[flow_default] Transcription: 02. Render Passes I.json

transcriptions/02. Render Passes I.json

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+{
+  "audio_file": "02. Render Passes I.wav",
+  "text": "In this video, we are going to discuss render passes and how you can use them to enhance your image. So to preview the render passes, you already know about the CryptoMet, but here you can see our node looks much more complex and we have all of those different inputs. We can enable them the same way as CryptoMet. So we go to the passes here, light, and you can see I've included all of those render passes in my rendering. We don't have to do this, but I just want you to know how some of them look like. Here within the data, we also have separate, a bit different render passes, but I'm not gonna discuss them. These are way more advanced and we don't need them for regular architectural visualization. So what are those render passes? Well, each one of them includes a set of specific information about our rendering. Let's say the shadow pass consists the color information about the shadows cast by the lights in our scene. The diffuse direct pass, for example, if we zoom in, you can see this shorter name, Diff Deer, includes information about the shadows plus the light that was cast by the lamps to our scene. So you can see those highlights plus the shadows. Diffuse Indirect tells us about the light bounced around the scene. The Glossy Direct, well, this is a pretty interesting pass. It gives us information about the light being reflected, but it's a direct light reflection. So those white highlights you can see here and here. This is the actual light source being visible in the reflection. But here, for example, the glossy indirect gives us information about the environment reflected in the material. So for example, you can see the table reflections here in the concrete floor, the refrigerator reflection, but you don't get much of this highlight being visible in this past. So these are actually two passes that I'm using most often. And in the further part of this video, I will show you how to extract those passes from Blender and how to combine them in Photoshop. Before we do that, similar as with the CryptoMet, if we restart Blender right now, we will lose all of this result and we would have to re-render the image to have access to all of those passes. So in order to avoid that, we simply have to save our image as an OpenXR file. So let's go to the render output, press Shift S, go to the PNG, sorry, go to the file format, choose OpenXR multi-layer, not the regular one, and let's just save our file. So right now, if we open a new Blender instance, we can just import the file there and we will have access to all of the render passes again. So let's open a fresh blender file, go straight to the compositing, enable notes, press shift A, input and let's choose an image and let's find the rendering we just saved. Once you load the rendering, in case you're not seeing the render passes, simply click here and choose view layer. So now we can see the whole set from the original blend file. Let's just reconnect those inputs and let's add a viewer viewer yes output node. Reconnect our main image and go to the full screen. The first render pass we want to extract is the shadow one and you can already see we have those pitch black areas within this. So this is not desirable and we would like to get rid of them. And this is where the Cryptomet pass has become super handy because we can simply point click out of those areas from our results. So let's add a Cryptomet pass here. Let's connect the input. So shadow here as an image. Cryptomet 0, 1 and 2. Let's now copy this viewer node, see the preview and let's now see the pic. So I'm gonna click this eyedropper, select this glass surface here. Now this material and these two materials. Let's quickly see the result right now. So you can see the result we have is inverted. Let's add a color and invert node here. Let's connect the matte as color. And yeah, let's reconnect color as alpha. So we want to use this matte input here as an alpha channel. As you can see, this is what we are getting. So we have to invert the results using this node. And yeah, this is our output. So you still, we can still see we need to include those bulbs plus this window element plus those spot lamps. So let's now do this. Let's actually copy this viewer node, reconnect it here and let's enhance our selection. So I'm adding those two areas and these two materials. I'm pressing old V to zoom in and Alt middle mouse button to pan around. So let's also add this circle and now when we preview the area I think we've included everything. Let's double check that. Yeah, so I can see this transparency. Yeah, so basically that's it as for the shadow pass, sorry that the image jumps like that, but I'm trying to zoom out. So yeah, you can see this is our shadow pass output. Now, if we want to save it as an image, let's exit the full screen view, let's go to the rendering here. And as a render result, let's choose the viewer node. So every viewer node you have selected within the compositor instantly becomes the render output. So I'm going to press Shift S and save this output as we can use 8 or 16 bits. Let's use 16 and save it as a shadow pass. Now the other render pass I would like to extrude from the image is the ambient occlusion and here even though we don't have this glass material areas black I would still like to exclude them from this pass because we don't need let's say this shadow on our glass so I can probably just reconnect it to this Cryptometh note set that we already had and yeah when I click on the viewer node you can see the the but we will exclude them from our rendering using a special mix method. What I really don't like is this white square here, which is an area lamp visible. So it would be great if we could disable just the windows from this render pass. Let me reconnect it and let's see the mask. So you can see we actually just need this area to be transparent. Let's then remove everything from the CryptoMet. Let's switch to the preview here and only add this material. So right now you can see, oops, I think we have to, the glossy, oh yeah, sorry, we have the direct pass connected here, my mistake. So right now, this is the glossy direct pass. Let's also save it. And the final fourth render pass that I'm gonna need is glossy indirect. So if we look at it, what I find interesting about this render pass are those interior reflections within this glass surface plus the reflections we have here. I'm still wondering if maybe we could improve the reflections on the concrete surface, so let's also add it to our selection. I'm gonna include the glossy indirect here. Let's check out the preview. Well, that's definitely way too many elements. So let's remove everything and let's add a floor, this glass and the windows. So now, yeah, you can see we have an inverse. Let's check, let's change the slider here. As you can see, we can now have the direct matte input. So anyways this is our fourth render pass. Let's save it and jump into Photoshop.",
+  "language": "en",
+  "confidence": null,
+  "duration": 614.3
+}