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I noticed when using the debugger, to get my motion colors to show at proper exposure I have to change the intensity down from 300 to 5. I don't know how to apply this to the non debugging denoising node.

I didn't know that. I just assumed it was possible. You could do something crazy like render out a sequence with one sample, no motion blur, and the vector pass. The problem you've got is that vector represents the position at a single point in time, and there's no way to get the range of movement for the visible blur. (The blur may not be linear.). Maybe when the movement is very low temporal denoising might still make sense, but then the denoising could be automatically disabled in the areas of the image with more movement and blur (and perhaps is less noticeable anyway).

👍 You can output as a video file. Just going from memory, you would (1) connect the denoised image to the Composite node, and then configure the output settings in the normal place, or alternatively (2) use the File Output node and specify the output settings in the node properties (N panel). Output using FFmpeg Video with MPEG-4/AV1/etc.

That's what I demonstrate in the Frame Blending part of the video. In the parts of the frames where there's movement there will be blurring. I guess you could say it's like an unsophisticated motion blur effect.

Yeah sorry about that - all the screen captures just show the Viewer node. You need to add a Composite node, and connect Image input. Then set your Render Output settings (presumably now rendering out as H.264 using FFmpeg Video), then activate Render Animation (Ctrl+F12).

I did try using a median function, but didn't get better results. There's still a median node group implementation in the debug denoiser that you can hook up and try. I ended up focusing on what noisy pixels are like, where they might exhibit a different luminosity or a significant color shift. I tried a fancy (or dodgy) algorithm to apply a weighting to the hue, saturation and luminosity differences and exclude samples where the difference exceeds a threshold. I'd appreciate any feedback for where you see an improvement using the median function.

@@MarkStead will let you know if I come up with anything useful. I am also looking into Blender to Unreal Engine, for its rendering speed.

@@MarkStead So for my current project I am getting a perfect sequence with just a single pass denoise on each of the 3 frames ---- running "next" and "previous" into vextor displacemnt ------- running those 2 outputs and the output from the "current frame" into your median group then OUT. [(just the utility median blend group not any other parts from your package)] I will have to render it and see what it looks like in premier but it already looks cleaner than the averaged frame method I tried earlier. I mean it looks really good!

my scene is a pretty simple project and not a heavily detailed with minimal objects, so I'm not sure how much that plays into the final result others may have.

Have you looked at Cryptomatte? At one point I was trying to use the Cryptomatte node to distinguish between different objects. The problem is that it is designed to be used with a Matte selection - so then I tried to understand how the raw Cryptomatte render layer was structured - referring to this document raw.githubusercontent.com/Psyop/Cryptomatte/master/specification/IDmattes_poster.pdf However it was an impossible task for me - since there is no unique object ID for a given pixel position. Specifically the Cryptomatte data represents all the source objects that create the pixel (including reflections, anti-aliasing, transparency, motion blur) and a weighting for each. If you're able to make a Cryptomatte selection for the occluded region, then this should give you a mask with properly anti-aliased edges. However (not that I understand your project exactly), perhaps you could also be looking at the Shader nodes and rendering those faces with emission and everything else transparent (perhaps using material override for the whole scene). You might be able to use Geometry Nodes to calculate the angles to the projector to give you an X/Y coordinate. GN could also calculate the facing angle and therefore the level of illumination falloff (or whether a face is occluded completely).

I'm not sure that really helps, though it might seem to. Rendering more samples is effectively giving more seed values because each sample has different random properties that result in light rays bouncing differently throughout the scene. In some cases a ray will randomly hit the diffuse colour, and in other cases it does a specular reflection (with a slightly different random bounce angle).

​@@MarkStead Please try, combining 3 "Seed renders" with say 500 samples, will give you a better image than rendering it once with 1500 samples. If you get what i mean. (I use M4CHIN3 tools, and he has that built-in as an custom operator in the Render menu) When rendering, each sample uses the same seed. If you ever rendered an animation with a fixed seed, you will notice that the noise stays the same. Bringing that to the extreme and only render with say 20 samples. You will notice the same pixels are black (not sampled at all) in the first frame as well as in the second frame. Now, using the same logic on a still frame, and rendering it with only 20 samples, but a differnt seed, now other pixels are black (not rendered). Of course this difference gets lower and lower depending on how many samples you start out with, but since we are not rendering to infinite sample, it will improve the clarity for low samples. It's the same effect as rendering an image with 200% resolution and half the samples. after denoising and downsampling you get a better image, as you gathered more "spatial samples". As one pixel previously was now 4 pixels to sample.

This does get a little funky since Blender doesn't let you set the rays per pixel, but just an overall sample amount (Which is pretty dumb), regardless it still works.

Yeah, in an earlier version of Blender (I guess 2.93 and earlier) there was Branched Path Tracing. This allowed you to specify how many sub-samples for different rays (e.g. Diffuse, Glossy, Transmission etc). So the benefit is that you can increase the samples where it matters - e.g. Glossy or Transmission. Furthermore I guess I saw it as a way where you didn't need to recalculate the all light bounces from the camera every time. However in my testing way back then, I actually got better results using Branched Path Tracing, and setting the sub-samples to 1 only. Anyway, if you're getting good results by modifying the seed value - then go for it. This is an excellent technique if you render scene (particularly for a video) - then decide you should have used more samples. Just render again with a different seed - and merge the frames.

Good suggestion. I've added timestamps to the subtitles. I hope it helps.

​@@MarkSteadthank you... it helped a lot... so unlike my older brother, my earliest photo of me is when I was 1.2 years old, when my grandma tried to show my parents that my arm regenerated since birth and I had no remaining deffects... that's why I have no earlier memories of them... that's why they behave so badly with me... that's why they sent me to the mental hospital when I tried to become a monk... that's why they ware so concerned with keeping my mind busy with marriage and job... so I wouldn't stop to try to remember everything and figgure out their lies ... 😢

Check it's saved as a MultiLayer EXR.

i will do that right now hope it works all keep u posted @@MarkStead

i figured it out it has to be selected to layer setting instead of combinded, when i set it to layer it showed all the inputs that i was wanting awesome@@MarkStead

it works but how do i use this for a 250 frame animation@@MarkStead

When rendering you render out your animation as MultiLayer EXR, ending up with 250 separate EXR files. Then import all the EXR files into a compositor session - importing as an Image Sequence (what I do is click on the first file, then press A to select them all).

That's what you have to say after such great content?

@@MrKezives You're coming in with a negative mindset. The content/Information is great. All i said is that it's easier to digest at a faster speed. Everyone has different methods of learning things. We're all on the same 3D journey here, you have no enemies brother.

Thanks dude

I personally haven't done that. Here's the command line doco, and you can certainly perform rendering, and run Python scripts. docs.blender.org/manual/en/latest/advanced/command_line/arguments.html If you have a Blender file configured for compositing then you could presumably just render that from the command line, with no Python scripting required. Perhaps what you could do from a Python script is substitute node parameters for the filenames or the number of frames. You should be able to fully integrate Python with pretty much anything in Blender including adding/manipulating compositing nodes. For example in Blender if I modify the frame offset in the compositor, I can see in the Scripting window it has executed this command: bpy.data.scenes["Scene"].node_tree.nodes["Image"].frame_offset = 1 Obviously you have a lot of extra complexity of setting up scripts and and all the command line parameters. However it makes sense when you're trying configure an automated rendering pipeline. Does that help?

When in edit mode you can extrude from the vertex on either end, alternatively you can subdivide one or more vertices.

@@MarkStead Excellent! Got it! Man! This is an absolute genius of a product. Thank you again so much. Have you ever thought about making such tools for Unity 3D? Their asset store is incredible. However, I couldn't find anything with such bridge creation.

Perhaps if you explain your problem I might be able to help.

It was made more than 10 years ago using WinMorph on a PC. I understand that can also be used as a plugin for Premiere and After Effects. www.debugmode.com/winmorph/ The reason why I used WinMorph is because I could define control edges around features (eyes, nose, lips, face etc) to have direct control over the morph transitions. I imagine there are mobile apps that can do similar - possibly even using AI to automatically match facial features. I have not looked into this, so I don't have any recommendation.

@@MarkStead Time flies right??! 11 years ago video.