Easy-to-follow video tutorials help you learn software, creative, and business skills.Become a member

Transforming multiple render passes as a single unit

From: Maya Rendering for After Effects Composites

Video: Transforming multiple render passes as a single unit

We successfully imported the render passes into After Effects. We took four of those passes and arranged them in the composition called Render to build up the renders so it looks similar to the original beauty pass. The order and the blending modes we use are very important to do that. Now the fact that these render passes are on separate layers is both good and bad. The good part is you have a lot of flexibility, you can apply effects to anyone of these individually, so every layer can be adjusted separately from the other layers. For example, the shadow layer already has the invert effect on it but none of the other ones do.

Transforming multiple render passes as a single unit

We successfully imported the render passes into After Effects. We took four of those passes and arranged them in the composition called Render to build up the renders so it looks similar to the original beauty pass. The order and the blending modes we use are very important to do that. Now the fact that these render passes are on separate layers is both good and bad. The good part is you have a lot of flexibility, you can apply effects to anyone of these individually, so every layer can be adjusted separately from the other layers. For example, the shadow layer already has the invert effect on it but none of the other ones do.

I can go to any of these other ones and apply different effects. For example, just as a task, I can go up to Effect and apply a Blur, like a Gaussian Blur to the reflection. Once I apply effects, that effect is once again listed under Effects for that layer and also the Effect options show up in the Effect Controls panel. So if increasing blurriness here, I can blur out just the reflection. Now this might not be the best solution for this type of project but does show you that all these layers can have a different set of effects.

So for now I want to get rid of this--we don't this at this point--I'll delete that. Now that's the good part. The bad part is if I want to move something around, these are all separate. So if I grab the diffuse layer and interactively click-drag it in viewer, it splits out from the other layers. Its transforms are different. So what you do about that? Well, you could move all of these together so all the transforms update. You could do that by, for example, Shift-selecting them all and then trying to move them, and that works. That gets a little tedious sometimes, and it's not really good for animation.

So I'm going to click Undo here, Ctrl+Z to go back, and we'll talk about some other solutions. Okay! Now our layers are back at the start point. Another way to reset the transforms, by the way, is just to click the Reset button beside that layer. Reset will set that set of Transforms back to their initial stage. In any case, what do we do about the fact that they are separate, and I want to move them together? One solution is Parenting, Parenting allows you to parent one layer to another and in fact there's a Parent menu right beside the each layer, so for example, if I go to Specular layer, go to its Parent menu, and switch that to the Diffuse layer, then the specular becomes parented to the diffuse.

So then when I move the diffuse, the specular travels with it, so at least now I have two layers moving together as a unit. If I want to move these all together, I had to Parent all the top layers. So for now, I am going to reset the Diffuse, get it back to the Start, and I'll go up to the top two layers and change those Parent menus to diffuse also. So now the top three will follow bottom one. So now if we move the bottom one, that moves there as a unit. So that's one solution. I am going to reset this for now. The other solution is to do something called Nesting.

Nesting allows you to place one composition into a second one and have that nested composition be flattened as a single layer. It's actually very common technique. So for now, I'm going to under the Parents, I am going to make sure to reset first on this bottom one then switch all these other menus to None. Now for nesting, I need to go back to my shot1 composition, then back to my Project tab. So I can do to nest is grab one composition-- for example, the Render composition--and pull that into the open composition, in this case shot1.

So that nested composition comes in as a single layer, it's flattened out. It has a signal set of Transforms. Now what's cool about this is I can go back to my original Render composition, and it's still there, it's still intact. I have all four of my layers here with all their own unique settings. I could update these all at once. I can add New Effects, I can change order of the layers, remove layers, add new layers, and what will happen is that will be updated so that the nested composition and shot1 reflects whatever I change in that original composition.

So the flexibility of changing all these things for the Render composition and having it reflected here where it's nested. So now it's nested and has a single set of Transforms, I can move that around as a single unit. Let's click-drag. Now one thing that's bad about this, which we will have to solve, is a fact that that there's no transparency. The black field of this nested composition covers up the background. I have to deal with that. But luckily, since we have nested composition it's easier to solve. So I'm going to reset the Transforms here.

What we do about the fact that there is no transparency here. But we can steal a transparency from different layer. In fact, if you wonder why we did the matte render pass this is why we did it to solve this particular problem. Because even before we nested there is an issue, there's not proper Alpha here in the Render composition. So let's go back to shot1. So I'm going to grab the Matte Render Pass and pull it down and drop it on top. We're going to steal the Alpha information from this or then steal the value information and give it out to Alpha. So here's the Matt Render.

It's White over Black. We don't need to see that, we just need to borrow information from it. So can go to the video eye beside it and turn it off. What we will do next is go to the Render layer and use this feature called TrkMat, it's spelled T-R-K-M-A-T. What that does is it steals information from layer above it and give that to the Alpha. So in this situation what I can do is change this menu here to Luna Matte. Luma Matte stands for Luminance Matte. We'll look at the layer above, in this case the matte layer, look at the luminance information, convert that to the Alpha and give that the Render layer.

So I'm going to select Luma Matte and therefore that objects cut out properly. Again the TrkMat goes one layer up, takes a look at the information, converts that to the Alpha, and in this case I chose Luma Matte option, so it's looking at Luminance information, in other words Brightness. Brightness is converted into Alpha for this nested render layer, and therefore it's cut out properly. So we have seen the advantages and disadvantages of working with render passes on separate layers. The advantage is you can adjust each layer individually.

Disadvantage is it's difficult to move those layers together as a single unit. Luckily you can either parent the layers together or you can nest. In this case nesting worked out great for us because it helped us to solve the problem of the Alpha Channel for this spyglass render.

Show transcript

This video is part of

Image for Maya Rendering for After Effects Composites
Maya Rendering for After Effects Composites

34 video lessons · 5333 viewers

Lee Lanier
Author

 
Expand all | Collapse all
  1. 2m 0s
    1. Welcome
      47s
    2. Using the exercise files
      1m 13s
  2. 29m 49s
    1. Working with image sequences
      7m 24s
    2. Importing reference video as an image plane
      5m 13s
    3. Matching the 3D camera to the video footage
      4m 23s
    4. Lighting the model
      5m 35s
    5. Creating mattes and shadows in preparation for rendering
      7m 14s
  3. 15m 38s
    1. Using the Render Layer Editor
      4m 21s
    2. Splitting a scene into multiple render passes
      6m 6s
    3. Adding flexibility by assigning material and render overrides
      5m 11s
  4. 15m 2s
    1. Creating render passes using mental ray
      3m 50s
    2. Batch rendering render passes: Project one
      5m 24s
    3. Batch rendering render passes: Project two
      5m 48s
  5. 19m 4s
    1. Importing render passes into After Effects
      6m 25s
    2. Recombining render passes in a composition
      6m 31s
    3. Transforming multiple render passes as a single unit
      6m 8s
  6. 48m 7s
    1. Setting up a motion tracker
      5m 17s
    2. Using a tracker to analyze motion in footage
      3m 56s
    3. Adjusting tracker options for better results
      7m 2s
    4. Matching layer motion by applying tracker data
      6m 26s
    5. Refining a layer's transparency with rotoscoping
      6m 45s
    6. Improving layer movement with the Smoother tool
      5m 7s
    7. Improving the CG by adding blur and effects
      8m 7s
    8. Adding shadow to make the composite believable
      5m 27s
  7. 32m 36s
    1. Recombining render passes for project two
      5m 17s
    2. Removing unwanted elements with a garbage mask
      4m 57s
    3. Applying motion tracking data to a null layer
      6m 38s
    4. Adjusting shadows and matte edges
      8m 12s
    5. Using color correction to improve layer integration
      7m 32s
  8. 25m 46s
    1. Stabilizing shaky video with the Tracker
      8m 2s
    2. Tracking rectangular elements with the Perspective corner pin option
      5m 31s
    3. Adjusting corner pin points and paths
      6m 56s
    4. Applying corner pin data to multiple layers
      5m 17s
  9. 1m 16s
    1. Next steps
      1m 16s

Start learning today

Get unlimited access to all courses for just $25/month.

Become a member
Sometimes @lynda teaches me how to use a program and sometimes Lynda.com changes my life forever. @JosefShutter
@lynda lynda.com is an absolute life saver when it comes to learning todays software. Definitely recommend it! #higherlearning @Michael_Caraway
@lynda The best thing online! Your database of courses is great! To the mark and very helpful. Thanks! @ru22more
Got to create something yesterday I never thought I could do. #thanks @lynda @Ngventurella
I really do love @lynda as a learning platform. Never stop learning and developing, it’s probably our greatest gift as a species! @soundslikedavid
@lynda just subscribed to lynda.com all I can say its brilliant join now trust me @ButchSamurai
@lynda is an awesome resource. The membership is priceless if you take advantage of it. @diabetic_techie
One of the best decision I made this year. Buy a 1yr subscription to @lynda @cybercaptive
guys lynda.com (@lynda) is the best. So far I’ve learned Java, principles of OO programming, and now learning about MS project @lucasmitchell
Signed back up to @lynda dot com. I’ve missed it!! Proper geeking out right now! #timetolearn #geek @JayGodbold
Share a link to this course

What are exercise files?

Exercise files are the same files the author uses in the course. Save time by downloading the author's files instead of setting up your own files, and learn by following along with the instructor.

Can I take this course without the exercise files?

Yes! If you decide you would like the exercise files later, you can upgrade to a premium account any time.

Become a member Download sample files See plans and pricing

Please wait... please wait ...
Upgrade to get access to exercise files.

Exercise files video

How to use exercise files.

Learn by watching, listening, and doing, Exercise files are the same files the author uses in the course, so you can download them and follow along Premium memberships include access to all exercise files in the library.


Exercise files

Exercise files video

How to use exercise files.

For additional information on downloading and using exercise files, watch our instructional video or read the instructions in the FAQ .

This course includes free exercise files, so you can practice while you watch the course. To access all the exercise files in our library, become a Premium Member.

Join now Already a member? Log in

Are you sure you want to mark all the videos in this course as unwatched?

This will not affect your course history, your reports, or your certificates of completion for this course.


Mark all as unwatched Cancel

Congratulations

You have completed Maya Rendering for After Effects Composites.

Return to your organization's learning portal to continue training, or close this page.


OK
Become a member to add this course to a playlist

Join today and get unlimited access to the entire library of video courses—and create as many playlists as you like.

Get started

Already a member ?

Become a member to like this course.

Join today and get unlimited access to the entire library of video courses.

Get started

Already a member?

Exercise files

Learn by watching, listening, and doing! Exercise files are the same files the author uses in the course, so you can download them and follow along. Exercise files are available with all Premium memberships. Learn more

Get started

Already a Premium member?

Exercise files video

How to use exercise files.

Ask a question

Thanks for contacting us.
You’ll hear from our Customer Service team within 24 hours.

Please enter the text shown below:

The classic layout automatically defaults to the latest Flash Player.

To choose a different player, hold the cursor over your name at the top right of any lynda.com page and choose Site preferences from the dropdown menu.

Continue to classic layout Stay on new layout
Exercise files

Access exercise files from a button right under the course name.

Mark videos as unwatched

Remove icons showing you already watched videos if you want to start over.

Control your viewing experience

Make the video wide, narrow, full-screen, or pop the player out of the page into its own window.

Interactive transcripts

Click on text in the transcript to jump to that spot in the video. As the video plays, the relevant spot in the transcript will be highlighted.

Are you sure you want to delete this note?

No

Your file was successfully uploaded.

Thanks for signing up.

We’ll send you a confirmation email shortly.


Sign up and receive emails about lynda.com and our online training library:

Here’s our privacy policy with more details about how we handle your information.

Keep up with news, tips, and latest courses with emails from lynda.com.

Sign up and receive emails about lynda.com and our online training library:

Here’s our privacy policy with more details about how we handle your information.

   
submit Lightbox submit clicked
Terms and conditions of use

We've updated our terms and conditions (now called terms of service).Go
Review and accept our updated terms of service.