250218 - Gaussian Splatting Flujo de trabajo P1

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It's a bit logical anyway.

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Of course, first we would see the scan, in this case with Drone, secondly what

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We are now talking about retouching

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photographic, thirdly file management, when leaving them organized for the processes, Realiti Capture, Pochot, Super Splat and 3rd view

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If it occurs to you that

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There is one missing in between, all good, no thanks

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On the subject of scanning, do you have any recommendations or steps for scanning? I imagine that

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with the principles of photogrammetry, but with the specialty of Ausean

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I'm not on my computer right now, but I'm on my way here.

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I think that

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This last article that

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I took out Scanniverse and it seemed very good to me, I don't know if I would have mentioned it among other things, that

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Indeed, the time to scan was with a dianulated, for example, the concept of photogrammetry was still preserved, but also what

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I mentioned that

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The virtue of chaos splatting is being able to better attach it to a sculpture, to a piece, as if it were a photograph, that is, with the best possible shadows.

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However, everyone was more in favor of the diamantled to have as much detail as possible, in case

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that was necessary, they also mention the ways to scan where the flower was, and so on Guillermo, right? Do you remember? I'm here to rescue, the flower thing isn't from Scanniverse, so

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I'm looking here

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It is 8 4,

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Which one do I think is

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is it a dish shape? Anyway, look, I'm sharing here what

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I was doing in Mario

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I think that

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It's not as important how you take the shots

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The most important thing is what

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you want that

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be seen, because

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which

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You, not a photographer, will not find us anymore

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Yes, yes, that has happened to me.

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That has been my experience, that

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then also, well, I'm going to put it, we close this part, but I'm going to give you my specific example, because

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In addition to having sold something without experience, and on top of that a complicated job, it is the one that

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in which

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I have gotten into

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So, you could have started with something simpler, but it was the first one sold and the first one complicated.

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Coincidentally, the same one with which

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I learned Deep Linking, so now I've learned Gaussian Splatine and I fly to Condron

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I've gotten into everything, everything new at once.

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So this is what

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Mario commented

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You see the page, right? Can you see it? Can you see it on my screen? Yes, yes.

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OK

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And that's what it is

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Mario said

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Scaniverse is one of the applications that

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we have been commenting now

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To scan, she basically uses her own phone, right? And this is where we're kind of in a fight over whether to scan with phones or scan with the drone.

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Before I got into the drone world, I believed that

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It was a little easier to hang things on the drone, right? So, I say, I hang a camera or a cell phone on the drone and you're doing it.

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And that's where Mario, well, said that

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you could record and then upload it or the people who

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You have the SDKs released, so since you're connecting a mobile phone, you can work directly with the app, right? I imagine.

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Since I'm currently on Diggy's show, I'm not leaving it.

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And then everything external

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And then we go to see the world format and here you can see the new one, the Mastering one.

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Yeah

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Well this is what it is

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Mario shared the movements with us, right? So, of course, when I saw this and you shared it, or you shared it especially Mario, but you shared scanning models

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Well, of course, it looks very nice to me in scan mode, but I think that

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one has to

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stay

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very good with the technique and why each thing is done

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Why

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For example, Mario, you once had other simpler ones than

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these, that

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It was, for example, a corridor

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I stayed

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with that

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Maybe you go to a hallway and what

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you do, walk down the hall forward

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And then it goes the other way around and that's it.

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And no, and suddenly, Mario showed us one of these schemes

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what

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had to

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shine towards the wall and focus towards the other wall

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Both in the return anger, and in the other angle, we are almost at least four times, right? In a hallway, in a, in a room

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Like what

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one has to

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leave these six drawings

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Yeah

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They are tips for using it all six, in one place or one of these

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Of course, I am that

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I haven't read this thoroughly

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This, Mario, knows more

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Mario, I have on screen the flower, the spiral, the different ones

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Why

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Look, the first one is no good, if you have a tall sculpture

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Of course, the first one, I understand that

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It's him, well, he's like the one next door

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I see the circular and the spiral as the same, because

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in the end what

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makes it circular, it closes the circle, but then makes another closer one

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And the spiral, what

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does is, starts from outside and ends up approaching in a circle

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That's why I say that

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I would go more to the essence of why is that done? Why do they all end up understanding each other? The correct one

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Well, if you do both, for example, if you are taller, we do lipotip, you are a giant

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Yeah

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This is located at chest height, the ceiling

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Yeah

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The part of the roof only making the circular turn, does not run it

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No, of course, you have to

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make another angle, of course

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That's why these drawings are only making you there as if on a plane, but I would have to do this

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lift 3D and tell you, it is that

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That's viral, it's not always at the same height, apart from getting closer, you should go down the building

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Yes, yes, yes, yes

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That's why I say that

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They had not found, I still had all the technique to be able to do it

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Yes, well, from the first drawing, what would be missing is the elevation, that is, a high angle shot.

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No, we imagine that

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we want

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scan the Leaning Tower of Pisa

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It would be necessary

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make several of these at different heights, several orbits to be able to obtain it

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In the case of the second drawing that

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It's a spiral, on Saturday with Tomás he told me that

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needed to scan a large area, but focus on one cabin

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So the spiral one can be very useful because

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We can make a spiral in general and, in the end, go around the cabin more to have more density in that cabin.

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So, we would have a splat that

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It would be less dense in general and more dense in the object of study, which

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it is the cabin

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In case of these two, in case that

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It is in the middle below, which

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It's like a half circle, that's great for murals, for facades, it's like this orbit but in half.

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And well, all those who

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They are like flowers, they are like what

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recommended more for sculptures

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That comes from there, as I have explained

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But in essence, it is this

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Mario, you took a picture by moving the drone only vertically, of a facade, for example.

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Yes, what

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What I did was mix photogrammetry techniques

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Photogrammetry, which

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It makes a grid on a facade and I have done the same in zenith, a grid like Drone Deploy and any other mission program does.

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This has worked for me because,

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Finally, the general concept in both photogrammetry and a splat is the overlap

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How much does one image overlap with another? What is that percentage of that

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see one image and the other, it is normal that

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It is suggested that there is a 60 or 70% difference between the two? And from there

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Is it a framework of a facade or a zenithal structure that has helped to build these meshes? Look, for example, here I found what

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Compartmentalist

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Your Mario, there

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Thanks, that's exactly what I was looking for.

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So, this is the spiral, but, seen as it says, elevated in perspective, expensive, we have to

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apply that on several levels and I would add on several angles

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The experience that

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I have had with this example is also that

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to be able to collect the surface of the building as the orthomosaic, this one that

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It has been said once that

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It is zenithal perpendicular to the surface

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Then, facade level, but high, inclined at X degrees, I put the hypothetical 45, but then in situ, they were not 45 clean

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One has to

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look at each one what

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It has the building in front of it behind it, I had a lot, a lot, a lot in front of me and, by the way, it was impossible to go back, I'll show it later

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So, then there is that

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go to each project

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So, here I would open the orbit and tilt the camera downwards, then at least I would do another one, halfway, more or less.

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To say, then also, let's see how far away we have to be

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sun craves in others, the small one

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Mario, but as a basic I would do that, perpendicular to the surface, that is a little optional, but it will give you a little detail

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Then, the first high one, with an inclination, then a medium one, perpendicular to the facade and then if your drone can tilt the camera upwards, I would do one more by pulling it towards ground level to catch it from above,

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what

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that's the one

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We have sometimes commented that

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Maybe not with a drone, but also with a mobile phone scan, with a gimbal or with a camera from below

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So here he shared with us several schemes,

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This is what

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I was saying about the interiors, as always stick to the wall that

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you're not going to scan, because

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which

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We go as to the details, we are going to get closer, no, it is just the opposite.

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This is what

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there is no need

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to do and this is what,

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how best to train and how to collect reference material

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Look at the hallways and you said, for example, in the middle

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This, for example, I wanted

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take a lot, the client asked me for a lot of details about the environment and suddenly what

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I was talking the other day, also a lion, I think

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I was talking about doing a 360 and such, in principle the program is what

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I have seen that it needs to be slack, all the slack possible, not panning on the axis of the camera, but slack, all the slacks that

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you can give it to him so that

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This is where information about the three-dimensionality of objects is obtained, because

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In the end they are flat photos, this is an algorithm and a way the program works to get 3D from where there is none.

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Can you share a link to this page? This was passed on to the joker, Mario. I'm rescuing him from the joker.

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But there are a lot of tables

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That's why it was hard for me to find it.

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That's why I also take this opportunity to invite you again,

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let's use the forum, because

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is what

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I have achieved that

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WhatsApp groups that

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We liked them so much, taking them to a place that

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did not perish, that

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be maintained, and that

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Tomorrow I'm going to look for diagrams

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scan and have it somewhere, and not here scrambled in the chat, although

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It's thematic, but I'm looking, and it's one of the first things I

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It was in the chat, wasn't it? Okay

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Is Mario good for that? Yes, yes, this way.

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I don't know if you can hear me.

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Any issues with the scanning? Not in general, because what

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I can conclude that

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Both the metrida potorra techniques and this Splatting technique are useful, as long as there is this overlap between images.

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It is also worth mentioning, especially for us when scanning buildings, that

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I don't know if Guillermo can put up one of the images of where the building was again, with orbit

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The building

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Yes, the one

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You had like a 3D medium, right? Like a proper tower, the real example

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And well

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Or say ahead I lose

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He has this figure

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Who doesn't see it as very true? No.

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Okay? Do you want to mention something first, Pietro? No, no, no, sorry.

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After

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Well, this is one of the cases that

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They affect me more, don't they? They are apartment towers or buildings

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So this example where you see the orbits, taken at those heights, for me are ideal, because

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My interactive is almost always going to be in orbit mode as well and it's going to be a similar perspective in which

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the drone came back for this, for this scan

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And the client decides to lower the visual of the model to a height lower than these three orbits that

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come here on screen

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The splat is also going to start losing quality, which

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I'm going is that

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It might be worth thinking about how it is that

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the user, or you want to present the model to the end user, from what angles, so that

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those angles are the ones that

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you reinforce when scanning

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I don't know if I explain myself

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That is, from where the photograph was taken by the drone, your mobile phone and your cameras, will be where your 3D model has the highest resolution or highest quality.

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Yes, it would be the optimal display.

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Correct

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For example, this building, possibly if someone wanted to see it from above, see the roof, it would possibly lack detail, because

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here in this uprising that

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We see on the screen there were no photos from above like that grid that

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I was talking to you, especially, if it is a large area, or if someone wanted to see it from the front, then these orbits that

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come there you should see a mass under to capture the front of the building and that

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the moment when

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the user sees it from the front, because it looks more liquid

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So, this will also have to be done.

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think about how it is that

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the user will see the model so that

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from there the images are captured

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I can put something together

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I can't use the automatic fingerprint program, because

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does not allow it

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That is, I have to do it manually

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Here, for me, I have made a concept, in the drawing a risquerda,

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this froze

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Rapier

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It has only two orbits, on the left

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bitter, the sketch, isn't it? The sketch

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The sun setting, as Mario says, also depends on the angle sensor, because

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According to the figure it is not true, that

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between the first, second

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It is a scheme

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Hence

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I said, here is the sensor, but here is the distance at which

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you shoot

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If you have a small sensor

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and then the optics, also that

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have

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So, you have to

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see when scanning that

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you have in orbit, in the same orbit, that

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you have soles, but that

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you have overlap between the orbit above and the orbit below

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Yeah

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That's why it looks better in the illustration in the center, the one of the real building.

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If you look closely, they are very close together, one orbit after another.

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It's not as much as the scheme

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from the left

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The scheme

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on the left is to tell you, right? Do it from above and do it in the middle, like I said, do it from below, but it's that

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you may have to

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make five orbits, to the same building

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In addition to that

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I call, don't you have lives for where Mario lives? So then all the orbits that

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want, if you have any mind

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Already 500 meters high

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Yes, I have already seen many works.

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In the frame

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In fact, the other day, I had stayed

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with the limitation to 45 meters that

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Here it's almost the standard and tomorrow I'm going to fly a bit with a friend to take pictures, it's not for any work and he says to me, but here it will be 60, right? Not me, well

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The other day I went and 45 and I look and that 60 and I say I already have the limitation in my head of this so

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Tomorrow I will fly at 60

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But that limitation is this, that is, regulate where you are or the tron will be blocked

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No, no, it's because of the area

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Before going to fly apart from asking for permission with 5 days of burial, you have to

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look at what restrictions there are in that specific area

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So, to be here they gave it an open category and I got into the least restrictive thing that

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It is an open category except for the under 250 gram category and then that is the one

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less restrictive is

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And then, mostly, heights less than 45 meters

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I'm finding very little problem there, almost total freedom.

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But from there we entered the Oscar profile of radio operator, of STS1, STC2 and I don't know how many stories that

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one has to

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name

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But Marco tells you something interesting.

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DJI, DJI

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Each European country is implementing automatic limits when you exceed the permitted height.

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No, I think so.

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the other way around is releasing it for you

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No, no, no, no, no

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Ok, look, I went out the other day

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I was going over the speed limit

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In my case it was 25 meters

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I got the message

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But you accept it and it tells you this, right? It doesn't block you.

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Was he blocking you until now?

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No, I didn't really try it because

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It is forbidden to have a surface equipment, where a tz, I don't know how to say

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Yes, here, for example, in Mexico, it tells you, at 120 meters, the message comes out, but you hit it and I

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That is

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It comes out more than

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it comes out like that

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I take care of you because

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You can enter the airspace, right? In fact, I think

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which

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has changed is that

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has unlocked,

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I used to block you,

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now you have unlocked it

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and what

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you do, download the responsibility on you that

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You accept it and, no, no, this gentleman accepted it, but I have already warned him.

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Of course, that's what it is

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It's good, in Mexico it is not regulated yet, it has not yet reached that point here, Mexico, of the things that

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I can now give under responsibility

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I'm going to that

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they turn out well for me

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It seemed to me, I have flown in Madrid, I have flown in the basic country, I have flown in Cantabria, that

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is another community

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Yes, I do see that

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When I start it, different warnings appear or it does not appear, or it appears in the case where

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affects

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Look, for example, let's see

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Have you had any problems with public roads? You're telling me, Marco.

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Yes, yes, no, I mean, you really have a problem with the occupation of public roads.

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Yes, well, that's also what I have Oscar crazy about because

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I have invented and it has had an effect

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I'm going to stop sharing this

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I asked the question to a specific city council that

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They charge you for occupying public roads and they would give you the same bag that

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You have a street vendor or you are going to move or have an event and you occupy public space.

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Taking off the drone is considered occupation of public roads

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The issue of hand-held takeoff and landing is in limbo.

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I don't do it, yet.

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What route am I using if I'm walking? I haven't tried that.

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But as I am going to dedicate myself to a specific niche that

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It is marketing, which

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is flying for a client

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At first I discovered the idea of flying from a private property.

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If it is one of these blue spaces, then from the public parking lot of the complex

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If it is a home, real estate type that

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Yusep does, from the garden of the house, if it is a chalet

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So, the competent city council cannot charge you public use fees because

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It is not public land, it is private land

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And up to there I have done different tests and it has worked for me.

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As in Spain, the restriction also on flying over roofs that

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They don't authorize you, therefore, a job for a client, the client authorizes you to fly over their building and at the same time to take off from their land

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Therefore, in principle, the experience that

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I have had is that

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there is no problem

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Another thing is when there is no option to take off from private land and it is public land, Oscar has already paid several times taxes from cities in which

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they charge

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For example, in this one, in Miskaya they charged, but for this gallery work, I don't know why, I don't know if it's because it's the coast or because

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the city council, or I don't understand why, because

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The police here have understood that

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no, that

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shouldn't

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Why

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It is not a police force either, on the one hand there is the police that

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look that

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you have requested the visa from the ministry and on the other hand there is the city council, which

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It's because of the rate

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So, it's a mess that

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In the end, it takes away your desire for the artistic work itself.

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But well, in principle my trick has been to take off from private soil

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In fact, tomorrow I'm going with this friend to a farm that

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My family has a garden to avoid this.

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We are not going to record the farm, but we will

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He wants to go out to the port area and the idea of not paying the fee is to leave from the garden of the property.

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Why

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the town hall, the first thing that

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He told me, no, we are competent in soil, subsoil and flight.

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And on the third call

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No, of course, but that's why I tell you, that's where I bit my mouth and I say, in flight, no

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Why,

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In fact, once it takes off, the city council is no longer a competitor.

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What's up? This was a city council technician and, dear, flight, the flight surely refers to what

00:25:54

It's flying and cantilevering, isn't it? Like a sign that

00:25:58

sticking out from a facade, a shed, right? Anything you can give to a tent, but I'm not sure that

00:26:04

you fly

00:26:05

Why

00:26:05

I tell you, there you go

00:26:07

I was not right

00:26:09

So, and I tell you, this does not fit into that.

00:26:13

is doing

00:26:13

But he already made a third call and said, no, indeed, we cannot charge you because

00:26:18

it is not public land

00:26:19

And, man, it is that

00:26:20

in the very sense of the word, use of public land

00:26:24

If it's not public land, you can't charge me.

00:26:26

Oh well

00:26:28

But Guillermo, excuse me, the tourists who

00:26:30

They have the little camera and put it on the floor for a moment.

00:26:34

Sure, sure

00:26:36

They are taking advantage of it there

00:26:37

Look, I had an email exchange with this entity.

00:26:43

Leave why I see that

00:26:44

are closed like

00:26:46

Yeah

00:26:46

Why

00:26:47

When you are on the ground, you are like all the other people who

00:26:51

they put something down

00:26:53

Of course

00:26:53

When you explain to me about a millimeter of air competition, it can have nothing

00:26:58

Yes, yes, yes

00:26:59

When I studied audiovisual, yes,

00:27:04

There was expressly a regulation for putting a tripod

00:27:08

About what

00:27:08

The police could tell you, hey, you have set up a tripod, that occupation of public roads

00:27:13

But what

00:27:14

I understood years later that

00:27:16

He took off, that's why

00:27:18

you are saying, because

00:27:19

what will differentiate you and more so today with the sizes of the teams, which

00:27:23

Are you a professional or a tourist?

00:27:27

And yet, although

00:27:28

there would be no difference, because

00:27:31

The occupation is the same, isn't it? So, I understand that

00:27:37

It disappeared, but now with the drone world, the issue of public land use returns.

00:27:42

Well, I think that

00:27:43

It will be, at least, to consult the competent body of the area from which

00:27:48

you are going to do and see how to explain it and how to sell it

00:27:52

Why

00:27:52

is what

00:27:53

I'm watching

00:27:53

There is not one thing that

00:27:55

put in a box and be good for everything, otherwise it depends

00:27:59

The policeman who

00:27:59

He came to check on us in Madrid, that

00:28:02

I was with Oscar, he'll tell you when, super nice

00:28:07

I only knew how to confirm that

00:28:09

the documentation that

00:28:10

had sent matched the little plate that

00:28:12

he had hit the drone

00:28:13

Nothing else

00:28:14

Nothing else

00:28:15

You're not flying from here or there or anything.

00:28:19

So, of course, I think that

00:28:20

there also, that specific policeman

00:28:24

Look, I'm going to share with you the reality capture of my project to see a little bit of this scanning thing.

00:28:34

Let's see, this one is here.

00:28:37

This is mine, okay? So what

00:28:42

I was saying about zenith, the zenith cameras, then there are some that

00:28:51

They are against it in order to be able to take from the inside out to have the environment

00:28:58

Okay? So there are the zeniths that

00:29:00

These are these, this row here

00:29:03

It is

00:29:07

You are from within

00:29:12

Let's see

00:29:12

A little bit, I think.

00:29:13

We're seeing your screen, I think, right? It's not visible

00:29:16

Yes, I'm watching

00:29:18

It looks good, doesn't it? Ah, but I

00:29:20

So, of course

00:29:20

Look, you're from the inside, okay? To be able to have

00:29:25

I don't tell Mario that

00:29:28

the thing is

00:29:28

they read it upwards

00:29:29

Oh, sure.

00:29:30

Yes, that

00:29:30

You might as well do cron on the screen, Mario.

00:29:34

So these are the ones

00:29:37

they invented me

00:29:39

I invented it because

00:29:39

My building has no rear

00:29:43

There is no rear as such

00:29:45

And what

00:29:46

I had to

00:29:46

to do is go down a back street

00:29:49

See? That's the coast, isn't it? But my building doesn't have a back because

00:29:57

the mountainside is built

00:29:58

Seriously? It's about going wherever I can and having the same frontal reference, that is, from the front and from the back, that way,

00:30:11

here between houses, and then what

00:30:19

I say orbit at 45 degrees to 20 to 25, which

00:30:24

be, then frontal and then the inclined one I only did it to see where I have it, to take the you see this orbit that

00:31:00

They are from bottom to top, how many meters long is the building more or less, each length, each facade, yes, not the whole length, the front, is that

00:31:19

It's an L, it's an L, so I can't tell you, it's an L in the corner of the mountain, but this has to be

00:31:30

be 15 by 15 more or less, 15 meters of facade by look at the distance at which

00:31:55

I am, and then here it is

00:32:00

You did these little details because

00:32:02

To get this in a little more detail I did a flight here like a sub orbit, so I say that

00:32:09

This is not the building to use as an example, but this is the one in reality with which we have

00:32:17

one faces, imagine the crazy orbits that

00:32:23

there are some out there to get some more detail, but the craziest thing was that, it is outside to be able to have the back of the building that

00:32:33

As I say, there was no rear, and there is no side here either. These are the houses that

00:32:40

there is in the environment, until

00:32:43

Here we go, we are leaving, here is the monument, but it is that

00:32:50

This side is not a facade, it is not representative of the building at all, and that is what

00:33:03

I was telling Mario that

00:33:05

which

00:33:06

I began to discover that

00:33:09

within the same stop you see this, this like an accordion, of three, apart from orbiting in each stop towards a turn of this frontal and towards tilting to the left, tilting to the left to be able to have

00:33:29

the horizon from several points, I come along this road, which

00:33:37

This would be the wall of the virtual building, so to speak, this would be the wall, this view, but once in this view I would pan the camera to get the horizon, so I have this horizon from here

00:33:52

and from here and that's what

00:33:59

What makes me is not having to

00:34:00

orbit then with this angulation, but

00:34:03

at each stop that

00:34:04

I was making this wall, I was doing a panning, you see, there are many of those, and then I think because

00:34:15

all this is a trial and error training that

00:34:19

They have given more definition to the environment, which

00:34:22

It was something important to my client, apart from the building, obviously, right? So far, Mario, the scan, I think,

00:34:48

almost something more than

00:34:51

has stayed,

00:34:53

I am not an expert in scanning, but I'll share this other guide with you on WhatsApp.

00:35:03

It's there in the mirror, and if they tell me which group I share those links with, I'll rest and watch this other one, in 3D or in red, whatever

00:35:13

you want, in 3D I think that

00:35:15

would remain

00:35:15

Well, there I do it, well what

00:35:18

You have sent me so that

00:35:19

I put it here on the screen, if you like a brief one, the first one, I had to

00:35:26

see with the one from Polycan, it's very brief, let's see I share it, and here where I'm going, that's the example, this is an example, that

00:35:53

reinforces what

00:35:54

I mentioned to you, for example, in this case the only thing that

00:35:58

We were interested in scanning the angel, so if you get close to the sculpture that

00:36:03

It is in the center, in the angel, and you put yourself at the same height, as if seeing what is in front of you, Guiermo, closer, all closer, closer to the angel, centering it, and looking for that

00:36:17

everything looks good, that is, you have to

00:36:19

lower the camera, it's a little, and turn up, no, exactly, like this in front, then if you turn around the angel at this height, that

00:36:31

It is the only orbit that

00:36:32

If you want to design around this angel, it would be that

00:36:42

the user could only rotate around the angel, to which

00:36:45

I'm going is that

00:36:46

which

00:36:47

I mentioned about scanning, depending on where we fly and have information, this will be seen better, if we do not see the camera of this angel, everything begins to distort, if you see the buildings

00:36:59

from the bottom, and you move down, up, everything starts to get out of place because

00:37:04

the parallax of the photos, well, it no longer matches, so the more orbits we have, the more information we will have to be able to see a sculpture like this, or perhaps if the interest that

00:37:17

We only have to show it from an angle, possibly it is enough, to be able to take a scan, and of course you can see here all the areas that

00:37:26

you haven't covered it, right? from the ground, so this, if this was only an orbit around the angel, was the only thing, and this allowed me to demonstrate, maybe this is enough for some work, the power

00:37:42

see around a piece, but if you move away, everything else starts to change and no longer matches, a quote has caught you very well in the environment, obviously with errors there such, but generally the

00:37:55

first sight that

00:37:56

I see the environment, I even liked it too, correct, because it was this that

00:38:04

We created this image for you, and the other one is the angel's light times etistacia, it was more or less 10 meters away, 5 or 10 meters from the angel, it would be the sharpest point, if you

00:38:20

we want

00:38:21

call it that, then the clearest point would be to get closer, I think that

00:38:25

This is it, isn't it? It's not much closer, it's almost the sculpture the size of the viewfinder, it's that

00:38:30

Here I see it, here I see it blurred, right? Not going down a little bit more, I think, it's going down a little bit more and centering it on the screen, right, something like that, going down like this, going down, going down like later on the camera,

00:38:44

yes and center it and that way all the, all the horizon plats align when you lower the camera, no, exactly, lower the camera more, let's say that

00:38:59

lower the tron a little more the guierbo, lower the tron in the dive the shot, the tron, the tron in the tron, exactly, more down and raise the shot, okay, that is, the camera up,

00:39:10

Right? At first, exactly, exactly, yes, and that's it, this would be the shot, and there it is defined on the entire horizon, it becomes clear, obviously there we are like in a reverse dive, it wouldn't be very head-on, correct,

00:39:28

and well, if we want

00:39:30

to have more quality, we would have to

00:39:32

have more orbits around the object, but as I was saying, if we want

00:39:38

go or just efficient, because we can think about where we want to go from

00:39:42

See the building, the sculpture, or the object and then concentrate on capturing the images.

00:39:51

Okay, and I'm going to add here in the scan, photo, video bar, that

00:40:00

That's the other decision when you choose to scan with photo or scan with video, not Mario, that

00:40:15

It's interesting, yes, the video guarantees the overlapping of images, the superposition between one and another, but you can add a bit of blur, you can add defocus.

00:40:29

and that's well, I have the decision that

00:40:33

I have taken is when I decide to use video it would be high shutter speed and in principle in midron 50 frames per second, I have not had any problem in any shot, when I have passed frames, I have not had any, in fact

00:40:56

There was one taking a photo, who

00:40:59

As it is autofocus, one photo came out out of focus from the entire scan, but it was repeated and in video I have not had any problems with this configuration, 4K, shutter speed which

00:41:16

It gave me the histogram but it was always super high and without any filter in EDN and nothing, because

00:41:22

I think the filters

00:41:23

They are going to be for video recording, for scanning and the frames too, in the end it cuts you up and defines you, so it has been my experience in video, in photography in the end I have done everything in

00:41:40

manual and there I was looking at the screen with the grid set, with the ruler, seeing that

00:41:47

after the peace, it was always necessary to be alert to the fact that

00:41:52

you were photographing and what

00:41:54

in the following photo I had elements of comparison

00:41:59

I think that

00:42:00

that is the secret and the moriteque,

00:42:02

I think that

00:42:02

It is the issue of making quick captures to avoid the luro or its effect, slow movement

00:42:09

I think that

00:42:12

On large surfaces the video will help us because

00:42:15

In the end you make something fluid, you can put the subject of cruising speeds and things like that

00:42:22

They have some drones, so in video you're going to be more than

00:42:27

the orbit covers and travels through what

00:42:31

you want to do it, but if you do it manually and photographically you would have to

00:42:38

being attentive to more things, calculating the overlap in each photo and that seemed more tiring to me, what happens that

00:42:48

the photo will give more quality than

00:42:50

the video? That's why you have to

00:42:52

keep in mind a little bit what do you use for what things? What I

00:42:56

I did the general aerial, I took a photo, that whole orbit behind the houses, I took a photo but when I got closer to the facade I did it on video, because

00:43:09

if it wasn't going to take me much more time, much more dedication and instead with the processes that

00:43:15

we will see after potshot that

00:43:17

discriminate frames, so you have it all covered, and now that

00:43:24

Now ahead, Pedro, Marco is not talking, I say I had a hypothesis and I put it to the test less than

00:43:35

Someone tell me something different, who you agree with? That he shot 50 frames, well here I shot 24, I think that

00:43:44

the frames still return, for such a vulcian, it seems to me that

00:43:46

without any training, nothing more, it's giving, I shoot here at 24, a slow flight, but I even did a test, well speaking only of luma, I have only been involved with luma, I don't

00:43:58

has messed with the one who

00:43:58

they make them, and I uploaded, let's say, a video at 24 frames and uploaded another one putting the speed, putting it at 4 15, let's say, well it still takes a lot more precaution and because of the time and weight and compare the

00:44:14

two receptacles and no, it doesn't differentiate you

00:44:18

Against what

00:44:19

It is said, what I

00:44:21

I have realized that

00:44:22

The less we give it the better, but the better it works, because

00:44:27

I have used the potshot several times, the Realitic Capture and they have not given better quality for more material, in fact the fight and the formation that

00:44:37

I have had to

00:44:38

paste has been to be able to optimize that

00:44:41

In Realitic Capture we will see that

00:44:43

creates subcomponents and it was the more material I gave it, I only maintain the recommendation of 50 photographers per second, because

00:44:53

let's believe that

00:44:55

the shot is unrepeatable, I have had the opportunity here, because

00:44:59

I have it

00:45:01

what

00:45:01

the client with some dates, but let's see what

00:45:03

you are going to do a job and you don't have to

00:45:05

come back, right? you have to

00:45:06

come back with the optimal material, then that's why I still recommend 50 frames per second, because

00:45:14

then we will have time to erase and clean the material, then how many 24 frames that

00:45:20

Even so, there are many, I say that

00:45:22

There are many, but in the event that

00:45:26

you have had something uncovered or you are already without material, then suddenly you have a lot of material and then erase well by the recommendation of pochot that

00:45:38

He discards the frames or you manually do it.

00:45:42

you made him, look at 2000 frames that

00:45:45

you have carried, I'm going to take 200 and those 200 but they are the 200 in which

00:45:51

You have already eliminated a seagull that

00:45:53

It was passing you by and it was occupied by 4 or 5 frames, right? At least I'm saying that at the time of shooting it won't cause you anything, record at 4K, record at 50 frames.

00:46:07

per second, then the exported one will be more or less very similar, but then when it comes to launching it to the Gaussian processor, then you have to

00:46:16

clean the material, because

00:46:19

I already said, I have sent the frames as is and it has been horrible, I have not obtained even better, I have not obtained a result, and beautiful, we are all clear that

00:46:37

It's time for me to take pictures, isn't it?

00:46:39

you don't want to,

00:46:40

given that

00:46:40

now take a photograph that

00:46:42

video, as quality, as quality yes, but of course as it is for scanning it depends a little on the technique that

00:46:48

use, I already said that

00:46:49

no, I wanted

00:46:52

tell you this, you said that

00:46:54

you don't do it, because

00:46:56

You must have to go through a lot of work to take photographs, right? Why wouldn't you read that Excel joke properly?

00:47:07

I sent you, because

00:47:09

gives you the speed that

00:47:11

you must have, considering the sensor, the distance that

00:47:19

you have between the drone estrate, and the speed to have a sun appearance that

00:47:25

you want, of course, I mean, there's no need

00:47:30

having a very refined approach, when you in Excel could these concepts, you know that

00:47:39

speed to put the drone to take, but for example I have found, I speak of reality, that

00:47:45

I have found that

00:47:47

had to

00:47:47

go to the site at a specific time, because

00:47:51

It was just when you could see a part of the facade illuminated, at those hours, in those two hours, and if I start doing it manually, although

00:48:00

There you go with some numbers already calculated, if I don't envy you I fly faster, than

00:48:06

in photo, because

00:48:07

in photo you have to

00:48:08

stop, photo, stop, photo

00:48:10

No, no, no, no, no, no, no, no, I didn't explain myself well. You can tell the drone to take a picture of each ex for sure, right? But with a time-lapse.

00:48:21

-lapse, no, there is the option, I want a photo every two seconds, for example, I only find it in what any drone has in that, yes, who has the Mavic 4 or 3 around here? Yes, or

00:48:44

sea, I think that

00:48:45

which

00:48:45

Pietro is going to configure the hyperlapse for us, but manually.

00:48:50

you will handle it

00:48:50

The thing is

00:48:51

that's the other one that

00:48:51

It had occurred to me to use a photo, but with an automatic stopper, I think that

00:48:56

it will be the telapse

00:48:57

And if that's what it is

00:48:58

has the solution in Excel that

00:49:01

I sent you

00:49:01

You will tell him, I want a sun apartment at X, I am at X distance from the subject

00:49:09

The sensor has this dimension, then at this angle, age the seconds of speed that

00:49:19

you must put each to have each shot correct

00:49:26

It is not explained

00:49:28

We then went to another cafe so that

00:49:33

You share and explain to us

00:49:35

in detail Excel, because

00:49:37

It's interesting, because

00:49:39

If we can configure the drone like this, I would take a photo.

00:49:43

First, because

00:49:43

We are going to have a photo and we are going to have another series of advantages and quality of source material that

00:49:49

no we don't have the video

00:49:52

As I told you, I'm not giving away this Formula 2, and in general, the faculty of photography is already a necessity. Okay, for the spelling, but I think

00:50:03

That 2 has the same horizontal or vertical camera

00:50:07

Of course

00:50:10

Okay, so let's see, I put the next point here as a touch-up.

00:50:18

photographic

00:50:19

I don't know if Mario, you usually take more photos or you have shot more videos.

00:50:25

Yes, I hear myself there, I think.

00:50:30

yes they go

00:50:30

Thank you

00:50:32

And no, I would also prefer photos instead of video, but it will depend on the circumstances as Guillermo says.

00:50:39

When it's something recreational, I don't have time, video is the easiest, right? It's the solution to most things, but I have also been taking photos with the drone, with a route and

00:50:53

what

00:50:54

every so often he starts taking photographs

00:50:57

Which one is the best? The photo certainly has higher resolution and more control, and I agree with Plato.

00:51:03

Okay, so I'm going to share it here, not only you can prepare the route at home, on the monitor

00:51:16

And in this case I don't have waypoints, but to program, but yes, it would definitely be best to program from home with a drone that

00:51:25

allow it

00:51:28

Let's see, because

00:51:30

It's not letting me, here's the king of capturto, right? Now it is, right? Well, if I change tabs it shows one and another, different, yes, okay, yes, within the article that

00:52:00

Mario shared with us a recommendation, to start with reality capture, to move on to pochot, because

00:52:08

Initially we did everything in pochot and what

00:52:11

We say pochot is still in beta, it is free that

00:52:15

I asked Pietro and there is

00:52:18

register, because

00:52:19

The other day I did something and my session was closed and the program didn't work and I had to

00:52:23

log in, until

00:52:24

It also somehow connects to the internet at least for login

00:52:29

The alignment of cameras that

00:52:33

Before training the Gaussian, the pochot is not yet optimized and that is where it takes days

00:52:42

Ok, depending on the machine, depending on the material, but it's horrible.

00:52:46

So this process came out, this flow of doing one thing with one program and doing something else with another program, right? In this case, reality capture, which

00:52:56

if not correct me if I'm wrong it's photogrammetry, but what

00:53:03

does is we use it only to align the cameras, we stop it that

00:53:07

They don't come in and we leave the training to Pochot and that's where we get the flow that

00:53:14

is the subject of today's coffee, okay? Because

00:53:18

This is where it counts that

00:53:19

The material is launched into reality capture with these steps:

00:53:26

The tutorial tells you about alignment, well, first you launch the images, align them and then you export two reality capture files, a CSW and a Point Cloud movie and you launch these to Pochot,

00:53:48

You see the images with the CSW and with the movie and that's where the reality capture training begins, the pochot sorry

00:53:57

So pochot has already skipped, he is already giving the camera alignments, therefore he is only going to train the Gaussians and the splats from all that configuration, I have already said it,

00:54:08

It's not on camera, but nowadays Pochot is very slow with that camera alignment and reality capture is really fast, right? And then here below that

00:54:23

is what

00:54:23

First I started using it, it's very, very, very simple, here's how to understand it and you have to

00:54:30

create a folder that

00:54:32

Let me give you images as they are, because

00:54:34

This is how the script is done, if you can do it manually as I have explained and now but you have here a script that

00:54:41

He does it alone, he opens the reality capture and makes the alignment of the cameras and then you have to

00:54:49

go to export those two files, but it does it all for you, I have been high this, this script, because

00:55:00

I have seen that

00:55:01

There was no difference in doing it by hand, but it is simple, like double-clicking this file that

00:55:09

You download it from here, from Github, this, you download this from here, it doesn't do it and it downloads this folder and you have to download this folder

00:55:21

paste along with your images folder, okay? And in that article you link something that

00:55:37

we had not commented that

00:55:39

It is the processing of the images and here we see if Mario has investigated a little more, because

00:55:45

here yes

00:55:45

It talks about the RAU, if your dataset is in RAU, here it gives you a series of tips to lower the lights, raise the shadows to be able to adjust the exposure, if it has been left out.

00:55:59

something a little dark, this is the rau, any like any processed that

00:56:03

we act as rau, then here yes

00:56:06

He talks a little about how he recovers the textures of the face before launching it into the programs and this one also seems very interesting to me, everything that

00:56:17

speak here, I stayed here

00:56:20

Also with these recommendation values, the copies to which in reality capture, also speaks of the overlap, because

00:56:34

There were times that

00:56:36

No, I didn't understand and the scanning separated into two different buildings, these were the components. This has been a pretty tough war and in the end I managed to put together, let's say, all the flights and

00:56:56

In my case, as I said, I have flown the same site several times and everything has been thrown into the program, so my model contains several different descanning sessions, the ideal is that

00:57:07

be all in the same, okay, here this one I'll tell you when this problem arises that

00:57:14

you run the scan on him, you think that

00:57:15

You have done everything with the AP sun, correctly, and suddenly they separate it into components and when it comes to getting down to business, there is no way to put them together, except by following this tutorial, where you realign the cameras and

00:57:31

it creates a subcomponent again where it mixes all of them, then this is what

00:57:42

We were talking with Marco, here is the technique, I have used it in some of my tutorials that

00:57:50

I have uploaded to the resources of the cafes and it is that

00:57:53

It tells you less is more, use half or a third, there it says a third of the material that

00:58:04

you have, and this is where I go to the 50 frames per second, so one way in Windows is very easy to do on Mac, it costs a little more, but it is to prepare the window where you have

00:58:17

you the images, like this by large thumbnails and put T3, 4, 5 columns and at the end you make a vertical selection and there you are taking half or a third of the images and you kill them directly, because

00:58:32

If you look at this photo and this photo, what is the difference? Look at this line, because suddenly from this one to the next one, skipping this one, it has enough information and does not load the program as much.

00:58:48

so

00:58:48

This is also very good, very good advice

00:58:52

Piermo, I understood a lot, because then it came out, the initial part of the writing understood, where is a suppose? Here it tells you step by step, I'm going to open it on the computer

00:59:56

Here is a script, that is, this is step by step to do it in the Reality Capture program and you have to

01:00:03

throw, import your entire dataset, all the images from the scan and you click align, here align images, okay you throw them to him and import them and tell him to align, he'll spend a while, he'll

01:00:21

I say that

01:00:21

much less than

01:00:23

El Pocho, it can take 15 minutes, it can take an hour, 2-3 hours depending on your computer, okay? What is it? Mato, it's when he aligned, you see what he says.

01:00:36

I had the project, the Reality Capture project you don't even have that

01:00:41

save, it wouldn't be necessary

01:00:43

No, I mean when you lined up, it has a sale on the computer

01:00:48

No, not at the moment, you have align and the program is open, you have not done anything

01:00:53

Then you have to

01:00:55

Make two exports from Reality Capture, this CZV and this PLEI

01:01:03

But when you line up, it doesn't make a dot cloud... Yes, yes, you make 9 dots, that's it, you see it, what

01:01:13

I just showed you the example that

01:01:15

He showed you with the little cameras, that's what

01:01:17

te hace Reality Capture

01:01:19

After… just lining up

01:01:22

That is

01:01:23

Point cloud, that's it

01:01:25

So you, now to be a gaucial, export these two registrants, which

01:01:30

It will be the orientation of the cameras, I understand, and Point Cloud, and you throw that to Pochot here.

01:01:39

Why

01:01:39

I'm thinking, can I get the minube point from Metashave and then import it, because

01:01:45

it was a mistake, a mistake

01:01:47

No, in the question

01:01:51

Which one? Which one? The fail that

01:01:56

took you out, the point cloud that

01:01:58

took you here, in PLEI format

01:02:03

Then I can take out the Metashave

01:02:06

I think that

01:02:08

Yes, it is a good test to which

01:02:09

you have to

01:02:09

do

01:02:09

In principle, the Metashave and Reality Capture lineup has to

01:02:15

be the same, with its internal functioning different, but in principle yes

01:02:23

The thing is that

01:02:23

This guy, the one who

01:02:24

has done this tutorial, has understood that understanding with Pochot, that

01:02:32

You can… you can speed up Pochot, and take away certain steps.

01:02:40

So, if you normally send him the video, the photos, and he starts, first, to select what

01:02:47

you read put here, and then align the cameras, which

01:02:52

is where they throw themselves… You ingested me for 30 hours, didn't you? It's once that

01:02:56

you made him

01:02:57

Yeah

01:02:57

That's an outrage

01:02:59

With this, you will reduce the processing time

01:03:09

So what

01:03:10

I had seen that, so the thing about the script is that

01:03:16

I came here for you, you download it from Github, this link that

01:03:19

I came here, then you just download those files, those files, you double-click this bat, it's a file, and it opens Reality Capture and does the alignment, but I'm telling you

01:03:33

what

01:03:33

It's as simple as launching Reality Capture and hitting start, that is, no, they don't change anything else.

01:03:39

But this, this script is a text file

01:03:46

Yes, it's a bat, it's an executable, but it's not an ex, what I open is a script

01:03:55

That is, when you click on it, it opens both, the program then

01:03:59

That's it, look, let's go back here, but there has been so much block

01:04:05

of notes

01:04:32

This is it, this is the script and it tells you, palinía the photos

01:04:40

What do you want to do? Then open Reality Capture and open the pop-up.

01:04:45

In my case it doesn't open it, but I don't care, so in principle the script would do everything for you by itself.

01:04:50

It goes to the root folder, which

01:04:55

is what

01:04:55

I say, we must

01:04:56

leave it in the Images folder, you have to

01:05:00

paste the script and a subfolder that

01:05:03

be on the same level as

01:05:05

the scripts, which

01:05:07

Yes, images, okay? Then, within that

01:05:13

you have downloaded apart from this bat, there is a Settings folder, where it has the Settings, well it is called RC Settings, okay? And then it creates the Temporary Reality Capture project, as I said

01:05:25

Then it's of no use to you, RC point RC Projo, okay? It's from Reality Capture

01:05:31

So, open Reality Capture and say new scene and tell it to

01:05:37

from the Images folder, make a project for me, the saline, and all its stories, in principle, initially it exports the CSV, the PLI, it doesn't do it for me, therefore I do them manually,

01:05:52

it's super easy

01:05:54

And then, as I say, it doesn't save me either and it closes.

01:05:57

It doesn't do it for me, but I would open pochot and make you import that Images folder and it would make the predefined ones, the SPLAT MCMC, the SICE, which

01:06:10

is what

01:06:10

Mario commented on reducing the frames to 1,600,

01:06:16

steps 1 and maximum SPLATs 1

01:06:22

And there Pochot starts training, but since Pochot doesn't start it for me, what

01:06:27

What you do is throw it, at the same time you select the 3, the PLI and the CSV and the Images folder, and you throw them to pochot

01:06:38

And there you get the little window, this one, but it already blocks you

01:06:55

this, because

01:06:56

These are already the images that

01:06:57

you have trained with reality capture

01:07:02

And can show where it is, how to download these scripts, where there is LANV

01:07:07

By the way, I'll post this article again, so I'll put it in the chat.

01:07:15

Thank you

01:07:17

But I'm telling you that

01:07:18

This is thanks to Mario, who

01:07:22

discovered it

01:07:27

There as a complement, I don't know if he heard me

01:07:29

Yes, yes, yes

01:07:30

It's okay it started to go

01:07:32

With complement, before this there was a program that

01:07:36

it was crowding me, that

01:07:37

is the one who

01:07:38

towards this line

01:07:39

Oh, sorry.

01:07:42

And what

01:07:43

Mention, Pietro, from Meshroom, as he is called, is all purpose

01:07:50

Yes, from MetaShape, that's correct, it is a possibility, what

01:07:57

What reality capture does is export the camera coordinates

01:08:01

If this is possible from MetaShape, it would also be viable, right? On the other hand, it would be the point cloud and finally

01:08:08

If this is possible from MetaShape, it would be viable too.

01:08:18

If it was the voice, yes, for a little

01:08:21

moment

01:08:23

Ah, I think so.

01:08:24

I have a bad connection, but let's see if I can hear myself there. I mentioned to you that CCTV is the coordinates of the cameras, camera by camera, like PTI does and like any other alignment program does.

01:08:38

The PLI is the point cloud and finally the images are the three ingredients that

01:08:44

needs potion to be able to

01:08:46

And then, this has already been research, more than

01:08:54

research evidence, evidence that

01:08:57

I have done it, let's see, here

01:09:02

At the time of that

01:09:03

Reality capture seems to work better to me, expensive with such a large amount of images, I think that

01:09:10

I have made the process easier for reality capture

01:09:15

So, here I have, here I would have pasted the texts, let's see, here, you see the pietro, you paste in the same folder, what

01:09:27

you download from Github, which

01:09:29

It's this, minus this, it seems to me that

01:09:36

is

01:09:36

So you click here, double click on the bat and, of course, it has here in settings, it has its configurations, but you have to

01:09:44

have, at the same level, the images folder or subfolder

01:09:51

And between images these

01:09:54

So what happens? You export the C, C, U, B, and PLI files to the images folder.

01:10:00

That's why you then go to pochot and take the folder as is and pochot

01:10:05

He says, okay, I have images, I'm going to start lining up, he says no, because

01:10:08

has two archbishops who

01:10:10

They tell him that

01:10:10

do not align the cameras, it remains

01:10:14

we have them aligned previously

01:10:18

So, inside the images folder, instead of throwing them all like that, because

01:10:23

This is a normal scan, a simple scan

01:10:26

In this work I have found myself, of course, here in the outer orbit, I have told you a little that

01:10:33

I have in each folder, but above all, to give it continuity and to separate it

01:10:41

That's where I explained about the file names, not so much the file name, but obviously this goes before

01:10:49

this one, by file name, right? 2, 3, 4, 5, okay? And here there are 325, 325 elements, because

01:11:00

I have previously done what

01:11:01

made the video

01:11:02

I took one column, I took two other columns, I took two other columns and I got rid of them.

01:11:11

Then, suddenly, between this photo and this one that

01:11:14

I have left free, I have loaded this one that

01:11:16

there wasn't much difference, okay? That's where what

01:11:19

We said half or a third, right? Why? Because

01:11:23

These are photos, but if I come from video, here video, I have the scans here, this one won't be seen, I'm going to open it now, the video won't be seen, right? I'm going to

01:11:56

put it now

01:11:59

There you see the video, right? In fact, there I am.

01:12:21

Look what the difference is between the high búsulas rumbas

01:12:26

Well, then you see, there is the change of shots, it is all the very similar frames, photo, there we would take photo, photo, right? I mean, we have too many frames as Marco said, but we have too many, that's what

01:12:44

I say, what

01:12:45

you better check to have more

01:12:46

And here I had decided to cover the entire building, but we can do it, take a little bit above the railing, then the front of the frame and then from below the lowest part of the building, okay? So this is it.

01:13:00

a video

01:13:01

If I do this, I open it, I'm going to share the whole screen, I open the popot and the first thing that

01:13:17

What I do if I have made a video is to launch the video here where it says Drop and the window appears

01:13:28

So, you compete with Mario, it depends on telling him, we put the 5,395

01:13:36

frames, I have done it and it is where I have seen that

01:13:40

it doesn't make sense

01:13:42

The last step that

01:13:43

What I did to publish the project was to follow this: send the videos to Pochot and not touch the numbers at all.

01:13:51

If he tells me 2106, he will choose 2106 frames out of 5,395

01:13:58

what

01:13:58

has this specific clip

01:14:00

I give it importance

01:14:02

I don't touch it, I don't say as Mario said no, 50% in total, for me, I haven't touched anything

01:14:10

And here below, you see, selecting images

01:14:14

Now he is doing nothing but,

01:14:18

If we have scanned the video, it is selecting the 2106 best frames or photos within the video

01:14:27

Better quality or better sun protection? Of all things, I can't find anywhere where, what is it based on? It's an algorithm that

01:14:36

It has pochot, to say, I have chosen the best frames

01:14:42

Look, Guillamos, there are programs that

01:14:44

video frames are taken

01:14:46

Knowing the, the frame per second and the sun setting that

01:14:53

you want

01:14:55

It doesn't make it easy for you

01:14:56

Yes, yes, yes, yes

01:14:57

No, that's the first thing.

01:15:01

but when Mario said that

01:15:03

Potsot selects the best has something more than

01:15:07

any video editor to select the best frames because

01:15:12

For example, if you say I'm going to export one frame per second of my video, it wouldn't mean not taking a metric, but suddenly there might be a blurred frame because

01:15:22

the camera there at that moment made a blur

01:15:24

or he got some sun and I put a ray in the optics for two seconds in principle Potsot loads those shots, those frames and once it finishes selecting the images here this

01:15:40

It's as far as we knew Potsot, we left it, no, now look, the bar below ends, point camera, traquín, no, and we pause the training here, I have paused it and now we are going to select here above that

01:15:57

We have been created set images because

01:16:01

if we don't stay

01:16:02

in render faithful set images and images of our video and export them to the images folder that

01:16:22

We are going to give him a rewound and capture

01:16:24

This is the tutorial that

01:16:28

is on that page

01:16:31

Then check before in shop to get the real image and capture that is then if only if we have taken a photo instead of a video we do not open Potsot yet this is if we have done it with video

01:16:43

and we first used Potsot to select the best frames, that is, we made a video although

01:16:50

we still believe that

01:16:51

With the photo we have more control but if we have made it into a video so

01:16:55

Mario and I have discussed the operation that

01:16:59

is more fluid than

01:17:00

It depends more on the situation in which you are

01:17:03

You have little time, you record at a high shutter speed, at high frames and you scan the building, the object very quickly, more than

01:17:12

in photography, surely doing the study with Excel and everything but still avoiding you

01:17:18

is avoiding you that

01:17:19

It's easy to do the excel, your convience, pum pum pum pum up and down at one angle, at the other and up and you go home with the scan in a very short time

01:17:30

When you showed the Dove 2 window where you were going to select the good image it is the image that

01:17:38

Did you get out of here or yes at first I was removing with that with that thing of removing half or staying

01:17:46

with a third but already directly seeing that

01:17:49

of 5,000

01:17:50

He is selecting me 216 I am not playing anymore but but after that

01:17:56

and if this is this col exported, look to see the image folder that

01:18:02

He took you out yes it is they are they are they are well sun they are the fart without being much look let's go here this one here for example this one from the facade you can see my folder no let's see front this is the one

01:18:27

I did it from below here I was recording here it has selected me and I exported it in these 400 images this was a clip in which

01:18:42

I did well but these are several clivales this is where I go also that

01:18:46

I was putting them as I have scanned, I stopped and changed the shutter for the darker areas, no there I went to different areas I had to

01:18:58

calibrate the light camera then I started shooting a video to pocho and export it with ffbf then with g then every so often

01:19:13

I change the first letter, they are different exports from the Pocho, but why?

01:19:18

You see the sun appearing to me it seems like there are many similarities if mine you see for example there there that I what

01:19:28

yes that

01:19:29

Then I do it is his cousin of these two of these two I delete one before throwing it to the reality capture then I also review the export of the pocho but it has already made a sieve for me or that is

01:19:45

Of five thousand frames, being able to have 400 is already a rare thing for me when I do the elaboration that

01:19:56

you blocked

01:19:57

You can't say how many photographs, no, if you import them when you do, look, I've created a new project here and they've asked you how many, can you say all of them, use all the images or use the best ones?

01:20:21

better but not the number yes yes the number also here you can change it for that reason because there are three ways that

01:20:37

He chooses the best ones and when he imports them, I don't know if you change them here, see if they save the number, you tell him the best ones that

01:20:46

is what

01:20:47

he works best he is what

01:20:48

This is what

01:20:49

He is recommending you without touching anything, then he says the best images are all there, he doesn't let you edit them, but in the best images you can put the ones there

01:21:01

you want but for bed that

01:21:04

I live taking the best is if there was a very similar photograph you did not try to lower the number to lower it because

01:21:17

The selection exists later in the image folder if it is very interesting to see by going down the numbers it takes a picture not very accidental of course yes yes this is to try I say that

01:21:31

which

01:21:31

I am saying this is my experience but it is to try in each one and in each session, okay then once you have this you go to the project folder and I have subfolders here but

01:21:49

If you have a smaller scan, you would have the images here. Okay, inside the images folder you would have the CSV, the play store, and all your images. You have taken this from reality. Capture it well using manual mode.

01:22:03

or by the script mode and you throw that image at him, I have done it manually, I only have the reality capture project, you throw it at him and here he no longer lets you, well so

01:22:16

If it lets you, you can filter again, but I have already done the filtering before the entire project 3 284

01:22:24

with all the details and all the scans okay and then here this is the one that

01:22:29

I don't know but it's all something Mario said that

01:22:32

the thing is

01:22:32

the silver that

01:22:33

It generates it from the inside out or from the outside in and I have no idea. Okay, after pleasing the images, scale the images up to 1600.

01:22:47

why

01:22:48

In my case, if I have photographed at 12 megapixels or recorded at 4k, 8 recommends that you

01:22:55

are 1,600

01:22:56

pixels does not say anywhere if width or height but I take the liberty of saying that

01:23:02

the maximum then the maximum that

01:23:05

It is the width I would limit it to 1,600

01:23:09

then it would be something more than

01:23:11

It would be nothing less than

01:23:16

what

01:23:16

HD because

01:23:17

1920 by 1080 because 1920 would lower it to 1,600

01:23:22

But as I say, it's not going to be photography, this is going to be 3D, that's how it's going to process that image. If you shoot them here at 4k, then you're going to slow down the machine. Okay.

01:23:35

then this is what

01:23:38

We were talking at the beginning about 3,000

01:23:42

maximum with maximum splash rate 3,000

01:23:47

is what

01:23:47

throw here 3 of view says that

01:23:50

not that

01:23:51

3 000

01:23:51

It's a lot that

01:23:52

He recommends a thousand therefore 1,500

01:23:55

I understand that

01:23:56

no problem then from now on what I

01:23:59

I said before I will make a 2,000

01:24:00

for that thing see that

01:24:01

maybe it loads 3 of view because

01:24:03

This is the definition of our model what

01:24:06

We said at the beginning the more splash the more defined the model, therefore if you put a thousand here

01:24:12

is what

01:24:13

says 3 of view so you have to

01:24:15

see in each case how much you are sacrificing then I will do tests here at 1,500

01:24:22

a 2 000

01:24:24

let's see but 3,000

01:24:26

also depending on the model 3,000

01:24:28

If it is an angel model like Mario had, then there is no problem, but 3rd sight advises you to do this number to limit the weight when they upload the egg or for its preparation, I understand not.

01:24:44

He said it, he said it to Mario, he mentioned it in the last coffee that

01:24:48

3rd sight I had answered him or I had read it on Facebook I don't know why

01:24:52

Sometimes this José comments on Facebook and corrects me and you told me this, not about the splashes.

01:25:00

3 of view there was the recommendation of 3 of view for the splash was a thousand no if it was in a post there by José is that

01:25:09

He mentioned it's 1k, I don't know if it's a thousand or what

01:25:13

It means 1k if I know the thousand yes I do

01:25:15

I don't forgive myself for a million and one a month and if it is a million correct yes

01:25:21

so that

01:25:22

If this would work optimally in terms of performance, it would be advisable to have less than one million, but yes, not everyone is getting two and a half million, three million, anyway, I'm looking at this here, I don't know.

01:25:33

I had deployed Mario look anti alias sin and the harmonics this is just what

01:25:39

You told me in 3rd sight if you have tried it.

01:25:42

You will do it here beforehand from training and I have seen it but no no no I have not played with them in 3rd view in 3rd view yes yes yes it is that

01:25:52

today I just rescued the two screens that

01:25:54

You sent me to optimize the project and I had told you in anti alias effects without and in harmonics to lower it to two and I am seeing that

01:26:02

Here when you import it to es fotsot it leaves you like this

01:26:07

I'm going to touch on it here as well, if the alias in front of you is related to the sharpen or how sharp it is.

01:26:13

If you see the image, I don't know if you understand this concept, and the harmonics, the greater the number, the greater the depth, it looks more realistic, not suddenly, as you begin to descend, you obviously lose information.

01:26:27

but the shadows tend to be less contrasted and that can help in certain cases, well like this I have not touched on it but what

01:26:35

Mario is expanding here, that is

01:26:38

I just saw the Advance thing, I hadn't seen it and this desingue is focal in ok then then this training this is the key for that

01:26:49

start and here we have already put our folder with the csw and the pelé and it is going to skip the camera alignment that

01:26:58

does it four times normally you skip it and you directly start seeing the rendering then this is the other one that

01:27:07

I haven't played in the last one

01:27:09

I have done not touch it

01:27:10

I didn't touch this last one

01:27:12

But as Mario says, here you have to say, well, I can put 500, I'm going to leave it rendering overnight, so I'm going to put 500, but now to show it here I'm going to make one that

01:27:23

It is fast and quite effective but it is insufficient for the recipes that

01:27:29

I have seen and that's it, I just have to leave it to the machine.

01:27:39

What I usually do is click the mouse to exit the model and see a little what it is.

01:27:44

I have a bit of a view there and you can now move it, that is, in real time how your model is being built and when you have some reference you will get closer but for now

01:28:02

It's difficult, you see the cameras there, there would be my fault, well there it is, and brother, mime time to Cinza 3 Divista gives you the advice of not exceeding an equinumber of Splasio, not if you do it.

01:28:24

It takes longer when you view it on the web or the program has problems processing it on the web because

01:28:33

why

01:28:34

In fact, I also spoke with Mario about doing it locally. If we were going to do it locally, you open it with the exported version of this 3-division version and it moves it perfectly locally. I don't mean when.

01:28:47

You, when you made the model with 3 currencies and they put it on the web to see if the number of plat inside or at the time of loading the model, that's why I translate it

01:29:03

optimizing the model to which

01:29:05

have less splat when you go online those are the conclusions that

01:29:18

We get with all these inputs from 3 divisions of 8 of Mario's oil, this is a little bit of a Junje from all sides, then I have not, I have not, I have not given it because

01:29:35

with a lot of time that

01:29:36

is create is here you have what

01:29:38

you have done it you have it here okay this is the summary of what

01:29:41

we have given accept create escai model what

01:29:45

He makes you fill in the sky if you haven't scanned it because

01:29:49

It is not necessary to scan the sky if you do not need it, but the program creates it for you, but for me it took a while when I click on this image, this box took a long time to start and then

01:30:03

also seeing it with various I think and three of view leaves you in the tab around generating a sky then except that

01:30:12

be very expressly imagine it is an interior in an interior then you are not going to create sky no but when it is like that a building and you have a sky then you can put but then to the

01:30:23

time to clean and such and when going to super slave I have only seen more uncomfortable okay waiting for that

01:30:41

three of view is going to make us an applied one to elaborate the image of course or you or have some news no no no like here the most is going to understand my humor Mario but

01:30:55

The most deluded is Mario because

01:30:58

because what is believed is

01:30:59

They tell him that in the first quarter of a year we will take three out of sight and he will always and never meet deadlines, in fact this from the meeting that

01:31:11

We had with José I think

01:31:12

was promised is the sixth scene that

01:31:16

They called her then they called her another way and she didn't come out and I'm already here, we met last year and look what

01:31:22

I'm seeing now that

01:31:23

You put the ESCPC thing there, I think.

01:31:25

that's what

01:31:26

Pablo just answered me, no, there is no other way in the beta that

01:31:31

It's to optimize a little but it's not to compress I think.

01:31:35

without telling me what it has been like

01:31:36

why

01:31:37

It's the only thing that

01:31:37

I have seen that

01:31:37

They have implemented the direct ESCPC beta in Vista 3, yes, yes, yes, there you go, just discovering it right now, talking about this super esplato right now that

01:31:48

let's move on

01:31:49

the version that

01:31:50

we all use is the 1 5

01:31:51

when there is already a 20

01:31:53

what

01:31:53

It's in another link to that's what

01:31:55

You said the other day, right? Yeah, I don't know why they changed the domain. It's to use 20.

01:32:01

It's through another fence, it's already on the PC, the computer is doing it, I'm just logging in, yes, well, I'll give you the remote because

01:32:09

I'm also going to have to

01:32:11

go in short and this last part is the one that

01:32:13

you control so

01:32:15

I would leave it recording and we get into your has continued in three of view of the environment of the harmonics a little bit above that because

01:32:27

in the end what

01:32:28

We see three of the sight still left

01:32:29

many things to implement if you like, yes, I'll connect here to my computer and I also have an interview in a few minutes but it's with great pleasure that we share here and if you need me to

01:32:45

let's split it into another coffee and we start from that part if you want if it could be from it could be if you want to what

01:32:54

dedicate time to what you do, right?

01:32:56

they dedicate you

01:32:56

for now if you want but but as if we paused it now to say another day we resume right from super splat because

01:33:04

I am also very lost in that part and I think it is very interesting before taking it to three in fact the model that

01:33:12

You passed me your clean thought that

01:33:19

was doing have slowed down more so

01:33:21

I have returned to mine by hair by weight online yes in quality different or it was the same because

01:33:30

in fact it is the one that

01:33:31

I passed it to him and I cleaned it, I cleaned the impurities and such, but what

01:33:35

I don't know why you brought them to me in Pelé and I had the splat.

01:33:40

I saved the full quality for you if you wanted

01:33:42

You continue editing, don't compress before, of course, correct, see if it's doing the same to me, I'll take yours again and I'll take it, I've exported it in the other, lighter format, okay, I'm going to do that one.

01:33:57

try to see it in the cinema, for me it is

01:34:03

interesting things on my computer I think

01:34:05

I'm already here, connected, well, the same goes for you. I'll share a brief screen on this side, there they have been, there it looks like this, and look at my screen, there it is, really, very good. Well, it's been a few days.

01:34:38

They also released the version of super splat this two of us almost all of which

01:34:44

We do this by typing in Google this super splat and it opens this version of Play Canvas, start Play Canvas com

01:34:53

super splat editor that

01:34:55

It is properly like a plugin, an extension of Play Canvas. Play Canvas is good, it is a more powerful editor to generate 3D or web models and well, in this editor that

01:35:08

is the one who

01:35:08

We normally use here we can see the version that

01:35:12

we are using that

01:35:13

It's 1:15

01:35:15

even though this other URL already exists today

01:35:20

It is called super super splat but the splat is sectioned by a point and here we can check that

01:35:29

we have version 2.0

01:35:31

which advantage or the most important of all is that

01:35:40

You can now save the project. Previously we worked on a plj that

01:35:46

It comes from a post shot of Luma or any other program and when saving, everything collapsed or there was no way for me to continue editing it that way.

01:35:56

We came with the project now we can save the project once we

01:36:02

We are editing in that program to continue later, for example here what

01:36:07

I mentioned to them about the domain that

01:36:08

already the domain that

01:36:09

must use the URL that

01:36:11

were to use this super splat editor to be able to work on the latest version now Guillermo shared with us another day that

01:36:21

you could tell me that

01:36:23

send the model to the client in HTML format

01:36:28

Well if the NDA that

01:36:31

have allows you to publish it directly from the super splat page and share from the model as one that

01:36:39

sends you well tomorrow from a church that

01:36:41

This was here, for example, with Marco Peña here,

01:36:46

responded and you could share it this way without having to

01:36:51

upload it to your hosting or any other means but simply have it online to send and review with the client possibly or whatever

01:37:01

you consider or can see that the model can be navigated quite well and well don't ask me how they built this model because

01:37:10

It's quite well done, I'm still investigating how he did it, whether it was with a laida or with a camera or some other means.

01:37:19

Another thing is this community that

01:37:21

It opens precisely because I send them this church, well there is already a community within, surely in that community that

01:37:30

I haven't gotten into cheap stuff that

01:37:32

tell us how they made that interior that

01:37:34

He gave me his camera rings among other things

01:37:38

Another advantage is that

01:37:40

You can now also make animations within Super Splat. I'll show you right now that we have a camera editor to be able to produce video from our model.

01:37:49

This was normally used more in postshot because

01:37:54

postshot started let's say that

01:37:57

integrating a lot with after effects to be able to make productions or virtual production among other things now in super splat you can also integrate this super splat what

01:38:08

It is the ability to visualize the models with augmented reality or virtual reality, which is something that

01:38:13

Well, you know, 3 of us at sight disappointed me, at least a few days ago we thought that

01:38:18

everything was possible, they promised you that

01:38:21

3D models could be integrated

01:38:23

In the VR menu you could put the 3D models and their actions, yes you can indeed, but they are not visible with the Meta Quest glasses.

01:38:32

then what

01:38:34

They mention that

01:38:35

Yes, you can, but they don't tell you how. The only thing that

01:38:37

They tell you that

01:38:38

You can't do it from the meta app, so for now Super Splat isn't functional to use across those platforms, and the last thing you know is that

01:38:49

Guillermo mentions that

01:38:50

what

01:38:51

the format of that peseta is added

01:38:53

is the format that

01:38:54

develops nor antic through scan and see is for the moment the antecedent is that

01:39:00

is the format that

01:39:01

brings a better understanding of models, that is, once

01:39:05

no super splat adopt to it that peseta possibly we could have a model of lesser weight and more efficient to integrate it to 3 of view the initial step is that

01:39:17

3 of sight already accepts it to see what to see if to see what

01:39:21

see how we can convert this PLI to that peseta that

01:39:25

He sent them a converter to be able to do it as efficiently as possible, so, well, these are the most important things for this one, not to check that

01:39:35

There are 2 valid domains, one with one version and the other with another.

01:39:39

use this no good so if up to here we are going well well I am going to import some scene some PLI that

01:39:52

have it here on this one on my desktop in second to edit well as everyone knows the super splat well for what

01:40:02

I have found it most useful to be able to clean a model, that is, if you edit it, remove all the plates that

01:40:12

The clouds are added and make it more liquid in addition to the possibility of compressing when exporting this format plat points or the PLI from here from export those 3 that

01:40:27

We see on this side are the ones who

01:40:29

They have some compression if I simply keep it as that

01:40:33

is what

01:40:34

It happened with the guided truyo, I keep how then I stay

01:40:38

with an uncompressed PLI so you can continue editing it and once you

01:40:42

I already have it completely edited and I can now take the task of exporting it in a format with compression from here it would be ideal that

01:40:50

we would find the spc so new that

01:40:52

what

01:40:52

just integrated 3 of vista I wrote to them at super splat and told them that

01:40:57

It's when, but well, I don't have an answer yet to know if this is going to happen or not. The idea of this exercise was to be able to do it as an example, not of how to clean, but rather optimizing.

01:41:10

our models through this platform for this I am going to give myself the task here of downloading a PLI format that

01:41:19

I find myself to show them then what can I do? In the srsco jl

01:41:37

It's your survey on the laptop but here I have some here already used your press-plac to go chatting a little have you had any problem bad one this one I don't know how moargen

01:42:14

from the space in the shortcuts the keyboard combination or something I think that

01:42:20

in what

01:42:21

I saw myself short, that was what I was looking for.

01:42:23

which

01:42:25

You are going to explain now about showing the splatch mode and selecting the splatch to erase. I didn't know which ones to erase, if I would see strange things and it was very easy to select the splatch but of course I saw, I don't know if the

01:42:38

discrimination is seeing the texture and what

01:42:41

You don't see texture and you see it as splatch, erase it, that's discrimination. I don't even know if I would tell myself. My difficulty was knowing where to erase without removing what

01:42:53

you are behind that is because

01:42:55

the first time that

01:42:56

You showed it Mario you said no, apart from down here over there and I say but it's that

01:43:01

there is splatch that

01:43:02

They go from bottom to top and you started erasing like crazy I saw that

01:43:07

By moving the model with the mouse, some appear and disappear, it seemed easier for me to understand what

01:43:18

wanted to

01:43:18

delete if there is a criterion is also like trial and error not knowing which ones to move I have based a lot I am going to import this time that

01:43:35

Allow me, I don't know what it is, but this one must already be open around here.

01:43:45

It may work, I don't know exactly what

01:43:46

is attentive what

01:43:50

you are showing if you don't know what if now we are going to say that

01:44:00

I told Mario first that

01:44:04

potshot is an editor too, so it's supposed to

01:44:08

the things that

01:44:09

can be done here and in potshot to edit and delete can be done in both what

01:44:15

It happens that

01:44:15

Mario, and it is true, likes the professionalism of the tools more than

01:44:20

there is in super splatch that

01:44:22

in potshot if it is true but the day that

01:44:25

potshot better I think

01:44:27

the idea would be to be able to do this in potshot without having to go up to super splatch right or even the view 3 version that

01:44:38

They could be another one just a little bit to enter like in that context of why I use one and the other does it very quickly here we are seeing potshot if I don't know why it doesn't allow me to select

01:44:53

There I don't see my cross when they are on screen. Well, here in post-shot we can see a menu on this side.

01:45:04

You can't see my cursor, but you can see that

01:45:05

select the thing

01:45:07

Let's see, here in the video call I can see my cursor, but not on my screen.

01:45:13

Well, we have the grid option, which

01:45:15

are the options that

01:45:15

handles us post-shot

01:45:17

It also shows us the option of the center of the model, which

01:45:21

It is this guism that

01:45:22

we are seeing colors here

01:45:24

He shows us the cameras, which

01:45:25

It is the lineation, which

01:45:26

This is the CCEV, which

01:45:27

We can export or import from Realty Capture

01:45:31

In this case it is done in direct post-shot, each of these gray icons are the cameras that

01:45:38

we are aligning

01:45:40

Let's also look at the point cloud, which

01:45:43

is what

01:45:43

It is also imported from Realty Capture, when this process is done that

01:45:47

Guierno shared with us, but that

01:45:49

Here too it can arise from post-shot

01:45:51

And finally we can see the training, which

01:45:54

It is precisely the crossing of the cameras, the point cloud and the photographs, which is what

01:46:01

will raise the color to this maya that

01:46:04

we are watching

01:46:06

Also within the tools that

01:46:08

We have here in post-shot, well there are very few to really clean, we have nothing else, this tool that

01:46:15

It's like a kind of circular cursor and that's all

01:46:20

And we have this tool that

01:46:23

Maybe you don't get tired of seeing it here, but well, it's another editing tool, but well, it's very good, I don't want to go into detail, because

01:46:31

I can't see my cursor, but it's aligned for now so I can edit a splat.

01:46:38

Now we're not seeing anything, but look here, as I zoomed in, this tool that

01:46:43

I was mentioning to you just now that it is as if it were a cube, everything that

01:46:47

It is inside this virtual cube, it is what

01:46:49

can be deleted

01:46:50

And spatially, it is something that

01:46:52

could help us to

01:46:54

If I select something in the general way in post-shot, do not select what

01:46:59

is behind, but nothing else what

01:47:01

is inside the cube

01:47:03

So this is an interesting one, I haven't used it much because

01:47:06

I don't like the tool, but what

01:47:08

I want to conclude that

01:47:09

It has few options to edit, right? Except for this one, which

01:47:13

it's pretty good

01:47:15

Nobody, then

01:47:16

Yeah

01:47:18

Forward

01:47:19

Mark yourself there, moment

01:47:21

This work, you, in your splat, do it to remove it around, and put another model on top

01:47:30

I'm not saying to put on one of the other two models

01:47:40

Yes, I do it for three things

01:47:44

One to remove the plats that

01:47:48

they are not seen, that

01:47:50

we can save this weight on the mesh, especially what

01:47:53

is below, what

01:47:55

It may be down here, that

01:47:56

This will never be seen, and suggests that

01:48:00

we erase things from here below, without,

01:48:04

Well, with the criteria that

01:48:05

I'm going to ask you right now, if it doesn't affect the clarity of the mesh, well, this could, we could optimize the model, right? The second reason is because,

01:48:17

suddenly, I don't know if it has happened to you, that,

01:48:20

Suddenly, when navigating through the model, we see some clouds that

01:48:24

are floating in our model, which

01:48:26

We don't like them, right? If you see these, all these that

01:48:28

they are up here

01:48:29

And these clouds, well, they take away tides from the model, and they are also not necessary if we erase all these clouds, which

01:48:37

was what

01:48:37

It happened with Guillermo's model

01:48:39

I had a lot of micro clouds floating all over the model.

01:48:42

This could be another reason to use your splat, the third could be, for what

01:48:50

suggests is Pietro, who

01:48:51

It is to erase an existing land, a building to put another, and the last would be to be able to optimize through compression formats, which

01:49:00

has its splat, the model, which,

01:49:03

It usually comes heavy, right? I've already added another Mario, which

01:49:07

We have been talking about Time Labs 4D for linear models

01:49:12

Ah, right, yes.

01:49:14

Dog

01:49:14

The fact of being able to have in your splat layers or layers on this side, see, here we have my first model, which

01:49:22

is this person who

01:49:23

the thing is

01:49:23

ever do that

01:49:25

the thing is

01:49:25

You said it well, Pietro, be careful, right? With what

01:49:27

samples

01:49:28

There could be more of this model here, which

01:49:32

we can overlay linear and export with the same center to be able to have what

01:49:38

Guillermo mentions it, right? An interactive where we have a before and after possibly

01:49:44

So, I'm going to export this one to show you, I'm going to export the splat here.

01:49:54

And in this case, the second model would have an inverse mask

01:50:00

In which farborn, yes? In the second one

01:50:05

you put it, it would have the reverse of the deletion

01:50:11

Yes, of course, for example

01:50:13

Moral center leaves the environment

01:50:17

Yes, that's correct, it would be to invert the mask to stay

01:50:21

right with the center, or vice versa

01:50:24

Select something out and invest

01:50:27

That's how it is.

01:50:28

can be used in your splat to be able to select

01:50:32

Now I'm going to tell you what the center is

01:50:38

Okay, if you want, I'll open this model and show you the options.

01:50:43

Let's see, I'm going to bring this one.

01:50:51

it's like dirtier

01:50:53

I've already found several models here.

01:51:05

There it is

01:51:06

We also remember that

01:51:09

Your splat can be installed via GitHub, locally

01:51:13

Now here is what

01:51:14

We are exploring the web, but here in this link, this one that

01:51:18

I share it with you anyway, and at the end, in this blog, you have the option to download it through GitHub and run it on the web.

01:51:30

The alternative must be here.

01:51:34

Now there someone was not guided, right? You didn't say that,

01:51:40

Suddenly they couldn't publish files from certain projects, but there's always the alternative of downloading it from GitHub

01:51:52

Here is the editor

01:51:55

It is the community of those who

01:51:56

I spoke to them

01:51:57

It super splat

01:52:00

But I can't find where it is.

01:52:05

I must be here in the video

01:52:08

In this video

01:52:10

Second, here in the video description

01:52:14

And here it is, right? The option to be able to run it from your computer is to understand that

01:52:19

have it online for anything

01:52:21

Your internet is not good

01:52:23

Or maybe they don't want to publish files or feel that

01:52:26

This is going somewhere, right? So, through this platform, you can download the software here as well, so you can use it for free.

01:52:37

I haven't tried this one myself, but I'll give it a try too, right? This part

01:52:42

So, well, after what

01:52:45

we are going up that

01:52:47

It is precisely how the model matters, the first thing that

01:52:51

What I do is align it, that is, if you look here, we have a grid that

01:52:56

is this mesh

01:52:57

The first thing that

01:52:59

What I do is try to reorient it, that is, see it from the side and front so I can rotate it and leave it, let's say, as I horizon it.

01:53:12

For this, then you go to me with this same one that

01:53:14

it's on the right side

01:53:15

I can express myself here in X, in Z, or in Y, depending on what

01:53:20

I need to do, this will give me the guarantee or the certainty that

01:53:24

I'm seeing it laterally and orthogonally, not in perspective like when I touch the screen, right? So, if I press X here, I can zoom in with the cursor and I can't reach

01:53:41

to see it in a liquid way, my model, but through this transformation panel is that

01:53:47

I can raise it or orient it in position, I can rotate it or I can scale it

01:53:54

I do not recommend that

01:53:54

touch

01:53:55

On the scale of the moment, I can only do it in 3rd view, but I do recommend positioning and rotating it, depending on what

01:54:02

need

01:54:03

Here, when you scroll down or zoom in, you can see that

01:54:08

Here is the green line and the blue line, which

01:54:13

It's something similar to what

01:54:14

It happens with this same one on the right side, this represents the center of space, the best thing is that

01:54:20

our model is always as close to the center as possible and on the X axis, on the Z axis, we can also see here where the center is and when we see the model on top,

01:54:33

We can also see here where it behaves, I don't know if you can see the colors of the grid, right? Here is the blue, the red, if I go over here, we can see the same thing, but in elevation.

01:54:47

in the blue and the green, or on this side in the green and red, right? So the first thing that

01:54:54

What I do is position it, that is, here I want to upload it, I'm going to take my model from here, select the translate or move tool, and here I move it manually, or what

01:55:10

I want to upload it from here, right? And here we can start playing, how to upload the model in space, right? So, I'm going to, on one axis, I'm going to another axis and from here

01:55:23

I'm going to align, as close to the center as possible, in fact, if you notice, when I touch this move tool, the guismo also appears here, similar to the one that

01:55:33

I have on the left, and in this way, I can try to make it

01:55:37

I agree if possible, because with the axes that

01:55:41

we're looking at here, aren't we? In what

01:55:45

It would be the gray one, for example, I have my blue arrow, it more or less matches what

01:55:50

I see here on this side, and the green one more or less with what

01:55:53

I see from this side, right? If I move my viewport in any way, I return to perspective again, it is best to always be working in orthogonal mode, which

01:56:07

It would be pressing on these little windows, again very much here, and I align it in the blue, in the red, and well, this would be like a first step that

01:56:18

I do

01:56:19

Another thing that

01:56:21

I also find it apologetic, Mario, when did you focus? How do you fix it? Like to freeze it, do you prefer? Yes, yes.

01:56:34

In fact, I don't know if it's possible, really, what I

01:56:38

What I do is move and change, let's say, that

01:56:42

I deselect this transfer function

01:56:45

If you notice, when I have it in orange, that's when I can touch it, when you give it, I deselect, I can't do anything else but

01:56:53

rotate it, right? So let's say that

01:56:56

Turning it off is the way

01:56:59

I would have to freeze it, or officiate it, right? How do you mention it? Yes, then

01:57:06

And in case you like me to wash dishes too? For example, downstairs, right? This is from here, of course.

01:57:15

Yeah

01:57:16

Yes, yes, right now, for the moment, I'm orienting it, right? What

01:57:20

continue, it's going to be erase, start erasing and have that criterion to know what to erase and how to do it, right? Under the scheme

01:57:26

of splats or dots, which

01:57:30

It would be to see how to take one criterion or another

01:57:35

So, going back to this part, I already positioned my model in the center, and this is much faster than what

01:57:42

I did it

01:57:43

To rotate it, I could take this part here to rotate, this same icon, and start here also to try to align it according to the grid, simply to

01:57:57

to have my work scene, well, prepared, right? for what

01:58:03

go on

01:58:04

I can always come back here and make adjustments, it's just something that

01:58:08

I like to do, right? So, let's just say that

01:58:11

according to the grid, this grit that

01:58:14

We're here, I have my model moderately adjusted, right? According to that

01:58:20

So, even you can realize, that

01:58:23

They are very low or very high, because

01:58:26

If I lower my model here with the transform tool, then I will see the grid, I don't know if you come closer to view it.

01:58:35

And I start to upload it, the reticle, when my model hits the reticle it disappears

01:58:43

So if you mean that

01:58:45

My grid is halfway down, and that might be a good thing, right? As soon as the grid disappears, that might be a good point for me to start working with my model now, so I can edit it.

01:58:58

right? And to delete what

01:59:00

I need

01:59:00

So, you can do it as I was telling you from here, from the transformation panel, where I select the model, and you can see how to rotate the model here, or you can do it from down here, where I have the rotate tool,

01:59:18

what

01:59:18

It can also be as if they look below the word rotate

01:59:24

A number two appears, which

01:59:25

is the shortcut that

01:59:26

I have to do it

01:59:27

If I press number two, the rotate function appears on my keyboard.

01:59:33

In the case of transfer or move, if I press the one key on my keyboard, the function to be able to move it also appears, right? So, well, the good thing about Gauss, this one from SuperSplat, is that

01:59:47

we have few buttons, and that

01:59:49

It even shows us the shortcuts here to help us, right? So, at the bottom we have move, we have rotate, we have scales

02:00:01

The transformation panel would be exactly the same, right? So, well, this would be like one of the first very simple steps is to place our model in space with formal grif to align it and start to

02:00:15

work with him, right? Now, what do we want?

02:00:18

do with this model? Well, there at best what

02:00:22

You were worried, Pietro, it's not, hey, the best I don't want to erase the horizon, I'm interested in the horizon, I don't want to stay

02:00:29

only with the land, if I don't want to preserve it, as best as possible, unfortunately this model, this supported us there, Marco, I think, if I'm not sure, Marco, yes, yes, here we lacked, at that time we didn't know, we

02:00:48

It was necessary to have made an orbit of the terrain looking more to the horizon to be able to capture what

02:00:54

They're the mountains, right? So, you know, those orbits are on the first lap that

02:01:01

I saw myself, what

02:01:02

You sent me again and told me, we need it further, further away, higher up, lower, I mean, I think that

02:01:10

he dies, in the first that

02:01:12

I did, I did the splat and I do have hills and everything, and the second one you don't move it anymore, I sent you the images, excellent, well, we really needed an inclined orbit, I'm the same, and the

02:01:27

we show how for what, for what

02:01:29

This is used, that

02:01:37

does not open, here it is, yes, we say to understand a little bit so that

02:01:45

is used, I'm not going to go here, this is the model that

02:01:50

I taught them to be a little angel, here is the splat, this is what

02:01:54

What you're seeing is a splat and this is a building that

02:01:57

I put in 3D all this that

02:01:59

It's here, it's a splat, and as you can see, I'm not interested in seeing the horizon, or the mountains, or the sky, right? If I click here, interactive, here you can see the splat as it rotates and how

02:02:11

merges as my 3D model, again here I make another click, I can see how everything that

02:02:18

The context is made with splat and well, here if I want to go into the tower, a few clicks and I go into the tower and start exploring the apartments to see the price, to

02:02:29

to set aside, to see I don't know the perspective that

02:02:32

has on the horizon, in render, I set other things, right? But well, going back to that part, um, there Pietro, what

02:02:40

I am interested in Marco and I, you see, having this land that

02:02:45

It's here, this lot or as they call it, this land, to be able to erect a building and the horizon part wasn't relevant to me, right? So if that's not relevant to me, what

02:02:58

I can do is use these tools that

02:03:02

If you look at the post shot, I only had 2, I had the loop, circular, I have a cube that

02:03:09

If it comes here in post shot, I don't know if you have seen it, I have a way to select in cube, that is, there is a virtual cube that

02:03:16

If I tell you to delete, delete what

02:03:18

It's either outside the cube or inside the cube, but no more, right? It's very similar to this circle that

02:03:24

appears here in super splat, then, yes, this circle that

02:03:31

It appears here, I don't know if it's this cylinder or rather a wait, right? In post shot we have a cube and in super splat we have a wait, so well, there are only those three options, here

02:03:43

In super splat we have the option to select with rectangle, we have a free form that

02:03:50

It is, because it is the one that

02:03:51

I like this one the most, well, okay, because of the length, well, the audio Mario, select with a straight line, if you look here more than

02:04:10

I find where it is, but where it goes again, this is like a straight line, nothing more than

02:04:22

It's complicated because

02:04:24

you have to

02:04:24

hit it, there it is, where you started is a stroke that

02:04:29

It can be, for example, to select a block and delete it, precisely to select the land that

02:04:34

I need to disappear, to be able to plant a building or cut out some sculpture or some element that

02:04:41

I need this, right? I also have the way to select with a brush that

02:04:46

It's quite free and this brush or this element, well you can, well it's the most free, right? Now I'll show you even how you can do it the other way around, it has the form of selecting through

02:05:01

of a sphere, the sphere can be once that

02:05:07

define the radius, put set here and what

02:05:12

you do that

02:05:12

select what

02:05:13

It's within the sphere as such, isn't it? If, as I was saying, Pietro, we need

02:05:18

be the other way around, then I go here to the tab above where I selected and I put invert and that's it, right? It would be the opposite, either where the rectangle mode, in the free mode,

02:05:35

in straight mode, polygon mode, in brush mode or even in this sphere mode, which

02:05:40

now what

02:05:41

We're selecting the dishes, right? Mario, hello, you made a mistake in the selection, how do you delete it? I mean, to correct it, it's with control, for example, let's imagine that

02:05:58

rapier

02:06:00

select in yellow is what

02:06:02

I want to delete, right? If I wanted to extend a little to the right, because

02:06:09

There are a couple that

02:06:09

I'm interested in preserving, by pressing control and maybe the brush, see, I can deselect something, right? If I simply release control, I can invert, that is, everything is lost, because

02:06:26

I changed tools, but right now, right now, if you want to remove the yellow spots, how do you do it? I can, I can simply change tools and touch with another, other options, if I have the brush tool, I can with

02:06:45

control, pressing control, right here, let's delete, no, there it is.

02:06:52

something, I can also do it from select, I can tell you, here I don't know how to invest or anything, look here, there that

02:07:02

It's called Shift -A, the function, Shift -A is to stop selecting anything, also to select, you can start by selecting everything, and from everything, start with control, choose that

02:07:16

is what

02:07:17

I don't want to keep, come on, then, there are like several functions, but I don't know if this is what

02:07:25

you mention, but it would be from here or with control, right? Strange, this flight to which

02:07:30

height was, I think that

02:07:34

It was not 120 meters, I don't score, I think

02:07:37

Yes, if you'll remember, it was 90, 100 and 120, or something like that, more or less, but it was around 100 meters away, and no, you don't see the drone, right? Honestly, I don't remember, I

02:07:51

I think that

02:07:51

If you don't see it, or it's a little bit of being more focused on the bed, yes, yes, I often throw it out, and well no, I lose sight of myself, for a long time, welcome, I know that

02:08:04

That is against the rules, but yes, today on Mario I shared with you the model of the first flight, which

02:08:14

It's like that, it was more sweeping, but it's more upright, and there you can see the mountains, there it is, great, thanks, thanks, I'm not marking it, I'm going to download it there, right? So, well, here once I

02:08:27

We've aligned, we've seen more or less the tools, right? Crop, let's go, brush, I can merge them with control, I can here remove pieces from this one, let's say that

02:08:41

I select with a brush and then I want to remove a portion with control, I can also do that, right? What about removing sections of what

02:08:50

I want to delete, remember that

02:08:52

here the suppress, because it is the one that

02:08:53

delete, here is pretty good, how I have evolved the online software, talking about the software, that

02:09:00

They are through these URLs, they already work as if it were a computer, right? Also the combination of how to turn is with control and right click, I can move in space, which

02:09:14

This is key, the fact that

02:09:15

I can move in space to be able to position myself, for example, in some area that

02:09:21

I need it, right? If I come closer and want to position myself where this car is, well, what

02:09:29

I have to

02:09:29

What to do here is control and right click, and again zoom in, control and right click, the furo right click suggests the pan tool, also that's key, right click is pan, control click, right click is orbit

02:09:48

and practically scroll would be, well, being able to get closer, right? And so I left click, well that's what

02:09:59

What you are suggesting to me is what

02:10:00

I have marked here, whether it is move, rotate, scale, or whatever

02:10:10

We have a z control, which

02:10:11

That still works like in software, if you press control z it's effective, or I can press this little button, right? I have you on this side, so well, once I

02:10:23

I have my model positioned this way, there comes a point where the grid gets in the way, I don't know if you see it here, what I

02:10:32

I want to start looking to see if I have any floating objects here that

02:10:36

are, let's say,

02:10:38

obscuring my model, we suddenly find certain clouds floating very close to our building, as in the case of Guillermo, have such quality of the model, suddenly you can see here, here we call them mentors, like the

02:10:52

Harry Potter, these who

02:10:53

They fly, those dark objects, and they are the ones that

02:10:57

one has to

02:10:57

detect to be able to delete them, but if you notice right now I have no way of detecting them at this level, at eye level, if I select in this way, see even, I am now seeing here a hyperbole that

02:11:12

It's on this side, and I have no way to select it, that is, I see it, I want to delete it, but I don't know how to do it, I don't know if it has happened to you, right? So for these cases, I told you first, I go

02:11:27

to hide my grif, which

02:11:29

At this point I'm already in the way, on the right side I have options, and I have many functions even to configure how it is that

02:11:38

I visualize my model in space, within which

02:11:40

I don't need it right now, it's just that

02:11:42

show me the grif so that

02:11:45

don't confuse me with what

02:11:47

I'm editing all these lines, here my minimiso, and well, also another of the important functions of the right side is that

02:11:57

let's imagine that

02:11:58

We lost the model, it went away, because

02:12:00

We moved it, I don't know, we took care of ourselves, we scrolled, very quickly, we have this tool that

02:12:07

It's called resetting the camera, if I click on it, what

02:12:10

does is that

02:12:11

It's going to send me to the center of my model very quickly, so I go back, something clicks here, and it positions me again in the center of the model, so I can continue, right? With some

02:12:24

with that, Mario, that

02:12:26

I, of course, wanted

02:12:27

see if you could see what center it took, it takes the center, not of the model, but of the scene, that's why you have done a job of aligning it to the center previously, for this, because

02:12:40

If that doesn't work for you, let's check it, I'm going to invert it, deselect everything, I'm going to move my model here, not here is the center of the model, but let's check that,

02:12:58

It's just going to the center of the scene, isn't it? The one that

02:13:00

I found the time very interesting

02:13:03

is dedicated to what

02:13:04

you have done before centering it with the mesh, with the axes, for this, in the tools that

02:13:09

They are very useful, right, let's say that

02:13:12

Here was the center of my model, but as you know, my model, the center of my model, I need that

02:13:20

be this one here, no, this land, then, this, I can move that one here

02:13:27

center of my model, it could be not this point, but let's go, here is where my cursor is, it is the center of the space, of the grid, I'm going to send it to the terrain, which

02:13:42

It would be that one there, then I'll click on it, then this is later very important or it saves you a lot of work when it comes to taking it to three views, because

02:13:51

when the limits of the camera are marked, there I don't know what, here the previous work, well, here if I click, I go out, I press this button again, and see, I'm going to go right

02:14:03

where I need, that

02:14:04

It's where the terrain is, so well, here I can't deactivate the grid, thank you Guillermo, it is important to mention it, from this, also another of the important things is this white box that

02:14:21

come here, if this white box that

02:14:25

come are those who

02:14:26

are the limits of my splats, were much higher, it means that

02:14:31

Here I would have splats sailing, flying as if they were garbage, I don't know, I don't need, so, for example, what

02:14:39

see some of this, I'm going to delete this splat that

02:14:42

come here, when you delete it, the meter of this white box will be reduced, so this is good, because

02:14:51

between that view, at the moment that

02:14:53

we import, if we import the size of this box, we could have a lot of external garbage, a lot of lost plats and that would make,

02:15:05

according to what

02:15:05

They mention Guillermo to us, who

02:15:07

Our model would lose quality or appear to have errors when viewed

02:15:12

So, there is that

02:15:13

keep it compact, right? It's all that

02:15:14

is this container that

02:15:16

we are seeing here in white

02:15:17

I remember that

02:15:18

There was a time when

02:15:19

you did in a last coffee, that

02:15:21

you said that

02:15:22

I had defrauded you, because

02:15:23

By doing all the processes here, by seeing your model pretty well and taking it to three views and seeing that

02:15:29

lost quality

02:15:31

So, I consulted with three of view and the answer was that

02:15:33

I also sent him the example model and he sent me the screenshot and you could see how that cube was huge and the model was a chickpea in one of the corners.

02:15:44

So, going through these processes of the impious to leave more or less like this, three of view, there is no problem anymore.

02:15:51

It was because,

02:15:51

although

02:15:52

that was it, a loose splat, but very, very, very far from the model, it already makes

02:15:56

the model is big and that three view does a kind of compression and says, oh, I'm going to remove information! And it looks really

02:16:05

How does the cube look? That cube, this cube is automatic.

02:16:11

If I'm not doing anything, if I have absolutely nothing selected

02:16:17

Surely in the tree on the left of the scene it is in the manager, if you had two surely if you select the second one the cube will change, surely, bring others if you want

02:16:29

We can try it, of course, import pelellé, I'm going to bring a desktop model

02:16:35

Also it would make sense to see which one we are

02:16:39

Correct

02:16:40

What is the value that

02:16:41

does your splat have the ability to import multiple models, align them, scale them, or even merge them? And the homework that

02:16:48

we have are that

02:16:50

I discovered that

02:16:51

In Jet Hub there was the super splat to make it local, but I didn't get it, but it's supposed to

02:16:56

can

02:16:58

Right, here I'm importing this new splat to see how it behaves and there's what

02:17:08

you mention, Pietro Talvés, is the model that

02:17:10

is selected, it is the one that

02:17:12

retains these white margins, which

02:17:16

are those who

02:17:17

delimits in the scene

02:17:19

And in this case, Mario, why don't you delete the chats and the sprinkler? Yes, yes, yes, that would be what

02:17:26

I would proceed to do, right now delete all that

02:17:30

is polluting around, that

02:17:32

nothing more first weight and I don't need, right? Especially for a scene like this, which

02:17:37

will always be looking down and that

02:17:40

if it is supposed that

02:17:42

All of this is an orbit, so my model could be round, right? It could be cut out by a sphere and so finally what

02:17:50

It's in the back, I don't need it, but in the case it's like the eagle that

02:17:54

If you want to keep the context, maybe the situation is different, right? I think

02:18:00

I didn't care about it for the reason, this is going to be seen here that

02:18:04

I didn't mind another model, but well, if you want, when we continue, we try it

02:18:10

Well, then, the need for now we have the selector here, we have the transformation panel, on the right side, we have this configurator to be able to turn on, turn off the grill, so that

02:18:24

I can even make it so

02:18:25

the scenes move faster, slower, in short, various functions that

02:18:31

they have to

02:18:31

see more with video

02:18:35

Interesting is the part of resetting the camera and this one

02:18:40

It is like a vast expanse that

02:18:42

Here we call it Carto, which

02:18:44

It's practically the opposite of going to the center of the scene, it would be going to the total of the model, right? This can help us a lot to find out if our model is gigantic, as Guillermo said, that

02:18:58

could make this size, when we only have a point in space, but our point of interest is this

02:19:06

So this summe extens helps us understand if we are what size our model in general

02:19:11

Well, within the tools that

02:19:15

I mentioned to you right now to be able to select our, well, we all go what

02:19:22

we want

02:19:22

edit or delete, I think

02:19:24

This model is not so good for what

02:19:26

I want to explain right now what changed

02:19:28

I want to start finding those little ones

02:19:31

clouds that

02:19:31

They are here, let's say, contaminating what

02:19:34

It is around the land that

02:19:38

I need to be able to locate Splats that,

02:19:42

Suddenly, they are not easy to select, as we saw just now, on this side, I'm going to rotate here, see, this is not easy to select, we have two ways

02:19:54

On the side, we can display the points that

02:19:57

This is the deepest way to be able to burra something, that is, every point that

02:20:03

We see here that blue is the center of a Splat, which is like tearing the problem out by the roots, right? If I do this, it's going to be overwhelming that

02:20:12

I deleted Splats in that environment, let's go to that selection, I'm going to deselect, for example, look, I don't know if you can see this point that

02:20:23

It's here, there it is as part of the criterion, to visualize all the points floating in space, that

02:20:33

we know that

02:20:34

They are not part of the model and will not be affecting it, it is the best way to identify it, so I always start by activating the plats to visualize them through the point that

02:20:46

is the center of each Splat and in this way, I am sure that

02:20:50

at the moment that

02:20:51

I delete this, it's not going to affect the quality of my building, so I can navigate with control and right click to explore all those points, which

02:21:02

Now in detail, right now I'm doing it like this, as an example, I could go on erasing those points in the space that

02:21:14

I don't need it, but above all that

02:21:16

I am certain that

02:21:18

They are floating and are not part of my model, I don't know if you can see them there, here are three points, here is another, here is one more and that is a way of approaching it, if I

02:21:31

I get much closer to this building assuming that

02:21:34

That is the object of study, I can also continue browsing around it and everything that

02:21:40

is floating outside it is certain that

02:21:43

I don't need it, that will be my first criterion, the second criterion is once

02:21:47

I'm done, I can unselect this feature and select this other one, then here you can see splats that

02:21:58

Before I couldn't see it in the center, if you look here, I don't see the center of this splat, therefore I can't delete it, if I deselect this I can't select it in a natural way either.

02:22:10

with any of the selection methods at the bottom, however if I select this splat mode, see that

02:22:18

It is easy to select each of these, of these giant spots, what is the problem with this that

02:22:25

They can be stains that

02:22:27

contribute to my model, meaning if I suddenly delete some of these splats they could be taking away from the model resolution that

02:22:36

I want to take care, but well here also a criterion, if you notice the splats are of different colors, there are white ones, there are orange ones, but in this one black and others gray, so the black ones are the most

02:22:51

big ones, those who

02:22:51

They are thus invading me even the whole scene and that

02:22:55

Even when I get three delistas, they could generate a kind of black passivity within my model, so what

02:23:02

I always suggest deleting all the ones that

02:23:07

have this scale, especially that

02:23:09

are thicker, see this way, it is much easier to erase, but above all those who

02:23:15

They are black in color

02:23:17

They are huge and may be affecting some point of view of my scene, see if I step back, we can see that

02:23:24

those who

02:23:25

They are darker, they are even the biggest, but Mario, do you think that

02:23:29

You arrive at the conclusions from the color? I thought that

02:23:32

Each splat is the color of the texture it

02:23:34

is generating, that is, the thickness of the churada line and also the blacks, let's say that

02:23:50

has contributed to me, if you have a point that

02:23:52

It can be of color depending on the angle at which

02:23:55

be seen, because

02:23:55

This is how splats work, but usually the ones that

02:23:59

They are black, they are the ones with whom

02:24:01

I have had more conflict, because

02:24:02

are those who

02:24:03

They have obstructed me when I try to visualize, let's say like

02:24:09

That one that

02:24:10

is here, maybe it tends to that, that's what came out in me too, and that's what

02:24:16

I had the doubt, if that is directly a boom erase, if I see a disk there, but on the floor I don't see the disk, I only see that disk, that disk outside, that's it, right? Yes, go

02:24:27

where it is, it is even below everything, that does not contribute to anything, another of the characteristics could be to erase from here, from bottom to top, trying to

02:24:39

the that

02:24:40

I didn't get to pigment my model yellow, right? So this could also be

02:24:47

Now yes

02:24:47

How far? Of course, well, I think that

02:24:50

It might be worth always inspecting, wouldn't it? The fact that

02:24:53

When I select splats, they will not reach the surface, no, not the model.

02:25:00

Actually, one way of selecting or another, it's going to delete the same thing, right? What

02:25:07

It happens that

02:25:07

is what

02:25:07

You said, the human eye is not going to see, then the true disk mode helps us, but really when you erase from the other side it is also erasing like that, disks, right? The image is formed

02:25:21

by discs

02:25:22

Correct, yes, but here we are seeing it either from the center, if you focus on this, we do not see any information here, that

02:25:32

This can contribute to us just what we

02:25:34

I mentioned to you, didn't I? That I activate this first to know that

02:25:38

the discs or splats that

02:25:43

are here at these points do not contribute to the above, right? For example, this I'm sure that

02:25:48

They don't contribute to my model, right? I mean, we are linking in point

02:25:52

So if we make sure that

02:25:53

They don't take anything away from above, right? If the blue dot is below, it won't affect us, right, okay, okay.

02:25:59

We are on the periphery, I don't just get so close, for anything, but yes, if that's what

02:26:06

Yes I can be sure that

02:26:07

This does not contribute to all this that

02:26:09

is here, my internal light has come on, right? That surely doesn't contribute, right? In my model, everything else that

02:26:20

Let's see here, this special or passive of the splat, when I activate it, what

02:26:26

This is what is going to happen is that

02:26:28

When I turn with my camera and it crosses this perbule, it's going to generate a kind of vignette, right? And that, suddenly, tends to be annoying in models, so, well, yes, equally at my discretion,

02:26:43

would take would decide to burrow those who

02:26:46

don't serve me, but above all here look, this one that

02:26:49

It's here, this black one, it tires you to see, this, I am interested in opening this model and doing this, here we can see first a black perbula that

02:27:02

It's going to generate a passivity on my field, and on the other hand, let's see, I'm going to change with control, see, there they are, right? All of these are floating points that

02:27:14

They contribute nothing more than

02:27:15

to contaminate my model, these who

02:27:17

are here, then these are also the points that

02:27:20

They're leaving, aren't they? And this is what

02:27:21

says with the model that

02:27:22

You shared with me, I calize all these floating splats, that

02:27:27

They are in the sky to be able to clean the horizon well, and that

02:27:32

when I pass or am orbiting the model that

02:27:35

I need to visualize, so don't be afraid of these stains, right? This stain, well, it's very obvious, right? It's going to be tiny,

02:27:43

It's going to be like a floating piece of garbage, but if this stain were huge, we would have a beautiful black on our model, a moment to think about it now between that clever one

02:27:52

Mario, yes, the plat and perbule, they start from the ground, right? Aha, how do you know that

02:28:09

erasing won't erase something on the ground? Yeah, well, first what

02:28:15

I do it just like that

02:28:16

mentioned me, right? I make sure to delete, first, edit my model with the blue dots, everything that

02:28:23

It's here, it looks like the point cloud right? But when I switch over here, in this lateral mode, then all this that

02:28:33

It's down there, I'm sure it is.

02:28:34

It's not the terrain, right? Because

02:28:36

These are the specific centers, how do they begin to be built according to what

02:28:40

I select? Each splat has its origin at these points, and this shape, or I'm sure that

02:28:46

I'm not affecting my land

02:28:49

So let's say that

02:28:51

the selection first is like this, once you

02:28:54

I finish editing and if I still see stains at the moment of right now on my land, what

02:29:01

continue, now it would be detect and yes, if I have to

02:29:09

delete one that

02:29:10

even contributes to my land but that

02:29:13

It bothers me, so I deleted it, right? Because

02:29:15

at the time that

02:29:17

I go over it, it will generate an opacity on the model that

02:29:21

is going to make it dirty

02:29:22

There it would be a criterion, but in general, yes, generally, they always tend to recolor black or those stains that

02:29:31

more this contaminates

02:29:37

So, here I am moved to go here, that

02:29:40

it's a little sharper

02:29:43

Well, apparently I'm even clean or it was always clean, but when I activate the splats and start searching by navigating the scene from bottom to top, I'm going to find some floating around here, right? So, those

02:29:59

are those who

02:29:59

I, strangely, all those who

02:30:02

I find myself floating, there are also some who

02:30:03

They are linear, look at this one here, the cancer, let's see, these generate the vertical lines in the ground and view that

02:30:11

They look like errors, they are the lines that

02:30:13

They flash as you turn the model, and I don't know if this has happened to you, but I imagine that

02:30:18

It will happen to them in the smoke moment, you also have to

02:30:20

detect them, they are very stretched splats, very elongated and that

02:30:25

apparently it wasn't there, if I remove this, there's no way, and for example, for another time the splats finally, and the building is that

02:30:35

We have on the left screen brown, not brown this orange, it has like on the whole facade discs that

02:30:42

They come out, there too, not the little brown one, the choice, well, this one too, but come on, it's any of those albums that

02:30:48

They are on the facade, that is in principle part of the texture, right? Or yes, but also if you notice if I leave the splats like this elongated, it will also generate a small

02:31:03

cloud, there you can see as if they were flashes, they are 6x, no, I could also make the decision to erase the largest ones that

02:31:12

As I mentioned to you, they are generally black, or the thickest ones, which

02:31:17

are those who

02:31:19

They are bigger, the thinner the line is

02:31:22

they are smaller

02:31:22

or finer, and these that

02:31:24

They are like that even in black, see, even the horizon, because it shows that

02:31:28

are those who

02:31:29

those who

02:31:30

those who

02:31:30

we don't need, I in your model also call what

02:31:33

What I did was delete some of them to try to fine-tune this one a little more. Here, there will be some

02:31:40

make a criterion that depends on each project to budget, because

02:31:43

These are a few hours of cleaning there, how much are we going to the client to purify, because

02:31:49

It seems to me that, you can go to a level that

02:31:51

It's going to be more this than

02:31:53

the cleaning that

02:31:55

scanning, for example, and that cannot be

02:31:59

If it is, if we assume a good time, to be able to do this, to be able to detail the model very well, I will see if it is enough to open this one, which

02:32:08

They are, this is for more Mario, or what, you think that

02:32:10

You had an interview now, you said, I have to

02:32:13

go, if you want to

02:32:14

It's a moment to stop here and we'll resume or if you want

02:32:18

continue, I have no problem

02:32:21

I think that

02:32:21

This time, yes, I would like to separate it to continue in another session and show you how to detail the model, right? It's a synthetic model, right? Even with a model that

02:32:33

you have said, look, this is perfect for this and we give you time that

02:32:37

have it ready and I think that

02:32:39

It's here, we only need the 3rd view, but we'll take this up again to see another model that

02:32:47

you, who

02:32:48

You choose, if you like

02:32:50

Okay? Yes, that sounds great to me.

02:32:52

I think that

02:32:53

may be here there enough to differ

02:32:55

No, but I expect one last question, of course.

02:32:59

Forward

02:32:59

Mario, you said that

02:33:03

You can plant a building in another model, right? Now here

02:33:10

Now I have the possibility here, well, I have an empty lot, but the piteto is a rendering

02:33:20

Can you plant a rendering inside a 3D model? Yes, yes, yes, you would have to.

02:33:27

They call it building a synthetic splat, which

02:33:31

It would be that 3D model that

02:33:34

the architect has to ask him to

02:33:36

do the same as

02:33:37

We do this with the drone, which

02:33:39

sake

02:33:39

many renders around the model to make it renders