A method to get believable light interaction with the environment, is to recreate the environment.
I have chosen this template image. The process will be the same for moving, tracked footage, but the tracking must be very accurate.
I chose this background image by Hans Weingartz - Self-photographed, CC BY-SA 2.0 de. Click to enlarge.
I have recreated the ...
No adaptive sampling in Cycles in Blender versions prior to 2.83
Cycles used lack adaptive sampling functionality in versions lower than 2.83 so no matter what, the pixels being rendered used to get sampled as many times as there were samples defined in the render settings.
Mask with Holdout shader
You could make a plane, parent it to the camera(Ctlr+p) ...
Create a Glow Layer
You separate your render into two, the normal render and a glow render, both layers with a transparent background, in the glow layer set all the objects to have the same material (use an emission shader with the color of the glow you want):
Then, you can use this Node Setup in the Compositor:
You have to take into account that, in this ...
You could try using Blender's Displace node fed with a Voronoi texture. If the displacement is to rough then apply some gentle blur also driven by the texture.
To achieve the daubed paint effect I have added a Bilateral blur node to constrain the blur. I feed this with a mixture of the source image and the Voronoi texture.
There is a function which creates a very close effect to the one you're describing.
In the Properties Panel, go to the object section and under Duplication, select Frames.
Duplicates of the object in its state from the specified Start and End frame are shown on all frames. To create the echo, set a keyframe on both properties.
Then, go to the graph editor ...
A few notes to set the stage for an answer:
LOG is not a color space. It is a way to encode data (designed to scale large dynamic range Scene Referred data to fit within containers for Display Referred formats (0 to 1)).
Proper compositing should be done using linear data, in a common color- space.
Data from cameras should be linearized first (sometimes ...
Using only the material nodes you could use the image texture's color components. With a good clean key background, just send the green value (alter contrast to taste) to a mix node and mix to transparent.
Here it is in action, with a very poor key background ;-)
Why did you give up on using EXR (I have tried to import EXR files to Davinci Resolve with the LUT's) and go to a useless format like PNG?
PNG cannot handle associated alpha channel, it cannot have pixels that are emissive and transparent at the same time.
Go back to EXRs and be happy.
As for the glow on other elements you have two choices: Create some ...
Hold down Shift and click on the X button right beside the mask dropdown.
This will unlink the 'mask data-block' from your file. To get rid of the mask's data, you can either save and re-open your blend-file or just click the Purge All button in the Outliner:
Use a math node in the compositor set to “minimum” to merge multiple mist passes:
“Occluding” objects in the mist pass will always have a lower value than what they are occluding, since the distance range of the mist pass is the same for all layers. “Minimum” takes the smaller of the 2 input values. So this will simply merge all occlusion objects. Just add ...
You should not use Blender 2.8 for production until it is realeased. It is not stable yet and you may lose your work if you do.
Other than that, the add-on does not seem to contain anything that is changed in the bpy API from the first glance(I might be wrong), so you could try to just find the add-on's file
[Blender 2.80 install location]\2.80\scripts\...
You are mixing up some things here:
The node-based material definition process is not the same thing as "compositing". They share the feature of being node-based but they are not the same thing.
Since they are two separate things, Blender 2.8 split the editor into two: the "Compositing" editor and the "Shader Editor" (Eevee doesn't really matter here, ...
I thank God for showing me the solution: all you have to do is create a new, blank 3rd Scene (with no objects or cameras) and composite the other 2 scenes there in the compositor. Now when you hit render from the 3rd scene, both scenes will render and one file will be output. Be sure to set your color management settings AND the desired frame output range in ...
How does it work? Faces of one plane (tiles) are mapped through Explode modifier to randomized faces of a plane with Build modifier.
Create a Plane and UV unwrap it, then loopcut it or subdivide to match desired columns and rows amount (final facecount = rows * columns). This is Randomizer object
Duplicate Plane ALT-D and add material with ...
The Denoising Feature is only available for rendered images as it takes information from the unrendered scene as well as the pixel data of the rendered image to "guess" the right values of each pixel.
So unfortunately the denoiser isn't available for external images. There are a few compositing solutions available though. Here are some node groups you can ...
OpenGL masking. (the speedier option)
Conventional masking will cut a hole in whatever's behind the mask, except when rendering in OpenGL.
OpenGL masks however can discriminate by whatever is the younger object, the mask or the item(s) to be masked.
Objects younger than the mask appear to be unaffected whereas those items created earlier than the mask ...
This is how lens flare actually works, its an internal reflection of the lens and describes the aperture that the path of light enters. All light passing through a lens goes through the centre at some point. So moving the flare centre around doesn't make physical sense.
Color Ramp, nor any thing in Blender, is pixel managed.
As a result, I believe the Color Ramp is taking the scene referred 0.0 to 1.0 range and clipping it, which is leading to the harsh cut transition from 1.0 scene referred onwards.
The complex solution is to mangle the data going to and from the Color Ramp. The more elegant and powerful solution is to ...
Switch to Branched Path Tracing
Switch the sampling method to Branched Path Tracing and set Min Transparent Bounces to 32 or higher to eliminate the noise.
Also, it is better to use Mist pass instead of Depth.
You need to map the value from 0-1 to 0-100, depending on your mist settings, to match the depth pass.
Thanks to skw Stefan Werner for the ...
As a loose outline, it’s much better to skip the ACES complexity and focus on what is required. ACES comes with its own entire set of issues, not the least of which is obfuscating the goals and the technical needs.
It’s All About Radiometric-Like Ratios
Integration requires using a specific encoding. That is, the key here is that we seek the radiometric ...
You can enter the distortion data per loaded 'clip' in the 'Track' panel of Movie Clip Editor (N) and use a Movie Distortion node in the Compositor to distort your image based on the values:
I'd suggest go to the 'Compositing' workspace, enable 'Use Nodes', switch the editor type of the 'Timeline' to 'Movie Clip Editor', load any arbitrary image with the ...
It sounds indeed like a non-trivial solution, that will require you to get proficient with motion tracking and/or compositing.
For a 3D way to do it you would need to track the footage and solve the camera.
The success of the operation would depend entirely on the kind of motion from the cameras, if there is parallax on the scene then you might be able to ...
No need to use afterFX for this.
The idea is quite simple.
You use green, or some color that is not present in the scene, to create a matte (or mask) that can be used to combine other elements in the scene.
In the compositor connect the image that has the green element add a keying node, select the key color and the node will output Image and Matte ...
No, the compositor will not degrade rendered images.
The compositor works with 32bit float precision, in scene referred linear.
Of course there could be intentional or unintentional degrading by using nodes and poor judgement on the node tree.
Banding would happen when the image is saved to 8 bit formats as it cannot resolve subtle gradation with only 255 ...
This is a known limitation of the render border as described in bug report T46166 (reported by me):
Rendering only takes into account the render border of the current scene when compositing.
Sergey Sharybin (a Blender developer) says:
This is workign as designed and expected and in fact it's the only
wayt you can have usable border render for ...