Відео

Absolutely. Not only color grading, but you can export a multipass EXR containing every pass you want and composite in Nuke, Fusion or Natron for example :)

@@homspau Whew okay, I wasn't sure if using the compositor would affect an EXR port with all the color adjustments, but I'd imagine it'd just revert to Raw in the EXR Thinking that I'm possibly overthinking it, sorry about that, thanks for the feedback, the series has been awesome and really informative!

Glad it helps! Thank you!

I think there's a good case for - when making something more painterly - removing motion blur altogether. Or, if you're imitating some 2D animation/Comic book references, maybe using multiples or speed lines which could be painted or actual geometry instead of being comp based. That being said, if you want to stylize comp motion blur, you can either use the vector blur or distort nodes for that. When plugged into the vector input they will act in the direction of your object's movement. If you multiply this vector renderpass by some noise, you restrict it to the edges or do anything you want before plugging it into any node, it should give interesting results without flickering!

Hahahahaa muchas gracias!

It does! Thank you!

You mean the Rain example? I did some relighting there. I'm not planning to do a tutorial on comp relighting (yet!). The reason for that is that Blender won't support vector math for the compositor. There's some hacky ways to go around it but I don't think it's worth teaching such an inefficient workflow. But the moment this changes, I'll cover it for sure!

@ yes Rain, my bad🙃 By hacky you mean using view layers? If not, I would appreciate a lot if you can point where I can learn more about the re-light method used on the Rain

@dessguy7199 you mean the comp based rim light, right? Because the rest of the treatment is going to be covered in this video. For the normal based rim light I had to create my own "vector rotate" node out of float math nodes to rotate the normals. It's very cumbersome for such a basic function and that's why I won't make a video on it. Still, if you're very interested in this, DM me in any of my socials and I'll share some insights when I have a moment :)

What do you mean? My machine? I'm on Ubuntu with a 3090

@@homspau Yes machine.

Thank you!

I'm so glad to hear that! Thank you!

Glad to hear it helps! Thank you!

It is cool! It's especially useful if you're working on a short film and will reuse the same assets in multiple shots. Creating masks within the asset is tremendously useful and can save you a lot of time. The only thing that I can think of, and isn't really a limitation, is that if you want to make shot wide edits based on masks set by Shader AOVs every material would have to have those AOV output nodes in. In a scene with lots of materials and/or references, it can be painful to set up or update. That can be circumvented by creating a separate view layer with a material override, with a single material containing all the AOVs. This only works in Cycles, though. Thanks for the comment!

None that I can talk about! And using them in actual shots needs a bit more of care than what I show. If you do anything with these techniques, be sure to share it with me ;) Thank you!

Thank you!

It's just a distorted voronoi texture. I encourage you to look for anything online or paint your own in krita or elsewhere! You can plug anything to the bilateral :)

@@homspau THANK YOU!

I don't really think this is truly possible. Although compositing in Arcane isn't trivial, the reason why Arcane looks painted is because it is. It transcends compositing, basically. I recommend taking a look at this ua-cam.com/video/gG7ZoP3fd1w/v-deo.htmlsi=P1B1v2ayGv65W2aH Thanks for the comment!

Thank you!

Any chance in future on this topic?.

It's going to be cool!

Yay! I'm so glad to hear that!!

I'm so glad to hear that!

Thank you! Your comment is very encouraging!

Thank you! :)

Very clever solution! To truly fix this, the way to go are render layers (aka view layers in blender). This won't work in the viewport compositor, but separating the character, the set, and any objects that are in the foreground in different layers, Stylizing them and then comping all the layers on top of eachother should fix it. It's the proper way to do it

@@homspau I see, and it makes sense. I wonder if blender's "scenes" allows to link animations (like the camera movements, or positions of meshes) so that you can set up multiple combinations of visible assets to send into the compositor... I need to try this. Looking forward to the next part of the tutorial! ^^

@Dexter01992 That's exactly what view layers are for. Without the need of splitting your scene into multiple ones, you can create different view layers where different objects are visible/hidden. Plus, you can make any object/collection be invisible to camera but still visible to other objects (so it casts indirect light and shadows) and making them a holdout (so that when one object ocludes another, they matte eachother out). I encourage you to dig a bit in that direction. It really is the solution to what you're facing :)

Gràcies Sergi! Tot un honor! :)

Thank you! Cell shading in the way you describe it can also be achieved in comp rather than in materials. Both can work if done well. I like making these things in comp rather than in materials because tweaking the materials in every shot feels backwards to me. This being said, every technique has a place! No rights or wrongs.

Thank you so much!

Thank you!

Thank you!

Thank you Spencer! Means a lot!

Such a nice comment. You made my day! Thank you:)

Thank you! :)

Thank you!

Thank you! It's a cool trick! Glad it's useful :)