Posted on Jan. 8, 2020, 10:38 p.m. by Ren-Den • Last updated on Sept. 22, 2020, 2:08 p.m.
This guide assumes that you're running Node Wrangler by default.
You can access the compositor either by going to the corner of any editor and clicking on "Compositor" or by the default keybind of: [Shift + F3] while you mouse over any of the editor windows.
When you start out in the compositor there are a couple of things you will want to toggle by default. The first is the "Backdrop" button in the top right corner. That allows the Viewer Node to display whatever you are working on.To quickly enable the Viewer Node, simply [Ctrl + Shift] Click any node or pass you wish to preview.
From there, you will also want to open up the "Properties Panel" [N] and jump over to the options Submenu. If you're running a GPU, the default toggles should be:
With Two Pass being of potential use if you're doing a lot of masking. (This runs quick computational nodes first, then slower afterwards.)
Outside of toggling these options you will primarily want to keep your Properties Panel on View to easily change the zoom factor on the preview. If you're unwilling to learn the following keybindings.
Render Layers are the most common variation of compositing materials that you will run into with blender. These are made up of Passes. Where your blend file can have multiple Scenes, which can have multiple Render Layers, which will contain different Passes. Said passes, are delivered as "color information". Be it grayscale, vector shades or the whole color spectrum. The available passes will vary from render engine to render engine. EEVEE will have fewer than Cycles for example. While the immediate thought might be "ENABLE EVERYTHING". That should be discouraged if possible. Not only will it increase your render times (slightly), but it will make your compositing more of a clusterfuck.
In the compositor, your render pass will show up by default like pictured below:
Thus, try to only include the passes you expect to need. Planning is key.
There is one particular Pass that requires more detail:
The Mist Pass is controlled by additional qualifiers that live within the World Properties underneath the "Mist Pass". Do note, this menu will only show up if you have toggled on Mist Pass in the View Layer Properties.
The Mist Pass works by ranging out a set distance from your camera you have set to render. The start measurement being the distance from the camera, while Depth is how deep along the Z axis the mist goes. The Falloff is a simple descriptor for the speed of the change in the gradient. Illustration below.
For easier visualize where your Mist Pass begins and terminates. You can toggle a visual guide in the Camera object underneath "Viewport Display" toggle: "Mist" This range be emphasised further within the compositor, with anything that changes the values of the color ranges with everything from, "Color Ramp" to "Map Value"
So, you have a rendered image, and it has passes. And now you want to see if you cannot make your render that little bit better. You are more likely than not to find that some tasks that are arduous to do in 3D, are a lot simpler to achieve in the compositor. With a large background library, backdrops are just a couple of clicks away rather than a major import of messy meshes. Or, you may also have noticed that it is impossible to make anything resembling an actual "Glow" in Cycles, due to the fact that glow is actually a camera/eye-artifact. To achieve this is all within the domain of Mixing and Adding.
The Primary workhorses While there is also a third companion, it is used rarely, due to its specific nature. And so we are not going to get into when and why to use the "Z-Combine Node"
On first glance, "Mix" & "Alpha Over" seem very much alike to each other. While both Mix & Alpha over, can overlay images depending on their alpha information. Alpha Over only ever touches RGB-information on its own, but retains the Alpha data ("Set Alpha" can work around this. While "Mix" has in my experience chewed through just about everything.
"Alpha Over" also doesn't cause a luminescence difference like some of Mix's blends do.
The general use cases for the two nodes will be:
Alpha Over: Overlaying your render on top of a background. Overlaying Watermarks on top of your renders. Mix: Blending non-transparent on top of one and the other. Blending together different color passes. Masking
Masking is the primary tool of the compositor, as well as its most fundamental. Most everything inside of the compositor utilizes it to one degree or another. To get the most out of masking as a concept, you should understand what you are fundamentally working with.
Between every Alpha Over & Mix that you do, you will either overlay or blend. The manner which decides how much, is the mask. The simplest example of this is mixing white with black. Your factor will go between 0-1, where 0 means you get white, and 1 means you get black. If you pick 0.5, you get a gray. Combined with other nodes, you can achieve basic effects such as:
The brightest pixels in your render becomes transparent. Everything emissive within your Emission Pass has a glow. The distance from your camera slowly becomes white (Mist Pass.)
This concept becomes even more interesting when you start defining custom masks.
Blender has a healthy amount of ways to mask your scene, 3D-objects & canvas. From the Box & Ellipse Mask, where you have a very simple geometric black-white mask to the Cryptomatte & the outdated ID-mask, that lets you can assign objects within your render after its done to be specifically targeted by various blending effects, to the classic "Mask" where you designate your own mask in the image editor with curves when you need to mask something more complicated than a rectangle or ellipse shape. It is probably dawning on you now, that you can mix & combine masks to get bigger and more complex masks. It is a layered solution where only your willingness to go between black & white is the limit.
Denoising. (2.81 or higher required.)
With the advent of 2.81, blender now has an access to the Intel Denoiser by default. This is an enormous step-up from the previous denoiser. Making the upgrade to 2.81 well worth by itself. Particularly if you are working in cycles a lot Cycles. Simply add the "Denoise Node" into your composite, Toggle the "Denoising Data" in your Render passes and connect: Image with image, Denoising Normal with Normal, Denoising Albedo with Albedo. Then plug that into your composition and, congratulations. You've just cut the amount of samples required by a significant margin. While getting less noise.
Amplifying Ambient occlusion.
Having a bit of extra ambient occlussion can generally support a more cartoony look. And its easy enough to add in the compositor. Simply add a mix node. Set it to multiply and connect image & AO. Use sparingly for a slightly more cartoony look.
Glare, Glow, Stars 'n general shiny lights.
This one is a somewhat more broader principle. Where you don't necessarily have to use the emission pass, even if it is mighty useful to seperate your emissive elements to its own pass, the Glare node works by utilizing the brightest available pixels, then going by the threshold from there on out. Keep this in mind and you have a quick 'n dirty tool in the compositor. A point of import that ties into the fact that the glare nodes utilize the brightest pixels is that you can generate your own points of "brightness" if you've for some reason have forgotten to include it within your desired 3D geometry. Just remember, if something emits light, it emits on more than just itself.
This is babby's first effect. Criminally overused, yet one of the most useful effects in composition that exists. This effect is going to get you laughed out of the room if you overstep the usage with it. However, will serve you well to highlight points of focus. It comes in a myriad set of forms. The most commonly used one, is a simple feathering pattern of the edges of the screen towards the center. This simply darkens the edges and pushes the eye towards the center. Useful, but overused.
The more "advanced" version of this, would be to use masks to influence your color grading. Where your point of focus is color-shifted in one direction, while the rest of the scene is graded differently. This can help to emphasis to tell a different plots in whatever erotica you decide to make. A general composition course is very useful for this. However in the #Blender channel's pin is a post by Odysses that's highly useful on this particular topic. (Thanks Gnom.)
Chromatic abberation is yet another physical artifact that along with film grain has managed to creep itself back into renders that doesn't suffer from this downside. As something that little bit of extra on top & feel more "real". Combine with a mask for control. Node Setup:
Having to censor something should be something that's near and dear to anyone who has done degenerate enough content to warrant censoring on various release platforms. While a basic blur can frequently do the job admirably. Its always valuable to spice things up a little bit more. Where each tile can hint at what's underneath while complying with the rules.
Troubleshooting always starts with locating just where your problem is. With its node based approach, the Blender compositor makes that easy, provided you put in the minute it takes to order your nodes to something more readable. Each node leading into the next node can easily be disected just what its doing by ctrl-shift clicking it. However, when you're laying effects. It can be good to keep them stacked together. In contrast to:
The visual cluster-fuck makes it hard to read and far harder to getting an overview at a glance. While it is not so difficult to figure out where every individual piece eventually ends up. It can be very enlightening to go over your setup and clean it up.
So, what tools do you have to clean it up?
Reroute: is simply a node point, that you can move about freely and connect to other nodes. This allows you to have an cleaner routing of your nodes, resulting in a cleaner view. Frame: creates a background frame that allows you to group together a set of nodes. Framing is a visual aid that helps keeping large node trees well-structured. One of their primal uses is to separate specific effects when they are being mixed. Groups: the same as Shader Editor Groups. This permits you to create an internal group of nodes for a more compact overview With easy input and output nodes. Rather than seeing the entire routing of the effect in question. These nodes are their own data block and can conveniently be appended into other files. They will appear at the bottom of the Nodes "Add Menu". (Ctrl + A)
While you can import custom Textures as a simple Image node, you can also use the internal textures that's generated inside of the Textures properties.
This can quickly be accessed with a Texture node in the Compositor.
Said Node can further be modified (and animated) on the fly. Without needing to be reloaded.
This version of the guide is going to assume that you're not utilizing an external compositor. So there won't be a need for exporting the passes from the Renderlayer.
Assuming you're keeping your render in memory, it can be at times moderately annoying to get the "Composite" node to update. Using the "Viewer" Node and opening another area. Switching to the Image Editor (Shift + F2). Then toggling the image / texture over to the "Viewer Node" allows for easy saving of your project in whatever desired file format you want. Wherever within the compositor tree you wish to.
For publishing, you will in general be fine with alternatively .JPG (If you care about your upload site of choices storage & bandwidth. This is assuming they don't have a internal converter) or .PNG with 8-bit color depth, set to your desired compression level.
For external compositors however. Its recommended running a higher bit-depth (16-32 bit) with a format such as OpenEXR or OpenEXR MultiLayer. However, that's for another version of the guide. Just know that 100% compression on .PNG files is VERY slow in the grand scheme of things.
For feedback regarding this tutorial. Toss a @Varenta into the Smutbase #Blender channel. Requests for particular topics is welcome too.
For the community.
Nevertheless. Major thanks for helping to edit & bullying me into this little project.
When you've got a question. Always look at the Blender manual first. Its full to brimming with simple breakdowns for how just about every system inside Blender works, sometimes even with images. Priceless. If/When however, the manual fails you. Googling for a problem, is more like than not to throw up a Stackexchange answer. These should be your first points when figuring out a problem you've been unable to solve. And they've been a major part of this write-up. Directly, and indirectly.
I might not be a fan of Paul's artistic work. But his tutorial's and breakdowns to create toon-like visuals both with the help of shaders & the Blender Compositor is an incredibly rewarding and useful bit of knowledge to enjoy.
Something you will repeatedly run into when you're mixing together different results. Will be which blending mode you'll want to utilize. The link above, will prove to be excellent reading in the long-term. Understanding what each individual blending mode does and how to use it to best effect is terribly useful. The Blender greatest strength of the Blender community, is the willingness to share everything from code to tools. So make use of that strength. And return what you can, when you can.