Join Ellery Connell for an in-depth discussion in this video Saving your finished renders, part of Light and Texture for Product Visualization in MODO.
Once you've completed your renders, you need to bring them into a format that you can get them into Photoshop, or another image editor with. Here you can see that I have a render completed that has four different passes, I've got a water pass, that just has alpha channel, I have a cans pass which again just has an alpha channel. I have a beauty pass that has, all of the channels, and see there's the final output. And then I have a cans, no water pass, that just is basically the other one but without the water. And then this one has all of the different pass groups. So if I want to get these out into Photoshop, I can go here to Save Image. And if I just click on it it's going to save whatever the current layer is. And that's not really what we want here.
I can also choose to save a layered image. And that's going to give me whatever pass I'm on, and then take all of the different outputs and apply those to a different Photoshop file. I could save passes as images, and that's going to give me all of the different render outputs from all the different passes as separate images, which can be a little cumbersome. Or I can save passes as a layered image. Which is what I want to do here. So, I'm going to save these into my renders folder here. And I'm going to call this splash, and then just click Save.
Now, if I go over to that file with the renders. You see that I have these different images. And they all have splash, which is the name I input. And then they have the name of the pass, and the, frame number and if I had rendered out sequential frames I could render out entire animations in pass groups and then have different versions of animations to create, so you really can't automate a really wide process of rendering. With this so that you can do that without having to sit around and babysit your renderings.
And I also have a preview one, which was progressively rendered in the preview render, and I really smoothed out the reflections to give it a nice, clean appearance. And so let's just grab all of those, and we'll pull those into Photoshop. And each one of these then is going to have the layers that were showing inside of Moto. So I'm going to grab all of these and drop them down into Photoshop here. And they'll all pop up and we'll see that I have my Different renders and on top I have my final output color and the underneath I have all of the different ones.
There it is with just the cans. There is the splash, there's that. And here's the one with no water, so you can see this one that is the preview cans is just. The one that I did inside of the preview render and you can see it smooths out some of these areas but I didn't take the time to smooth off the lip of the can so you can see the difference there. I just brought that in for reference so you could see how progressive render could be saved off and used inside the file. You would want to either clean that up more or you could always go in and mask that out and composite it in here in Photoshop.
But in this case, I want to be able to see how I can use all of these together. So what I'm going to do is I am just going to make a new Photoshop document first here. And what I'm going to do is I'm just going to grab all of the cans here and we'll make a new file. And I'll paste those in. Then I'm going to get my alpha here. We'll paste that in, and then I'll get my alpha for the splash. We'll paste that in.
I could also merge these files together, but just for the sake of time at the moment I'm going to do it this way, so let's Getting it all on those. Let's go in and paste that in. Alright, so I'm going to take this main layer here that has everything in it, and I'm going to move it down, and then I'm going to put the one without any of the cans underneath it, and then duplicate that one. And the reason I'm doing that is because that one has a completely clear backdrop. It doesn't have And you have the refractions or anything from the water on there.
But in case I need those shadows, I'm also going to just duplicate out that one. So now I could just simply take and create masks for each of these. So I'm going to copy all of my splashes, and then we'll create. Let's hide everything else here so we can see how this works. Create a simple alpha, and I'll paste that into my alpha channel. And there you can see I've got just my splashes there, and I'll do the same thing with the cans. So I'll select all that and copy it.
I'll go down to my can layer without the splashes on it. We will make a mask on that layer as well. (NOISE) And, paste that in. (NOISE) And then we'll unhide that so, there you can see I've got, my can with my splashes separated. Right now, it's over a transparent background, but I could either bring in this one, or I could bring in the one that has the splashes, which I guess in this case is going to be the best one, 'cuz it has the little bit of the floor underneath.
But I can still just kind of mask out where I have my splashes. So, I can make individual color corrections to these. I could take and, say, duplicate my splashes Maybe do a Levels call on them. Just blur them and set those to screen and this will give me a little bit of kind of a bloom coming off of the splashes themselves. Let's do that. I'll set that to screen. There we go, so that's a little bit on the heavy handed side but, you get the idea.
So I have a lot of control now over what happens with my individual layers. I could also go in and do individual sharpening, color correction. I could easily go in and pull different hues through these, and as a matter of fact, I could even go in here. And get my cans by themselves. Get that surface ID, copy that. And paste that in here.
And then I can use this to create even another layer of masks. So if I just quickly go here and grab that. And then go down to my cans here, I can duplicate that one out. So now if we hide that and I adjust my hue and saturation, you can see that I can affect the hue and saturation on that one can without affecting the other ones. So, this gives you a very effective way of getting a lot of post-production done inside of Photoshop without have to take all the time To go out and render out all of these different options separately. So using a mixture of my past groups and my render outputs and then saving out my images as Photoshop files I get a lot of options for creating good compelling post effects.
Without having to go and re-render, and that's the big key there. The most that you can do without re-rendering, the better your project's going to be because it's going to save you all the time and frustration of going back and waiting. Large files with high resolution you'll waiting hours for those renders again just to make one simple change. If you render out all of your past groups like we've looked at here and you save those out properly, you'll be able to get at them quickly, effectively, and make good fine tuned adjustments post render time.
- UV mapping
- Working with texture layers
- Texture layer blending
- Instancing layers
- Using multilayered materials
- Polygonal lighting
- Creating painted environments
- Rendering and render settings