Layers are a way of splitting up and organizing the objects in your scene.
In the 3D viewport.
You can select the currently visible layers in the footer of the 3D view or under properties panel > render layers tab > layer rollout > scene layer selector. (With any layer selector you can hold down Shift to select multiple layers.)
You can see ...
No, you're not doing anything wrong.
The Z-Pass is one of just a few, when not even the only pass that doesn't have a range from 0 to 1. It goes from almost Zero to infinity. Every pixels gets assigned a value that shows how far away it is compared to the camera.
If a pixel is 75 Blender Units away it gets assigned the value of 75.
If you output the Z-Pass ...
SSS works just like the 3 other "light type" sets do, so you add SSS direct and SSS indirect, multiply the result by SSS color, and sum that result with the other sets.
Shadow is not an image component per-se, since if you rendered your lamps with shadows enabled, they will already be embedded in your lighting passes. (the shadow pass already existed at the ...
Multiple transparent planes with low Max Transparecy Bounces
The "Tree1" object is made by multiple overlapping planes. Their shading properties comes out from a sharp Mix of a Transparent shader and a Diffuse shader.
As there are multiple intesection and your Max Transparency Bounces is set to 8, light can't filter trough all the planes.
We can clearly ...
The Mist pass is antialiased. The Z pass isn't.
The range for the mist pass is set independently of the camera's clip point.
Start sets the black (0) portions of the image. Depth sets the range in which the mist pass will convert the distance to a grayscale. Past that range everyting is white (1).
The falloff on the mist pass can be ...
Object ID passes
Assign a unique 'Pass Index' value to each object
Enable Object Index pass (Properties > Render Layers > Passes > Object Index)
Create a 'File Output' node in the compositor via Add > Output > File Output
Create 'ID Mask' nodes via Add > Converter > ID Mask per object
Create the desired output sockets to connect the 'ID Masks' and 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 ...
You ask a question to which there is no simple answer based on your requirements:
no python - this limits any automation and implies a lot of work
with anti aliasing - this is something cycles cannot do yet on masks
The anti-aliasing issue of ID masks (first render, second without, last with):
The perfect solution would be to render the scene with each ...
The Combined pass is useless in Cycles as far as I know, it doesn't change anything if it is enabled or not. In Blender Internal you can exclude from this pass other passes (like Shadow pass etc.) which might be useful, but not in Cycles.
If you are just after the normal, zdepth or mist passes, consider using some very fast rendering material on all objects ...
I'll try to explain. Here is an example.
We have an orange ball on the gray plane, lit from the side.
What contains the Diffuse Direct pass? A reflection of light coming from the lamp on the side. As you can see, the layer does not contain information about that the ball is orange.
To get the orange color you need to multiply Diffuse Direct and Diffuse ...
This is because the vector pass can't "see" through transparent (glass) objects; in this case all it sees is the lens object, which is remaining motionless relative to the camera.
To render with motion blur in this situation, you'll have to use Cycles' built in motion blur. Enable it in Properties > Render settings > Motion Blur:
And remove the vector blur ...
No, Z pass, ObjectID and alike are not dependent on Cycles render samples. Their visual output will always be the same like rendered with 1 sample - so not nice.
It's better to obtain them in Cycles with a different method - Z pass with Mist pass or Ray-depth shaders, ID-masks with random-colored shadeless materials for example.
Or get them from Blender ...
(Blatant Quote from the Blender Manual)
A volume shader can also be applied to the entirely world, filling the entire space.
Currently, this is most useful for night time or other dark scenes, as the world surface shader or sun lamps will have no effect if a volume shader is used. This is because the world background is assumed to ...
Your setup seems to be correct.
The material you want to use as mask must have an Pass Index number.
In the render layers enable Material Index
Now press F12: YOU HAVE TO RENDER THE IMAGE for this changes to update, and the compositor has the proper information to work with (Sounds simple, but this step is sometimes overlooked).
After that, the node ...
I've released YafaRay-E (experimental) v2.0.0, which includes Render Passes, Render Views and, among other things, there is a samplerate pass available that shows the places where the adaptative AA is sampling more pixels. It's not exactly what you showed here, but I hope it's good enough.
You can download it from here:
You can do this by using a Material Override and a special material to give the objects' positions.
First create a new material with an emission shader (you can add it to any object, it doesn't matter). Add an Input > Object Info node and plug the Location into the color of the emission shader.
Now you can create a fake user for the material and remove it ...
The File Output Node is exactly what you are looking for.
Unfortunately the documentation does not mention how to get it to output to different subfolders, but thanks to sambler you can have each file go into its own folder.
The settings for the File output node are in the properties region, press N to open it. Such things as file format, compression, ...
As 3dpointedit pointed out, there is a limitation of the current ID mask system:
Is Z-Render Pass accuracy dependent on sample count? Are others like object id? (Cycles)
As such, these layers are unusable for any post-processing workflow. You need to obtain these layers differently, or build the pipeline in another way.
The correct way of compositing onto ...
It isn't straightforwards as Cegaton notes.
You could abuse Blender's ridiculous OCIO integration to achieve this however. Save the file as an EXR, and add the following stanza to the OpenColorIO configuration in datafiles/colormanagement:
name: One-Way XYZ
family: Input Special
Try setting Display Device to 'None'(because you do not want it to be an image viewd on any display device, but only pure unchanged values) in the scene's color management settings:
Seems to work:
Obviously the output needs to be a 32bit full float EXR image in this case as well if you want to save it.
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.
I assume your screenshot shows what you would see in the image editor if you have rendered cryptomatte passes, and view them directly. In that case, they look absolutely horrible:
However, that's not how they are supposed to be used. The mattes have to be extracted from the created channels first using the Cryptomatte node. You can find it under Add -> ...
Depends on the pass. Z and Object/Mat ID are not antialiased at all, and require only 1 sample. Normal, mist, and UV are also just data/stats, but since they are antialiased you need a few samples to get a smooth result. 8-16 is usually enough. Vector is a bit of a weird case that I confess I don't fully understand. It doesn't appear to be antialiased in the ...
Create a new render layer in which the material is overriden by some material that has no transparency, and enable mist for that render layer. Then use the mist pass from that layer to combine over the other layers.
(click on the image to enlarge)
The first tutorial lists a number of different shaders that may have their own render pass. Cycles doesn't separate the render result based on the shader used, cycles uses node based materials that can combine many different shader types to get the final result.
In cycles the passes that are available will each contain a portion of the scene that when ...
Actually, your question is a little bit vague, you have everything you need to begin to understand this topic on the Blender Reference Manual
Short answer, because this is a huge topic, and your question implies that the concept itself isn't quite clear for you (the reason I advised you to first read the manual ;) ), but the concept is to :
activate the ...
You can't use both volume scatter and a background in the world settings at the same time (read this post).
The workaround is creating a "domain" object around the area where you need the volume scattering. In order to be transparent, the domain will have no surface and only volume scattering.
Your HDRi world texture can then be used normally (Keep in ...
There are two parts to the render layers settings. First is each render layer that you create, each of these results in a new rendered image that can be added into blenders compositor. Second is the passes that are used to make up the render layer, these are available as sockets in blender's compositor.
When you save the render result you will normally save ...
In Cycles you can adjust the Alpha Threshold for the Render Layer to adjust how layers are affected by transparency. Setting the Alpha Threshold to 0.000 will result in all objects - even those that are completely transparent - affecting the Index passes (as well as the Z, Normal, UV, and Vector passes).
Direct and indirect passes are lighting passes. You literally add them to add light to your pixels. That light can be either white or colored light and it may hold intensity values well above 1, as they are scene values.
These passes contain the information of light coming from the light sources of your scene and interacting with surfaces (glossy, diffuse, ...