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 ...
No adaptive sampling in Cycles
Cycles lack adaptive sampling functionality so no matter what, the pixels that are being rendered will get sampled as many times as there are samples defined in the render settings.
Mask with Holdout shader
You could make a plane, parent it to the camera(Ctlr+p) using Without Inverse option so it snaps to the camera and is ...
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 ;-)
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 ...
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:
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\...
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 ...
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 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, ...
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.
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 ...
Maybe this is similar to your third attempt.
You can animate the viewport and render visibility.
Just hover over the 'eye' or 'camera' icon and press 'i'.
Then move to the next frame, disable both visibilites and set new keyframes. Other way around for the object that should appear.
This doesn't involve the material or messing with the motion blur.
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 ...
Have you looked into using Blender's compositor features? You could set up a matte (check out the new Cryptomatte feature in 2.8) for each material and then render the "beauty pass" once with several passes (for diffuse color, specular reflections, etc). In the compositor, you could do color balance and hue-shift and work on each channel one by one.
You can ...
Most of Blenders properties can be animated. Just hover over the Angle Offset field with your mouse and press I to insert a keyframe. A keyframe will be inserted on the current frame. Move to another frame, change the value and insert another keyframe by pressing I again.
The created key will show up in the dopesheet and graph editor, where you can edit/...
A "true" gaussian blur is not limited by distance - if the 'centre' point is strong enough it would have an effect on even the most distant pixels in the image (the gaussian distribution falls off towards zero as the distance increases but never actually reaches it). For efficiency, the Gaussian blur in Blender is limited by range in each of the X and Y ...
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 ...
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 ...
Raytracing engines are only capable of generating The One True alpha, associated alpha. However, encoding to file formats may have an impact on how the alpha is encoded.
It makes sense when one stops to realize that alpha represents a degree of occlusion at the spatial “pixel” geometry level. That is, it is useful to think of the pixel window as a ...
Just add a new Texture in the Texture properties panel set to Blend and Vertical. This will create a texture that blends from 1.0 at the top to 0 at the bottom.
In the compositor the texture can be included via the Texture node. This can then be passed into the Blur node set to Variable Size as follows :
Note the result in the bottom-left window (blur at ...
Cycles Volumetrics are rather slow and for this specific setup, a compositing solution may be more suited, however you can use the geometry information to limit the density of volumetrics.
In this example I created a large cube, encasing the scene, and made the Z information influence the scatter density. That way, the density is high near Z = 0 (the ground)...
This is a solution that worked perfect for me. Seperating and mixing one glare color channel with glare alpha output works great and supports nearly all situations, even for other FX nodes.
Here the node tree:
And the file: