All language subtitles for 07. Discussing deep precomps

in this lesson we will be picking up where we left off

covering deep pulled out pre ops

I've gone ahead and set up the

deep pulled out pre op outputs for

all six of these deep elements

we can take a look at how things went

now if we walk through

you'll see after the holdout

and it's important to understand that

deep holdout outputs 2D image data

not deep data

so now after d pulled out

you can use any regular image processing node

but what it doesn't do is it doesn't remove

the deep data layer from the pipe

so you can see here in the viewer

the deep date is still there

now if we try to render with a regular right note

out to EXR with that deep data in there

nuclear crash it can't handle it

now if you wanted to write out deep data

just simply use deep right

right out to EXR format

and it will work just fine

but in this case

we don't want to carry deep data

down into the rest of the composite

so what I needed to do was use remove node

and remove the deep layer

so now everything after this

there's no more deep

and something else I ran into was

for some reason in this render of the CG

when the deep gets held out

I mean excuse me

when the depth gets held out

the depth layer becomes corrupt

so what I had to do was remove depth

and then go and make my own holdout

so I still used the holdout alpha channel I used

the resulting alpha channel which is this layer here

and I use that to basically mask

I used a multiple operation

in particular the original depth from the AOV

so we take a look at that

see this is the the depth

and it's not master held out at all

went through

in this merge node

set it to multiply and set the a input to alpha

the B to depth and the output to depth

so what it does is it takes the Alpha from the holdout

and then it multiplies it with the depth

from the a O V read

and then I copy it back into the main pipe

as the depth layer

so our result now is a working depth pass

with no errors

and it renders just fine

and that's what's been output in this EXR

and if I go through you'll see there's the beauty

refractions reflections global Lination raw

I take you through all the other elements

see the ground it's been rendered with a holdout

vegetation large

1 vegetation large two

vegetation small

and the trees

now let's put these together and check to make sure

that our holdouts actually worked

now press m

make a merge

select these read nodes

press Y

let's view this merge

and what do we have

we have reassembled our elements so this is great

and if we take a look now we can see that

so we see here

that we've now reassembled all of our elements

just as they should be

using the deep pulled outs

and if we take a look and check at the

check for the different AAVs we can see

okay I know immediately

I forgot to merge all layers in the merge note here

also merge all

otherwise it was just RGBA

so now we have everything

diffuse color this is diffuse color for every element

normals etc

so now they're all here

and they've all been reassembled

and additionally

something that you might want to do

is in this work flow

you might also want to take the alpha from each element

and create a new layer and

and use a channel in there as a ID mat

so that you would have a mat to specifically isolate

these different elements that you've put together

so that way you have specific mat mat controls

like you would if they were discrete elements

even though they've been merged together

and that's pretty handy

it's basically like an object ID thing

like you would do in um

rendering out CG

and in this case I didn't do that

but that's something that you can

you can try in your own workflows

it's something that's pretty common

so how we've done this

can see that the deep holdouts

how would we do something like that

so I'll give you a quick little demonstration

let's say we want

this alpha channel to become an ID mat

that's what we'll do

so we move these nodes down

we'll make a shuffle

and we're going to take Alpha

and then we are going to

go to new

we call this layer

call it ID

character so it's the same name as the element

just click rgba for auto okay

and now if we look at what we're going to be outputting

we see we have an ID mat

so I go ahead and re render these precomps

and then I'll show you what this looks like

once it's been merged together

I've gone ahead and re rendered our deep

hold up precomps with the object ID mats

here they are

got the character

ground the trees and let me show you how you

how you would use these

maybe you do something like you wanted

maybe just color correct the character

press G make a grade node

and set the mask

let's do ID character

it could be any of the channels

they're all the same

we'll just pick Alpha

and then multiply them up

multiply them down so we can see that

maybe even changes color

so we can see where

this could be a really useful way of doing things

so this is the workflow that

we use on all the big films

and we're gonna be carrying forward with this

into our next lesson