Office Hours 2024-09-23

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Eliot: [00:00:00] Hey, morning, 

Joe: morning to you too, my man. 

Eliot: All right. How's the, how's the, uh, how's the crypto bat intersection going? 

Joe: Um, so, uh, I was able to, I mean, ish, like that first one went, but I'm still like trying to figure out how to like, meshes and like have it where I'm like, okay, how do I get half the car? 

Eliot: Where do I put the joins?

Yeah. 

Joe: Yeah, where it joins. So I'm like still trying to kind of figure that out. Um, 

Eliot: you know, you might think about doing it a simpler way, which is I take your existing mesh and just cut off the front half of it.

Joe: Yeah, well, I guess that's what I'm trying to think, like, figure out how to do is like manipulating the meshes or doing that. I'm like, the 3D stuff is still new to me, so those are the kind of things that I'm like still working on. 

Eliot: I wonder if, um, Let's see [00:01:00] what, what Unreal has for, um, I mean, this, yeah, this, this is an area of Unreal.

Like, I'd bladder it, you know, edit mode and move things. Unreal, actually, I don't know. And I think they just added some of the static mesh editing. Um, or, but what's, what part do you want to go through? So it's going to be a learning process for me too. 

Joe: Oh, right. Um, yeah. So, I mean, I had a couple things, so I did the unreal to blender stuff, which I think was working.

I can show you, but I haven't been able, there's no like ground planes that come in, um, like for some reason here, I can just like show you, this was a scene that I, uh, took in from unreal to blender, um, here. Um, so it's like the, The, uh, it looks like all the objects in it and a lot of the materials did come through, but yeah, but for some reason, no, no ground plane.

Eliot: Oh, I [00:02:00] can probably tell you why it's probably a, it was unreal, probably generated that as like a, maybe a landscape feature or something that doesn't, that doesn't come across. All right. This is, this is cool. So it's got a little, uh, like Halloween seam thing going on. 

Joe: Yeah. That was, um, so like the, so I, I, I wrote you guys that email yesterday.

Oh, yeah. Uh, and so I was like, you know, they wanted to, uh, yeah. So the materials were coming through on the odd, which, you know, I was like, okay, that's, that's cool that I can at least get objects and Mm-Hmm. , uh, things. I also got the car. From the unreal in, and it looks great. So it's like, yeah, from unreal.

So like smaller objects, more contained stuff. I get pretty much anything that just doesn't have like a floor plane or a light that uses that landscape feature in unreal seems to come through pretty well. That's cool. Um, so, so yeah, you know, I kind of just wanted to just kind of get your thoughts a little bit.

I didn't, sorry if it was like a [00:03:00] lot of an email. Um, 

Eliot: no, no worries. Honestly, I skimmed it. I haven't gone deep. Uh, just, it was a crazy weekend. And, uh, so the, we're, I'm going to be gone now for the next week, a week or so. So, uh, everything's kind of getting crunched in preparation. What am I 

Joe: going to do about our office hours Elliot?

Oh! What am I going to do? 

Eliot: I want to email and stuff, but I'll, I'll definitely be a little bit, uh, No, no, you go for a few days. But, 

Joe: uh, you know, so, I mean, so they were talking about, you know, cause, so the main thing he just wanted to kind of sync with you guys, like nothing, like a pressure thing. I've just been talking this up so much 

Kumarswamy: and he's 

Joe: just like, okay.

And he knows me, but you know what I mean? He's like, are you do, I was like, I'm learning it, but, and he's like, okay. He's like, well, I would love to meet them and just to kind of like, just to kind of have a chat to be like, I'm about to pitch this to a lot of major players. 

Eliot: Right, right. [00:04:00] And 

Joe: he's just like, I just kind of want to know, you know what I mean?

I'm getting the sense from him that he's like, hey, if we're having a problem, like, could we call and could we strategize? Is there a way? Because the idea he wants to try to bring money into this, you know what I mean? So we can like start to like make some because he's like, look, I think that we can get some big, there's some cool sponsorship opportunities.

He's like, but for the first couple, he's like, I need to like prove this to them. Sure. He wants to go after next year because like their main events yearly are Superbowl. Sundance, Stagecoach, Coachella, and you know, and just, and growing. That's just like, those are like the five main pillars that they have now.

Um, and you know, you're talking like major presences, you're huge, you know, they run all the VIPs for all those things. And one for me is Sundance, which I think, Is like, you can't ask for a more like, right. People would be like, what is this? 

Eliot: Right. 

Joe: So, you know, like, so for me, and I know that's all coming next year.

So, you know, we were talking, [00:05:00] he's like, Hey, I've got this Halloween thing where we're just inviting a bunch of VIPs, uh, to like, come to like their, they have like this gallery next to one of their clubs. They're like, we do this thing every year. He's like, He's like, so this one could be like a low pressure, 

Eliot: like 

Joe: no, no, no pressure thing.

He's like, nobody expects this. He's like, you know, he's like, but if we can use this, he's like, I'm, you know, he would bring me out and he's like, you know, come, let's demonstrate it and see if, you know, if it's working or whatnot. 

Eliot: And thanks, buddy. It is a call, sweetie. I'll look at it in just a little bit.

Hang on. I may have to do some organizational stuff here.[00:06:00] 

All right 

Joe: It looks like we got a couple other peeps joining. Oh, fantastic. Fantastic [00:07:00] later. 

Eliot: Oh, That's exciting though exciting of it. And so the it sounds like the key technical thing is Is so this is basically going and the question is sort of the, um, the, uh, the ground, um, uh,

Joe: yeah, the ground plane. And then pretty much with this, my goal, what I left to try to figure out this week is like what you were talking about. You were saying, like, get things into blender because my goal is to try to get the full environment on to jet set 

Kumarswamy: so that 

Joe: I can just do those kinds of clips all just through the iPhone.

Um, great. I agree. That would be the goal because then, you know, and I think it could be a really cool feature way to be like, look at jet set, give it to people to be like, you don't need all the big cinema, like, look what we're doing in camera. So those are some of the, you know, some of just the initial value ads that I saw for jet, you know, cause my thing is always like, well, what is in it for you guys?

Right. So, 

Eliot: right. 

Joe: That so we can continue [00:08:00] that. But my main thought was like, okay, my goal is like, all right, I have the background here and all right. I want to get this looking good in jet set is the goal. So, um, that was like something, cause I just remember you were right. I had that where you're like, get everything into blender.

If you can't, 

Eliot: right, right. So the part of the, that is usually will happen, happen next. There's a couple of things that are worth looking at. So if you. If you hang on, I have to do a little bit of a little bit of familial organization.[00:09:00] 

Kumarswamy: Okay, we're 

Eliot: back. All right, 

Joe: we're 

Eliot: live. Yeah, it's going to be, it's frankly going to be a little nuts today, but that's all right. So, okay. So when you [00:10:00] screenshot, so, so here's the trick with the blender stuff. And, um, so Unreal, when it, when it imports and imports a series, uh, you can pop up your blender and we'll, we'll, I'll show you kind of the underlying pieces of it.

This will be one of these interesting things to kind of think, think through a little bit. Um, 

Joe: because I remember there was also options to have like animations come through as well. Yeah, yeah. You can like some basic stuff, have some like ghosts flying around, you know what I mean, like a time or something in the back, you know, just like little animated elements, you know, maybe put like a text thing that's like tau Halloween event, you know what I mean, something like that.

Eliot: Let's first figure out what kind of materials we have in there. So we can hit Z and go to material preview and let's, let's see where we're at right now. Okay. So, okay. So the materials kind of came through. So we have, we have, uh, the, the sort of, all right, that's, that's all right. That'll that's that's, uh, the thing that will come up next, and this is something that's, in progress [00:11:00] to figure out how to, how to approach it.

Um, the way, uh, Pat who's one of the people we work with did the, got the outpost stuff to look really cool is, is he did light baking, right? So, and that, that turns out to be a decent amount of work to get. Uh, the textures to kind of come through, uh, or to, excuse me, to, um, what it, what it comes down to is you set up your lighting and then you bake your lighting into, into the different textures in the scene.

Um, this scene has a ton of small, intricate railings, and I'm just kind of rethinking it, looking at that. Um, where I wonder if the right approach is, um, let me think about this for a second. Let's see what, what kind of material setup is, is on these things, for example. So let's, let's click on the shading tab.

There we go. And then you can click on, say, the pillar or something like that. So we can kind of get a see, an idea of what the, of what material kind of [00:12:00] came over from Unreal. So, okay, so we have the usual sort of, um, Diffuse normal and a diffuse roughness normal kind of map on that. Okay, and that that can work.

Um, just thinking through the best best approaches on that. Um, because you could you can try exporting that now and just kind of seeing what you've got. In, um, uh, in jet set, just to kind of see how it, how it comes through. 

Joe: Export the whole scene. 

Eliot: Yeah. Put a peanut, put a scene locator in there, you know, and let's make sure the scale is correct.

So that's, that's the other thing. Let's, um, just for, uh, you can shift, right. Click on some, some, uh, like on the floor there somewhere and just hit shift. Yeah. Shift, right. Click. Yeah, there you go. So that's, that's your 3d cursor that you can do shift a. And then we can add in a block. Uh, so we'll do add mesh.

There we go. Uh, that's very top. Let's just put a cube in there. Let's just see how big the cube is. Okay. Yeah. So I think that's actually roughly correct scale because the cube [00:13:00] is. Um, yeah, two meters. So it's about three feet of sticking up to the, to the top of that. That's pretty close, you know, so you can go ahead and hit X and just delete the cube.

There we go. And then, um, let's put in a scene locator somewhere. Uh, so you have a place to stand. That's a good spot. And you can hit shift a. And let's go to, uh, the empties add a, there you go. Add one there. Let's check out which way the axes are pointing. So over in your object menu, I'm gonna grab a little annotator.

Yeah, that's it. And we can open up the viewport display. And we can check our name and access, axis, there we go. Okay, so, uh, and let's scroll back just a little bit. And you can type in, in front. You can check in front, and then that way you're going to see, okay. So I 

Joe: rotate it this way, right? Yeah, 

Eliot: so you can actually, the Blender shortcut keys that are great are, you can just type in rz90.

Um, and that's, uh, and that'll [00:14:00] rotate around the, uh, oh yeah, that works, that works fine too.

Fantastic. Okay, well let's, um, and then, uh, yeah, let's rename that. So let's, uh, scenelocke underscore walkway or something.

Yeah, I see, yeah, scenelocke cemetery. Okay, that sounds good. Yeah, let's, let's try exporting this and seeing, uh, kind of where we're at on it. 

Joe: Uh, do I need to select everything or just having it highlighted on the screen? 

Eliot: Right now you can just, we can just try exporting everything. Um, and I, I don't think there's much else in the scene 

Joe: USD, right?

Eliot: Yep. Universal scene description. And then, uh, you have to pick a spot, uh, they can find again. All right. So then we can go open up auto shot. Oh, it looks like it's exporting. Oh, okay. [00:15:00] This might, oh, this might not be a small scene. Let's see what else, what else is in that scene actually taking that long to export.

Let's, let's open up your outliner and see what other things are, uh, are lurking in there. 

Joe: Oh, it's not responding. 

Eliot: Yeah. Oh yeah. It's still, it's still, it's the USD export is at 11%. So thanks. Might be a little heavier than we thought. So that's, that's the one where you go, Hmm, what was, what's in the scene?

Let's go find out what was, can I just 

Joe: escape this? 

Eliot: I think you can escape. Oh yeah. 

Joe: There it is. Canceling. All right. Let's dig in.

Eliot: So let's open up the outliner. Let's kind of see what's, what else is there? 

Joe: It's still like in the, 

Eliot: Oh, it's still, it's still in the, you know, cancel phase of things. I'll say hi to, to, uh, uh, Kuma Swami and, uh, and a bad beetle. 

Joe: Hey guys. 

Eliot: Hey.

And, uh, BadBeetle, what, uh, what, what things [00:16:00] are you, are you looking at today?

Kumarswamy: Oh, maybe just audio. All right.

Eliot: Are they muted? Um, Oh, let's see. He unmuted for a second. I didn't hear him though.

Didn't like that.[00:17:00] 

We have to recreate the singular coder.

That was.

Oh yeah. It's in the object. Um, uh. I 

Joe: thought it was, right? 

Eliot: Yeah. It's under object and then go down to viewport display. Oh, viewport display, that should do it.

Joe: Okay. 

Eliot: There we go. Alright, so then let's, let's, uh, let's hit save. [00:18:00] 

Joe: Just did. 

Eliot: Alright. Oh, and rename it to a scene locator. Oh, 

Joe: yes. Thank

Eliot: you. Cool. Let's save that. And, um, then let's open up our object. Let's, uh, uh, bring down our, um, our, uh, window. I'm just kind of curious where, if we have something heavier in there than we realize.

Okay, so SM is just static meshes. Okay. Frame two, frame three, uh,

and then, okay. So we have a lot of cine camera actors, um, obviously. So it's probably set up as different default default 

Joe: shots that they had set up 

Eliot: out of curiosity. I don't think lighting is going to convert over really well, but let's just sort of see, um. [00:19:00] Let's hit the, uh, uh, let's see as limit on the file.

We can upload a live craft. Okay. Let me, uh, answer him real quick. So I have a rough guide on our resources. Um, there we go.

And I was right where, there we go.

Okay. So go ahead and type in Z. I'm just kind of curious what, what kind of, yeah, Z and, uh, Oh, wait, yeah, 

Joe: on your, 

Eliot: on the, there we go. And then go up to rendered sort of see what it's going to look like. Uh, which is to render it with our, uh, settings that came over.

And I may have accidentally told you to render it in [00:20:00] cycles. In which case, uh, please bear with me for a sec.

I'm just thinking.

Yeah, okay. Okay, so actually I have some kind of nice, I have some nice Halloween esque lighting going on. And if we scroll out, what else is outside of this? Um, okay, so it looks like there's a, Oh, it's like an array, oh, wait. Is there like an array of point lines? Was this part of a larger, um, scene? 

Joe: No. 

Eliot: Okay, that's interesting.

Um, well let's, let's clean up some things. Let's, um, what happens if we, uh, uh, you know, click on the point highlight and then [00:21:00] shift click down on all these other point lights? Uh, Because the, actually before we dive into all the details, let's think about this for a second. Because what we want is to get kind of a nice sort of Halloween y scene.

Um, and the part that's tricky, of course, is that, Um, the lighting model inside, inside Jet Set, inside the phone is just much more limited. So, well, then we'll, you know, then we'll have a normal 3D stuff where you just add a bunch of point lights and, and, and render it, and it can't really do that. It can do, um, Gaussian splats.

Well, that's, that's going to be a bit more advanced than probably what we want to do here. Um, I'm just, I'm just thinking through the best way to, to get lighting in from, you know, point A to point B. This is, this is always, this is one of the reasons why we started doing Gaussians. It's because of the limited lighting model on the phone.

Um, but you know, I mean, on the other hand, what we could do is just try it. Right. Um, it may just be, we export this, let's, let's give it, let's, [00:22:00] uh, You know, let's try it and that's, it might take a while for the export to happen and, but we'll, we'll learn something as, as we do it. Um, all right, so let's go ahead and just do it to our export.

It's just going to take a while and then we can talk to, uh, the Swarmy War while that that's exporting and let's, and pick out a spot where you can find it, um, to, uh, and actually, okay. Yeah. Okay. Halloween. There you go. Halloween, USDC. Great. And okay. Sounds good. Okay. So we'll, uh, I think that's going to be cooking for a while.

Is it 

Joe: doing anything? I don't 

Eliot: see it doing anything. Yeah, me 

Joe: neither. Let me delete the other one.[00:23:00] 

Eliot: Can it do anything?

Let's try exporting again. Sometimes we just hit the wrong thing. 

Joe: Let's try it again. Yeah.

Eliot: Let's name it how we know one or something like that so we know it's a different file.

Okay, that looks like it's going to do something.

Joe: Unless it just did it already? Maybe, I don't know why it took so long. Okay, 

Eliot: well let's, let's, let's take a quick look at our, um, And go over to autoshot and then point. Let's update to the, uh, most. Have you updated to the, uh, the new, uh, we added a new one last week, so let's just make Okay. 1 [00:24:00] 47. Okay. That should be fine.

Joe: Okay, so let's go to models.

It feels so good, like understanding this interface now , so feel beyond empowered in that sense. 

Kumarswamy: Yeah. 

Joe: Um, good. Okay. You all right? So let's fine.

Eliot: Okay. No, it's, it's doing, it's doing the thing. So there's. So by 

Joe: default, so those are pretty big. 

Eliot: Yeah. Yeah. So what's, what's doing through is, is a defaulted to export all the big, the big texture files from unreal come over at least as, as a 2k. And for the individual like material files and sometimes bigger.

And of course that'll wipe out the phone. So I'm [00:25:00] thinking

we can cook, we'll let that guy cook for a second. Cause we're gonna have to chug through a bunch of a bunch of a bunch of images is to a. Um, all right. See, I can talk to you. Come with Swami. I've come with Swami. Are you, are you, uh, are you working on something?

You may not be listening in. That's fine. All right. Let that, let that chug. I 

Joe: mean, that's, that's also so cool about these. You know, you get to kind of look at, see what people are working on and how they're working on it. 

Eliot: Yeah. Yeah. This is, this is, uh, it's, it's fun to, fun to see these, to see a little bit of all the projects.

Bye. Thanks guys. Uh, going on. [00:26:00] There we go. Made it. All right. So now you can click on that and, uh, you'll need to fire up Jet Set and, uh, Hey, Elliot. Yes. Good morning. Good morning. 

Kumarswamy: Good morning. How are you? 

Eliot: Fantastic. So that is about 200. Okay. It's about 45 minutes. I think that'll, that's, that'll, that'll work.

So let's, uh, 

Kumarswamy: I'm sorry. I think I need about maybe two more minutes to get into the setup. Okay. And I'll be live. Like, So that's it. 

Eliot: Oh, fantastic. Fantastic. Of course, I'll be on the 

Kumarswamy: mobile, but yeah.

Please do care. Sounds good. I'll just mute myself.

Eliot: And then what we can do is I'll put up the QR code for you, Joe, so we can push the screen share. 

Joe: Oh yeah, for sure. Look, I just need to, let me just rename the project to match. 

Eliot: [00:27:00] Sure.

All right. Now let's see. You should be able to load the model.

This folder's empty. Let's see. Maybe because I wasn't. You may need to, once you've changed the project. Yeah. Go ahead and just refresh it over, over here to make sure you're on the okay. Halloween project. Okay. It's seeing it. 

Joe: Oh yeah. Okay. There we go. Alrighty. So now let's load that model. This folder is empty.

Let me try pushing again to JetSet 

Eliot: maybe. Yeah, go ahead and push it now that you've changed the folder, project folder.[00:28:00] 

Okay, so let's try that again.

Here we go. 

Joe: Beautiful. Uh, and then, sorry, did you say there was something to click, uh, to share the screen? 

Eliot: Oh, yeah, yeah. Let me, uh, let me do that real quick. Um, 

Joe: hey, 

Eliot: are you seeing something? 

Joe: Yeah, I sure am. Oh yeah. Oh, 

Eliot: fantastic. 

Joe: Oh indeed.

Eliot: you see some Halloween? 

Joe: Oh, yeah. Um, yeah, I'll show it to you. Oh, is uh. Alright, let 

Eliot: me pull up, let me pull up the QR in a second, uh, let me share that screen. [00:29:00] Share. 

Joe: Man, you guys are doing, this is so fucking cool. Fuck. 

Eliot: Alright, so I'm going to share the QR code for this. Okay, there you go. So there's, so then go ahead and exit Jet Set, use, put your iOS camera at it, and, uh, and that'll restart it with the, with the screen share system in it, hooked up, hooked up, and that will fire up a

Joe: And you, did you just send it to the, the chat 

Eliot: thread? I actually put it on, I thought I shared it, so let me, let me reshare that. Uh, share, and then, there we go, there we go. Hopefully you'll see it. 

Joe: Oh, do I need to stop sharing on mine? Okay. 

Eliot: That's interesting. What is it? Um, 

Joe: Oh, there it is. Now I can see 

Eliot: it.

There you go. Okay. 

Joe: I just need to stop sharing. 

Eliot: All right. Yeah. So just point the camera. [00:30:00] And there you are. There's all right. Let me reshare this to the main screen. That's just so fun. I just love that being able to like kind of immediately have people see what's going on with this. Hey, there's a cemetery.

There's a cemetery. I like that cemetery.

Cause now you can like walk around in it. And, uh, yeah, that's all right. So actually I think, I think you're pretty close. So I think probably what you want to do next is. Is figure out a little bit of ground stuff and actually Instead of trying to thrash you exporting it from unreal. I think you almost want to just add a ground piece and blender and, um, you know, cause the blender has a, as a, as an automatic, like terrain generators.

It's pretty simple, but it's just right for something like this. And then maybe like, uh, maybe like a three 60 pano or something like that for the, for the outside. [00:31:00] Um, you know, I was 

Joe: like, I just need some kind of backdrop, something like that. 

Eliot: Yeah. Yeah. I think that, I think that'll, that'll work great. I think that'll work great.

And that's cool. 

Joe: Yeah. Um, and this will, um, sorry, I'm, uh, so, and in terms of like creating like a mood or atmospheric lighting type deal, like what I just kind of keep tweaking it, like, is this the same method? 

Eliot: Let me just think about this for a second, because the trick, of course, is that I don't think any of your lights actually came over.

Right. Yeah. I don't, I don't think it does. I don't think it does that. So what I'm thinking through. Different scenes will probably work in different ways. This scene is interesting because a lot of the scene is just sort of, um, like, you know, bars and cylinders and stuff like that. You're not going to see that much lighting on.

So I almost wonder if the goal may end up being is we, let's try blocking in a couple of your [00:32:00] terrain pieces. And then what we work on is, is baking to just that piece of terrain. That way we can have a sense, sense of, of lighting and mood over something we have more control over because we, we try to open up and, and tear apart all the materials and the unreal imports.

It's just a lot of work, you know, and then, yeah, and, and it's, And it's mostly the bars in the scene. It's like not like you're going to get any baked data on the bars, right? So let's focus the energy on on the landscape and then then then we can bake that and we can get some some nice lighting into that.

I think that's probably a good a good aim for this will be this. This is this is this is right. This is a good sort of warm up before you're dealing with like a larger city scene. 

Joe: Oh, yeah, for sure. And that's like the idea is like. Because most of them are going to be like this, like, I'm, you know, I started with the harder one of like, oh, in a car, drive it through this.

It's like, sure, because like, I just want to challenge there. But like, most of it is going to be like, cool. Here's this. [00:33:00] Here's the set, you know, and they're standing in front of it and it's like, you know, we're just moving around. So it's like, for the most part, it's not going to be like huge cities or anything like that.

Eliot: Well, so in that case, let's, um, let's do, let's, let me show you how to get started with the blender, um, like the, the set, the, um, kind of terrain sort of stuff and, um, And let's get a very simple one in there. Go ahead and share your screen. And then, then I think that would be a good start. Cause then we have, you know, you usually build your stuff.

There's a 3d foreground and then there's kind of a mid ground. So, um, you can actually hit shift a let's see, let's, where's yours. Where's your 3d cursor. Let me just stick the 3d cursor at the origin. So you can hit shift S, um, and, uh, and, uh, there we go. I'll just do selection to origin. Let's see, where's the, yeah, cursor to world origin.

There you go. That's a good, that's a good one. And so that's the 3d cursor shortcut key, which is the 3d cursor is this thing in blender that is. A lot of awesome. It's very, very useful. And as soon as you get used to it, you start getting irritated [00:34:00] that other programs don't do that. But anyway, so you can just set where you're going to say, well, it's what we did earlier with the scene located.

We set the 3d cursor on the surface of the, uh, of that kind of brick. So let's get shift a, and, um, we're going to do in this case, we'll go up to, um, let's go up to mesh and do we have landscape?

Usually there's something called ANT. Give me a second to find where they put that. I mean, we may have to enable it. Um, let's see. Let me see if there's Blender

ANT landscape. Okay, let's just, okay, so let's go to preferences.

Oh yeah, edit, sorry, edit preferences and go to add ons and then type in, [00:35:00] uh, type in A N T. 

Joe: A N T? 

Eliot: Yeah, let's see, where's that, where'd they hide that? Add ons, sorry, I'm just looking at the add ons tab. Uh, in that case, let's, let's remove the search. I'm looking for 3D viewport, references, add on, add mesh.

Give me a second to find that.

Uh,

hang on. Where did they hide it?

Landscape presets. This is a

little trickier. Uh, can you click [00:36:00] on, um, let's, uh, open that window down a little bit. Just see what, so we can see all the different ones. There's something called a, in Blender, it's a very simple landscape generator called like A N T. And I don't see it right now. So then let's try under, let's go under the git extensions.

Let's see where they put it. I know they changed a bunch of stuff in 4. 2. Okay. Allow online access. That's fine. Um, all right. So let's prepare and let's look for the search. So under search, let's try, uh, let's try a N T a period. Let's try landscape

and there's anti landscape. Okay. Go ahead and install that.

There we go. That looks like it's there. All right. So [00:37:00] now when we, uh, we can exit out of the preferences. And hit shift, uh, shift a for add. And now we should be mesh and there you go. There's landscape. Okay. So then this makes a really simple landscape generator. And I think you can, um, where's the editing for it?

I think we type N in the main menu

and where do we have our, our way of editing this, sorry, I have to go right back. Remember how they, how they did this for us. Can

you right click on that? Let's see if we have an adjust last operation [00:38:00] here. Nope. That's not it. Um, all right, we can do is it's, it's, it's a really, it's a basic landscape. So you can hit S and, uh, and scale it.

And then let's, let's back up a little bit and, you know, scale back and then you can hit, uh, like a GX and then start moving it around. Yeah, there we go. So type a G and actually keep it on the same coordinates. There you go. That's it. Then you can move, move things around. So let's slide it in close to that.

And then let's look at it where we're, uh, it's, and then you can type GZ to drop it down a little bit. 

Joe: Uh, 

Eliot: yeah, GZ and that the G is for grabbing and then the Z is just the shortcut. Whoops. Let's let's grab the landscape there. I think we've got something else. Yeah, GC. There we go. And so what we're going to do is we're going to drop it down until the the [00:39:00] ground intersects with that.

So we get closer to that, then we're just, we just made ourselves a ground, a really quick ground. Right. A bit of a backdrop. And so, uh, you can just bring it up until the bottom of that is intersecting with the bottom of the, um, uh, there we go. And just bring it up until it's starting to kind of see it itself in the, in the cemetery.

And I mean, you can play around with it. It's 3d stuff. Yeah. Yeah. But this is what this does is now we have a simple basic shape that if we hit, um, go ahead and type Z and, uh, and, and, uh, go to the left for wireframe so we can see how dense it is. I don't think it's that dense. There we go. Yeah. Okay. So this is, this is not super dense.

This is like not a million polygons or something like that. So it's not going to kill our scene. Um, and we can adjust it down to actually have it be less dense. Um, and you know, there's like polygon sculpting or whatever, but what I was looking for is a fairly fast way to have. Uh, some surface that gives you a bit of a background and [00:40:00] you can, there's a bunch of different presets.

I'll let you dive into the landscape thing, you know, Valley, whatever, but it's, it's a simple, fast landscape generator that now you can, we should be able to light, so you hit Z and you go straight up, uh, to the lighting, writing, letting preview, we should be able to see what we have for light. Okay. And then what you're going to want is.

We should put on some, a basic texture on that. So we have something that we're, that we're looking at. Um, and we can, I suppose what we can do is, um, we can borrow a texture from some of the rest of the stuff that we're doing. Yeah, that's not, that's probably not a bad idea. Like 

Joe: the rock or something. 

Eliot: Yes.

From the, for the rock. So let's go to the shader tab

and let's click on the rock and let's look at the name of, okay, so the texture name is M material under rock a, okay. So then let's just go ahead and click the, um, click the, uh, the landscape. [00:41:00] Okay. And, uh, and then we're going to pick, uh, for our material, what we're going to do is that funny looking here.

Let me grab my little annotator tool. There it is. I finally learned where the annotator tool is. So this little guy, this menu, is a material picker menu. So you can go down there and then you can like scroll down, find M, rock, you know rock A or rock B, whatever. Okay. And then it's going to apply, apply the same material to that.

So then now when we hit a Z and we go in rendered view,

okay. So now, then we, uh, okay, now this guy may not have a UV texture on it. So let's go ahead while you selected, um, stop, remember this. I think it is, um, let's go ahead and save for a second. So we don't like blow air work. There we go. And then let's hit, um,

give me a second. I think it's a hit tab for [00:42:00] edit mode. I think that's where we apply our okay. Edit mode is where you can edit like individual, uh, you know, polygons. And this is where if you're going to go in and sculpt it, then you can do that here. Um, and, or what we can do here is, oh yeah, hit tab again to get edit mode.

Oh, okay. I see. So, uh, then what you're going to do is. I'm going to type, um, Smart Unwrap, hit, uh, A for all, there we go, and then I think U, try to type in U, I think that's the Smart Unwrap. 

Joe: U? 

Eliot: Yeah, U, um, there we go, Smart, and then type in Smart UV Project. There we go. And then just click, uh, unwrap and it'll do a default, uh, UV, UV unwrap.

Okay. Let's, let's take a look and, uh, let's hit, uh, S, um, edit to get back out of here. Okay. Hey, so there, okay. So we have, we have kind of a basic material on that. So you can see the light is [00:43:00] now kind of going, going onto that guy. Um, and we probably want to, that's a little strange. Um, I wonder if that rock is, has a different UV map than what we expect.

Oh, you know, it's probably it's because we're scaling up the texture in a big way. 

Joe: Oh, right. 

Eliot: Right. And it's probably wrapped for an individual one. So maybe that, maybe this initial idea is not going to behave itself. So let me see, um, Blender had. They just added a bunch of things for 4. 2 that are like default, uh, default assets.

So let me, let me look at that real quickly to see, um, cause that will, that'll be a worthwhile thing too. I, I, I know they just added it and it's, it's a useful thing for me to know for exactly this situation because they have a bunch of default online assets that we can kind of apply and kind of get, get, you know, functioning.

Um, all right,

[00:44:00] let's see.

Okay, let's go back over to our, um, our layout

and what we're going to do is there's going to be a little bit of a fun to experiment. So go down here and as you put your cursor here in between the, uh, in the line between the, um, the, um, [00:45:00] panels. Uh, you can, you can actually drag this panel up so it'll, so it'll, uh, like the timeline is all of a sudden going to be really, really huge.

Then we're going to change it from the timeline to something else. So then you click on this little clock here and we're going to go over to asset browser, which is this guy. And so this is, this is Blender's kind of built in asset, uh, asset browsing system. So I thought they, um, let's see, by default, they have a bunch of like hair sort of stuff.

Let's look under all. Let's see if they have a, um, I've got default materials. I know they were putting all this stuff in. I just don't know where they. Let's go into essentials. Okay. I think that's what they gave us. Um, okay. What about catalog?

All right. Let, let me look for this because this was something I thought they were doing. Um, and it's a good time to [00:46:00] figure it out. Under org.

All right. So,

oh, I see. So there's, there's still workshopping it. Okay. Okay. Okay. So

see how they're doing this.[00:47:00] [00:48:00] 

Okay.

Okay. I think we can just start with blender kit. They're, they're working on adding a default one. That'll be online, but, uh, that comes with blender, but it's, I don't, I don't think I have it done yet. So, uh, let's see, let me just look at one.[00:49:00] 

I'm going to do this over on mine just to test. So the one I'm going to, I think I'm going to point you toward is, it's very, very good. It's called polygon. Uh, this guy it's actually run by. Okay. There you go. Uh, run by Andrew Price, who is the Blender Guru guy. So he built a, uh, an online library. And some is paid, um, but they have a bunch of free ones as well.

And there should be a free one. Um,

what's that?

This is Blender, wrong. Get this real quick[00:50:00] 

because there's the part that we want is,

is like a material browser that gives us a list of, of available kind of creative commons, uh, textures.

Okay. Yeah. There's a maybe later thing. That you, you click on that when you're setting it up and then

somewhere in there is a, um, 

Joe: textures, models, HDRIs. 

Eliot: Yeah, and they'll have an add on and I just have to figure out where they, where they, where they, Hit it away. Blender. Oh, there it is. Okay. [00:51:00] So let me look at the screen. Sure. 

Joe: Download the blender add on. 

Eliot: Yeah, that's it. That's it. Cause then we're not perfect.

Okay. And then actually, so you just, you don't need to unzip it. The way blender works to add stuff on is that you actually install from the tip. So you can go over to edit and then preferences.

And, oh yeah, install from disk. That's the one. Go find that guy. And you can just type in, uh, what was it called? I'll download it on my end too. 

Joe: Polygon. 

Eliot: Boom. Yeah, Polygon add on. There we go. Okay. Alright, so that's good. Let's open that spinner up because let's see where they Do they, if they implemented it with the asset browser and see what they're doing here, 

Joe: sorry, uh, down here, 

Eliot: uh, under, under edit preferences, let's open up the, um, let's take a click on the [00:52:00] polygon.

There we go. And open up this little arrow next to it. Let's see where they, where they put, where they put their stuff library. Okay. So yeah, go ahead and, and let's just make a polygon library default somewhere that's, you know, like on a big drive.

There we go. Sounds good. Um, and let's see if they're doing stuff.

Now what would be great is do they have a,

they should be able to look at this from inside. Okay. Hang on. There's a little how to video. They've changed a lot of stuff. Uh, okay. So that, that [00:53:00] part is, that part is good. What we can do is there is I'll share the screen of, they have a little how to on this.

Let's see how we do this. Uh, 

Joe: share. I'm sharing my screen. 

Eliot: Yeah, I'll just share my, share mine over here.

Blender Guru: The Polygon add on brings a world class PBR library directly into Blender. So you can browse and download textures, models, and HDRIs directly into Blender without opening a browser. In this video, you'll learn how to install it and use it. So first things first, click the link in the description to make sure you're downloading the latest version of the Polygon add on.

And importantly, do not unzip it, keep it as a zip file. And instead we're going to click and drag it and then just drop it directly onto the Blender's interface. And it will now install that add on for us. So I'm just going to hit, okay. And that is now [00:54:00] install it. Also, if you want to do it the old fashioned way, you can go edit.

Preferences, add ons, and then go in the top right hand corner there, install from disk, and that'll, uh, also let you point to the zip file, um, and install it that way. But now that we have installed it, if I click end to bring up the properties, you should see the little polygon tab on the right hand side.

The first time you use it, it'll ask you to log in via browser. So I'm just going to click that. This will open up your browser and assuming that you are logged into Polygon, it'll say login confirmed, return to the add on. And you can see this is now changed because it's detected the login. Now it's asking you, where do you want to download the assets to?

So if you've already been downloading assets from Polygon, you could just point to that directory, or I'm just going to download it to the default directory here and hit confirm. Might have some onboarding. Tips here, but since we're going to do it in the video, we're going to skip through that. All right.

So this is the polygon add on. Now this is a live version of the website. Okay. All the assets on here are the exact versions as the one on the website. So you don't need to use your browser [00:55:00] at all. It's a complete replacement. So you could see, I could change, I could browse by the texture category and go, you know, just give me.

Brick textures here like this right and I can browse here. I could also type in a specific search I could say I don't know running bond right and just get bricks that are running bond inside of that category Well, let's say make it interesting. I'm gonna add in a plane And let's say I'm working on a scene and it's got a brick wall, right, that I need brick for.

And I'm, you know, I'm not sure if this is going to be the right fit for my scene. I want to try it out with the rest of the elements in my scene. Um, so what I can do with the add on is I can just click this little preview icon here. Um, first time you do it, it'll just have this pop up as a once off telling you it's going to be a watermarked low resolution version.

But now if I go to my material, uh, view at the top there, you can see it's downloaded a low resolution 2K or sorry, 1K version that is watermarked, right? Um, but all the maps are there [00:56:00] and it's enough for me to see if the colors are right, if it's going to be a good fit for my scene. And let's say I like it.

I'm now ready to purchase. I'm going to hit purchase. Now this has kicked off a download. It's downloaded it. I can just hit apply 2K. And that's it. It's now swapped it out for the real texture that is 2K un watermarked and it is ready to go. But I don't want 2K, I want something a little bit higher res. I can click the drop down and say, give me 4K, right?

Now I can swap that out for a 4K version and now it's just a little bit crisper. And let's say maybe I want to change my default preferences not to 4K but to 8K. I can click the drop down and go Import preferences, and then right down here where it's got default texture resolution, you could set that to AK.

And that means whenever you buy a new asset, it's always going to download the AK version. But because I've already downloaded, I just have to manually click it here. And now I can hit apply AK. I think AK is excessive for most cases, unless it's an extreme here, right after you've [00:57:00] imported something. So if you've got more than one texture resolution, I could change it right there.

I could also change the cool displacement. If you want. Out newer textures should be identical. It's changing there. It's just these ones right here where it's got displacement. So those are the options that's still there. You can see the normal map is also disconnected, but it's done. I'm going to go import 2k.

Um, and there we go. And actually this one's got more than one model. So they've come in, uh, on top of each other. Final thing I'll mention. This is the home icon at the top there. That is the live browsing version of the website. Uh, the next one over is your assets. So it's assets that you have purchased, not necessarily what you have downloaded.

And then the next one over is your downloaded assets. So it's just reading directly from that directory that you pointed to. Um, and then, uh, the next one over there is just details about your plan. Then obviously the number of credits you've got there. Okay. And if you click this, this will change your preferences.

One final other thing to call out as well is [00:58:00] occasionally when you're browsing, you'll see a missing preview. So a preview will just be empty. If you see that, unfortunately that's a limitation of Blender's UI that we haven't been able to get around. But if you just click the little refresh button at the top there, that'll just reload all of the thumbnails and it'll just try to refine them.

The add on. Thank you for watching. If you have any questions at all, 

Eliot: let's go see if we can't figure that up. All right. So let's go, you see, you've got your, so let's, uh, let's share the screen and we should be able to figure out the question I have is like somewhere they'll have like their list of the free, free ones they have.

Um, and if they do, I think they do.

If they don't, that'll be a learning thing. All right. So then you can just, okay, there you go. So you've got. Um, so, let's, let's go up in the search panel. I wonder if we can search by, if they have, type in cc0, I think. Create a common zero, not sure if they're, if they're doing that.[00:59:00] 

Okay, no results, let's see. Under all text, let's look at the, um, where's my annotator? Let's, let's look at this under all, uh, let's see, all textures.

They have, okay, so they have categories, textures, assets, models, hdri's, um. Let me look here real quick.

Oh, here we go, free. Yeah, okay, so there's, there's a bunch of the free ones that should work. So, how do I search under that in the panel? Um, in the panel, Oh, just that's typos. It turns under the search term, just pipe free. Let's see, [01:00:00] let's see what they give like this. Simple. Okay, roofing. Oh, I see. So you go, uh, let's uh, instead of the roofing, let's do all, um, what do we have?

All, there we go. There we go. So now we can scroll through a bunch of these and look for something that'll work, will work well enough for what we're doing.

And we can probably use the earth one, then we'll just shift the color palette for it. Sure, which one? Let's go back one that there was, or, I mean, you can go, you can go play around with this more, but we can just do a quick one for, Yeah, just do a quick one. for this. Okay. So there is, it looked like earth, uh, wait, let's scroll down a little bit more.

That was, uh, I thought that was earth. It's rust. Let's look for something like, um,[01:01:00] 

let's see, let's see under textures. Under all textures. Is there something like ground or train or something like that? Asphalt, like earth. There we go. There we go. That sounds good. Uh, find rocky dirt. Love it. So then I think you can click on that. Yeah. Uh, and we just, I mean, we're, yeah, two KMOs, man,

because we're still going to have to down sample that to get that into, into just it anyway. So, so in this case, actually their, their one K textures worked fine. It's pretty happy to stop resampling anyway. Um, okay. So then I think we should be, I think if you click on that to select it, I think you can now apply.

That, and it'll apply the 2K texture. Oh, yeah. Okay. And there's, there's more [01:02:00] stuff to be done in terms of UVing and things like that, but this, I think this is, we're, we're, uh, we can change the, uh, the scaling on this. So if you go to, um, let's go to the shading tab.

And then, so if you, if you go over here, you see it's everything's hooked to that singular projection, uh, mapping over here. So let's zoom in on that and then we can just adjust our scale. So our scales right now, one, so try, um, I think let's go on 0. 5. I forget which direction we have to go to for, make it, make it smaller.

Oh, all right. Yeah. Other direction you can scale it to like two or there you go. Yeah. And then just, you know, find a, find a value that, that, that works, works for us. For this. So now we have some, we have dirt going on in here and let's, um, there we go. Let's try exporting that. Let's just kind of see where, and let's, Oh, let's bring the ground up so that it, um, Oh yeah.

So we can just, yeah. And we can, we can do a little bit of, uh, push and [01:03:00] pull sculpting on this. So we'll click on the, um, go ahead and click on the, uh, Yeah, there we go. Let's just bring it up. And then what we'll do is we'll bring that up and then we're going to push those vertices down to make it fit. So there we go.

So we're going to be, that's it. And then while that's selected, go ahead and click a tab. We're going to go into edit mode. And then what we're going to do is. Um, okay. This is where it is kind of fun over here. We can actually click our, um, uh, our proportional editing mode. So you can click on that. And now when you, um, you grab onto a vertex, so, uh, you just click, grab on a vertex, hit GZ, and you can actually pull that vertex that whoops.

So we actually want to make that a larger scale that we're affecting. So let's, um, click on this guy. And we want a smooth and we want the proportional size instead of one meter. Let's make it like 10 [01:04:00] meters. I think there's a better shortcut to do this. I just don't remember what it is right now. Okay. So then let's try our GZ again, and it should be, uh, we may actually may need to click and drag and grab, grab a bunch of those.

There we go. Now, if we just hit GZ, we can drag all that down. There we go. There we go. And then, then, then it's, it's doing a more, uh, and then, then you can, you can work through and, and, and play, you know, usual 3d stuff, you know, like fix, fix all the weirdnesses. Now you have control over your individual polygons.

So once, once you're, let's try, uh, exporting. Yeah. Okay. Yeah. You're gonna, you're gonna want to bring some of the stuff up, you know, do the usual polygon, you know, bussing around, get all the things lined up. Um, but now we have, we have trained, we have ground, we have a background. Um, And then what we can do is, um, you know, once you have that exporting, should I just export this now?

I could, 

Joe: yeah, let's, 

Eliot: yeah, let's try exporting it. Now, let's make sure it kind of behaves the way we expected to do it. And then what we maybe end up doing is, [01:05:00] is we may end up baking the light into just that 1 piece into the ground object. So it, you know, then there's just 1, 1 object that has a lot of that generates a lot of the atmosphere.

Um, and the directionality of it. Okay.

And if it's in the same directory, it should only have to redo the, uh, the texture thing. Um, what, what, what do you mean? Just look at what it's doing. Okay. All right. It's gonna chew on this for a bit.[01:06:00] 

Joe: Oh. If I leave the jet set app, does that mean I sever the connection with the, um, screen share? 

Eliot: Um. Oh, Oh, I see. With the, uh, with the, uh, the remote screen share thing. You know, I think so. I think if you exit Jet Set and come back, I think so. I don't remember how long the, uh, if the button is still there, then it still works.

Um, if the button is there, then, then it doesn't. So when you enable, um, the screen share in Jet Set, then there'll be a little button that appears above the scene locator button, it looks exactly like an airplay button, because I think it's a, you know, TV set with like little waves coming out of it. That's the screen share button.

And that's what turns on and off screen share. So if the button is there, then your screen share is still, is still functioning and you can, you can click and turn it on. 

Joe: Ah, okay. I see like this. 

Eliot: Yeah, there it is. So let me share a screen and see if I can 

Joe: see what I'm seeing. Let me push this to Jet Set now.[01:07:00] 

Eliot: There we go. 

Joe: And we'll load that up. This is really cool, man. You guys have thought of so many of these cool little things. All right, let's see. This is 

Eliot: just the nature of work. You have to do a lot of iterations. You have to push things back and forth. 

Joe: Okay. Hey, look at that ground plane. 

Eliot: There we go. All right.

So this is, okay, this is, we're getting, we're getting somewhere on this. No lighting, 

Joe: but it's there. 

Eliot: Yeah. Yeah. And, and, and, you know, it's, it's, uh, I think that that'll, so I'll tell you what, what I, what I'll suggest is you kind of crank on that for a little bit. Let's get your, um, uh, you know, and then the, the other pieces, then the, You'll probably want to find a, um, a good, uh, 360 background.

So I think, you know, we'll split up the scene. Now we've got, you know, kind of creepy looking in the cemetery. We've got kind of the, you know, the three, you [01:08:00] know, the landscape mid ground. And then, you know, let's find a scary looking HDRI, uh, or like a, not HDRI, but a 360, uh, panel. Actually you can build that mid journey, right?

You build it, you build the three. You know, do a, do a mid journey, like 360 in it. And, uh, and then that, that will, that will load into the app actually separately in our 2d panel. Um, and then, so then, then you have both all the different elements of it together, and then you can start to tweak. Um, and then the, the next thing we can do is, is, uh, we'll, we'll, we can work on light baking and there's a bunch of different ways to light, to bake and blender every, every, every, there's a zillion different add ons to do it and they all are good in different ways.

And we'll try to find the simple, a simple one to get the, getting the lighting baked into it. Um, and then, uh, I think that I think we'll be, we'll be on our way 

Joe: getting there. Yeah. I love it. This is amazing. No, it's 

Eliot: just good. It's, it's good for me to, to run into a bunch of the things on the, you know, the, uh, like to [01:09:00] refresh my mind, how polygon works now with their new browser.

I like it. That that's good. And they're, 

Joe: they're, 

Eliot: they're great. They make very, very, very good textures for, for blender. Very good. Um, and, um, 

Joe: Yeah, because that was always my thing was just like with unreal. It's like, man, you look at this, you're like, ah, so sick, you know what I mean? Like, it looks like this cemetery scene, you just drop it.

You know what I mean? I opened it. Right. 

Eliot: Boom. Right. Right. It's, it's, it's remarkable. 

Joe: So I'm trying to figure out how to like, get those same results in blender. Um, and I guess that's, I think, I guess that's why people pick unreal, right. It's because they don't have to. 

Eliot: Yeah, there's, there's a, And it works astoundingly for a certain category of a project, you know, for, for, for different things.

It works really well because you can go pick something from the Unreal Asset Store and then drop it in and then it's great. Um, it's just when you start trying to do, be able to like more customizable aspects of it, then, then it's then like what we're doing now. We're like, Oh, you're just going to open up.

[01:10:00] We're going to like modify the mesh. We're going to just do that. And it's super easy to do it in Blender. And then it's, uh, then we can crank. It's 

Joe: No, that's exactly what I'm seeing. It's the customization is the blender thing. And it's like, but if you just kind of want to hit the ground running, that seems to be where I'm real, really shy.

Yeah. That's great. 

Eliot: Well, I tell you what, so while I've got some time here, so I'll maybe let you crank on that, the three, the three 60 stuff. You can look at the blender baking stuff. You know, I'm going to be out for a week or so, but, uh, You can check it, take a look at it. I think this will get you going. I want to talk to Kumbhaswamy real quick.

Cause I think he was, he was, uh, working on getting on 

Joe: that too. Are there tutorials on, 

Eliot: on the blender? Um, there's a million blender baking systems. Um, and I, I think we've been like 

Joe: with the three, six, like the background 

Eliot: or, okay. Um, we have one. Yes. It's originally done in unreal. Uh, actually, which might not be a bad 

Kumarswamy: testing.

Eliot: Okay. All right. So for the tutorials, actually, yeah. So I, I [01:11:00] have a tutorial on generating a, uh, a 360 in Unreal and then dropping it in here. Let me, let me put it in the, uh, in the chat because I went through. 

Joe: Yeah. Cause I thought I remembered seeing something. 

Eliot: There we go. So then you can generate a panoramic background from your, from your, um, uh, from your original Unreal scene, then everything's going to line up and look and look, uh, look pretty, look, look pretty good.

Joe: Nice. Okay, cool. I'm gonna, I'll dig into this. Very cool. And then I guess the exporting the animated scenes is also Like, if I wanted, like, for what I was talking about, like adding little animated, like a ghost flying or something like that, that's, I take it, what that is. 

Eliot: I would totally do that in Blender.

100%. Um, cause the, uh, the Unreal, again, there's, there's, you can do it. There's just a lot of complexity. And once we've got the scene in Blender, um, so for the, the 360 panel, that's great. It's just going to generate a 360 panel you can drop. In, in Unreal, and then you can just drop that image into the 2D, um.

Joe: [01:12:00] Right, and it'll match since it's from Unreal. Yeah, 

Eliot: since then it'll match. And then, uh, for the animating the ghost, let's do that in Blender, and then, um, Once you get the, uh, uh, yeah, and I'm gonna put the, uh, officers. He's asking about the officers. Are they available? Yes. So here's the link to Office Hours.

Joe: Oh man, I would actually love to know that too. I was, that was actually a question I've been wanting to ask you as well. 

Eliot: Yeah, it's, it's, uh, you can actually see them. And, uh, and, uh, Oh, boom, right there. Oh, hey, nice. There's the Office Hours links. Yay. You'll recognize them. 

Joe: Oh man, yeah. Oh, wow. Okay. Oh, this is so cool to be populating, like helping populate like this.

This is cool, man. I'm so happy to be part of this. 

Eliot: And so to be, uh, so this is, I want to show people this, uh, in case they're, they're watching this. Cause this is really, this is, this is one of the parts that I think is extremely helpful. It's so each office hour, you click on it, say, okay, we'll get this one and I ran them all through Descript, uh, so it has a searchable transcription.

So you just click open this and the transcript, you know, [01:13:00] it goes through, you know, all the different pieces of what we're doing, you know, you and me and, and going through all this stuff. I hit play. You know that you can just this is the transcript so you can like zip through the part of it, um, that you're trying to figure out and you could search, you know, right?

So we're going to search for like, say, if we were like, 

Joe: in the video, because I'm looking at it now too. So I just, uh, 

Eliot: yeah. Yeah. So you can go through search stuff. And if you run into something I need me to get rid of, like, it's super easy, like, this is all live edit stuff and Descript. So I can just completely remove, remove stuff that shows up.

Oh, 

Joe: cool. Yeah. You got the whole transcript. This is 

Eliot: sick, 

Joe: man. 

Eliot: The transcript. And then that, yeah, down below and the transcript is so that in, on the website, you can, you're in office hours. You can do something like, uh, let's see, I think I have it on under resources. I think I'm in documentation. You can actually search.

Um, let's see if I have, if that searches, oh, no, it doesn't search the whole site. I should put a search in the office hours. [01:14:00] I'll ask about doing that. Um, do I have a site search?

Alright. I'm going to look for, I'm going to check on doing a, um, uh, each one of these things has a transcript and full text on the, uh, uh, on the webpage. And the goal is because I want to be able to type in at the very top of your office hours, you know, cinema 40 and every office hour that, and cinema 40 came up as mentioned, you can immediately click on it and go there.

Right. So all the, so all the data is there, because this is, you know, there's so many of these things that, that are just really useful to, because we're going through exactly the step by step thing that is, You know, all the pieces of it, and it doesn't make sense to do it in a, in a tutorial, but this is a perfect place to do it.

So everything's, everything's online. No. Yeah, that's 

Joe: why I love this. So we, you know, these are, you're engaging with like real life tutorials essentially? Yeah. Yeah. This is the 

Eliot: tutorial . So a search, uh, shoots. All right. I can make a note on that. All 

Joe: right, [01:15:00] for Swami, you're muted. If you're trying to look like you're trying to talk.

Kumarswamy: Yeah, yeah, I'm aware. I'm aware. I'm just checking. Oh, okay. Good to see you. Yeah, indeed. How are you? 

Eliot: Very well. Very well.

Kumarswamy: Um, so we are to wait for I mean, I don't know the question is still on or how's it. 

Eliot: Uh, it's, I can see you, I can hear you. Are you, uh, are you working on, on correcting, on fixing something? What's, uh, what's, what's 

Kumarswamy: Yeah, I'm not sure. Are you, are you seeing me or are you seeing my cam feed? Oh, I can see you.

We're trying to screen share, we just see you. Okay, then yeah, that's not useful. Okay. Oh, there we 

Eliot: go. 

Kumarswamy: Okay. All right. Uh, you've got that. 

Eliot: I'm going to spotlight this for, uh, uh, pin this on mine so I can see it. All right. There we go. [01:16:00] Okay. Fantastic. I can see it. 

Kumarswamy: That's a monitor. Yeah. That's the laptop. Great.

That is Vikram, by the way.

The man behind. Okay. Great. Uh, okay. I think we'll get to a couple of specific stuff if you don't mind. 

Eliot: Yes. Yes. Go for it. 

Kumarswamy: Okay. Um, you can get the, uh, we, by the way, uh, I think hopefully we'll have our first, uh, pro shoot. Oh, great. Great. Uh, so we, yeah, uh, that's about like maybe eight hours from now. 

Eliot: Oh, fantastic.

Yes, it's late, late where you are. So . Yeah. 

Kumarswamy: Okay. 

Joe: I don't know if you, can you move your annotation? 

Eliot: Sorry. 

Joe: I just see like an annotation over the screen. 

Eliot: Oh, all right. Lemme see if I can get rid of that. Um, 

Kumarswamy: yeah. Elliot, can you just bring up my, uh, cam feed as a main, yeah, as 

Eliot: the main feed. Uh, see, Jill, can you stop your [01:17:00] share?

Yeah. Um, yeah, I think then that'll, uh, 

Joe: oh, there we go. Sorry about that. There we go. Is that, yeah. Hey, Joe. Sorry. Yeah. 

Eliot: All 

Kumarswamy: right. So then I'll, um, I'm gonna, yeah. Okay. I need to switch. Okay. Maybe you need to switch. Um, why don't I, there you go. Uh, yeah. Okay. Thank certain, okay. Um, okay. We, we have some Okay.

Could show the clean CG feed first. Mm-Hmm. . Yeah. So that's the, uh, CG feed. Yeah. Yeah. And then yeah, you could see the semi feed. 

Eliot: Mm-Hmm. . 

Kumarswamy: Yeah. That is that of course we have, uh, some key, uh, zone there. So, Mm-Hmm. ? Uh, yeah. Yeah, yeah. Uh, okay. Uh, yeah, it's a bit No signal. Okay. We got that. Okay. Oh, there you, um, a compose shot.

Yeah, there we go. You could see.[01:18:00] 

Yeah, this is something we are worried right now. 

Eliot: Let's see the, oh the, okay, so the slight amount of motion. 

Kumarswamy: Yep. No, no. So if you, uh, this is the Jet Set Live Link camera is seeing this, this is the CG environment. And if I see the Jet Set Cine GC view, it has some artifacts like black. You can see, let me just expand it a bit.

So you can see, you know, it looks like lower quality and here we can see some artifacts Like black artifacts. So we are wondering, you know, if there is something In the, in the settings, which we need to change because the live camera feed is on the jet set, live camera feed is quite good. Uh, and it's tracking as well.

That's 

Eliot: good. Okay. [01:19:00] So why, and the composite, what does the composite look like? 

Kumarswamy: It looks like we have a very small, uh, green screen here. So we'll just, uh, added it. Uh, so it has the same artifact. Which is there on the CineCG, uh, opening. Yeah, I 

Eliot: see that. I see that. Um, oh, Unreal. Sorry. I just, I can't. Yeah, I know.

Have you guys 

Joe: got the live camera link? There, like, no delay or anything like that? Like, it was 

Eliot: They've got the, they're using an Elgato, uh, a cam link. And so they're, they're, it's not perfectly synchronized, which is to be expected, you know, it's, it's not an HTSDI, but the, their concern is, is that for some reason, when they have the, the, just the CG display rendering, then 

Joe: it looks fine.

And 

Eliot: then when we put [01:20:00] it in the comp. Then it gets artifacts. And I, I, um, the problem of course, is you start running into the limits of my knowledge of how unreal does composure. Um, let's see, what would it be? What would that be? I had 

Joe: issues, but I don't remember having that one when I was doing my life.

Camera testing, 

Eliot: what does that look like? So 

Joe: I'm like, was it, uh, what about the wired connection internet? Would that have anything to do with it? No. They're, 

Eliot: they're getting their, their tracking data signal. This is something And it's rendering, it's, it's connected. Correct. No, I think that's 

Kumarswamy: solely to do with the unreal render settings.

Nothing to do with the data. So, 

Eliot: let's see. Um, 'cause 

Kumarswamy: if you look at the original CG data, it's all clean. Yeah. It looks fine. 

Joe: So it's a composure thing then. 

Eliot: Yeah. So, okay. And let's take a look at your, your live action, uh, your live action panel. Uh, no, no, I'm sorry. The, um, uh, inside [01:21:00] Unreal, the, uh, the, uh, yeah.

So that's, that's there. Okay. And then let's, let's go and look at the composite again. I just want, I want to see if there's a, why is that doing that?

Kumarswamy: So, oh, sorry. So this is the Cine shot with composition, uh, but even the Cine CG shot has that artifact. So I think the painting is happening on the Cine CG shot. Yeah. That's basically what is This is the source of the issue is what is 

Eliot: it's the generated when we're generating the composure element for that, something is getting messed up in the, [01:22:00] okay.

So then the question is, what would be different between, cause I, when we generate that, 

Kumarswamy: No, I think this is excluding the live feed from the cine camera. Yeah. Okay. Feed off the CG. 

Eliot: Yeah, I understand, I understand. What I'm curious about is, the way Composure works is that you make, you know, you make a CG element.

Um, and then, and, and, uh, Composure.

So what I'm curious about is if there's something strange that it expects. Um. 

Kumarswamy: I don't know, if you want to have a check at log, uh, if there's anything happening at live. I don't think so. Yeah, 

Eliot: we can look at that. Let's see. 

Kumarswamy: Let me switch. Okay. It is already. Let me clear the log first. Sure. And, uh, be [01:23:00] part of the process.

Um, yeah. Okay. Maybe let's make a move with anything with the moment. I'll check the log, check the log now. If there's any law. Huh? Yeah. Okay. No, I think that connection will Uh, no, it's on actually. 

Eliot: Yeah, it's on. Yeah. It says moving. Um, hello? 

Kumarswamy: Can you wait, pull up log? Sure. 

Eliot: It's,

Kumarswamy: yeah. Okay. It that top. Okay. Okay. Clear on. Okay,

Eliot: let's keep It flies. Oh, wait. There's a, when that top down view, there was a black camera directly in front of it. You go to that top down view of the scene. Yeah. Hang on, can you look at, there's [01:24:00] a, I saw a camera object directly in front of the main camera. 

Kumarswamy: Yeah, that was just, uh, from the scene. Okay, let me hide it.

Now you see the CG out. Jet.

Let me delete it also. We don't need this camera here. Save

it 

Eliot: also.

Let's see. I wonder if that The camera is very close to the ground. Um, I wonder if there are bits culling the frustum or something strange like that. Except then we wouldn't see We're seeing an artifact further off. 

Kumarswamy: Yeah, I can push, [01:25:00] like move it up, but the artillery Yeah, like now, uh, put up from the position.

In fact, if you see the Yeah, okay, you could, yeah, you see that In fact, if you see the statue there That also has some artifacts But if you see in the Cinecam, uh, the Jetset Live Link camera. There are no artifacts on the, on the statue. 

Eliot: Ah, let's see. Okay. 

Kumarswamy: Yeah, it looks like some kind of filter.

So this Or, or can we now try, if you think camera is, uh, the, um, origin is Okay, the scene locator is too low. We can pull it up. From the ground and, uh, we, I don't think that's, no, no. I know now we are up, um, start the scene. Ator also, but both are on ground. No, uh, scene [01:26:00] Ator should Okay. See this. Yeah. It's another position.

Position. Uh, it's also having that kind of,

Eliot: yeah. That's weird. 

Kumarswamy: I mean, yeah. Maybe to my cam it is a little less. Uh, obvious, but yeah, I think you'll get the first, 

Eliot: yeah, I can, I can see it's a rendering artifact. Yeah. Um,

I'm not sure. Let's, let's see if there's, if we can find something,

Kumarswamy: there's the output settings, uh, buffer to [01:27:00] export. There's no, there's no additional render pass being added. The resolution is also inherited color grade settings are there. We can, I say one minute, so. But it doesn't do anything. I'm curious, what is special about that little piece of ground? Doubtful. Yeah, yeah.

Really, for sure. The motor design's not very appropriate. That's what, you know, I'm not sure if you're going to, uh, what the mother Lens component, there is nothing, preview, nothing.

And something with anti aliasing.

Because it is taking the same camera. No, I understood, but why is it [01:28:00] doing any further based on, you already have a scenic. cg.

And of course there's, there's again, a huge difference between the whole, uh, visuals that we threw, uh, the cg uh, third person versus the particular machine. 

Eliot: Okay. You know, I'm actually not quite sure what that is. Um, Mm-Hmm. But what I, the good thing is, is, I mean, I've, I'm recording this and I can ask some people about it.

Um, that's interesting. That's, I, I honestly don't quite know the answer to that. Um, I know enough composure to, to be able to set up and configure and match the, the fields of view, et cetera, and to make sure that the, the tracking is synchronizing, but this is, this is a new one. Um,

Hmm,[01:29:00] 

well, it looks, okay. And what happens when we change points of view? So if we, can we, can we look at that scene from a different scene locator? 

Kumarswamy: Yeah, I see. We just have two of them, right? Two of them. 

Eliot: Okay. So then let's look over in Unreal. And what's, and is it the same polygon? I guess the key question to this, is it the same set of polygons that are giving the problem in all the different.

The different groups, like with, so for example, in this, in this group, um, let me find my annotator. 

Kumarswamy: Okay. Uh, we, the models are different. If that is something, uh,

I'm trying to roll down and see something.[01:30:00] 

Eliot: Let me put another, is that, that looks like. And I can see the triangles kind of fading off. It looks like a rendering, a surface rendering artifact. I just don't know. 

Kumarswamy: Another camera, which is a cine actor, just a cine actor. I'm trying to maybe replicate it, but yeah, the thing is, uh, we don't have the problem in this.

Um, live, live cameras in it, uh, where 

Eliot: it just crops up and it just generates the normal preview instead of the specific preview. It's only in the composure specific one. Um, yeah. All right. I don't have an answer. I'm going to have to show this to some people that maybe know more about, about this part of it.

I appreciate it. Cause we're, we're sort of three layers deep and unreal.

Um, that is a, that's a good question, but [01:31:00] I've, I've seen another question on it where the composure thing looks different. So there's an, there's an overall key thing that's happening, which is the composure generated element is somehow rendering differently than what the normal camera preview is. And I, I don't quite yet understand why.

My guess is there's something like. There's some checkbox that'll be, you know, apply the same post processing things, uh, settings in, in the main scene to the composure element. And it'll be a checkbox and it'll be somewhere. I don't know where it is yet, but that would be my guess. 

Kumarswamy: Yeah. I mean, my only concern with that is for example, if one of the.

Uh, I mean, yeah, the director point of view, if he wants to just, you know, have a check with, you know, different options of light effects and, you know, that doesn't just cut it. I mean, I understand that perception is what, I mean, all the framing is something primary, but yeah, if somebody wants to just play around with the lighting [01:32:00] changes and want to see how that would fare, then there would be a reception.

Yeah, with the whole, uh, what's happening, I'm trying some stuff. Output pass. Let me just put it to none, then do anything, render target,

resolution source, it just changes the resolution.

Yeah, why don't we just do the export also, so we can get, we can just solve that one. Okay. Yeah. Okay. And, uh, Elliot, okay. I think we, uh, yeah, we'll wait for this, uh, uh, you know, uh, fix on this. Meanwhile, uh, we'll go to the next one. 

Eliot: That's 

Kumarswamy: okay. 

Eliot: Yeah, go for it. Yeah. Okay. 

Kumarswamy: Yeah, so we got the omniverse, uh, installed actually, um,[01:33:00] 

so we have the, uh, you know, the launcher as well as the, uh, we were, okay, we were just anyway, fine. Uh, but yeah, issue is, you know, if you observe, we are on 5. 3, uh, for now Unreal, um, yeah, we, we don't see the, uh, omniverse, uh, icon actually on there. 

Eliot: Okay, so let's cancel. Let's go, uh, into your edit, uh, plugins

and type in Omniverse. 

Kumarswamy: Yeah That won't one I know. Show up. 

Eliot: Oh, okay. So your connector's not installed. Okay. So let's go back to the, uh, unreal. Uh, sorry. The, um, omniverse, uh, launcher. Let's go back to that guy. Mm-Hmm. And let's see. We're in the exchange. Let's go click on connectors. Okay. There. Oh, I see. So there's epic games connector.

All right. And good. Just once. Oh 

Kumarswamy: yeah. 

Eliot: We [01:34:00] have 

Kumarswamy: connected it to a dedicated Wi Fi that doesn't have internet. 

Eliot: Let me just connect it. Sure. 

Kumarswamy: Okay. 

Eliot: So then let's find the five dot three. It's a little hard to see through the compression, but I'm sure you'll, you'll find the, you know, all right. Five dot three.

Okay. Let's click on five dot three connector. There we go. And there should be an install button somewhere in there.

All right. Release. Okay. So installed. Okay. So in that case, why doesn't Unreal see it? Programs. Take out the Unreal, uh, Omni. Oh, sorry. Alright, so the key question, okay, let's go back into, uh, uh, Unreal. And actually, man, uh, is there any way you can share the screen off of the, uh, it's just hard to see through the cell phone compression.

Okay. 

Kumarswamy: Ah, okay, maybe [01:35:00] now we can, um, yeah, Oh, I 

Eliot: see, I see, before it was, it was blocked off the internet, yeah.

Kumarswamy: Like technology.

Which is it? No, no, no, no. No, no, no. Which browser is this? Jet set. I think we already have it. Okay. Open form. No, no, no, open hours. Before that. Yeah. Okay. That will save some effort of mine on the phone here, 

Eliot: Plus, it'll be a lot more, a lot easier to read.

Kumarswamy: [01:36:00] Okay. Uh. Okay, done with temperature audio. Yeah, we'll continue with that. 

Eliot: Okay. Share this to us. There we go. You may have to, uh, get rid of one audio. Okay. All right. Fantastic. Ah, whoo. Stable screens. Love it. Okay. So now we can, uh, let's, let's go to your Unreal screen.

All right.

Okay. So let's go up to edit and plugins. Cause yeah, for some reason the omniverse is not installed. You, you may have to reboot on real let's type in a omni. Oh, also let's type in a USD. Let's just make sure your basic USD edit, uh, USD importers is installed. Okay. So then let's do, uh, and then omniverse is not showing up.

Cause I normally, if omniverse was installed, you would see a little, um, green, [01:37:00] Oh, right there. Or maybe right there. I forget exactly where, but you would see in a little green, Oh, if it was installed. So what it is, is it's, I think the plugin was installed, but maybe Unreal, Unreal needs to be restarted between adding plugins because it's a C DLL and it needs to actually restart the Unreal, uh, whole Unreal thing.

So if you get, if you need to restart Unreal, um, you can like save everything, exit and come back and it hopefully will have found it. And we can, we can look in your Unreal, uh, directory to see if we need to find it.

So, yeah, I'd love to. Go ahead and exit Unreal and, uh, restart it. Alright, Unreal, Engine, Plugins. And,

let's see, where'd Omniverse go? Let's, let's look where it, let's pull up the Omniverse launcher down here. Let's see where it thinks it put it. That's probably question one. Pull up the element versus [01:38:00] launcher. Alright, there's connector. And then let's, um,

install. Let's go back to our library. Because Exchange is where you, you like, pick things you're going to download. Library is what actually got downloaded. So, there we go. Install, let's go over to here. And let's see where, where everything is. Settings, where did it, where did it put it? Okay, so install path.

Um, okay. Maybe it, let's see,

I would have thought I would just install it in the plugins.

Huh. Um,

that's kind of weird. Um, let's close out of here. [01:39:00] Okay. Let's, let's, let's go ahead and actually we're going to uninstall and reinstall it, just to kind of double check on this. So go ahead and click on that settings and let's just uninstall both of these guys

and there we go, and then we'll go back to exchange

and connectors.

And let's go find Unreal. So, the library is the things that have already been installed. All right. So actually, no, no, you can keep USD view. Don't, don't, don't uninstall it. That's actually very useful for debugging USD devices. So let's just go to exchange. Exchange is the, uh, and we're going to go to the connectors and we're going to get the Unreal and we're just going to reinstall it.

So we want it to go down to, yeah, just type in Unreal.

All right. So then it's 5. 3. Let's go ahead and install this guy. And I want to see it [01:40:00] actually do both the download and then does the. There's like a little executable installer.

There we go. There we go. Let's go ahead and install this. That's the key because now it's going to put it into program files. Epic games.

All right. This click show details. It's a click show details over here. Oh, anyway. Um, so I want to just, all right. So now let's go to our, uh, our Unreal directory. Um, let's just make sure we have, uh, and yeah, you're going to need to exit Unreal and restart. There we go. Let me get rid of [01:41:00] my bad drawings.

There we go.

There we go. There's Omniverse. See, and now you have it installed.

And I actually can't hear anything. I don't know if you guys are saying anything about it, but with the screen share, I don't, uh, I'm not, uh, I'm not hooked up. So I think you guys can hear me, but I can't hear you. So if you're asking questions. Oh, there we go. All right. There's, there's, Oh yeah. 

Kumarswamy: We thought that the laptop was sending you signals, but no, um, Yeah, the issue is the [01:42:00] we had 544 first mute this volume

check check

There's an echo I don't know if you get that yeah, 

Eliot: we 

Kumarswamy: get we 

Eliot: get the echo 

Kumarswamy: I'm sorry. I don't know what's wrong with the mic of the Laptop. 

Eliot: Okay, that's fine. Uh, we'll, we'll love, well, I see both the, the normal VFX and Swarmy are both, are both activated. Uh, you have audio on that, so you may need to, uh, mute.

Mute. One of the phones. Oh, 

Kumarswamy: mute This one? 

Eliot: Yeah, check. Okay. There you go. Now we're good. Okay. No. Okay, good. So now, now you've got Omniverse. . There we go.

Kumarswamy: What next? Okay. Um,

[01:43:00] yeah. Okay. Um, we have an issue with SDI out from the axon.

Eliot: SDI out from the accent. Yeah. Okay. Yeah. 

Kumarswamy: I, I basically, I know. Okay. This setup, uh, I, you 

Eliot: may need to switch back to your, um, your cell phone so I can see what you're doing. 

Kumarswamy: Trying to bring it. Okay. Yeah. Yeah. So generally what I do right now, if you see there's no accent when you. Oh, hang on guys. I'll be 

Eliot: back.[01:44:00] 

Kumarswamy: tk. It was not really.[01:45:00] 

Okay. , we're back. All right. 

Joe: So, 

Kumarswamy: yeah. Yes. Uh, so issue with, uh. Yeah, I'm trying to, you know, feed in HDMI to Axon, of course, uh, for the calibration. And since you mentioned that there's no use of Axon post calibration, so, yeah, it helped us to, you know, get the live done without, uh, the third party transmitters or For [01:46:00] the monitors.

So, okay. But yeah, I tried to pull an STI out from axon and then feed it to, uh, feed it to, uh, the black magic, uh, ultra. So the 

Eliot: camera, it looks like it's the cameras Jane and generating HDMI, correct? 

Kumarswamy: That's right. 

Eliot: Okay. So the HDMI goes out from the camera. And then, and then it goes into the, are you going to the axon?

Where's the axon? Yes. It's all Oh, I see. So htm. So htm I goes in, ah, I see your problem. So, uh, the, I don't think the Axon has a conversion from H-D-S-D-I to SDI. I think the SDI output is only a pass through from the SDI input 

Kumarswamy: in. Okay. I was guessing 

Eliot: there. Yeah, 

Kumarswamy: I mean, it's not so evident on the product detailing, but yeah, 

Eliot: yeah, I [01:47:00] think that, that would be an, another chip there's a, there's a black magic, uh, SDI, uh, HTSDI to SDI converter somewhere out there.

Yeah, 

Kumarswamy: yeah, they are, they are, but yeah, you know, I, I was just, you know, by looking at this whole, uh, I was expecting it to work. Right. But, yeah. 

Eliot: Okay. Okay. Is there, are there other, other items? Cause the, you know, uh, we're, we're a little far past on our normal, normal time, but, uh, I want to make sure you guys are, are, are working reasonably well.

Oh, I see. It's still, it's still exporting. I see. 

Kumarswamy: Oh, yes. Okay. One more thing we needed to check is, you know, we, we had, uh, you know, because of, uh, the omniverse, uh, we, uh, I mean, the whole project was actually built on five, four, uh, by the client. And, you know, uh, we got a few elements, uh, you know, imported and, you know, built, uh, Oh, yeah.

A kind of resized version in 5. 3. [01:48:00] Okay. I 

Eliot: see. 

Kumarswamy: Uh, and now what we're trying to do is, you know, uh, make use of the full blown 5. 4 on the system. And yeah, just use the locators on a, uh, light model on the phone. I mean, it's just the locators that are required on the phone. Nothing. Fancy. And the whole idea is to get them a composed weave on the system so that, you know, they have a clarity and we are trying to push back the laptop output, I mean, yeah, from unreal out to the cameraman, uh, on a mini monitor, uh, hopefully on a wireless setup.

Eliot: Okay. Okay. Um, so I know we updated, I know we updated autoshot to work with 5. 4. So that, so just make sure we updated both autoshot and autoshot tools last week. Uh, so make sure you're updated on both of those when you start to, uh, when you start to push. 5. 

Kumarswamy: 4 standalone, we did test with, you know, dummy [01:49:00] model.

It works fine. No issues. But yeah, the, the scenario right now is, uh, we have a export model into the, um, uh, Jetset from FIDO3 and we're trying to, uh, Have five or four running natively on this system, the model built on five or four actually, and then yeah, make them work in sync. Uh, that's an attempt actually, uh, we just received the full blown model sometime back.

So, yeah, the project. 

Eliot: Okay. And so right now you're working through exporting that, uh, through Omniverse into a USD file to bring into the phone 

Kumarswamy: the full model. We won't, uh, the, uh, actual intended, uh, model, we won't be, uh, exporting. What we are going to do, we, what we have done is basically we have [01:50:00] only, uh, put, uh, scene locators on a lighter model and pushed it to the jet set.

Eliot: Oh, good. Good. 

Kumarswamy: And on Unreal, we will, yeah, we are trying to, uh, have the full blown model and, uh, yeah, get the syncing and composing done. 

Joe: But

Kumarswamy: yeah, I think, um, I think it'd be a good, you know, uh, the model is huge. And that we, we, in fact, are looking at this firsthand, uh, first time. 

Eliot: Okay. Uh, what I will do in that case is what I'll probably do is I'll get off the call. Um, uh, I, I'm seeing a pattern of things not looking the same in the composure.

Rendering window as in the viewport. So it's one of the, when there's a pattern, then, then it's possible to track things down. Um, I don't quite know what it's going to be. It's likely it'll take some number of days to do this. [01:51:00] Uh, I'm going to be away for about a week. Uh, and then, uh, but I'll, I'll be on, I'm on the forums and email and stuff like that, but I won't, I won't be as, uh, Uh, quite effective understood.

Um, but let's see. So what I'm going to look for that. I don't yet know the answer, uh, why it's doing that in Composure. I said, sometimes Unreal does strange things and then we find about it later. 

Kumarswamy: It should be pretty much like a screen grab for Unreal from a given perception, but I don't know when. Yeah, it should 

Eliot: just.

Look the same, you know, uh, it's got to be something like a post part processing volume setting somewhere, um, that we don't, I don't know about yet, but I will, um, and if I'm able to find that what I can, uh, put that up, uh, it might take a while, uh, just because that's, that's going to be one of those that would take some digging to understand what's going on.

All right, [01:52:00] well, it looks like you at least you have the real time preview working so you can you can show that the yeah, 

Kumarswamy: I mean, it's been working for us quite a while now. But yeah, we just had some limitation with the whole action project data and some hardware and stuff. I mean, I did come I mean, kind of convey to you that we would Be connecting a week before we don't happen for reasons, but yeah, sure.

We are now 

Eliot: sure. Of course. You know, this is, this is, this is a way, well, what's, what's also very interesting is, is, um, 

Kumarswamy: Oh yeah. And sorry, by the way, I, I mean, we did this, uh, test with Ari, uh, Alexa 35, uh, yesterday. And, uh, yeah, calibration went well. We had, uh, A couple of instances where things did not go right, but yeah, we will revisit them at a later point.

For now, we're not so keen on debugging, but yeah, not now. But yeah, just for [01:53:00] information that worked and we are going to be shooting on the same kit tomorrow. Uh, we'll see that. 

Eliot: Great. Great. Oh, one, uh, useful thing you may find in shooting is. Uh, we updated, um, we have new vertical and floor targets that are much larger, um, that if you want to use, the old ones will work fine as well, but in case you want to use the new ones, uh, I'm going to show you where they are on the downloads.

Kumarswamy: Oh, no, I know. Uh, but unfortunately, I, we haven't, uh, taken that, uh, uh, path yet. That's something new for now, right now. I have seen the videos where, well, of course you have the, uh, origin on the floor plus, uh, the, uh, yeah, the Z height, uh, factor, uh, no marker, uh, but not really tried yet. 

Eliot: Okay. Okay. Yeah. The, so see, look 

Kumarswamy: at this, I think are going to be a thing for now.

So maybe make use of those. And we, we, we have some control, uh, kind of got familiarity with on the screen on the app so that, you know, we can [01:54:00] reposition our, you know, reorient. So, yeah, I think kind of that. 

Eliot: So, okay, that's great. I'll just put it in your, in your mind is that the original ones. were printed on letter size paper.

And so the detection distance was kind of short. The new ones are, you know, uh, 18 inches by 24 inches. So they're more than twice the size so that you can detect them at a distance of three meters. Uh, and so, 

Kumarswamy: I'm sorry, I'm just cutting you as you mentioned of distance. Okay. Yeah. One. Okay. Uh, I mean, I don't know what is the farthest, uh, focal length, uh, you know, you could calibrate the 

Eliot: Oh, okay.

We've gone up to about a 70 millimeter super 35 equivalent. Um, and there is a, if you have to go past that, there's an override, uh, inside that, which is, uh, it's, um, I mean, look at, look at where it's, where it's shown. This is one of these things that we programmed, but haven't had time to [01:55:00] document. Um, so it is, yeah, under Cine calibration.

Uh, there is something called a focal length override. And so then what you end up doing is you, you want to start with the same family of lens, you know? So if you're shooting, um, if you're on say a one, a hundred millimeter prime, uh, you, then you would count. Yeah, there you go. So under recording, then you go click that and then Cine calibration.

There we go. And then you type in focal length override. There we go. Whoa, that's not good. Let me look at that and see if it does that on mine too. Um, you probably have to have a Cine calibration already loaded. Uh, so let's see if I can load in my 70 here. Let me, let me just double check that. Because if that's a bug, I want to, I want to go get that fixed.[01:56:00] 

Because we put this, this feature in because the, the optimal calibration starts to break past 70 millimeter equivalent focal length. It just does. It'll just run out of pixels. Uh, so I'm going to put in my, okay. Okay.

Okay. Okay. So with this, the way you would, this is kind of a bit of a, um, it's an override. So if you type in your base, it's works from a base calibration, the same family. So if you already had say a 50 millimeter lens calibrated in the same set of primes, you would type in 50, you know, cause you have, we have to build this off of [01:57:00] an existing lens.

So, you know, you get as close as you can with the normal optical calibration. And then, so if you had, what's, what kind of, uh, let's exit for a second. Let's see what your current cine lens loaded is. What's your, uh, right 

Kumarswamy: now it is 1. 6. Once it's, uh, it's a crop sensor, so maybe 18, 20. 

Eliot: Okay. So you would want to normally, uh, if you're going to be using a much tighter lens, um, then you would, you'd want to calibrate.

So if you have a family of primes, you have the 32, the 40, the 50, the 80 that, you know, et cetera, the a hundred. So you would probably calibrate with the 50 load that one in first. Right, because we, we need Mm-Hmm. , we're gonna basically do a, uh, you know, again, use that one to, as a ladder to stand on. So you load in the 50, you, then you type in the punch in the override.

Mm-Hmm. . And then you would type in 50 as the base length. Mm-Hmm. . [01:58:00] There we go. And, uh, send calibration. 

Kumarswamy: Sorry, . That's alright. 

Eliot: Syn calibration and then focal length override. And then you type in say 50 as the base focal length. So this is 

Kumarswamy: the existing. This is the 

Eliot: existing one and then the focal length of the override.

You know, so if you're going up to 80. 

Kumarswamy: Maybe 120. 

Eliot: Yep. And then click enable. 

Kumarswamy: Enable. So we can work with 50 calibration with this. Yeah. 

Eliot: Yeah. And cause what, what it's doing is it's borrowing the, the offset and the, and the orientation from that first one. And then, so that's why we use that to get as close as we can.

And then we just have an override between the folks. And that way, because we, we already know the focal length, the printed focal length of first one and the second one, they're on the same sensor back. We've removed all those variables. It's not perfect, but it'll work, you know, for, for the immediate purposes.

And then you can look in the, the, the, the [01:59:00] text down here and it'll say your. Uh, the focal length and it'll have like a little asterisk then the override focal length. This is, you know. This was a quick solution. It's not pretty. Um, but it, and that, that data will, will go through into AutoShot. 

Kumarswamy: Right.

Because we've been wondering since a couple of days actually, like how could we even calibrate with 120? Yeah. And of course, iPhone wouldn't get any data from that distance. 

Eliot: Yeah. Yeah. No. I looked at that and, uh, and no, the math doesn't work. So that's why we added this in as a, as a quick over. I just remember to turn it off when you're, you're not using it.

Kumarswamy: Yeah, sure. But again, I'm just curious, you know, if the same trick worked or, you know, if you could have some, you know, uh, say, uh, I think you just have to do some, um, how do I say, yeah, a robo capture so that it could repeat the shorts with, you know, you do a set for say 25 and you work it out, uh, you know, the same principle [02:00:00] with 50 or 35 and compare the track and see how it works.

Eliot: Yeah, it's worth, I mean, always when we, um, if you can calibrate optically, we recommend that because the problem is, is that. Between, um, the, the problem is especially where the entry pupil of the lens ends up. If you're on a zoom lens, the problem is if you, if you're on a Y, if you are at wide, the nodal point of the lens is one point.

When you zoom in the nodal, the nodal point keeps going backwards, sometimes a lot. So you want to get as close as you can with an optical calibration before you jump to an override. So if you try to do a, you know, start with an 18 millimeter and then jump to a hundred millimeter. It's going to be off.

You want to get as close as you can optically. So, uh, guys, I actually have to get off the call. Uh, and, uh, Yeah, let me, uh, let me do that. Yeah, let's see. Why don't we see you see this? Okay. [02:01:00] 

Kumarswamy: Perfectly late. I, uh, yeah, I think you have spent a lot more, uh, maybe, uh, your tomorrow's schedule has been with this call.

Eliot: That's okay. This is, this is fine. Actually, I won't be in tomorrow, so I'm going to be out for about a week. Um, I'll put the, uh, I'll be the back, I'll be back next on, uh, next Friday on the, uh, uh, let's see, on the 4th. So I'll put that, um, put that note in office hours so I can, I can show that. But, uh, yeah, no, this is, this is great.

It's just fun to see, uh, everybody working with us all, all over the place. 

Kumarswamy: Cool. Thanks a lot, uh, for the time today. And, uh, uh, we hope, uh, we reconnect with, uh, some positive outcomes, uh, from day tomorrow. And yeah, we have today's to, uh, for your information, we'll see how goes. 

Eliot: Yeah. And, you know, I'll, I'll look at it and in parallel, I would, uh, if you guys can also look for, uh, basically rendering differences in composure.

Versus the [02:02:00] normal camera. I bet there'll, once we look at it, there'll be a composure has been around for like 10 years, so there will be, yeah, 

Kumarswamy: okay. Yeah. Find out four is something we, we're going to check now. If unreal is a culprit here, maybe it will be, I mean, of course, unreal is culprit. Yeah. Yeah, which one of them now?

Okay, good to see you. Yeah, indeed. Thanks. Have a great day. So we see you soon. Yep Thank you