Making Giants Part 7: The Details

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Making Giants Part 7: The Details

So we are getting reeeaaally close to rendering out some frames.  But before we do that, we need to make sure that we are really happy with a few tiny details.  Small things, really.  You know, stuff like the animation, textures, lighting, camera settings, etc.  

Render responsibly people. The frames you save could be your own.

In this episode we go over the state of the cut, come up with a hit-list of tweaks to make, and then knock those out while setting up a bunch of different render passes.

We go into render settings and ways to knock your render times down while keeping quality high.

If you're working on your own Cinema 4D project, we HIGHLY recommend checking out Rebus Farm.  They have saved my bacon more than a few times and are very reasonably priced.

Every episode of Making Giants comes with the most up-to-date projects and assets so you can follow along or break apart anything that isn't covered in the videos. Just login to your free student account to download.
If you have any questions, click over to the Q&A tab to post them. Other students can answer you, and we'll put our team on the case to try and get you a solution ASAP.

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Rebus Farm: Render Farm Service - Just try it... it's a game-changer.

Quick Matte Pro - A great plugin from EJ Hassenfratz that would have saved us time and energy (had we used it) when setting up my Object Buffers.

    00:00:03,182(upbeat music)
    00:00:11,820- [Instructor] Time to hit Render,
    00:00:13,351go to the beach, come back, start signing autographs, right?
    00:00:17,104Yeah.
    00:00:18,350So this thing is feeling pretty good
    00:00:20,129but there are plenty of spots that could use some work.
    00:00:23,419What we need to do first is get all of the animation,
    00:00:26,202the textures, the lighting, and the layout,
    00:00:28,294just the way we want.
    00:00:29,910So, let's walk through the cut
    00:00:31,488and talk about what's working and what's not.
    00:00:34,606So first off, why don't we watch this piece one more time
    00:00:37,094and see where we're at.
    00:00:39,159(dramatic music)
    00:00:43,423Giants are not what we think they are,
    00:00:49,563the same qualities that appear to give them strength
    00:00:56,711are often the sources
    00:00:59,439of great weakness.
    00:01:05,013The powerful are not as powerful as they seem.
    00:01:11,306Nor the weak as weak.
    00:01:20,575Great, so cohesively,
    00:01:23,397I think it's holding together pretty well,
    00:01:24,857I think, you know, we've got the shots,
    00:01:26,859it tells the story we wanna tell,
    00:01:29,413the pacing is working and for the most part,
    00:01:31,882the animation is good,
    00:01:33,098but there are definitely some things that could be better.
    00:01:35,174So, let's just go shot by shot and talk about this,
    00:01:37,544so shot one, the way we start, I'm digging this, okay,
    00:01:42,241I like it up until this camera move,
    00:01:44,663it feels a little abrupt still,
    00:01:47,469I wanna smooth it out just a bit,
    00:01:49,205so that's one thing I'm gonna do.
    00:01:50,979Once we get to this final position,
    00:01:53,790one thing that's always bugged me
    00:01:55,084and I think I figured out a good solution is
    00:01:57,572you know, the way the ground is constructed,
    00:01:59,821we've got this low poly look,
    00:02:01,235there are some straight edges here, like this edge,
    00:02:04,115which is blocking the bottom of the plant,
    00:02:07,053creates a very hard straight line edge to the plant
    00:02:10,414and it looks unnatural and I wanna break that up,
    00:02:12,786I want that plant to feel like it's, you know,
    00:02:15,831kind of rooted in the ground
    00:02:17,375and right now it feels like someone took a razor blade
    00:02:19,323and cut the bottom off of it.
    00:02:21,219So, what I'm gonna do,
    00:02:23,513you may have noticed this but on this shot here
    00:02:25,502I added a bunch of little rocks,
    00:02:26,839I thought it would be,
    00:02:28,290I thought it might make this shot a little more interesting
    00:02:31,116'cause we're so close to the ground that, you know,
    00:02:33,540that it felt so flat, like there wasn't enough detail,
    00:02:36,278so I added a few of these little rocks, you know,
    00:02:38,208just really easily using the cloner,
    00:02:40,108and what I might do is hand place some of those
    00:02:45,013so that they break up that bottom edge,
    00:02:46,996so I could place it actually very close to the camera here,
    00:02:50,009maybe a little rock kinda here,
    00:02:51,757it'll be a little bit out of focus
    00:02:52,796but it's gonna break up that bottom edge
    00:02:54,946of that plant for us, okay?
    00:02:56,914And then, I might add a few other ones,
    00:02:59,207just kinda sprinkled throughout the scene,
    00:03:01,803just to give us a little more variation in the ground, okay?
    00:03:04,836So that's what I'm gonna do on the first shot.
    00:03:06,585Now on this shot,
    00:03:07,444I wanna do a little bit more
    00:03:09,849work to draw our eye right here,
    00:03:13,370and I think what I'm gonna do,
    00:03:14,672there's several things I'll do including
    00:03:17,116having some depth of field so that this building
    00:03:19,250is slightly out of focus, when we composite,
    00:03:21,327I'm gonna vignette this shot, you know,
    00:03:24,402so that this side is brighter so we kinda look there,
    00:03:27,282but another thing I could do is play with the density
    00:03:30,653of this frame, right,
    00:03:32,044and you know, density is basically just the amount
    00:03:34,739of information, you know,
    00:03:37,637in a spot-on screen, right,
    00:03:39,013and because we have the same texture
    00:03:41,348across this uniformly-lit ground plane,
    00:03:44,414the density is pretty much the same
    00:03:46,799all throughout this region,
    00:03:48,183so our eye, you know, kinda gets lost around here
    00:03:51,281and you know, there's several cues
    00:03:54,041to make your eye go here,
    00:03:55,129the building's pointed that way,
    00:03:56,272the shadow is pointed that way,
    00:03:57,485you have the flower, but it would be great
    00:03:59,559if we could do a little bit more,
    00:04:01,027and maybe adding some of those little rocks,
    00:04:03,088or maybe even some bigger ones that are
    00:04:04,530maybe boulders or something,
    00:04:06,328and placing them around this part of the frame
    00:04:10,090but not so much over here,
    00:04:11,490it's gonna draw our eye over there.
    00:04:14,010We could also do some things in compositing
    00:04:16,261to make it look like, you know,
    00:04:17,342maybe there's clouds or something,
    00:04:19,214or there's less light over here
    00:04:21,043than there is over here, but I think just adding
    00:04:22,807a little more detail, maybe even using our brush tool
    00:04:26,222and pulling up a few little mounds around here
    00:04:29,252just so that you have a flat area of the ground here
    00:04:32,352and then there could be mounds over here,
    00:04:34,026again, just another way of having more visual density
    00:04:36,877over here than you have over here,
    00:04:38,648drawing your eye there, all right?
    00:04:39,785So that's another thing we're gonna do.
    00:04:42,420Now, this shot's actually working pretty well for me,
    00:04:45,572I might play with the speed
    00:04:48,794that this face kind of opens up,
    00:04:51,125I might have it open up a little bit faster
    00:04:53,885and once we render it out,
    00:04:56,187in composite, what I'm gonna do,
    00:04:57,318is add some little particles that kind of come out of it,
    00:04:59,583almost like little seeds or pollen or something like that,
    00:05:03,229just so it's more like, you know,
    00:05:05,070you'll be able to sense that that flower
    00:05:07,069is kind of all of the sudden taking control
    00:05:09,361or it's about to do something,
    00:05:11,499it's giving you a hint that something
    00:05:13,262is about to happen, okay?
    00:05:15,768I may, I'll have to see how it looks,
    00:05:18,027but I really like how these little rocks look,
    00:05:20,695in this shot, I might add some, you know, back here.
    00:05:25,622Actually, frankly, now that I see it,
    00:05:27,409I probably won't because this shot
    00:05:29,021is gonna have shallow or depth of field
    00:05:30,794where the background is gonna be
    00:05:31,713a little bit out of focus anyway
    00:05:32,898so you're not gonna see those, all right?
    00:05:35,199This shot, one thing that always bothered me about it
    00:05:38,129was when the vines come out of the ground,
    00:05:39,977there's no like sign that they're coming through dirt
    00:05:43,085or anything like that, they just stick right through,
    00:05:45,400so what I might do is model a little mound of dirt
    00:05:49,008at the base of these
    00:05:50,611and animate it on as the vines animate on,
    00:05:53,021and I think that that will help,
    00:05:55,545it will help,
    00:05:56,671it will help it feel like the vines are actually
    00:05:58,681penetrating and pushing their way through,
    00:06:01,031it'll give them a little bit more impact,
    00:06:03,440and then there's gonna be some
    00:06:04,273nice depth of field on this shot and all that good stuff,
    00:06:06,599but other than that, the shot is working pretty well for me.
    00:06:09,597Whatever I do to this shot here,
    00:06:12,713I need to also do to this shot, right,
    00:06:14,448if I add boulders or I tweak the shape of the ground.
    00:06:18,247Another thing I wanna do though
    00:06:19,355is I want a little more variety in the speed of these vines,
    00:06:22,281they're all traveling at pretty much
    00:06:23,444the same speed right now,
    00:06:24,811so I'm gonna offset the keyframes a little bit,
    00:06:26,447have some go slower, some go faster,
    00:06:28,519I also want more leaves to show up,
    00:06:32,501you know, the leaves I've decided are gonna
    00:06:35,090actually have like a texture like this,
    00:06:36,822a little bit of a purple kind of fringe to 'em,
    00:06:39,629and I think that's gonna look really nice
    00:06:41,349against the green vines and I just wanna see more of them,
    00:06:43,460it's just more interesting.
    00:06:44,585I think I also want more leaves on this shot too
    00:06:46,730so I'm gonna have to tweak my particle emitter settings
    00:06:49,419to get more leaves to come out
    00:06:52,306and then, you know,
    00:06:53,139do the little mound of dirt thing, all right?
    00:06:55,530Then on this shot,
    00:06:56,969this shot's actually working fairly well for me already,
    00:07:00,993but what might be cool to take a look at
    00:07:03,061is to see what happens if I have more of these leaves
    00:07:06,351animate on because I really like
    00:07:08,828the way they look when they kinda flap open
    00:07:11,469and I kinda want it to be a little bit busier
    00:07:15,283at the bottom of the frame so it might be helpful
    00:07:18,281to have some more leaves, maybe even some more vines,
    00:07:21,123I don't wanna go too crazy but maybe a few more vines,
    00:07:23,830a few more leaves, just to make it feel
    00:07:25,328a little bit more like a swarm of vines,
    00:07:27,513but the way everything's moving,
    00:07:30,102you know, the pacing, the way they move around like that,
    00:07:32,572I'm lovin' all that.
    00:07:33,876This shot, I'm pretty happy with the way this vine setup
    00:07:37,626is looking but I'm not happy with these vines at all,
    00:07:39,981the ones that are on the floor,
    00:07:41,934I literally copied this whole setup
    00:07:45,757to this shot, the problem is, from really far away,
    00:07:48,763this works fine, but when you're close to it,
    00:07:50,933there's not enough detail.
    00:07:52,423You can see these really straight segments of the vines,
    00:07:55,949I need to add some more detail to the splines there,
    00:07:57,979I need to add some points, move 'em around
    00:07:59,574and get a little bit more
    00:08:01,267curvature and probably make them thinner,
    00:08:04,308so I gotta play with these,
    00:08:05,614they're not working for me very well yet,
    00:08:07,266so I'm gonna have to make that work,
    00:08:08,988and you can see I've already put a couple of rocks,
    00:08:11,178these tiny little rocks in this shot,
    00:08:13,364and I may add a few more, I may just add a few more
    00:08:15,486just to sprinkle around and make it feel nice.
    00:08:19,266And then this shot,
    00:08:21,675this shot I'm digging although I might
    00:08:23,844want some more leaves on these vines,
    00:08:25,718but the amount of vines I actually
    00:08:29,080am pretty happy with because it lets,
    00:08:32,540it makes it feel like there's just, you know,
    00:08:34,256by the time we get to the top, right,
    00:08:35,844there's a swarm at the bottom,
    00:08:37,989by the time we get to the top,
    00:08:39,439not all the vines have made it to the top
    00:08:41,052but we only see three that make it
    00:08:42,833but that's all you need for Mr. Flower to conquer.
    00:08:47,486All right, so I might add more leaves to that
    00:08:48,728and then one big thing I wanna do
    00:08:50,611is tweak the pose of this a little bit.
    00:08:53,294So I posed the flower when I modeled it
    00:08:56,345and I posed it based on this shot
    00:08:58,816where this is the shot where this flower needs to feel
    00:09:02,176small compared to the building,
    00:09:03,487it's cowering a little bit,
    00:09:04,620almost like it's bowing its head,
    00:09:06,173but at the end here, it's now the winner, right,
    00:09:09,318it is victorious and so I want it to look a little prouder
    00:09:12,393so I'm literally just gonna have that sheath
    00:09:14,727rotate up a little bit, almost like it's just looking up now
    00:09:18,038instead of looking down,
    00:09:20,447and I think that that's probably all I'm gonna need to do,
    00:09:23,221it's gonna be a simple tweak, we rigged it
    00:09:26,976in a way where it's gonna be easy to animate it like that.
    00:09:29,826And that's basically the tweaks we need to do, you know,
    00:09:32,082there's a lot of compositing that needs to happen,
    00:09:33,937there's some type animation,
    00:09:35,688there's still a lot of work to be done
    00:09:37,272but overall, we're in good shape,
    00:09:38,834we just have to get those final touches
    00:09:41,887on the animation and the layout and everything
    00:09:44,222so that we can send this thing off to the render form.
    00:09:48,447Now that we have a hitlist of tweaks to make,
    00:09:51,268I just went through each shot
    00:09:52,571and did whatever needed to be done,
    00:09:54,354tweaking settings, moving things around,
    00:09:57,032adjusting the shape of a vine here and there,
    00:09:59,980and then I went back and I really dialed in
    00:10:02,369the textures and the lighting.
    00:10:04,363The plant felt like it needed a little bit of love
    00:10:06,851to get it to pop more, you know,
    00:10:08,121it's the hero, it's supposed to stand out,
    00:10:10,172and I really like the saturation
    00:10:11,791that I was seeing in the vine so I wanted
    00:10:13,375to play that up some more in the actual flower,
    00:10:16,526and so I did a bunch of low-res test renders
    00:10:19,077to tweak the lighting and make sure
    00:10:21,006that everything that's supposed to pop does
    00:10:23,365and that shadows land where they're supposed to
    00:10:25,468and I'll definitely do more kind of fake lighting
    00:10:27,949in the composite but it's a good idea
    00:10:29,925to get as close as you can in 3D.
    00:10:34,459After knocking out the tweaks,
    00:10:36,301I did a new set of hardware renders
    00:10:38,455and I put the cut back together once again
    00:10:40,698for a last minute check
    00:10:42,174'cause soon we're gonna be setting this thing out to render
    00:10:44,217so I wanted to make sure that I liked what I saw.
    00:10:47,800(dramatic music)
    00:10:51,189Giants are not what we think they are,
    00:10:56,941the same qualities that appear to give them strength
    00:11:04,270are often the sources of great weakness.
    00:11:12,469The powerful are not as powerful as they seem.
    00:11:20,041Nor the weak as weak.
    00:11:34,361It's feeling good,
    00:11:36,008the last thing to do is prep everything to render.
    00:11:39,392So for the first bunch of shots
    00:11:41,035I'm gonna be using RebusFarm.
    00:11:43,269They're really great, really affordable,
    00:11:46,107and there's a plugin inside of Cinema 4D
    00:11:48,471to check all of your render settings
    00:11:50,068and textures for you and then it submits
    00:11:52,026the render right from inside Cinema 4D.
    00:11:54,749Your frames get rendered,
    00:11:55,643they get downloaded in the background,
    00:11:57,161back to your computer and you know,
    00:11:59,028using a cloud-based farm like this is
    00:12:01,774in my humble opinion,
    00:12:03,215the future of render farms, I highly recommend Rebus.
    00:12:07,468For the X-Particle shots though,
    00:12:09,277I'm probably just gonna render local because
    00:12:12,183as it turns out, I'm headed to NAB for a few days,
    00:12:14,774so I can render those on my machine
    00:12:16,636and that'll let me sleep a little easier
    00:12:18,810because I know there won't be any weird glitches
    00:12:21,395caused by enormous 1.5 gigabyte
    00:12:24,514particle caches uploading to RebusFarm.
    00:12:27,920Before I submit though,
    00:12:29,442I need to make sure every single
    00:12:31,439particle animation is cached,
    00:12:33,184I need to make sure my render settings
    00:12:34,818are dialed in correctly,
    00:12:36,533and I usually like to render a bunch of passes
    00:12:38,846so I can totally tweak the look to death and composite.
    00:12:42,086So, I'm gonna take my most complex shot, like shot seven,
    00:12:44,994which has every single thing in the film in one frame,
    00:12:48,892and I'll get my compositing tags
    00:12:50,390and multipass settings all dialed in.
    00:12:54,388So we're gonna work with shot seven
    00:12:55,639because I think is pretty representative of, you know,
    00:12:58,583the kinda challenges we're gonna face, so,
    00:13:01,243some shots are gonna have depth of field,
    00:13:03,490some shots are gonna have motion blur and
    00:13:06,309what I'd like to do,
    00:13:08,622when possible, is render both of those
    00:13:11,370in the 3D render using the physical renderer, okay?
    00:13:14,280So, first thing we need to do
    00:13:16,284is turn on depth of field in the physical render, all right,
    00:13:19,328so you just add the checkbox and now depth of field is on,
    00:13:21,873and now depth of field
    00:13:24,084actually reacts to the focus distance of the camera.
    00:13:28,991So, what I do sometimes,
    00:13:31,061and I was messing around with this at some point
    00:13:33,595during the making of this,
    00:13:34,914what I like to do is I make a null object,
    00:13:37,299I just call it FOCUS,
    00:13:38,334and then I drag that null object
    00:13:40,521into the Focus Object little property down here
    00:13:45,396on the camera and I did that on all three cameras
    00:13:47,523since this is a camera morph tag setup,
    00:13:51,215just to be safe, I plugged that FOCUS null into all of them
    00:13:54,814and then that null is basically right there
    00:13:57,365on the face of the building so that's what we're focused on.
    00:14:00,051Now, the other property you need to worry about
    00:14:03,371is in the Physical tab of your camera, is the F-Stop,
    00:14:05,943all right, so the default F-Stop,
    00:14:08,697I believe is F8, all right,
    00:14:10,213that's what cameras come in at.
    00:14:12,107Now, we're gonna have ambient occlusion,
    00:14:14,407we're gonna have global illumination
    00:14:15,910in our final render settings,
    00:14:17,008however, when you're just testing depth of field,
    00:14:20,314you wanna leave those off.
    00:14:21,868I'm gonna hit Option R
    00:14:24,499to turn on our Interactive Render Region
    00:14:27,154and I'm just gonna make a little window like this
    00:14:30,371and let it render out,
    00:14:31,807and let's see,
    00:14:34,304all right, so,
    00:14:35,755you could see that something is not behaving properly here,
    00:14:38,820right, you're getting like,
    00:14:40,074everything's way out of focus,
    00:14:42,839nothing looks right, so let's troubleshoot this, okay?
    00:14:45,921So you've got camera one,
    00:14:48,359and oh, I know what I did.
    00:14:50,007I turned the F-Stop way down by accident.
    00:14:53,267That's how important that F-Stop is, all right,
    00:14:55,366let's try that again.
    00:14:58,407And what we're looking for is building in focus,
    00:15:03,210plant slightly out of focus.
    00:15:04,668Now, it's hard to tell
    00:15:07,332with, you know, the Interactive Render Region,
    00:15:09,585sometimes it's a very low quality render.
    00:15:13,042You can actually grab this little arrow
    00:15:14,364and crank it all the way to the top
    00:15:15,507and then it's pretty much a full render,
    00:15:18,679and once it's done,
    00:15:20,902it'll give us a pretty good idea
    00:15:23,258of how blurry this is
    00:15:24,390and this is way too out of focus for me.
    00:15:27,029So that's why I increase the F-Stop,
    00:15:29,022I think I had it at 14
    00:15:30,613but let's just go ahead and set it to 16,
    00:15:33,096and then this window should automatically
    00:15:35,363re-render an update for us,
    00:15:39,356and that is much better for me
    00:15:41,562and we'll let that finish out so,
    00:15:43,326that amount of depth of field works pretty well,
    00:15:46,846I actually dig that, okay?
    00:15:48,900And just, you know, in case you're thinking
    00:15:50,649this looks really dark, let me expand this window out
    00:15:52,740and you'll see that,
    00:15:54,487you know, in the process of making sure
    00:15:55,963the lights are in the right spot,
    00:15:57,119the textures were all set up right,
    00:15:59,135I made sure that this part of the frame has some light in it
    00:16:03,506and you can see the shadow of the building on the ground,
    00:16:06,735just to reinforce the idea that
    00:16:08,853this whole kind of story
    00:16:11,048is predicated on the building
    00:16:13,004casting a shadow on this plant, all right?
    00:16:15,990Cool, all right, so now we got the depth of field
    00:16:17,900dialed in the way we like,
    00:16:20,341I'm gonna turn off my Interactive Render Region, so then,
    00:16:22,976you know, once we've got that set up, that's good to go.
    00:16:25,651We can also turn on Physical, Motion Blur,
    00:16:30,469but I'm not gonna do that on shots
    00:16:32,720that don't really have a lot of motion blur.
    00:16:36,289You know, every shot probably will have some motion blur
    00:16:38,925on it but I can use a post-effect
    00:16:41,172for slow-moving shots like this
    00:16:43,567and get away with, you know,
    00:16:45,629probably half or a quarter of the render time
    00:16:49,721and then I can tweak it in the composite.
    00:16:51,558On faster-moving shots
    00:16:52,928like the one where we're flying up the side of the building
    00:16:55,114and the vines are crawling up,
    00:16:57,081we're gonna have to render the motion blur in camera,
    00:17:00,678and it's gonna make the render times longer
    00:17:02,773but you're gonna get a much, much, much better result.
    00:17:05,345So on this shot, we don't need motion blur.
    00:17:07,157So now let's turn on Ambient Occlusion
    00:17:08,917and Global Illumination,
    00:17:11,067and our Output settings are half
    00:17:12,906of the final resolution that we're gonna be rendering at,
    00:17:16,074and the Global Illumination settings
    00:17:19,347are just the default, I'm not gonna mess with those,
    00:17:23,481those are fine, if you want,
    00:17:24,533you can go to one of these presets,
    00:17:26,990Exterior, Physical Sky would probably work,
    00:17:29,857you know, fairly well for this,
    00:17:30,844but I usually just leave it on the default.
    00:17:33,157What I do change are the Physical settings
    00:17:35,173and this is why I use the physical renderer,
    00:17:37,028one of the challenges that you'll have
    00:17:39,301when you use ambient occlusion and global illumination
    00:17:42,715is noise when you're rendering animations especially.
    00:17:47,204And the physical renderer works a little differently
    00:17:49,953in that you can tell it basically
    00:17:52,722an error threshold and this is sort of
    00:17:54,720like the amount of noise that it will allow
    00:17:57,157to creep into the render.
    00:17:58,97920% is a pretty good amount of noise, right?
    00:18:02,173So, if I hit Render,
    00:18:04,407all right, and this will take a minute to render
    00:18:06,040so while it's rendering,
    00:18:06,979let me kind of explain what's going on.
    00:18:08,742So, it's basically saying,
    00:18:10,815okay, you can have 20% of the image noisy, all right,
    00:18:14,090and there's way more technical details to it than that,
    00:18:17,909but in essence, that's what it's saying and you know,
    00:18:20,592you may not even notice it on a still,
    00:18:23,916but on a
    00:18:25,634moving animation,
    00:18:27,010you are gonna see noise, and even on the still,
    00:18:29,272you are gonna notice some noise if you look carefully,
    00:18:31,969let me zoom into this,
    00:18:33,954zoom into this render as it happening, right,
    00:18:36,409and you can really see it on blurry stuff, right,
    00:18:40,789where you know, the render has to basically
    00:18:42,807take a bunch of samples in order to get
    00:18:44,508that depth of field effect,
    00:18:46,082and where you really can notice it is in ambient occlusion,
    00:18:49,915that is like a terrible noisy culprit.
    00:18:52,753So, what I need to do for the final render
    00:18:55,484is figure out what settings I'm gonna need
    00:18:58,577to make this,
    00:19:00,412you know, to actually make this nice
    00:19:03,087and make it look nice,
    00:19:04,967and I just went into my Top View by accident.
    00:19:06,939Now, the,
    00:19:08,872let me pop over here, there we go, all right, so,
    00:19:12,500you might be tempted to just say,
    00:19:13,973well, let's just set the quality to high,
    00:19:16,678and it's gonna set the Shading Error Threshold to one,
    00:19:19,295it's gonna up some of the sampling subdivisions too, right,
    00:19:23,026and I'm not gonna get too technical with what's going on,
    00:19:25,208but let me just hit Render and show you
    00:19:27,068how much longer that is going to take, okay?
    00:19:30,437So that frame only took 41 seconds to render,
    00:19:34,454and this is half res so in full res
    00:19:36,553it's gonna take about four times that long,
    00:19:39,919which is not bad, okay?
    00:19:41,913Now this one, the GI is still calculating, all right,
    00:19:45,870because you know, we need more samples for that as well,
    00:19:50,303and the Physical Renderer is sort of taking its time
    00:19:52,971and it's calculating ambient occlusion a little bit,
    00:19:56,718more robustly and all of those things so,
    00:19:58,897while this frame took 41 seconds and then was done,
    00:20:01,650this one's at 35 seconds, 36, seven,
    00:20:04,315and we haven't even gotten one render bucket filled, okay?
    00:20:08,763And you can see that this is gonna take,
    00:20:11,732you know, not like twice as long,
    00:20:13,843but it's gonna take like 10 times as long, okay?
    00:20:17,682There's no way that, you know,
    00:20:19,974we can afford to let renders take this long so
    00:20:23,757what I like to do is start with Low, okay,
    00:20:27,370and I set the Shading Error Threshold to something like
    00:20:31,68910%, okay, that's still a pretty good amount.
    00:20:34,321Now, if you set it to Medium,
    00:20:36,072it sets it to 5%,
    00:20:38,169Low is 20% so I'm kinda splitting the difference,
    00:20:40,659I'm saying 10%, okay?
    00:20:42,559And then, another thing I like to do,
    00:20:43,867knowing that ambient occlusion
    00:20:45,200is where I'm gonna get a ton of noise,
    00:20:47,722I'm gonna turn on Multi-Pass rendering
    00:20:49,517and I'm gonna enable the Ambient Occlusion,
    00:20:53,411here it is, the Ambient Occlusion pass.
    00:20:56,370So now when I hit Render,
    00:20:59,337all right, it's gonna start rendering,
    00:21:00,972and once it starts,
    00:21:02,420I'm gonna be able to go into this Layer tab
    00:21:04,755and actually just look at the Ambient Occlusion pass,
    00:21:07,680which is gonna be really helpful
    00:21:09,599because I'll be able to just see
    00:21:12,646if that channel is noisy, which a lot of times it is,
    00:21:15,756so you could see this is rendering much, much faster
    00:21:18,106than the high setting,
    00:21:19,600slower than the low setting, right,
    00:21:22,275but still, you know,
    00:21:23,801probably not a terrible, terrible render time, all right,
    00:21:26,681where at 30 seconds we're already getting some renders,
    00:21:30,301the mountains and the ground and stuff
    00:21:31,820won't take a long time to render,
    00:21:32,980it's really the building and the vines
    00:21:34,453where all that detail is
    00:21:35,574that are gonna take a long time, okay?
    00:21:38,238And on earlier shots, by the way,
    00:21:39,722where we don't have these vines,
    00:21:41,012those are gonna render faster too.
    00:21:42,794So let me go into my Layer and look at the,
    00:21:44,887I'm gonna click on Single-Pass
    00:21:46,302and go to Ambient Occlusion, okay?
    00:21:48,670If I pop in here, you can clearly see noise
    00:21:51,892in the Ambient Occlusion channel, okay?
    00:21:54,728So, if I want the ambient occlusion to be cleaner,
    00:21:58,696to get rid of, you know, some of that noise,
    00:22:02,277there are some post-processing things I could do,
    00:22:04,472I could try to degrain it a little bit in post
    00:22:06,841but I mean that's quite a bit of noise,
    00:22:08,925that's probably gonna be noticeable.
    00:22:11,761Other than that though,
    00:22:13,068if I switch this to 100% resolution
    00:22:16,358so we can get a good look at it,
    00:22:18,213you can see other than that,
    00:22:19,731I don't really see too bad of a noise problem, right,
    00:22:22,735we're gonna probably add some grain
    00:22:24,249over the whole thing anyway when we're done
    00:22:25,808so any little grain we see will just kinda get blended in,
    00:22:28,987and we can do some degraining stuff if we need to
    00:22:31,138but the ambient occlusion is going to be noisy
    00:22:33,633and gonna be a problem, okay?
    00:22:35,894This is also a good time to point out
    00:22:37,495one of the reasons I like to render Multi-Pass
    00:22:39,386is because look how dark it gets down here
    00:22:42,212with all that ambient occlusion.
    00:22:43,925Well, if I have it as a separate pass,
    00:22:45,335I can brighten that part of the render,
    00:22:47,227but keep all the rest of it as it is and it'll,
    00:22:50,006it gives you more control.
    00:22:51,372So, how are we gonna make that ambient occlusion
    00:22:54,945less noisy?
    00:22:56,737Well, if you go into the Physical Settings,
    00:22:58,090you can actually, right,
    00:22:59,578this Shading Error Threshold
    00:23:01,065is sort of like a master control,
    00:23:04,057all right, it sort of controls the overall
    00:23:06,020amount of detail that the renderer goes into,
    00:23:08,789but you can also manually tweak individual things,
    00:23:12,183so if your depth of field is feeling a little noisy,
    00:23:15,507which it kinda was so I might up this to three,
    00:23:18,632and then Ambient Occlusion subdivision,
    00:23:21,108you could add more there, okay,
    00:23:22,306and subdivisions, without getting too technical,
    00:23:24,613just think of it as, you know, a level of detail settings,
    00:23:27,996something like that.
    00:23:28,829So, if I go from two to say four,
    00:23:32,158now we're gonna get twice as many
    00:23:34,583samples on the ambient occlusion, all right?
    00:23:36,681So let's do another render, all right,
    00:23:38,947and each time we do this,
    00:23:40,346it's good to kinda notice what this stuff
    00:23:42,475does to the render time,
    00:23:43,490that frame took a minute and a half.
    00:23:47,294The first time we rendered this frame,
    00:23:48,913I guess we rendered a different frame,
    00:23:50,304but it was 41 seconds,
    00:23:52,336about twice as long on this frame, okay,
    00:23:54,879and the frames weren't that different,
    00:23:56,340it was a little bit more geometry maybe
    00:23:58,231but really, you know,
    00:23:59,905just tweaking the Physical Render settings
    00:24:03,570about doubled the render time.
    00:24:05,435So now on this one we're at 30 seconds, right,
    00:24:07,892we just upped the ambient occlusion samples
    00:24:11,775and the blurriness samples.
    00:24:13,836So it's going to take longer
    00:24:14,976but it might not take that much longer,
    00:24:16,866and let's go into this Ambient Occlusion pass
    00:24:19,585and take a look at that,
    00:24:20,648look how much smoother that is, right?
    00:24:22,843Compared to this Ambient Occlusion pass,
    00:24:24,851look at the noise here,
    00:24:26,843and then look here,
    00:24:28,019much smoother, that's probably an acceptable result, okay?
    00:24:32,742So, now that's a pretty good render setting for me,
    00:24:37,091okay, and I just wanna double check,
    00:24:38,487I'm gonna let it finish so I can make sure
    00:24:39,931that the depth of field looks good,
    00:24:41,070again, this is a half res render,
    00:24:44,312you know, ideally do a full res render
    00:24:46,826and check a full res render because, you know,
    00:24:49,280you're gonna notice way more detail,
    00:24:51,960that would make this tutorial section of the video
    00:24:54,882really boring if I did that though, but do that,
    00:24:57,967you need to do that.
    00:24:59,225But look at the difference in the noise
    00:25:01,124in that ambient occlusion channel,
    00:25:02,350it is so much cleaner.
    00:25:04,279And, even if we just look at the image,
    00:25:06,713like let's zoom in here and take a look
    00:25:09,507at the depth of field on this image versus this image,
    00:25:13,165way less noise,
    00:25:15,561okay?
    00:25:16,407And our render time, it was amazingly somehow lower,
    00:25:19,971I don't know really how that happened,
    00:25:21,794(laughs) there's actually,
    00:25:23,417that was a faster render.
    00:25:24,736You know what probably happened?
    00:25:26,300I know why it was faster, it was because
    00:25:29,509since all we did was change some of the settings,
    00:25:31,855I think Cinema 4D reused
    00:25:34,045the global illumination calculation
    00:25:36,205that it had already done,
    00:25:37,736which probably saved us about 30 seconds,
    00:25:40,743so let's just say that this would've taken a minute 45,
    00:25:44,524it really wasn't that much longer.
    00:25:46,254You multiply that times four to get a rough estimate
    00:25:48,724of what a full size HD frame is gonna take
    00:25:51,932and you know, you're talking about five minutes a frame,
    00:25:55,872totally acceptable,
    00:25:58,357even if we don't use a render farm
    00:26:00,087which for the X-Particle shots
    00:26:01,643I don't think we're gonna use, okay?
    00:26:03,853So, now that I've got that set up,
    00:26:06,403let's talk about the passes we're gonna wanna use, okay?
    00:26:08,685So in the Multi-Pass settings,
    00:26:10,619I am going to add a bunch of channels,
    00:26:12,492I'm gonna add an RGBA Image,
    00:26:14,228which is just gonna give me like
    00:26:15,883a full render to look at
    00:26:18,589so that I can kind of compare,
    00:26:20,292when I put all the passes back together,
    00:26:21,837I can compare and make sure that it actually looks that way.
    00:26:25,417Then I'm gonna add Diffuse, Specular,
    00:26:28,627Shadow, I'm basically just going down the list,
    00:26:30,395I'll add Ambient too,
    00:26:32,880Reflection, there's no refraction,
    00:26:34,737there's no like glass or anything in the scene
    00:26:36,285so I don't need that.
    00:26:37,539I do have Global Illumination,
    00:26:40,640I don't have Atmosphere, there's no Post Effects,
    00:26:43,673Material Color,
    00:26:45,503maybe I'll use Material Luminance, maybe,
    00:26:50,628maybe not, but I'll just throw it in there,
    00:26:53,242and then,
    00:26:55,190I'm going to want,
    00:26:57,105well, that's probably it.
    00:26:58,816Right, now a Motion Vector pass can be used
    00:27:01,004to get more accurate motion blur,
    00:27:04,613but they tend to not work that well,
    00:27:07,783sometimes just using a plugin like ReelSmart Motion Blur
    00:27:11,565just works even better than using this.
    00:27:15,012It doesn't really add much to the render time to have it
    00:27:17,853so I might as well add it
    00:27:20,009and then I'm not gonna render a Depth pass
    00:27:22,620'cause I'm rendering depth of field in camera,
    00:27:25,313and by the way, one reason I'm doing that
    00:27:26,993is because this scene is humongous.
    00:27:30,805The scale of it is ridiculous, right?
    00:27:33,240We are very far away from this building,
    00:27:35,714it's just huge compared to this plant.
    00:27:37,821The problem with a Depth pass, even in 32-bit,
    00:27:40,688is we're not really gonna have enough detail
    00:27:43,543in that Depth pass because these
    00:27:44,779two things are so far apart, and we don't need one.
    00:27:49,245So other than that,
    00:27:50,355those are the images passes I'm gonna render out,
    00:27:52,521I may not use them all,
    00:27:53,825but I, you know, I can throw 'em in,
    00:27:55,132you don't take much of a render hit to add it
    00:27:57,523but if you have to go back and render it again,
    00:27:59,609then you have a problem, okay?
    00:28:01,815And you'll see, when we get into the compositing episode,
    00:28:04,841what all of these things do and why I'm doing it this way.
    00:28:08,282Excellent, all right,
    00:28:09,645the other thing we're gonna need are some object buffers
    00:28:13,134for these objects because I like to have
    00:28:15,277a ton of control in compositing
    00:28:16,622and if I wanna just affect the building or the vines
    00:28:19,822or the mountains, I want all that control, all right?
    00:28:22,866So, what I've decided is I am going to have
    00:28:25,538object buffers for the building,
    00:28:28,150the plants,
    00:28:29,894the vines, right,
    00:28:32,153the mountains, the ground, and the sky.
    00:28:35,804All right, and I'll probably also have one extra
    00:28:40,643which is the mountains and the ground combined,
    00:28:42,622because technically, they're the same object,
    00:28:44,583I may want a little more control
    00:28:46,674to push those mountains further back
    00:28:48,478into the distance using, you know,
    00:28:50,379like a distance fog kind of color correction.
    00:28:53,746And that's really all I'm gonna need, okay?
    00:28:56,715So, let's get started with the plant,
    00:28:59,716so I'm just gonna go to the plant,
    00:29:01,291I'm going to add a compositing tag onto this null,
    00:29:06,287Object Buffer, one, all right?
    00:29:08,579And I have a little note pad next to me
    00:29:09,910so I'm writing this down, the plant is one.
    00:29:12,890So then, let's do the building.
    00:29:15,039All right, so you've got your final building,
    00:29:17,627now I've got two copies here, by the way,
    00:29:20,197which I don't think I ever went into
    00:29:21,429in these episodes and the reason for that is because
    00:29:25,600when I originally had all these vines
    00:29:28,032in the building casting a shadow,
    00:29:31,297the shadow was so diffused by the vines
    00:29:34,378that it didn't look like that nice, hard shadow anymore.
    00:29:37,332And long story short,
    00:29:38,825I had too many lights in the scene
    00:29:40,640and after the last step that I just went through
    00:29:43,406of fixing the textures and the lighting and stuff,
    00:29:45,687everything is working the way it should now,
    00:29:47,183so I'm actually gonna delete this building
    00:29:49,352and this compositing tag.
    00:29:50,573All right, so now on the building,
    00:29:52,355I can put a new compositing tag
    00:29:55,063with an object buffer, channel two,
    00:29:57,412all right, and I'll write that down,
    00:29:59,176so that building has channel two.
    00:30:01,284And you can literally just copy and paste these
    00:30:03,624to the vines, so I've got ground vines and vines
    00:30:08,058and these are my X-Particle vines
    00:30:11,267and these are my ground vines.
    00:30:12,541Both of these I want to have Buffer 3,
    00:30:15,956all right, so the vines are gonna be three.
    00:30:19,828Okay, and then the mountains are going to be four,
    00:30:24,365so let me just copy one of these onto the mountains,
    00:30:28,456four, and then the ground is gonna be five,
    00:30:35,016and the rocks, these are part of the ground
    00:30:37,450so I'm just gonna copy that.
    00:30:39,789And then there's the sky, and the sky can be six.
    00:30:44,859Cool?
    00:30:45,692And actually, let's do this, let's make the sky seven
    00:30:48,606because I also want an extra object buffer
    00:30:51,406which has the mountains, the ground, and these rocks,
    00:30:54,748all combined in it.
    00:30:55,647Now, why do I need that?
    00:30:56,590Well, you can take a matte for the mountains
    00:31:00,562and the ground and the rocks
    00:31:01,793and just add 'em all together
    00:31:03,450and in theory, you should get the same result
    00:31:07,007as if you had all three of 'em on the same object buffer.
    00:31:10,156In reality, sometimes with anti-aliasing and stuff,
    00:31:12,787you get a little thin edge, all right?
    00:31:15,271So, it's easy enough to just say,
    00:31:17,023well, let's take the mountains, right,
    00:31:19,114which are four, the ground is five,
    00:31:21,202the rocks are five,
    00:31:22,863let's grab all of these and also make them six.
    00:31:27,358So now the mountains are on four and they're also on six,
    00:31:30,038the ground is on five and it's also on six,
    00:31:32,017the rocks are on five and also six, okay?
    00:31:34,775So, I'll show you, let me do like a little test render here,
    00:31:37,563let me make sure I've got Ambient Occlusion on,
    00:31:39,634I'll turn my Depth of Field back on,
    00:31:42,575and actually, yeah, we'll leave those on
    00:31:45,162so you can see what that looks like, okay?
    00:31:46,708And I've got all of my numbers written down here
    00:31:49,997so I know exactly what everything is supposed to be,
    00:31:54,993and we are just gonna do a test render
    00:31:57,945and check our layers, okay?
    00:31:59,934And I gotta make sure, this is also very important,
    00:32:02,904when you're setting stuff up to render,
    00:32:05,272do as many test renders as you need
    00:32:06,626because once you send it off,
    00:32:08,183I did not have Multi-Pass turned on, I had turned it off,
    00:32:10,964okay, so this looks good, depth of field.
    00:32:15,029All right, and what I'm gonna do,
    00:32:17,701because you know, it's gonna be kind of tough
    00:32:19,279to remember all of this,
    00:32:20,974op, here's another thing I forgot to do.
    00:32:23,429This is great, you can see how,
    00:32:25,322you can see how poor I am at managing render, so,
    00:32:29,353what I forgot to do is add those object buffers
    00:32:32,699as Multi-Pass settings, right?
    00:32:35,561You have to tell,
    00:32:37,028Cinema is not smart enough to know,
    00:32:39,138oh, you have object buffers,
    00:32:40,312you probably want me to render those,
    00:32:41,394no, you have to tell it, okay?
    00:32:42,994So I'm gonna say Multi-Pass, Object Buffer,
    00:32:46,753right, and I'm gonna need seven of those,
    00:32:49,821so I'm just gonna do that real quick, two, three, four,
    00:32:53,648five, six,
    00:32:56,695seven, there we go, and of course,
    00:32:58,489there are plugins or scripts
    00:32:59,656that will do that for you automatically but
    00:33:02,703I don't use them because I don't know,
    00:33:05,717I'm so lazy I won't even try to find a tool
    00:33:08,971to like make my life easier.
    00:33:10,600It's like a new level of lazy.
    00:33:13,571Cool, all right, now let's check this out,
    00:33:17,083make sure we're good,
    00:33:17,916and you can see now in our, if we go to Image,
    00:33:21,117we'll see the image rendering,
    00:33:22,300if we go to Single-Pass,
    00:33:23,133we'll be able to select any of these passes
    00:33:25,951and see what they look like,
    00:33:27,824which is gonna be pretty handy
    00:33:29,381'cause we'll be able to tell if our noise settings our good,
    00:33:32,770I mean, typically you're gonna
    00:33:33,788get noise on ambient occlusion,
    00:33:35,239maybe on the shadows if you're doing
    00:33:36,931a lot of like area shadows or something, which we're not
    00:33:41,971and potentially on global illumination,
    00:33:44,418although I've found when you use the Physical Renderer
    00:33:46,578and you get that noise threshold setting right,
    00:33:50,272you'll end up, let me go to Image
    00:33:51,752so we can see what this is doing,
    00:33:53,114when you get that, you know, this setting here,
    00:33:59,250brom, this one, the Shading Error Threshold,
    00:34:01,733when you get that dialed in,
    00:34:03,771that generally takes care of your GI noise, okay,
    00:34:07,472so let's just kinda poke through,
    00:34:08,805so here's our Ambient Occlusion pass,
    00:34:10,715here's the Global Illumination pass which is basically
    00:34:13,884just the effect of light bouncing around in your scene,
    00:34:18,484right, so you can see like the sky is blue,
    00:34:21,557it's bouncing some blue into our red mountains, right?
    00:34:24,795Then you've got the ambient channel
    00:34:26,582which is basically, you know,
    00:34:28,417it's sort of like the,
    00:34:30,651the color of an object with no light on it, right?
    00:34:35,468Then you've got your Shadow pass, right,
    00:34:37,674and you can see our shadows from the sun
    00:34:39,833and really the sun, our sunlight,
    00:34:41,641is the only thing actually casting shadows.
    00:34:44,649We've got our Specular pass, right,
    00:34:46,381which is gonna be really nice,
    00:34:47,553in composite, we can crank that up
    00:34:49,053and get a little bit more of the shininess on the building.
    00:34:51,933Your Diffuse pass is basically your
    00:34:55,944no bells and whistles 3D render,
    00:34:58,660here's our Motion Vector,
    00:35:00,672which we may not need but maybe we will,
    00:35:03,379it has a ton of noise in it.
    00:35:06,182Our Material Luminance, our Material Color,
    00:35:08,795this is interesting too,
    00:35:09,774we could use this to actually flatten out
    00:35:13,151the final render if we wanted to,
    00:35:14,674if we wanted to kind of, you know,
    00:35:16,659get rid of some of the shadows
    00:35:17,993and just bring back the color,
    00:35:19,007we could add this back on top.
    00:35:21,136We've got our background, right?
    00:35:23,167So this is our sort of,
    00:35:25,187our full render that we can reference.
    00:35:28,338Then we've got our plants object buffer,
    00:35:31,590we've got our building object buffer,
    00:35:34,014our vines object buffer,
    00:35:37,060then we've got the mountains,
    00:35:40,141we've got ground,
    00:35:42,592the mountains and the ground.
    00:35:43,853And it looks like we missed a couple of rocks here, okay,
    00:35:46,898so it's a good thing we did this little test,
    00:35:49,995and then the sky object buffer,
    00:35:54,383which it's interesting so if you look,
    00:35:57,445right, if you look,
    00:35:59,246let's look at the background and then switch to this,
    00:36:03,350you're seeing that sky kinda bleed through there,
    00:36:06,654right, it's really interesting,
    00:36:09,415and I'm not sure why that's happening,
    00:36:10,826it could be because there's such a thin little stem there
    00:36:16,258but that's okay because what I would really use this for
    00:36:18,893I would use it maybe to color-correct the sky
    00:36:20,887but I'd probably use it more
    00:36:22,761to be able to add a little bit of an edge light
    00:36:26,045to some of these mountains and maybe parts of the plant
    00:36:29,015and any problem areas like that I'll just mask out, okay?
    00:36:32,443So with all these passes, and you know,
    00:36:34,313we do need to go in and fix this one,
    00:36:37,615we need to fix our ground, but other than that,
    00:36:40,449everything is working, we've got all the passes we want,
    00:36:43,474here's our Reflection pass, by the way,
    00:36:44,901and you can see that 'cause we have
    00:36:46,169Reflectance turned on in the mountains,
    00:36:48,320that's where we're catching some of that blue.
    00:36:51,247And you're not really seeing
    00:36:52,583much reflection up here on the building,
    00:36:55,709but on the shot where we're closer to it,
    00:36:57,763I'm sure you will.
    00:36:59,116So there we go, so we've got all our passes set up,
    00:37:01,850I'm going to figure out why the,
    00:37:05,298oh, here we go, ha ha, that's why,
    00:37:07,416because I've got two sets of rocks,
    00:37:09,607ground rocks and rocks,
    00:37:11,858I'm gonna drop that in there,
    00:37:13,732and now we are good to go.
    00:37:15,264So, now we've got these render settings, okay,
    00:37:17,730and
    00:37:19,630let's do this, I'm gonna take this render setting here,
    00:37:22,634I'm going to,
    00:37:24,661I'm just gonna clone it,
    00:37:26,012so I'm gonna hold Command
    00:37:27,835and I'm gonna call this FinalRender,
    00:37:32,019all right, and I'm gonna switch to FinalRender,
    00:37:34,229and I'm gonna just double-check
    00:37:35,451and make sure all my settings are exactly what I wanted,
    00:37:38,097right, we upped the Shading Error Threshold,
    00:37:40,540we upped the blurry, we upped the Ambient Occlusion,
    00:37:43,401everything else we were happy with,
    00:37:44,873Depth of Field on this shot, good to go.
    00:37:47,228And we've got all our Multi-Pass settings here.
    00:37:50,072Now, where do I wanna save these?
    00:37:51,501All right so,
    00:37:52,941technically I don't need to save a regular image,
    00:37:55,867I can just save the Multi-Pass image, all right?
    00:37:59,296So, I'm just gonna turn that off
    00:38:01,622and I'm gonna leave Multi-Pass on,
    00:38:03,079and I'm gonna set the format to OpenEXR,
    00:38:05,703that's typically what I render in
    00:38:06,883when I'm doing Multi-Pass stuff.
    00:38:08,933You get a ton of information
    00:38:10,505and it's great for color-correcting
    00:38:11,693and it's a multi-layer file,
    00:38:13,790if you check this box,
    00:38:15,141which means you can just render one set of files
    00:38:18,126and split the channels out,
    00:38:19,982and since we're gonna be compositing this in NUKE,
    00:38:21,906it's exactly what I wanna do.
    00:38:23,260So I'm going to pick a directory for this,
    00:38:25,820so let's just go down to the Giants, C4D, OUTPUTS,
    00:38:30,061and we're gonna say
    00:38:31,926FINAL RENDERS,
    00:38:34,795and then because I'm superstitious,
    00:38:36,128I'm gonna say R1, and we're gonna put in there, okay?
    00:38:38,851So this is gonna go in a folder called Shot Seven,
    00:38:43,792'cause this is shot seven,
    00:38:45,627interestingly enough, and we'll save it as shot seven, cool.
    00:38:50,108All right, so this is now a render setting, right,
    00:38:53,802I could actually go to Render
    00:38:56,005and I could say Save Preset, FinalRender.
    00:38:59,455And what's cool about doing that,
    00:39:01,396all of these settings are now ready to go
    00:39:04,705so that, let me save this shot, right,
    00:39:07,407so now if I hop into another shot,
    00:39:08,708like let's hop into shot one,
    00:39:11,075okay so here's shot one,
    00:39:12,814and I can go in my Render Settings,
    00:39:14,620Render Setting, Load Preset, FinalRender,
    00:39:17,538boom, it's done, it's ready to go.
    00:39:19,933Now one thing I forgot to do,
    00:39:21,298which so I should delete FinalRender,
    00:39:23,807and come back to shot seven,
    00:39:24,883I forgot to actually set the correct render size
    00:39:28,191which is 1920
    00:39:31,039by 820,
    00:39:34,400all right, and just to make sure I do that right,
    00:39:36,193I'm gonna lock the ratio, 1920 by 820, perfect, okay?
    00:39:40,071And now I can go Save Preset, FinalRender,
    00:39:44,177great, okay?
    00:39:45,041So now this is ready to go.
    00:39:47,079What I'm gonna have to do is manually set
    00:39:48,877the frame range on every single
    00:39:52,458shot because I only wanna render the frames
    00:39:54,991that are actually used in the cut,
    00:39:56,483I don't wanna render a single
    00:39:57,882extra frame if I don't need to,
    00:39:59,195I can always go back and render extra frames if I need to,
    00:40:02,182but I don't want to because I'm gonna be paying
    00:40:04,034for a render farm and these renders
    00:40:05,616are gonna take a long time, so only the frames I need.
    00:40:08,637But these settings are good
    00:40:10,014and I may have to tweak them shot-to-shot,
    00:40:11,636I may have to turn on motion blur for some shots,
    00:40:15,671and you know, I may not want
    00:40:17,171depth of field for certain shots,
    00:40:18,617I may actually wanna just fake it to myself,
    00:40:22,120so I'm gonna tweak little things like that
    00:40:23,397but the Multi-Pass settings are all good to go
    00:40:25,499as long as I set my object buffers up
    00:40:27,861exactly the same way each time,
    00:40:29,808and then we will be good to go, all right?
    00:40:31,913So now, I'm gonna go through every shot
    00:40:34,343and fix this up for render.
    00:40:36,632So a quick note, there are definitely smarter ways
    00:40:39,512to do all of this kind of pre-render stuff,
    00:40:42,322which would have saved me the trouble
    00:40:43,518of having to go back into every shot
    00:40:45,354to set up object buffers and what not,
    00:40:47,886but when you're playing fast and loose
    00:40:49,525like I've been doing,
    00:40:50,358sometimes you just kinda skip over those details
    00:40:52,723until the end and since there's only eight shots
    00:40:55,249in this whole piece, it's not a huge deal.
    00:40:57,827Anyway, I set up all my shots,
    00:40:59,640I manually set the frame ranges and the output settings
    00:41:02,286so I'm only rendering the frames I need
    00:41:05,499and then, I clicked Render, fingers crossed.
    00:41:09,505(suspenseful music)
    00:41:17,201(upbeat music)

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