[00:01:19] Scott: I can't move it out anywhere because obviously all of the file paths are predetermined within each of these do within each of these scripts. So, um, that was just something I was thinking about, but that's, that's not the main thing. The main thing is, um, so I'm imported into, I, I import, I've just deleted it and started again, but I imported into Unreal.

[00:01:38] Scott: Worked fine, um, very, it was a bit bright for some reason. I don't know why, it doesn't really matter, does it? Because it's not being composited in Unreal. But, um, worked fine. But then, um, I imported another one into the same scene, into the same level. And it replaced the previous one, and then I couldn't find the other one again.

[00:01:56] Scott: Within the level sequencer. 

[00:01:58] Eliot: Okay. Are they [00:02:00] from the same, from the same take? 

[00:02:03] So they're from the same take, but they, because, because we, we just felt it would be quick because we couldn't keep doing the slate with the time we had. We just did long takes and then I've gone through and checked, kind of pulled.

[00:02:16] My time codes out works completely fine. It's just, what's the work around? Do I need to create a new level for each timeline? 

[00:02:23] Eliot: Okay. Okay. I gotcha. I gotcha. I gotcha. Okay. That's that's a, that's an interesting point because in blender, okay. Actually, I'm going to have to think about that one a little bit. Um, in blender, what we did is we just made.

[00:02:43] Eliot: We just copied things over to a different directory. And I'm just trying to, I have to think if that'll work for Unreal, um,

[00:02:53] Eliot: because of course, then in the Unreal script, we're just, we're generating everything in there. [00:03:00] Give me a second. Actually, can you, can you pop up your, your, let's share screens. I have an, I have an idea and I want to see if it'll work. Um, 

[00:03:11] Scott: I want to see if sure. Of course. That I don't mind doing. I say, I've, um, I'm here to help, really, more than anything, because I'm in, uh, I enjoy doing this, so it doesn't really matter, but, um, it is, it is stuff that, these are things that are probably worth thinking about in terms of, like, one thing would be being able to change directories and changing tape names, because I've kept all the unique user IDs, um, that's what I use to, I've named all my, um, project files that as well in After Effects, so I just, I know exactly which one I'm referencing.

[00:03:43] Scott: But yeah, I don't know what happened, it just imported. So I imported the first one, it worked fine, did the image texture. 

[00:03:49] Eliot: Oh no, I know, I know what happened. I know what happened, it's because it's generating the same, because it's, it's, it's, it's thinking in terms of takes, and it's generating the same, the [00:04:00] same name and level sequence in terms of takes.

[00:04:03] Eliot: Um, okay. I think I know 

[00:04:06] what's going on. And then another thing that actually happened yesterday, um, actually, I'm gonna take these headphones off and just talk. I'm probably shouting and there's people next door. Um, 

[00:04:15] Scott: let me 

[00:04:19] just take this 

[00:04:20] Scott: off.

[00:04:26] Um, speak for me. 

[00:04:27] Eliot: Yep. The rain in Spain falls mainly upon the plane. 

[00:04:31] Oh, yeah. Perfect. Um, yeah. So the main. Let me just open, I've also got, do you, do you use Unreal much yourself or are you mainly Blender? 

[00:04:41] Eliot: Medium. Medium. Like I'm, I'm functional. Like I spent, you know, in terms of what I had to work through to write the tutorial and all that.

[00:04:49] I mean, the thing I, I actually have another question, but that this isn't important right now. This is the main, the main one's trying to get this one sorted. But, um, no, [00:05:00] hold on a second. Why am I getting top huge? It's just great. For 

[00:05:04] Eliot: this, on yours, actually, just so I have an instantiation. Can you, the take that you want to, you, you want to extract three of them from, can you zip that up and send it so that, that way I'm working on one to one and then also the in and out points for the three, for the three things you want?

[00:05:20] Eliot: Um, because that, that way I'm working on the same thing you are. 

[00:05:26] The feedback I've been giving you, has it been of any use in terms of, Changes and stuff. Cause I'm, I'm happy to keep giving you feedback because I'm enjoying it. 

[00:05:36] Eliot: This is great. This is absolutely. And it's, and what you're running into. I knew this was going to come up and I had a way of thinking about it, but I had, I had not thought through an unreal.

[00:05:48] I'll talk you through what, so not the other issue I ran into, which is the same issue, but I'll shut up from the start of the process. I'm just going to share my screen, share the entire [00:06:00] screen in a second. Okay, you can see that now, can't you? Um, hold on, let me just switch that one off. So we're going exterior at the moment.

[00:06:15] Switch off this model. Okay, now we're going interior. Okay, and switch off the glass. I'm using, um, I'm going to use path tracing for the actual rendering. Because I just want to get it as real as possible. I mean, I'm guessing Luban's probably a better option because of the speed. But, um, that's why everything's glitching out a little bit.

[00:06:40] Switch that one off and switch that one off. So, yeah, this is a, this is a digital bank. I mean, this is, yeah, so basically what's happening is, um,

[00:06:55] of course, I'll switch the, I'll switch the glass off. It doesn't make any difference. Um, but the, [00:07:00] uh, basically what's going on is, so, Minimize that. Let me, I'll reset the window layout so you can see everything. Cause I've got, I've got three monitors set up here.

[00:07:18] Okay, cool. Um, save all right. So basically what's happening is so when I imported everything, I ran into an issue because I've got a spreadsheet going, so I'll show you the spreadsheet I've got going and, uh, close those, close that one and I've got your round trip on. Um, so you can still hear me, can't you?

[00:07:47] Mm hmm. Okay, cool. So, so I've, I've got a spreadsheet with all my takes here. I've generally stuck to only using one. So I'm going to, I'm not going to, I [00:08:00] hopefully won't encounter this again because everything in green is what I've selected. So I've only selected one take from each, so I shouldn't have this.

[00:08:07] Oh, no, I say that MVI 14. So these two are the same from the same camera and I've already processed these. And the problem I had is obviously. The folder name is the same, so I've had to put them in here and name it this way, because I can't, obviously, the path names are exactly the same, so, and I checked through all the code, like all the scripts, the Unreal Importer, Python scripts, and obviously it references the same exact name, so there's not, the unique ID is the same, isn't it?

[00:08:39] So it's not unique in that sense, because it's from the same take. So I basically can't have more than one of these takes being used at once. Um, and the main issue I'm running into is, so yeah, there's that. So I've had to put that in an unused section because I, I can't have the paths getting confused. Um, but then obviously I can't rename the [00:09:00] takes either.

[00:09:01] And I was just literally sitting there thinking, what would be great right now if there was just a box there that says rename takes or what, because I've got my own Yeah, yeah. 

[00:09:11] Eliot: Right next to it. And we, I, so what I'm going to end up doing is I completely see the problem. And then I knew this was gonna come up at some point, but, uh, I think I have an idea.

[00:09:21] Eliot: I want to run it by Greg and figure it out because, you know, instead of just pure doing it purely by, by take, um, we want, we, we want to actually start being able to, to deal with on a shot basis. Um, and yeah, yeah. Yeah. And so like from a human take, being able to pull three or four different shots and like type out, okay, I'm on shot one, shot two, shot three.

[00:09:42] Yeah, because I mean, I've now gone through everything, gone through the timeline, worked out my, I mean, I've been here now four days and I haven't even started compositing yet. I'm just organizing data because there's so much of it and naming all the takes and working out, so because I'm sending out to other artists.

[00:09:59] Um, [00:10:00] but yeah, the main issue I've got is basically, yeah, I can't, I can't have more than one take and I can't rename anything. I'm guessing once everything's processed, Unreal's the Unreal end. I can, I can just duplicate the folder structure from, um, from the unreal or social project. Once you, once you 

[00:10:21] Eliot: render it, um, just give me, just give me a second to think through this for a second.

[00:10:27] Eliot: So one way of doing it is not 

[00:10:28] to talk to another human being. Yeah, yeah, yeah. No, 

[00:10:32] Eliot: there's, there's once you've got it in the unreal level sequence, then you could modify my Then you can modify. Okay. So you can, I think, modify the, um, um, you want to work, try working through it. Let's see if we can get it just a manual approach.

[00:10:51] Eliot: Yeah, 

[00:10:51] of course. I'm up for that. I mean, if I can't do it, I can't do it. I'm not, I'm not, I'm not bothered about it or annoyed. It's just, uh, it's something I've wanted to ask [00:11:00] you about. 

[00:11:00] Eliot: No, no, no, this is, there's enough time here to, to, to try to do it, to try to get it. And so I just want to, I want to walk through it and think through it a little bit.

[00:11:10] Eliot: The problem of course, is that we can regenerate the outputs, um, pretty easily. Oh, wait, because in Unreal, it doesn't actually matter. We're not rendering the image, the EXR inputs anyway. So, okay. So this, this could work. So let's, let's try the first one in Unreal. Let's, let's, uh, pick one of these ones that have multiple.

[00:11:31] Eliot: Multiple ones in the tick and let's try going through it and we'll, we'll, we'll, we'll start, we'll doing some manual modifications and try to our, we're going to rename it once we import our level sequence, we're going to rename it. And then we're going to adjust our output, um, output directory names.

[00:11:49] Eliot: Think that just about do it. 

[00:11:52] Oh, it should work. Shouldn't it? It's because of the question I've got, I've got, I've got notepad plus plus. So if we need to change anything. [00:12:00] Any code because I've looked into it and it is, I can see all the directory names that it points to, and we don't, I guess we just change those.

[00:12:06] It should technically, I didn't want to mess with it. Cause I thought this is going to go, this is going to go horribly wrong. If I do it. I need 

[00:12:12] Eliot: to adjust the code. I think once we generate the level sequence in Unreal, we can, we can rename some things in Unreal so it doesn't get overridden the next time we do it.

[00:12:21] Eliot: I see. So let's, let's try this. Yeah. I think we can do this. I think we can do this, but this, this will be a good stop gap and it'll get us, get you going. Uh, and then it gives us time to code it. Can I share 

[00:12:36] more than 

[00:12:36] Eliot: one monitor at once to you or just one? Oh, you know, I think you can probably share, share more and they'll, they'll be kind of small, but that's fine.

[00:12:42] Eliot: I 

[00:12:43] could do with some space here. Um, hold on. Let me work this one out then share. Okay, so I'm sharing monitor one pod controlled. Oh, great. So you can share to control to share to cool. You [00:13:00] can now see both monitors. I presume. 

[00:13:01] Eliot: Yeah. 

[00:13:02] Yeah, there we go. Great. Okay, cool. So go away. It's bloody thing. How do I get rid of that?

[00:13:10] I'll put it. I'll put that on the other one. So there you go. Cool. So our five seed sequences. Okay, cool. So let me just check my spreadsheet.

[00:13:24] Okay, cool. So spreadsheet wise, we've got so 7a and 7b. So if I go with 7c, so let's go with 7c because I haven't done that one yet. And let's see what happens. That's 2000. Okay, cool. I'll do that one then. So 7c and that is 987. So 987. Cool. Got that. So I'll copy Python code for that on the sec. 

[00:13:54] Eliot: Okay, so then let's just, um, uh, let's just load that take up in, in, uh, in Outshot and, [00:14:00] uh, uh, and then we'll just, we'll generate the, um, uh, the ins and outs of it and then run, uh, or whatever you need to do to run that.

[00:14:09] Eliot: Take on. Unreal that in and out. 

[00:14:11] I've already, I've already run it. I've, so these are all done. These are all done. 

[00:14:15] Eliot: So let's jump into Unreal and, uh, 

[00:14:18] lemme Yeah, course. Let's copy that command line. Okay. Okay. Now I'm in probably makes more sense for me to put that there and that there got more space. Cool.

[00:14:29] Okay. So I've got that now slow this computer. Okay. That should start running now. Great. Okay. We've got the cam texture. So 

[00:14:45] Eliot: I'll now. Okay. So now let's, let's do a little bit of renaming. So back over in unreal. 

[00:14:52] Okay, cool. Yeah. So let's do a 

[00:14:54] Eliot: little bit of renaming. So, uh, underneath the auto shot. Um, uh, [00:15:00] directory.

[00:15:00] Eliot: So there's, there's that, that, that top directory. We can just add, um, uh, a little, you know, underscore at the end of that. Um, uh, the, uh, the actual folder. 

[00:15:11] Sorry, this is my computer is running like crap right now. I'm trying to, um, I'm just trying to close programs down. I'll close OBS down. I've just got, I haven't got enough RAM and I'm also running over a VPN as well.

[00:15:26] Hold on. That's okay. That's running better now. Okay, cool. Right. So, so 

[00:15:31] Eliot: let's do this from the top down. So the under auto shot, there's a folder there. So let's, uh, that's, uh, you know, add an underscore and then the, what is it? Does it have a shot name to the, to it? Uh, 

[00:15:44] let me just open up my 

[00:15:45] Eliot: spreadsheet on 

[00:15:46] here.

[00:15:48] Go away. Oh, it's a short Okay, we'll get there eventually. So, yeah, let's, let's do this properly so I don't have to do it again. So it's, it's take a, it's take one. [00:16:00] Okay, cool. So I can name that. 

[00:16:04] Eliot: And, and before we name those inside, I want to name the top level folder. I want to have everything that you'd normally have.

[00:16:10] Eliot: And then an underscore at the end. Um, the, the not auto shop, that's the actual, uh, the, the folder just below it, my project under underscore SC seven TK one O two K O O one. That's the one. Yeah. I want to just keep it there and then add an underscore shot. What, what shot name is it? 

[00:16:31] Uh, it's. S7C take, take one.

[00:16:36] Eliot: Okay. So just, uh, you right, click and rename it or something like that. There'll be a rename. There we go. And then add an underscore to the end of it. 

[00:16:46] Oh, that's right. That's 

[00:16:46] Eliot: running. 

[00:16:46] All 

[00:16:46] Eliot: right. 

[00:16:47] Now it's just, 

[00:16:47] Eliot: it's caught up. 

[00:16:49] Okay. So S seven C, this isn't going to be too long. Is it just 

[00:16:54] Eliot: pick something short that you can, you know, 

[00:16:58] rather than zero zero one.[00:17:00] 

[00:17:00] Um, in fact, I'll remove the S seven C. 

[00:17:05] Eliot: Because this is going to be how you distinguish this one from the other ones that are from the same take. 

[00:17:11] Okay, because I've got three within this level, within this project, within this level. Okay. Okay. So that is now renamed. 

[00:17:19] Eliot: And then let's go ahead and let's do some renaming of the, let's just check, see what all the things we're going to need to rename.

[00:17:26] Eliot: So there's a level sequence and let's look in the media folder. Let's see what's in there. Um, okay. So there's a little bit of renaming in here to, uh, So, uh, let me look at that closely. I don't, I don't think those are unique, so we don't have to, I don't think we have to worry about those. Let's go back up one level.

[00:17:45] Eliot: I only want to rename the, the ones that are like, yeah, they have names on them. So let's go ahead and rename those that have like a full name and do the same thing. You know, 

[00:17:58] These don't either. Oh, [00:18:00] okay. 

[00:18:01] Eliot: Okay. Take one 

[00:18:03] AOA and then it's got rid of 10, 1080p REC 709, well, 709 and then the UUID. 

[00:18:10] Eliot: Yeah, it got rid of the UUID, but let's just, um, let's rename that as an underscore and then add, you know, with the same, the same kind of shorthand shot name, because I think this is going to be what we actually do more or less when we start making this.

[00:18:23] Eliot: So 

[00:18:24] that's 7CT01. 

[00:18:29] Eliot: Yeah. And then do the same on this one. Because when we, what I want to do is set it up so that when we run the next one, we don't have name conflicts. So let me see 

[00:18:39] it didn't even it didn't even come up with anything it just um, so that's now t01 And that is also t01. Okay, 

[00:18:47] Eliot: so let's go ahead and double click on the the level sequence So let's open that up in sequencer All right, and then the next thing we're going to want to do is click on the movie render queue button Um, and oh I see so the [00:19:00] cam on the cam on the the cam name Let's rename the cam.

[00:19:04] Eliot: Although that's spawned. So I don't think that will be affected by other devices You say that, 

[00:19:11] you say that, but that, um, it replaced the previous camera and it also replaced the replaces the, the scene locator. 

[00:19:17] Eliot: Ah, okay. So in that case, 

[00:19:20] let's, uh, 

[00:19:20] Eliot: let's, uh, um, let's 

[00:19:22] go ahead and rename the camera. 

[00:19:24] Eliot: And, uh, just with the same kind of, because then if we remove the name conflicts, it shouldn't blow it up.

[00:19:35] Let's have a little look. This is all part of the fun in it. 

[00:19:40] Eliot: Well, it's very good for me to see it. Cause then I I'm thinking through how we, how we rework this. Now it's 

[00:19:45] working out. Seven C I'm doing this blind now. Underscore T zero one. This is the problem with not, I made a bit of a mistake coming all the way out to bloody Fort Aventura.[00:20:00] 

[00:20:00] It's great. Don't get me wrong being here, but, um, I haven't got my super powerful PC to run every single right. Uh, see, that's, that's not renamed correctly. Let me, uh, 

[00:20:18] Eliot: and you, you could actually just put an underscore a one or something after that's okay. Just, we're just trying to remove the doesn't get blown away.

[00:20:28] O one. 

[00:20:30] Eliot: Wow. It's, that's not renaming? 

[00:20:33] No, it is, it's renaming. Oh, 

[00:20:35] Eliot: okay. Okay. It's over there. Okay. That's renamed 

[00:20:37] now. Okay. It just doesn't look like it's renaming in. Oh, trying call the, uh, so the, so let's, yeah, let's, let's, uh, adjust that and then that's really, it's not renaming, it's not renaming here, but it's renaming here, 

[00:20:51] Eliot: here.

[00:20:52] Eliot: I don't fully understand that, but, um, all right. Well, let's, let's, uh, lemme 

[00:20:56] try time under S [00:21:00] seven C under. T01. Yeah. So it's renaming. That's really odd. 

[00:21:07] Eliot: Okay. Well, let's, let's, uh, let's look, scroll down and see if there's the other, other things that will conflict with it. Let me put 

[00:21:15] that down there.

[00:21:17] Actually, hold on a second. I, since, since you can see both of my monitors, cool. All right. So much nicer. Right. So, 

[00:21:28] Eliot: and for these, we can probably remove some potential difficulty. Cause if we know the tracking schedule, you can just not generate the next time you want, uh, next time you generate a, a, uh, uh, something and out of shot, you can just leave out the image plate.

[00:21:41] Eliot: And that way, none of the image plate stuff will conflict. I mean, I don't think it's going to affect you that much because we're not rendering it, but just in case. And then the scene loc, uh, bank middle behind, yeah, we could just, uh, no, I thought only one level sequence is active at a given time. So when one of these, [00:22:00] supposedly, yeah.

[00:22:02] Eliot: So when one of these is, is, is inactive, then we shouldn't be getting named. I've just, I've just thought 

[00:22:08] about something. Let's just cross my mind that can media source my project scene seven take a one a eight. That is how it's going to name that's when we import the next one it's going to name it the same way it's going to remove those.

[00:22:24] Those identifiers. So we do need to rename those 

[00:22:30] Eliot: media source. Now, remember that the cam media sources are only, we only create them. I think if you have an image plane, and I don't think you need an image plan for this because we're just going to render it and, and, and unreal. And so, 

[00:22:45] yeah, I mean, I still want the image plane just so, I mean, I think it's still worthwhile me doing it because I want to be able to basically see.

[00:22:52] how she's framed in each of the shots. Okay, got it. 

[00:22:55] Eliot: Because I've got to, 

[00:22:55] and I've got, because I've also got to, um, I've got to change the focus on a couple of [00:23:00] them, uh, manually. I know it already does the focus based on the depth map, I presume, but the, um, It's also, I've also got to change the focus on a couple of them.

[00:23:10] So I'm, it's worthwhile. And we still do know. So presumably if I change these quickly and change 

[00:23:16] Eliot: them and then, uh, 

[00:23:19] okay. So let's, so S seven C teaser one, I'm just going to copy that on that little bit, rather than have to type it out every time, cool, would it be the smart 

[00:23:31] Eliot: thing to do, change two things.

[00:23:33] Eliot: We'll change all these things inside unreal. And the other thing we're going to change is the, um, the, the, uh, the directory that it's going to write to. Um, the output file, so we don't accidentally overwrite our output files. And we'll change that in Movie Render Queue. And then I think, then I think we've removed the conflicts.

[00:23:49] Eliot: I think, um, there's, there's still a conflict of, it's going to, I'll tell you where the conflict is going to be, [00:24:00] is it's still referencing the same generated cam original image sequence. So what we can do, I think what we can do here, Is we'll, we'll, we'll run it. We'll, we'll then, then we're going to do, we're going to rename that camera, the, the Kami XR image sequence and put an underscore over, and we're going to reroute our media back to the new directory.

[00:24:22] Eliot: And there's some hand patching we'll have to do here to keep them from conflicting, but I think, I think this is going to work. 

[00:24:28] Okay. So we've renamed everything in auto shop pretty much, but we haven't, the one thing I just noticed though was the scene locator, but it, does it copy the scene locator? It, it, um, 

[00:24:42] Eliot: it does it make a copy of it?

[00:24:43] Eliot: It makes a copy of it for the, the spawned version of it inside the level sequence. So it don't, okay. So we, you see the spawned version and still 

[00:24:51] I see. So I think we need to rename that. 

[00:24:54] Eliot: Okay, okay, the spawned version. If I, 

[00:24:57] the spawned version, so, can I, [00:25:00] the question is, I'm guessing that's going to be saved somewhere in my project, but where?

[00:25:06] I don't 

[00:25:07] Eliot: think, I don't think you 

[00:25:08] can rename it. Is, is a scene, a scene locator is not an actual, it's not a mesh is it, it's not an item, it's a, it's a, just a reference point. 

[00:25:16] Eliot: Right. And so what this is doing is it's actually, so when it generates the level sequence, it references the, the original scene locator in the scene, the, the one that doesn't have a little spawn thing.

[00:25:26] Eliot: And then when it pulls it into the, the level sequence, it is a spawned item. You can actually move that one separately from the original one without affecting the original one. It, it, it only that the spawned one only exists within the context of that level sequence. 

[00:25:40] I 

[00:25:40] Eliot: noticed that 

[00:25:41] because it, um, I noticed that because I tried to rotate.

[00:25:45] I tried rotating the original one because I, because we didn't have time to calibrate on the last shot. So we, I rotated it and it didn't rotate then I checked and the spawned one did rotate. So I'm guessing if I rename that O1, or actually I'm just going to put S. [00:26:00] I'm just going to give it all of the, everything the same.

[00:26:01] That's just about, there we are. Perfect. There we go. The image, what about the image plate? 

[00:26:07] Eliot: Uh, yeah, you can go ahead and, and, uh, okay. Yeah, because we want to have that, that person there. So let's go ahead and, and, uh, You know, it's going 

[00:26:13] to need to be renamed. I mean, we're going to be generating 

[00:26:16] Eliot: multiple things named image plate.

[00:26:19] Otherwise, so let's, let's, so let's just quickly recap here. So seeing locate is that's renamed. That's renamed the cameras renamed. So the image plate is renamed the level sequence. Uh, the media texture is renamed. The level sequence is renamed. And then these are also renamed 

[00:26:40] Eliot: and 

[00:26:40] let's do something 

[00:26:40] Eliot: we're going to, we're going to go into movie render queue and let's rename the output directory.

[00:26:45] Eliot: Um, so that it writes into the correct file. And as the last thing we're going to do is we're going to re. Um, no, this 

[00:26:53] isn't, this isn't movie render queue, is it? I forgot which one, which one it was actually. 

[00:26:57] Eliot: It's the little like, uh, it looks like a clapperboard. [00:27:00] Oh, that's the one I clicked. Oh, you know what?

[00:27:02] Eliot: You, you, you're missing a plug. You're missing your plugins. You need the, that's the old, uh, movie render queue and you want the, uh, shiny new ones, but that's okay. We can get there in a, in a second. There you go. Plugins. 

[00:27:13] Let me save all that if we go to plugins. Right. Okay. And then movie right

[00:27:26] Eliot: now, this, Oh, wait, 

[00:27:29] yeah, I did it from your tutorial from your tutorial. 

[00:27:32] Eliot: Hold on. All right. So let's exit that. Um, let's go back to that setting. Oh, oh, I see. Uh, the three dots next to the clapperboard. Uh, let's click on that. And there we go. Movie rendered. 

[00:27:44] And then we click it 

[00:27:46] Eliot: and then go ahead and yeah, now I'll go ahead and click that and we should get the, uh, okay.

[00:27:50] Eliot: There we go. There we go. 

[00:27:52] Cool. 

[00:27:52] Eliot: Okay. So here you can see. There's a couple things. The, the, the top one is. Uh, currently [00:28:00] super small text, so I'm going to, um, the top one is set to, um, there we go. And we just, this was set up sequence. I wonder why it's rendering to preview. What's your version of auto shot? Do you have running?

[00:28:19] Eliot: It says dot one 42. 

[00:28:21] Uh, let me check. 

[00:28:23] Eliot: I 

[00:28:23] think I 

[00:28:23] Eliot: deleted 

[00:28:24] the, let me go into my, uh,

[00:28:31] where's my recycle bin because I think

[00:28:42] Eliot: 142 

[00:28:43] and then the original tools for the bucket and the other buckets. 

[00:28:46] Eliot: So, all right, let's go back to move that movie Render Q Set setting. And, um, let's, let's pop open that window and maybe put it on the left so that text is a little bit less tiny. Um, there we go. 

[00:28:58] Or is it small 

[00:28:58] Eliot: at the moment for you?

[00:28:59] Eliot: Hold on. [00:29:00] Yeah, there we go. Okay. Any better? So, yeah, there we go. So one of them. Looks like an old one because it's, um, the second one is going to like project or save movie render. So go ahead and delete that one, uh, with the, with the second one. Yeah, let's just go ahead and delete that one. Yeah, delete that one.

[00:29:19] Eliot: All right, let's click on the, the, uh, the, um, this one, which is the clicked on the unsaved configuration. 

[00:29:27] All right. Okay. Okay. Let me just quickly whilst you're doing this, cause it's just going to be helpful, so I very much need to, uh, is this in the round trip? 

[00:29:43] Eliot: Uh, yeah. Yeah. This is, this is, this is the movie render cube.

[00:29:46] Oh, it's in the round trip. 

[00:29:49] Eliot: Yeah. Yeah. I think it's either in the round trip or I, yeah, yeah. Okay. That's right. It's, but it's not a trip. So then, 

[00:29:58] oh, good. Yeah. [00:30:00] I'm just going to set this off recording so I can see what settings I pressed when I come back to it. 

[00:30:05] Eliot: Right.

[00:30:12] Okay, cool. That's recording. 

[00:30:16] Eliot: So if we look at the output directory, it should, um, it should be going to render EXR. It looks like it's, I think it's going to the right place, but let's just double check that. Okay.

[00:30:33] Can you speak for me? 

[00:30:34] Eliot: Yeah. 

[00:30:34] So, uh, can you hear it? That's great. Yeah, that's working. Perfect. Okay. So, We got it. Right. So, 

[00:30:44] Eliot: so let's go ahead and click on the output directory. And, um, let's just, yeah, the little dots next next to it gets canceled that I don't know where that is. Um, let's highlight. There we go.

[00:30:56] Eliot: Highlight the text. And click on that and it's going [00:31:00] to, okay, that's mostly correct, but instead of preview, um, I thought that would be saving to, um, that might be a bug. Let's see if, if it's, it should be saving to render XR. Okay. So let's go ahead and instead of preview. Oops, let's cancel it. Whoops. Uh, oh, there you go.

[00:31:22] Eliot: Okay, so, CineCamera. Yeah, we don't want to render that because that's our CineCamera. Let's make a new directory. Okay, create a new directory. And we're just going to call it a RenderExr, RenderExr. Yeah, that's fine. And then underscore, and this is going to be the, uh, the shot. Uh, yeah, cause we're, we're making these by hand at this point.

[00:31:45] Eliot: So it doesn't have to be a precise, a pretty precise sort of thing. Right. So, and then underscore, and then we're going to do our, you know, the, the shot shot name, whatever the, I see. So that is S 

[00:31:58] seven C [00:32:00] T zero one.

[00:32:04] Okay. Brenda EXR seven C T zero one. And then just select 

[00:32:09] Eliot: that folder and then yeah, it's like folder. There we go. So now that is writing into that directory. Uh, and it's writing in EXRs, and right now it's writing at output resolution 1920 by 1080. I mean, you can change that to whatever you want, but we can start off with that.

[00:32:26] I think if I'm doing, uh, if I'm, if I'm doing, uh, path tracing, probably stick with 1080p. 

[00:32:33] Eliot: Yeah, you can be there for a while. Yeah. Um, okay. I think that'll, that should do it. Um, you can click accept and let's do one more thing. And, uh, before we, before we render, um, and we can probably render now. Um, you know, we can, we can actually try it if you want to, want to cook up.

[00:32:50] Eliot: Oh, that's right. It's going to be path tracing. So it can take a while. Uh, I mean, it's not like, so how do I set it to path tracing is the question actually. You know, I actually have never done that. [00:33:00] Uh, I have no idea. How that works, but just 

[00:33:04] for the purpose of the test. Is this a config that you create? No, I'll leave it as it is.

[00:33:09] But is it, um, is this config one you created? 

[00:33:14] Eliot: Yeah, we script, we script this one. And normally, normally the part I'm a little bit puzzled by is it should be going into render EXR automatically. Um, and I'm not, I'm a little curious about why it's, it's going into preview. So you're saying it hasn't actually created a folder for that yet?

[00:33:32] Eliot: Well, what we just did is we told it where it was going to render to right with that with, you know, and normally we did. Yeah, we did that. Yeah, normally when we script it, it goes and it's, it writes out the folder to, you know, the normal take, take, you know, thing and then render EXR and then it puts the frames in there.

[00:33:52] Eliot: And that's what it did in the round trip. So I don't, I want to understand why it's, I'll understand that later. 

[00:33:58] Scott: Oh, 

[00:33:58] Eliot: cool. [00:34:00] Yeah, that's the 

[00:34:01] output. And frames wise, do I, does it just select the full sequence by default? 

[00:34:07] Eliot: Yeah, well it's going to select the in and out points that you have. So it's just going to render, we can actually try it, it should actually go pretty quick.

[00:34:15] Eliot: Handle frame, I'm guessing it's that 

[00:34:18] handle frame. 

[00:34:19] Eliot: That's some extra stuff if you want handles on your frames. The 

[00:34:24] question I was actually going to have for you Dan, because this is an important question, because I think a lot of people probably would render. path tracing if they want to get it looking super photorealistic.

[00:34:34] What's the default renderer that it uses then? Oh, default render is looming. 

[00:34:41] Eliot: Yeah, I, I've actually, yeah, I've never, I've never looked to see how to do it any other way. There's probably a way to do it, but I was always going through things to do it, to be able to do it quickly. Um, 

[00:34:51] okay. So is that there's, so there's no way I could change anything to be able to make it.

[00:34:56] So it uses path rating by default. Oh yeah, you can, you 

[00:34:58] Eliot: can use, um, [00:35:00] uh, I think you probably set it in here. Cause this is, um, okay. Movie render. You said path tracer. Let's, let's see how we do it. Um, 

[00:35:10] yeah, no, it'd be good to know. I know, I know this isn't part of it, but then again, it's all helpful for you because I think it's stuff you're going to probably want to include at some point.

[00:35:17] Eliot: Yeah, before we do that, like, because I think the path tracing is going to be a separate setting. I'm sure we can find it. There's, there's two things that I want to, I want to sort of do. You can click except for now on that. Uh, I think that'll be, it'll be okay for, for the, so there's two things I want to do.

[00:35:34] Eliot: Uh, one, let's, let's go up on our sequencer and like scroll through it and make sure that like the person's there and that went with all of our modifications, the level sequence still kind of works. Um, okay. So 

[00:35:45] I will, I'll get rid of that. And then we go to our camera and click. Yeah. 

[00:35:52] Eliot: It's got a sequencer and, you know, 

[00:35:55] yeah, we 

[00:35:55] Eliot: can just do it in the sequence.

[00:35:56] Eliot: Apparently, 

[00:35:57] uh, I'll ask the camera icon. [00:36:00] Um, Oh yeah, we need to, I'll ask you to do the material quickly. Uh, one sec, let's make a custom instance of that. Move that to get like two frames a second on this, uh, move that into there and then open that up. And it's color Mac here, red, blue, copy media textures and there.

[00:36:26] Okay. Just need to quickly check. Oh yeah. One sec.

[00:36:34] There we go. Okay. Save that. And then that's what I'm using as my default one. Now, because everything was shot in the same studio. Um, so that's done. And now what I need to do is go into my level sequence. 

[00:36:54] Eliot: Yeah. Image play. 

[00:36:56] And then I need to click, I've lost it. Hold on a second. [00:37:00] Then I need, I basically just change the material out.

[00:37:03] Then I Only on the image play? Yeah, 

[00:37:05] Eliot: over in your detail panel. 

[00:37:08] Oh, that's over here. There we go. So 

[00:37:13] Eliot: you just type in MAT in the search and it'll find it material. 

[00:37:18] Okay. Media. Oh, no material into there. And then that should be it. And it was working when I last checked. Perfect. Yeah. That's working. And it's, and it's tracked, and it's tracked completely fine as well.

[00:37:34] Okay, great. I think it's tracked.

[00:37:38] Eliot: Okay. Um, okay. So let's, um, let me think, let me think through this. Let's do one more thing. Let's, um, go in and we're going to rename, let's, you know, save. Make sure we got everything. And then, um, let's go ahead and we're going to go into the, um, uh, into your Windows Explorer. And we're actually going to [00:38:00] rename the, Because she's coming in as a level sequence to see, and when we, we hit a, uh, uh, all right, there we go.

[00:38:08] Eliot: Oh, oh, oh, as I'm thinking through this, give me a second. 

[00:38:13] Yeah, I'm just going to grab some notes real quick. My mouth is doing great and growing.

[00:38:22] Scott: Cool.

[00:38:26] Eliot: All right. I think this is going to work. I think it's going to work. Okay. So we're going to go to, um,

[00:38:35] Eliot: all right. Yeah. So we'll, we'll go to, we can open auto shot. We just want to go to that top level folder that has all the sub sub folders in it.

[00:38:45] What are you saying, into actual AutoShot? 

[00:38:47] Eliot: Yeah, in AutoShot. Let's just open up the, next to the take, just click open so we can go to the top level folder. Uh, down below, actually, we want, uh, the project folder, and we actually just want the, [00:39:00] want the, next to the take. 

[00:39:03] So, uh, next and say, 

[00:39:07] Eliot: yeah, cause we're looking for the actual, uh, there we go to the right of that.

[00:39:11] Eliot: That's the guy. Yeah, that's, that pops us up. That's the shortcut that takes us to the top level of the process sequence. Oh, I see. We haven't run this one. Wait, 

[00:39:21] which are we looking for the next? Are we looking for the next one? 

[00:39:25] Eliot: Oh, we're, oh, I'm sorry. So we're on the wrong, the wrong, the wrong take. Yeah. So let's, let's 

[00:39:29] just.

[00:39:30] Just so I've got on a sec. 

[00:39:33] Eliot: Hey. But hang on. So the, uh, before we move on, so we want to, the current take that we have selected is 9 8 7 8 9. So in auto shot, is that what we had selected as our take? 

[00:39:47] Uh, yeah. 9 8 7 8 9. Yeah. I'm just, I'm actually, I'm just ticking it off so that we know we've done it. So that's done.

[00:39:53] Eliot: Then let's, um, quickly look at that [00:40:00] in, um, Oh, okay. Let's, let's open up our window explorer. Making sure I keep our, keep my, my head. This will be a lot simpler if we code it. All right. So then let's go to that, the top level of that sequence, um, where we have all those Kami XRs, et cetera. While I'm asleep,

[00:40:30] sequences.

[00:40:34] Eliot: Okay, which one do we have? We have 98789. So that's what we just did. Okay, so let's double click that guy. Okay, so then, okay, so we, we're, what we're going to do is we're going to add the same suffix to our CineCam EXR. And then we're gonna have to relink it back in Unreal. And this should keep us. So 

[00:40:58] let's see, 

[00:40:59] Eliot: T01.[00:41:00] 

[00:41:01] Eliot: Yeah, back in here and it's going to, it's going to give us a problem because it's looking for files that aren't there. So let's double click that. 

[00:41:13] Double media texture, 

[00:41:15] Eliot: and then we're gonna need to reset it to Rereport. Yeah, reimport the texture from the file. Now we're gonna have to relocate the file. So where's the file setting?

[00:41:26] Eliot: Is it under, uh oh. You know, cam, cam texture is downstream from the media source. So, oh, media text. Let's double click in media because that might be their media. Media source. Where is our. 

[00:41:44] Media player, media source 

[00:41:46] Eliot: there. Okay, I think media source is what we're looking for. And then, there we go. So our sequence path has an exclamation point in the lower right hand corner.

[00:41:55] Eliot: Yeah, because we're looking for something that's no longer there. So let's fix that guy.[00:42:00] 

[00:42:04] Eliot: And then let's reload that. Let's see if it's going to be. 

[00:42:09] Okay, I'll save it. Yeah, it looks like it's going through all of the different it's relinking everything now. Let me just I'll open that up again.

[00:42:20] Okay. It's got some metadata there. So by saying how long it is. Okay. Strange though. Oh, there we go. That's fine. We've got it. We've got it back again. Okay, great. And then that means it's now updated all of the other ones. 

[00:42:37] Eliot: Yeah. So as long as that's, that's working, we can save. And then, then I think we have proofed ourself against, against being overwritten.

[00:42:45] Eliot: Um, at that point. Um, Okay, great. If we miss something, we can go back and, and so let's, let's briefly, um, let's try rendering just to, yeah, like, and not, not in, not in, um, uh, Luen, but let's just try this and make [00:43:00] sure like when we, you know, it's 

[00:43:02] created, um, it's created that second one again. 

[00:43:06] Eliot: That's weird. All right.

[00:43:07] Eliot: Well, just turn it off. Uh, in terms of there's a little switch to the left, that yellow switch, it's currently on. Just leave it off. That's fine. 

[00:43:14] All right. Unsafe comms trig. Let's just make sure those are going. 

[00:43:18] Eliot: Yep. Those are going the right place. 

[00:43:19] So that's the correct one, file name, format, and then output resolution, custom frame rate 25, overriding system output.

[00:43:28] Um, I mean, all of this stuff I'm guessing is frames. Is that just frame handles? Is that just so you can add extra handles each side or something? 

[00:43:35] Eliot: Yeah. Yeah. And I've never tried tweaking it. So, uh, you know, we can experiment. Let's, let's make sure the base works. Um, and then once we have the base functioning, then we can, we can step out of our, 

[00:43:47] you know, it says custom, custom playback range.

[00:43:50] I'm guessing that's if I change the in and out points within, yeah. Okay. So we've already got that anti aliasing. Do we put that on by, uh, you've, you've done, have you done [00:44:00] this based upon Josh's tutorial, 

[00:44:03] Eliot: you know, I think I just kind of put something that was a basic level in it, you know, and, and, um, Uh, we can update the settings and I think you can, I mean, you can tell it to render a bunch of frames to get a higher quality thing.

[00:44:16] Eliot: And that was the sort of as many as I could stand while I was testing. 

[00:44:22] When we render this, this is going to import into, well, I guess we'll import into After Effects and see what happens. So I click accept. And then render local. Yeah. Um, so this is my crash my machine. If it doesn't save everything, let's let's say, yeah, no, I've already saved all.

[00:44:38] I'll do it one more time. Just to just to not choose files to save all files already saved. Okay. Render local. I'm removed so slowly with my mouse. One or more jobs in the queue has an invalid slash null sequence. Okay. Well, I should get rid of that one. In other words, then. Okay. Right. Uh, render local.[00:45:00] 

[00:45:00] Eliot: Invalid or no sequence. Okay. Give me a second. Oh, Oh, Oh, because we automatically generated that based upon a sequence name and then we changed the sequence name. So let's, uh, back in movie render queue. I see what it's doing. Um, let us, uh, Okay. Yeah. Job. Okay. It's the job name. And then on the sequence, we're going to reselect that sequence.

[00:45:25] Eliot: Whoops. Don't, you don't need to change that. 

[00:45:28] I've accidentally done that. Oh crap. No, it's back again. There you go. 

[00:45:32] Eliot: So the sequence we're going to, uh, yeah, we can, we can change the job name and have the, the, the suffix. So that doesn't get overwritten. 

[00:45:40] It's correctly named, but then again, I've redone them all, but no, I need to know, I mean, I, it's not correctly named.

[00:45:46] I still need to do something. So do I need to add my, my suffix to it now? Yep. 

[00:45:52] Eliot: Let's add your, add the suffix to it. This has really given us a map for all the things that we're, we're gonna have to, um, adjust when we [00:46:00] do this 

[00:46:01] S seven CT zero one. I'm just gonna copy that again, just in case. Ah, project. I'm guessing that's what, that's meant to be the sequence it's referencing.

[00:46:13] Eliot: Yeah, for under the sequence, then, then there's a, should be a drop down. I think we only have one sequence we can, there we go. Uh, so it 

[00:46:20] is that one. 

[00:46:21] Eliot: Yep, that's the one. Click on that. The 

[00:46:23] fact that it's red, does that make, does that have any bearing on it? 

[00:46:27] Eliot: I think so, like that's, that's now what it thinks.

[00:46:33] Eliot: Hmm. Why is that? That's there's where our problem is in all likelihood. Uh, we've named 

[00:46:39] the shop so that the folders, but the thing that's strange though, is that the folders match. So in other words, we've named it correctly.

[00:46:50] Also show up my project. I mean, we've got the, we've got the stuff, uh, the suffix on that and then sequence and the suffix that, but that's. Yeah, it's red, [00:47:00] which makes me wonder whether that's a problem. I mean, I can try, should I try again and see what happens? Yeah, let's, let's try. Let's let's just check your config file.

[00:47:08] Hasn't changed at all. So it's still rendering there. The EXRs name. Okay. So except on that, render local. Yeah. It's rendering. Render preview. 

[00:47:27] Eliot: It's saying, yep, she's low quality compiling shaders. I'll do that for a while. Let's I just, let's, this is great. Cause I, what I want to do is make sure we can go all the way through the loop and then verify everything.

[00:47:39] Eliot: And then, you know, and then, then, then you're out. 

[00:47:45] What we could do is rather than processing this whole call, we could quickly talk through it and I'll just record our audio and then we can put that into. To chat GPT or [00:48:00] Claude, and then that will give us a step by step of what we've done. So I do that all the time, but that's what I do now.

[00:48:07] I just, I talk to AI, I've been, the only, the only thing I've been talking to for the past four days is AI. It's so depressing. 

[00:48:17] Eliot: It's surprisingly powerful. Uh, let's see. 

[00:48:21] Well, they're great. They're great. People seem to think they're sentient and they don't, I don't know. Of course it's not sentient. It's just very, very good at probabilities.

[00:48:37] I do, I don't get me wrong. I, I mean, I'm, I'm obsessed with the AI. I mean, I, I use it every day. In my workflow. In fact, this whole project is about using the latest tech and then figuring out like, I'm like half the stuff I've been working with either hadn't come out when I started this project. It's just like, the problem is though, it's, it's always [00:49:00] the legal basis.

[00:49:01] You know, I'm having to put it through our legal departments. They're going, hold on a second. We, is the training data safe for these AI bits that we're doing? In fact, this is the only bit that's actually safe. Which is, which is iPhone virtual production, um, so it's producing frames. 

[00:49:20] Eliot: Yeah. It's doing the warmup frames, doing the 

[00:49:22] first 

[00:49:23] Eliot: 120 of them.

[00:49:24] Eliot: So 

[00:49:25] this isn't, this isn't an Unreal thing, is it? This is something you'd probably thought. 

[00:49:29] Eliot: Uh, no, this is, um, this is just Unreal's movie render queue. And what it's doing is, is then we just, we just scripted it to, to render the image sequence. Um, and for each, each frame to have, there may be some strange things going on.

[00:49:43] Eliot: Um, To, to render it, you know, the eight sub samples to get a motion blur and stuff like that. And, and anti aliasing it's kind of like a minimal basic setup that, you know, you can kind of, uh, go on from there, but at least it puts stuff usually in the right place and the XR files and, you know, just kind of puts, puts [00:50:00] everything where it's generally where it's supposed to be.

[00:50:02] Eliot: Okay. 

[00:50:03] I see the, the main issue I've got here is that is, that is rendering a null camera. Oh, that's not, that should be moving right now. And it's not. 

[00:50:15] Eliot: Oh, okay. So let's, 

[00:50:16] let's, there we go. Let's cancel. We might as well cancel it. Go 

[00:50:19] Eliot: ahead and cancel. Um, is our camera locked in our, uh, 

[00:50:23] So I've canceled that.

[00:50:25] Okay. So this is 

[00:50:26] Eliot: exactly what I want to 

[00:50:27] debug. What's our message log? Hold on. Let me copy this. I'm just presuming I can copy it. Um, let me copy that into a,

[00:50:47] there's your, there's your key frame code actually there. Right. Right. Right. Right. I was trying to check through it to see if I could change file names, and obviously I couldn't, but, um, let me [00:51:00] Yeah, it's going to be a bit much to do that. 

[00:51:04] Eliot: Okay, so what would be going wrong? Well, so, oh, it's probably, it's probably assuming one camera.

[00:51:12] Eliot: So let's look at the uh, let's look at our movie render queue 

[00:51:16] due to temporal subsampling or 100 frames evaluation will occur at sort of shot boundaries. Is this got anything to do with me canceling it or is this it? 

[00:51:23] Eliot: No, no, that's, that's, it's um, it's just because it's telling it's the subsampling is going to occur before and after the, uh, the shot boundaries.

[00:51:31] Eliot: So let's look at the key thing is why is it not rendering our camera? So let's go look at our movie render queue 

[00:51:37] and let's click on 

[00:51:41] Eliot: the config. Okay, so let's see, let's click on camera. 

[00:51:50] Render all cameras, but then it can't do that because we might have, if we have more than one camera in it. 

[00:51:56] Eliot: All right, all right, so let's see, let's cancel that.

[00:51:59] Eliot: Um, [00:52:00] let's, uh, unspin under the job next to like, you know, myproj, uh, over to the left. Let's, um, let's look at what's under there. Yeah, let's drop the spinner. Okay, so let's edit that. 

[00:52:18] Setting, can we add camera?

[00:52:24] That's 

[00:52:24] Eliot: interesting. 

[00:52:25] Oh, but yeah, the, um, Let me look at 

[00:52:29] Eliot: it, what it looks like on mine. Um, 

[00:52:32] So, should that have, A specific camera in there. 

[00:52:36] Eliot: Well, that's what I'm going to check. I've actually never, I've never seen that. And so we're in new territory because we're, we're like switching all these sorts of things around that were, that are scripted.

[00:52:48] Eliot: Uh, so I'm, I'm, I need to, well, all right. I need to load up my. An example of mine and look at what it looks like. Um, I'm just popping up on real on my end to see what our [00:53:00] script generation is doing as we're a little bit brand new, brave new world with, uh, and, but it's good. I mean, we, this is, this is exactly what we want to figure out 

[00:53:08] before.

[00:53:10] It's on the forefront of what, what, this is how you, yeah. It's how the next big thing happens. It doesn't, doesn't just. Happen overnight without, I mean, I just remember all the startups I've been at and the, um, the countless times where we had the same thing with customers and having to debug stuff, like in hotel rooms the night before to show them, be like, look, it all works.

[00:53:31] All 

[00:53:34] Eliot: right. Mine's a compiling shaders. It's going to come up in just a second. Because then I want to understand when we scripted it, is it, is it picking a camera and then, then I'll know what the, um, what the normal default behavior is, and then we can kind of recreate that in the, in the script, uh, but what does this.

[00:53:52] Do we have to select a camera before we render? 

[00:53:55] Eliot: Well, that's, that's what I'm wondering is whether we, um, the script defaulted to selecting [00:54:00] the, the, that camera and then we renamed it. So maybe it's, it's just sort of having a bit of a problem thinking. 

[00:54:05] Link. Yeah, so I might need to manually name, but maybe, yeah, you're right.

[00:54:09] No, that, of course it, that's why it's happened. It, it was referencing that camera and now it's no longer referencing that camera. So we need to find a way. So let me just 

[00:54:17] Eliot: look at this on my, on my setup. Um, and let me, uh, load up my level. Okay. So there's the level. There we go. Let me load up my sequencer.

[00:54:33] Eliot: Okay. So I am in my level and here I will, I can share my screen for a bit. Okay. I've got a call in about 15. So I'm going to have to try to, uh, I can get, I can rejoin after that. We have to do that. Um, 

[00:54:48] I'm going to be working on working late anyway. Okay. I'm just going to carry on working on the project.

[00:54:55] Let 

[00:54:56] Eliot: me switch to my, um, my unreal screen there. [00:55:00] Sure. Okay. So let's see. So then I'm going to look at my, and this is the same. So let's take a look. Huh? No shots, any camera actors. So it doesn't have that on mine. So let me look at where I 

[00:55:12] think I just found something. Oh, no. Okay. I found something. On output, output height, output width, shot name, camera name.

[00:55:26] I mean, I'm, well, actually, no, there's that referencing level, sequence name, sequence. Can you reshare yours? 

[00:55:33] Eliot: Let's, let's see what this, what this could be. 

[00:55:35] Yeah, I've just, I've just found on the output at the bottom, the, some of that dialogue that's created, um, on the second. Here we go.

[00:55:49] So let me just copy it. Trolling on that into notepad.[00:56:00] 

[00:56:01] Okay. So these are the different 

[00:56:04] Eliot: strings for file format. Then let's open up that level, that level sequence. And I just want to understand how movie render queue picks. Um, yeah, let's, let's open that level sequence and sequencer. Yeah, let me sequence. 

[00:56:21] So let me just get down to that 

[00:56:24] Eliot: sequence. So here we go.

[00:56:25] Eliot: And right. Yeah. Okay. And I, right now you just have the one screen shared, so I can't see the other side. 

[00:56:32] You can't, you can't see it. Well, you 

[00:56:34] Eliot: can share both. Um, where's my share button. 

[00:56:39] I'm Lee. Oh, there it is. It's down there. Share. Okay. So I'm sharing screen one and I'm sharing screen two. Cool. That's sharing.

[00:56:50] Eliot: Okay, so let's see. So that camera is locked. So why, for rendering, that should be the [00:57:00] camera that we are Sending to that. Um,

[00:57:09] Eliot: there's the lock track. So why let's click on that, that movie render queue button again. It's one of that, that, that, that job should be, um, there you go. That's the guy. All right. Let's look at our settings. That sequence, we have our sequence picked.

[00:57:33] Eliot: A map is picked. Our job is picked. Let's try rendering again. I want to understand why it was. And Oh, and the camera is moving. Let's just, uh, let's, uh. Uh, it's changed it to

[00:57:49] R5C. Wait a

[00:57:55] second, is that correct? Render, uh, render EXR, [00:58:00] Cinecat, okay, well, oh no, it is there, there it is. Hold on, so it did actually, it looks like it did, if that is what it's supposed to be. That was created at 6 39. That's interesting. When press rendering, when we press render, it did create the e XR folder. So we don't need this one here.

[00:58:23] But the problem is, if that's automatically creating that, then that means that we don't have control here over the naming convention. That's 

[00:58:33] Eliot: peculiar. I didn't see that coming. Um, well, okay. So let's, we can, we can, if we can get it to render. Then we can rename, rename the file after we render. So I think the key thing here is figuring out why the, the camera motion isn't being rendered.

[00:58:49] Eliot: Rena, that, so I'll get rid of this for now. Yeah. And get rid of that for now, and then we'll, we'll, 

[00:58:55] um, well actually I'll just get rid of it and let it render itself. Then again, it [00:59:00] can't render it unless it's got, 'cause it was gonna do it in preview, wasn't it?

[00:59:08] So let me delete that and then maybe it will automatically default to that folder. Now, if I, um, let me, let me open that up again and see what happens. So file format, output directory. Oh, obviously it's gone to the one that we thought it would go to. And then it's going to choose direct. That's another glitch there.

[00:59:31] Actually, it should open up to what we want it to be. 

[00:59:35] Eliot: Yeah. Let's, let's leave that guy there for a second. And, um, Oh, Oh, Oh, I see what's going on below that file name format. 

[00:59:43] Yeah, there we go. So it is automatically creating that directory. I'm guessing it's just defaulting to preview them. 

[00:59:51] Eliot: Yeah, that directory created, then we just need to put that directory into the file name format.

[00:59:56] Eliot: Yeah, that's it.[01:00:00] 

[01:00:03] Eliot: Oops. Yeah. 

[01:00:05] I'm guessing. Do we need. Oh, hang on. 

[01:00:08] Eliot: Let's, uh, let's, uh, let's undo that for a second. Cause you had the correct directory name in there. Uh, 

[01:00:14] no, it's the correct one. I'm saying, do we need the. No, no. So the output directory, we 

[01:00:19] Eliot: just do the directory and then what we're going to do. Uh, Oh, hang on. Um, uh, I think you broke the output directory.

[01:00:28] Eliot: Can we, um, back up a couple of steps? So we had the original string there. Okay. Uh, they just went to your, uh, let's just control Z a few times. Let's get back to the original, original string. 

[01:00:39] Okay. Hey, Oh, no, it is actually, it's cause I copied it from file name format, that's why, um, thinking that had the, okay, we can just, yeah, 

[01:00:55] Eliot: go to a manual way.

[01:00:56] Eliot: That's fine. 

[01:00:58] Okay. So [01:01:00] that's production. Camera data. R five C.

[01:01:10] Five C sequences. 

[01:01:12] Eliot: Yep. 

[01:01:13] My project. And then, ah, crap. What was the name? What was the file type? So I've seen seven, take one. It's 

[01:01:20] Eliot: a 

[01:01:20] 9, 9, 7, 8. Seven eight. And then Render xr, which is here. Select folder. 

[01:01:28] Eliot: Yeah, we can just, we can put, we can leave, and then, uh, okay, what is, okay, okay,

[01:01:38] Eliot: all right, that's okay. 

[01:01:40] That's all good, so accept. 

[01:01:43] Eliot: Yep, we can accept that, and then, let's try rendering our local, I want to understand why, oh, let's, let's scroll back and forth into timeline first, make sure we have active camera motion. Sorry. Sorry, I'm going to cancel that. Cancel. 

[01:01:56] So we should, we should 

[01:01:57] Eliot: have, see what our camera motion is [01:02:00] supposed to look like.

[01:02:01] Eliot: And we can toggle off the image plate file. We can just, uh, tell it to not be spawned. Um, yeah, just down, uh, that is actually the camera. So there it is. That's the one, unspawned image plate. Now, why? Okay. There she is. So then when we scroll back and forth, we should see, uh, we should see motion in our camera.

[01:02:27] Okay. So. Yeah, that's correct. 

[01:02:31] Eliot: Okay. That was as we shot it. That's what we should 

[01:02:36] be 

[01:02:36] Eliot: rendering? 

[01:02:37] Okay. That's what we should be rendering, yeah. 

[01:02:40] Eliot: Okay, so then let's, um, Uh, let's try, let's try rendering again. Let's see what we're, uh, where we're at. It 

[01:02:49] might be safer if we do render the image plate with it, just because we'll then definitely know that it's rendering correctly.

[01:02:57] Eliot: Except it won't actually, um, it's [01:03:00] actually set up to not render that. Um, and it does weird things motion wise. I tried it and there's something, there's a reason why we set it to not, not render by default. All 

[01:03:10] right. So I'll go up to, I'll go up to the play button. Let's just quickly check. Cause I, I remember cause I did it manually because it did work when I did it.

[01:03:23] Um, but I remember having to press something specifically. up here. So I think I have to select the camera. So let me camera.

[01:03:38] Okay. So camera, then we go up to render this movie. The camera is still selected. Let's just double check. This config is saved as we expected it to. Yep. Render EXR, deferred rendering, all that stuff. EXR sequence, 16 bits. Autoshot. [01:04:00] That's correct. That's the correct map. Render local. Okay. Let

[01:04:11] me, um, move this. I just can't.

[01:04:17] Why is it doing that?

[01:04:21] Is the camera moving? Definitely the camera is moving. Oh, it is. You know, it's, it's moving ever so slightly. It looks to me. Oh, I know what's happening. I know what's happening now. Hold on. It's because. No, it is working. It's because there are three different versions of that model and they haven't been. So I think what's happening there is it's, it's basically enabling all of them.

[01:04:56] Eliot: Okay. 

[01:04:56] Um, cause I've got an, I've got a model for the interior and then [01:05:00] I swap it out for an exterior model. Cause I want to do everything within the same project. Sure. So I guess I need to, but the annoying thing is you can't rescale things. So I had to, can I, I need to put it in layers. 

[01:05:15] Eliot: You put them in layers and then, um, turn off and on the layers for the different render passes.

[01:05:21] Oh wait, so can we, within, I think we can put them within the, the sequencer, can't we? We can put all sequencer and then turn them off via that rather than having to go through, because otherwise I've got hundreds of meshes. 

[01:05:37] Scott: Um, 

[01:05:40] so let me, I've never actually done, so I'm I'm actually pretty new with Unreal, I've only been using it about three weeks or a month for about a month.

[01:05:49] Um, so pretty sure I can add actor to sequencer. The question is 

[01:05:57] Eliot: Have you used layers? [01:06:00] Have you used layers at all? Um, So are you talking about folders? Just actually layers. So, uh, they're, they're this, I think this is going to be the right path because this is how we specify which things are going to be exported.

[01:06:14] Eliot: But then you can like turn on and off like different things based on, on the layer set. So, um, so for example, if you, if you just select all the, um, uh, let's go under window and then we can turn on layers. 

[01:06:29] Window layers. 

[01:06:32] Eliot: There we go. Oh, 

[01:06:32] of course we can. I know what you mean. We can, we can just send all the layers to, to, uh, so all I have to do is go through, cause that's what we did when we did the, um, exports, the exports.

[01:06:42] Yeah. Um, so I go through all of these, the reason why I've, I've used. Lots of, um, meshes instead to do folders. It's because I want to scale everything in relative, you can't scale things in relation for some reason, if you do it in folders or groups. [01:07:00] So, um, so now if I put, uh, can I just put that You have 

[01:07:05] Eliot: to go into the, with them all highlighted, you need to open up the, uh, the layers panel, uh, and then right click and then make a new layer.

[01:07:15] Eliot: Uh, 

[01:07:16] yeah, I'll drag, drag access to layer. Actually, 

[01:07:19] Eliot: uh, when they're all selected, you can just right click in the layers, uh, panel. Oops, careful. 

[01:07:24] Oops, sorry. Right click in the layers panel. 

[01:07:27] Eliot: Yeah, and then, uh, 

[01:07:28] It's not letting me. Maybe it's got something to do with the fact that it's on another screen. Because I'm, there's, there's, or I can just drag.

[01:07:35] It says, Well, that's weird. 

[01:07:40] Eliot: Um, 

[01:07:42] Greg actors from the outline. Let me just try it with a single actor 

[01:07:45] Eliot: We can we can actually just try it right clicking and making a layer. Let's let's make sure layers actually work Hey, you might do you have anything weird in this like some sort of strange? Um world construction Um, 

[01:07:57] no, it's just it's just um, I mean other [01:08:00] than an hdri Let's just try right clicking and by 

[01:08:03] Eliot: by itself and and it you can't you can't make a layer.

[01:08:08] Eliot: What's that?

[01:08:13] Eliot: Okay, um, that should just be, should say, you know, like, add create layer or something like that and right clicking is not, not a thing. Huh, okay. Let 

[01:08:26] me see if it's got anything to do with having, because I think this, this could actually be a bug within, um,

[01:08:43] layers. Has it got anything to do with the fact that I'm, ah, you know what it might be? Might be the fact that OBS is recording. I don't know why, I'm just getting an inkling that it might be or not. Let me save [01:09:00] all and close 

[01:09:03] Eliot: OBS. I've got, I'm also, I'm also recording over here, so I've got, 

[01:09:08] yeah. And I'll just drop into 

[01:09:10] Eliot: G script and send you the link.

[01:09:11] Eliot: So let's, uh, 

[01:09:13] I got, I got to get off 

[01:09:14] Eliot: in just a couple. So I want to, 

[01:09:16] what I'll do is I will in the meantime, try and figure out, and then if you jump back on again, we'll just let me know when you want to jump on again. Um, So let me, but 

[01:09:28] Eliot: at least if the camera is actually moving, that's huge. Cause that means that we're actually rendering the track over when rendering the track.

[01:09:34] Eliot: And now it's kind of a question of getting the part we want to display. I 

[01:09:39] think it might be. I don't know. I don't know that. I'm sorry. I've just got a unreal, unreal, unreal. I can't find it. My brain is going to mush. I've got so much, I've got to deliver everything by the 26 VFX shots. 

[01:09:56] Eliot: All right, well, we will, uh, I think this [01:10:00] gets you going with the, uh, well, I think we've about got it.

[01:10:05] Eliot: I think, um, so I'll tell you what I I'm going to sign off. Let me know, can you just send an email? Let me know if this worked. Yeah, you'll, you'll figure out how to get the part you want to display and just make sure it rendered correctly. Cause once we have that, once we've closed the loop with that rendering, then, then, you know, uh, then, then you, then you're moving, um, and then the other things can come in.

[01:10:25] Yeah. You're still good to jump on them a bit later on. 

[01:10:28] Eliot: Uh, yeah. Let me, uh, see what my, see what the schedule looks like. I think today's a little nuts, but, um, I'm going to figure it out. Um, that'd be 

[01:10:35] great. So I'd 

[01:10:36] Eliot: appreciate 

[01:10:37] it if you 

[01:10:37] Eliot: could just cause I. Yeah, I guess I should, I should be able to jump on in an hour or so, something like that.

[01:10:43] Eliot: And, uh, 

[01:10:44] all right. Talk to you soon.