Rendering 101 – pt. 25: AOVs In Redshift by Moritz 06.08.2020 comments 7 Part of: Rendering 101 Rendering 101 AOV, aovs, aux, auxiliary, custom, GI, light, normals, passes, Redshift, render, Rendering To view this content, you must be a member of Entagma's Patreon at $29 or more Unlock with Patreon
Love what you guys are doing with the redshift tutorials! It would be great if you do a macroshot of fabric or a very high quality fabric render in redshift. Suede or maybe wool could be cool, but its just a little suggestion 🙂
What about zDepth? I have problems with depth, its totally black.
check if you’ve got a camera in your scene, then Z-Depth is output as world space values. Meaning that when you have low or high z-depth values they appear to be all black or all white. However thy’re just storing distance values that are beyond what the 0-1 range of your display accepts. To check the values quickly you could use the pixel tab in the Render View’s settings dialog.
Mine was total white after render. But I tried to tweak the black and white point threshold in After Effect and Ps, it start to show up.
I’m totally with you on trying to keep the render passes as simple as possible, I find that once you start mixing things up in compositing you do run into a little bit of making scenes look artificial, which is fine if you’re not going for that hyper realistic view, but things just break a more easily once you split everything up..
I prefer render without extra passes as it speeds up rendertime and all the workflow in common. But if I’m on a heavy project an I know that client can provide tons of feedback or if there are extremely strict requirements for specific brand look I render a lot of passes for flexibility.
One very handy option is to specify which exr-compression to use for each individual AOV. Like this you can use a DWAA-compression (lossy compression) and reduce file sizes tremendously for all beauty layers while still having the DATA aovs (P, N, crypto), which would be ruined by DWAA/B, being compressed with a non-lossy compression (e.g. zips). To my knowledge exr-files yet do not support different compressions for different layers, but you can use the ‘Custom File Prefix’-Parameter and point to a different file. We use it to write out a standard beauty-file containing all the basic aovs (like diffuse, spec, refl…) and then we have a DATA-folder where all the production-aovs (like P, Z, N, motion) go. And another ADDITIONAL-folder with aovs for finer control like (RAW and filters). If have lots of aovs in one multi-layered exr-file you might want to use the multipart-exr option for a much faster load of each individual layer (if your framecycler or comp tool supports it).