Fusion 9 | Combine Bump with Screen Space Normals?

[Music] ahoy there me hearties amongst many powerful tools infusion one of my favorites is the relighting tool what usually referred to as shada now from a technical point of view shada is a is the appropriate term simply because relighting is just way more complex and involves shadows and occlusion and this is just stuff that you don't get with the relighting so for the sake of this video let's just stick to relighting it's just something a bit more saucy so for all of those who are new to this whole madness I know that most of you know what relighting is but for those who are new relighting is the process of faking lights into a pre rendered image without having to go back to your 3d application or through the whole 3d lighting and shading pipeline therefore cost effective although it sounds very appealing right it's good to know the disadvantages that come with it all the limitations I would should say because we're a little bit optimistic just a little bit let's start with the advantages first of all almost no render time oh that's good that's good that's really good second quick and easy to set up third it also can be use as masks you don't have to use it as a relight or as a light the last one maybe the last one there probably more one of my main reason why I like this tool is simply because it's a very creative approach on reshaping your image and me as a traditional artist I come from the pixel era the airbrush era and painting for me I really like the approach of a painter sounds good doesn't it but what are the disadvantages but the mutations said it again so the biggest problem of the relighting is that to date I think there is no relighting tool that can do shadows for example something something fell off for example if I would like this object you can see you can see that the light is not affecting the the other leg it only affects this leg down here now with the relighting tool it would look somewhat like this this is something that you could probably fake something that you could work around using other methods and tools for example ambient occlusion you could use that to occlude parts that you don't want to be lit or volume masks many tools that you can use another very big problem is the sampling issues that come with relighting but there's always a workaround so the workaround would be to render in double resolution or triple resolution either you render everything your whole Beauty in higher resolution and resize it down later after the real ID which will apply the sampling to your relight result so it would almost fix almost 100% fix those issues orders micro details issues that you will get tip right there if you do render your whole beauty in a higher resolution you can reduce the antia lysing your the sampling because you're gonna reason is down anyway that will increase your render speed if you decide to render only the technical passes then just you don't need super sampling anyway there rent it out super quickly so you can render them out in a triple resolution if you want and the last limitation that I can think of furthermore is ubirr you have only a directional light with no fall-off whatsoever so your light will hit everything at a certain angle so I think there is relighting tool in the sapphire sapphire in the sapphire sapphire to set that has fall-off but if you are willing to spend a few thousand bucks then you go ahead and do that let's go back to the term relighting now relighting can be very confusing for people especially to the new ones to the madness because relighting does not mean that you really like your seen relight means you take that light and you just dump it and you create a new one you know it's not the light that is rendered into your image you stuck with it it's there basically it's not relighting it's adding light of light elements or like details so I use it mostly with rim lights it's the most believable situations are rim lights because they don't have complex shading or shadows so they're very easily altered or fixed using an ambulance for example so they're very easy to do and look very believable if you do want to do a proper relighting then you would have to render out your beauty with all the passes you can possibly get don't think about what you need just Brenda everything out just everything just check everything tick tick tick tick and if you use Corona v-ray I don't know about the other renderers I think redshift also supports it you can render out every single light as a single separate pass and then and only then you can go into fusion and if the director says so that red light that looks a little bit nasty look some dirty stuff going on there can you dump it your answer would be absolutely you can just skip that pass that light pass and it's gone everything is still absolutely correct accurate and if you decide to just skip it you can use your relighting that you created in fusion for example but not only that you for example you don't have to completely skip that red light you could say hmm what if I want to make instead whatever I want to make this red light just and a rim light from the side so you could create your rim light using the relighting tool and then you use that as a mask to mask out or isolate that onto the red light so the red light would basically be only on on that relighting rim light it makes sense okay so that I use a choir off this very effective and because you also have to the accurate shadows in there in the red light because it was rendered before additionally you can use the shadow pass that you have to to put to exclude the shadow areas from that relighting pass that you create in fusion you see there like many possibilities out there you just need to know all those tools and then you can just put them all together and just go crazy so but how does the shader to work the shader tool in order to be satisfied it wants something from you what does it want it wants and all the normal pass normal informations but that's the confusing part because you might have seen in your renderer when you check your elements that they're like several settings what kind of normal pass you want there like words face screen space eye space object space blah blah blah all kinds of spaces out there and there the confusion starts okay so basically the fusion real eye tool wants a screen space but in a one of a project that I worked on my technical director there he was combining workspace screen space and Bank normals to create a more accurate relighting the problem is if you import all your normal passes into fusion which one do you feed to the shadow tool I mean if you feed the screen space normal into the shader obviously you won't get the bump normals the bump information that you worked on really hard you painted it really hard in your substance painter in them so you want to have them right so how you do that I mean bump normals you would if you have to bump Norma's you would obviously you probably know combine them using the overlay blend mode hmm but with the screen space normals and the bomb normals if we try to combine them they just don't like each other so I reached out to Brian ray because honestly I'm not a Terran thief I knew that there's this but it's possible to combine him but it would need expressions you custom to or whatever and it's just out of my reach so I reached out to Brian Ray who was kind enough to provide me a solution or the expressions for that which I will demonstrate in a moment so if your tacky and well know what's going on behind the surface I don't know the math behind all this check out the website and you can have a detailed description on what's going on there if you simply want to combine those things without worrying about the math behind it head over to my patreon you can download the macro or the comp with the exposed expressions and if you think that I don't deserve your support you can just ask Brian ray so without further ado let's let's dive right into it [Music] let's practice okay so I've prepared this scene for you to demonstrate to you a scenario where we want to use relighting in order to avoid having to go back to the 3d lighting now this would usually be the case if you have a very tight deadline otherwise you can just go back and rear ender and you don't yeah let's just pretend that this is an image we got from the 3d lighting shading Department and now we want to quickly add just a few tiny things to make this a little bit more interesting now I should probably mention that the relighting should be used very carefully or very subtle you will know what I mean by that in a moment another thing I want to point out is that this scene is rendered in fusion the background obviously is photo bashing and the character was completely rendered in fusion using a low poly model from turbosquid so obviously the resolution was not meant for close-ups the resolution of the textures I think is also very low hence we will get some yeah luckily this scene is rendered in 4k so if I would put this to 100% this is what you get and frankly this is not too bad I've seen cinematics using in-game models that of course I added some defocus and noise to cover a little bit of the low poly typical areas about again if we would resize this down later to full HD we would probably end up getting something like this or even smaller and you can see it holds up pretty nicely okay so but let's pretend we are not quite satisfied with this so if I was the art director here and I would look at this I would say the older lighting and the whole thing the whole mood is spot-on it conveys the mood that I want to have but I just don't feel that the character being 100% integrated or connected to the ground also the character looks a little bit flat especially on the back here so I think that there is something we can do using the realigning tool to fix those issues so if you have been provided with your rendering with your audio passes you would probably also have the normal passes that would somewhat probably look like this so what you see here on the left side is the normal bump and on the right side the screen space normals so but with those in fusion what can you do so if you would for example use the screen space normals into the shader and do your relighting with those you will end up getting this so you see that now we are only affecting the original geometry and this is quite frankly not usable we could probably get away with very very thin tight rim lights there but you know even here where it's a little bit broader you can see that this just doesn't look nice on the other hand if you would use the bump normals let me just quickly put this in here put this into the normals if I would use that instead we will be provided with only the bump information so this as well is pretty useless so we need to find a way how to combine this and especially with the next episode of lebackes Ring where I will cover the relighting topic I thought I need to find a solution so with the bumpin almost obviously you could just use a overlay blend mode this one but combining those two different color spaces or normal spaces just doesn't work so I reached out to Brian ray who was kind enough to send me this for this construction here and I want to show you quickly what happens here so once again let me show you our my Beauty pass where that contains the screen space normals in here and so what happens here is first we put this into the RGB x' and then we basically emerge this on top of this blue background it's very important this is a 100% blue and then we have down here we have the bomb normals so what happens here is we basically scale the normals you can now see that visually those two normals now are much closer to each other then deed screens person almost get scaled again to something like this and then the expression madness starts he is still pretty decent so here Brian raided again some scaling I think and the probably most complex part happens here where we blend those together in a nonlinear fashion okay you see this here it says nonlinear no I I really don't know as I said before if you take enough you can check the website and there you will find the explanation so but basically here we merge those together and look how nice this looks okay so then again some scaling and then it gets back together with the beauty pass that contains the original alpha here you can see we embed the normals back to the normal buffer and I fed it into a wireless node yeah so I actually forgot to show you the macro that I put this into to make things easier if this scares you then watch this so if you downloaded the macro you can simply drop it in combined normals and you will be provided with three inputs and what you do is basically you take your object normals or screen space normals I should say I think I renamed it very confusing here you hold alt and when you release you will be provided with this list so you simply hook this into the object normals then here we have the bump normals these here so you would hook this into the bump normals and beauty into the beauty and now if we add shader we get our nice relighting resolved okay let's continue so if we feed this into the shader now you can see that we get those very nice details here inside the light this is pretty cool and just to prove to you when I move this over you can see nice details all over the place here and as I mentioned before you can see that we get those artifacts here but again this is now no problem as we are in 4k here so I would rescale this down later and you will get something like this I mean this is totally acceptable I would then basically take this relight element and I would multiply my ambit occlusion on top of that now before I show you the ambulant I want to show you what I did with it so I actually used the combined normals to feed them into the ambered occlusion node which will result in something like this you see we can even get some sort of details although not very clean but still probably better than nothing because usually the ambulant would give you only the the original mesh contour or shading or I don't know how to call it and what I did then is and I use another emit occlusion on top of that and another one now it gets pretty nasty here and I would probably work on this a little bit more it's important to know that the Umbra cruising infusion is still a little bit dirty yeah so I'm just here for this for this video I'm just gonna blur this and again we're gonna resize this down later what I did then is I multiplied this on top of my relighting pass yep so you can see here underneath there under the arm it gets darker now this probably because the Sun comes from the front it would probably illuminate this area here so yeah it's probably not accurate in them at the moment but this is always like case-by-case yeah you as an artist you have to observe your seen your scenario and you have to decide whether this makes sense or not ah again for this for the sake of this video I just yeah so I'm gonna show you the whole thing again and I'm gonna activate the color corrector that is driven by this relighting pass which I basically made a mask so let me do active at the lookup table here the first thing I do is I add the rim light and what's closely what happens I want to leave the sunlight up there so you can see the connection so look closely bang so you see that this was just very a very tiny addition yet you get the impression that now this is really shiny that it probably metal or something you know and therefore because this brightness is very similar it's actually very very similar if you take a look at the values at the bottom it's a 0.9 RGB is almost a 0.9 something and if we go in here and check the values it's always like around 1 to 1 0.9 yeah but it's close I mean it's obviously not I didn't I really I didn't really try to match it so but still you see because it seems like to be the same brightness here we automatically connect these two things the arm and the Sun together which helps to integrate the character into the scene so but if I would keep looking at this scene I would ask myself okay how can I bring this very doll mm-hmm so III was looking at her and then I was looking at the sky and I realized oh wait a second the sky up there is pretty lonely yeah needs a friend so bob ross here if we look at the sky i think even at this hour of the day the sky should probably sort of interact with the character i mean especially if the parts are reflective which i assume because this looks like metal here gold metal whatever I think that it should probably reflect the sky and I know that this would actually also help to integrate the character way more into the scene so of course it would be pretty hardcore to take the character now and render out a trend reflection pass using an HDR map and of course you could do that I mean Fusion is just perfect for that you just bring in your whole character I mean I have the whole character in here as you see here so I could simply render out a new reflection map and then just combine that but let's say we want to do it like very very quick and dirty yeah very quick and dirty so we would use another shader and you can already see I set it to shine down from the top okay again I used this as a mask which was multiplied with the ammeter clusion and I could need some tweaking here maybe a fall-off downwards I didn't care so much about the bottom yeah but take a closer look come closer man so I'm going to activate it and take a look bang you see these little details I mean I obviously this is not perfect but check out the details on the hair and on this golden part here those little dots or those little areas now that really makes this character feel more you just see how flat it became when I turn this off I turn it on again and they turn it off again and flip flat I think this is very powerful if used wisely the relighting tool can be very useful powerful and as a bonus I wanted to show you one more thing from a VFX project I did with my mentor robot cells he actually used three different passes three different normal passes to get a more precise relighting so we use them here we use the normal world you're a normal bump and a normal screen now you can see here is a great dark grey node which is basically a custom tool that he rode and you can see it says last place max to fusion and this is I left this in here on purpose because I want you to know that there are several cases where you need to actually convert your normals it depends from what software you get the normal passes okay as you know max coordinate system is different Meyers coordinate system and that will affect the normal world pass hope this makes sense so what he did he basically used he didn't use expressions he used only the channel boolean he subtracted the normal bombs with the normal screen then he scaled them he mixed them in with the normal world and then he basically added them to the normal buffer and the shader now unfortunately for this shot the little fella here was very tiny this bug so but you can still get a picture of ya how you can how powerful relighting can be I use this quite a lot and you can really add some very drastic changes actually to this I mean look at despite being so low res look how how you can get those nice rims even on the legs this is really impressive now I think that was because he used all the three normal spaces and combined them so he can probably squeeze out the most information okay so that was it I hope that this could give you a new idea on how to use the relighting tool and to conclude this video I would say let me start slapping here my name is Vito I'll see you soon until then enjoy what you're doing [Music] [Music] [Music] [Music] [Music] [Music] [Music] 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Channel: Pirates of Confusion

Views: 11,419

Keywords: Relighting, Shader tool, Fusion Shader tool, Relighting in Fusion 9, Davinci Resolve, Fusion VFX, Normal Pass, Normal Pass in Fusion, Normal maps, Bump Normals, Combine Normal Passes, Combine Bump Maps, Blackmagicdesign, BMD Fusion, Resolve 15, Fusion getting started, Getting started in Fusion, FUsion Basics, Learn Fusion, Compositing, Learn Compositing, Fusion Render, Multipass compositing

Id: hoDJCmBxDNo

Length: 42min 13sec (2533 seconds)

Published: Wed Jul 25 2018