#npr3d — Public Fediverse posts

Hiromi Lerner was a musician and a medical student. Now she's a paramedic and a nutritionist for a Moon Colony.

And a Mom, as we see in the pilot episode of "Lunatics!"

Re-rendered to (I hope) loop properly, and with simple text wartermark.

#LunaticsProject #OpenMovie #Blender3D #NPR3D

lunatics.tv

(I am NOT actually asking for help to solve this, and I haven''t given enough information in any case. I'm sure I'll manage. This is just to give you a peek at what I'm working on).

However, if anyone feels a desire to chime in with an explanation of why the Blender Internal "Shadow" pass generates intense colors like this red, that might be helpful. I have never understood what's going on with that!

Also, this clearly shows that the shadow pass is the culprit. It seems to be because these are "shadeless" objects. But it's not what I would expect it to do. I would expect those areas to have no shadow, or possible for the alpha layer from the shadow pass to mark them as 'transparent' so that it would have no effect.

But if I break out the alpha from the shadow layer, it's all 100% opaque. So IDK. 🤔 #Blender #Compositing #InkPaint #NPR3D #LunaticsProject

I just rendered a better example. And I have some breakdown for it.

The first image is the "pre-composite" -- that's a PNG image that I spit out of the rendering process to give a quick look at the way things are going, using the default ink+paint compositing.

The 2nd image is the "base color" image. This has some of the render passes (shadow, in particuler) missing, because they are stored in separate layers in the output EXR image.

The 3rd image is the base "ink" image, against a white background for clarity (the ink layer is actually transparent). There is some compositing magic that removes the ink lines for stuff that should be "behind" the billboard characters.

The "real" output from my renders is a "Multilayer EXR stream" -- that is, a long series of numbered EXR image files. This format can store multiple image layers that can then be tweaked and assembled during the compositing phase.

What I normally have been sharing are the "pre-composite" PNG images, which are really just a preview I generate during rendering, using a default compositing setup.

#Blender #Compositing #InkPaint #NPR3D #LunaticsProject

I lost some intermediate data awhile back, so I'm having to re-render some shots to get started on my next sequence, before I can finish more improvements, but it's getting closer.

Some more work-in-progress test renders.

#LunaticsProject #OpenMovie #Blender #NPR3D #InkPaint

Although there is still animation and rendering to do, I am starting to think about my compositing pipeline.

Our basic look design is based on "ink" (rendered by Blender-Freestyle) over "paint" (rendered by the Blender Internal "Toon" Renderer), simulating the appearance of celluloid animation.

The Blender Internal renderer is why we're still using Blender 2.79. This will probably be replaced by Eevee in later episodes, once we've worked out a good appearance.

These will be put together, but both processes are subject to some errors that I would like to clean up -- ideally being able to work on ink and paint layers separately.

And there's also the possibility of adding some 2D flare to certain shots. For example, it should be possible to put an "antique" effect on the paint layer, or simply fade it, for effect. This could even be done with a mask to create a "vignette" look. Or we could alter the color of the ink layer (perhaps to improve contrast with dark shots, etc).

These will likely be done with a combination of traveling-matte masks created with Blender's "Movie Clip Editor" and drawn-on animation with "Grease Pencil".

I don't know much about Grease Pencil... yet. So that's on my agenda for this month.

https://tv.filmfreedom.net/w/eNw5Nq6qEFpHtUk8SboHBF
#LunaticsProject #OpenMovie #Blender #NPR3D #InkPaint