[flow_default] Transcription: 02 - To Blur, or Not To Blur.json

transcriptions/02 - To Blur, or Not To Blur.json

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+{
+  "audio_file": "02 - To Blur, or Not To Blur.wav",
+  "text": "Hey there, welcome to this quick bonus video about depth of field and motion blur. Now something you need to understand about these two things as far as it comes to in Cinema 4D is that while you can render out all of those blur effects, the main problem is, is the render time. It is extremely render, taxing, render expensive as they say, to render out blur effects like motion blur and depth of field. Now, you can see this little render right here for a single frame, and this wasn't even full HD. This was 720p. It took two minutes, meaning that if we rendered this out at full HD, So the blurring from motion blur or depth of field into your render. Number one, it's very render intensive. It takes a long time to render those blur effects. Number two, once you bake those blur effects into your render, that's it, Danzo. You are committed to those, you're committed to the high render time, but you're also committed to that blur level that you then rendered out with. Now if you send that render to a client and you figure out that the client's like, ah, there's too much blur, or maybe there's not enough blur, guess what? Gotta go back and re-render everything all over again. And one of the main takeaways as we get into talking about rendering is you want to check twice, render once. You don't want to be in a situation where you render something and you have to go back and re-render. When you render that one time, you want to make sure you allow for maximum flexibility when it comes to compositing time inside of After Effects. So one of the little things that's changing as the proliferation of third party renders is getting more and more popular, and I talked with Chad Ashley about it in one of the podcasts, one of the main benefits is the speed. And as technology and computing gets more and more advanced and faster and faster, the processing power is much faster. Things like blur in camera and you know rendering out from Cinema 4D is going to be less and less of an issue. Now just want to compare this is the same scene rendered with Octane which is a third-party renderer and I have a single GPU. It's not the best on the market. It's connected to my Mac Pro that is the we got the blur in the background. Actually, the blur looks much nicer in Octane. Now, if you have a souped up PC, guess what? It's gonna be even faster than this. So rendering with those blur effects is less and less of an issue as you start going down the path of third-party renders. But if you're not quite ready to make that commitment yet, and I do not blame you, I mean, I just got on the whole third-party renderer train just six months ago or so. But that's kind of the thing is when you're rendering without 10 GPUs or anything where you can afford to bake in the really nice blurs, you're gonna have to be more efficient, you're gonna have to be more flexible, you're gonna have to basically render out those effects as passes. And that's something that we're gonna get into but basically what that does is allows you to render out basically almost like mats and in Information in these rendered passes that hold all of say the motion blur information or a mat that holds all the depth of field information that kind of looks like a, you know, like a foggy map pass. And what you can then do with those passes is bring them into After Effects and use some effects or tools inside of After Effects to then blur and then you have full flexibility of adjusting how much blur is applied to your image. So those blurs aren't banked in, they're rendered as separate PNG sequences or different image passes and you use a couple very popular plugins for After Effects. One of them is FreshLift, which is fun to say, but basically it adds depth of field blur to your renders and it's based off of a black and white depth matte. And there's another thing called, another plugin called RealSmart Motion Blur. And this basically does the same thing as FreshLift only with a motion blur pass or a motion vector pass. Now if we go into Cinema 4D here, and let me just move this stuff out of the way. If I go into my render settings here, you can see that we actually have all these different passes here that actually added already but again we're going to get into this very very soon so don't be too overwhelmed by this but we have all these all of these little passes here that if you check them on and let's just go ahead and let's just I'll just render one of these for now and we'll actually see what these passes look like so here's my motion vector and here is my depth pass. Now if I go ahead and just you know render, let's do standard render and let me actually just make sure I'm not you know rendering any blur looks good and I'm just gonna render this out. Okay, and this is gonna render to my picture viewer here. I just go ahead render to picture viewer. Here we go and basically what you can see is in the layer passes here. There's my depth. If I go to a single pass, so here's my history that shows you all of the image passes. If I go to layer, you can actually see all the individual passes and what they look like. So if I click on the depth here, you can see that this is represented as a black and white matte. Now everything that is in white in this instance is going to be blurred out. You can also invert this as well with those After Effects plugins, the Fresh Lift. You can invert it so maybe everything in black is blurred out and everything in white is in sharp detail. Now we also have something called a motion vector which looks something like this. It's kind of green and then there's not a lot of movement going on in this scene just yet. So things that are moving would show up as almost like a heat signature map kind of thing where everything in orange would mean that it's in motion and that would be applied a certain kind of blur. So these depth and these motion vector passes do not take a long time to render at all because they're not actually calculating the blur. They're just rendering a matte. No blurring is occurring. That kind of rhyme, that's kind of fun. But basically that allows you to then use these images, use these passes that you render out, and use these very handy plugins for After Effects to then apply the blurrs in After Effects. So, wrapping everything up in a tiny little bow. When you're rendering from Cinema 4D, you want to render with the maximum a and it's gonna just render a lot faster. It's gonna allow you maximum flexibility. And then if you then render out all your passes, you apply the depth of field blur using this FreshLift plugin. There's also built-in plugins and After Effects that again, I'll cover very, very soon in the next lesson or so. And basically if your client's like, this is too much blur, too little blur, you can be like, okay, and you just adjust the slider on this plugin in After Effects and render it out again. So, main moral of the story is get into the mindset of making sure everything is rendered in separate little passes, okay? And we're gonna cover passes, so don't worry about it, but just a little PSA about trying to stay away from baking in blurs in all of your renders because they are very render intensive. They take a very long time to render. You can see those high render times and that's something you always want to stay away from. So don't blur, blur it in post, don't blur in Cinema 4D, blur it in post and we'll talk a lot about that later. We just want to put that out there so you know you've been warned. Alright? I'll see you in the next video.",
+  "language": "en",
+  "confidence": null,
+  "duration": 617.98
+}