Graphics Reference
In-Depth Information
a node tree with two different inputs,
each vector blurred before being com-
bined with a set image. The problem to
watch out for is pixels in the fi nal com-
posite that have gone completely black.
This is due to an error between Alpha,
compositing, and vector blurring.
This is a tough problem to fi x. If possible,
consider putting the different elements
into the same Render Layer for this shot
so that a single vector blur pass can be
performed on the fi nal combined image.
Getting a Good Render on
Your Local Machine
Figure 15.59 Blurring each Render Layer before it is composited
When you have your shot lit and compositing properly, it is time to prepare for production rendering. Here is
a list of items to go through before declaring your shot “render ready.”
On the Format panel (Figure 15.60):
Double check the render size and frames per second.
OpenEXR format, with Zbuf and Zip(lossless) options.
On the Anim panel (Figure 15.61):
Do Composite is enabled.
The correct frame range is set.
On the Render panel (Figure 15.62):
OSA is enabled, and the OSA value is set appropriately. Setting 16 is the highest quality, but it can take
longer. Do a few tests to see what you can get away with.
Background options are set to Key . This allows Alpha channels to function properly in the compositor.
Unless you used it for a very good reason, Ray should be disabled.
On the Output panel (Figure 15.63):
Enable automatic thread detection if your render computer has more than one processor or processor core.
If you don't know, leave it enabled.
Enable both Touch and No Overwrite , which is useful later for a “poor man's render farm.”
Set the output path. This is very important! Just like asset paths, this too should be relative. A
good scheme is to locate the path for your fi nal renders (probably called renders or frames ) and
add the shot name to it as both a directory and part of the fi le name. A good path would look like:
//../renders/shot05/
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