Maya Tutorial 2020: Render Layer Setup Overview with Timestamps

[Applause] okay so we're going to look at how to create and set up render layers so this is our project and let's call it done so we've got some textures just slacked on there's an HDR in there just lighting the scene so it's not perfect but we'll just do this for the demonstration and then we have some walls in there which are blank because I know these will not be in shot so just a recap this is our plate so we've got the green screen areas which are going to be the areas we want the CG and this top area it's all around there that will be our CG and then we have an asset on top of the plate which will be the tankard so the result in Maya is looking like this so we've got the room on the left hand side we have some assets in front and this tankard there's slight bit of ground plane but I'll talk about that there then we have the background going off there so we're just gonna start to do a few things to separate these so first of all what I would do is in my render settings if you need to optimize your renders as well this is advisable which starts add a few render passes so we haven't separate anything but I guess I should say the plan would be for these from assets like the tankard assign and these bits I want them on a separate render layer this room in the background separate render layer this wall and metal gates thinking that could be on a separate render layer then I guess everything everything going back on separate renderer so we would have about four actually let's make it three so everything on the right that'll be a separate one because we'll include different IDs or probably just a crypto map something like that so when we're adding different render layers we need to think do we want to build this render from scratch in comp so if that is the case then in Arnolds we probably want to add in an albedo that'll be our base color and a specular it would be cool to have specular direct and indirect so to control the primary and then secondary rays of our reflection reflections transmission do we have glass in the scene no we don't so we can ignore that same rules apply you know subsurface scattering that sort of thing we do want as its said pass although I don't have a plane in the background so if you want depth of field you would need to put in some sort of polygon plane this environment on the right hand side goes really far back so we'd probably want to put it somewhere just past this barn and then turn off cast shadows and everything so if you create a polygon plane and you want to do that for your depth of field so I'll just clicked on this one you would need to go into the shape node and then go to render stats turn off pretty much everything you can leave double sighted on but the reason for that is so we can actually so the camera knows where the end of the scene will be we just want the camera rays to hit this plane really but not have any effect for anything else so it will allow us to create this depth of field correctly but I'll add it to the list I'll do a test render if there's nothing that's what I need to do we could render normals but I don't I don't think there are normals on any of these so actually I'll leave that and what else if we have a bit of noise in the scene that isn't moving too much we can add D noise Beauty aov and this is a post process so once it's rendered our Beauty then it all refine it after that it will try and clean up so we can leave that on but again it costs more render time and also it's it all end up smoothing the noise so if I look at my render I do have some noise here but this isn't gonna be in the render anyway so that's fine I think it's just this back bear just down there but I'm pretty sure because that's quite a lot of noise that's gonna be visibly moving if I look at my D noise that I added for that render it pretty much blows it all together which looks fine but because it's a fair amount of noise I know that even with the D noise it's going to have this weird looking effect because it's still they're all still all these pixels flickering about and the D noise is just pretty much smoothing them so it's still gonna be noticeable so I'm actually going to turn that off so what else so I've got the base color pretty much albedo specular speaking indirect and let's just quickly take a look motion vector if you want motion blur you know you can render that as well that's pretty cool I don't think it works with glass because of the refraction so if you want motion blur and you've got glass in your scene that's something to be aware of but otherwise motion vector if you want to come that's pass in that's very quick way of doing motion blur so where's the shadow we want to shadow Matt I think I just passed it shut him out there we go and I get that's fine that's fine I might I'm going to render with these and just go through the pass is but I'm gonna add in one more light as well just to show you how you could set up like rooms as well because there is a weird glitch well kind of glitching Arnold so I might as well just record it and then show you how to fix the problem that will very likely come up one eternity later ok so now we're gonna render I've had little light so she could see a looks very amazing top-notch VFX I've got the render passes so we can look there's dessert as predicted not much is going on even when I change the gamma so at the moment that's not usable brilliant let's go to albedo so this is just all the base colors as you can see these areas are just gray there's nothing on them looks terrible not useful not gonna be rendered so doesn't matter shadow mat as you can see the shadows are white cool you could kind of gather how you might be able to if you've if you've used nuke before you couldn't gather how you will isolate them from that specular very noisy terrible direct so the main source of light and then the bounce are in the specular indirect cool very noisy in that room that's looking at it I would say it's too noisy like if I I wouldn't need to put the samples up I could try actually I'm gonna do like groups and then I'll rerender because if you want to optimize a render then you can actually isolate different lights because you see this light over here is quite intense so if we pop the samples that produced with this lines then that could actually solve a lot of problems however this scene is being lit by just an HDR so that's quite expensive to render so we could put samples up in the HDR or we could change the overall camera samples a a camera samples there some multiplier the only thing I changed so by default that's on three on three all these would be two otherwise I turn the subsurface zero and volume indirect zero this is for like fluid things so let's forget about that and the HDR if you did want to turn on the samples for that it would just be here so someone I think that's the default one I can't remember my area light yeah okay that I just made that a minute ago so it's not the one by default so if we want to make light groups what we want to do is go to different lights the scene is a mess as you can see in the outliner but I've just kind of borrowed it but you should rename things let's call this light fire lights got named it here so it names the shape where we actually do the alterations in the lights if we scroll down we have a few settings here if you do want something visible to camera you turn this to one by default when you HDR I think this is turn to one so if you have the opposite problem in your HDR you've got it in your background then you want to turn that to zero because then it will all be in your alpha as well okay let's change this name so in order to have light groups you need to give every light a name so I'll call it fire go to my HDR let's rename this to HDR go to the shape so my visibility and the camera is zero so we're not seeing it and the light group called HDR cool if you want to add any shadowing or if you want to create shadows but you don't want to add specific geometry for it you can't just add a Sun filter in there a little note about filters certain lights have other filters so if you want to create so if you want to project certain like caustic type effects I've got a video on cookie cutter lights the Maya standard spotlight has extra filters that aren't with the Arnold lights not 100% sure why but something to may know of okay now jump back into the render settings so if we've given them a name so now we want to pick the a Ovie's that render these extra passes because for the lights so now we've given a light group we now need to pick okay so do we want separate because each time we're adding a light group to an AO v it's creating some several passes so again it's going to cost more time so something to consider so I would generally say you only wonder if the speculoos but that's just mean okay so I think so I clicked on the specular and in this light groups I can see I have a like called default so I'm pretty sure that's one of these other lingering HDR's that have been copy and pasted across so I'm just going to delete them yeah I can't just remove them so on the specular I'm gonna click all light groups and I want the same for the specular direct so all like groups you can fire HDR otherwise just type in the name that you want so all the different speculoos we will have two separate passes so we'll get the beauty then fire separate pass and the HDR this is really useful because when you're in comp and you're building up a render you can literally you do things like animate the lights you know stuff like that it's a pretty cool it's just if you've got a lot of lights it could be heavy for the compositor but then again if you're not the one comping then I guess Yolo I get something to keep in mind if I try and hit render now I will probably get a run error so maybe I should hit render and see what happens okay I started to guess slight error at the bottom so I'm just I'm just rendering just in case you get it you might get something like this if you try to add a like group so it says two drivers produce the same output path air via merging is only supported blah blah blah blah whatever okay so to fix this we just need to it's related to here so it's talking about the driver all we need to do is if we still want any XR pass to come out we just need to change it from this default XR to a fresh one I guess this is the inbuilt default and so when I go to a render again this should be all fine so I'm just gonna hit render and see what comes out by me need to lay tail okay so the render is finished and let's take a look and lo and behold everything is rendered out fine so these extra aov so let's take a look that was the default spec specular fire so it's isolated that specular HDR so you can see we're not actually getting much noise there so another good reason for rendering these separately is if so looking at this we can see that we're getting a lot of noise with that particular light so we could actually turn the samples up on that specific light so then when it's Compton there will be an addition the compositor will like add these together and then we can remove we can isolate that and remove the noise from it so speculate the rect this what it looks like and then spec direct fire and then HDR cool so these all came out fine just from changing the standard he exam inputs just to EXR again not fully sure why that it works okay that's done let's say just saving so now we can move on to actually separating these these layers okay before I continue I might just like this there are some things which you can add on to render layers you can add overrides but this geometry here here and here so my ground plane and my shadowing walls because of the plane if you remember we don't we put some of these objects in like the ground and the wall just for shadows but we don't actually want them in the render so before I continue I might as well turn them off essentially so what I want to do is hide them but keep the shadowing so I can go to render stats so click on this object and click primary visibility so as you can see the object is still casting shadows receiving shadows visible in reflections and refractions this will come up later so if you think about it this is gray this slipped crap but it's going to be visible in reflections and refractions and this object down here it's very shiny so I hope that applies for here as well if we have a lot of objects that we need to change primary visibility on then there's another way we could do that we go to Windows general editors and think it's attribute spreadsheet let's take a look I'm gonna select another wall as you can see I get all these different inputs and it would be in the geometry tab so I was lying it would be in the render tab primary verse okay so it's there I could just tap that and press 0 if you've got a whole list of objects you just click on the top word and then type 0 and you'll change your on maths I think you can also add subdivisions for rendering this way in if the and Arnold tabs there yep somewhere subdiv iterations cool yeah anyway there's something to keep to be aware of so I've turned this off so now so you can see what I'm doing I'm gonna quickly do another render many unbearable hours ladle okay so my render is just finished so if I took before and after you can see my walls are now gone which is brilliant but I have forgotten to do to turn off my plate so my camera for the line up the layout so when I go to alpha it's just pure white which is not useful so I just need to change that so if you need to do that yourself you could just select your camera so I'm viewing through my Randy camp so I can go to view select camera scroll to my my plate so rename your files and Oh actually I've got two in there that's bad shouldn't do that so I'll go to the one this this one is actually turned off this was one I added before the recording display mode turned to none so when I'm not gonna rerender it but just take my word for it it won't be there have faith okay I'm gonna get out the camera view because now I want to separate these it and these layers so we go to Windows render settings render setup so now we will put in our render layers here so what we will do first is these objects in the front week we can create a new render layer sorry I should do that I'll just call this foreground so for the front objects now we need to add things to it so I'm going to right-click go to create collection so I can call it foreground geo and then I could select all these objects and Drakon and drag and drop I'm just going to select them because there's only a few then click add cool um what else so when I go to view you now see we have this on its own the thing is I need to add in other objects for any sort of reflections and lights bill because if I render this now let's take a look actually it's gonna look different and we don't want it to look different needs to look the same but just be separated so so now we're missing a lot you can see how the lights changing I felt the lighting probably looks cooler on this particular asset but it's not in a good way because they're different so that's a problem so we need to now add in other objects to effect to effect these particular assets so this wall in fact it's primarily looking at the scene I think we just need this wall and the floor because the reflections of the tank it so this is really shiny tankard so it's going to be reflecting the floor the HDR and anything around it will possibly be reflecting this ground as well but we're not going to see it from that side so what I'm going to do is create another collection actually I don't want to put it there that was a collection inside a collection so I'm gonna right click on here do a great collection mmm let's call this show actually Prime Affairs objects just so I know what I'm going to what they're being used for so I'm gonna select these assets and add them into this group now they already have primary visibility turned off so when I render this it should look fine but let's say I want to add in this its ground so I'll do maybe I'll do that as an example so I've selected that add that so when I render this these walls I predict will be invisible and then we won't have that so it's in a separate collection but it's still going to be rendered we haven't told Mayer to turn it off sorry to hide it we don't want it we would like it to be in the reflection zone okay so this is the render that came out so this was up before and then the after so with this grounding you see we also have this light this fire light affecting the ground and because we wanted this ground in for any potential reflections there which is fine but not only is the ground on but it's inheriting more of this light than it was previously if I compare it to what it should look like it should look like that so would probably we took like if we wanted this to be all correct with the lighting actually because I know this light should not be affecting the scene as much if I go back to this under here there's a bit of yellow light and I know that this should not be spilling out into this the foreground objects because I know this and I know that my renders shouldn't look like this I'm going to turn off primary visibility on this object this ground and then also create a layer override to turn this light off or to reduce its intensity so I'm going to jump back to the render settings render setup in fact so primary visibility objects so I lit in the tiles concrete now I'm just gonna select the tiles concrete because these are the objects that I want primary visibility turned off then I can go to just any one of the objects go to the attribute spreadsheet and as you can see here it says drag attributes from attribute editor so we can drag that across and now the color has changed to be orange so now we can turn off primary visibility so when I rerender the stones on the floor should not be there do is with my foreground layer visible go to windows friend editors and light editor so now we have the list of lights in scene and we can then turn it off here so we can do create absolute override for visible layer you see it's created this so now we could turn that light off so when I go here actually self enabled let's do a test render to see what's up of that I need to lay down cool so now we've removed that light as well so we have so that's this look oops so yeah before and after essentially foreground and then the original beauty render so something to consider we're getting some other shadowing from here but for this example I'm gonna leave her but you can see there is a difference we're getting some shadowing from another part I believe it's there's another wall out of camera shot but there's nothing on it and so it's giving us this what looks like black highlighted reflection so I just need to add that extra wall into my primary fist layer that I created so you can see there's no there's nothing here but there's if I changed to my other render layer my primary one you see that will successful that is causing a weird what's not weird but we should probably need we need that in so I should add that believer for the moment and so let's create another render layer for the blacksmith room cool down that Creek collection so we need to add the objects then at the Prometheus layers so this is where organization comes into and like is this stuff grouped or is it not let's take a look no it's not brilliant okay so the stuff that is visible to camera we want to add to this first collection so this wall okay great so I'm just going to quickly add this stuff and then okay so as people might have guessed the render the base renderer after adding the objects in because there's nothing creating shadows we just get that so something to be aware of like as you're creating these layers you just want to be careful do it slowly so putting the objects do a test render just so I can see right these are the objects that I know are going to render for this layer then once you've done that adds the next collection so in this case for the blacksmith room going to create my prime of this layer you call it whatever you want but I'm just want to add everything that will contribute reflections or shadows that sort of thing so these walls it's mainly just going to be these walls maybe they're ground plane terms of reflections we've got an anvil in there which has reflections if I scaled up this ground plane I would also add this in because at some point I'm gonna need to put a texture on this ground plane because it's reflecting these tankards pretty shiny anyway let's just double check okay so I've selected that have I selected the black wall the back wall yep okay so I add these in some of these objects have primary Poisson something do not I think yeah okay two of them don't so in my primary of this collection I just went to any of the objects and went to primary viz middle mouse dragged and dropped then I go to this absolute over absolute override and turn it off there so now when i re-render i might as well do another rerender let's take a look I'm not yeah I need to go back to viewing that layer so you will have to keep swapping between well we could we can actually check before I render like okay so what is this layer taking into consideration so we've got the walls in there so should be a quick render if I render it without adding a cut do update for scene I did hit snapshot as well but not in enough time so what have been good to compare before and after I guess it's looking fine I think actually there's a lot of light so that should be coming from the doorway yes the wooden planks it's kind of cool though like getting these window lights in there we didn't have the planks of wood there that would probably be more interesting so we have the lights off so we need to turn on the fire light and at the planks just go back to our render setup so I'm gonna change the render layer because my scenes unorganized I need to keep jumping back to this beauty Rendell a master render lens right that's what it's called and go to my primary fix collection add these planks and what else was it let's just take a look at my render set out the planks and turn on the line that's what I was yeah so I'm gonna snake the save a snapshot this time where's my light editor so with that open and with my blacksmith room selected can I right-click it yes I can or I see if I can middle mouse I think there's two ways you could do it so I could right-click on to this or is it the collection right-click any way I could just right-click it create absolute override physical layer so now it creates a collection of the likes self enabled to go on and this turns red this I because you need to press it to run run through an update so now you can see in my light editor the text is now turned orange and it's got a tick before we had this render setup that sound that's a way you would do it previously there was another I think I think you could still do it and the legacy Maya render layers but every all your render layers used to be in this bottom right hand side so I think you can still do it that way if if you're someone that used Maya a long time ago okay so I we might as well do another quick test render have I saved yep looming sneak out okay so that's rear-ended and comparing to the beauty it's pretty much the same that slight difference mainly see the noise moving but any other slight difference could just be from you know slight light bounces from other objects we have not added so possibly the tankards because they're not they're not being affected they're not being added they're not being used in primary affairs or anything like that so they could be reflecting into here but the difference is so mind you that I don't I don't worry care about did I snapshot oh yeah so that was the before and after so we added the windows in and turned on the light so now we get all that noise how wonderful but looking at the plates we're only gonna see like this chunk so all these walls on the right hand side we don't we don't actually care about great so now the background let's do the same same but different so I'm gonna swap back to my master master layer yeah I'm just gonna drag all of this I would probably advise to break these things up more but I'm just gonna separate this into one chunk but you could you know have this think if I was using this for more of as a natural serious project I would at least consider separating the gate so the gate on a layer the barn on a layer then this environment this pathway may be that lump in the background on a separate layer so I guess like three extra layers for the back just so you can have everything nice and separated okay so I've selected these objects I think that's all fine so create a new renderer just call it background crew sorry background layer right click create collection add the objects rename the collection backgrounds collection so I've got those in and you can guess what we're going to do next adds another collection of promises can't spell there's no the shadow objects which is probably just gonna be these main walls I'm just gonna add or else I think it should just be these walls well we're gonna do a test render anyway so I'll just select the walls I think are going to affect this area the most so just three walls and needs just drag-and-drop primary there's from one of them to go to my HP editor drag-and-drop I was already turned off because it was turned off in the object that I happened to select so when I changed the visibility to my background layer this is what's in the scene so I could probably do a test render can I open up the light editor and just just check if that fire light is turned on or off so it's turned off I think when I made that initial adjustment to disable it I might have done that on the master learn so that's just something to be aware of she wants to make sure you're on there when you turn off or on a light you want to make sure you're on that particular layer because I must have been on the master layer and then right clicked and gone to create absolute override for visible layer and turned it off for that for the master layer which then has as an effect with all these other layers cool so I'm gonna just test render and see how the background layer is looking the next morning so this is the render and as you could see I've got these dots here which that was my bad that's why it's good to do these test renders these are the bolts or rivets whatever from from the wood planks so I just need to select them and then remove from my primary first group at will they know actually their shapes [Music] why is this called screws maybe I put it into my background collection so that's why it would be ideal if everything was grouped so this is what you will experience if you don't group things properly so we could have grouped everything prior into you know like the background areas and then it would just make this even though the process isn't that slow if your scene that's very complicated then it's gonna go on for quite a while okay so the aside from that I think the render was looking fine let's take a look again yeah I removed that let's compare the shadows to the master layer there's no difference so our weight is there very very slight if you look at the light changing but that could also be that could also be related to the I'm not sure if the image plane in the scene was having an impact on the lighting so that but that's something to make note of as well okay so we've got that we've got these separate render layers and what else oh yeah something to keep in mind in the render editors so we have these air V's so we've got six and then we turned on light groups for these two so that's six and then and then these each of these is going to have three so there's gonna be nine so plus six or 15 so we've got 15 render layers for the master and all of these render layers are going to be applied to these so if you think about it we've got six and then we added the light groups so we added another 9 because there's going to be three passes for each of these so 15 and then for each of these layers because it has to calculate the beauty before it can calculate the other layers so 15 and then 15 and then 15 and 15 so think about the render time as well it's just going to be yeah it's gonna cost gonna costume so that's something to keep in mind okay so what we'll do so we'll cook all these layers on separate ones we can we can create extra layers for you know ideas and things like that in our ARVs we do have I realized I didn't actually add we've got these crypto passes these are essentially IDs so you've got the object one material so these will create passes and assign a separate flat color related to the past so crypto object every object will have a separate specific color and then in nuke you can use crypto it's a crypto ID node or something like that crypto material that will get the shaders you know an asset that would be I think that's related to the UVs I haven't used that in a while there is another way if you want to create custom IDs or I should call it the old way of doing it so if we create a new render layer so let's look at other passes we can make so if we want to add fake shadows on top of our scene we could create an ambient occlusion pass so I'm just going to select all the objects in the scene apart from the background this was the background plane that's meant for the depth of field sort of select all the objects and create a new kinda layer so create collection this collection will be called a object I need to I've deleted this side panel so I just need to reset my workspace then go back to render settings cool so now we have this goddammit I didn't know she had the objects I created a empty collection I'm gonna add these objects in change to this render layer so this is what we all have in the render and now what I need to do is add a shader override so let's go - I think it's right-click oh yeah right-click on the collection you've got create shader override so we can hit that and then we can add in the shader so it's going to assign this to that collection so in in Arnolds I'm going to go to ambient occlusion and it's gonna render six-and-a-half hours later so now that's rendered you can see I've got my ambient occlusion I would say we need to look at the walls so these walls I turned off primary visibility on my master layer which is probably not a great idea because now for every layer if on them on then I need to manually turn them back on rather than the other way where it'll be better just to turn them off so to do that I now need to put now need to go to my my render setup let's go to my objects because I want all these objects to be seen I could just add to Prometheus to my whole collection because it's fine I just want to turn these objects on so I've just dragged and dropped it just from a random object in there and I'll turn it on so now when i rerender should be all fine it's the reason for that is we actually although this wall is not going to be in the render ambient occlusion is just calculate it by other objects you know the distance of other objects it craves shadowing so if I zoomed in on let's say these planks it's gonna be a slight yeah although the most obvious bit of shadow is spilling onto the wall but there will be a bit more shadow on the object yeah that's just something to be aware of okay so now we've got the ambient occlusion so we could just merge and slightly multiply that onto a comp what else so I do so let's say let's say we just want to edit edit this object on its own this these planks so we could actually create a separate ID pass before this but you've got you do have a crypto object and but if you want an even more even more basic pass to separate these objects with we could just create a pass for this on its own so I'm going to create a new render layer just call-outs which I'll call it ID so if we wanted this these planks on their own we could create a separate render layer create a collection and then just put these in and render them light so it's very basic and then we could just drop it straight into comp user because then we'd have a pure black and white image actually because this objects on its own we won't even need to put a new shader on our anything because it's separated so you can use the Alpha but we can create an ID pass so let's say we want a few different objects and we want them separate it on their own so I'm just gonna pick some random objects so let's do let's do these planks create a collection we're gonna call this planks underscore red so we're gonna for this idea we're gonna use pure colors so red green and blue to give it to comp so then they can let's say for some reason they want to specifically alter these three objects and they're not happy with all these crypto passes we've given to them so we can create an ID this way it's going to make sure these bolts are in there as well screws whatever so they're in there great then I would create shade over right there are other ways to do this that's just how I would do so what I want to do is add a shader just a very flat one to a surface shader I'm going to name this surface shader red ID in the out color you see we've got these pure primary colors up there I'm gonna hit the red so when I render this cool render come on at the moment we've only got this object in them so we'd already half an hour for forum so when we go to alpha there's already white so we don't necessarily need the ID but now we have a flat pure separate object in fact on the right hand side you can see I added another object so that was my error don't even know what that is some more screws there are screws on the far right hand of the screen okay I'm going to change back to view my master layer and just add in a few other random objects so let's create another collection and let's say we want to separate this wall so I add in the wall because cool it's wall underscore back that old background or actually I'm going to add the color into the collection name blue so I've got the brick wall in there now I need to add the shader create shade override let's go surface substrate rename it so now blue ID go to out color blue cool that's fine and now do the same with to make it more interesting let's do the blacksmith around this old blacksmith underscore green so I'm gonna make all this blacksmith from green because this is just for an example I'm just sloppily grabbing everything pretty much it's a back form and all of this because it's flat shadow we probably only needed to grab two of these walls if we were trying to create a gnat for the just for the players add it all those objects in fact I added this and I shouldn't have I'm just going to delete that object it's very pointless okay so created the collection of the blacksmith room now same same again shade override crate go to Maya surface shader rename it green by doing great now when we render this we should have a very colorful render okay so you can now see that we have these IDs it could be useful it seems I guess nowadays with the crypto amount this seems a bit like an old school way of doing it however the screws in the word were separated so if we created a crypto object we would still get two separate colors if we created a crypto material they have it's probably more work for comp because if you've got so many things in your scene these crypto materials sorry these crypto render passes will create so many separate things so creating something like this might be requesters and it's pretty quick the only thing I should mention is I was actually adding shader override it should be material the shader override over I did everything even though I played so the green one the shade arrived shada override Iver I did every object the lower which I didn't expect to be honest so with your collections if you're creating an ID I would say just right-click on the collection and go to create material override and then just add in your shade of there's the same process so in fact is shader override I could just delete that and I've got my material override with my surface shader in there which that just says the surface shader group name but that it's actually the red surface shader as you can see there - there's red and because these the pure colors then comp can actually isolate them very very easily so yeah that's pretty much it okay for just before you send off anything to batch render we just need to remember that on our master there when we were looking at the different ARVs so we created these air V's or render passes and we so we have four five six got six but let's say we don't need them so in our render layers like we don't need to render the beauty anymore or the master sorry we've got the foreground we've got the blacksmith room which I guess would be like the mid-ground and then the background so we want we probably want all these on there but it's going to create a lot of passes so so we wouldn't need the said for these passes actually so what we can do if we want to turn off particular passes so that the z-depth we could actually create a separate pass for that and we could just render it black because we just want that particular information but let's say we want to turn it off for a for these passes let's say so we can go to our render settings these with this layer visible we can right-click on the tick box and go create absolute override for visible and I said actually where is that okay now it's out of that I'll add it to whoops oh sorry interest added it there into this arrow these group so I could delete one of them and then I could just turn it off so I just want to be you just want to be aware as you're creating a layer you might want to turn these off maybe when you first create the layer so we've got this ambi and one that's ambient occlusion I don't need so I changed my visibility to go to this layer and you can see this tick turns back on so for this ambient occlusion I just need the beauty so I could just right click on all of these and turn them all off that's just to avoid rendering unnecessary things because they will add more time we just want to be very careful especially because we have the light groups turned on for three of these passes so these three speculoos are going to also render three separate renders themselves because you've got the beauty which is all the lights combined then the firelight and then the HDR so for the so that's why we need to turn off the Ziegler I could probably remove that actually but yeah that's something to be aware of just remove any a of these you don't need for different passes for rendering I should just add that so you could turn off your master beauty just make sure you've set the mount frames you want in your render settings and that you've got the change this to name number and then extension and that you have your render camera and the correct resolution setup to keep in mind if there's something you know if you need to see results fast then you can every single setting in the render settings you can add an override so if you want to see a quick dirty render then so by default any if you're viewing in the master layer and you change this light to ten so that's going to apply for everything but if you add if you're on a render layer so I'm on foreground and you know let's say because this is the background I it could be crap looking so or not crap looking but we don't need all the samples so let's say the foreground let's let's say it's really shiny so we need more samples so much like we were doing for everything else but you would add absolute override for visible layer and then change it so any of these settings within here you know the AOA of these if you want more you can add more and then you've got to turn them on and off for different layers so I'm just making you aware that anything you see you could just turn on so that if I want motion blur on just some of these layers you know I could do that although for motion blur yeah I would say that's the sort of thing where you want to on or off completely that sort of thing but yeah when it comes to rendering in the past or depending on if you're using a different renderer you hold down spacebar go to render when I used to have a different renderer called mental ray we would do batch render and then we would be able to open up the script editor and the you are frames kind of like a loading bar unfortunately this does not work so when you do you're working from home you back you want to render and you hit that render it'll just come up with an error in fact I'll see what it does now so when it comes to rendering you can go to the rendering tab go render and then batch render here and it will load your settings from the render setup as well as the general render settings tab and it'll start rendering your sequence and then you can load up the script editor you can see here the windows general editors script editor and you can kind of you can see what's going on if there any errors they will pop up that's telling you exactly what the computer is doing I've noticed I didn't set my project so this is being saved in the incorrect place to set a project you go file set project and pick the folder that you want save it so I would I was saving to a folder of my desktop so ideally before you even do that when you're creating a project you would go to your create project window yeah new pick a location and then you get all these pre pre-made folders once you do that then you go file set and that will overwrite there's a small Mel script in there it will overwrite that so when you do stuff like that's rendering by default it should look in the images sequences which is where this is going if you want to cancel a render you just go to the render tab the council that's render if your batch render does not work I'm surprised it was working today because previous projects I was getting an error I can't even remember what it was so I was under the belief that I couldn't batch render with Arnold on my home setup so instead I was doing a sequence render because I get the same results from it but I believe the sequence render takes a little bit more time because it renders each frame in a small window also you can't really monitor as well but if you want sequence render you know same rules apply you know it pulls your render setup information and render settings and then you turn on all render layered render enabled layers you pick your location so it won't look for location so it's kind of good if you want to do it that way and when you hit render and close it will pop up another window and as I just said it will be a bit slower as well so ideally you would just batch render things if you can if you can't this is like your backup solution I think I used this as another workaround for I was getting I can't remember if it was a different renderer but I was guessing watermark on actually that was a okay yeah in the past I used to render sequence because I think my renderer whatever renderer I was using at the time it might have been Arnold might not been it was not properly licensed or it thought this was the installation was broken so when I was doing a batch render it was giving me watermarks so using render sequence actually gets around that because it was Mannie it's it was rendering each single frame and saving it whereas I think I guess the process for doing a batch render is different so I'm gonna check the frame that's just come out from this batch render and if that is if I get the watermark issue then I can just render the sequence this way [Applause]

Channel: Raycast

Views: 3,193

Rating: 5 out of 5

Keywords: tutorial, animation, 3d, vfx, visual, effects, learning, substance, painter, maya, nuke, film, tv, painting, keyframe, raycast, fx, greenscreen, comp, render, arnold, autodesk, mantra, houdini, modeling, modelling, texturing, sculpt, sculpting, rendering, compositing, cgi, commercials, 3danimation, uv, unwrapping, boolean, bevel, gobo, edge, loop, extrude, effect, texture, games, design, graphics, making, after, motion, pftrack, 3de, equalizer, 2015, 2020, free, training, flipped, normals, pluralsight, digital, tutors, gnomon, legacy, camera, c4d, corridor

Id: UYhUNX6NakI

Length: 71min 17sec (4277 seconds)

Published: Thu May 14 2020