250225 - Gaussian Splatting Flujo de trabajo P2

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synthetic, let me clear your screen and tell me if everything is okay there, perfect there

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Yes, it's on my phone, I've already learned

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And my computer, well, then yes, I brought three very dirty ones from outside and this other one that

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I bring the same problem

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The idea is to try to approach it with the general, the aspects that

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We saw the previous education, the selection tools and for example, the criteria that

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I personally, well, this is based on experience, it is the one that

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I apply through the selection of points or splats, as such, that

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These are hyperboles that

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They are seen around in big o

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Also, well, just to remind you out there that

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the domain, the way to access the latest version of super splat, is super SPL at,

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that would be the way to enter version 2 0,

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When you go to Playcambas, Super Splat, you can also access the tools, however, it would be at 1.5

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what

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It has, for example, some differences, such as not being able to animate below, no, we already have a time bar like in postshot to be able to generate some animations, right? Also, showing them there that

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On the official Super Punto Splat page, we also already have a community, that is, there is a community where you can upload your models, in case you

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have no issue with that

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be public and also, well, be able to share them, perhaps, with the client in an advance, they can be shared, let's say, that

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The list is in the community and can also be shared completely publicly, right? For example, I'll show you right now

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And is it optional for you to set it to public or private in each model? Once you

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publish, I'm going to click on Manage, we have here, for example, 5 models already published, right? What are these that

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are here

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At the moment, well, you decide to make them public, but if you come back here to the panel, you can remove them from the list and they are still there, let's say,

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Available to anyone who has the link, so that's also very good, right? And if you click on private here, and if you click on delayed there, it's completely deleted.

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It is deleted from your cloud too, not only public, but

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It's deleted from your dashboard, isn't it? That's right, it's deleted from the cloud and from all the records that

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have, there is to

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impress twice to be able to delete, right? It's that

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wanted to

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what

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you will explain, why

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Just today, when I checked this new link of yours, one of the things that

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you said that

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You can save projects with this new version, but I also saw that

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You can register, you are already logged in there.

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I saw login, that's it, and I think that

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It's advice for everyone, isn't it? That we love each other first.

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the account and from there we start working

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Yes, correct, but yes, it is a little bit about showing the new domain, that's what

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correct is to continue with the topic of registration so that

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have an account and well, we generally have when we enter here directly to the domain, here to enter, there is the option of what

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It would be the editor who moves or the manager who

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is to manage those who

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we have published or, directly enter a gallery where we can filter by not being the most viewed, for example, to see what is

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They're doing well, aren't they? The features, for example, this model was very successful,

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this person because

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Well I don't know why it looks too sharp, that's where I put his X account and the only thing that

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mentions at the moment is that

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He did it with a single normal camera, he doesn't say which camera, but we can see here, let's say that

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Yes, I maximize, because the capture of the lenses, all the glass, all this part of the hair, the truth is that

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be quite good and so that

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Well, what

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It is not a complete model, but it is practically a bust, which is what

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was captured, right? So here on this side, in the tools, we have the way that

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When we enter with our mobile, by default, it is changed here to low quality, but we always have the option of, let's say, that

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preview with high quality in these galleries, there is the, let's say, that

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an informative bread of how to generally navigate here with the keyboard, it is how it works best in touch gestures and this is interesting that

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which

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We will also see a little bit now the finishing of editing, some splat that

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let us have prepared here, that

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It's the option to animate, right? That is, here we can not only clean, publish, but generate a certain animation to be able to share or at least so that

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I stayed

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registered here at our dinner, right? It has no other purpose than

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visual, right? When sending through the community

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So, yes, going back here to the filters part, well I also go here again to the gallery, this, I don't know, the newest ones, for example, are the ones that

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appear here, if you publish any model at this time, it will appear listed here in this part, and well, for example, you can also filter by the heaviest models, which

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They are interesting, see how they perform, I don't know exactly how this platform is managed, but these models are very heavy, and while they perform well, they take a little while to load, but even so the sharpness works,

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right? Here we can see, these are the basic examples, that

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They are like those who

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properly developed the code, nerf and splat, then, are tasks that

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You're going to see it everywhere when papers are made, and well, down here, right? When you put the public ones, just visualize nothing else, for example, I'm going to take one, yes, it loads in the viewer, we have

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a title, we have the author, and we have a description that

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The author could have put it, right? I was saying it because of the issue of privacy of uses and such,

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Suddenly, you can download the splat, and okay, okay, correct, we have here the visualization, the weight of the scene and the date of the upload, which

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This was uploaded four years ago, as I was saying, it was the first scene that

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It was done with Gaussion, this which

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we are seeing right now, and it is like the example that

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everyone uses it, because

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You can download the dataset, and all the ones that

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they use, I don't know what

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When they make some improvements, they usually use this same scene to have a similar reference point, and can compare between technologies

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Yes, this was published when the nerf was going on, right? That's right, and the photos and welcome, right? In Tres Max, for example, I use that type a lot more, and that's a teapot, it's a model.

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what

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everyone uses it to do tests, here in general, this is like the standard to test technologies, compressions and everything that

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It's happening, isn't it? To show you a little bit and finish as if to see it from the gallery, in addition to that

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If you have any questions, I'm going to give them here in Manage, I think

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which

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We were seeing just now, I don't know, I'm going to open, for example, this scene, it's one of the models that

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Let's see right now, they are the ones who

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clean it previously, but I have them here so you can work with them, and well, I'm going to share it with you, right? Through, well, to review it, if it's visible, I'm going to put it here in an incognito model, a

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browser, to demonstrate that

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yes, that

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yes it opens, right? If I leave, for example, this scene that

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I just shared, I go to my editor or to my Manage, where I can manage it, I remove it from the state, and then this scene, in theory, should no longer be available, right? Because

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It is, let's say, that

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I removed it from the state, right? So if I refresh, it's still available, right? So let's say

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This is now like it's not public anymore, right? Before, for example, I can search for these two scenes that

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They are good models and this other one, but these three that

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I've already left the state, if I go to the scene

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Well, I think that

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It's not very good, the search engine is very good, I'm going to search for the longest scene

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It's possible, maybe it's because, not because of the authors, but because of the project name, right? Because of the name, right? And here I'm going to click on my profile, right? Which is the author's profile.

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So how can you see? The scenes aren't crazy, they're not public, you can share your profile here to, well, promote your scenes or your work there, and ultimately, the scene lives on through

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a URL that

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It can be shared, it's simply a test Mario, where it says the same idea, it says one in the two, in the first, in the first two, in the 23, yes, I have the same suspicion that

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They're consecutive or something, right? Yeah, no, look, no, it seems like

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no, okay, okay, I say it because

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like this, no, the first two, put a one, in this one, yes, delete it, one, one, one, one, one, enter, no, okay, okay, then maybe do some random there, there, because

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the thing is,

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If not, let's see, I'm not saying to try, but suddenly find one that

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Someone has unlisted and you can look at it, right? Yeah, it happens a lot that,

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For example, before uploading this one, I uploaded it like three times, right? So, I deleted it three times and surely this ID will be one at some point that

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coincide, right? Sure

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Those three times that

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I deleted it, it must have generated a unique ID and was deleted, maybe

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And another thing is that

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yes possibly, whoever had this URL or this ID and if you decide to turn it off, then they will still be able to access the model

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So, in that way, the only thing that

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would happen, because it is that

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If they no longer want that

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Nobody has it, for some reason, we would have to

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delete it, right? Closely for weeks, we go here and click twice to be able to delete this, the little model

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So, well, I don't know, it's interesting, because this is not a community, because

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well, so well, well, being able to see that,

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well, what

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Challenges can be brought here, well, for example, someone who comes from photogrammetry, purely to close, will say, well, I wouldn't dare scan a lamp with glass and metal, right? Exactly.

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And then, this type of communities, what

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They open up this possibility, don't they? To know that

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It's possible, isn't it? It's changing these kinds of objects that

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are unthinkable for photogrammetry, right? Unless,

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For example, if we sprayed it with a gray spray, we could obtain the model, but we would not have the colors or textures with that, with that type of methodology.

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So, well, that's part of what

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We'll review it in a moment, right? So, I don't know, if this one here has any comments, it's interesting to take a dive, right? Over there to the community, right? I have one more question.

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Yes, Maco

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The model of the houses is that

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It is a synthetic model, synthetic refers to the fact that

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You made it 3D and turned it into Fusion or something.

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You mean synthetic

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Yes, I took it from there what

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It is being talked about that

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It is fair that

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When you have your 3D model, what

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you do is that

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You can't photograph it, right? There's no way to photograph it because

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does not exist in reality

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So what

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you do is that

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It renders or animates them in the same way as

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You would take a photograph with some real houses

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So, in that way you can get a model like this

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This is a 3D model that

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It's in Blender on Macs in the program that

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you want and here what

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what is done is that

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also take many photos of the project

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In our case, suddenly, rendering consumes a lot of resources, right? It depends on the platform that

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you use

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If you use Blender, this would be very fast, but on our platform that

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It is 3D Max with crown, so each render will take 2 minutes

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So, imagine, well, having the same as

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wait, right? It's longer than

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They are practically added to the process, but in favor of these models is that

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You can take photos from unthinkable angles, right? I mean, you have complete control, you don't have height regulations, like you can with a real model, but the objective with which I generate these models

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It's so they can be integrated later with a terrain or a complete place, right? So, that's also the same, this is a 3D model, they come out fairly clean and when they are imported, but even so, there are little details

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what

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It's worth showing how it works, isn't it? Yes, I mean, that

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It is a model that

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It was reconstructed from 3D for the purpose of using this technology for the web or merging with a general model, right? Okay, thanks.

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Very good

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I don't know if anyone has any other comments, if not, well, we can go on to review those 13 exercises that

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I have open here, as well as resuming a little the previous occasion, the first thing that

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What we do here is, I'm going to plot this scene to the super splat panel we go to the editor that

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It is this part and here in the editor we already have access to the tool that

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We already more or less know that not only is the import method at the top, but we now have the save method.

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It didn't exist before, now we are going to review it and then the way to export that

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Generally for Vista three as you know only the PLG exported in the splat format or the file itself works for us

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It is saved from super splat that

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It is a PLG but uncompressed or without so much compression that

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It is the advantage that

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You now have to save directly a Gaucián that

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we are editing is that

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In this way, with this function it is saved without much compression unlike

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when we export to almost and apply some interesting compression, no, that is, of several, there is to take advantage of it there in the seifaz, it saves you a PLG here exactly we go this good one, it saves us a file of the program, no

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okay so that's it

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This one is with the full splats, okay, then it would be the normal PLG that

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is the one who

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accepts three from view but the PLG with preset is not that one with preset does not accept it an error occurs this does not accept three from view we still hope that

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This site compresses much more than

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the fact that

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the one above and the one below but it still doesn't accept it and then now in the updates that

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Let's get into these cafes, there will be that

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look for an editor while super splat does not include the spc that

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soon he will put three of them in sight to the official one they have the beta there will be that

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look for each other because

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you commented that

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The SPC is even more compressed than

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This does not compete, I think it competes, yes it competes with what

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It would be the buy the PLG worth it is more or less on par but yes they said there the three of view that

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This had another type of coding that

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They didn't handle that and they opted for the SPC, no, but it would be ideal if

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three of view accept this because

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we would be ready to use it or the other way around

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super splat include the spc that

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If the market goes there, it would be the most predictable thing that

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In a short period, put it in like that, yes, I don't know what is faster, the type of development is handled there very well, well, and well, on this side, good, there is this guy.

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of novelty that

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is to save the file as such

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It is the edition we also have here because the save option is not a screenshot practically on this side the selector tools the help and well here the way to hide the menu here like

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We saw the previous occasion at the bottom we have the selector tools and the transformation tools that

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is to move rotate or scale the model in general not at the bottom of what

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It would be the main menu we have the scene manager remember that

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Here we can put more than one splat and merge them now that

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As you know, you will even be able to generate splats from generative text or reference images. If you have not seen this, this tool, for example, is called Spell Spell from Spline Design.

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is this this brand that

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We saw at some point when we started to touch on this topic, right now it is in beta phase, that is to say, they show it to you but if you want to access it, they sell it to you for a high price, it seems to me

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It costs 99 euros a month or dollars, I'm not sure they are making it expensive because

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They don't have the structure yet to be able to open it to everyone, but this is good, they will soon lower the cost so

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They then mention what it is that

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happens with this tool and already anticipating what

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I'm going to show you in super splat that

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Here you can upload a photograph of something or you can enter a text or a prompt to generate a model and what

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They're going to get this, that is, someone put some boots in the forest

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and look we have a splat of the boots in the forest

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no then let us imagine that

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we want

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put an object you have already imagined with a text or based on an image merge it with what

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we scan or generate and this would be the way that

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power let's say that

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We have this type of objects to use and combine them with our work, so here, well, what we

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It is seen that

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It comes and is also interesting with all this, this that

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is emerging now we cannot see that

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I want to put a whale inside my land so here is the prompt that

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Someone posted the whale here, I downloaded it from my account, I took it to Super Splat, I hurt it and I put it in the main square in front of the church as a kind of performance.

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or what do I know, it is already a creative part but but what is interesting

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comes here too for example we can see that

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Animation is very trendy, in fact, the whole gau shan splatting subject so that we can capture the space in a general way and then generate video for our offices, that is, we don't have time, let's go

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We capture the space and already in the office or in the studio, let's say that

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we render the video that

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We would like it to be done and with impossible shots, it was like part of the history of the tool, so now being able to animate it and also export this film, well, it is part of what

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Now you can also do it within Super Splat, this hasn't been seen, it's very interesting. I have a question about what Marco said about synthetics, by giving it a twist and mixing it with this, do you remember that?

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We discussed the topic of changing the animation of photos but also changing the angle, so to speak, so that

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animate a photo of these real estate that

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we share that

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you said that

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you controlled a little that

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you had one there that

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you were using an app I can use it in a pre-step that

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It is to change the camera angle because

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In the end, the part on the right or the back of the room or the scene is being invented. It could also be something to get gau to be synthetic, to be able to use that application to move

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the camera as certain degrees and be able to have a scan of a room that

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we had not scanned yes yes everything will depend on a lot of that

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mention I'm going to try to draw here I don't know we have well I don't know if it's the case to appreciate this is as if it were a building yes and it gets tired to see normally we have the drone by

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here taking pictures down not thinking that

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It is with the drone then here we say at the moment that

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an orbit is generated with many photos through the drone that

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So they take this angle, that angle would be like the perfect angle to show the splat in the highest resolution if I go back to the model and view it from a similar angle to the one

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The drone captured it, I'm probably going to have the best quality, but if I move a little lower in the splat, I'm probably going to start seeing it a little more blurry, but they are part of it.

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of those angles that

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you mention that

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the super splat or the post shot or the at the time of doing this work of additional generation, however, if in addition to this orbit I were to take an orbit from here to be able to complement

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my work well this angle that

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I'm going to put this one here in green

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It is here that

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It is neither the first nor the second, this angle would be much more liquid because

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the reconstruction tool that

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It is post shot would already have an interpolation of information between this photo and this photo so it would still have good quality not the one that

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is in the middle of the two even though

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I don't have the central orbit, I don't know if I'm explaining myself, then we here what

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We do so just to have this initial model that

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It's down here, we take an orbit from above, an orbit in the middle and then we save the one

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It is here to be able to although we could do it with the synthetic splat we try to interpolate as much as possible

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we can generate or allow the tool that

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interpolle as much as

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can not be said that

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all this part here is generative what

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The article said less is more or less is more like this and so on, so here we have this new generation of splats, we already have what

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They would be the photographic or scanned models that

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as we all do now with photography or with our drones that

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These are the ones that

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We are seeing here we have synthetic models that

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They come from 3D and now generative models that

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They come from just this type of tools that

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This is the first one that

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I know but without a doubt there will be more soon and they will be open to the public and they will be affordable like everything else, although right now they may not be perfect, because you know this in a week can give a

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jump again in terms of quality and in terms of everything that

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This also applies here because they cannot be downloaded, I suppose.

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It's just with your accounts, but well, it's another possibility that

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they have what

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It's happening now very well, well I don't know if there is another argument but well I'm going to return here to the scene again we already saw how again part of the interface here if you remember the

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previous occasion the first thing that

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What I like to do is try to focus on what

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would be my model to the axis of this axis that

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We are having here on this side with the guismo of the coordinates here and zeta here we can see that

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The center of the axis is where the overve and the blue are where it crosses if you see the plant it would also be where it is and the blue no this is very fast the truth is that

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is to touch the model to take from the transformation tools the one that

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It is a translation or pressing number one is like the shortcut and I normally follow this guide, I don't first press one side then another then another to try to get it to

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because the model is well positioned in most possible cases that

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There can be three options, not x and zeta, there is no more than

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that's not then I position it here in x here it is the same in yy here in z although

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Well here others manage yxyz in a different way than the three conventional programs, however, well, you understand more or less how we can manage or not then if you notice, I

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change in every way and now this would be aligned so that

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It will be useful for us so that if we suddenly move away a lot through this tool panel we can also reset the camera at the moment that

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I click on this recipe button, the camera will send me to what

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It would therefore be precisely the center of the model so as not to get lost or to be able to continue working or even so that

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at the time that

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Let's export to three views because this already has certain coordinates and is aligned to the space and in three views something like this doesn't happen, no matter what

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see the model is all that

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It is inside this container, however, because it is not centered and it is generating a lot of conflict with all this white space where there are certainly some splats that

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Well, it would be necessary

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identify and erase to be able to center it better then well this would be like part of the first thing that

00:28:16

I usually do one of the common things when scanning is that

00:28:23

suddenly we can get the model rotated and either because

00:28:28

the place was pending in that way or because

00:28:32

Well, at the time of reconstruction, I don't know, post-shot or reality capture, they could interpret it in a different way, let's say that

00:28:41

With this orientation as we have it now, then if this were the case we can also touch the model, this is where we select them. If you notice, I have the one here.

00:28:55

It's called Gaushan Casa Blanca, I could have several imported here and select any of the ones that

00:29:03

I matter so that

00:29:04

that is the one

00:29:05

the fact that

00:29:06

the fact that

00:29:08

We start to modify, I'm not going to bring here any other, I don't know, this base is there, I already have two models and you see, I have the model of this base and I have the synthetic model of this one.

00:29:25

subdivision or these houses then depending on whether I have both on depending on which one

00:29:33

I played

00:29:34

it would be that

00:29:34

I would be modifying if you notice here it touches the basement and here is my guismo that

00:29:40

It is not yet well oriented, it is not centered, but in the case of the White House,

00:29:44

is this synthetic model, well here I can return it manually to be able to visualize it well, I can turn off the base so that

00:29:54

do not hinder me visually and here modify it manually or if you look at this side transformation that

00:30:02

Again here are the position coordinates to move it in xyz, the rotation coordinates to rotate it in xyz, and the scale that

00:30:13

In this case I recommend leaving it in one for practical purposes of being able to keep there what

00:30:22

we bring and they took the 3rd sight and that

00:30:23

3 from view we can even climb back but already from that

00:30:26

side then I told them here we can rotate manually or from here I can appear sustained and this one also let's say that

00:30:39

rotate in that way or also assign it some number that

00:30:44

It would be here the 180 so that

00:30:46

If that visually matches the orientation of my project, it will be 180, if not, then it will probably be 185 or not. Let's see, giving it a second, yes, to see if I can hear myself there, I think.

00:31:06

You're already saving very well, well then we have the 180 here, we've finished orienting and now we can start to identify what the problems are

00:31:20

They have our model that

00:31:21

In this case, it is very clean compared to this other one, which is not that clean.

00:31:26

It is the foundation of which

00:31:28

I was talking to you then, I'm going here with this first project that

00:31:34

Because it is simpler, it can work very quickly. We have the transformation branch selected here again. It is important that

00:31:45

suddenly we can move it unintentionally

00:31:48

then it is important to select it so that we can move around and that

00:31:54

No, we do not have to generate any error, no, when observing our model around, also, this is the part of moving here, we can continue making adjustments past in this grid that

00:32:10

You can see right now that

00:32:10

is this grif that

00:32:12

This is an important moment to guide because

00:32:14

It is the only way that

00:32:15

We have to identify the axes very well and that

00:32:20

maybe later once

00:32:22

Let's have this oriented, we could through this options panel play with the interface here we can turn off the grid, turn off what

00:32:34

It would be this white box that

00:32:37

is the one who

00:32:37

limits the model which I do not recommend especially because

00:32:43

If our scan, well, we could make the mistake of exporting like that and that

00:32:55

In 3rd view we detect the enormous model which can even generate imperfections as it happened to me there at some point where although the model is dense 3rd view as if

00:33:09

It takes this whole area and starts to generate certain spots like that

00:33:13

No, it does not concentrate its effort on processing the center of the model but the whole and that whole, well, has many invisible areas that

00:33:23

They are of no use then, well, just show you here where we can configure certain parameters so that we will continue editing our model with the later stages. In this case, I will remove the grid there so that

00:33:41

don't get in my way, I'm going to leave the edges because

00:33:44

I tell you, I recommend not removing these to always know if, for example, here in this view, you know that

00:33:54

we can still reduce them a little more it is not at the best here if I had this this preview mode I could understand that

00:34:04

my model maybe if I erase a little bit of that area and here move again here with the selector maybe this area is not affecting me from above and I could reduce my

00:34:20

My perimeter of this as I told you in 3rd view seems to me that

00:34:25

It is important that

00:34:26

is as compact as possible and that

00:34:27

It is centered within the model so it does not break equally if you have any comments not about the part of the orientation of the guismo of moving, rotating or scaling the model if everything is fine there I can

00:34:47

continue with the part of the edition that

00:34:52

It's how to approach this to start cleaning it yourself calmly.

00:35:01

we are still alive, so it's very good if I know that

00:35:05

all sections as activities well this this model the truth is that

00:35:09

They usually arrive very clean when they are imported in this way, but this is like the final part of what

00:35:18

we are what

00:35:19

We could be working with a scan here, we could say, well, this is very clean, this can now go to production or we can go to our interactive, however, look at all these black shadows.

00:35:32

They are elements that

00:35:34

We can still touch up so I'm going to go with this simple one and now we move on to something like this the idea would be to see this one that

00:35:44

We will fine-tune this in the general case depending on whether we want to

00:35:49

just remove the sky to put it in three views with a false sky or maybe we want

00:35:55

cut it so that

00:35:57

be a lighter model than

00:35:58

It's the other criterion, I don't want to stay.

00:36:01

with all this but if I already know that

00:36:03

I just want to see this foundation then I could just stay

00:36:07

with a sufficient portion to be able to show what

00:36:11

I want to present in one that

00:36:19

It has happened to me or my experience then with this synthetic model there are two options that

00:36:26

with which

00:36:28

I suggest starting at the time of starting to clean it that

00:36:31

That is to say, remove all these splats that

00:36:35

They make it look dirty even though

00:36:37

In general it is okay that

00:36:40

is the first that

00:36:42

is to show these little ones

00:36:45

blue dots that

00:36:46

I mentioned to you on the previous occasion that

00:36:48

They are like the centers of the esplats if someone approached me for example that

00:36:55

It's here, I don't know if you can see it because of how I share the screen. There are blue dots here, these are supposed to be

00:37:04

They are the center of a splat to be able to identify one thing and another. Here I can turn on this other modality or this trovisor that

00:37:13

It is the esplat mode that

00:37:14

It is the my key we could see that

00:37:17

in this hyperbole or in this ellipse if I leave my cursor here touching it at the moment that

00:37:24

what

00:37:25

I removed the visualization there we have the dot that

00:37:29

is the one who

00:37:29

corresponds to that esplat then what

00:37:33

I always suggest starting by deleting the esplats from what

00:37:37

would be the centers that

00:37:39

It would be this form of visualization in this way we can more or less assure I tell you more or less because

00:37:48

you always have to

00:37:49

be aware that

00:37:51

do not invade our Maya here

00:37:55

is the one that

00:37:56

We are interested in everything, we can delete from the center in its entirety. See each of the splats in a very quick way or more definitively if I click delete here, then you can see how it is done.

00:38:12

yellow even if I go here something we can see that

00:38:18

It is not enough to climb to the surface

00:38:20

It is where our area of interest is, so in this way we could eliminate and more or less visualize how far this is impacting, let's say that

00:38:35

This esplat no if I go and take the ones from here surely they could contribute to the segmentation or the sharpness of my surface model but the part is yellow that

00:38:49

I am here this as detecting can help me to take the secretary of whether yes delete it or maybe not or maybe even it may not even be that relevant because

00:39:02

My model will only be appreciated from this angle and from this angle I may not allow it to

00:39:09

Nobody sees it from below then it could be relevant to delete more not to have as let's say that

00:39:18

the fixation on cutting too much of this entire surface that

00:39:22

is happening then I would tell them how to take something as a matter of discretion as far as they see that

00:39:28

No, it doesn't interfere much with the surface, based on the yellow color here to understand how much it is impacting above and under this criterion, well, let's say that

00:39:43

Deleting it in general, especially this criterion of the blue points will help us for this model that

00:39:50

I'm going to jump a little bit here, don't see here is the center of my model, there is no cursor but the boundary or the limits of my box are all this white so this is what

00:40:00

It generates conflict with programs like Vista 3. I'm going to go here again to activate the mode of these blue dishes that

00:40:10

are the centers and I'm going to delete what

00:40:12

I already know that

00:40:13

It's no use, let's see, I only have about 10 points that

00:40:16

are those who

00:40:16

are generating this conflict and making it

00:40:19

The limits of my model are so large, see that I have nothing bad, I delete it and from here I can compact my scene to work on it in a more efficient way. Again, I lean on this.

00:40:34

of the coordinates or the Guillaume of coordinates and I know that

00:40:40

all this is not contributing in an important way to my model and what

00:40:49

I'm doing it because it's reducing this box, there isn't one here, to the best if I can be deleting the important one, but as you know, it's a bit at my discretion, not in this editing mode or

00:41:03

editing mode through this tool of what

00:41:08

would be the centers of the splats or are these blue dots usually more definitive than

00:41:14

when I activate these that

00:41:16

They would be properly, I'm going to remove this yes the the display mode of the hyperbolas or these stelipses not of the splatings if I normally get here to delete in the same way yes

00:41:35

it is possible that

00:41:36

no ...

00:41:40

I need to say this is more invasive to the eye when deleting, I do not recommend using this editing mode in the final stage where, for example, if I wanted to delete this

00:41:55

this black splat that

00:41:57

It is here that

00:41:57

You are seeing thicker black with this mode of the blue dots I would not know which one to erase I would not know how to do it but I activate nothing also you will see that

00:42:11

cannot be selected however via splat mode simply by

00:42:18

I played

00:42:19

slightly a part of the ellipse I could already understand how much it is affecting and above all I could eliminate it or select it to be able to eliminate it. I don't know exactly what it is here.

00:42:34

we are talking or what

00:42:34

part of the model but simply as illustrative not at the time of reviewing this and just the exercise that

00:42:42

I bring the first one so you can see this part of how the criteria of how and when to use these points of this preview mode and when to use the preview mode.

00:42:57

of the splats here too for example I've already finished let's say that

00:43:02

to erase everything that

00:43:04

In general, they could bother me from the lower part, especially to have a cleaner model. I am now going to the floor, that is, from the lower part, to see if I have splats again.

00:43:17

there lost that

00:43:19

are these blue dots in general is practically an inspection that

00:43:25

If you look at it from this side it is not so important because

00:43:29

The limits of my model tell me that

00:43:31

I don't have any idea, but on this side there could be something here, so, well, I think so.

00:43:37

It's very clean here is where we see the accumulation of splat centers that

00:43:45

They are practically even in black and I know that

00:43:49

do not contribute to my model then these are the ones that

00:43:52

I would not be deleting in fact when I turn on the other preview mode here I also see them in black if I turn it again I see that

00:44:02

This is like part of that of the dirty of my model, so the easiest thing is the most, let's say that

00:44:11

definitive how to delete would be through this selector not this one of the points then that

00:44:17

I would do here we have the selector by rectangular region we have a selector that

00:44:26

It is from the loop as you know here we can go as generating an organic selection we have a polygonal selector that

00:44:36

here what

00:44:36

What we do is draw, for example, a triangle here to select that region, we have a brush selector that

00:44:43

It could practically help us here depending on the precision that

00:44:48

we have the degree of zoom to how to select also the plats to delete and we have a sphere selector that

00:44:55

It's practically all that

00:44:58

is inside the sphere or outside decide from it to delete it or not to invert the selection and delete it that

00:45:07

is outside of that

00:45:08

So for what

00:45:10

I need right now what

00:45:12

is to clear my model in this sense here, I'm going to clear my selection here, I would use the polygonal selector, then this is going to allow me to go through this mode, the power, it doesn't work

00:45:30

When I move the zoom, it stays

00:45:33

As an anchor, that happens to many three-part programs before, so here's what

00:45:39

one has to

00:45:39

What you do with this selector is zoom in, don't scroll, select this region and delete, then again here, it's without scrolling again because

00:45:54

like what

00:45:54

we can lose the selection, I could go debugging all the splats that

00:46:01

are outside my model, which

00:46:02

These are the blue dots, they do not end up contributing significantly to my model, there I finish erasing the entire edge, which

00:46:16

It would be best, well with more patience it would be to get a little closer, and in this way detect or erase the splats that

00:46:26

are out of what

00:46:27

would be the region of the model that

00:46:29

I want to keep it, see, even if I delete it,

00:46:34

It would be the splats that

00:46:36

They are outside the region of the model, but look, they remain

00:46:39

These are like brushstrokes, just that

00:46:42

are those who

00:46:43

Now we would continue to finish detailing the model, no, I am not going to do everything to be more efficient like your time, this will be the way in which

00:46:55

I could start as in this case the cleaning of my project, deleting everything that

00:47:01

is outside the perimeter through this tool, which

00:47:06

It is a criterion that

00:47:07

You can have them depending on the shape of your project, but we saw how now I can erase these spots that

00:47:15

they stay

00:47:15

out here, not in a way to select them naturally, not in a way to select them with this form of the splats or blue dots, but there is a way to select them when I turn on what

00:47:30

It would be splat mode, then again in plan I could realize that

00:47:39

This spot here could be this one here that

00:47:42

we are playing, if I delete it, I see that

00:47:46

there's still a splat sticking out there and well here even if you can see that

00:47:53

Some of them do contribute to part of this wall that

00:47:59

I have it generated here by the gauge in splatting, so my criterion could be if it is enough or if I still need to erase this stain, so here we must turn it around and see that

00:48:15

the stain that

00:48:16

We have these black spots there, I said last time that

00:48:23

Usually the thickest and blackest splats tend to be the ones that

00:48:29

They generate little problems, like this one, problems in what sense that

00:48:35

They give us a certain image like a beauty or a cloud over our model, they are usually black, here we can again visualize that

00:48:47

Apparently our model is fine, but if we want it

00:48:51

clean better here again I turn this on and see the chips, how these black splats stand out, I normally what

00:49:05

What I do is go back again to come back to see what is happening and well, depending on the degree of zoom that

00:49:15

let's give it to our model, because I would be the time when

00:49:18

I would invest in cleaning this model like this, no, these are the clouds I'm referring to, I don't know if anyone is bothered by these clouds that

00:49:28

They are here, it is very subtle but if I delete it it could affect a little bit what

00:49:34

It is the sharpness of my model that

00:49:36

by itself it is not very good because

00:49:38

This model is designed to be viewed at a distance more or less like this, it is not designed to be viewed

00:49:44

someone comes closer

00:49:45

see the court or the car but for what

00:49:48

be a kind of master plan, that

00:49:50

you can practically rotate a little bit or turn as well so that

00:49:54

see a little bit about the subject of the objective, but well returning to this part, all these little

00:50:01

imperfections that

00:50:04

Well, I normally stop to erase, either with this mode of the blue dots that

00:50:14

In this case it is no longer very useful to me, I no longer identify where they begin or where they end to say that

00:50:21

I've already finished polishing the perimeter and those spots still appear, yes, but if I turn on this visualizer, we can see where they come from, even by just touching the perimeter, see what they're from.

00:50:36

It would be this, yes, this is the deadline, so this is how I start cleaning it, I'm doing it very slowly, this can be done much faster, but more or less it can give an idea

00:50:58

how to clean, the angle is also important here, that is, it is important to try to choose the best angle to be able to erase these imperfections, which

00:51:14

Here in this case these may be black spots that

00:51:18

We have here, sometimes they don't contribute so much internally or sometimes they do, but the important thing here in this case is to try to

00:51:30

which

00:51:31

is outward, that

00:51:32

This is this cluster of black shadows, whatever they may be

00:51:38

those that

00:51:39

we can eliminate so that

00:51:40

Our model looks clean, even here, if you look closely I think that

00:51:45

It would be easier if I put the blue dots and erase them from the root, it is even more precise and that is why

00:51:55

I was talking about this as going to come between what

00:51:58

It would be a mode of selection and another, I don't know what you think, they had considered that

00:52:06

I don't know how to detail a model well, does it require so much time or can it require

00:52:11

time, yes I think so

00:52:13

It's the worst part, because

00:52:16

the control that

00:52:19

Oh, it's a good thing that

00:52:20

There are these ways, but it still seems very tedious to me, very risky, you don't know if the one

00:52:28

you have deleted really implies or does not imply, it happened to me that

00:52:32

that which

00:52:33

Some walls then after having followed this method a little suddenly looked more transparent, because

00:52:40

You had unknowingly removed the element of solidity, for example, there you get closer to the ground and you see all this bar, the ground now from the road, it's not underneath, here on the left

00:52:53

a little bit, no, more to the left, that one, the path, put the splats and keep that ground, that, you see that one there and change the angle a little bit more as if you were getting closer to the entrance

00:53:08

There, then you see this in this method and it scares me, because

00:53:13

is what

00:53:13

I did you, of course, let's go, I would mark it as a sentence that

00:53:19

This would be if it were the first person mode that

00:53:23

In a Gaussian we shouldn't be able to do it, a first person in Gaussian would start to know clouds all the time, at the top, if not, there would be certain clouds here and if this reindeer had reason, yes or yes,

00:53:43

It is the material of your model and the color also helps, look at what you mentioned last time and the color of the splats, for example, correspond to the surface in this case, I would avoid erasing the grays,

00:53:57

what

00:53:58

These are the ones that

00:53:58

They are here to avoid not touching the terrain, so you get in there in that view, so I would say that

00:54:05

I think that

00:54:05

Gaussian models are not for first-person views, they are for flying over both in orbital, as you usually say, and in free flight, but not for getting down to ground level, because

00:54:20

I think that

00:54:21

by the Gaussian technology itself, yes, but well, we find ourselves with the intention of that, that

00:54:29

These are the ones and well, there are already cases like this, if you can get involved and surely here the type of editing would be more difficult, because

00:54:41

Here I want to think that

00:54:45

When they scanned this model, here above the dining room there could be a cloud of a stain from one of these errors that

00:54:52

then we usually meet and that

00:54:56

Well now if I select with the blue dots, I could take the blue dots from the green wall back, and if I select with splat it would also be very complicated, the power, let's go how to select it, I think that

00:55:13

which

00:55:13

The tool is missing to be able to work correctly, it would be like a section tool where we, for example, from here, but you haven't seen Oli's video, from Unity, like that and well, that one

00:55:30

another little frog with three more elements, I think

00:55:32

the technique is that, because

00:55:34

At the end it makes a rectangular inverse selection and for spaces, it seemed brutal to me, that's why I want to investigate it and tinker with it, because

00:55:46

I think that

00:55:46

I think that

00:55:46

which

00:55:47

we are seeing that

00:55:47

The same for outdoors is the super splat like you are doing, but for indoors I think

00:55:52

It's the way to do it, because

00:55:54

there is the very good that

00:55:55

you can select calmly, without knowing that

00:55:59

You have not affected the floor, the ceiling, or the walls, correct, here it has opened very quickly, but I have access, if I do not have access on this computer, to show the video that

00:56:14

You mention, it is another tool to edit like the super splat part, where through an interior like this it allows you to select, but like

00:56:27

you can limit the selection distance in such a way that

00:56:31

do not touch

00:56:32

the green wall, but

00:56:33

touch

00:56:33

which

00:56:33

It is, not two meters, if I make a rectangle here, the selection to remove this cloud that

00:56:39

is around the lamp, can generate more, so

00:56:45

Here, that's what

00:56:51

You say from the inside, that

00:56:52

There are things floating, I think

00:57:07

you have stopped listening to me, or now, I am listening now, then he makes a selection like this, like the sphere, but we are not seeing the video correctly, the video is paused, yes we see the video but it is paused,

00:57:33

let's see

00:58:07

Exactly, those containers are the ones that,

00:58:11

I think that

00:58:11

We need them here, that container allows, let's say that

00:58:17

view a section of your project so that

00:58:19

you can go a little further inside and erase, let's say that

00:58:24

This garbage, without

00:58:25

you have to

00:58:26

touch something, or without so much margin of error, are these containers that

00:58:31

They are moving around there, that

00:58:32

Here he has not detected more than

00:58:34

In post-shot, I think

00:58:35

That one does have a similar container

00:58:43

The thing is

00:58:43

it seemed that

00:58:44

He wouldn't let me put my microphone and video on at the same time, so that's why I wasn't talking, but yes, of course, I think that

00:58:51

Here for the moment we are going to have to

00:58:53

control different tools, because

00:58:55

One is missing a coast, another is missing another and then also see, because maybe in an exterior we don't need to go to Unity, but in an interior yes, maybe we don't have to

00:59:05

go through super -esplato, it's a little, we're going to have to

00:59:08

walk around making those decisions

00:59:12

Yes, now I have to

00:59:13

Getting into Unity and exporting will surely involve other types of challenges, unlike this tool that

00:59:22

It's very simple, it's even online, but well, it's part of everything, right? Well, here I say in general, we can continue here still deleting, as well as general criteria or notes, normally these that

00:59:38

If they are too thick, they do not contribute very well to a model and they can generate certain shadows on it, then suddenly these are too large, I recommend deleting them, in my case it is very easy, because

00:59:51

all that

00:59:52

It's black, it's this, erase it, everything that

00:59:55

If you can see the walls here, the houses are white, see these black plats, all of these are practically just the shadows of what

01:00:09

at the time when

01:00:11

I generated it, let's say that

01:00:15

took as part of a margin of error, then everything that

01:00:22

It is here in black from the start, because if it does not contribute at all, again here it would be with the root deleting them and then with the plats it would finish detecting all these black elements that

01:00:42

They are going to generate all those small things here

01:00:47

spots

01:00:48

I normally try to clean up these types of models depending on whether they are going to be inside a terrain, it is the best I don't mind erasing them at the bottom, because

01:00:58

Finally around I'm going to have other plats that

01:01:03

It will cover up some of the imperfections that

01:01:06

I have it now in black, but it's going to be, let's say that

01:01:10

living like this alone that

01:01:14

It would be like this case, let's see if it opens up for us, well, I would try to get it

01:01:21

will remain

01:01:22

as clean as possible, because in order to

01:01:23

work together with the background, let's see if this model is the latest version, yes, yes

01:01:33

It would be something like this, here we can already see that

01:01:35

It's clean, we don't have any black spots or shadows, that's more or less how it looks.

01:01:40

after this work and practically let's say that

01:01:46

does not allow that

01:01:47

the user gets too close, right now I have it with the option that

01:01:54

Let's see with Guillermo, the option that

01:01:57

is the adaptive resolution, that's why it suddenly gets blurry while I'm turning then it becomes sharp, look, this allows

01:02:07

the processor that

01:02:09

In this case it is the explorer that

01:02:10

I'm using it to optimize resources to be able to preview it, finally, that's the RAM of Chrome or Safari or any browser that

01:02:22

have WebGL to be able to rotate it, then it does not allow it either

01:02:28

the user goes below, but yes, yes that's right, because

01:02:32

I can see it from this mode from above, then practically it gave you its fair here to go erasing all these plates in color from the edge through this selector, this white possibly does contribute

01:02:54

more, but it goes beyond the perimeter, then yes use the resources that

01:03:00

we have, not either this organic mode that

01:03:03

here can help us faster as boring, they notice how I have to

01:03:08

even hit it with this splat mode several times, that is, it is not as forceful as for example when I select the blue dots, see what

01:03:20

It happens with the blue dots in this mode in this corner, it is much more powerful than

01:03:29

I delete let's say the splats from this shape, here I'm going to have to

01:03:36

give it many passes to be able to finish erasing all the black, but with this one you can see here, I'm doing it like by eye, much more, much more powerful, it will be able to finish even a little faster and

01:03:52

just polish those

01:03:53

areas that

01:03:55

were left

01:03:58

there like light stains, that

01:04:00

It would be for example this black one, such and visualize it in this way, we still have some spots here, normally we could erase them with this tool that

01:04:19

makes us a very geometric diagonal, or already finish with this part, I don't know if more or less this, there as you see these that

01:04:38

These splats are very sharp, very, very wide, normally they do cross our model, but they end up generating a beautiful one, in the end it is not so interesting or it does not add up, well, down here also the same, just for

01:04:57

give it shape, these things that

01:05:00

are not displayed at the angle that

01:05:02

I need, that's what I need

01:05:04

I would also delete, see what

01:05:07

I'm talking to you right now, I have to

01:05:08

give it many more passes to be able to advance and in this way it is again more, more direct, no, there it is, there are fewer left

01:05:23

as small

01:05:24

burrs there when turning and it is important to be turning to see what is the best angle from which I can erase one of these things, it could even be from below the angle

01:05:39

what

01:05:39

Please suggest this to me, where are the, the origin of these stains that

01:05:47

They are giving me that

01:05:48

the model does not fit

01:05:49

clean, but in general this would be very repetitive and go this, cleaning the model in this way to leave it as close as possible to something like this in case

01:06:02

requires it, suddenly it also happens that

01:06:05

we want

01:06:07

delete nothing more than

01:06:11

They would be the burrs of the black that

01:06:13

is around, if not maybe I don't know someone is bothered by this road, that

01:06:18

is here, that is, wanted

01:06:21

the fliente, I don't want it up to here nothing more, then I also what

01:06:25

would do is approach it with these blue dots first with a rectangle, I already know that

01:06:32

I agree, in this case it does not agree, at best it could be with the sopoligonal tool and here well let's say that

01:06:43

delete this section, they are fixed again even though

01:06:47

I deleted it from the root and it generated a very good cut, we have all this that

01:06:54

Well, yes, it will continue to contribute to that

01:06:56

generates a kind of cloud and here it would slightly affect the resolution of what

01:07:02

It would be my final Maya, but it is inevitable not to have to

01:07:09

if having to

01:07:12

If I want to cut this to see it as intuitively as possible, then I have to

01:07:18

sacrifice a little bit of that resolution to achieve that

01:07:23

My model looks as close as possible to what

01:07:28

I had this in mind, if you notice maybe I went a little overboard, maybe with that, here is what

01:07:36

we suddenly fear when we pass by that

01:07:38

is to generate a kind of gradient from the outside to the inside instead of

01:07:42

It looks liquid, but well, it would be part of what

01:07:48

we have to

01:07:49

go planning for this, then as the final part of this model, it would be what

01:07:59

We could save it as, see the format is point ssproc, this is from super splat, it is a new format and now after saving it instead of importing it as usual, we practically wanted it

01:08:16

is to go and look for it to open it, that

01:08:19

This is part of the new, if you want I'm going to save it here, on the desktop I'm going to put it here demo, there it is save, if before when saving it that

01:08:35

did was collapse everything that

01:08:37

was learned and there was no way to continue dedicating it afterwards, that is to say, everything that was done could not be saved from the work for later.

01:08:44

was doing at this time, says that

01:08:48

I think that

01:08:50

I don't have enough disk space, but I've been saving too much and I have saturated my space but I'm going to save it instead, let's see, save it like, here you can see the demo, there it is, yes

01:09:11

I mentioned all this work of polishing this normally if there was no way where I could even save the layers, that

01:09:23

above all it was what

01:09:24

It bothered me, I had my land and I had a synthetic model of a model 3 on top and there would be no way before saving this without

01:09:33

These two would merge or be lost, then for example Guiérmose was experimenting a lot with this issue of progress of work where he would undoubtedly have several layers depending on the date in which

01:09:50

It was new with all that procedure, now the important thing is to detect that

01:09:55

When I reopen the file I keep these layers that

01:09:59

layer and layer, the important thing is that

01:10:01

are aligned so I can export it to 3rd view and be able to do what

01:10:06

need, right? Of course, the tests that

01:10:09

had done was in pochot, which

01:10:10

It also allowed us to put a model on top in another way, not as graphic and in the layer style as we are used to, like this one, so

01:10:20

which

01:10:21

I say I think that

01:10:22

you'll see that

01:10:22

jumping between programs, but knowing that

01:10:25

Now this allows you to save the project and not have to

01:10:28

stay

01:10:30

in a continuous way without closing to finish it and then rescue it later, if you are doing a follow-up of the work once a month it is no longer just that

01:10:41

you can't do everything and if not it is that

01:10:42

There is no such progress of work, you have to

01:10:44

return the month that

01:10:45

comes and imports the other scan here and aligns it and can save those 10, 12 layers of the different versions but that

01:10:54

you don't have them all today, but

01:10:56

You're going to have them little by little, correct, and to finish with this scene, well I've already saved it, the file was generated there, now I'm opening it and we see that

01:11:09

Now we finally have to

01:11:12

I save the two layers, this didn't make it pochot, this disappeared, if I already had my project centered here on the ground and the following month let's imagine that

01:11:22

I want to go and scan it again to see the progress of the work, this could not be done more than

01:11:29

in post-shot, but right now we can do it here and save our project with layers as the work progresses, for example here is the land, if that were the case, we would already have a

01:11:42

first scan, then we have the 3D model, we integrate it, then we will have progress of work, one, two, three, four, five months and the same, being able to position it within, for example in this case this model

01:11:59

Well, it would be exactly the same, moving it to the place where it goes, in this case as the model may not match the scale to be able to fit it in the place where it is and align it on

01:12:21

everything, maybe here having some mark or something would be convenient to be able to see where it coincides and nothing, having like this part of the layers that

01:12:37

we will need to be able to work with a creative scene that

01:12:47

will carry this type of procedures, a question here Mario with the issue of scaling, of rescaling the issue of resolution, this is vectorial how it behaves when enlarging or shrinking a model, if

01:13:04

You don't leave out the answer as to whether it is vector, it would seem to me that

01:13:07

Yes, because of how they are managed, that is, if what

01:13:12

It happens in Photoshop, if you have a jpg image, you compress it and then you want to recover it, that is, the question would be if it maintains the quality, no, I wouldn't know, I wouldn't know if how it works, it's that

01:13:27

As they talk about the curve, it is made of gauss, the gauss is antagonized and they are displacement, mathematical operations, I understand as far as I have read that

01:13:36

Yes, but I have not seen anywhere information about the loss or not of the definition or the resolution, if not you do not have that question either, not why

01:13:50

review, or maybe it's the tests, because

01:13:52

Here for example you have used the same strategy as

01:13:55

in pixel, which

01:13:57

you have the big land and what

01:13:59

What you have done is shrink the model and I say why

01:14:02

not the other way around, because

01:14:03

you have not abandoned the land, you should

01:14:05

to know if one or the other loses quality, yes, yes, it would be necessary

01:14:11

know, in this case I took the criterion of this, because

01:14:13

to fit the terrain, the terrain is the real, then yes rather what

01:14:19

would have to

01:14:20

I would adapt to reality as my model, because

01:14:24

remember that

01:14:25

When training Photoshop it asks you what

01:14:28

If you want to make a great gift of the resolution of the images, therefore it is not directly by portion, that is, you are not going to texture directly with that source material, but rather

01:14:39

He just reads the images and trains himself, but he does one thing that

01:14:43

I think that

01:14:43

In the end I decide if it is vectorial, vectorial or the similar, which

01:14:47

It's not a pixel, correct, yes, yes, it's very possible, I'm not, I don't have the data, but it seems to me that

01:14:55

yes that, even for less until

01:14:58

let's not save, maybe

01:15:01

as PLJ and we want

01:15:02

open and scale again, I don't know if there's any effect, right? But you think that

01:15:08

You have already come from a program, it is important here, so it is like

01:15:11

You may be going through several programs, you would have to

01:15:13

see if there is a quality degradation between versions

01:15:19

Yes, yes

01:15:21

There is no need

01:15:22

investigate a little about that, right? Well, from there, the ignition part, well, it's practically this and playing there with the scale, rotating and here we would have accumulated, well, our layers for these

01:15:36

new exercises that

01:15:36

is doing 3 of view, which

01:15:38

They're quite interesting, aren't they? How they put in a 3D model or how to document the progress of a work, right? I don't know, like the context part that

01:15:49

In this type of projects, normally the same, it is to align it, here if you notice there is the diagonal, I even have the scream muffled, I am going to learn it, I would start from the same, start to identify there, both in

01:16:08

plant, as in elevation, where to be the center, at least the center that

01:16:12

I need, that

01:16:12

Here at best, the center of my model is this, but I would like it to

01:16:18

the center of the model was the base, then I practically have to

01:16:22

take this base of the pyramid to the center of the workspace, if I suddenly lose it, here the best thing would be to lower it a little there and again try to find that

01:16:39

what

01:16:39

I stayed

01:16:40

where I need to, right? To be able to play with the whole scene, right? I was telling you, the general criterion here is, I want to stay

01:16:52

with everything to have context of the mountains and so on, or maybe I just need a portion, right? If I need a portion, then here I can have this sphere, which

01:17:03

It's a good medium, I like it more than

01:17:05

even the cube or the selection of through a cube or a rectangle, I select and here I can simply work on the selection or go to selection, invert and delete everything else, right? for

01:17:29

stay

01:17:29

With this portion of the land, in this case, as I was saying, it is to identify if what

01:17:36

What I need is to show a client an orbit around a small

01:17:43

portion of all this, or I need to show you just a project that

01:17:50

be more integrated with everything, even with the mountains and the sky, right? Here as you can see, I have everything selected as well to show you how I

01:18:01

I can invert the selection, or even deselect everything, select everything, sorry, or not select anything, it can be with Shifa or Control, like I can here, as you can see, Shifa or Control, I can select or deselect everything, that's it.

01:18:22

suddenly it also helps me to know if I have something beyond that

01:18:27

I need to erase, but in general, this white box or these limits of my model are what

01:18:34

They usually work better to start identifying those types of errors, or to guide my model better, right? To my Mario with the issue that

01:18:45

You comment on the environment and the sky, I found myself with the problem that

01:18:50

I didn't mind leaving the original sky, which

01:18:52

It's also more realistic, the other day you shared the one about this antenna, didn't you? I think

01:18:56

You shared it, the telecommunications antenna, and I saw a sky that seemed very realistic to me, I don't know if it was retouched later, right? And then it happened to me that

01:19:09

with my model, with all the problems that

01:19:12

I found, one of them was that

01:19:14

A client requirement was that

01:19:17

wanted to

01:19:17

the environment, in this case I did want

01:19:19

the environment, I am living, I am living with your works, that

01:19:23

The idea of being able to fly at 120 meters is very interesting, so you can have the environment, not in detail, but defined from the very beginning, from the model, right? Not having to

01:19:35

fly up to the mountain, and there you won't have definition, but you will

01:19:39

to be able to have this view that

01:19:41

I would have liked to have had this, I can't fly or with the limitations that

01:19:46

I have, or would have to

01:19:47

have another license to what

01:19:49

be able to fly at 120 in the area where

01:19:51

I was there, so I see that first, then the same question is answered, it was that

01:19:58

For me, heaven, if I let it, always interfered with me in front of the camera, if I wanted.

01:20:03

to have the building, my object, I wanted it

01:20:05

have it right in frame and everything, it seemed to me like the layer of the sky, maybe because of the distance at which

01:20:13

I had it

01:20:14

Here as that

01:20:15

generated blue stains

01:20:17

No, not so much the stains, that's another part, but

01:20:20

I already had the sky in front of me, in order to have this view, no, I didn't have it as far behind me as you do.

01:20:28

Yes, that happens sometimes, I don't understand why, for example here, that, here there are patches of sky, that

01:20:36

Maybe I don't know, here it refers to, if there was a hovel or if the clouds were moving, but we have a dome of sky over our land

01:20:49

This is clear, there I decided to delete it and as I had already done the test with 3rd sight, well, the solid color suited me, but of course, I wanted

01:20:57

One thing to say, hey, I'm looking for some clouds and then there was the issue of putting a 360, but it doesn't respect the zoom, those problems that

01:21:04

It now has 3 views, if you put the 360, as you did a test the other day and you put it in the model below, then you start to zoom for the antipatras, but the 360

01:21:13

leaves it the same, which is

01:21:15

It would also be a matter of reporting the 3rd view, because

01:21:17

It seems to me that,

01:21:19

If we leave it at 3 in view, create the sky, but not with color, but with a 360 photo, but that

01:21:25

interact with the same zoom as

01:21:27

3D, I think

01:21:28

That's where it would be super powerful.

01:21:30

Yes, totally, yes, yes, yes, yes

01:21:33

the time that

01:21:34

we passed in your model, that

01:21:36

You have it in displacement, there yes, in the sphere of the sky behind it does not match

01:21:41

Of course, he stayed

01:21:42

static

01:21:43

It moves when we do this, right? Yes, yes, yes, yes, but they do stay in the orbits.

01:21:47

clarified, then if the exercises that

01:21:49

I have seen that

01:21:50

It is better to use the orbit to say the whole case

01:21:54

And in the 3rd view example, the Gaussian that

01:21:56

has with the SD follow-up work of that house that

01:21:59

has in the demo, in the east rail of promotion, I have now noticed the sky and are captured from the scene of the full

01:22:10

Yes, because

01:22:11

does that before and after with the dual biebuer and you can see that

01:22:15

it's a different sky

01:22:16

I'll try to rescue it while you continue and I'll put it on for you.

01:22:24

Thank you, well, very well, nothing more, this is a couple of more scenes, without treatment, without let's say that

01:22:34

without retouching them all, but just like the cases

01:22:37

We saw in this, then, that

01:22:39

One option is to use this sphere to select, invert and so on and delete, or we can try to stay

01:22:50

with the entire sky and between views, you can put an additional sky or in the case that

01:22:58

Our model, well there it has been built well, without these perforations, so try to keep the sky and the view as best as possible, practically when we get there, then try to select this color with the selector brush

01:23:16

sky and merge the background up so that

01:23:20

Well, let's say that

01:23:21

Yes, it integrates better, right? It would be with color solio, but well, here we have some perforations and the criterion that

01:23:29

we could take is we erase the sky and put it in three view with a sky in HDR or we put it, sorry, three cent or we put it with a color, right? If I keep it here of

01:23:43

This way, as I have two colors or two shades, I have this shade and this one, if I fill the three in gray with a color, then either

01:23:57

The darkest one may look like a stain or the whitest one may look like a stain, right? So, well, here I

01:24:07

All I needed was this area, I stayed

01:24:09

with this area with sphere, but assuming that

01:24:12

I want to stay

01:24:13

With most of the land extension, maybe it is worth it, at best, in this case erase the sky and put it completely in three views since

01:24:26

the sky was not left

01:24:27

as perfect as I would like, especially because

01:24:29

has these gaps, I want to think that

01:24:32

In the future, programs like this will also allow me to clone this sky to fill it in here, you know? Like Photoshop.

01:24:41

I grabbed the clone frog and here it generates a similar cloud for me to fill in or even that

01:24:49

The program itself would allow me to select the void here and fill it with generative content, because

01:24:55

the sky that

01:24:57

It generates potshots, it's a bit of a strange thing, I think

01:25:01

that is one thing that

01:25:02

just as it is in beta, one of the things that

01:25:04

The improvements may not be surprising, because

01:25:07

It has the built-in option to generate, it's Skybox, I think that

01:25:13

they would have to

01:25:14

I know all of this training, I know this

01:25:18

you are doing, I have done it too but I have played with that

01:25:21

I left it minimally on the horizon so that

01:25:24

those little clouds will merge with the blue that

01:25:28

put in three of view, I would not face it at the level of mountains but rather

01:25:32

I left a little bit and there it generated an intermediate thing, neither the hard hard of the solid color of three views, nor the thing is broken that

01:25:42

there is none left

01:25:43

GOOD

01:25:43

Yes, that's what

01:25:45

You mention that it works very well, Guillermo, in my case when I have this situation, we have the hill, the mountains very close to the sky, there yes, what

01:25:58

I suggest cutting a little bit to better be able to merge with this pixel color upwards in three views all of those would fill, but in this case if we have these perforations, that is, we have part of the

01:26:12

horizon and the sky very detached, because there I have taken as the criterion of better erasing everything possible and the best in the mountain, if staying

01:26:24

with the tone with a part of the horizon, especially when we say that

01:26:31

looking for that

01:26:32

there are no such spots or sudden changes in color, which

01:26:36

We could come here and eliminate it from the root, lie down that

01:26:40

Well, here we are practically defining the contour, as it is very far away, it does not matter if it is left

01:26:49

as blurred if we take it a little further, but here what

01:26:53

What I would propose in this case is whether to stay

01:26:56

with a little bit of contour like you use, but here I do take it all, you see the sky there, it stayed with me,

01:27:25

Were you calling me Guillermo? Yes, I say that

01:27:27

You can see the sky in the video from three perspectives, it has one model and another and the sky is different in each model, so it seems to me that

01:27:38

It's from the scan, they don't let you pause it so that

01:27:44

you see him, it is that

01:27:46

If not, don't let me talk, but why?

01:27:48

you see that

01:27:49

He does the sliding, yes yes I have left the three of the truth, he left the sky of the scan, but if you notice it is not perfect, Guiñez where this is more in the criterion of

01:28:12

leave it like that and be able to

01:28:14

it works, it eliminates the fall

01:28:17

a portion and snake or replace it, as is done with the spherical ones out there that

01:28:22

you work for the signs

01:28:25

And then I put it up like Mario had the skies, the irregular skies to be able to replace them in the stress sixty, perhaps one can practice making a gaucián, of a sky, of

01:28:42

an environment, like Mario did in a clearing, but make a Gaucián of a day with some nice clouds or something and be able to have a model that

01:28:52

sea of sky in Gaucián and be able to use it in super splat, be able to superimpose it on a layer to your scan model from which

01:29:00

touch you

01:29:00

today

01:29:02

In fact, I just saw it, I just saw it, there I shared some links in the group with examples, go down, let me if I can, if you can access it, and I already have it here, and it has already put family

01:29:26

Let's see, he put chaos, higher up, higher up than the family, MXR, I don't see, you put it Vincent, I didn't see the center of the tower, I don't want that

01:30:06

are

01:30:07

Where? There is no plot.

01:30:09

There is no plot

01:30:10

A dance

01:30:14

A dance

01:30:39

A dance

01:30:40

OK

01:30:40

It is seen here

01:30:41

OK

01:30:43

Mario, right? We can't hear you, Mario.

01:30:49

I don't know if it's much worse.

01:30:52

There I heard myself

01:30:56

Yeah

01:30:56

Now yes

01:30:57

If you can look up to the sky, look

01:31:03

Yes, yes

01:31:04

That's a splatter

01:31:05

But this program that

01:31:07

It's because

01:31:08

son

01:31:10

It's luma

01:31:11

I discovered that

01:31:12

It's luma

01:31:13

It's here

01:31:13

But it's like 360, right? It's not Gaussian.

01:31:19

Here it is

01:31:22

From

01:31:23

Well, it's a strange thing.

01:31:23

It's like a Matterport

01:31:26

No, it's that

01:31:27

I think that

01:31:27

there were others around there

01:31:46

OK

01:31:47

Okay, yes

01:31:47

Here you have several

01:31:49

Amara

01:31:53

It's like

01:31:53

I'm going to take the afer

01:31:56

Yes, they

01:31:59

They got drunk on a page

01:32:01

This one, for example

01:32:03

No, there is no sky here.

01:32:05

There is no sky, but

01:32:06

Uraiah had another

01:32:07

It is that treachery that

01:32:08

says full sky

01:32:12

And they all saw that in the luma and put it in an application for their domain

01:32:19

It's like it's drunk

01:32:21

But it is also limited so that

01:32:22

you can't move around and you can't see it

01:32:25

And this is the horror, isn't it? This is the stress of sight, isn't it? Do you see what

01:32:33

Am I sharing? Yes

01:32:35

This sky you were saying to yourself, for example, right? If you look up it allows you to

01:32:41

It doesn't allow me

01:32:42

It doesn't allow me

01:32:42

It doesn't allow me

01:32:43

Higher up, right? Here

01:32:44

Here yes

01:32:48

Forks

01:32:47

It's orbital

01:32:49

It doesn't let me move forward either.

01:32:52

So there yes

01:32:53

Dog

01:32:55

Let me move you a little bit

01:32:56

That's right click, right? Yeah.

01:32:58

But this makes me realize among that view also that

01:33:00

jaqueas

01:33:01

a little bit, huh? The orbital

01:33:03

But up there it doesn't let me

01:33:07

And this sky

01:33:08

I also want to think about what

01:33:09

I lived

01:33:09

It is made with an image

01:33:11

Yes, right? Because

01:33:14

you can see in a certain, let's say, that

01:33:16

blurring to the horizon, but it is placed with an image

01:33:21

That's pretty cool, huh? It was even Marco, wasn't it? Well, I'm going to share it there.

01:33:26

Well, what

01:33:27

First I'm going to do it with Mario and that one

01:33:29

I think that

01:33:30

wanted to

01:33:30

make them

01:33:31

I turn downstairs and they come out, right? It's great, Marco

01:33:36

How do I mark? Did I misunderstand you? There's a link where you can see the sky, and it's done in Luma.

01:33:45

But it certainly covers us in the sky, but with a low flight that

01:33:48

in the camera goes the sky, you can see the sky

01:33:52

There what

01:33:58

makes luma in general, right now that

01:34:01

light the sky, there it is

01:34:02

Yes, yes, yes

01:34:03

The thing is

01:34:03

all those possible perforations that

01:34:06

We were just cleaning in my model

01:34:08

Luma what

01:34:08

does is that

01:34:09

makes a general sphere, a sphere of sky that

01:34:13

If your frame, for example, you lower it to this model and open it in Super Splat, you will find that

01:34:19

the city is inside a giant sphere

01:34:22

In fact, he did it, right? When you do it there, you can see where it's cut out, you notice that.

01:34:32

It has been noticed

01:34:34

And then he makes this up, that

01:34:35

is what

01:34:35

You said your Mario in his day, that

01:34:38

grabs the last pixels, boom, and stretches them

01:34:41

That's why you see that cloud here, because

01:34:43

He took this piece of cloud and stretched it upwards

01:34:47

Yes, he has taken the mountain and the extrapola up and closes the sphere

01:34:53

Very good, this Mario model, huh? I mean, the frame

01:34:59

Yes, it looks quite nice.

01:35:03

And the version that

01:35:05

I have this model, I don't have the

01:35:07

I didn't put in the shots that

01:35:08

are lower than

01:35:09

It's something like what

01:35:10

It's beautiful and very low right now here

01:35:12

Yes, this

01:35:13

Where do you actually stay?

01:35:15

with part of the sky and the mountains, right? Here, of course, the center was this, right? That's right.

01:35:22

No, very cool, look at this tree, which

01:35:28

all branches

01:35:33

Very good, ship

01:35:34

Yeah, isn't it amazing there?

01:35:38

Yes, and well, and from there this, that

01:35:43

We are seeing today in the video, yes, we can find some mistakes that

01:35:46

There, I don't know what you think, for example, if you go to the cloud that

01:35:49

is next to the mountain and a black cloud, which

01:35:52

well, just what

01:35:53

you do is that

01:35:53

stretch it there

01:35:55

Yes, yes

01:35:56

For example, it would be amazing to have a brush to clone or something, but no, more than

01:36:01

Well, right? That's right.

01:36:02

It doesn't stay there

01:36:04

from another, because

01:36:04

The model is very good, so it is to leave it like that, I don't know if

01:36:08

No, or do too much charse, right? Anyway, I would try doing it in SuperSplat, erase it, leave the gap and since we can't paint, leave it three views that

01:36:19

set the background color and in that space you will see the solid three view that

01:36:24

you have to

01:36:24

match this little blue one

01:36:27

Yeah

01:36:27

Me with this, before that

01:36:29

leave this, I would try to see trimming a little bit this area that

01:36:33

is left over

01:36:33

bad, go until

01:36:36

zone and then equalize, because

01:36:39

the thing is

01:36:39

everything else has been left

01:36:40

super good

01:36:42

Given that

01:36:44

in the end

01:36:44

Yes, but you can see the gradient, right? I think it's where it ends, this

01:36:47

But what

01:36:48

In the end, the user is not going to do this, that is, it makes no sense to do this.

01:36:52

This happens in 360 too, but being able to have a horizon that

01:36:55

worth it, right? So, this view is very good

01:37:00

Yes, this sphere is the default cell

01:37:03

Yes, but if you use post-shot, you have the option to activate it so that

01:37:07

generates this sphere, which

01:37:09

goes outside the model

01:37:10

But it has given me problems, it is the potso

01:37:13

I don't know why

01:37:15

Yes, it worked for me once in a while, but the other times I haven't had any success with

01:37:22

At least when it comes to integrating it with the following steps, right? Right.

01:37:30

Yes, and well, we wanted it.

01:37:32

there fill with, right? Maybe, for example, if we want

01:37:35

To identify a stain from afar would be to get very close, which

01:37:42

It may be one of those

01:37:43

An idea

01:37:44

Look here, we can find those splats that

01:37:47

They have a different blue, and maybe try to split that cloud in that way, right? Try to dissect it there to

01:37:55

Well yes, finding myself in this cloud value that

01:37:58

may not match the solid that

01:38:01

Let's put it in 3rd place, shall we? These points that

01:38:04

They are here, thinking that

01:38:07

This could be a criterion, right? It's going to take

01:38:09

Go there to remove the darkest cloud color, and this one here, as part of what

01:38:15

It could be done, if you see it around, or if something else occurs to you, right? There it is, right? How to be

01:38:24

with the surface as uniform as possible, to be able to lift from there

01:38:30

Obviously, I would cut a lot more here, but I don't know, there are you who

01:38:35

They believe that

01:38:37

criteria they could take to

01:38:39

to peel this mountain, or just to remove the whole cloud, right? All that

01:38:45

I would be

01:38:45

This environment

01:38:49

of what

01:38:50

It would be the blueish color to stay with

01:38:53

with the horizon

01:38:55

And there, well, paint how it is happening on this side, either with a 360 image or

01:39:01

have a little bit of horizon or a color, as such, depending on what

01:39:05

is needed, right? And, well, in this other case, that

01:39:11

is the last one that

01:39:12

I bring, it would be what

01:39:15

He asked Guillermo, who

01:39:16

He had clouds over the area of interest, right? Just to

01:39:22

to show them

01:39:24

Well, here is a little bit of what it is

01:39:26

What happens with this program is that

01:39:27

showed us on Guillermo and Oli's YouTube, that,

01:39:30

Well, it would be incredible, that

01:39:31

could obtain a section to partially hide the city, in what

01:39:37

we completely select what

01:39:39

is above her, that

01:39:40

It's this cloud, isn't it? But, well, we don't have it here, and one of the things that

01:39:45

I only do to erase this cloud, which

01:39:47

It could be a problem, because, again, it means going to a very low perspective to start visualizing the blue dots that

01:39:58

we have up here, and, from that, well, yes, start to eliminate what

01:40:03

is about the, about what

01:40:06

It would be the terrain, right? In this case, well, yes, the most accurate thing to do is to eliminate all that

01:40:13

blue dot that

01:40:15

is floating above it, or, to tear out as if by the roots, all these possible clouds that

01:40:23

hide what

01:40:25

I need to show

01:40:27

So, in this way, it would be like the most powerful thing to be able to erase, there are the clouds, everything that

01:40:40

is floating over the city, and then, well, complement it with, with this mode of visualization, where certainly, all these elements that

01:40:52

I have here, that

01:40:53

are standing out, they are part of that opacity that

01:40:58

is covering my model, isn't it? Also all that

01:41:01

They are floating, here you can see it as more liquid, this does not contribute to the model, but rather, yes, they are small

01:41:08

stains, right? They're going to be there, hiding it.

01:41:12

So, well, in this way, it would also be going, like treating the model, until finishing like cleaning it, right? According to what

01:41:24

we need, because as you saw there, the criterion is, either to stay

01:41:28

with a partiality of the city, stay

01:41:31

with a partiality of the clouds, or try to erase them to replace them with an image, this one

01:41:39

It would be like the next part, right, Guillermo? About the three of you saw

01:41:44

That is

01:41:46

Very well, well, from here, only

01:41:53

the output part is to export, for example, in any of these cases, export as PLG, or as SplatFine, whichever

01:42:06

I have seen that

01:42:06

This one has more compression, the Splat point

01:42:09

In fact, what

01:42:10

we struggled a little when three of you saw it and took it off, which

01:42:13

the PLG, then well, if your model is not very big, maybe you can use the PLG so that

01:42:19

three of views use their own compression, or help you a little with the Splat and end up that,

01:42:25

let's say, that

01:42:26

allowing three views if you want to compress a little more, right? About these formats

01:42:35

I don't know, if I say, the truth is that

01:42:37

doesn't have too many tools, does it? In this sense, what

01:42:40

For example, the publication part would also be missing here, which

01:42:45

I have told you the beginning to conclude with this, where here I, if I already have my model, here I have decided to publish it to share with the client or simply to have it up in the community, here you

01:42:59

We put a demo, we put a description

01:43:01

There important, where it says, it happens in Biport, that

01:43:05

align is the one, that

01:43:07

cancel this window and place it here,

01:43:11

how the initial view is going to be set when you publish the model, then I would cancel and set the camera as you want it

01:43:20

is to be exported, Biport attends

01:43:23

OK

01:43:24

Yes, here we want

01:43:25

maybe this part, right? that,

01:43:28

Just as I have the model right now outdated and it is like, it is crooked, it is not presentable, this is how it would go up, even the background could change this gray tone for another color, which is not

01:43:41

previsolizes as to be able to estimate it, this does not happen, until

01:43:46

does not reach publication

01:43:49

Also the angle of view, even though

01:43:52

Here I modify it, it is not, it is not as visible currently, but it is at the time of exporting, and the spherical harmonics that

01:44:01

are this that

01:44:02

We have talked about the last few times, not about sharpness, shadows and so on, which

01:44:06

The less compression it has, the lighter the model is, but it loses properties, brightness and so on. If you look here it is limited to 3, which

01:44:16

It is from 0 to 3, where 0 is like almost matte the model, and 3 preserves the brightness and preserves the diffusion features and so on a little more precise, but as Guillermo says, here for the

01:44:31

what

01:44:31

I would go back, it is for two things, one to focus on a good view, which

01:44:39

whatever

01:44:39

I want to show users when they enter, that

01:44:42

It's something like this, for example, posting about the Curren Viport, or working on an animation with this time bar that

01:44:54

It is below, where I can here, with the cross, advance, a range of time, that

01:45:03

In this case I have 180 seconds programmed, here if we play it today we see that

01:45:09

we don't have anything, but if I unstop it I move my model to a view that

01:45:17

I like this one for example, I press here on the plus sign I can generate a keyframe to start animating my model, we are going to do it very quickly with a keyframe here, which

01:45:30

is marking itself with this little one

01:45:32

rhombus and a keyframe at the end that

01:45:35

you couldn't do something like this, I'm not going to press a keyframe at the end and hit play and we're going to see here how there is an interpolation between both, then this part of the animation that

01:45:55

I could be here designing, I'm going to give the stop, I could contribute to that

01:46:00

At the time of publishing I told him that

01:46:02

I took the first frame of this animation as a cover or what?

01:46:08

This take for example the current sport that

01:46:13

is what

01:46:13

we are seeing on screen or what

01:46:15

take a default view, but the important thing here is that

01:46:19

In addition to having this option, my model will also have the option of

01:46:24

People either see it from a current sport towards animation, that is, there will be a transition from the current sport towards animation or they could start as such with animation that

01:46:37

I had designed, so that part is interesting, if I wanted to draw here for example a kind of loop that

01:46:46

I return around the model, it is not so precise, but yes it is possible, for example here I would have to

01:46:54

delete this keyframe from the end with the cursor with the minus element, here through the arrows I can select if it is that

01:47:04

I have several keyframes, but in this case if I want to make a loop or something similar so that

01:47:12

the model is like spinning and ends in the same position and is like consecutive, I think that

01:47:19

tested here is well to have this initial keyframe, I go to the final keyframe, I put the same one and now I do touch up maybe in the middle, that

01:47:30

It could be if I'm going to start with this, there it is, I have the first one, I go to the last one with a keyframe, I go to the central part that

01:47:47

you can be here 90, I'm going to rotate a contrary view, there I put the central keyframe, then I already have as part of what

01:48:03

They would be the 360, but the important thing here is that

01:48:07

the initial keyframe and the final keyframe, this are the same, no, I think that

01:48:15

It's not changing, I don't think so.

01:48:17

Let's see what happened, the final keyframe has to be

01:48:20

give it a certain check so that

01:48:22

I'm already there

01:48:28

same, that is to say this, I will have to

01:48:32

be the same as

01:48:33

this, there it is, here to new transition, like that

01:48:38

There was a keyframe out there, this is the same one

01:48:41

this one, then the one in the middle is the one

01:48:44

I'm going to give it 180, that is, I'm going to manually put it here, there it is, and well right now we would need intermediate keyframes to be able to go on retouching the animation, the important thing here is that

01:49:01

the first and the last, were the same to achieve this kind of loop, I already have this 180, we would have

01:49:09

what

01:49:09

This 45, maybe it was a little more open with the same, with the same scale of the model, there it is, we have the first, we have the consecutive, maybe this one should be a little further forward, here

01:49:32

We can retouch it, I write it over again, and the bad thing about this timeline is that

01:49:45

We can't retouch the curves, I don't know if you imagine that

01:49:47

working with After Effects and so on, we can't yet touch the curve of this keyframe so that

01:49:53

be softer or so that

01:49:55

be concave with Alexa and we make the best move without

01:49:59

have this top, this top that

01:50:02

It's happening here, if you look at how it goes from one to the other and it's not fluid, this still can't be retouched, but yes,

01:50:11

Well, yes, we could try, as I was saying, to emulate this loop, trying to right-click on the keyframe and with control, of course, like Anacter Effects, yes, but the shortcuts didn't work, the timeline lasts

01:50:35

which

01:50:35

hard, it can't be made shorter or worse, yes I think that

01:50:38

It has the 180 too, here we can also retouch the frens per second, here we can put the 30 frens per second, we can put the 580 or more, I will leave this one at this size, but then

01:50:53

From this point to this, well, there they are, but something is happening here, no, there it seems

01:51:02

Here we go back, maybe this hurricane has happened, it's best to remove it, if we're already a bit lost in this, let's go from here, then it would be just this view, there we get a strange jump,

01:51:34

So maybe this view is before, let's say that

01:51:46

I can guide myself with these arrows to change the keyframes and here I simply write, there it is, no, then I say we can go on retouching more, to have more frames per second and here we could have a

01:52:01

kind of loop, I tell the truth is that

01:52:03

you can do whatever

01:52:04

need to go to the access, go to the park,

01:52:08

have the points of interest of your model, but here the important thing is that

01:52:13

In the end, they can take something to publish, we click publish here, I don't know, I put a demo here, a description, I tell them that

01:52:27

grab my first picture or what

01:52:29

take, as Guillermo said, I'm going to take a current viewport, the deported view and I can select that, even though

01:52:43

brings animation, more than

01:52:44

I want that

01:52:44

the one that

01:52:45

ago, description, there it is splat and I'm going to leave it as is to publish, it's going to take a couple of minutes, it doesn't seem like

01:52:57

It takes about three minutes and you will be able to see it listed in the community here, let's see where it is in process, it does not appear, but it does not appear here as still in process,

01:53:21

I think that

01:53:22

we have to

01:53:22

wait a moment until

01:53:24

It ends loading here and would already be published in the community, but if it is, this is part of the new and is of no use other than

01:53:35

to publish in this community that

01:53:38

We are enabling, I have put the playcambas blog in the chat and right where it talks about this fly through and it doesn't say anything about being able to use the speed ramps, if this is one of the new ones, I

01:53:53

I imagine that

01:53:54

In an update they will put their hands on it, yes, but not this post shot either, for example, that

01:54:01

This started a little more precise with this type of behavior and video or animation editing, but it also does not have that possibility that

01:54:14

the keyframes that

01:54:15

you put, you can retouch them, here is here frame, I have made it a little more complex to touch, but we do not have the curve option

01:54:24

Of course, what

01:54:24

what happens is that

01:54:25

post shot they lean that

01:54:26

It has the after plugin, but what

01:54:30

The idea would be to export a video, not to have it online like this, I think that

01:54:36

The power of this is that

01:54:37

You can leave it there in your Ganube control panel and pass it on to the client and have it half animated there, make a portfolio and Playcambas is uploading it at the moment, come on, super, super, but on the other hand with

01:54:51

the post shot with After Effects you have a more professional quality or a more professional control, but it remains

01:54:59

in a video, it does not stay

01:55:01

in an animated interactive

01:55:03

That's right, yes, yes, and well, here it is, we already have the link, at the end it gives us this link, we can copy it or we can go to our administrator and here the project appears,

01:55:15

The list appears, that is, everyone will be able to see it, here in Sin Remeto it will be like the last published project and that is how it appears, I generated this loop, we published this loop

01:55:29

So, we have the initial view that

01:55:31

It happens in viewport and from there it moves backwards and the loop begins, that's what's interesting

01:55:38

they are left

01:55:38

To show, I say, is a very simple thing, but the fact of choosing a cover can give you that feeling of depth when viewing this model, I think

01:55:52

A lot happened in this here, it's like the essence of auto play in Predictors 3 of Vista, which

01:55:59

start in auto play and so that

01:56:00

you know that

01:56:01

It's a 360, it's very good

01:56:04

If then we are going to force it like this and make the loop or the decision that

01:56:08

we have to start, force the initial view so that

01:56:11

you zoom in and from there on there is something that

01:56:15

Also the luma, when you create the luma links they start first with the animation, it is made of gaucia with sand with grains and on top of that the camera is moving, it is already giving you an idea that

01:56:30

those

01:56:30

you can move around the model

01:56:33

And

01:56:33

That's very iconic, I think

01:56:35

is always preserved

01:56:39

Being able to see how it was rebuilt through these points

01:56:43

I tested the loop here, but there are those who can also try a guided tour, through some model, not all of them have animation, but there are some interesting ones out there, like this one I think.

01:57:01

It guides you through points of interest at the spectator level

01:57:06

It doesn't even have an assistant and it has animation, it's there in the points of interest

01:57:14

Yes, here I guess.

01:57:18

It goes more smoothly because

01:57:20

He put in more frames to support it there, maybe he put in 60, or maybe he put in more time, it's like trying to see how we can tweak this more fluidly, but in the end it's a walk in the park there.

01:57:34

by this model

01:57:35

I don't know, what

01:57:39

that's why it's like part of what

01:57:42

wanted to

01:57:42

show them, share, we did not continue there, what

01:57:48

He was gone for a long time so

01:57:50

Very well, I would take advantage of leaving it here and then when in the next part we can take it up again with an example and it is a real example and see the whole process with the same example, because

01:58:09

In the end I think that

01:58:09

that's how it looks

01:58:10

very clear, and also an example that

01:58:12

I went to fly and what

01:58:14

It can happen to all of us a little bit and leave it prepared step by step and what

01:58:19

I have to go deeper into some things that

01:58:21

I think that

01:58:22

they stayed

01:58:23

the other time and you and I because

01:58:26

We are here in the kitchen, but the one who

01:58:29

has not yet entered, to be able to leave here for when they enter, everything that

01:58:34

Once we have made progress, we can continue, and then also open to updates. Today we mark this flow and as my intention is to divide it into chapters by themes, no, tomorrow, if now we have cleaned

01:58:51

the model with super splat, but pochot suddenly overtakes on the right, then if that chapter is changed or complemented and the point of the flow, of the cleaning and optimization of the model is mine, now it

01:59:04

We offer it with pochot or with the one that

01:59:07

be it, or the Unity extra for interiors for such, then being able to have there like a basic, medium and advanced if we get some on my mobile, I stay

01:59:42

on my phone, yes, if this goes too fast, I'm going to finish outlining what

01:59:54

had started today, that

01:59:55

I had stayed

01:59:55

like halfway through and above all it smells a little sometimes

02:00:01

over there that

02:00:01

some things settle in my mind

02:00:03

I already knew, other things complement them

02:00:06

And that's why I was telling you what

02:00:08

Yes it is vector, because

02:00:11

hence

02:00:12

I read somewhere, it talks about those mathematical calculations, depending also on where you are placing the camera it adapts, no, you zoom in and they get bigger, it's like

02:00:24

He is always responsive, dynamic, and speaks all the comments that

02:00:33

I've been reading, it talked about that, about dynamism and why

02:00:36

be dynamic does not have to

02:00:37

be pixel

02:00:39

Ok, look at a test that

02:00:43

I did it quickly here, I also put 64 and exported it again and it runs smoother, the brakes are correct, but it looks much smoother, anyway

02:00:55

No, then the whole part is about synthetic 3D, about Gaussian, this synthetic, what

02:01:01

This animation man makes Batman running, that is, that is another thing, another wait, completely, because

02:01:10

the thing is

02:01:11

Look, I'll ask you one, now when I'm contacting clients, I have a client who

02:01:16

I made four virtual tours to museums that

02:01:20

They are like in natural enclaves and I contacted him again to offer the topic of flying with Drone, with Gaussian and such, and he told me that

02:01:29

which

02:01:30

He saw it, he sent me this example of the galleries with the hotspots and such, and he tells me more than

02:01:36

that, more than

02:01:37

the 3D map that

02:01:38

I saw how I could have the environment and such, but that

02:01:42

if birds passed by

02:01:44

if you could see them, put some birds there in 3D, that

02:01:47

the water moved, and such, I think that

02:01:50

They are Gaussian, I don't know if it's possible now, I see that more with 3D, right? Yes, I think so

02:01:58

It is, I think that

02:02:00

the key that

02:02:01

It's also going to happen that

02:02:02

It will be possible to use spline now, design does it, that

02:02:06

It's about merging 3D Mayas with Gaussian, isn't it? Yeah, that

02:02:10

both, that

02:02:10

both coexist, that way we could have the best of both, that

02:02:14

is what

02:02:15

is happening in a real that

02:02:16

It already happens in Blender, but I was talking more about bringing it into 3D, being able to combine this type of mesh with Gaussian, right? Well, one question, in 3D, how did you see Gaussian work for us as 3D? I mean,

02:02:32

You can't work with layers, can you? Everything is up to date.

02:02:36

I mean, let's say, who is a type of going from one building to another, I think that

02:02:39

It's the 2 Gaussian with one building and another, I don't know if I explained myself

02:02:44

Yes, yes, for example, like super splart, now it saves the layers, which

02:02:50

That format would be 3D, but it is not compatible

02:02:53

No, to date

02:02:54

Sure, yes, for example, you would have to

02:02:55

have the import 2 Gaussian to 3D, one without the building, without the change, and another, and use what

02:03:04

It's still in beta, which

02:03:06

is what

02:03:06

we were using for work monitoring, which

02:03:08

from one model to another, I save the camera angle

02:03:12

So, there you would have that effect that

02:03:14

the building or change appears

02:03:16

It's an example and it came out, but I wanted

02:03:20

see if it was possible not to load 2 Gaussians

02:03:22

Of course, because I don't know if you notice in 3D views, very little goes by layers, even the skin, they are layers, but a little strange, everything that

02:03:33

We have been working with the 3D skin views, it is not the layer format as such, if it is true that

02:03:39

if you put one thing on top of another, but I don't know how

02:03:41

he doesn't like layers

02:03:43

Well, well, it's that

02:03:44

3D works like this, 3D to change textures and everything, you pay for a layer and turn on another one

02:03:51

That's right, I say, I have the hope that

02:03:53

someday I wanted it

02:03:54

do

02:03:54

Man, if it's true that

02:03:55

when you cared about the GLEV, this will be more Mario, he leaves you the lights, he leaves you the, like the 2D views

02:04:09

And Mario, another question, just out of curiosity, I mean, I'm well behind it, but for example, fractionation, did you want to get into what you modeled, how long does it take you to be that fractionation? For example, this

02:04:22

what

02:04:22

you showed us

02:04:24

Let's see, did you hear it? Yes, I don't know.

02:04:28

It takes us, I don't know, about 12 weeks, more or less, 12 and a half weeks

02:04:33

Yes, it is a lot of work, it is

02:04:35

Yes, yes, yes, it is relative, it depends on the information that

02:04:38

have the client, you know, in the revision process, but following the normal ones, a complete project like that, will be about 13 weeks or 4, more or less, there Guillermo supported us with the programming, all this

02:04:52

Here in the office we made the model, the design, it seems to me that

02:04:55

your frame you took the photos, anyway, the whole chain is there so

02:05:08

I found myself already as a last resort of the fact that,

02:05:13

For example, I shared with you another day, this incredible model, right? That I think

02:05:18

is the best that

02:05:18

We have seen, I don't know if you agree, this one about the antenna

02:05:22

Sure, yes, yes, yes, yes

02:05:23

Aha, that

02:05:25

it seems that

02:05:25

It's spotless, isn't it? You'd say, well, that

02:05:27

drone they used, how they were caned, because

02:05:30

It's perfect, isn't it? Well, here's the truth, isn't it? From here that

02:05:35

It's not perfect, I mean, they went on presplat, they edited many parts, that is, first the context and deleted the antenna, then the pure antenna and added it to the context, and then they added parts, right?

02:05:50

So, it's not that

02:05:51

it came out so perfect

02:05:52

Aha, these are the ones

02:05:53

had to

02:05:54

I hired you here, right? Yeah, so it was all like that, let's say

02:06:03

gradual, the big terrain, that's what

02:06:06

remain,

02:06:07

then the antenna, and so on until completing a unified model, the sky, everything

02:06:14

I mean, it's a very good idea, next time it hadn't occurred to me to do it on my part, yes, and I think that

02:06:19

It's a very good idea

02:06:19

Of course, it is that

02:06:20

in the end, with what

02:06:21

I was commenting, Mario commented and here, with the escapes, so many pot-shots that

02:06:25

makes it a little more artisanal, but super -splat, you have good control with the layers, and now you can save the projects, you have to

02:06:34

play like this, one scan, with another scan, delete here, insert here and align it

02:06:40

Yes, totally, and something that

02:06:45

They mention that

02:06:45

is what

02:06:46

made it possible, is the compression system that

02:06:49

they used, it's this one, the truth is I tried to open it yesterday and it wouldn't be compatible with other views, that's what

02:06:55

I saw, this for the moment, so as not to waste time for the moment there, but they remember in the scene of the visit, I showed them to be a while, that

02:07:07

It was like iconic, leave me here, I'm going to give it again, I'm going to the King Sox, and here in the paper they show that

02:07:20

that scene of the visit begun, which

02:07:22

existed, I think

02:07:24

It's here, they replicate them 500 times with this type of compression format, where the compression format, this one is specifically designed for large-scale models, so it's interesting, I'm going to find the part there.

02:07:45

where it came from, but it is interesting to see how it worked with this guy, the key here was the compression, it is done with Gaussian, the same as this luma, they were this post-shot, in reality capture, trained with Gisplatt, which

02:08:07

This is another type of post-shot, but one of them has the peculiarity precisely that

02:08:16

Well, it allows for very large scale models, here it is, see, it's the way in which

02:08:23

trained, not so much the compression, but rather not using post-shot, but this system, and well here we can see, look at the number of scenes that

02:08:33

Normally people use it to test their compressions, here it duplicated a huge grid and it still works very well, so we will have to

02:08:43

check there you see the classic little table in the center, which

02:08:47

We have talked and what

02:08:49

more is, basically like that scene management, you can find that there with, where let's say that

02:09:00

the system that

02:09:01

used is called Gisplatt, which

02:09:03

This is Acano, already more remembered than

02:09:04

This is constantly updating the voyeur, because

02:09:08

I get to have, you're updating it, aren't you? Yes, everything that

02:09:13

I share it is up to date now, after Pietro I said maybe, I should define myself better I share the updated voyeur, anyway, this is good, I don't have access to it, but that

02:09:25

You have access and you looked at it for the moment, and well that's what

02:09:29

I have, I'm going to share them with you, right? Let's see if he lets me, he lets me come in here, because

02:09:38

The other day he wouldn't let me see

02:09:43

Yeah, no, this day, it's just that

02:09:49

has this platform, has

02:09:52

Oh, the one in red isn't leaving me.

02:10:07

I don't know, what

02:10:08

of raisins, sometimes it doesn't let me have the arrovas, you don't unhinge me