Transcripts
1. Introduction: Hello and welcome to the class. My name is Wendy Sara and I have 30 plus years of IT experience
and in recent years had been learning as a
CGI 3D applications. I'm gonna be your instructor
and we're gonna go through the loom pad experience. We're going to start from, from the beginning of
getting your CG scene. And then we're going to use the popular cameras
in cinema 4D. And we're going to use
them to render out. And we're going to what? Ex Rs and then we're going
to bring him into the pot. One of the popular
rent of editors, which would be the Vinci
Resolve or Premier Pro. Once we have our edited
video in 2-by-2 video, we're going to bring it
into a lone pair software. We're going to process it
and put it on device will be able to enjoy your
3D creation in 3D. So the assumption is that you have some basic experience with cinema 4D and
the renderers. And because what we're gonna be doing is fairly
straightforward. The value of the class, what you're going to get
out of it is you're gonna go through the process
in a way that works. You're not going to
waste time and end up with half a
render which I have, or half an image which I have, or things of that nature. So my class project, it's basically going
through the process. You create whatever
scene you'd like. In cinema 4D doesn't have
to be anything fancy. You're going to go
through the process, render it out in with one of the popular
cameras and renders. Again, that's gonna be
the standard window, go to Octane, and
then go to Redshift, bringing into your
editor of choice, editor out as a two
by two image, sorry, a side-by-side image, then
you're going to bring it into the loan pad and come out
with a two-by-two image. And you're going to
put it on your device and you'll be able to enjoy, again, your creation in 3D. And that's, that's
gonna be your project. So I hope you're
excited to be here. I'm excited to teach you this stuff and show
you the loon pad. So let's get started and I will see you in
the first lesson. Take care.
2. Light Field Technology: Okay, so welcome to lesson one. We are going to talk about
light field technology, which is the basis alone pad when talk about
the loan pad. And I'm also going
to talk briefly about one of the
pioneers in terms of commercial light-filled
technology use. Light field imaging
is the idea that the image is taken
into number of angles. It's like a photogram is similar to photogrammetry and that tape can think of it. You either have
multiple little lenses, are multiple centers. And the case of multiple lenses, you get one image with
multiple sub images. If you have multiple senses and then you have
multiple images. So it's very much how
photogrammetry works, right? If you've ever done
photogrammetry, you know that what
happens is you go, you take dozens,
if not hundreds, in some cases, images from
every conceivable angle. And then you put
them in a program such as reality capture and then constructs a 3D
model of the object. So that's kinda how the camera
and the loom pad works. Now, balloon pad itself is an Android tablet
with the screen that is a light-filled display. But it can operate
either in 3D or 2D mode. Beneath the LCD display, there's a special layer that
takes the two-by-two image. That's the image
that you're going to feed into it either comes from the camera or you generate it. When you render. When you take your random, run it through this software,
when you take your, your video, your picture, That's not two-by-two and you run it through
their software. So basically, the layer
design to life is forced to spread out and 16 directions when it
tries to pass through. And so that's if you think
about traditional 3D where you have two separate images
and they kind of converge. It's a similar thing. Leah calls this diffractive, light-filled backlighting,
which is responsible for the 3D display and loon pad. You basically have an
Android tablet with a special layer that allows it to do all
this diffraction. And then you have the ability to turn
it on or off so you can use this irregular Android. In fact, that's why
I went for this. As opposed to vial was looking at another product
which is essentially a 3D picture frame or display. But that's what it did. So the beauty of the white, why I personally
went moon pad is because I can also use it
as an every day tablet. So at any rate, let's talk, let me show you this is
from their documentation. And you see here
the electronics. He is the light which is turned on when you
go into 3D mode. And then it goes past this, this special layer
that you could see all the rays going off in all directions and
they get you 3D. Now I want to talk
about, to conclude, I want to talk about
another product that was quite the buzz in 2006. It's called the
light truck camera. So what I was at the time, I remember there was
a huge buzz about it and I never tried it. I never purchased one and just couldn't justify and
I suspect most people couldn't because
it really wasn't a especially practical device. And I remember I
was just reading that they are later cameras
captured so much data, they need a little
server to go with it. So I'm not very practical, but very exciting and
cool at the time. Unfortunately, they ended
operations in 2018, and maybe whatever was
left was taken over by this German
company, Ray tricks. So to go over the way this, this light-filled works is very similar in a sense
to photogrammetry. Was photogrammetry. You take all these pictures, essentially assembling
a jigsaw puzzle. But instead of cutting things out, you're overlapping
everything. And that's kinda how
these devices work. Be it the camera or
be it the display. They're just essentially
constructing a jigsaw puzzle. And so That's kind of what
you need to understand, to understand basically
how this stuff works. Okay? So, um, to talk about what does
summable we did here. Basically, the way this
stuff is put together is essentially like
a jigsaw puzzle, where everything is overlapping. You have multiple
ray is going in different directions
and converging to, as in photogrammetry to construct a 3D model
of the object. So I'm next. In the next lesson
we're going to talk about the 0 apparel. Let's plane, which kind of just shows basically how you
see these things and why and how this sort
of works in terms of the visual plane and
how that impacts where you want to put stuff
when you design you, when you're creating a
scene for three days. So thank you very
much for watching and I will see you
in the next lesson. Take care.
3. Parallax: Okay, So this is less than two. We're going to talk
about parallax. Let's first look at the Webster's
definition of parallax. Parallax is the apparent
displacement or difference in apparent direction of an object as seen from two
different points, not on a straight
line with the object. Especially. So basically, what
this all means is what differences do you see, but looking at things
at different angles. Remember when you were in high school TO your
chemistry teacher said, look at the test tube
when you're pouring the liquid directly on, you don't want to
look like this. You don't want to look up, you want to look directly at it. Or otherwise you will not
get an accurate reading. And you think about people
flying, flying planes, they have to be very careful
that they're looking at the right angle. Or they can misread their, their information and
have a big problem. So that is the issue with parallax though that's the definition
rather of parallax. So 0 parallels to the point of view where
there is no error. If you're looking directly at something such that
there is no error, you're seeing exactly
things exactly who cameras is kind of where
the two camera views cross. For our purposes, we're
also talking about the plane representing
the screen. If the object is closer to the screen or appear to be
in front of the screen. If it is behind it, it will appear
inside the screen. So let me show you one other thing before we
look at our example here. This is where did it go? Here it is. Right here is this paper was
written about ten years ago by Amelie and Petrov and it was from Bulgaria and generation of stereo images in 3D
graphics applications, the stereographic and
non-sterile graphic displays. It is available on online free, but they have some
great diagrams here. We're going to see
this in cinema, near, far and projection plane. This diagram will you see where
you have these two cross, which is the right side? You have the two
things pointing in the correct direction as opposed they're actually
aiming and they cross. And that is your
projection plane. And then behind back here
with the other items, cross is your positive parallax, which is basically it looks
like it's inside the screen. Okay? So this is essentially, this diagram is very much related to what we're
going to see in cinema. So let me get cinema and
bring up the project. I want to bring up and show you my cinema likes to come on on a
different screen here. But okay, what happened there? Alright, so let's
open our project. This is it. Okay? So here you have
your, your camera. And you can see this
is what it's saying. And you notice the red
and the blue, that's ala. Ala. Ala Glenn, I always have
trouble pronouncing basically the red and blue like the old-time
movies we went, especially glass
and you see in 3D, if you had the red and the blue, you would see this
in 3D right now. This is not how
balloon pad does it. They are AAA want
side-by-side images. But you can see it's close. You see this all the red
and then as you go back, you see more blue. See blue and red depending
looking at the angle. And this will determine
how you see things. You turn the camera off
so you see the camera. Move this a little bit here. Notice you have what we saw in. You have a near plane, projection plane, far plane, the near and far planes
and more guides. And then you have, this is this is I believe this is your focal plane where the cameras
actually focused. So you can bring this in. And then when you look
at the image again, you see notice how
blurry the things in the distance r and the
things in the right, in the middle there a clear, the things in the
front are a little bit more a little bit less sharp. We don't have a huge depth
of field on this camera. We yeah, we don't have a huge depth of
field on this cameras, so you're not going to
see huge differences. But anyway, you can see this. What the point of this is, is where you place your objects will determine if they're coming at the viewer. If they seem in boy
in the background, if they're right there. And they don't seem to be
back before there, right? Right on the screen. Um, and obviously, like
with any photography, the folder where your focus, how your depth of field, that makes a big difference as well in terms of
your final image. So hopefully you now have an
understanding of parallax. Remember it? The, the differences
that you might see by looking at things in a slightly different angle
to get the 3D effect. And DO parallax
means you're seeing things in totally accurately. And you have your
different planes again, you have your near plane
and far planes guide. You have your focal plane and which you couldn't
move in or out. And you have, this is the the, essentially the, the
projection plane your screen. So hopefully you've
enjoyed this lesson and next lesson we're
going to talk about the default camera that comes in cinema that you can use with the standard or
physical renderer. So see you in the next lesson.
4. Standard Camera: Okay, So this is our first
lesson about the cameras. This is the standard camera
that comes with cinema 4D. And as you can see
what let me go to it. We have this very simple scene. And the key thing here, and you could do this isn't normal cat camera adjustments. And if you go to stereoscopic, you get, like we talked
about in a previous lesson. Let me go and show it. So we have our 0 parallax. We have our new airplane. I think this is right, you really see it. Well, you gotta kinda get it so that everything is
lined up there. Yeah. So he is on near plane. He has are 0 parallax. And he is, here is
our, our plane. And you can see, I
think I'll focal planes all the way out here. And like I mentioned, you could either guidelines, you can change the 0 parallax. Move it around. However we'd like. Put it back to a thousand. I'm gonna put it back
to the thousands. So there's really
not much to it. You have the mode
is symmetrical. Mano means it's off. Symmetrical means
left and right. Or you can do left
or you can do right. For our purposes, we'd want
symmetrical because remember, the loom pad demands a stereo
image, less stereo image, and will not even deal with
the alley of allograft style. So now we've talked
about rendering. Here is our render settings
and it sets a standard. Now you can also do
this with physical. That just gives you more
things that you can adjust, that it doesn't really change. If we're on stereoscopic, it doesn't really
change anything. So they recommend two channels. And I'm now, if this is fine, if you're doing if you're using the Da Vinci
Resolve renderer at sorry, editor, because it can handle two channels to
individual channels. I don't think I'm trying to say. Yeah, this is you could do. Let's see, here it is. We're wedded to go side-by-side. And you can do single channel
when OK, or merge stereos. In which case, in this in this case we thought we were getting an option of allograft, but maybe not here. You couldn't do one
channel, I'm sorry, two channels but merge into
one set of EX our files. But we have this here. And let's see if there's anything else that we
have to be aware of. Um, that's pretty much it. So let's, let's do a render. Let's render to picture viewer. I don't wanna do that.
Absolutely what I want to do, let's just change the name here. Just make it too. And oh, you know what? We're in the physical
wondering if yeah. So in the physical they just have side-by-side
and single-channel. You can do Anna, Anna Glenn. But we're going to do
to individual channels. And actually we could do to individual
channels and England, because it's going to still give us two separate channels. That, but if you're using the social result where you
can handle two channels and you're in your video
editor, then that'll work. Because you're
going to get to if you don't have that option and I have not seen an
easy way to do that. In Premier Pro. You probably want
something like this. And side-by-side. You can do it the
individual channels and merged image or merged image, because merged image
is still going to give you side-by-side. So let's, let's
look at this here. Render to picture viewer. And you can see, let me make this wider. There we go. See
the side-by-side. So it looks tall again,
we've seen this before. It tends to be
stretched a little bit when we're outputting here. But when you process it
through loon pad software, it'll be what you expect. It's going to be
the right height. So we'll see that later. But there you go. And you got your
side-by-side images. You could do analog length
and have two channels, if you can handle two channels
and your linear editor. But very simple, very easy. So thank you for
watching this lesson and I will see you
in the next lesson. Take care.
5. Octane Camera: Okay, So this is the second camera we're
going to look at, and that is your octane camera. So if you use octane, you want your
octane camera here. And we're going to
have a look at it. And I'm now, in this case, you do not want to use
the stereoscopic here. You want to use, you see, we've got this octane
camera tag here. That's the one you want to use. And it's called thin lens. I don't know why. Stereo. This has
an option of Anna, Anna Berlin, Olympic
side-by-side or cos, disabled. If here I don't want stereo. Now. Again. Now right now I haven't
side-by-side, you, Glenn thick, if you're going to create two different channels and
use those in your editor. But we haven't in side-by-side. And again, you do not want
to use the standard camera. Stereoscopic leave that at Mono. And when you go to your render, you're going to go to your
Edit Render, Render Settings. Right here. This is set at two, at two channels and then
Blend and individuals. So this won't work. If you, if you want one, you're doing Premier Pro, which seems to want one. You would want to set
that it's side-by-side. So if you now render,
you should have. Is There you go, you have to. Now, this is a little
fancier because I put an octane sky when an H CRI, I'm using grayscales
to gorillas, H HDRI Link Plus. And to get this effect. And with this you
could, you couldn't, you can either decide to make it visible or not visible. And then when you
turn to primary, so you have, you can
see it's now in stereo. And this will work just fine
for your, um, your rendered. You can in any of that. And because you have
the two images, you create a video that
is stereo video and put it through the
process for loon pad and you should get
a stereo image. So let's remember we have two. What's important about this? Again, with the octane camera, you don't want to
touch stereoscopic, leave it at Mono. You want side-by-side. You can do side-by-side. If you're gonna do two channels. Sorry, can do Anna Glenn thick, if you're going to
do two towns in your editor or multiple
channels in your editor. I'm side-by-side. We'll get you what we have here. And in terms of the render, it is still is still
controlled here. The octane render has nothing
about side-by-side stuff. It has you call a space that has all that kind of business. But it does not have it does not have
anything to do with stereo, use the same stereoscopic
and this is important too. This has to be checked. I don't know if I mentioned
that in the last lesson, but that should be that
should be obvious. And horizontal
generally what you do side-by-side in this case, you have two channels. Not necessary if you
have side-by-side. And again, you will produce a stereo image that'll be quite suitable
for your moon pad. So hopefully this
lesson has been helpful and I will
speak to you next time. Take care.
6. Redshift Camera: Okay, So this is our final
camera, the redshift camera. Now the rich have
cameras a little bit different than the others. Their cameras called a
stereo spherical camera. And what you're gonna
do here, again, as with the octane camera, leave this at mono because you're going to handle
it in the tag and the tag. And the side-by-side, you side-by-side,
top, bottom, left. So there's no an ala. Ala Glenn. Now this is important. First of all, the horizontal field of
view is going to come by default is 360 because
again, stereo spherical. You want to, you want
to cut that by four. So it's nine day. And the same thing
with the vertical, it's going to come in at at
one eighty, one forty-five. So you're going to
cut these BioCarta because you're not doing, you're doing straight ahead. So let's see what else. Oh, now notice
separation here is 6.5, I believe with the
octane camera, it's it's like 0.065. But they're just
using different, you know, I guess, millimeters versus centimeters
or something like this. But again, this is 6.5. And I have some
basic lights here. I have a son, I don't
know if I need the sun, but the other thing
to know is I'm using the redshift,
redshift material again. One thing used to be, let's see, this is L, sorry, these are the
redshift materials. Again, these come from the
gray scale gorilla library. And if you double-click on that, you can get you a
little shader graph. So actually now in cinemas, Cinema 4D or 26, you could chain there is, you can use the regular
node graph as well. You can see these materials
are good to study, to learn and learn
how they made them. But the maritime training team has some good videos
on that as well. But little off topic. So getting back to
the camera, we, again, you can do side-by-side. You have to cut this by a court, make this a quarter
of what it was. So it's 9045. And then now this
is interesting. When you go to go to
the Render Settings. Notice there is no stereo here. Everything is controlled
by red shift, everything. So if you go to
globals and you go, I think it's in globals. Now this is where aces is sampling. I think you may be
controlling this entirely by the camera. Reason. I thought it was
somewhere in here. But basically it's
controlled by the camera. So when you go to render this, Let's see, we're going
to do it this way. This is kind of a new
way of doing things. And you can say, have
you side-by-side. And again, it's a little tall when you put
through the process, it will get to the right height. And you can turn
to turn this off by clicking on that refresh. Very, very easy. One thing I did want
to show you related to red shift in the preferences. That's not the Project
Settings under Render. Click here and it'll
say read chest. And see. Is it it is registered under User
Interface redshift main menu. It just makes it
easier because you can put up in here the wife to
hunt a little bit more for it. So you can see you've
got your full menu here. And then this little menu is basically just to the viewer. So again, the important
points of the red shift, it is a stereo spherical camera. You, you have to set the horizontal and
vertical field of view to a quarter
of the default. It is, it gives
you side-by-side. And you do not, again, you don't touch this on you. You, everything is
controlled by this. You do not have to do anything
in the render settings. The render settings
are all talking about lights and reflections and
things of that nature, which is obviously important, but it's unrelated to what
we're talking about here. The easiest way to look
and see what you're getting is the start IPR. It'll give you
your stereo image. And again, this will, this will look great once you
put it through the process. So we've finished our
three cameras on. Hopefully this has been helpful. And you can see this a
lot of similarities. The, the main thing to know if you're not
using that camera, don't touch the stereoscopic. Go touch things in the tab, that's where you control it. Octane does use the render
settings for stereo. Redshift does not. Redshift is stereo spherical, which means you have to give it the vertical and
horizontal field of view. And that's pretty much it. What you have to
know when relating, in relation to getting
your stereo image out. So that's this, That's
it for this lesson. And all the section, the three camera lessons. In the next session,
I'll talk to you about the two linear editors
we're going to talk about, which are the two biggies, Premiere Pro and
DaVinci Resolve. So I will see you
in the next lesson. I hope you enjoyed it.
7. DaVinci Resolve: Okay, So this is
the first lesson on the two on your editors. This is Da Vinci resolve. The nice thing about
Da Vinci Resolve is they do have a free version. Doesn't have all the bells and whistles of the paid version, but it is free. And the paid version is I think about 300 bucks onetime
payment not I'm not monthly, like the Adobe suite. So I tend to like to start here. We're going to start first with the side-by-side thought
the two channel. So I'm going to switch to page. Then what I'm gonna do, and hopefully it will
be co-operative. Now they, they do things
a little bit differently. I'm going to move this
off to the side here. Let me go to where my stuff is. And so on here. When I told it to
go to two channels, ignore the stream,
a stream merge. We have string left
and stream right. Okay? And, uh, one thing to
point out about resolve. If, if you wanna get
the EX Rs to come in as a videos to as a stream
rather than separate images, you need to go to the edit page. Find that if I go
to the Cut page, one of the earlier pages
is not going to work. Now, one way to check this out is you can see, now this is a side-by-side,
which is interesting. And actually it's
not going to matter. And you'll see that
it can also be, can show you another
example here. Let's see, I think
this one doesn't. I think one of these is now this is the this is the merge
one, I believe. So. I did it emerge stream
and I did side-by-side. And what you'll see here
is these side-by-side. But that will be the next
one box placed into here. Let's start with this one. So what we're gonna do
is you can either, if, if there's nothing in the directory other
than your EXIF files, you didn't do it two or
three times and it's got all kinds of
weird stuff in it. And then you could probably use the fall,
just put the folder. But to be sure, I'm going to select the images. And that would be a shift left. And I'm going to just grab
it and stick it here. It's going to try it. Yes,
Sometimes my thing does that. Alright. So I'm going to go
here, shift here. And what it should
do is it should. I didn't like that. I find sometimes this mouse is a little funny that way that
it does not like to catch. There we go. Okay, so it's going
to bring this in. And you can see it side-by-side. And we go to render it. You want to go to deliver. And it does not have anything with Dario because the steroids kind of built-in. And so there's no need to. No need to do anything
special in that way. We're going to make this. I always put out an MP4
and you can make whatever. This is, 24. And we'll make this,
let's say merge. Dr for da Vinci Resolve. And I'm going to stick this
will just make it easy. This piece seeing videos. And you do add to render queue. Now generally you would
save the project. And it's done. So let's go to here. And it's going to
bring it up. Now. It's in the on the
other monitor. So let's bring that
in here for you. But you can see you've got
your two side-by-side. Now, this is important. What I found with
stereo images is the default stereo width. The Microsoft viewer will complain and say you don't
have the right codec. And what it's gonna do in that case is it's going to want you to buy a 90, $0.99 plugin. Just do it. You can then preview
and make sure you have this nice stereo image. The other thing to be
aware of I can show you here is that you want it, you want to put out an MP4. That's what the the moon
pads layer tools wants, that's what their tools
and what they do not want. The default, which is
was it the Adobe format. So go to mp4. And that is how this
is going to work. So let's go back. And I'm gonna go
back to the here, to the edit page. And I'm gonna get
rid of, I'm going to actually what I can do. Let's get, let's see, I think I can create a makefile, create a new timeline. Oh no, this is the view. Well, I'm just
going to get rid of this and we're going to try. We're going to turn around, we're going to bring it in. Now to do this, you need to create four bins. Like to call them left. And I like to call them right? And what's it doing? Wants to input. Then we're going to
call that right? And we can call the other one s. So I think just so we know. Now you'll see what's
going to happen here. Okay, Here's your left thin. And I'm going to open
that up and I'm gonna go to my side, but I'm going to find my videos. Which again, I think with this one. Oh no, no, no. I know it was. So I have a string left. And I'm going to stick this in. The left been actually, my guess is that these XOR, and let's just put this in as a setup in a particular way. So streamline goes in here. That's interesting. Maybe those things weren't. Let's clear this out
and try it again. So your stream
left till we go to 0 to 72 like we did last time. We'll just drag that in. And you have here left. Now we go to the right then. And we go back. And we do the same thing
with the right side. We go 0 to 72. It lost, it, lost it. Go back 0 to 72. And now we have, alright, so we have all
left and we have our right. And now what we're gonna do, it wouldn't go here. Highlight these two. And we're gonna do stereo three. We'll check Sarah through and do the mode to be on both eyes. Darrow 3D thing. And we're going to choose
the left than to the left. And the right thing
for the right. And we're going to
choose S for this thing. And when you go here, you get a clip. That should be I don't know
what went wrong there. So this is not this
is not going to work. So let's go back and we can
try to troubleshoot this. So let's look at this one. Normally you should have n1 and then I think the
left and the write-up. Well, let's try let's see. I may I'm gonna go and see if I can find another one with
a left and right. It could be. I did not maybe because I
also I don't know if for some reason it it did not work
the way it normally does. So let's go back light field. And let's see if
there's another one. And this is empty. All right, let's go back. I know there's a string
left and streamline. And notice this, this is this one looks
like it's correct. So you should have your stream less than your screen, right? You put this in
left and the right. You put dream Right? Right. These are 90 frames because
I probably Wednesday. And you can see your
left and your right. Slightly different. And then you're going to think. And, well, let's
first think is clear. Nothing in there. Now we're
going to do this again. This is not going to work. Alright? So we got to left. Let's try this again. Stereo 3D. Think
left, right, center. And go to this. I think this should be, I don't know, right? It does not have anything in it. So o because the folders
have nothing in them. That's one thing to be aware of. What's going to happen is it moves the items
into the folder. So let's try that
again. This is right. And actually in this case
it's a little bit easier because and then left. We can just take the same time. So I know those same. And now we should be able to get this to sink and sink. Notice it empty that out. But it did put a clip here. And I do not know. It. The post to be two
different streams. And I know I've done this
because when you bring this oh, I know. That's the thing. This is correct. So let's pull this then. I know what I'm missing. Media offline. I don't see how it can be
offline when I got it in here. Alright, here's the key. This is what I was missing. Um, we're gonna go to the liver. And here's the difference. Get rid of this one. This one is gonna go here. This is what we want to
see now because we had to change this to individual. Now see stereoscopic. Both eyes is side-by-side. So we're going to add
this to the render queue. Let's say I do not
want a more clips. Now. So we need to
get rid of this. Man, did this split. Split needs to disappear? Let's see if this
is going to work. And when you go
and look at this, let's look at it. What we got here, videos. And you do have your, again your, your two
things rendering. So the difference is if
you do the two channels, it's going to look like one
when you're editing it. When you go to render
it, it's going to, because you are telling it to
render it in side-by-side. It will give you side-by-side. If you bring in 11 stream, that is a side-by-side stream, it it can just render as usual. It doesn't know. It doesn't care
because you already set up the side-by-side. So little bit of
confusion there. But anyway, this is
the key things to know about the Da Vinci
Resolve editor. Again, you can either choose to bring in a side-by-side to rich vx saws or to
a left and a right. You bring it to the
left than the right. You can get confused like
I did, and you can see it. One thing, when you render it, you must tell it like here. You must tell it stereoscopic, side-by-side, and then it will give you your side-by-side. So hopefully this has
been instructive. And in our next lesson we're
gonna look at Premier Pro. So see you in the next
lesson and take care.
8. Premier Pro: Okay, so for the second editor, we're
going to look at it. And the second and final
we're only looking at two is the premier Pro. Now, I have not seen
a good way or found a good way to do
separate channels. There might be. The only example I found
was actually rather recent. So it's not from a
couple of years ago. It was within the
last few months. And he was going
through all kinds of mechanization to
try to put together, actually they put together
two separate clips. You may be able to do
something with the, um, we will look at that
in a minute. I don't know. I don't I think the
easiest way to do it is just use one of these. Use an image authority
side-by-side. Now, you have to import
a little differently. You right-click here. And you're going to do input. And you're going to
pick the first one and make sure image
sequence is kept. So it knows that it's
an image sequence. Okay. And I don't know if
I got the right one. I don t think I did. So let's try that again. All right. So again
we're going to input, um, yeah, I got
light-filled stream, right? We don't want that. We want light field. And we want, I think this is it. Let's look at one of these. Can always tell. That looks good. So we're going to I'm going to get rid of that and do it again. Make sure I got the full thing. Image sequence. And now you've just stick
it in your timeline. Again, sometimes this gets
a little sticky for me. But I don't know why it's
not it is not wanting to cooperate here in the timeline when in doubt, because sometimes this
pen works, works better. Okay? So we put it in the timeline
and this is our link. This is all. We're
looking at the source. This is looking
at your timeline. So as you can see it
side-by-side already. And you can just edit
it and it's going to get you a beautiful
side-by-side image. So now we wanna do export. Now, exporting you
have two choices. You can send it to
Media Encoder hour or you can send it to exploit. Now, in setting up your video, you want to make sure
that it's gonna be mp4. Okay? And you want, so this should be set for that reason p4 here. And I guess the the 264 is what? I don't want to get to 64, which is a standard. Okay, So this should
get you your MP4 file. Be careful again that you
don't have it go to Adobe or some other format that is not quick time. You don't want quicktime, it's not going to like that. So I also want to change
the directory to just go to videos because that's
the easier for us to find. And you simply hit Export and
it's gonna go do its thing. And now we could tells
you it's successful. We can then look at this. And again, beautiful
side-by-side video. And now you're ready to go. You have side-by-side video, and you're ready
to process it into the loom pad, the software. And that'll put it in a
side-by-side to a four-by-four. And you will then have a video ready to
go on your loan pad. So we will look at
that next lesson and speak to you then. Thanks for watching. Take care.
9. To The Lume Pad: Okay, so nevertheless,
part of the process, we're going to take our side-by-side video
and we're going to bring it into this alone pad. So first thing is hit changes to stereo
content conversion. And I don't know how many times I left it on Tuesday
content conversion. And I started doing
that process when we want the stereo because we have odd side-by-side video. So let me bring across
all side-by-side video. Drop it in and start to notice up here it says what input and its
output is going to be. We hit stock conversion. And notice, now you can tell already this is
correct because you see four distinct
copies of your image. They fill up the whole quad
and it's looking really good. So it's going to go
through this process and with the latest
off software. And we're going to end up
with a, a two-by-two image. And it goes through the process. And there we go. So it's all gone now. And I'm going to
bring this over. Hopefully. You can see this
palm towards better for me. There we go. Alright, so let's refresh this. This has a whole
bunch of stuff in it, but you can see where did it go? Here we go. Notice we have
here our SPS, two-by-two MP4. Now the next step is we got
all little loom pad here. And I'm going to go and
set it up. Ended up. And I'm going to plug. You need a accord, the same type of chord here. Like this. Is it a chord just like the one they give
you for charging? And you simply plug it in here. And what you're gonna do now let me hold this
up a little bit. So you can see you're basically getting them
reflect him right now. So it fell out and get it in good. There we go. Now what you're going to say, let me put this back in. You're going to see this
message here about debugging. Just say allow for here. You're going to press
on file transfer. But that's what we're gonna do. And then it's going
to ask you again, allow the bugging
and just say Allow. And I'm gonna go back to
the main screen here. And the next step
is very simple. What we're gonna do is we're
going to bring up this. And what? Okay. What do you know? We're gonna go back to where we were and we were at BSL2 MP4. And then we're going
to take another file manager and go to, I'm just gonna go back here and I'm going
to go and show you. Bring it over. The stubborn. We go. So you can see now this is the name
of my myeloma pad device. And I go in here and you
see where it says download. Notice all the the
two-by-two videos on here. We're simply going to drag
and drop and it will show up. And then the next thing
is you want to go into lip player right here. And he is on new video
right there in the corner. And you see you got your
3D effect right here. So that is how you do it. It's very simple. Basically, you run it through
software. You can tell it. We saw that you have your four by
fours right here. And all you have to do. And when you run
through conversion, you should be able to tell that if you see these
quads like this, that's what you want. And you will get your, your, um, your full 3D image there. So that concludes the process and thank you for
sticking through it. And next step is the conclusion. Take care.
10. Conclusion: Thank you for watching my class and hopefully
you've enjoyed it. I appreciate you
sitting through it and going through the
process along with me. If you're interested in more
of the stuff I've done, you can check out my
procedural nodes channel. And I do constantly
doing stuff on that. Focusing more now on the
three j as the CGI stuff. So again, thank you for watching and hope you enjoyed the class. Take care.
Wendy Sarrett
