When i render the shadows on to a plane with basic surface they look great, and quality improves with the area samples setting of the environment light.
However when rendering to a shadow matte SHOP surface, the shadows are terrible, and I can't improve them at all, either in the light or the Mantra ROP.
Any ideas what I might be missing?
PBR + Environment light + shadow matte = grainy shadows
6340 4 1- uniqueloginname
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- jason_iversen
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In your regular beauty render, added an “Extra Image Plane” for “direct_shadow”. This will provide you a shadow matte on the fly.
And I don't know why the ShadowMatte shader looks bad
And I don't know why the ShadowMatte shader looks bad
Jason Iversen, Technology Supervisor & FX Pipeline/R+D Lead @ Weta FX
also, http://www.odforce.net [www.odforce.net]
also, http://www.odforce.net [www.odforce.net]
- uniqueloginname
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- mzigaib
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- uniqueloginname
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sure. i was doing it the ‘old’ way, with my background geometry (i.e. plane) having a shadow matte shader. I then went to composite my foreground objects over that. (PBR + the shadow matte shader rendered as poor quality - not sure why - but after Jason's post I realised I was on the wrong track so I didn't pursue it further.)
Instead, for both the beauty and shadow passes, I use the full scene geometry with the normal shaders – except in the beauty pass, the background geometry is set to Phantom (so it is included in reflections and light bounces, but not visible in the output).
Then, as Jason suggested, the shadow matte can be obtained with deep raster (extra image plane) from the shadow pass output.
In COPS, I first composite my beauty pass with the background image (over), then composite the result of that with the shadow pass (multiply).
not sure if this is ‘correct’, but I am happy with the results
P.S. use takes to setup the different passes.
Instead, for both the beauty and shadow passes, I use the full scene geometry with the normal shaders – except in the beauty pass, the background geometry is set to Phantom (so it is included in reflections and light bounces, but not visible in the output).
Then, as Jason suggested, the shadow matte can be obtained with deep raster (extra image plane) from the shadow pass output.
In COPS, I first composite my beauty pass with the background image (over), then composite the result of that with the shadow pass (multiply).
not sure if this is ‘correct’, but I am happy with the results
P.S. use takes to setup the different passes.
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