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Hello and welcome back everyone to Stylize Environments with Blender for
Geometry Nodes.
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In last lesson we finished up by getting a nice setup overall for the vines and
now we're
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going to finalize the overall setup with in regards to the render. If we click
zero we
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still have this camera set on the scene. Now we just need to make sure that it
actually
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brings forth all the detail necessary when it's rendering and to do that we're
going to make use
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out of the compositor. So if we were to click on the compositor tab over here
we're going to get
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this type of a setup which it's not going to give us anything. The reason being
is that we've not
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rendered anything and so to start off we're going to make ourselves a nice first
render.
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We're going to do that by firstly going downwards over here.
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So from this tab to render we're going to make sure that firstly we're going to
open up the
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render tab and the max samples that we're going to set is just going to be
something like a small
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value. So a value of 10 is going to be more than enough for a preview. Make sure
that the denoiser
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is also ticked on and once we have that we can click F12 on our keyboard to
start rendering.
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You'll notice that the max sample because we set it as 10 it's just going to
render 10 samples
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and we are having some issues over here. You can see the stairs are missing. So
let's see what's
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happening. So I'll just let it finish 10 samples over here. It's going to
finalize it, denoise
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everything and it's going to give us a nice setup and it's a good preview start
but again the stairs
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are missing. Let's go ahead and fix that. So the reason the stairs are missing
is quite simple.
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If we were to just select the stairs
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we can hover over the outliner over here. We can click the dot to locate these
objects and we can see that
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next to these objects, this icon over here, the camera icon, is actually missing
on all four of those stairs.
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So I'm just going to go ahead and enable this, making sure that it is not
missing anymore.
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I'm also going to check the water, because if I were to click zero, it's not
actually quite as visible, the water.
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Not as high up as I want it to be. So maybe I want to just raise it up a little
bit, like so.
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I don't want this bucket to be touching it. So I think something like this is
actually quite alright.
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If we click zero, we can still see a bit of water and that's more than enough.
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Maybe a little bit more actually. There we go.
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And, yeah, this looks much better.
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So, full water, type of AOL, looks really great for us.
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Going back to the compositor. Now, if we were to go back to the compositor,
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we should, actually we're not going to see anything, we need to click something
over here
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called Use Nodes. Once we click Use Nodes, we're going to get this Render
Layers. This is what's
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been rendered, you can see the preview over here, and we have no stairs, so
that's why we're not
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seeing that yet, but before making a now render, I'd like to enable a couple of
options. Those
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options are going to be in the View Layer. The View Layer will allow us to
enable a couple of
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additional render for additional information that we're going to be able to
combine. The ones that
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we want is, if we scroll down, we'll want to make sure that the Combine is
ticked on, and I think
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for this one, yeah, that's, we only want to combine, so this is the main image.
Then we're going to
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make use out of the other lighting passes. We're going to make sure that we have
Emission.
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Environment and Ambient Occlusion.
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But as you can see it enables it over here. We've not rendered them yet, so it's
not going to give us anything at the moment.
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But Emission will basically show us where the emissive setup is.
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In which case, in our case, is going to be this light over here.
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So this light has those emissive setup for the textures.
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That's what's going to be showing. Ambient Occlusion is basically going to
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whenever it's going into crevices and sharper angles
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of combination between objects. It's going to darken those bits out.
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It's going to look like it's more part of the scene. All of the pieces
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basically put together. So it's going to actually also help us to highlight some
of that
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contour. Then we had
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Environment. The Environment will basically give us a nicer overall color setup.
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Which we're going to be able to make use out of for our glare.
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So that's pretty much why we're enabling
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these.
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Let's go ahead and render this out again
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and see how this looks like. So Compositor, I'm going to click
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F12 and just leave it
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until it renders out.
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Alright, there we go. If you're wondering why it's cropping
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out top and the bottom, we can actually just zoom out
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and we can see that the actual image frame is a lot
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larger, so it's not cropping out anything like that.
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So now we can go ahead and actually work on some of those
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settings. Let's go ahead and see what we have.
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I'm going to go ahead and just close this down
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and I'm going to move the composite onto the right side
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a little bit more, so we can actually start
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working with it basically. So the first thing we're going to do
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is we're going to just preview the image. We can click and hold
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CTRL and SHIFT and just simply tap on the render layers
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and this will give us the viewer node, which will
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show it in the background basically for the setup.
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So this is what we're seeing for the image. It's a nice little feature to make
use out of.
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So again, CTRL and SHIFT and then tapping on either one of the nodes
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and now because we're just clicking through it, it's going to click through all
of them
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and see what we have. So this is the emitter. It's going to show us
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the lantern as well as lighting for the
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water since we are going for the stylized scene. So this is
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the environment and finally Ambient Occlusion. So these are all
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the types of basically setups that we're going to make use out of
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and yeah. Let's go ahead and
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make use out of the first one, Ambient Occlusion.
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So the Ambient Occlusion, if we noticed, is actually
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quite noisy by default. So we need to go ahead and fix that. We're going to
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in order to fix it, to actually make use out of it on a photo itself
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we need to just drag it and search for a denoiser.
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Denoise, like so.
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And we're going to get ourselves this type of setup.
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Throughout this entire setup, throughout this lesson, if you are missing out a
node,
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or if you misclick something, you can also just simply redo the reroute,
basically.
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You can hold CTRL and you can just take it off, like so.
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And that's going to basically take off this link, just like that.
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So in case you have that kind of an issue, you can do so.
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And anyways, now that we have this denoiser, we can have a look at how
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this looks like, and it should load up.
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There we go.
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That's what we're going to get, which is very nice.
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For the pre-filter, for now we can just use a fast one.
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The reason being is that it's going to just speed up the overall setup, whilst
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still giving us some nice results.
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This way we can actually set ourselves up with a nice combination for the
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image and the multiplier, sorry, for the image and the ambient occlusion,
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using something called multiplier.
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Now, if we were to go ahead and click Shift and A and search for a Mix Color
node,
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this will allow us to basically combine our two images in any way that we want.
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So let's go ahead and just simply tap it in this line over here and it will
naturally combine those lines,
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those reroute dots onto the node. And now we can go ahead and just simply mix it
up.
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So if we were to just simply attach the image, the main render image and
denoiser,
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that gives us the ambient occlusion. Now we can go ahead and click Ctrl Shift
and just tap on a mix.
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We can see how it looks like. By default, it's not going to look great because
it's basically set with a factor of 1.
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1 is basically controlling how much it's overlaying the other image with the
mix.
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If we set it to 0, it's going to be giving us the original image, like so.
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Setting it to 1 is going to give us that ambient occlusion.
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But we don't really want this to be overlaid with this kind of setup.
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We want to make sure that...
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we overlay it so only it darkens certain parts of our image.
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So for us to do that, we'll change the Mix to Multiply.
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Which will now, if we have a look at it, will basically darken everything that's
been darkened in Ambient Occlusion parts.
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So that's actually a really nice setup.
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The only thing is though, that it's a little bit too much.
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So what we're going to do is, for this particular part, is we're going to make
use out of something very nice and useful called Color Ramp.
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Color Ramp will allow us to, if we attach it onto the Noiser,
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will allow us to basically control how much we want this setup to be using of
the information.
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We can see how it works if we click CTRL-SHIFT and just tap on the Color Ramp.
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We can see the effect that it's giving us. So if we were to simply drag this
bottom line,
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we can see two lines basically. One, like a black arrow over here and the other
one is a white arrow.
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And if we drag one of them...
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towards the other, we can see that it actually is being
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whitened out this entire image. The reason being is that this
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is basically saying that everywhere that was grey before
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is now going to be white. So the area over here
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that looked grey before is going to be washed out. Vice versa if we
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start increasing this black, it's going to start darkening even more
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of that grey area. So that's how it works and we want
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to basically darken it up a little bit
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so we could actually have darker spots to get a better contrast
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and then we want to make use of that white arrow and just
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bring it more to the center. But instead of just bringing it out like
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so, we can just click on this plus symbol to add a new
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arrow, which we're also going to set up as white. The reason
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being is that it gives us nicer control. Now we can have this
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white arrow all the way at the back whilst having a bit of a nicer control.
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for the section over here. And we want to have something like
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this I believe. Let me just have a look.
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Something like this. So basically we'd have some bit of sharpness
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coming out of these parts over here, especially over the crevices
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over the edges. But it's not going to overwhelm the overall
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setup. It's just going to give us nicer defining edges
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for the image. We can have a look how it looks like by clicking CTRL-SHIFT
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clicking on Multiply and seeing how it looks. So before, if we set
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this to Factor 0, so it's only going to give us the original image, we're going
to get
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this kind of a look. Like so. But now if we set this to 1
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we can see all of these, once it's unloading, we can see all of these parts
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sharpening it up and actually giving us much more refined shapes.
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So it's already looking pretty nice overall. Now we just simply
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need to work on the rest of the stuff in regards to
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emission, environment, and just simply overlaying
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the overall composition a little bit better.
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But we're running out of time so we're going to continue on with this in the
next lesson.
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Thank you so much for watching and I will be seeing you in a bit.
16763
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