Transcripts
1. Introduction: hi, everyone, and welcome to his new blender two point tutorial for crypt. Um, it's a new way to speed up your comm passing workflow. My name is Derrick and this beginner tutorial we'll take a look at what Krypton mats are, how to set him up, and what they can do for us is three D artists. Crystal Mass are a powerful new feature that's finally made its way into blunder. So I'm excited to share this knowledge with you by the end of this tutorial. Michaels, have you be familiar with this new feature? And it speeds up your workflow so you can use it and other future projects you may be working on. I'm ready when you are. Let's get started.
2. Lesson 1 - Using cryptomattes: Okay. First, I want to just give credit where credit is due for this model that you see on screen right here. This is not of my creation. Rather, this is the creation of And forgive me if I'm mispronouncing your name. Wrong mono man. O mano Jovian. Um, his work is amazing. He's created this asset manager plug in that essentially has always free optics for you two to download. Now, unfortunately, at the moment, it doesn't work for blood to 2.8. Um, I had to install a older version and then export the truck file as O B. J Um Oh, yeah. I thought this would make a great use case for for krypton mats and how they could be useful. So Thank you, man. Oh, now, let's look at crypto mats so you can You can find the option to go under the layers button over here on the side. If you cook that you will get all your pass data, for example and the thing that we are, uh, obviously concerned about our crypto massive down here at the bottom. Now you have three different options. Um, the first to object and material are are gonna be the ones that work could be concerned with objects. Object. That is what you would imagine. It basically is taken to account. Um, all the different mesh items that are separate objects. So, for example, the wipers, headlights, the body and so on, um, material, as you would expect once again, is going to separate the objects that have, uh, the same materials on them. So, for example, if we were concerned about the tires or the trim on the car, if all these have the same material, then they will all be looped, not looped in, but lumped into the same category for material. Okay, so let's enable object and material. Here. The levels is essentially the accuracy of or like, the threshold and on how it calculates, you know, certain sections to be massed out or not. Um, I found that the default six is usually fine. Me more for that. Do not have to change that. So Okay, cool. One other thing. I wanna want to check as the anti occlusion right there. Okay, so now, um, we have that. Let's go back to our camera view and I'm going Teoh, come back with you guys very shortly after I finish this render. Okay, so now they're under is complete within Trump. Or jump over to the compositing Tampa just right here at the top. And you can see our final result of weird that we're that we're gonna be working with. Um, one thing you'll notice right off the bat is the fact that this is pretty noisy, especially here in the glass. Um, that was not done by accident. I'm gonna be showing you guys a low bonus node called the denies note that became or that start shipping in Blender 2.81 and is in, in a sense, almost like magic. The way that cleans up, um, noisy renders blunder has had a Denoix zing thing for a while, which actually can see it right here. Um, but it really hasn't been that good. Um, and it's been little hit or miss. So this new, um, this new DIY noise node, which was believe until the noise or something like that has really become a game changers . So we'll take a look that in a few seconds, but ah, yeah. So let's assume back out here. Okay? So If we look at our under layers node, you will see that we now have, um all these outputs called crypto, And that's because we enabled over here for object and material. So really, using crypto Max is as simple as expressing shift a searching and then crypto okay. And then we're gonna be feeding in the image to the image the and then the object to eso each layer work will correspond to, um said, um, I'll put right here. So we want to feed these into their like such. And I'll see, I'm not sure why the names are different. Why the naming conventions are different, but but rest assured, it works the same. Okay, so now if we control shift and left click to connect our viewer node on and then go to the pick, you will now see that each object has been given a unique I d. And this is great because now we can use this to essentially, um, add or remove different sections of the model that we want to essentially create maps for. So, for example, if I cook this well eyedropper and click on the body, it would give a unique I d what you're gonna don't ask me what that means. All that you need to know is that if you go onto the map that it will now create um, a black boy mask of the body. Yeah. So this is very useful for Malta reasons, because anyone who's worth with a client directly knows that you know, feedbacks and come back, and then you're gonna have to make changes. So instead of rendering out and Entel your new I guess image, for example, you can you can still keep your render. But for example, if you want to change the color of the body without affecting the rest of the model or the render, you could do this out because you have a mask. So if we do shift a and then add an a ah hue saturation value, and then if you hover over any note, are any like noodle that's kept it here, it will automatically drop it in and hook everything up correctly. Um, so yes, So now we can change the color of the body if you want to. So say they wanted, like, you know, a pink or purplish Um, it's super easy not to do this because we have the different layers over of our model mast off. Okay, so this is very cool, but unless actually combined everything back to our original image so you can see the power of this. Someone dragged us down Drexel's dragon note down. Drag that down as well. And my go to disconnect by control. Right clicking. Okay, bring that over here and then hook this image output into the image input, and then hook this up to the viewer. And now, as you can imagine, since we're basically, uh, having the image be affected by all this hue saturation, everything in the image now changes color, which it works for the body. But then it also messes up with the boxes. Right here. Um, and for the the reflections off the hubcaps in one Not so not quite look that we're going after. We can fix this so very simply by shift day and then go to color. I I apologize that, you know, I don't projects. I take back the apology on go back and then go to the mix popped Adam. Okay, so now we're gonna want to fix him inputs here so essential work. I want this image output into their like it is not that honest to do that. There we are. Okay. And now we're gonna want to take our original image and plop it in there. Okay, Cool. But you see, nothing's happened because this factor value that we have, um, that is essentially, um in short, where our mascot go because you can tell at a factor of zero. It's taking no influence from just the raw image right here. If we bring always a one, it's essentially using 100% of this top slot or of this bottom slot rather very confusing. But you can swap that now. What's acting? How you would how you would, um, anticipate 100% off the human saturate hue, saturation of value, and then all the way to zero 0% of that. So now this is the raw original render cool. So now we need ah ah factor to control that Ah, factor to control the factor. Slider. Um, we can do that by taking the mat output, which is, if you remember our mask and placing that into the factor input. And look at that. We now have a mask. That's that's over neath. So if we can view that really quick So we're taking this mask. It is being applied to the body of the, um off the truck. And essentially, this allows us to change the color of the body while leaving the rest of the images intact , which is of which is very awesome and very powerful part ful, if you use it correctly, which I am showing you that. So that is the that is using objects as a mask. But now we're going to take a look at on how to use materials in the mask. It's more or less the same idea, except you're taking different inputs. So instead of, you know, each object being a different put, um, we're gonna be using materials in that respect. Here. How are you sure you want I'm talking about? So I'm gonna begin by selecting these notes right here, shifty and then just duplicating them down. Okay. Now, like before, I'm going to be hooking up everything. So image to the image slot down here, and then instead of the object outputs where we slept in the material operas right here. So take these and drop them into crypto 01 and two. Okay. Like such. Okay. And then also hook up the image to our hue saturation value note. You'll see why in a minute. Okay, Now we're gonna want to clear out, Um, that unique I d. Because we no longer need that for this section. Okay? And now if we select the pick output, we can see that were presented with a group, another group of unique I d colors. But this time they're separated in terms of material because because we have the material output from here. So, for example, if we take the glass, for example, say we wanna know or the client wants your car to have more of a tent to the glass and what not you could do that Really? Simply so if we just pick the eyedropper and select the glass right here, okay? And then we go to our mixed note and view that you will notice that something is something is very wrong. Yeah, All we have to do now is just have the image output from the regulars and plugged it into the image right here and boom. Now, obviously This is not a very appealing 10 color. So now we have that area mast off. So now we can create any type of tent, and we would like to it. So say that you wanna have a blackout windows or stuff like that changing the Hugh back 2.5 , which is which is essentially neutral in this case and bring the saturation all the way. Oh, I take it back, not saturation. Take the value. Every go learn got learned compositing one on one kids. So if you bring the value down to something 0.5 or some like that, we can now have you gnome or of a blackout. Look to it, which is also because now we don't the rear ender the image again because we changed our minds. Okay, so to Rome. So, um not Let's combine both ah, things that we've done so far. So the body color and the glass, which really as simple as just dragon this mixed note up to here, Uh, so we already have the mat as the factor. So really also have to do now is just right. This image output into this top slot and then boom are color now has has been added with the the darkness of the glass we've done. Okay, so the wrap things up here, I mentioned how we want to have r and B includes a and B inclusion pass here, which I'm going to quickly show you how to incorporate that. Ah, with your render right now. So there's gonna be do became this mixed node right here, okay? And then we have this image input which was gonna be used for our ale. And then for so now we have, you know, both sockets being used up. But the mix has to, you know, be a factor. Of course, some what we want to do is, since we want to, uh, happen on our body to pick up some, you know, the crevices of, say, the grill, for example, we have to create or put the mask into the factor, um, and then change the blending mode to multiply. And there we go. You can see now that we have more, more, more definition, because the black is being applied in little in the darker crevices. Okay. And one final final thing. I promise you guys, I will show you the D noisy note. So we're gonna finish off by just including that really quick. So let's bring, um, are windows back to the original colors. You can see the noisy nous that's going on, so zoom in right here. Suman right here. Okay, so this is, you know, off Orender you You would never want to says off to client, obviously. But we can fix that very quickly by applying 80 noise ing filter so the noisy node will go in between our hue saturation value note and the input flows. Mixed note. So always to do it's for shift a search and type in D noise. There it is right there and then plop it in right here. Ah, and then give it all time to calculate and presto, uh, seriously is magic. And, like, this is a pretty decent result. Given the low sample cow I have for this Render. Um, if you you know, further increase the samples for your under, you'll get even better results and one low moment boasting right here. You'll notice that there's additional inputs for for this note, I don't have those enable for this use case. Since this is a topic for another, uh, tutorial s more heavily involved in lighting and what not? But essentially, this will give you, uh, extra, uh, data for before the D knows no to calculate, which will give you more accurate results. And you can enable that most setting over here under the D noise ing day. Uh, data. So if you press that, you'll be, uh, you know, presented with all these different options again, that's oscilloscope for this tutorial. Um, so maybe in a future lesson, I will I will delve into that, but, um, yeah, guys, this is a century crypto mats. It's they insanely useful. I can't stress this enough. How much of a game changer this is? It's fantastic to see the crypto Matt Standard being brought into blunder because for a while now, you know triple A software and commercial software like Houdini, for example, they've had this compositing power before, so it's really awesome to see this coming into to the open source market. Um, but yet that's essentially crypt. Imette's hope you guys enjoyed, um I really enjoy doing this tutorial this time. A different format from my 1st 1 If you If you see my first tutorial? Thank you if you have, um So, yeah, I feel like this is more casual, more laid back. And I hope you guys enjoy it, and I will see you in the next one.
Derek Prinzi, 3D Artist
