Vray- Rendersettings for beautypass composition

[sebastiankraus]

Yeah i know that line... its the same i pointed out, opening this thread.

 

i was just trying to avoid RawElements and have to admit, that i havent tried it again - since exporting everything the way i mentioned above

[Francisco Penaloza]

Sebastian,if you want to keep your image with full light information you have to stay on 32 Bits and with gamma linear so when render in VRay use the none option in color mapping, no gamma no color mapping then when save the image save it with gamma 1.0. this will keep the light information in all the passes just as when they where created in the render engine.

Now this is not "The Law" you can use reinhard if you want(it will clamp your brights) or any color mapping, you can save with gamma burned if you like too, but all this variation will clamp or limit the spectrum if light information in your image, I do it from time to time depending of the project.

Complex compositors rather keep all the information in a raw format, because they do a lot of post production, not only color adjustment. They get render passes from VRay, and Arnold or Render man at the same time, then they rebuild the scene in Nuke and relight with Katana and everything seems to look like it was produced inside one 3d application.

 

Photoshop compared to After Effects still limited in tools to work with full 32 Bits, it is a legacy of being an old Photo editing software basically, most raw format are 12 or 16 Bits only.

 

My work around is select my beauty pass ( usually render out a beauty pass, plus separate elements, such diffuse, Reflection, Refraction, Glossy, Shadows, Mats ID) because I don't need to rebuild the image from scratch.

I select my beauty pass or the passes that create it and I transform all that in to a Smart object, photoshop create a "Separated" file within the main PSD to store this image. Then inside of that smart object space I adjust gamma or color toning, then I go back to the main PSD and change my working space to 16Bits, this will unlock most of the tool in photoshop, if I need to adjust my beauty pass I just double click on the smart object and there I am in 32 Bits still. I also work with big images files 3K 5K or sometimes more, After Effect by default have more tools available for 32 Bits but it is way slower in High resolution images, Working with smart object in Photoshop is a better way for me, YMWV.

 

Also as a side note, VRay GI is the combination of Diffuse and Raw GI, so doing your comp with Diffuse and VRay GI in top it is a little overdone.

It give you more intensity in the colors though, so it can hep you in that way.

 

lighting=rawLighting*diffuseFilter

globalIllumination=rawGlobalIllumination*diffuseFilter

reflection=rawReflection*reflectionFilter

refraction=rawRefraction*refractionFilter

[sebastiankraus]

Thanks alot Francisco!

 

Ill get over that in depth tomorrow, give your way a try and keep you updated.

 

Would there be any effort in doin all that in AE directly? As Adobe CC customer u have it anyways...

[Francisco Penaloza]

Yes you can do all the comp in after effects too as I usually do when we work in animations but I am very used to the Photoshop workflow, and painting mask and color brushes here and there. Plus as mentioned before while working on videos we only do Full HD 1920 x 1080 and working at 32 Bits its get very lagging with our hardware here at the office, so if it is a still image at 5K I rather work it out in Photoshop.

 

If you have Magic Bullet you can do all your work in 32 Bits no problems in Photoshop, but I am not much fan of that plugin so just my way of work.

[sebastiankraus]

Funny youre talking about Magic Bullet. Gave it a shot and i really dont get it at all...

[Francisco Penaloza]

It is a pretty cool app for sure, it work fine for a lot of people and it is one of the few can let you work at 32 Bits in Photoshop.

It became popular in arch Viz mostly because copy cat syndrome than real performance, IMO but everybody has it own way to do thing, that's the fun of it right