Compositing for 3D artists - 03 - Compositing fundamentals (In fusion)

[Music] [Applause] all right so like i mentioned out i'm going to be using fusion studio but you can also use resolve i'm going to be on the fusion 17 beta version on the studio version so fusion studio is a paid version if you want to follow along and you don't have fusion studio you can use the one building in resolve i typically don't use that myself for compositing um i think it'll become clear once we get into that i'll i'll show you how to configure everything initially for both studio and for resolve and after that i'll be using fusion studio but everything should be basically the same aside from some of the things that i'm going to be pointing out in the beginning so uh yeah here we have fusion studio and then we have resolve here you can see it's somewhat the same so you can you have to fusion tab down here and now we have just the work area and uh it's really annoying here i have like in order to record this i need to put my windows scaling up to 200 also it's too small but normally you have quite a lot more uh working area but it'll have to do for this tutorial um so there there's there's a couple of main differences let me just first let me just move this outside uh let me just move a uh put grab one of my renders here just grab my profile spacing render right here we have a my render that i have and if i just drag it in here in fusion you can see it comes in you can drag it here on the top and you can see the colors will be all wonky that's because it's not set up for open color il yet uh so and by the way if i do the same here in fusion you will see it will be slightly different which is one of the reasons why i prefer uh why sorry if i'm doing it here in resolve it's going to be slightly different so if i drag it in here it's gonna think you can see i get media in a media out and what it's gonna do here it's so it's it's uh it's it's loading it in with the bin and it's bringing it in as a media in referencing from the bin and it's putting it in a media out um you can you can also just load it in directly like we have here so this is a loader um so i can also just if i press ctrl space i can also just make a loader here and i can put my test my test frame you can see then i can grab it regularly and then i can put it in my media out and it's the same but by default if you drag something from your explorer or your finder or whatever platform you're on it'll bring it in as a media in uh which has a couple of downsides also guys i guess it has some websites let's first just go over some of the additional stuff that we need to configure in order to make some of this stuff work let's first go over this open color i o thing so for infusion studio you have this uh this thing here lut you can enable it so need to go to open color i o view color views page lot so if for if you come did the environment variable the windows global thing by default it should pick up on it if you don't you need to point it here to your convict uh you can put it from accg and we can put it to out output rec709 or srgb right and you can see now the colors will be properly configured uh so over here you have the same thing just do uh that thing it's also yeah it has this thing it's a little bit different uh which you can also do in let me just go to uh prep edit oh if one second need to put it to oh see i oh edit red and you can go to accg and then output direct 709 boop there we go so you can see now the colors are also fine uh so there's another thing in the ring resolve here we can set it sort of globally i think it's under preferences and then under let me just quick i generally don't really use resolve that much i think maybe it's under uh where was it again projects oh i think it was on the project settings and you have color management and they can put it to asus uh it says 1.03 uh i think output rx709 i think this does it globally um so but again like i'm not a resolve expert so it could be that that part was messed up but you can also just do it here with the future from if all you're gonna do is just do the uh the diffusion thing here um so that's the difference there so anyway but now we're looking at true asus cg so if you're going to be bringing in other footage we also need to do some additional stuff i'll get into that in a bit um so a couple of more things that we need to do we need to configure something called fusion reactor which is a plug-in management thing so if you google stake underwater fusion reactor or just go to stake underwater dot com you can get to this thing uh and you come you come over here and we need to find the download button where's the download button [Music] always ah there we go download reactor blah blah and you can download this thing reactor installer so you can just do this thing that thing then you need to grab the file that you downloaded so you can go to download and you grab that lua file you just drag it in it's going to give you a pop-up you can see ready to install and i'm going to cancel that because i've already have it installed in uh resolve here it's the same so just rip you just get the thing you install it you need to reboot fusion or resolve and then you get this pop-up thing so in fusion studio it's going to be under reactor and then open reactor so there's a tab over here and it's going to open this pop-up menu and then resolve it's going to be under workspace uh scripts reactor open reactor and it's gonna pop in here and uh so essentially this is a manager for sort of a lot of free plugins so there's a lot of community uh people who make super cool free tools um so you can install those and there's a couple that we're gonna need uh anyway and but there's a whole host of stuff that you can download there um but initially what we want is that we definitely want is horse split xr and so this is this one house so hostile for house of secrets split the xr house of secrets is a dutch video as well i know these guys are awesome guys so you need to install that and that is very important because uh that's used to split out these aovs you can also do it manually but it's a lot of work so that's what we're gonna use and if you have it here it's gonna be the same so if you just type in here you can see hold split the hr uh anyway so those that's uh one of the differences here so if you install that um so let me just go to the pop-up thing again open reactor so just uh so just install it or there's an update thing i guess i could update it um yes yes all right so if i now grab my test frame here let's drag it in here let's enable my uh color io thing again because when i put the script in and made a new scene which i don't want to do i'm an output 709 um yeah so if you then go to script you can see there's here a whole split exr ultra so if we check that thing so what it will do it will split out uh this is a loader and we'll split out all of our aovs into individual oh i need to i probably need to one second i need to update well i need to restart fusion because i just click the update button so one second right so i'm back uh by the way make sure to also save your scene uh before we get started you can just go to file uh save as and just save it somewhere so if you have any crash in between that you don't lose your progress so anyways i'm just gonna plug this thing in here and like that and now i'm gonna do the uh script split dxr press ok and now you can see it splits it out through all to all of the aovs that we made so whole bunch well almost all the z1 never gets extracted out but apart from that they all get extracted out you can also do that stuff manually so by the way if so if i go through this like if i can i can just drag these in you can see it extracts out all of these elements that we have reflection refraction all of that stuff background av i'm not sure if i showed any 3d render but you can also like that will save out the background so that's the sky background here uh you can also do that stuff manually so if i just grab my loader if i go to format channels you can see i can see all my channels here and then you can for example let's say i want to get my diffuse i could go diffuse r diffuse diffuse g and diffuse b and i have to diffuse as well you can see the script will just make it a lot easier so here's where uh difference comes in with the uh with resolve so with resolve i cannot do this on my leg so if i like i mentioned if i bring a render in like this it comes in as a media in and if i do a script here so if we do the split xr it does work so it only works on a loader so if i do it on a loader here i need to replace the render so that's why it's not working uh let's do loader sorry loader so workspace script split xr and you can see now it does work so uh this kind of i i don't like from resolve that you cannot just drag stuff easily from your phone you always have to do it with the loader thing i mean at least if you want to split them out like this uh it would be ideal if they would make some kind of a shuffle note like nuke hat where you can just actually full channels out anyway so just keep in mind so that's the main differences for now that i'm just going to need to discuss so aside from that everything will be mostly the same in in in resolve or in studio but for now on i'm going to be using studio so fusion standalone studio so i won't be jumping back to resolve but if you're going to use resolve it's going to be basically the same so just keep it in mind um yeah so let's talk a little bit about using these aovs to sort of rebuild our beauty so this is our like our beauty render that we had so this thing and what you generally do is when you do composites like this you generally don't compose it on your beauty sometimes you might but a lot of cases you will rebuild your beauty from your auvs and i'm gonna show you how that works and i'm gonna sort of explain why why that's actually useful so in order to rebuild our beauty we need all of these aovs that we just that we split out so let's grab one let's grab our diffuse and then on your you can select it and then press ctrl space on your on your keyboard so ctrl space and then you get this pop-up icon which allows you to add a tool by the way to add a two you can also right click add tool and you can get this whole thing you can just look through all of the tools that are there so uh in order to do that oh by the way one more thing before we get started we want to install one more plugin before we else else i need to get back to that might make sense to do it now if you type redshift in here uh install all of the redshift tools here so redshift utilities and cameras stretcher because we will also be using those later uh anyway so with this diffuse here so select it and then control space and then type boolean into channel booleans so this is different from something like nuke and you just have a merge note infusion there's a difference between the merge and a uh a boolean boolean will be to add channels together and merge will be used to put something on top like an image on top of another image so i'm gonna have to diffuse there and by the way let's split our fuse so we can press the button here poop and go too fuse and let's drag the channel booleans in the right input so now the first input and we also need to configure our open color i o there separately and this will save by the way into the file so you don't need to do this every time but [Music] rx709 right so we have now we have two viewers to sort of look at and let's grab another pass so let's grab our let's grab specular it doesn't matter the order that you're doing this in by the way but let's grab specular put it into the second input channel bullet and let's select channel booleans here and put it to add so it's going to add the specular onto the other thing and with alpha we can just do do nothing we don't want to do anything with the alpha so you can see now it added the specular that we have here onto the diffuse and let's just keep doing that so let's copy and paste the channel booleans that we have connect it up by the way you can so you can drag it in and it will automatically uh put it into one input you can also do is if you uh if you if you right click on it and drag it and let it go you can say what input do we want to put it in um so in this case just background all right so let's grab some other stuff here we have our refraction so let's also add our refraction in and you can see we get it over there and also by the way maybe already good to sort of start organizing some stuff so let's right click here in our view and let's go to arrange tool arrange to grid so we can snap these to the grid that all right and let's uh let's do some more so let's also grab that one let's put paste that in put a gi in here drag it in there so you can see a small difference but that's the cgi so the bound light scrap reflection right reflection see all the box still looks uh very very black that's because we don't have the subsurface scattering i think so we can just put it like that put the subsurface scattering in and then we have all of the basic stuff aside from the background of course because we don't we don't have to have the background here yet so that's just also we can just channel boolean that in we're gonna i'm gonna swap out the background later uh but i wanted to just have this sort of to uh kind of show you the thing so uh yeah now we have our entire beauty render back um let me just grab the render again so if i just put this in here as you can see uh if i just drag this in here and why is this looking a little bit different uh that's because we have the uh we we put the background in here as an ad which probably don't want to do um so let's just have a look at the oh wait we were adding the beauty on there we don't want to want to add background like let's put the background in for around right so i accidentally put the beauty on top of the thing so it was sort of adding the original beauty to the thing um so anyway so you can see now we have the the original render that we had where we remade it and now you might ask but tim like what's what's the point like we just did a lot of work we spent five minutes rebuilding something that we already had um well the the thing is because we now have this split up we can start doing changes to each individual element for example we could do is we could uh let's say okay maybe specular here maybe one that i want to do maybe i want a little bit more specular so i could do is say i put so i select it control space i put brightness contrast get a presence contrast and you can say i can okay i can put a gain second now i can i can individu i can control the um the specular so i can turn it down i can turn it off [Music] i can say right i have this subsurface scattering here but let's do color correction so just select it ctrl space color correction and i can say all right maybe let's just change it so now you can see i changed i'm changing the box here um and you have you now have all this control over uh yeah essentially just over like all of your individual elements again you can do this on all of the things and mean it doesn't necessarily need to be on on these individual uh like i can for example i can go in here and i can say let's select the channel boolean here that merges in the reflection i can go to settings you see i have a blend and i can see i can fade out the reflection but but maybe let's say that i don't want to do that maybe i only want to do it on this thing so i cannot really just do it on the global thing right well that's for example where these masks these puzzle mats come in so let's check over here we have the puzzle mat with the blue so let's let's let's grab that to move the reflection here up let's do a color correct and we can do is we can right click on this this output here and then drag it over here and then put it in the effect mask so that will allow us to use something as a second input on the only mask of the color of that thing so let's go to color corrector settings go to put it to blue because we want to use the blue color because we want to do it on this one and then so now it's using the blue color over here to mask this color corrector effect so we can you can see if i know do this you can see it's only working on that thing over there so if i gain this down you can see the reflection gets turned down on only that thing i can turn it off again so again you can see i have this individual control over these elements so that's that's pretty cool right um so and there's a lot there's a whole host of other stuff you can also do so let's just like explore uh explore some of this stuff a little bit so uh maybe i don't like this background here like we rendered that in let's say the 3d artist or in this case us but made mistake and accidentally rendered because normally you wouldn't render this background in like this um so let's remove it right so let's just have a look at like we have this um this thing here we don't have any so to grab our puzzle mat so probably what we want to do is want to introduce some alpha so we want to sort of uh recreate maybe a matte from our puzzle match in order to sort of remove maybe this background so i guess couple of ways we could could do this we could do let's just uh let me just think what would be good let's let's make a background just make it white like this let's put it to solid color white we have a white color and let's say channel booleans and let's grab these puzzlements that we had let's say all right i wanna put it in there so that thing let's go let's say multiply by mask and oh we need to put the puzzle map in the mask by the way so do effect mask and i need to put it to let's say red so you can see now we extract that thing we can do another one let's say which color do we want okay once i want to do the green one so let's do effect mask go to this thing do green uh oh yeah sorry we need to of course do it like this and then do it like this so we effect mask right and we mask that one out because we didn't have the alpha channel so we kind of need to recreate our alpha channel right so we can do is put for example that one in and put this in here and okay we had green let's do the blue one blue rip and then we need our other puzzle mat so we had another puzzle mat here that one has our red so let's also do that one background right click effect mask so you can see now we also get that one now we have all of these things and that's where now you can put a merge we're gonna merge all of these things together uh merge so let's merge this thing this thing merge this thing this thing so another merge this thing this thing you can see now we have a a white thing here so you can see merging stuff together and now we could do is we can say right instead of having this background here let's grab this channel booleans let's just do copy so don't do anything and let's drag our thing that we have here over on this thing put it to effect mask go to settings and let's multiply by luminance multiply by mask boom now we have our offer and you can see well we have like we have a ton of notes here which doesn't look that great so we can select those and then press ctrl g and you can see we get a group you can also double click on it you open the group again and let's just call this uh matt or something like that all right so now we can see we introduced our alpha so we fixed the issue like um now in this case like the like i actually i i baked the background in on purpose but like this could also be thing where like oh there's a mistake like that in your render um and then well like how do you fix it well let me just sit very simply we just use these mats we created to sort of create an alpha channel here so now we can see we have an alpha channel um so let's just go back to this thing so now let's say we wanna by the way let's do nothing like that so uh let's grab our let's go to our my folder here let's go up a level amazing so let's say i want to put another background so i have an image here sky it's a image of sky and colors look a little bit probably i look a little bit uh different here than they do here actually they look better here uh even though this is not the way they're supposed to look maybe i should grab another image but in order to make this look the way it should so this is our like this is the srgb version we should like in order to merge this behind because we can what we're going to do is we want to merge it behind so we just put merge so this is where merge for example comes in put this thing here and drag this in boom and we need to crop this by the way crop we're gonna crop it to 1920x1080 you can see now we put the sky behind our thing first let's fix these colors because remember we're working in asus so we need to account for that so we need to first put this this this thing we need to put it into asus color space so in this case actually this this kind of i guess if i look at it like this looks better but maybe i can find another image that i have somewhere where the colors will look significantly worse let's say all right let's say i have this one oh i just grab it put it into my alright right there we go all right so uh if i just open this one you can see colors here um look messed up so maybe just let's just merge that one in instead so that's because uh these are srgb and we're working in asus color space so let's let's account for that um so we need to do is type ocio open color transpa uh transform and put it and then say input space so source space what is the input space well the input space is going to be uh it's going to be output output srgb rip and then source space is going to be a uh unknown output space is going to be asus cg all right so let's have a look that's actually there we go you can see now colors look the same as as it was over there right uh here the let me just so the only difference here is that the white here looks a little bit washed out compared to the original so this is mainly because we're loading this in as 8-bit integer and again you don't want it you want to go to or is it gonna go to your image depth and just put it to something like float16 so you can see now it looks fine so again like that's what i meant before with like integers and floats you want to keep this floating so here we have it now as a nice floating color and in asus cg and then we're cropping it here and let's just put a transform before that so we can transform our image and just put it like that all right so again over here if we check this thing we can move it so let's go over here and then let's just scale it down and let's just put it like this so again we're transforming it and then we're cropping it to the correct size so now we have our very beautiful background in it you think all right um so yeah that's our uh that's that's the thing that we did so there's a lot more stuff of course that we can do let's say something typical that you would do for example adding depth of field in your composite so um depth of field is generally very slow to render but it's um and it's something you generally will add in compositing you can also add something like motion blur for example in composting i generally you generally do either either either motion blur or depth of field uh generally not both you can do both but it's it's a very complicated because you have to if you do both then you need to for each of your avs add the motion blur and then do the then do it on all the other ones and just pick one um so let's add some depth of field in order to do that we need to uh and by the way the depth of field tools in fusion to do that blur is not that great i use a plugin for it uh you need if you have fusion need fusion studio well i guess now fusion i'm not sure if the plugin also works in the free version of resolve it should work on the paid one uh i'm not sure if the free one supports openfx but we need to do is a fresh loofed lens care we've got the free sleuth you can download the demo as well so you don't necessarily need this but if you're going to be serious about compositing doing all of that stuff i recommend you buy this plugin uh it's just a lot better plug into the depth of field it just looks way better than what we're gonna get in in fusion itself because the depth of field stuff there just isn't that great um so just keep that in mind so you you will see the difference when you start doing that so you can just download here the uh if you're on studio you can download the demo and try it out but let's say we want to add some depth of field here so uh in order to do that we need to actually split out our our depth ourself because again for some reason the z dab never gets split out when we do uh these renders i think maybe because of the naming convention that that that redshift uses maybe if we were to name it differently here maybe for it to name it depth i'm not sure uh but we're gonna go to just grab our thing put everything to z you see we got our depth map here you could and we could uh do a brightness contrast for example and you can see you can again drag on this to sort of get your depth map and again this is just a black and white image of how far away is something uh try to get this like on here down in the bottom you can see your your uh your values um so roughly try to get it between like nothing like too extreme like don't have your values be uh like 1000 in the background and zero on the foreground like try to keep it as close to zero and one as possible uh it doesn't necessarily matter that much but i guess now it's between zero and you can see some stuff can also be negative that's what i mean with this floating floating stuff so i guess something like this so between 0 and 4.4 should be pretty fine all right so now we can for example do something like a doubler uh blur so in this depth blur we can add our thing in and then we need to uh set our z scale and the z scale here is set up quite high so that's again not what we want we want to use 4.4 because again that's what we were using here so you can see there's values so deplor bird channel it should be easy oh by the way it shouldn't do it like that we need to do is we need to i generally don't use the top player so that's why i'm messing up we need to do is go to channel booleans and what we're going to do is we want to put this in the single input here and then just say um do nothing do nothing and do nothing so we don't wanna we won't wanna do any of any of that what we want to do is we want to add these values to the depth channel so if you go to auxiliary channels if you go to channel absolute channels and then you can enable enable auxiliary channels and then say all right this is going to be our foreground so we're going to grab the luminance so the lightness from the foreground so then this is going to add the luminance so these black and white values to this to the depth channel so that's going to be so if i now check we have a z here and you can see we're adding we're adding z if these values by the way are not what i expect them to be so let me just put them to add see if that's interesting kind of expected them to just be the same as they were with the colors here are we oh wait we were if we were looking at the wrong thing uh all right so let's just look at the actual proper thing right so you can see now here uh background here is like the z channel here is is is the same as our uh colors that we have here so we can we added those in based on what we have here right so now you just click on this thing again back to our colors now we can go to our doppler group plug it in and z scale should be fine let's just increase the blur size you see now we add some depth of field and we can see we can we can say okay where do we want to focus let's focus on the background focus on this thing and there's different blurring methods uh but you can see the depth of field doesn't really look that great with this this this default doppler it just doesn't look it's just a default sort of box blur kind of thing it just doesn't look great i guess it's fine for like some stuff uh but like i i just i don't i don't really like it um so that's why i tend to just use uh my own often not on my own why i tend tend to use the fish lift thing there's also other ways to sort of do this do this that blur thing you also have uh something that i used to use a lot before was very blur so very blur here can use a defocus blur which it looks a lot nicer and that will allow you to take for example a second input and then you put it to luma and then you can see that already looks uh looks a lot better we haven't we have a quality slider and then by playing around with with the brightness contrast here you can see we can sort of change the focus you will still get these um these edges here uh but it generally is just not not that ideal uh so anyway i just wanted to show that it's also possible to do some of that stuff by default but if we now look at frischlift depth of field you will immediately see that it's going to look a lot better so that's why if you're gonna do any proper compositing uh probably just get this it's gonna save you a lot of headaches a lot of time it just looks a lot better so what it will take is you plug your your beauty in and then in the second input we put our brightness contrast thing that we have here and we can go to our first loop and we need to in-depth invert because the redshift uh depth pauses are inverted like some render engines make them black white so make them white black so like in some in some render engines uh this would be black and then the other side will be white and white in red shift it's inverted so let's just look at our depth blur here so let's turn on depth invert and let's put out our range so outer range is going to remap these black and white values that we have over here uh into the range to work with so you can see it does the minimum and the maximum super simple you can put it in there just and then we can put the focus somewhere and increase the radius and you can see this already looks a lot better so you can you can change focus here let me just maybe make the this a little bit more extreme let's say we wanna let's say we do something like this i i want to wanna more i'm gonna try to get more depth in my actual objects as well so that's why i'm doing this so you can see we have some gradation there and then again this thing changed the outer range again now we should be able to also get some nice the blur on our actual object so now you can see we get like also this object is now blurred this is a focus you can see we can change focus here and this can be animated like for example i can change the focal distance here i can you can right click on channel put animate and then go to another frame and move it over there uh did i so uh said oh wait i was dragging the wrong thing right so see i can animate uh i can animate this thing it will set some keys you can see i can change i can i can key the focus stuff like that um so you can see it's like super cool in order like you can you can just add stuff like depth of field like this in compositing uh which is just uh well i mean if you're gonna render this in 3d it's going to take a lot of time you're going to need a lot of samples if you're just going to do this in composting this is going to be well a lot faster so this is just something that you will almost always do in compositing except for summary like i know in my houdini 101 i rented it into the render that was because the seaweed it wasn't looking that great with the depth pass but it'll depend on the uh on whatever you're doing right so it's pretty cool uh let's explore some other techniques that we can also do like maybe we can do some re-lighting we can like put some objects in between these objects as a whole host of techniques we can do so uh yeah let's let's let's explore some more techniques all right so let's just move this stuff out of the way for now we're gonna do this that blur later but now i just want to move it out of the way so let's just explore some more techniques you could do with compulsing because the main point i just want to drive home with this chapter is just like show you the basics but also like the possibilities of stuff that you can do uh with compositing um just how powerful it can sort of be which is within this simple exploration scene um well maybe for example we have this uh this normal pass right that we have here and so let's let's just try using that and then again this normal pass sort of has the the normal direction of each object and that can be used and like normals are generally like used to for example let's you can also know normal map in 3d um like those it can't be used to um like to you know to calculate lighting like do all of that stuff like so if you have a normal app on an object it will like show the lighting uh like like a bump like a map where the lighting actual uh actually interacts so the difference between 3d and bump map which is just a bump or a normal map where if you also have the light moves around you also can get some shadow casting that's the normal map does but you can use that stuff in um in compositing as well so this is our normal thing and we need to in order to use that we need to first embed it into our uh into our channels so let's again use cello boolean and let's just put alpha again to do nothing and all the other stuff you can just leave it as that because it looks the same all right so i want to put the normal here in this thing by the way let's turn off do nothing do nothing nothing right so uh put that thing in and then go to auxiliary channels enable auxiliary channels and then if we go to normal so xnormal we can just put foreground red where is it for around four rounds red foreground um green foreground and z normal is going to be blue foreground so now we're taking this rgb information we're putting it in the normal channel of our thing so we should have a normal channel here now you can see we have x normal binomial and z normal and if you're just looking at them like that they look just like uh yeah well they look just like i mean if you look at it like like like this you can see the colors uh but we can use that to use a uh sh to use a shader uh shader shader there we go so if you just drag this in here just click on this again right so now by default you can see it looks a little bit weird so let's turn off ambient and let's turn off diffuse and let's only do specular and let's drag a little bit with these sliders and you can see uh we get this sort of this white stuff that we're seeing also in the individual elements here right so so again just like put it just turn all of the other stuff off so i just only put uh only put specular and now we have here we have the equator angle so it's kind of the angle that we're looking at and the polar height you just play around it's essentially just where the light is coming from so let's say we want something like this so we now rotate you can see we're sort of emulating light shining on these objects and the way you would for example use this is just move this stuff over but if you hold alt by the way you can make these sort of relocation things but what we could do for example is a um let's do a color corrector you can also use a brightness contrast just drag that in and then again we can just use the shutter is the sd effect mask go to settings put it to luminance we can just say gain just gain it up and then if we change our shader here you can see we get this sort of cool highlight moving along and then this can already be like cool like you often see these like if you have a commercial where you have like this light shining across like a logo or a thing like you can do that in 3d but those are also things that you can later do in composite and the good thing about uh doing something like this in composites is because you you don't have to deal with super long render times for your 3d there's a lot of stuff you can just do in composite without re-rendering which is the entire idea without composing like to just like take your renders and your renders are like a 7 out of 10 and you composite them and then they're turned into a 9 out of 10 because you do like very nice looking compositing um so yeah we can just gain this up and then we can just do this thing and again you can also just do this one like only only one object like we could uh grab our puzzle mat here let's say i want to do [Music] effect mask and let's say we wanna only do it on the blue [Music] rip and oh by the way maybe i shouldn't do that i should do multiply by mask all right all right so now if i have this thing and i go to light you can see i can only do it on one object so you can you can stack all of these techniques um but just like yeah just just doing stuff and again you also have these have these things where you can just like all of these notes have uh have intensities and you can blend them in for example i can only blend them in in a little bit blend them in a lot so there's a whole host host of cool stuff that you can that you can do and again like um like just play around with a little point i'm just trying to make it like you can you can really like just use all of these iovs to to do a lot of cool stuff and again we can we could just use this inside of our depth of field again and then we have our depth of field by the way is often a little bit slow to calculate um by the way let me put it like that and put it like that right and let me just oh the blend was all for it right so you can see it's also doing it here with the uh with the depth of field on it and so i hope you kind of get the point of what i'm trying to get across um so yeah let's let's also use some of these other channels that we have for example we also have these position channel and the position zone is going to be cool so yeah let's explore that one so a cool difference between something like fusion and and after fact is that that that fusion has an actual 3d view that we can do some stuff in and that's where for example these world position pass will come in quite handy so let's just disconnect this thing again let's have a look at this and let's make it into a uh into a 3d image plane so by the way let's maybe do that before we merge any sky in maybe let's just drag this whole thing over to the right so let's just have a look at our thing here and control space and we and by the way you might have already noticed that if you were looking around but you have you have a whole host of 3d tools here so we're going to use those now so go to image plane 3d and let's drag that in and if we then drag that into the viewport you can see we get a 3d viewport and if you hold alt on your keyboard and then middle mouse you can draw you can drag this around now you might notice that the colors here uh look a little bit weird it's because the 3d viewport doesn't use the open color i o uh unless there might be a way to have to have that work i don't know why that's not working by default where there's no lut for it uh a way that i use for that is if you put a gamut note put the gamut or you can put one of one of uh one of these just a regular open color i o should probably also work so we put open color i o and then compute it to from source accg output space uh output rec709 and now we put it into uh interaction of our into rec 709 uh so now we can look at it properly in the in the fuel board again this is just for visualization we're not gonna uh render it but like for some stuff it might just like might be good to sort of uh yeah look at it just keep in mind that if you're gonna go out of 3d again you need to convert it back or you need to just disable these nodes because the colors will look weird um so like just keep that in mind so anyway now we have this as an image plane you can just like you can check that out as a wireframe let's really increase these the amount of subdivisions so we got like a quite high high resolution grid and you might say well in after effects i also have these have this stuff i can also put stuff in three i can move stuff in 3d space uh but we cannot well i guess you there are plugins to do some of that stuff sort of in in after effects but it's not not as uh not as powerful but let's grab for example our world position pass we have so our position pass here and now we need one of those things that we that we that we uh installed the redshift tools vr reactor right so if i type redshift rs and we need the vector flipper because the vectors here are inverted uh so we need effect rgb so we uh just because the the the positions are just different so you can hear you can say what's the source so source is routinely so now this looks prop so this is what it should look like so it should not look like this and by the way on your viewport with plus and minus you can also zoom in and out anyway we can now do on this on this 3d image plane that we have here [Music] we can say displays 3d and that will allow us to displace our actual thing and then we can put this in into this place 3d and you can say oh it looks really weird but you can already see it's displacing it we want to use the rgb channel boop and we're gonna put it to absolute boop all right and you can see oh it's uh it's a little bit we need to zoom out but and let's turn off our image plane let's turn off our wireframe and look at that i mean we have our 3d thing i mean it looks a little bit weird that way it's sort of uh extra because it's it's extruding it from a plane so um that's why it looks like that but uh yeah i mean like it's pretty cool right and like for example i could uh you could merge 3d there are separate merged nodes for 3d stuff you can say merge 3d and you could say i can make a light for example i can make a point glide and i need to right click the viewport 3d options and then do lighting and shadows and then i can for example drag my poi i can grab my point light you can see i can have actual 3d lights on my already rendered scene so you can see but let's not do that for now just wanted to show that that's possible let's uh get our camera in here because of course like it's all fine but like how are we going to sort of match the finger thing here because if you want to just render 3d again so render 3d will render it back to a 2d thing you can like we don't have any proper camera here so that's where this other thing comes in um rs camera extractor this is another thing that you installed via reactor let's just put that in so horus camera extractor will take a beauty render so just grab our render again i'm just gonna drag it in again so i'm just gonna this is gonna extract the camera from the metadata that we have so our camera extractor here and then i'm gonna select and i'll go camera 3d and then we need to select option 6 on the camera 3d and this will extract so it will this will extract it and this will then be piped into the camera so we get a 3d camera and again merge 3d so merge 3d i think i merged 3d this in and then look through our camera you can see now we're looking through our camera here and now it's matching i mean you still have this sort of weird stuff here going on then we need to obviously disable this thing um but now it's rendered back and mine while we're doing now here like with the extraction there that just looks a little bit weird um but we don't like that doesn't like what we're going to be using this for it doesn't matter that much because uh maybe what we want to do is maybe we want to put a an object maybe through this doors so let's say we're going to look at are let's have a look our 3d thing here let's go right click and do good perspective and by the way you can also just mask like i could also just do this one on a specific object like for example what i could do is i could say where is it you could say for example let's grab one of the other puzzle mats so i could before i do this whole thing i could say boolean and then i could say bezel matte right click effect mask whip [Music] multiply by the which color do we want uh let's say let's do the to the box or something uh green multiply by mask and we only have the box then we get so then we're let's do the color thing again displays 3d get the camera in there render 3d poop and now we only have the uh after box let's just remove it again because we do want it on the entire thing um great so we do a shape 3d all right we have let's open enable this thing again um let me get for example let's say we want to do is let's do a uh already have a taurus but um let's do a uh sphere or something and let's merge we can just merge that in let's do perspective and let's let's for example put this inside of the torus there and with uh q and w and e we can so it's kind of like standard 3d controls they're all different from houdini but i mean so that's why i sometimes press the wrong button but uh all right so you can just move around like this let's say we put it into this thing so we just look at 3d and go to camera grip you see we're probably we put it in between here so just now it's inside there and what we could do is for example on this image plane 3d here we could say go to the matte drop down and say it's matte you can see now it just match out the 3d stuff that we did from the entire thing now if you render this thing see we can just get this we just get this sphere and now we could do is say merge and you can just merge our little thing in here maybe in the render 3d what we do is animal some lighting shadows we could say we want to add a light in here good point lights [Music] just have a look here at the let's go to lighting go to perspective you can see now we're sort of we're just adding this light to it and i mean it's a boring blue ball uh but for example what you could also do is you can you can actually add materials so let's just add a let's say we want to add a material to this thing so we can actually do uh type replace material 3d and we can plug this in between here and then we can right click go to add tool 3d material and then for example let's do a fake reflection material so we can just plug that in create a render 3d and let's add maybe like a fake like an hdri thing we need to color correct our hdri so we have an hdri here and we should we should we should color correct this to aces um i don't think it will matter that much but let's just be good about it so let's go to utility right and then i think linear srgb to asus and then save let's plug this right click and let's plug it into reflection color and if we just zoom in here in this reflect material now for example we can change falloff and do this thing and change the index for frets not doing that much um i don't use the 3d workflow that much here i'm not super familiar with some of these materials i'm just trying to sort of show you what's possible here my general what i generally would composing i keep it with 2d compositing but so i'm not familiar with all of the settings of all of the materials here uh but you can see here we can do this pretty cool stuff so you can merge it in uh you could also maybe try like replacing material on the ground uh in order to do that what i probably want to do is i probably don't want to use this extracted thing that we have here so if i turn off my matte again image plane because we have these issues here that stuff so probably what we want to do is uh maybe we want to load in an actual uh 3d object uh so in order to do that let's dive right back into nene and export an alembic for our scene and we can actually bring that back in it's over here inside of houdini uh we can actually do a good file export alembic we can select all of our objects maybe except for except for the sun we don't need to camera and we can go and already exported it as a test before so let's just go to export boom yeah let's go back in here and what we could do is for example type alembic mesh 3d and then we're going to need to go to our project folder i'm gonna give you some tips as well later to uh make this referencing a uh project folder a little bit easier but we'll do that once we do set up the actual project let me go to my to my scene here i'm just browsing to it on my second screen all right let's go there and if you just have a look so you can see here we have the actual alembic we can load in maybe by the way instead of loading it in like this because that just loads in the thing maybe what we're gonna do is load it in with the import menu and then do it like that and then we can actually uh get we we're gonna get all of them merged in so it's gonna put it over here and then we get actual separate objects here we can sort of move around as well so might be cool to maybe do some stuff on that um so let's maybe move this to the side let's just start working do some do some stuff on there um just trying to show you some some techniques before we take this into more production oriented setting so all right let's just go in there so we have we can keep this thing here so from the from the sphere that's pretty useful uh but let's do some other stuff on here so let's say that maybe we wanna merge let's merge our camera in here so we have the camera there and probably we only want to use the ground all right it's that one so let's disconnect maybe all of the other ones maybe if you press f2 if you hold something you can rename it let's rename it ground and let's give it a uv so if we type uv map 3d it's going to add a uv map and we can now add a material to that thing let's do a replace material replace material 3d and we could add a texture so if i go to my thing here for example i have a i have a brick texture here and again we should probably color convert this um let's grab the one that we use for the [Music] clouds so now we get proper colors here and let's make a material so maybe we want to do a right click here add tool 3d material and go to let's use a cook tolerance that one seems to be quite okay i'm not sure where their name comes from but uh seems to be quite decent material uh again like i don't use the 3d workflow that often so it's just i'm going over what i what what i have used so far and this seems to be pretty okay material my general compositing is just 2d composting but it's like sometimes these 3d tools can be useful um yeah let's plug it in let's plug on that on replace material and let's check out the uh 3d thing here and when we probably we need to [Music] go there and let's do check the let's put this into a render 3d note so we can check that check what it's going to look like let's turn off lighting shadows and let's change our uv map so planer let's scale it up [Music] rip so you can see we add uh we have some bricks here hmm let's make it a little bit bigger [Music] and we can add a normal map for example here we have some normals we don't need to do anything with aces for that we can just type normal um no not that one just normal um or oh that's called bump map here bump map so we can take our normal here plug it in there put the normal map to bump map and then we can put the right click put it into bump map and then we should be able to let's do it again let's see is this actually this is set to map it's correct right click uh pump map input replace material right yeah it seems to work so you can see now we get a um we get a map effect on there with a light one probably oh it's probably not working because we didn't have a have lighting uh turn on here lighting shadows let's add a light light point light so you can see we have we have a bump map you can see it's actually sort of interacting a little bit i mean no it's not the best looking material here but just trying to make a point uh we'll implement a lot of this stuff in more interesting ways later on all right so we have this thing um so we could do is after this render 3d we could grab our mat and we have already have it puzzle map there and let's uh put that in there and then say all right let's only render the red part boom all right we have this thing here and let's just merge that back on group and now we have a we have that stuff and then let's say we have uh maybe we want probably want to grab the gi here and then say all right we have this puzzle mat here right and we have this gi here so let's and by the way if this all goes a little bit fast like don't worry i'm just trying to sort of show you the yeah possibilities here uh but we'll put it into a more um concrete example later uh right yeah so let's grab the gi here and again let's multiply it by the red channel so we're going to grab that one and then we could we have to render 3d here and we could again put a channel booleans and then we get to add our general booleans and then add our gi onto our bricks here and then we have right that's looking a little weird so we have this here and oh that's because probably because we want to yeah ignore the alpha so sometimes keep forgetting that so now we can see we have that thing and we still have our little gui thing there um and i mean pretty cool like we could even it might be cool to also even try that you could even like move an object a little bit if you want to like you could project for example um let's say we want to make this this box a little bit bigger and rotate it i mean i'm just going with the flow here might be might be cool so what we could maybe do is then we need to say right we have um where do we have our box that's this thing right yeah here we have the box all right so we could say let's grab and i know it's getting a little bit messy here so you should probably organize this a little bit um and again you can also group stuff uh to sort of organize them later so maybe we could say with this part so we could say group it so group it and then say what this thing is so this is going to be the uh texture the ground all right so that's texturing the ground part and again if you just double click on this you you you open it back up again all right so we have this box here f2 say box and right so maybe what we can do here is let's say merge 3d let's grab our camera thing again we have and we should be able i think to if we ctrl c and then if you ctrl shift v here it will create an instance so now i can get an instant you can just move it around so if i now merge this in and check here we should have our camera and now it's instance from this camera so now we don't have to copy and paste it so that's with ctrl shift v you can create an instance you can see this green line referencing the other thing all right uh and then maybe what i want to do is we want to say uv project or uv map 3d and then say camera so we want to project a uv from a camera and we're going to drag our camera here we're going to plug it into this thing it's gonna project the uv from the camera boop on our on our object and then we could say for example uh replace material and then wanna replace material of that thing with our box you can see now we get the material on our box here so if we now if we if we were to put a render 3d here it should look similar to how our box looked and we need to turn off our lighting let's put it to opengl render there's multiple uh ways of running i have software sometimes a little bit soft again i don't use the 3d workflow too often so might be benefits to oh to the software renderer um opengl has quite a lot of options it's quite fast so i guess in this case that's fine um might want to change it back later we'll see um yeah so now we have this thing but the cool thing is now because we have so we have that map there and let's maybe all right so let's say we want to merge that back in i'm really messing this up a little bit in terms of how i'm organizing this i should have organized my setup here a little bit better uh since right still a little bit messy but all right let's just merge let's say merge our newly created box back in for example so then we have the box here merged back in nothing that different but let's say after we do the replace material we could say transform 3d and let's scale it up a little bit and then translate it down a little bit and let's say rotate it now we're rotating the actual box i'm scaling it all because of course there's still another box there and else we have to deal with that but now in this case i can say all right i'm i'm just moving this box around so now i added uh like i created a uh like i i mapped my my render all my books i'm transforming my books and i'm doing all this super cool stuff so i kind of hope that you're sort of starting to to see the possibilities which what this can have if you're doing this in a sort of more production environment i guess like you could have you could do particles inside of composting as well like there's a whole particle system which you can use we're not really going to dive into uh now but uh that stuff you can do and you can use your um like your 3d geometry to actually have particles go behind stuff in front of stuff a whole host of cool stuff that you can actually do here so maybe what you actually want to do still is do a merge 3d and maybe you want to actually get a z depth from this thing so we can do the final that blur thing that we that we wanted to do so uh we need to merge some of our 3d stuff in so i guess let's merge our new box in here so that's that thing um let's merge our what's this this and you probably if you're doing this you should probably just name your thing your stuff properly because that's what i'm not necessarily doing now but um i guess all right so we have this merc this thing here so i guess let's uh let's merge that thing there uh yeah we probably don't want to do that uh all right let's just do it a little bit different let's just grab our alembic let's grab our scene that we had where is it it's probably going to be easier to do it that way so just grab an alembic mesh let's grab our object here so here we have that thing then let's merge 3d our our stuff there let's merge our box in oh we need to yeah the instance there is not gonna let's just you know we need to grab that one here and then ctrl shift v all right let's put the camera in there so let's just look right so we have a new box and then we need to merge our we're gonna merge ours is it our shaping group oh no merchant over there all right so we got the whole thing there uh and then we should be able to do a render 3d and then get render 2d and i think we can say you want to output a z channel as well so now we have we should have a z channel here so you can see here we have we have uh we have z down here in the bottom we have depth all right so that's looking good i guess we can then do channel boolean and then say we want to use um z buffer let's put this in uh let's see buffer background for it z background is there a z background z background where are you where are you where are you let's put it in the other one uh all right so let's just put it into both the foreground and the background and let's go here and go to uh let's so let's see buffer foreground and zebra foreground so this is just like i'm putting the z buffer into the color information of the channels that's kind of what's happening here so we have a red we have green of blue and i'm getting the z and i'm putting it into the color so we can use it in a color because in the first thing i want it to be not in the z channel but i want it to be in the color uh so that it's copying that over and let's turn alpha to do nothing all right so now as you can see here in the bottom you can see i have this information and if i now do brightness contrast i should be able to extract that information so that's up to brightness here you can see brightness and down the contrast because now i have a depth channel let me put the render here to as you can see there's problems here so that's again opengl fixes that here uh all right so now we have a new depth pass and now the thing comes where we can grab the so we have our render thing here all right so we have that thing the new thing and then we can say we want to use that here in the beauty but the depth map that we had there was not correct because remember our depth map here still has the box small and then doesn't have to orb and then we have the new that map here that we made that one we can say all right put that into into the freshly fried outer range again as you can see now just the outer range and now i'm gonna plug this in and let's put the focus somewhere all right let's just remove the focal distance let's change the radius a little bit right but you can see now we have um we have a depth map that works with uh let's just by the way see if our render 3d is actually rendering it as full depth depth let's put it to float32 [Music] i think it was by default but let's just just to be so sure that it's weird there's fusion sometimes we'll just put stuff as not being float or just just to be sure that we are that we're doing good stuff you can see i think the here the black and white point change a little bit um all right anyway you can see where we now we essentially just like really rebuild our own uh our thing i'm just gonna turn down the uh the depth um and what i could say i guess color correct and you can like change the color a little bit maybe a little bit blue or whatever like do do whatever your heart desires um and then i guess add grain because everybody likes grain grain all right grain are you film grain wow so cinematic uh right anyway so just to recap um what we learned and again in the next video we're really gonna apply this to an actual sort of more production oriented shot because this was just experimenting with simple objects and showing you the possibilities of stuffing comp and that comp is not just just color grading and that's it because that i think the feeling that a lot of people have i think i've i kind of feel that that some people think that's what what comp and pump is an entire like and that's why i mentioned the beginning of the video like i am not a full-time compositor like i know i know a decent amount about composing i've composed it quite a decent amount but i kind of like i kind of hope you show you here that there's a whole world to compositing that you might have not even known that existed if you never composed it before um actually a lot of other cool stuff that we're gonna do as well in the uh in the next video we're actually gonna be more uh we're gonna more apply this from the get go to make uh just a cool render so i hope to see you there hope you found it interesting i know it was quite a long video but uh yeah i think i think this was quite interesting and um yeah hopefully i'll see you in the next video uh by the way one more thing i almost i i already stopped recording and then i figured i was doing something else and i was like oh damn i still have to have to record this part um but like we also need to know how to sort of save this stuff out um so it kind of depends on your output i'll get more into that i guess later with the next video but uh generally if you're doing 3d for like let's say if you're working for studio uh like in the studio or like even if yeah if you're as a freelancer working like with with another studio generally most stuff will also go through grading at least like bigger bigger projects might be smaller projects you might do some grading yourself but like bigger stuff will always go through grading in that case you will probably just save exrs out so they will just be uh yeah they will just be exrs and those exrs um yeah you can be linear exrs and then uh you can just tell the gator that you're working in asus and it should all be fine um so i can just make a saver and then i guess just make a thing here called exr and then call it my render dot exr then i can just uh save it out i can just press render i need to put frame just one frame here and i can save it out and then there will be one render here um yeah it looks a little bit weird here because of the asus thing of course but like a grader will be able to to deal with that stuff uh if you want to do your own final output let's say you want to make a video or make a make whatever and you're gonna put it on um like on the internet or whatever you wanna do a final output uh or if you're gonna go into for example i edit a lot in premiere uh and that just doesn't like like uh you cannot really work with aces in premiere uh there's no proper plugin for it so you generally you just need to bake your your srgb in there uh so in that case what you would for example do is you need to say open color i o uh again now let's turn off our open color iori so it's going to look weird and we're going to say from accg to output rec709 um so it's kind of the inverse that we're doing normally doing so you can see we're gonna like if we do if we check here with aces or here without as now it's baking it back in to srgb and now we could say for example now render thing here i could say jpeg let's say we want to write out a jpeg or whatever myrender.jpg render one frame render complete and you can see now i rendered out my beautiful my beautiful render my best work ever as a jpeg you see the colors will uh will be fine um so now we also we we kept the chorus throughout the entire process and it will be my final output image um anyway uh with that out of the way now let's take this into an actual sort of project uh so more yeah let's just look look at some uh some actual more production techniques tips and tricks uh and like so actually apply the stuff that we learned here and also learn some more stuff but let's apply it to an actual project and then hopefully when that is all done you should have a sort of decent at least sort of base level understanding of like what is possible within composing and hopefully that i've then shown you the light on why you would want to actually start compositing your renders so yeah let's get into the uh next video uh if you did like this video make sure to leave a thumbs up uh that helps our youtube algorithm and if you want to see more of these types of free videos you can subscribe and that also helps me out a lot so let's get let's get the channel up to more subscribers even more i don't know like what's in that google 20 000 or something um so that would be cool so yeah anyway and again like if you want to uh check like if you want to follow along with the project files that i'm going over with this uh uh during these videos you can do that you you can get to the source files on my website with a link in the description anyway that is out now that it's out of the way let's head over to the next [Music] [Applause] [Music] video [Music] you

Channel: Tim van Helsdingen

Views: 10,833

Keywords: compositing for 3d artists, compositing, blackmagic, blackmagic fusion, fusion, learn compositing, aov, aovs, arbitrary output variables, blender, cinema 4d, maya, houdini, redshift, vray, arnold render

Id: v2wfwoQ5dnY

Length: 90min 3sec (5403 seconds)

Published: Fri Mar 12 2021