WEBVTT 00:00.210 --> 00:06.810 Welcome to this final lesson where we will cover how to render a sequence in this scene, I have animated 00:06.810 --> 00:09.060 a camera called the Master Cam. 00:09.480 --> 00:13.820 I've also animated the lights, which you can see by clicking on the light preview here. 00:14.250 --> 00:16.950 You can kind of see them flicker on and off in this lesson. 00:16.950 --> 00:18.860 I'm not going to get into how I animated this stuff. 00:18.870 --> 00:23.580 You can watch the animation section of this course to learn about animation. 00:23.760 --> 00:26.610 But in this one, I want to explain how to render entire sequence. 00:26.910 --> 00:32.550 Up until this point, we've only been rendering Arnold previews from this Arnold render view preview 00:32.730 --> 00:33.930 by hitting play up here. 00:33.930 --> 00:35.370 And we see a single image. 00:35.760 --> 00:42.050 But in the case of this scene, we have a animation and we need to render out this entire timeline. 00:42.390 --> 00:43.350 So how do we do that? 00:43.860 --> 00:45.510 Let's look at the render settings. 00:45.690 --> 00:51.360 And I'm just going to leave this timeline here in the middle at the point where the lights actually 00:51.360 --> 00:51.930 turn on. 00:52.650 --> 00:56.480 And I'm going to go into the render settings and explain a few things. 00:56.490 --> 01:03.000 So this is the render settings button up here and we get the window, which you might be a little familiar 01:03.000 --> 01:03.180 with. 01:03.180 --> 01:08.310 Now, we've opened it a few times and we want to make sure that we're on render using the Arnold render, 01:08.310 --> 01:10.710 because that's all the shaders and everything we've been building with. 01:11.280 --> 01:16.350 And the first thing we want to look at is everything on this common tab is kind of important. 01:16.350 --> 01:17.280 So let's run through it. 01:17.550 --> 01:24.030 Basically, we need to name the files so you can see the file name right now is just set to whatever 01:24.030 --> 01:25.710 the scene name is up here. 01:26.100 --> 01:29.040 And we can delete this and. 01:29.040 --> 01:29.370 Right. 01:29.370 --> 01:35.550 Click and say, you know, maybe the camera and these little tags will name it based on that. 01:35.550 --> 01:42.450 And you can see when I d like that or hit enter, you can see it says perspective and so we can do our 01:42.450 --> 01:45.060 own little tag and say skull. 01:47.360 --> 01:51.900 A skull had lighting and then you could add a tag as well. 01:51.900 --> 01:56.430 After that I was going to leave that for now and I'm going to enter so that it takes that change. 01:56.520 --> 01:58.110 Now you see the file name is this. 01:58.590 --> 02:01.080 But how so? 02:01.500 --> 02:09.330 The whole reason why we're rendering out image sequences and not a movie file is because this 100 frames, 02:09.330 --> 02:14.790 depending on your computer and you know the type of animation you're rendering and lighting and everything, 02:15.180 --> 02:16.320 it could take days. 02:16.620 --> 02:18.360 I've even had renters take weeks. 02:18.690 --> 02:26.400 So let's say you take a week to render an entire sequence and one frame of that is messed up. 02:27.120 --> 02:33.480 If you had rendered out a movie, which is a single file, you would have to re render that entire thing 02:33.720 --> 02:36.750 or have to render out that one frame and then do all this editing stuff. 02:38.100 --> 02:45.420 In the case of image sequences, you can just isolate the the frame number that you want or the chunk 02:45.420 --> 02:47.400 of it and render out those frames. 02:47.400 --> 02:54.060 If there's an artifact, if the renderer failed at some point and it's much easier, much better to 02:54.060 --> 02:55.050 use image sequences. 02:55.050 --> 02:56.250 And that's just the standard. 02:56.250 --> 02:57.300 That's what everyone does. 02:57.750 --> 03:04.200 So in the case of rendering an image sequence, you need to take these files, bring them in after effects 03:04.830 --> 03:11.970 premiere, I believe, handle's image sequences as well, and then it will interpret the twenty four 03:11.970 --> 03:18.330 frames a second, which is kind of the common thing set down over here that hey, this image sequence 03:19.140 --> 03:24.840 frame, one to one hundred, which we can see here, is meant to be played back at twenty four frames 03:24.840 --> 03:25.320 a second. 03:25.530 --> 03:29.730 So every second there will be twenty four frames shown. 03:29.910 --> 03:30.320 Right. 03:30.570 --> 03:37.470 So this is one second one to twenty four and it after effects are premiere, you can look up how to 03:37.500 --> 03:44.700 import an image sequence and then import these images into those programs and render out a movie, a 03:44.940 --> 03:49.470 movie or whatever other kind of video file that you would like to have. 03:49.890 --> 03:54.060 But when you're using 3D, you are dealing with image sequences. 03:54.060 --> 03:57.420 So that's why we're choosing a file name for an image sequence. 03:58.200 --> 04:05.460 To get this sequence out, we need to say frame animation extension is not a single frame. 04:05.460 --> 04:06.600 We do not want a single frame. 04:06.600 --> 04:07.960 We want multiple frames. 04:07.960 --> 04:10.800 So we want named no extension. 04:11.250 --> 04:18.750 So name means the file name we've put up here by no means the number of the frame down here in the timeline 04:18.750 --> 04:24.240 because each one is going to be obviously unique and then the extension, meaning the image format that 04:24.240 --> 04:24.840 we're choosing. 04:24.840 --> 04:28.080 So when we click that, we can see it changes up here, the file name again. 04:28.740 --> 04:36.930 And now we have the frame number and the extension of the image format we're choosing X are is a floating 04:36.930 --> 04:44.820 point format, which can have multiple layers in it and very high dynamic range, sixteen or thirty 04:44.820 --> 04:44.970 two. 04:44.970 --> 04:50.700 But images, if none of that makes any sense, click jpeg and you don't have to worry about any of that. 04:51.810 --> 04:54.030 That's an eight bit image and that's fine. 04:55.140 --> 04:59.400 You're probably not gonna be doing a ton of, you know, high end compositing. 04:59.480 --> 05:07.210 If you're new to Miah, if you're coming from a compositing background, then, you know, Albany was 05:07.310 --> 05:09.560 already probably and you'll want to choose that one. 05:09.560 --> 05:12.590 But if you're totally new, just choose JPEG. 05:12.590 --> 05:15.400 And it's you're probably familiar with that with like taking pictures and stuff. 05:15.410 --> 05:16.190 It's the same idea. 05:16.730 --> 05:22.220 So now we need to tell the frame range so we can see down here in the timeline, it needs to be one 05:22.220 --> 05:26.660 to one hundred and we need to choose the renewable camera is the wrong one right now. 05:26.660 --> 05:31.010 We want the master cam, which is one that's animated, and then we can choose the dimensions that we 05:31.010 --> 05:31.750 want it to be in. 05:32.060 --> 05:33.980 And for me, I'm going to do seven 720. 05:34.760 --> 05:38.990 And the larger it is, the longer each render is going to take. 05:39.260 --> 05:43.580 And you can kind of preview how long each frame is going to take by using the older interview. 05:44.000 --> 05:49.700 And when you hit play down here in the bottom left, it says rendering, but once it's done, it will 05:49.700 --> 05:52.430 have a number here and that will be the timer. 05:52.430 --> 05:57.080 Basically, it'll say this took a minute and twenty five seconds or something, so I'm just going to 05:57.080 --> 05:57.920 leave that going. 05:57.920 --> 05:59.210 So maybe we'll set here in a second. 05:59.810 --> 06:06.960 So the next things we want to be concerned with are the sampling numbers in the Arnold Renderer tab. 06:06.980 --> 06:12.830 This basically means quality, OK, and it divides it into different aspects of a render. 06:13.340 --> 06:19.520 But the main one you want to concern yourself with is the camera one, because this is multiplied, 06:20.210 --> 06:22.610 multiplies each one of these ones below it. 06:23.150 --> 06:25.850 So it's kind of like a global setting. 06:26.300 --> 06:27.590 So let's take a look at that now. 06:27.590 --> 06:33.890 Now that we've have ORENDER done, we can see it took thirty five seconds, but we have all these Firefly's 06:33.890 --> 06:39.860 and that's a term called for an artifact where there's basically all these kind of dots and it doesn't 06:39.860 --> 06:41.510 look maybe terrible right now. 06:41.780 --> 06:44.570 But keep in mind, this is going to be an animated sequence. 06:44.570 --> 06:50.240 So these little dots here, which are I'm going to zoom in so you can see all these little dots in the 06:50.240 --> 06:53.090 background, those are going to move every frame. 06:53.090 --> 06:58.640 So it's going to look noisy as hell in an animated image sequence. 06:58.640 --> 07:02.420 So we need to address this and the quickest way to address it. 07:02.420 --> 07:08.060 But it might also be the most expensive for your render time, meaning your render time is going to 07:08.060 --> 07:10.820 increase is to increase this camera settings. 07:11.090 --> 07:15.080 So let's crank it up to something like six and see what happens. 07:15.650 --> 07:18.860 And let me let me also just say let me crank that back down to two. 07:19.250 --> 07:21.650 Let's use this crop region also goes a little quicker. 07:21.950 --> 07:23.150 Let's just choose a region. 07:24.380 --> 07:28.910 Let's when we choose something with a little bit of the skull on it as well, let's choose this region 07:28.910 --> 07:30.440 and let that run. 07:30.440 --> 07:32.480 So it's gone one second and it's done. 07:32.960 --> 07:37.310 I click the little snapshot button down here and now we have this snapshot saved. 07:37.340 --> 07:42.360 So when we make any changes, we can come back to it and compare and we can get off of it by clicking 07:42.360 --> 07:43.330 the lie down here. 07:43.880 --> 07:50.230 So now when we crank this up to six, we can compare it to with what we had earlier. 07:51.020 --> 07:53.330 So now that took 13 seconds for this little region. 07:53.330 --> 07:59.300 When I click another snapshot and I'm just going to click back and forth between these two and you can 07:59.300 --> 08:04.370 see the difference by increasing the sampling, we're starting to get rid of those fireflies. 08:04.370 --> 08:09.170 It's not perfect yet, but it did a great job pretty much. 08:09.170 --> 08:11.990 And I think for our purposes, it's going to be good enough. 08:12.380 --> 08:15.530 There's some other things we could get into the weeds a lot on this. 08:15.860 --> 08:21.530 But as a as a general overview, you can increase the sample size here and it's going to help out a 08:21.530 --> 08:21.830 lot. 08:21.830 --> 08:25.730 If you want to evaluate this stuff further, look up light decay. 08:25.760 --> 08:33.620 And this is basically happening because this object, the skull is so close to these lights that the 08:33.620 --> 08:40.210 indirect light is creating all of these kind of specialty indirect bounces off of this object. 08:40.280 --> 08:43.250 They're just too this is just so close to this object. 08:43.700 --> 08:48.950 But that's not really for this course. 08:49.160 --> 08:50.480 It's kind of an advanced topic. 08:50.930 --> 08:54.260 So for our purposes, increasing the sample size helped a ton. 08:54.830 --> 09:01.280 So now we can go to the render tab here. 09:01.310 --> 09:02.150 We're under rendering. 09:02.810 --> 09:08.180 And if we've set our project here, you can also see under the common tab that it should be having the 09:08.180 --> 09:09.140 right file path. 09:09.470 --> 09:09.760 Right. 09:09.770 --> 09:12.260 This is what I set up to. 09:12.740 --> 09:21.230 I set the Miah folder here as the project folder, so it's automatically finding the images folder in 09:21.230 --> 09:21.470 there. 09:21.470 --> 09:26.150 So that's also the part important part of setting up the project. 09:27.140 --> 09:28.730 And just one more thing real quick. 09:28.730 --> 09:31.490 I want to cover this other tab, Aoki's tab. 09:32.330 --> 09:38.900 This is if you are in an advanced compositor and you're trying to learn 3D, this is basically the different 09:38.900 --> 09:40.670 kind of render layers that Arnold uses. 09:40.670 --> 09:48.260 So if you click built in, we have all these different aspects of a render and we can isolate them so 09:48.260 --> 09:50.000 we can activate them. 09:50.000 --> 09:53.240 So it'll be included in any exer because we're using JPEG. 09:53.240 --> 09:54.650 It's not going to have anywhere to put them. 09:54.650 --> 09:58.850 You have to have an extra selected for AV's to work, so. 09:59.340 --> 10:08.670 Basically, let's choose diffuse indirect specular, and that's that's probably fine, and then if we 10:08.670 --> 10:10.920 choose that at all or interview one more time. 10:12.100 --> 10:15.220 And we get off of this snapshot view here and play. 10:19.530 --> 10:23.670 Now, what we have if we go up here on top left, we actually have each one of these. 10:24.870 --> 10:31.860 So these are basically passes that in compositing you can control each one of these elements of the 10:31.860 --> 10:36.420 render and that specular pass actually looks pretty cool by itself. 10:37.770 --> 10:45.300 But anyway, so if you're into compositing, you'll want to know about these things for our beginner 10:45.300 --> 10:45.960 purposes. 10:46.290 --> 10:47.310 Do not worry about it. 10:47.310 --> 10:49.110 It's it's kind of advanced. 10:49.110 --> 10:54.070 And, um, you probably won't need to do that stuff till later. 10:54.090 --> 11:00.210 Basically, if if this render preview looks pretty good, that's all you need and that will get you 11:00.780 --> 11:02.430 what you want out of the JPEG here. 11:03.240 --> 11:06.120 OK, so we have all this stuff set, so I'm going to close that down. 11:06.450 --> 11:08.910 We're happy with this, so I'm going to close this. 11:09.990 --> 11:16.860 So I'm going to render and go to render sequence and open this up, make sure it has the master cam 11:16.860 --> 11:17.370 double check. 11:17.370 --> 11:23.470 It says the right frame range and you can also put an alternate output file. 11:23.970 --> 11:30.750 Sometimes I'd like to select the images file as well just to be redundant. 11:30.750 --> 11:32.660 And that definitely put it there. 11:32.670 --> 11:33.050 Right. 11:33.630 --> 11:34.980 So sometimes I'll do that. 11:34.980 --> 11:41.400 And then when I render sequence and close, what was going to happen is it's going to start to go through 11:41.940 --> 11:44.820 each one of the frames in this window. 11:44.820 --> 11:51.300 So I won't be able to work in Maya from here on out until it's done, but it'll do it without a watermark. 11:52.170 --> 11:58.050 If you use the batch render option, it will create a watermark, which I can't show you now because 11:58.050 --> 11:58.860 it's already rendering. 11:59.130 --> 12:01.320 But that's pretty much it. 12:01.320 --> 12:03.840 That's how you render sequence in Maya. 12:04.410 --> 12:06.360 And I really appreciate watching this course. 12:06.360 --> 12:08.640 And congratulations that you've gotten this far. 12:08.970 --> 12:14.430 And I hope to see in the next sections where we're going to cover a lot of cool stuff like reading in 12:14.430 --> 12:17.930 animation and get into some more fun things. 12:18.270 --> 12:21.110 So thanks for watching and I'll see in the next section. 12:21.150 --> 12:21.480 All right. 12:21.750 --> 12:22.260 Thanks. 12:22.260 --> 12:22.560 Bye.