C4D, Redshift & AE: 32-bit Linear Compositing

and everyone welcome back i'm simon simon walk from max on director of training and we're delighted to welcome back Lionel VC domini hello hi there we're looking at today the second in the series of these sessions using red giant redshift I should say sorry force of habit redshift and after-effects as well as cinema 4d and here's the PDF that you may have linked to or it may have been the email version that you booked the sessions for and this is what we're doing today it's very exciting because Lionel's got some amazing techniques for coming out of cinema and then compositing using 32-bit linear workflow inside After Effects with some nice little tools that make the whole process a bit easier so some of these are essential workflows for for working with 32-bit and this is Lionel's take on things and I think it's really excellent so we are recording this session we will share the link to the recording automatically via email the links actually here on this PDF and the PDFs in the chat window so if you need another link to it please also feel free to reach out to us training at maximum net which is at bottom of the PDF as usual for all these sessions and by the way just in case you haven't seen it this link for the recordings it links to a specific set of recordings on a youtube channel so we created a maximum volume training channel with all the recordings that we've made this year for these technical sessions so though we've got all the ones that were by Jonas and Darren and also some of Lionel's previous sessions and also this is one from yesterday creating a model so this is a continuation on that one great so we've got so much stuff to get to I'm going to hand over to you Lionel and let's make you the presenter great so ever please feel free to ask questions as we move along Darren is helping us out with questions and also if you've got any comments or whatever please type those in and we'll endeavor to answer all your questions either via the questions panel or I'll ask a Lionel of during the session great so over to you like yeah Thank You Simon so welcome everyone and we're going to see today how to composite our red sheet sinner created yesterday which is a simple demeanour sinner so let me show you the final rendering so this is the final composited rendering very simple scene made for that purpose where we have tumbling dominoes so yesterday we saw how to create that in cinema 4d texture light and so on and today we're going to see how to composite add the motion blur add the depth of field how to color correct and so on with after effect using 32-bit linear workflow so why are we going to use 32 bits linear workflow because that will give us more liberty to change the lighting to change the color to have more filmic response or to do everything and to add motion blur to add depth of field very easily and to change the color or one Domino or to the middle or any dimino we want very easily it's a bit technical it's more work because you have to set up your AOV in rich yet know how to do it but that gives you the Liberty to to change anything almost anything you want after the rendering instead of waiting for another day of rendering and the computer being Bloxom because of that so let me present you before the scene in cinema4d for those who were run here yesterday it's a very very simple scene I kept it simple for that purpose it's only Domino's are tumbling down it's animated with mograph so I didn't use the physics and the lighting and the texturing of the scene is extremely simple tools we have only three materials one for the ground one for the domino and the carving on the dominoes are distributed with a few achieve tricks and the lighting is just one simple dome light so it's extremely simple and if I can show you the rendering using the IPR in the viewport we can see we have that scene and as you can notice it doesn't look at all like the one I showed you in the rain Brendon Moody the highlights here are just blown out the lighting is bit too contrasty the colors everything is not as interesting as the movie and that's normal because we're going to to change all that in compositing using the exact same rendering okay let me just show you in after effect the same final you see after and if I just deactivate all the retouching we can see here our raw render and this is the render with everything on it and to show you that we can do anything we want if I click here I'm going to have Domino's of another color and everything is animated following along with some as for example if I want to change the devil field I want to have the depth of field not on the that first demeanor but rather on the back I just need to change that okay no rear enduring needed so that's one of the main advantage of taking the pain of setting everything up okay so let's jump to cinema 4d and see with redshift how to set up our AO v2 to be able to do that compositing and just before that before adding any AO v because I don't have anyone in the scene right now I just want cute I just want to show you on the render of you post to fix sound and what's the the idea beyond positive fix on so if I launch the render we might shift with our render view so to have us to fix you need to use it the render view we have our render and I need to do a fused yes that's the row render as we saw earlier and what specifics but to fix our is a kind of well Pacific's so to do some compositing work color correction work after the rendering the idea being that you can do all together at the same time so I can change the scene oh I can't change my light I can change my material it's being rendered in real time and I can do all the color correction here at the same time and see how it looks but first we fixing is really meant on to do is only to be used for look Devin loop Devin that's it that means that for checking your color searching for the mood of the scene seeing how the color are raging and reacting and so on so it's not intended to be used at the final rendering you can do it obviously but if you want to do compositing at work you will will need to turn it off so the first step is to create your Sima had the right lighting the right texture and so on and then you're going to look for the the look of the other singer with those tools on then deactivator that look and you're going to recreate it even better in after effect of fusion or nukem so here I'm going to use After Effects that's really the idea behind everything so here I still have a rendering rendering and we'll see in Pacific so you can access this by clicking on the gear we have here and we're going to see a few stuff so what I what I do usually a truss I'm looking for the light the texture and so on and pretty quickly I'm going to use a little bit of this function to see how everything is behaving so first I'm usually using in the lot here one special option so in the latter I'm using here in the lot location so redshift is shipped with a lot of Latin so letís look up table its filmic response for for the color and I'm using those Lots in the filmic lots so I'm not using those ones which are very well no no we we have the corresponds of film grading and so on I don't like to use those because they are barely just contrast curve I'm using the film o'clock which are quite different and I'm going to use the filmic high contrast open it and by default it's going to look like that so it like garbage and they can scare a lot of people but you just need here to check this button convert to log space before applying it okay and when you do that you're going to get much better result so just look at the highlight we have here if I check and check before after okay so the family film o'clock is going to mimic the filmic response of a real Fionna and that means we don't have so many blond highlights so we have mantras in contrast we have the situation on the on the color because of the contrast and so on so we have more interesting or results and you can switch here from different look you can use a filmic base contrast for example which is a bit blend and big bit flat and use maybe the filmic very high contrast which is which has even more contrast and usually I use this one the high contrast I find it to be a good mini ground then you can use all the other to the color control so the color control is just going to give you the same curve expose exposition to and so on as you you would have in after effect so here I can just add a few highlight and just compress a little bit the shadows expose your tool I don't use it because I prefer to use that one the lot so I won't show it but it's meant to function almost are the same as this flood but I think it's less efficient and here is the bloom of the bloomin to add some blooming a factor so the bloom effect if effect is a kind of glow so if I just tint it to very bright color we'll see it you can see the color creeping in if I increase now the Bloomington City you can see it here decrease the brush world has something over one overwhelming and you can see we still have a bit of the very high highlight here so this is the bloom oh I can use instead of the bloom I can use this trick this trick is the same as the bloom but it makes streaks so those star shape are we can have here and we can have different we can alter the direction and so on to have that very very strong like that and already it a lot better than the raw render we have when I don't use Pacific's okay but as good as it looks it's merely not as good as what you could achieve with the proper compositing in after effect nuke or fusion so usually I dress I'm just looking for that kind of stuff Oh to see how everything works and then I'm going to deactivate everything so I directive 8 positive fix and apply to to fight output and I'm going to set up my iov to create the compositing so just one quick note because I anticipate some some question you can absolutely just use like that everything like that use it as a row render you're just going to go in after effect maybe add a vignette or whatever and use it as it is there is no problem with that the premiere is if you have a clients it just doesn't like those highlights you are stuck you are stuck with it you can't change it and if you have spent eight hours on rendering this image you won't be able to reduce that unless you're going to make a mess of the or your image so we'll have to render again eight errors then we'll have another change and the request then we have to render again again again again so it's better to to have something that you can do after the rendering in after effect that's really the main purpose so I'm going to deactivate those and now we're going to see how to set up the lv2 to recreate our compositing inside After Effects separating the reflection the the this picture and so on and so on so I just stopped it here okay so the AUV in redshift are they are here it's only the the multipath so in other render engine they use it render pass in redshift and Arnold and so it's called LV for arbitrary output video because it's so powerful that it can output almost anything you want in the redshift lv lv mini general we have that huge list of aov it's a bit overwhelming it's even scary because what the heck I'm going to use on among all that so that requires a bit own knowledge you have to study the documentation on your have to have done a bit compositing to know what you use so I will show you a very simple compositing using only a few of those paths ISM and how to exploit them in after effect so let's start the very basic compositing requires just a few passes so the diffuse lighting diffuse lighting which is only the lighting of the same without the reflection without the speaker without the transparency and so on only the lighting of the scene then you will use usually the GI so the GI which is their global illumination if you are using GI in the scene oh so am i I'm using GI in the scene because in redshift here I have set up my GI very simple ji because it's not open it's not a closed scene it's open scene so the GI is not very important but still useful to have a bit of a bit of it you will see it in the render pass so this is a GI m and I will need the reflection so the reflection are the reflection of each object altogether so if one object is going to be reflected in another object its into the reflection and the specular lighting is actually all the reflection of the light so it's very important because in the scene on all my lighting is done by the dome light using HDR I okay so all the reflection of that light is going to be in this picker and the rest will be in the reflection okay and that's it we have everything to do the most basic compositing because I don't have any refraction the reflection would be for all glass material I don't have any volume so fog fog smoke and that kind of stuff I don't have any ssso subsurface scatter which are on all the marble ketchup milk material and so and so on obviously I would use them if I had that kind of matter in the scene I don't have any emission material so if I had a TV or a lamp or a lighter that I can see in the scene I would use the emission so for this simple thing up just need those of four passes and we're going to take a look just in the render views how it looks on so if I go in the render view hurry up everything it's going to be shown there so this is the beauty the beauty is of the final compositing inside redshift I know we can see the diffuse lighting so the diffuse lighting is very flat as you can see there is no reflection only the lighting of the scene the GI where we can see the GI is all the bounce Plato so the dominoes being whiter are going to give a lot of GI Elijah and the ground not so much because it's darker it makes sense on the white objects are are going to bounce more light than the darker object and you can see here at the base of our dominoes on a bit of the ground because it's it's a lit by the light bounce stuff from the dominoes so the LV also are great to just troubleshoot you see now to see what's doing what to see where are exactly the reflection what exactly does the GI then we have the reflection so this is the reflection of the dominoes on the ground that explain it because we don't see anything on the back because there are no dominoes in the reflection of the ground on the dominoes so the object altogether you know speaker or lighting which is only the HDRI the lighting on every object in the scene and all together makes up the beauty okay so that's the very basic stuff I won't do rendering in the physician I did a rendering of that but take a bit of time so I will keep that I'm going to create directly the the rendering of our the setup of the complete scene on so let's go do you want it mentioned AO at any point Lionel how you might approach that that I'm going to do that right now actually because I'm going to use a more AV so I just wanted to to show that we can use only those on but I'm going to add more stuff on to have a more complete so and then in after I thought I would show everything it in fantastic great we just had a couple of questions alright that's all but I you had it covered yes so okay so what I'm going what am I going to add to this scene so well let's talk about the arrow because that's one of the thing I want you to add on so just one thing to note about the arrow more and more I don't use arrow anymore L is the trick of rendering it's it's it's a trick to create contact shadow between the object but it's real tricky because it's only doing it by calculating the normals of the object close together okay and that's very important because it creates contact shadow and makes the seem more realistic but with murder modern render engine we have naturally contact shadow because of the GI because of the lighting which are which are realistic and it's before you always fight you the ambient occlusion pass but now it's something I use sometimes so usually I just calculate the AO Paso but very often don't use it at the end but it's still interesting to have it so let's do that and the first creature I even say a trapper is that and inclusion is not the right ambient occlusion so don't use it because it's not going to work even though it's called AO ambient occlusion it's a deep duplicated no Dom it's only there for compatibility with older scene don't use it it's really a trap and you are going to use instead a custom movie so the custom movie is a movie you can use with to output almost anything that's why they are called arbitrary output video because you can output anything you want with that so I'm going to use a custom movie and the custom movie I'm going to call it a occasion it's going to need a default material okay so we're going to create that material to be used with the ill by going there create redshift utilities you okay and this material is a very simple material because if I launch the a degree graph shadow graph we only have that node connected with output and that's all and if I just drag and drop that material to the different material I have my AO pass that's as simple as that but you have to create it yourself and we'll see how it looks with the rendering later so that's taking care of for the arrow so now let's see more pass on so either I was telling you the diffuse lighting is the lighting of the sinner better I want to go a bit further inside after effect by separating the color of the sinner the color of the material from the shadow the shadow and the shading of the scene and that's exactly what we're going to do using the devious filter and the diffuse lighting Perot those two paths together recreate the key fused lighting so actually I wouldn't even need to use the diffuse lighting okay I could just trash it because those two are enough to recreate the default lighting you will see the what's interesting with that so I'm going to put them on top and actually I could do the same with the reflexion filter reflection row with the gim global a munition or row and so on to have a lot of control on your sin but a lot of control means also a lot of stuff to to put together so I only use this one because I find it very useful you'll see then I need to put some bass for the depth of field so that were easy because it's called def readies this pass need a bit of setup so this is the Z pass it's going to output a black and white image for the the depth of the sea no so the blackest object our clothes from the camera and the whitest are going to be afar you need to change your filter type from full to central sample or Mindy Mindy F max death actually it's not going to interior yes the the z pass because it's going to create a traffic if you have a full filtering so I just use a central sample death mod Z that's final and by default is using the use camera near far so that's something important to see in my scene a hammock Emma and if you go to the detail you will see here we have a near clipping far clipping activity so what does it mean I can show you with the near clipping if I use it increase at some point you can see we're clipping the signal okay it's not going to render that I'm just going to ignore everything behind that plane now so I don't want that but I'm just going to use it as a starting point for our z pass and actually I can put it at zero centimeter and for the fact lipping same thing you see here so here I'm just going to be to give a little bit of room going for example hundred and five thousand one thousand and five hundred centimeter okay so it works during the whole in animation nothing is clipped and those video are going to be used by our camera near far the other way is just to deactivate that and use those video but those video are not going to move with the camera you see so you will have to change your wet point on after effect using the camera near fur it's going to move with the camera so the focus point won't change okay so that's being take taken care of the see pass we're going to output the motion vector submission vector is for motion blur and the good news is this one you don't need to change anything because it's going to work right out of the window engine maybe the only thing you should maybe you might change is the max motion if you have a very fast moving sinner you might decrease our increase and if you have average flow seen this video but all the other you just keep it this way except for the filtering as the Z pass the motion vector pass works better without filtering and we have we are almost done now I would like to add just the shadow pass the shadow pass is going to be used with our diffuse lighting and so on the shadow pass will allow us to erase the shadow of the scene without touching anything else or increase the shadow as you will see and we are done except for the crypto mate so the crypto mate is one of the many ways to output some mater so to isolate object in the scene there are several way to do that the object ID the puzzle mater but the crypto mate is really the bomb because it replaced all the other it's so much capable it's a bit peculiar to use on you just use the crypto mate here and the Kryptonite is going to output a mate for every object in the scene by default because it's based here on the object name okay but we can change it to for example material name oh so it's going to output the object based on the material or object ID so those are object ID are going to set up yourself using the redshift object ID and user attribute is even another way to select which object you want to have the object name is the Boutros I would say approach because it's going to give a mate for everything in the scene be careful with that because if you use the object nema with a huge scene with thousands of object you're going to have a humongous one crypto might fire that's not a good idea but here because my scene is so simple I can use it straight as it is the crypto mate is special because it doesn't work with the multipass so more on that later I'm going to talk about that it's going to create a direct rendering otherwise it won't work so it's going to output one extra excel file okay you have to know about that all the others here are going to be contained inside one single file EXR ok so I think everything we're just going to take a look in the redshift renderview how it looks and we can see our so the AO pass which looks like ambient occlusion pass and we're going to tweak it a little bit because that's not that's not really good the AO pass creep tomato you won't see anything don't worry that's normal the depth pass you won't see anything either because all the pixels are kind of hidden something we will see in after effect in in Devan and after effect we need to use a few tricks to see it but trust me it's going to work but very often the OVA looks like that doesn't look like anything but you just know it's going to work chief is filter so this one works and you can see already the interest now it's only the color information no shading no affection no shadow nothing so it would be very easy to tweak the colors of that without touching the contrast of the scene the dehulled lighting we're already so default lighting row to be used with our diffuse filter is going to give us only the shedding of the scene oh so by combining the writing row and the filter will have complete control over the contrast and the color of the scene the GI motion vector you won't see it in the render view just have to know about that reflection didn't change the shadow doesn't look like much but you will see how we are going to to use it and specular lighting which hasn't changed so everything is fine I'm going to start the rendering I am actually not going to render anything of that because it's pretty fast at five minutes but we have only one hour to see everything so I have pre render all that in in the opening acts a sequencer we will see just before the set up in the save save Paso so in the safe pass on and you need to be precise here you'd actually donate the regular image that sounds very strange but the regular image is going to be inside the multipass image so you can you can have an image if you want but it's a it's not necessary so I don't use it in the multi pass imager I'm going to use save here and you have to be very careful with the settings you're going to need you're going to need open EXR nothing else okay you won't work with any other format for a number of reasons open the XR but the dev phone must be well actually it can be 16-bit it's going to work but we you will have less dynamic range on 32-bit channel is the best line I think because that way you're going to - you can treat those very high highlights you can have in your scene on multi layer file is very important also because that way all the AUV all that is going to be contained inside one EXR one EXR sequence so that's comfortable because you don't have to deal with the hundred of files everywhere everything is inside here and layer name as suffix as if every one of your a movie is going to be named now by the name you have here okay so it will be clear one quick note about the completion of the format openexr is a complicated format because you can do a lot of things actually you can use it for video you can use it for still image and so on and I use the compression mid method o PX r 24 which is a lossy compression but actually you won't see the loss it's like a very very very good JPEG it's even better than that it's going to be a less bigger than the default which which is I think the zip is it file but you can see all those completion and we have we have a PDF file for you to look at in the chat it's a PDF file created by final minor ecology final which is a French mushroom designer animator programmer which has he has written that guide which is very very useful and here we are so everything set up so remember open Excel 32 bits per channel multi-layer file you don't need the rigoro image and now I can launch my rendering and let's do traffic to see how to manage all that so maybe there are some question because I'm talking and talking the one of the questions we care what Rob was asking about the order of the a Ovie's and was that important do you have to do it in a certain process well no yes and no because there are many AV like I told you this is still a pretty simple setup it can be a lot more confusing and I like for myself to have that order okay but it can be any order you want on this is the order you will have an aftereffect so that's it's interesting try something that makes sense so I just these those three those four are going to take care of all the lighting those three are going to finalize that I like the lighting all those are just technical pass so I just put them on the bottom but it's going to work just the same if I just change that in after a fade it's another matter because you have to have a certain order of its its produce great thank you so let's go to After Effects and I'm going to recreate everything so you can see we have already our light our passes I can just show you the GI speaker the AO and so on oh yes I didn't talk about that Dao just go back to the here to the air like I told you in after effect in redshift when I was showing the AO ayoh here doesn't make any sense I think because it's open singer with white dominoes very brighter so it doesn't make any sense to have some gray values to have some shadows on the dominoes on the whole dominoes it's okay to have that on the ground on it makes sense but do you have some shading everywhere it's it's not very logical don't ever forget that the ambient occlusion is not minding the light just calculating the AO based on the position of the object and the number of the object so in the ill Noda I just select in here and have the option here we have several options here and I like to just change the max distance if I change the max distance you will see how it works it's going to limit the distance of the arrow that is more realistic to to my sense because in the open scene very bright scene they're going to be contact shadow where on the context are you so only on the ground here it's not going to create contact shadow between the upright dominoes you will have some contact shadow if I advance asesino so it's yes and we have here some contact shadow when the dominoes are touching together so that's a good a the other one wasn't just by touching here the max distance okay so in perfect I'm going to start a new scene on a new project who I'm working with after effect 2020 the very last version it's very important because I will be did a great work on that version for that for 32-bit compositing because all the necessary plugins are already included before you had to download demo somewhere else and now that included on inside and they are faster too so if you had some difficulties using EXR with after effect I would really recommend to use that version because for once there are some real performance improvement okay so after effect 2020 so I'm going to import our final song and yes they are all ready and you can see we have the to mate as I told you which is separate EXR final and I have here all my stuff so you see two minutes of rendering on average that's pretty fast even one minute some time that we may be one minute and thirty seconds so I'm going to take anywhere of them and that's very important you need to use create composition here on input option okay you wouldn't work otherwise so create composition if an improv now I have a dialog box I need to input as a composition and I will use a pre compose layer and context it open the exact sequence okay click OK and going to create all the compositing of the pre compositing this is my original final these those are all the composition the pre composition using the very same on EXR final and this is the assemble so the compositor everything and this is here the contact sheet and if I look at the contact sheet we can see all our passes all together the diffuse filter of the Z the Z pass the you know and so on so it's good to just take a look and I need to do something else I need to to create so I'm just going to yes to create that to have a time a timeline again up and close this one no not this one this one okay so I need to do something else before I need to go to the project settings so project settings are here you click on the 32 BBC you will have that dialog box and you need that's very important you need to set the depth to 32 bits per channel to set the rocking space color or - srgb and to click here on the linearized working space you need to have all those three like that if you want everything to work okay so I just click everything else it's just default if I click OK no change so let's take a look at our files we have the RGB and all the other so the RGB is the beauty pass the final rendering you can see it looks like the final rendering it's all the places together okay it's just for reference so even if you if you have forgotten a movie pass you will still have the complete rendering to user and it's as well don't we see if you're compositing is working so now I'm going to so this is yes a UV pass I didn't talk to you about I'm going to deactivate everything so I would start with the simple compositing using only the diffuse lighting I put it on the top speaker low lighting on top reflection on top guy on top okay the diffuse lighting is going to stay on normal and all those are going to be on ad modal activate them and that's it if you look closely this is our final rendering but this is those pieces together and if I activate the RGB we can see there is no difference you can't see anything because there is no difference that means the compositing is successful it works okay it should be exactly the same and it is exactly the same and just to see now if I deactivate the GI reflection we can see they're all made at that image okay so before redoing the diffuse lighting with the filter and so on I'm going to do the first steps how to take care of those blonde highlights so first something interesting to see I have the info panel and if I hover my mouse here we can see we are in the 2 Q value so in 32 bits that means that it's twice brighter than pure white that that explaining why we don't have anything so 32 bits better no means we have information in what looks like clipped highlight I can check that by just using this table here see we have a lot of information here okay so this one just to take a look yo you don't forget to switch it switch it off so I want to compress the debt the dynamic range now inside so I would use a Serie of adjustment layer and this first one will be the lager and I'm going to recreate the FEMA Kludd I used earlier so in after effect you need to use on the color profile converter and here input for final project project working space okay output I'm going to use this one the rec 709 V lager okay it's going to look like that don't worry not now we use we need to apply the lot so apply coral at then I'm here in the lot shipped with redshift you can see achieve that a lot I'm going to use the filmic high contrast lot I used earlier and that's it we have the same look as in relief with Pacific's the blond highlights are no longer flipped and have a contrast of the same which is interesting and now what's really interesting with that is that if I use now a second address one layer I'm going to call it color correction before I put it before the lager and if I use here expert exposure control if I'm going to increase the exposition the exposure you see it's going to brighten everything without flipping the highlight I can shine a gamma correction and have a more interesting contrast without damaging the highlight and everything has a filmic response so it would it works it works as a children I have a very natural response as if it if it was a camera okay so that's really cool because look just without the logger this is garbage you can see it is grossly overblown with the lug it just works and if I increase again now the exposure it's just going to look like overexposed but not all all all burnt so let's go back to our one parameter this way I can use on another address one layer which is color correction after and this one I can use a simple curve and just addressed like that to have even more pleasing filmic response okay so that's very interesting but it can be even better because everything actually most of the balloon highlighter come from the speaker or lighting you can see I could just on the speaker lighting user another exposition exposure effect and just decreasing the intensity of the speaker or lighting you see I could use it on the reflection I could use it on the GI I could use it on the diffuse lighting so that alone is incredible because I have a lot of control on that without clipping anything without having a negative effect on the compositing okay so now before our recreating our diffuse lighting I want now to to make something very important I want to use the Deaf of yonder so this will be another addressing layer I will called off for deaf or field and I'll use the fish looped depth of field so this is this one FL fish looped depth of field so this is a plug-in you have two by two wonderful plug-in a bit expensive you have alternative using fast bucket Pro which is a much cheaper plug-in almost as good but a lot cheaper this one is the best fish of UFO fuel so if I use it on my scene is going to ask for a depth layer my death layer is already there this is the depth here so I need to go inside my death layer I don't say anything because I need to use here that plug-in which is already loaded and play with the black point and white point and look at what happens if I choose change the white point alright this is the power of the Z Z Z depth I have a lot of control on that and just going to put the white point somewhere on the on the back and the black point something like that okay the Zetas could be used for creating shadow I mean for game you can create a fog with the C pass and works very well here I'm using it for the depth but it's very useful because I could just duplicate this composition and create some variation so let's go back to our assemble the DAF using the DEF layer here and now if I increase the radius I would have some devil field and at last I need to select the death on the Demetrio so I'm going to select this dominoes and that's it we have our T for film and this is dynamic I can set the to fulfil here or on the back on the drug just work that's amazing because the fulfill is a very expensive thing to do in rendering and really the thing you won't be able to to change if you are calculating really fulfilled and you don't like it you have to rerender everything you can make a trapper again oh here it just works by setting the and where we want our demo film just have to beware if you increase too much the radius you want to make extrema they fulfill effect you will have some artifact you can't avoid that because there is no information beyond the the dominoes after effect count guess on that information can create in this information so it creates that kind of a traffic if you want to have very very shallow depth of field you will need to calculate it in your life in the render engine or to create multiple paths of rendering I mean the the border without dominoes and one pass with the dominoes okay but if you keep it simple like something just a few picks up like that five it works very well you won't see anything okay so moving on to our mushroom blur MV so I'm using here also another plugin which is SM where our SMB pro vector this is another pain dragging you have to add on and this one the vector need a vector file we have it it's already there it's the motion wizard motion vector it's going to work as soon as we have motion so here you can see the motion being added by our motion Pro vector so obviously it's too much I just decrease the Barrowman to 0.1 and we have our motion blur so that's great also because it works it works so after the rendering so I can change it anytime I want and if I go further here you can see the motion with that will if it's still too much I can decrease it to zero zero five you see it just works easy that's great so with that we have almost everything I want to do last thing I love to use on the red giant looks which is a great plugin that can add a lot of lighting to lighting effect but I need to do a little bit little thing just before I will use the color converter again because looks doesn't work in linear workflow but you can make it work and they are on opening that don't work in the narrow flow so you have to use this trick using the color profile converter output profile on this one this time I'm going to ask for srgb okay now it looks like that I'm going to load books open it I'm going to use any any any one classic Blockbuster why not this one so look so we need entire arrow to just to take a look at that so I'm just going to use the presets and we can see we have different effect applied at the same time when to apply on and it still doesn't look right so I'm going to add another color profile convertor and since this one is outputting srgb this one is going to take input srgb and now we have before after so this is looks working its magic on the Cena and I can just decrease the effect or go back to look and change stuff on as much as I want put it 50% and we have our scene which looks great and we can change so many things we couldn't if the rendering what just was just one pass I still didn't show you two things so I hope I will have the time and using the diffuse filter but before I want to show you the creep tomato so the Kryptonite is really amazing because this is fine here but we don't yes go slightly over at level we usually try and keep these things to an hour every one but this one is such an important part of this workflow so bear with us if we go over for a couple of minutes so it's pretty fast to use a creep committee is easy so I'm going to import the crypto mate kryptonite is a separate file and remember don't use quite composition so my kryptonite now is there I'm going to put it on top of it and it looks like that nothing because I need to use the Kryptonite plug-in and the magic appears we have all those colors that means I can create mate with anything in the scene so let's do it I want to create a mate on this one and holding shift this one and this one and this one I could create a mate on the ground too and I'm going to change the output to mated RGB RGB a and if I'm going to look here you can see those are perfect mate if I put the Mater under everything activity gay now you can see it blends on on the scene the artifact you are seeing here are just caused by the depth of field so if I'm going back to the this one one way to use it would be to create a pre composition move all the tribute and side up now I can use just the layer effect so I'm going to change that layer as layer effect and now I can use any any in fact I want so I will use the new situation and change the color on the spot of anything I want and you can see those are perfect mate working all together with the depth of field it's moving of course because it's calculating all the time oh and you can create you can just change them inside down your to mate so let's reset we sit and use for example I know don't want let's use the ground or just to see the power of it so the ground is going to change all that let's go back here and now it's my ground which is desaturated no effect on the demeanors so here I would rather use it by just decreasing this situation for example on the ground without touching the situation on the terminals so that's great because we could use it for so many things you just have to duplicate your footage create some variation of that open that accrue to mate the thing it just works that's that's really great and then the last thing because we we created it the g-fizzle ating just to see you the power behind that if I use my diffuse filter I'm a diffuse lighting row ok there are here I haven't used them already yet so I'm going to pre compose call it diffuse total insider activate both and the if you lighting Rome is going to be on multiplayer there now what's the point of doing that is that our color has separated from the shading so if I just use another exposed exposure effector on the shading it's going to work on the shining without touching the color the contrast of the scene because when you are increasing the luminosity and the contrast on anything you're going to saturate the color that's why very often you need to disarray it after work here you don't need to use it because the color is there okay so it's not influenced by this one so I can just change my exposure make it brighter or darker I just going to work and something here on the tissue filter if I just use the tissues filter and use another you situation that would be a proper way to change the situation and maybe change the color of the wood something more reddish or something like that and everything is going to work together so if I change my situation you can see there is no influence on the lighting and because again those are separated I could change this way this way it's just working let's go back to the Assam bar I'm going to switch my diffuse lighting so this is all diffuse lighting here and see the new one everything is too bright so I'm going to go to the CC before and decrease my exposition and you see everything is working beautifully human web you won't be able to do that with just one simple layer with everything here I have total control on that and I could go crazy and use our clip to mate on the diffuse totals so I have a better control of the color so the trick had used earlier it would be even nicer and neater if I used the change of the color of our dominoes inside here the G hues filter because you won't have any effect on the on the lighting which is separated so that's it it's a lot of steps it's a bit technical it's so powerful because you you can do anything you want without ever needing to render again so that's why that's the trick the flexibility I loved how you explained that right at the beginning about giving yourself the option not to have to rear air and they're exactly so great the I think it was yesterday it might have been yesterday that you mentioned that you have a target render time that you try and keep to in outputting what is that is it a minute a minute per frame really no it's more like one one minute and a half and two minutes so it's very simple it should be done during the night that's it so you have a change to to make the next day I am able to to show the change if it's going to let 18 arrow so it's not going to be ready tomorrow so because I am always working alone on small time budget small scale budget because I like it because I'm alone and so I can't afford to to have my my computer blocked for sometimes I'm because I have a low budget I can't afford a render farm either so I do everything at home and with this trick I can change a lot of stuff without needing to rerender again yes that's very wise that's a really great discipline to get into especially when you need the computer for doing new work the next day well in animation you have to you have to find some tricks yes absolutely I'm talking of tricks do you have handy Lionel you or video with the stacking dominoes climbing up the wall just want to give everyone a preview of tomorrow's session yeah you thought today yesterday we're good hey check this out this is amazing well tomorrow I'm just going to show some part of it also how to do it so using the same trick so I'll just today and today for the compositing of I created that because I'm too lazy to create some real dominoes so I put in 3d and because we are in three why not go on the wall so great can wait to see that tomorrow how to track that to make a tracking of this how to create that kind of setups how to blend everything together because this is mograph the spire is more graph this is physics this is physics again no this is more graph I think and this is physics and how to bring together all together and then how to composite everything in a cure effect so a lot of stuff lot of stuff absolutely that's gonna be really good thanks and some very nice comments are coming from the the questions area Lionel so I just wanted to pass it over thank you everyone thanks Larry thanks the Leo so will in fact let me grab your screen I just want to share that PDF again this is great make me the presenter again I know I mentioned this at the beginning but if you haven't signed up tomorrow please do so we've got the link we sent this out by email originally and then we tweeted out the links but here it is here's the registration sessions and you'll get this automatic email as well and we'll put all those links into those little useful plugins that Lionel mentioned as he was going along we'll put those into the email that follows up and if we if you've got any other questions or you'd like more of a deeper answer for something please let us know training at max on net and please feel free to reach out to us we'd love to hear from you so thanks again Lionel it's it's wonderful you showing your tips your hard-earned and hard-won tips and techniques for making stuff look amazing thank you so great and thank you everyone for attending we're love that you come along to these things and it just encourages us to make more of them so please let us know if you've got any recommendations - thanks Scott for the recommendation - to get some more cinema t-shirts cinema for these t-shirts printed so we need to do that absolutely so that we're we're on it and thank you Darren for answering all the questions as we're going along again we really wash on that - thank you so great extra bearing with us we went slightly over but I think you think is worth it I know sometimes people have got meetings to go to at the top of the hour so we try and keep it within an hour but sometimes there's such good material that we have to include it so thank you great so hopefully we'll see you tomorrow on the next one and take it easy and stay healthy all right thanks very much right

Channel: Maxon Training Team

Views: 24,595

Rating: 4.9895153 out of 5

Keywords: maxon, Redshift, Red Giant, C4D, Cinema 4D, 32-bit, linear, compositing, Magic Bullet

Id: IMZKGuDNY5A

Length: 71min 56sec (4316 seconds)

Published: Thu Jul 09 2020