You can directly undistort footage in the Sequencer, once you have it set up correctly in 2.8.
Open up the movie clip editor and open your footage.
To properly choose some distorsion value, we will have to be able to preview the result. Go to the top right of the movie clip editor, click on Clip Display and check Render Undistorted. This will give us the ...
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 ...
If you use the Shader to RGB node combined with Greater Than node. You can differentiate between light and shadow to create a cell-shading effect.
Simply add a texture to the original Diffuse BSDF, to texture the transition between light and shadow.
This is how the effect looks in motion.
You can sharpen or smoothen the shadows edge by decreasing the ...
There is just one trick for this kind of effects:
Scene-referred workflow. (i.e. using physically plausible values for emissions and forget).
Instead of going through so much contortions, the most effective path is to treat a lightsaber as what it is supposed to be: a saber. of light.
So it only takes a high intensity emission shader, using the colour you ...
Alpha masks will not work for this
Alpha is for blending one image on top of another so it will not work with light, because light should be added, not blended, but you can separate only the light information.
Separating light information
To separate light going through the glass object you would need to render it and then render a version without it. In ...
Yes, you need to use the alpha channel as a mask since transparency is not taken into consideration in the depth pass.
This is how I have done it:
I used the node called "Set alpha".
I Plugged the depth into te "image" and the alpha pass into the "Factor"
the normalize is optional but helps to see the depth better.
There's currently no effect strip (that I know of) that directly allows optic compensation on a clip as simply as it does in After Effects (that would be a good vse coding project to work on). But you can use compositing nodes in a separate scene for a clip and then add that scene to the VSE in your original scene.
(Note that you don't need to use a plane to ...
Thinking ahead, you want the Output Path in sync with all the File Output Nodes of the compositor.
I think one easy way to solve this is adding a 'version number' to all output paths (as usual) and keep all file names in sync. Here is a quick'n dirty Add-on to address that. Once you add v and some arbitrary number to the Output Path, a new 'slider' appears ...
The Backdrop is merely a convenient display of what the Viewer node receives - to allow you to see the effect of changes to your compositor setup without having to switch away from the node view. The backdrop does not automatically resize as your viewport resizes - but does provide options to 'zoom' and offset the image - so you can position it so that the ...
In 2.8, Cycles there is something called the cryptomatte node. Unfortunately, at the time of writing this, it is not implemented for Eevee.
I found a solution by creating view layers, then evaluating the depth in both. View layers are like 2.79's render layers, so you can exclude objects from being rendered in each.
Next, I evaluated depth in both view ...
Lens flare depends on the orientation of the lens you are looking through in relation to the light source so it cannot be rendered into a panoramic image that is then viewed as if the orientation of the camera would be changing.
It would have to be an effect generated while viewing the image. So the answer seems to be:
No. There is no way to compensate for ...
Update: refer again to piegames' answer which is updated not only with a better tool, but also additional info regarding linear vs non-linear color spaces that I was unaware of. Luckily this does not appear to have had much impact in my case, though I was working with few colors and relatively little dynamic range.
I came across this answer looking for ...
The easiest way is using some post-processing in the blender's compositor. There are nodes there like curves, color balance, which can easily isolate the highlights. Consider that in the compositor you have your "overexposed" areas really bright, but not clipped, because of 32 bit pixel color range, so you can map your colors along with the filmix mapper the ...
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/...
Denoising Data Passes
The Denoising Data option in experimental builds and experimental render feature set currently enables some denoising passes, however they are meant to be for an animation denoising feature that is currently still being designed. They are not meant to be recombined or used for anything else then for the feature as you can see explained ...
Masks work the same way they worked before 2.8
Masks are not edited in the compositor: Create, manipulate and animate your masks in the image editor or the movie clip editor. You can add keyframes to the spline points.
To use the mask in the compositor you use an Input > Mask node.
There is no need to render masks as images.
To automate the rotoscoping ...
Why there is color in other passes than Color
The direct and indirect stands for direct or indirect lighting so if the light has color, it will show in direct passes and if objects in the scene have color and light bounces off them, the light color will change accordingly in the indirect passes. These passes are supposed to have color. You can change the ...
This is due to the filmic color management option. If you switch back the view transform to default, you get full white as background.
Filmic allows values higher than 1.0, so 1.0 is not displayed (and exported) as full white.
I have since found the cause - User error.
Blender was running fine but as I was scaling from a 4K to HD image it was processing the 4K image, then scaling then processing the HD image, which took 6 times longer. I exported a HD version of the images and used that and render times dropped to .7s/frame, which is what I was expecting.
You can do pretty much whatever you want with the channels of an image with the compositing nodes. Look through the nodes in the Add menu(Shift+a in the Compositor). In the Converter section there are a lot of interesting nodes and amongst them Separate RGBA and Combine RGBA nodes that split and combine channels, so you can simply connect the channels in any ...
Following example creates a new node group called NewGroup (based on How do I create a custom node group for the compositor?) for the Texture Node Tree, containing three Math nodes as well as one Distorted Noise node plugged together properly:
# create a group
test_group = bpy.data.node_groups.new('NewGroup', 'TextureNodeTree')
# create group ...
One challenging aspect of this effect is that the strength of the color shift increase with the distance from the object that is in focus. This is solved in the compositor by using the depth and a user supplied distance that is considered in focus, to calculate the intensity of the applied color shift.
Unfortunately the color shift produces ...
Open the sidebar in the compositor N
Open the View tab
Increase the Zoom property in the Backdrop panel. Alternatively you can use Fit to fit the background image into the view or Reset Backdrop to reset the offset and zoom.
When separating colors, it is separating the primary colors.
This means red's hex will be: FF0000
Blue's hex will be: 0000FF
Green's hex will be: 00FF00
This means if you have a hex of 00FBFF and separate the colors, and only keep green, the 00FBFF will become green, because it's still got the G in it.
So when trying to change the color blue, you can't ...
This probably not a bug, but differences in settings between viewport/preview and the final render.
Check that all objects that appear in the preview also appear in the final render, especially lamps. See: https://blender.stackexchange.com/a/1114/245
Check that the sampling settings are the same for preview and final render. See https://...