Improve Your Renders With Movie Render Queue PART 2 - FIVE Things You Need To Know (Unreal 4.26)

hey there and welcome to part two of how to improve your renders with the movie render queue so over the past week many of you reached out to me with some issues you've had and your renders weren't working and it's been a real pleasure helping you guys out so if at any point during this video you have a question don't hesitate to leave a comment down below and i'll get back to you as soon as i possibly can so in this video we're going to be talking about a few hidden tools some quality of life settings but most importantly i really want to touch base on a few limitations that the movie render queue has now i'm not saying that you can't use it in production because it is production ready but it's really good to know about the limitations because they could very well end up blindsiding you at the end of a production so enough talking let's go alright so one of the big limitations and something you should really be aware of when it comes to using movie render queue has to do with the object ids when using subsampling so anti-aliasing subsampling so as you can see here i've got my render setting from the movie render queue all the running is an exr sequence 16-bit i've got anti-aliasing to none and i'm going to set the sample to about 32 all right and i've got my console variables uh here in order to get some proper subsampling and proper results this is what we we covered this in the previous video so we're going to go ahead and add the object ids limited tag here all right so this means that we're going to be rendering out a object id pass with some high quality sub sampling now the issue that you have here is when you use subsampling the render times are going to increase astronomically so let's go ahead and render this right now and you'll see what i mean i'm going to hit render local and you can see right now already it's hanging like it tends to hang around the 13 sub samples i'm just rendering 15 frames here and you can see it just kind of just hangs a lot it's really slow now this is not there's a normal it has a lot of data to write to disk and the more objects you've got in your scene the longer it's going to be most likely so this is not a problem in itself the renders you're going to get out of this are going to be very high quality however you should just be aware that your renders are not going to be as fast as they normally are they're going to be substantially slower so as you can see i've only rendered three frames now and it's already been 40 almost 45 seconds so it's just something to be very much aware of because this can really screw you over in the middle of a production you know you're counting and your renders being reasonably fast you've got a deadline and all of a sudden oh hey our crypto pass or our object id pass is just taking way too long to render now you know so once again not a major problem in itself and you know in my opinion it's actually worth the wait because the quality is that much better but you just really need to be aware of just how much longer it takes to render these shots so you guys might be wondering well hey of course it's going to take longer to render because you're rendering your subsamples yes i'm aware of that but the hanging that we just saw in the just now has to do with kryptomat or object ids only so we're going to go ahead and delete the object ids path and we're still going to render with 32 temporal sample counts okay so it's going to be the same amount of samples as previously with no anti-aliasing and the console variables are all here once again in 16-bit exr the only difference is i'm not rendering the object.dps and you'll see right now just how much faster and how smooth it is so i'm going to go ahead and hit render local and look at those samples climbing up there's no hanging whatsoever boom one two frames three frames out and so you can see there's no hanging the hanging that we saw is only kryptomat related so you can go ahead and safely use the subsample rendering for better quality renders but just keep in mind that if you use object id it's going to be much slower all right so let's jump into photoshop real quick and look at our cryptomat or object id path that we just rendered now now so looking at our object id pass here i've got the ferns mask right here now let's zoom in a little bit we can see that with rendering with subsamples we got a nice clean motion blur so the cryptomat or object id takes motion blur into account but if you look carefully you'll notice there's another problem there's another big problem now notice how completely out of focus these ferns are but take a look at this ferns here look at this mask let's zoom in a little bit so you can see more clearly so if you look carefully you know if i toggle this you'll see that the object id pass the mask that we get does not actually cover the entire range it doesn't the depth of field is not working now to see more clearly i'm going to go to this pot here and look at this mask here look how out of focus the pot is compared to the mask now if i select this edge here you'll see look at this edge selection compared to the out of focusness of the pot itself look at this mask i cannot use this this is actually unusable this is this is useless so we can conclude that depth of field is not taken into consideration when you render object id passes motion blur works but not depth of field now normally in a vfx production this would not be a problem and i'll show you why so in a typical vfx production approach step one would be to render the following passes you're going to render out your beauty pass you're going to render out your kryptomat or object id pass and you're going to render out a 32-bit z-depth now of course you're going to be usually rendering a lot more passing than this there's there's so many more other aovs or render paths that you give to compositors but to keep it simple i'm going to keep it limited to these three step two is you apply the depth of field or defocus in nuke premiere or after effects resolve whatever with the z dev render pass so all the depth of field out of all the defocusing is done in post you don't actually do it in the render why is that because in arnold or redshift v-ray whatever rendering depth of field is super time consuming it takes much much longer to render with at the field than it is to just apply the the field in post you have way more control doing it in nuke it's way faster to do it in nuke so that's why we do it that way all that is made possible because of the 32-bit z-depth path now that brings me to my next point so another gripe that i've had with the movie render queue so far after using it for a week is the lack of 32-bit support now as you can see here we've got exr sequence 16-bit for most cases this is going to be more than enough especially with the sub sampling um you don't need 32-bit color data but it we want 32-bit depth uh we want a proper 32-bit floating point data because it's just going to give you that much better result now if you use the sequencer we're going to go into the sequencer tab here right we're going to go to render with video and custom render passes here you can do scene depth world units and this is actually a a z depths a z pass if you capture frames in hdr it technically renders it out uh as a 32-bit exr but because we're using sequencer you lose the benefits of the subsampling you don't get the high quality render that the movie render queue offers with sequencer um sequencer is kind of handicapped in that respect but it does offer a 32-bit z-depth path it's not very good especially around along the edges so if let's say you've got a character and detail behind him the edge of the character and they're gonna be really bad especially when you get motion blur um and lots of effects and stuff like that so z dash is still not quite there yet don't get me wrong the movie render q is a great step forward it's gone leaps and bounds from sequencer but we don't looking here in the in the movie running cues um render passes here we don't have a proper z depth and that that that really sucks this would make for me that would make the render queue the complete package but unfortunately it's not this is once again this is a great release amazing feature that we can get with sub sampling but it's not quite there yet now one nice little feature that i'm using all the time and that's the little presets button up here now you may or may not have seen this already but i think i should mention anyway if you've got you know a lot of stuff set out here especially console variables you've got a long list of things that you don't want to have to go find online copy paste every single time you know you elaborately set up your your render path and everything your resolution and you don't want to change it every single time you render a shot you can save a preset so you just click on the preset button up here save as preset you choose where you want to save it click save and there it is now every single time you want to add a new job let's go ahead and delete this right here so let's say i'm going to go let's say i'm going to go ahead and add png sequence and object ids here okay so i got a very complex thing i can go ahead and click presets save as preset and say preset william save and now you can kind of go get whatever preset you want every single time without having to re-enter your data this is not a groundbreaking trick but it's good to know now the last thing we're going to talk about and this little trick here is the main reason i made this video to begin with and this is the neat little tool that i'm going to use all the time this is going to save me so much time and that feature is well the render queue okay i didn't cover this in my first video i'm covering it now it should go without saying it says it a name a render queue so as you can see we've got map one shot one here i've gone ahead and i've made two other shots so we're gonna go ahead and click the render button here we're gonna add shot two and we're going to add shot 3. now before with sequencer you have to open up the map click the button down here render the video capture movie wait for it to render then you have to you know open up the next map capture movie open up the next map and so on and so forth you had to do this for every single shot it was an extremely time consuming process um if you wanted to if you had 50 shots to render you were going to be up all night opening it up every single map and running them out but now with the movie render queue and this should go without saying because it says that in the name render queue you can go ahead and just add all these and now because we have presets made you can kind of go ahead and configure these so we can have preset william here or you know the regular preset i have here choose their output and just render everything in one go this seems obvious but if you don't already know about this this is going to make your life so much easier so all you need to do next is just hit render local and let it rip and now shot two and shot three so as you can see you don't need to open up those maps anymore you can just go at it from one window and render out your entire sequence whether it's you know two shots or a hundred shots this saves me a colossal amount of time i am so thankful for this neat little feature so as always i hope this has helped you guys out if you have any questions whatsoever don't hesitate to leave a comment down below i'll get back to you as soon as i can don't forget to like and subscribe and i'll see you guys next week

Channel: William Faucher

Views: 25,371

Keywords: Unreal, UE4 4.26, UE4, Unreal Engine 4.26, Unreal Engine, Render Queue, 4.26, Realtime, Sequencer, Tutorial, UE5, UE4 Tutorial, High Quality Render, Cinematic, Antialiasing, 4.26 Antialiasing, Temporal AA, Raytracing, Movie Render Queue, Subsampling, epic games, virtual production

Id: 2U1wP8sJgfU

Length: 11min 50sec (710 seconds)

Published: Wed Dec 16 2020