Digital Sets 3: Rendering and Compositing
Hanson builds upon his work in Volume 2 demonstrating how to set up the
various render passes including elements such as flocking birds. He
then shows you exactly how he composites them properly in
Shake.
various render passes including elements such as flocking birds. He
then shows you exactly how he composites them properly in
Shake.
Content
Eric is again quite lively in this one. Unfortunately he starts out
with his rather dull PowerPoint’s explaining the importance of not
rendering everything in-camera, but rather creating many layers for use
by the compositor (he talks about at least14 different kinds of render
passes.) This yields much more control over the final look. He explains
how the many layers can be consolidated in single .EXR files, and why
and how 3D artists and compositors need to work together. He also looks
at growing cooperative workflow trends.
with his rather dull PowerPoint’s explaining the importance of not
rendering everything in-camera, but rather creating many layers for use
by the compositor (he talks about at least14 different kinds of render
passes.) This yields much more control over the final look. He explains
how the many layers can be consolidated in single .EXR files, and why
and how 3D artists and compositors need to work together. He also looks
at growing cooperative workflow trends.
Eric continues, giving examples of different pass types. He then
explains Maya's serious limitations and Renderman's strong advantages
in terms of the variety of passes possible. He also talks about how you
can improve your render options in Maya and MentalRay via command line
script rendering.
explains Maya's serious limitations and Renderman's strong advantages
in terms of the variety of passes possible. He also talks about how you
can improve your render options in Maya and MentalRay via command line
script rendering.
In Lesson 2 he gets right into the Shake compositor and talks about the
use of low resolution proxies and how to set them up. He warns us up
front, that he's assuming prior knowledge of Shake. I feel that if you
understand his render tree approach to compositing, you could work
similarly in say Digital Fusion or Combustion. It's much about
'getting' the concepts involved and then applying them intelligently in
your own situation. Here he actually does do a nice job of taking us
through the Shake compositing process step by step and it °à˜s pretty
complex. You may have to watch parts of this several times.
use of low resolution proxies and how to set them up. He warns us up
front, that he's assuming prior knowledge of Shake. I feel that if you
understand his render tree approach to compositing, you could work
similarly in say Digital Fusion or Combustion. It's much about
'getting' the concepts involved and then applying them intelligently in
your own situation. Here he actually does do a nice job of taking us
through the Shake compositing process step by step and it °à˜s pretty
complex. You may have to watch parts of this several times.
Eric still tends to jump around a bit. While describing the complex
composite tree he will at times start on one part, then jump to another
and back to finish the first. I found that a bit disconcerting. But
certainly it was not enough to seriously detract from what Eric has to
say. His talks about lighting, grain, blur and atmosphere matching give
away many key concepts needed for professional level work.
composite tree he will at times start on one part, then jump to another
and back to finish the first. I found that a bit disconcerting. But
certainly it was not enough to seriously detract from what Eric has to
say. His talks about lighting, grain, blur and atmosphere matching give
away many key concepts needed for professional level work.
General Comment
Eric clues us in on a large number of small but important techniques
and processes that he’s found make compositing work more efficient. I
learned a lot. His fun examples (after the boring slides), made it all
worth while. Although the included materials are great, I feel that he
should have incorporated more than one frame of the final composite
simply because going through it all leaves one feeling incomplete
without rendering out the final movie. He does include his final
render, but I’m the type who would have fooled around with the elements
in Shake until the final looked the way I want it to. I wanted to
render out the entire composited clip.
and processes that he’s found make compositing work more efficient. I
learned a lot. His fun examples (after the boring slides), made it all
worth while. Although the included materials are great, I feel that he
should have incorporated more than one frame of the final composite
simply because going through it all leaves one feeling incomplete
without rendering out the final movie. He does include his final
render, but I’m the type who would have fooled around with the elements
in Shake until the final looked the way I want it to. I wanted to
render out the entire composited clip.
Ultimately the three volumes of training are aimed at getting you to
integrate the CG elements with practical elements in a seamless and
believable manner. I believe he accomplishes this.
integrate the CG elements with practical elements in a seamless and
believable manner. I believe he accomplishes this.
Conclusion
This Volume was edifying and enjoyable. Is it worth your time and
money? Yes, especially if you have access to the fairly expensive Shake
which runs only on Apple or Linux. It will be considerably less helpful
if you composite in one of the Discreet or Adobe applications. However,
again, he teaches you principles that transfer well to these other
platforms if you're adaptable. So if you know your axe, you should be
able to benefit from the concepts taught here. As stated, this is a
course for advanced, pro level; not designed for your average dabbler.
money? Yes, especially if you have access to the fairly expensive Shake
which runs only on Apple or Linux. It will be considerably less helpful
if you composite in one of the Discreet or Adobe applications. However,
again, he teaches you principles that transfer well to these other
platforms if you're adaptable. So if you know your axe, you should be
able to benefit from the concepts taught here. As stated, this is a
course for advanced, pro level; not designed for your average dabbler.
Also note: Eric has recently completed the fourth in
this series: Digital Sets 4: 3D Image-based Terrain.
I haven't reviewed it yet, but from what I've seen it's a remarkable
course.
this series: Digital Sets 4: 3D Image-based Terrain.
I haven't reviewed it yet, but from what I've seen it's a remarkable
course.
What’s Next?
I'll be reviewing an impressive self-published DVD from Character
Animator Jeff Lew. Learning 3D Character Animation with Jeff
Lew. Jeff uses the inexpensive software: Animation Master
very effectively. Nevertheless, his DVD is presented so you can use
these principles in virtually any advanced 3D animation suite from Maya
to Lightwave. This one is a lot of fun and amazingly effective.
Animator Jeff Lew. Learning 3D Character Animation with Jeff
Lew. Jeff uses the inexpensive software: Animation Master
very effectively. Nevertheless, his DVD is presented so you can use
these principles in virtually any advanced 3D animation suite from Maya
to Lightwave. This one is a lot of fun and amazingly effective.
The second is another series from Gnomon entitled: Creature
Design by Aaron Sims: Volumes 1 & 2. Sims, a well known
creature designer shares his advanced techniques in sketch design,
digital sculpting, texturing and rendering. He uses Photoshop, XSI,
Zbrush and Deep Paint in the process.
Design by Aaron Sims: Volumes 1 & 2. Sims, a well known
creature designer shares his advanced techniques in sketch design,
digital sculpting, texturing and rendering. He uses Photoshop, XSI,
Zbrush and Deep Paint in the process.
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