Architectural Visualization with C4D and Octane: Wrapping Things Up

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Instructor Brandon Clements

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In this video we will discuss the basic render buffer types and take a quick look at Fusion tips and tricks before ending the course.

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Transcript

Hey, everyone, welcome back and in this video, we're going to talk about some of the end of the pipe here inside of Fusion and we're going to go back into Octane and I'm going to show you a little bit more about color settings. So if we jump back into Octane here when we look at our Render settings, so our image profile right now is set to Linear and our Tone Map type is set to Linear on our render passes. If you come over here to the main, we have this Render Buffer type so right now this is set to float tone mapped so let's talk about, like, what tone mapped and what linear really means here, okay? So inside of Fusion we're using all those different render passes to create a final image that is definitely being combined on the Merge node here and if we changed our light, you'd be able to see something similar that came out of Octane. Now the reason why this doesn't look exactly like what was in our Picture Viewer is because we are not tone mapping our render passes. And what does that really mean? Well, if we look at...this is our Diffuse Direct here in Fusion and I hover my mouse over this really super bright area of the pillow, notice in the bottom part here in Fusion, keep your eye down here, you see these numbers and you see 4.6, 4.6 in the green, 3.7 in the blue, and then of course we have an alpha of 1. What this really means is that we have brighter pixels here...as I float around with my mouse, we have brighter pixels in this area than 1, okay? So this goes into 32-bit linear float data so the bright white pixels are not being capped at 1. They can have, you know, the highest exposure value that the scene is being pumped into in the direct lighting pass, like, they can have really intense sun values here and this is what the 32-bit linear HDRI is providing for us. This reality capture information is coming through in our final render pass. So sometimes you do want to use the Tone Mapper inside of Octane, but for most of my projects and especially when I know that I'm going to take the time to combine my passes, I don't really want those numbers to be clipped. I want it to have the full exposure range. I want to be able to have that fidelity in post to bring those up or down, to use exposure values to actually, for instance, use a color correction on the reflection in Direct to tweak it even more to my liking. And I find it this is a little bit better way of working especially when you're doing client projects because I don't necessarily need to re-render this image if I have to change the tint of something or the color of something or maybe I need to make an area brighter than the other. It just tends to work out a lot better to have full linear data inside of your Compositing program. So back here in Cinema 4D, we just talked about what these mean right here so we do not have a Tone Map type. We are setting this to linear, our image color profile is not SRGB. It is not a gamma 2.2, it is a gamma of 1, we're keeping everything very linear. So if I was to actually come over here to the Save function and, you know, I was actually going to save an image, this Render Buffer type here would basically cap my rendered image here for my saved value, okay? But since I'm actually writing a file to disc from my render passes, we're going to be looking at these for color, okay? This main is not effecting...we are not using a tone mapped image in our compositing software. We are using the Render Passes only so I wanted that to be abundantly clear for anyone who had questions about that. Now the other great thing that I did not mention before is that...let's look at this Merge node here and I have my light turned on, and if we come over, almost every single node has this Blend node and I feel that I didn't cover this very well, but this Blend node is basically the opaciyy level. It's, like, how is it blending overall in the comp and, you know, as we scrub this up and down we're going to have, you know, a different effect based on what this node is and how it's contributing so I just wanted to point that out and make that abundantly clear for anyone who's going to be using Fusion or is excited to jump into Fusion. Another great tip that I would like to point out is that if you hit Ctrl+Spacebar inside of Fusion, you're basically greeted with this dialogue box and you can start typing the names of the nodes and have them appear and you can drop them down very quickly so you don't have to pull them necessarily from the top, or you don't have to right-click and go to the Add Tool menu. You can just start typing it right away and get in a lot of really cool nodes that way. So before we part ways on this whole series, I hope you guys really enjoyed it. I hope you learned a lot and if you had questions, I hope that they became clear, and I really hope that this series helps you create better images for your client work and also for your in-house work as well. A huge thanks to MAXON for the support. We'd been talking for a long time trying to get this series out, and they have just been great supporting this series and allowing me to take time to build my small studio and my small business. If you guys have any questions, please reach out to me on social media or shoot me an email. I'm always happy to answer questions or help you along so best of luck to you, and I hope to see you in another Cineversity series. Take care.
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