1. Beauty pass - A beauty pass, also known as a Diffuse pass, is a type of render pass that combines all of the elements of a 3D scene, such as lighting, shadows, textures, and materials, into a single image. It is typically the final output of the rendering process, and is used as a starting point for compositing and post-processing work.
For example, let's say we have a 3D scene of a house with a pool in the backyard. To create the beauty pass, the renderer would first create different passes, such as a direct illumination pass, an indirect illumination pass, a reflection pass, and a shadow pass. Each of these passes would represent a different aspect of the scene, such as the lighting, shadows, and reflections.
The beauty pass represents the final, fully-rendered image of the scene, and is often used
as a reference or comparison point for other render passes that may be used in the
compositing process.
Once the different passes are created, they can be combined in post-processing to create the final beauty pass. The beauty pass would contain all the elements of the scene, such as the house, the pool, the trees, the sky, and the surrounding environment, in a visually pleasing composition. The beauty pass would show how the different elements of the scene interact with each other, such as how the light reflects off the pool or how the shadows are cast on the ground.
The beauty pass is often used in film and television production, animation, and video games to create photorealistic and visually stunning images. It allows artists to control different aspects of the scene, such as the lighting, shadows, and reflections, and to create a final image that is visually appealing and believable.
2. Diffuse pass - The diffuse pass is a render pass in computer graphics that isolates the diffuse shading of a 3D scene.
Use - The diffuse pass can be used in compositing to adjust the overall color balance and brightness of a scene, or to isolate certain elements for further processing.
For example, suppose we have a 3D scene of a room with a lamp on a table. To create the diffuse pass, the renderer would calculate the amount of light emitted by the lamp and how much of that light is absorbed and scattered by the objects in the scene, such as the walls, floor, and furniture. The renderer would then create a separate image or channel representing the diffuse pass.
In post-processing, the diffuse pass can be used to adjust the lighting in the scene, such as changing the intensity, color, and direction of the light sources. The diffuse pass can also be combined with other rendering passes, such as the specular pass or the ambient occlusion pass, to create a more detailed and realistic image.
For instance, let's say we want to add a window to the room and create a new rendering with the diffuse pass. The renderer would calculate the amount of light coming through the window and how much of that light is absorbed and scattered by the objects in the scene. This would create a new diffuse pass, which can be combined with the previous one to create a final image with a more accurate representation of the lighting in the room.
It allows artists to control the lighting and create a more realistic and visually appealing image.
3. Specular pass - The specular pass is a render pass in computer graphics that isolates the specular highlights of a 3D scene. Specular highlights are the bright spots of light that appear on shiny or glossy surfaces when light reflects off of them at a particular angle.
Use - The specular pass can be used in compositing to adjust the specular highlights in the image, or to isolate certain elements for further processing.
For example, suppose we have a 3D scene of a car with a shiny metallic surface. To create the specular pass, the renderer would calculate the amount of light reflected off the surface of the car and create a separate image or channel representing the specular pass.
In post-processing, the specular pass can be used to adjust the reflections in the scene, such as changing the intensity, color, and direction of the specular highlights. The specular pass can also be combined with other rendering passes, such as the diffuse pass or the ambient occlusion pass, to create a more detailed and realistic image.
For instance, let's say we want to add a sunroof to the car and create a new rendering with the specular pass. The renderer would calculate the amount of light reflecting off the sunroof and create a new specular pass, which can be combined with the previous one to create a final image with a more accurate representation of the specular highlights on the car.
The specular pass is an essential component of many rendering pipelines and is widely used in visual effects, animation, and video game development.
4. Reflection pass - The reflection pass is a render pass in computer graphics that isolates the reflections of a 3D scene. It includes only the elements in the scene that contribute to reflections, such as the reflective properties of the surfaces and the environment, the lighting, and any shadows that result from the reflections.
Use - In the context of a render pass, the reflection pass can be used in compositing to adjust the reflection intensity or color, or to isolate certain elements for further processing.
For example, suppose we have a 3D scene of a room with a mirror on the wall. To create the reflection pass, the renderer would calculate the amount of light reflected off the mirror and create a separate image or channel representing the reflection pass.
In post-processing, the reflection pass can be used to adjust the reflections in the scene, such as changing the intensity, color, and direction of the reflections. The reflection pass can also be combined with other rendering passes, such as the diffuse pass or the specular pass, to create a more detailed and realistic image.
For instance, let's say we want to add a new object to the room and create a new rendering with the reflection pass. The renderer would calculate the amount of light reflected off the new object and create a new reflection pass, which can be combined with the previous one to create a final image with a more accurate representation of the reflections in the room.
It allows artists to control the reflections and create a more realistic and visually appealing image.
5. Refraction pass - The refraction pass is a render pass in computer graphics that isolates the refractions of a 3D scene. Refraction refers to the bending of light as it passes through a transparent or translucent object, such as glass or water.
Use - The refraction pass can be used in compositing to adjust the refraction intensity or color, or to isolate certain elements for further processing.
For example, suppose we have a 3D scene of a fish tank with a fish swimming inside. To create the refraction pass, the renderer would calculate the amount of light that is refracted as it passes through the glass of the fish tank and the water inside, and create a separate image or channel representing the refraction pass.
In post-processing, the refraction pass can be used to adjust the refractions in the scene, such as changing the intensity, color, and distortion of the refractions. The refraction pass can also be combined with other rendering passes, such as the diffuse pass or the specular pass, to create a more detailed and realistic image.
For instance, let's say we want to add a new object to the fish tank and create a new rendering with the refraction pass. The renderer would calculate the amount of light refracted by the new object and create a new refraction pass, which can be combined with the previous one to create a final image with a more accurate representation of the refractions in the fish tank.
It allows artists to control the refractions and create a more realistic and visually appealing image.
6. Self-Illumination pass - The self-illumination pass is a render pass in computer graphics that isolates the emission or glow of a 3D object or material. It represents the amount of light emitted by an object or material due to its own properties, rather than being lit by external sources.
Use - The self-illumination pass can be used in compositing to adjust the emission or glow of an object or material, or to isolate certain elements for further processing.
For example, For example, suppose we have a 3D scene of a spaceship with illuminated panels. To create the self-illumination pass, the renderer would calculate the amount of light emitted by the panels and create a separate image or channel representing the self-illumination pass.
In post-processing, the self-illumination pass can be used to adjust the emission of light in the scene, such as changing the intensity, color, and direction of the emitted light. The self-illumination pass can also be combined with other rendering passes, such as the diffuse pass or the specular pass, to create a more detailed and realistic image.
For instance, let's say we want to add a new light source to the spaceship and create a new rendering with the self-illumination pass. The renderer would calculate the amount of light emitted by the new light source and create a new self-illumination pass, which can be combined with the previous one to create a final image with a more accurate representation of the self-illumination in the spaceship.
It allows artists to control the emission of light and create a more realistic and visually appealing image.
7. Shadow pass - The shadow pass is a render pass in computer graphics that isolates the shadows cast by objects in a 3D scene. It represents the areas where light is blocked by objects and creates a lack of illumination in the scene.
Use - The shadow pass can be used in compositing to adjust the intensity or color of the shadows, or to isolate certain elements for further processing.
For example, suppose we have a 3D scene of a table with a lamp on it. To create the shadow pass, the renderer would calculate the areas of the table that are not illuminated by the lamp because of the shadow it creates, and create a separate image or channel representing the shadow pass.
In post-processing, the shadow pass can be used to adjust the shadows in the scene, such as changing the intensity, sharpness, and direction of the shadows. The shadow pass can also be combined with other rendering passes, such as the diffuse pass or the specular pass, to create a more detailed and realistic image.
For instance, let's say we want to add a new object to the table and create a new rendering with the shadow pass. The renderer would calculate the amount of shadow created by the new object and create a new shadow pass, which can be combined with the previous one to create a final image with a more accurate representation of the shadows in the scene.
It allows artists to control the shadows and create a more realistic and visually appealing image.
8. Ambient Occlusion pass - The ambient occlusion pass is a render pass in computer graphics that simulates the soft shadows that occur when objects are close together and block each other's ambient light. It represents the amount of occlusion or darkening that occurs in the corners and crevices of a 3D object.
Use - The ambient occlusion pass can be used in compositing to adjust the amount and intensity of the occlusion, or to isolate certain elements for further processing.
For example, suppose we have a 3D scene of a room with a sofa, a table, and a lamp. To create the ambient occlusion pass, the renderer would calculate the areas of the room where the ambient light is occluded by the sofa, the table, and other objects, and create a separate image or channel representing the ambient occlusion pass.
In post-processing, the ambient occlusion pass can be used to adjust the occlusion of ambient light in the scene, such as changing the intensity, color, and contrast of the ambient occlusion. The ambient occlusion pass can also be combined with other rendering passes, such as the diffuse pass or the specular pass, to create a more detailed and realistic image.
For instance, let's say we want to create a new rendering of the room with more realistic ambient occlusion. The renderer would calculate the occlusion of ambient light caused by the different objects in the room and create a new ambient occlusion pass, which can be combined with the previous one to create a final image with a more accurate representation of the occlusion of ambient light in the scene.
It allows artists to control the occlusion of ambient light and create a more realistic and visually appealing image with more contrast and depth.
9. Global Illumination pass - The Global Illumination (GI) pass is a render pass in computer graphics that simulates the indirect lighting in a 3D scene. It represents the way that light bounces and reflects off of surfaces, creating soft and diffuse lighting that is not directly from a light source.
Use - The GI pass can be used in compositing to adjust the amount and intensity of the indirect lighting, or to isolate certain elements for further processing.
For example, suppose we have a 3D scene of a room with a lamp on a table. To create the global illumination pass, the renderer would simulate the way light bounces off surfaces in the room, including the walls, the ceiling, and the furniture, and calculate how it illuminates other objects in the scene.
In post-processing, the global illumination pass can be used to adjust the indirect lighting in the scene, such as changing the color, intensity, and direction of the light. The global illumination pass can also be combined with other rendering passes, such as the diffuse pass or the specular pass, to create a more detailed and realistic image.
For instance, let's say we want to create a new rendering of the room with more realistic global illumination. The renderer would simulate the way light bounces off surfaces in the room and create a new global illumination pass, which can be combined with the previous one to create a final image with a more accurate representation of the indirect lighting in the scene.
It allows artists to create more realistic and natural-looking images by simulating the way light behaves in the real world.
10. Caustics pass - The Caustics pass is a render pass in computer graphics that simulates the patterns of light that are formed by the refraction and reflection of light through transparent or translucent materials, such as glass, water or crystals.
Use - The Caustics pass can be used in compositing to adjust the amount and intensity of the caustics or to isolate certain elements for further processing.
For example, the Caustics pass could be combined with a separate reflection pass to add additional detail to the caustic patterns.
11. Light Select pass - The Light Select pass is a render pass in computer graphics that allows the user to separate the contribution of individual light sources in a scene.
Use - The Light Select pass can be used in compositing to adjust the intensity and color of individual light sources, or to isolate certain elements for further processing.
For example, suppose we have a 3D scene of a pool of water with a light source above it. To create the caustics pass, the renderer would calculate the way the light is refracted and reflected by the surface of the water, creating bright, focused patterns of light on the bottom of the pool.
In post-processing, the caustics pass can be used to adjust the reflection and refraction of light in the scene, such as changing the intensity, color, and shape of the caustics. The caustics pass can also be combined with other rendering passes, such as the diffuse pass or the specular pass, to create a more detailed and realistic image.
For instance, let's say we want to create a new rendering of the pool of water with more realistic caustics. The renderer would simulate the way the light is refracted and reflected by the surface of the water and create a new caustics pass, which can be combined with the previous one to create a final image with a more accurate representation of the bright, focused patterns of light in the scene.
It allows artists to create more realistic and visually stunning images by simulating the way light behaves in the real world.
12. Material ID pass - The Material ID pass is a render pass in computer graphics that assigns a unique color to each material in a scene.
Use - The Material ID pass can be used in compositing to adjust the appearance of individual materials or to create complex masks for further processing.
For example, suppose we have a 3D scene with several objects, each with a different material assigned to it. To create the material ID pass, the renderer would assign a unique color to each object based on its material. This pass can be used in post-processing to separate each object by its material and apply different adjustments or effects to each one individually.
It allows artists to separate objects in a scene based on their materials and apply different adjustments or effects to each one individually, creating a more detailed and polished final image.
13. Object ID pass - The Object ID pass is a render pass in computer graphics that assigns a unique color to each object in a scene.
Use - The Object ID pass can be used in compositing to adjust the appearance of individual objects or to create complex masks for further processing.
For example, suppose we have a 3D scene with several objects, each with a unique ID assigned to it. To create the object ID pass, the renderer would assign a unique color to each object based on its ID. This pass can be used in post-processing to separate each object by its ID and apply different adjustments or effects to each one individually.
It allows artists to separate objects in a scene based on their identity and apply different adjustments or effects to each one individually, creating a more detailed and polished final image.
14. Velocity pass - The Velocity pass is a render pass in computer graphics that provides information about the motion of objects in a scene.
Use - The Velocity pass can be used in compositing to create motion blur effects or to add or remove motion from objects in the scene.
For example, suppose we have a 3D scene with several moving objects. To create the velocity pass, the renderer would calculate the motion of each object and create a velocity vector for each pixel in the scene. This pass can be used in post-processing to create motion blur or other motion-based effects.
It allows artists to capture the motion of objects in a scene and create motion-based effects, such as motion blur, in post-processing.
15. Normal pass - The Normal pass is a render pass in computer graphics that provides information about the surface orientation of objects in a scene.
Use - The Normal pass can be used in compositing to adjust the lighting or shading of objects in the scene or to create custom shading effects.
For example, suppose we have a 3D scene with several objects. To create the normal pass, the renderer would calculate the surface normal at each point in the scene and create a color that corresponds to the direction of the surface normal. This pass can be used in post-processing to create advanced lighting effects, such as reflections and refractions.
It allows artists to capture the surface normals of objects in a scene and create advanced lighting effects, such as reflections and refractions, in post-processing.
16. Z-depth pass - The Z-depth pass is a render pass in computer graphics that provides information about the distance of objects in a scene from the camera.
Use - The Z-depth pass can be used in compositing to create depth-of-field effects or to add or remove atmospheric haze from objects in the scene.
For example, suppose we have a 3D scene with several objects at different depths. To create the Z-depth pass, the renderer would calculate the distance from the camera to each pixel in the scene and assign a grayscale value to each pixel based on its distance. This pass can be used in post-processing to create depth-based effects, such as depth-of-field and fog.
It allows artists to capture the depth information of objects in a scene and create depth-based effects, such as depth-of-field and fog, in post-processing.
17. Motion Vector pass - The Motion Vector pass is a render pass in computer graphics that provides information about the motion of pixels in a scene.
Use - The Motion Vector pass can be used in compositing to create motion blur effects or to add or remove motion from objects in the scene.
For example, suppose we have a 3D scene with several moving objects. To create the motion vector pass, the renderer would calculate the motion of each object from one frame to the next and create a motion vector for each pixel in the scene. This pass can be used in post-processing to create motion blur or other motion-based effects.
It allows artists to capture the motion of objects in a scene from one frame to the next and create motion-based effects, such as motion blur, in post-processing.
18. Multi Matte pass - The Multi Matte pass is a render pass in computer graphics that provides a way to isolate objects or groups of objects in a scene based on their material or object ID.
Use - The Multi Matte pass can be used in compositing to create a mask or alpha channel for each object or group of objects in the scene. This allows the user to adjust the color, lighting, or other properties of individual objects or groups of objects separately, without affecting the rest of the scene.
For example, suppose we have a 3D scene with several objects, and we want to create a mask for each object. To create the Multi Matte pass, the renderer would assign a different color to each object in the scene, and then render the scene with each object using its assigned color. This pass can be used in post-processing to create masks for each object, which can then be used for compositing or other post-processing effects.
It allows artists to create masks for specific objects in a scene, which can then be used for compositing or other post-processing effects.
19. Alpha pass - The alpha pass" refers to a specific rendering technique used to create transparency in images and videos.
Use - In VFX, alpha channels are used to separate an image or video's foreground from its background. An alpha channel is a grayscale channel in an image or video that represents the transparency of each pixel. The alpha pass is a separate rendering pass that creates an alpha channel for the image or video.
For example, suppose we have an image of a cat sitting in front of a blue background. To create the alpha pass, the renderer would render the cat and the blue background separately, with the cat rendered as opaque and the background rendered as fully transparent. This would create a grayscale alpha channel, where the cat's pixels have a white value (fully opaque), and the background's pixels have a black value (fully transparent).
Once the alpha pass is created, it can be combined with other rendered images or videos to create a composite image or video with a transparent background. For instance, we could combine the cat image with a different background, such as a photo of a forest, by layering the cat image over the forest photo and using the alpha channel to make the background transparent. This would create a composite image of the cat sitting in the forest.
It allows artists to create complex images and videos with transparency and to combine elements from different sources seamlessly.
20. Direct Illumination pass - In computer graphics, a direct illumination pass is a rendering technique used to create a 2D image or animation with realistic lighting.
Use - The direct illumination pass is commonly used in 3D animation and visual effects for film, video games, and other applications where realistic lighting effects are required.
For example, suppose we have a 3D scene with a single light source illuminating a sphere. To create the Direct Illumination pass, the renderer would calculate the contribution of the direct lighting from the light source to each pixel in the scene, without any global illumination effects. This pass can be used in post-processing to adjust the intensity or color of the direct lighting or for compositing purposes.
It allows artists to capture the direct lighting of a scene without any global illumination effects, which can be useful for creating stylized or specific lighting effects.
21. Indirect Illumination pass - The Indirect Illumination pass is a render pass that captures the indirect lighting of a scene. It is a separate pass from the Direct Illumination pass, which captures only the direct lighting in the scene.
Use - The Indirect Illumination pass is a render pass that captures the indirect lighting of a scene, and it is useful for compositing and post-processing to adjust the intensity and color of the indirect lighting.
For example, suppose we have a 3D scene with a single light source illuminating a room with a red wall. To create the Indirect Illumination pass, the renderer would calculate the contribution of the indirect lighting effects, such as the light bouncing off the red wall, to each pixel in the scene. This pass can be used in post-processing to adjust the intensity or color of the indirect lighting or for compositing purposes.
It allows artists to adjust the indirect lighting of a scene independently from the direct lighting. For example, if a scene has too much or too little indirect lighting, the Indirect Illumination pass can be used to adjust the intensity and color of the indirect lighting to achieve the desired effect.
22. Subsurface Scattering pass - The Subsurface Scattering pass is a render pass that captures the subsurface scattering effects in a scene. This pass is often used in compositing and post-processing to adjust the color, intensity, and thickness of the subsurface scattering, independent of other lighting effects in the scene.
Use - The Subsurface Scattering pass is an important tool for creating realistic-looking materials, particularly for organic materials like skin and plant leaves. It allows artists to capture the scattering of light beneath the surface of the material, which can significantly impact the overall look and feel of a scene.
For example, in a scene with a character with skin, the Subsurface Scattering pass would capture the scattering of light beneath the surface of the skin. This pass can then be adjusted in post-processing to adjust the color and intensity of the subsurface scattering to create a more realistic-looking skin.
Subsurface Scattering (SSS) is a technique used in computer graphics to simulate the way light scatters beneath the surface of translucent materials, such as skin, wax, and milk. SSS is important for creating realistic-looking materials, as it allows light to penetrate and scatter within the material, creating a soft and organic appearance.
23. Volume Light pass - The Volume Light pass is a powerful tool in visual effects and animation for creating atmospheric and volumetric effects in a scene.
Use - Creating Atmospheric Effects: The Volume Light pass can be used to create atmospheric effects like mist, fog, smoke, and dust. By capturing the way light interacts with these elements, the Volume Light pass can be used to create realistic and immersive environments.
Adding Drama: The Volume Light pass can be used to add drama and tension to a scene. For example, it can be used to create a spotlight effect that illuminates a particular area or object, drawing the viewer's attention.
Creating Special Effects: The Volume Light pass is often used to create special effects in movies and television shows. It can be used to simulate lightning, fire, and explosions, as well as other effects like magical spells and supernatural events.
Enhancing Realism: The Volume Light pass can be used to enhance the realism of a scene. By capturing the way light interacts with volumetric objects like clouds and water, it can create a sense of depth and dimensionality that makes the scene feel more lifelike.
For example, in a scene set in a cave, the Volume Light pass could be used to create a shaft of light that illuminates a specific area, drawing attention to an important object or character. In another example, in a scene set in a dense forest, the Volume Light pass could be used to create rays of light shining through the trees, creating a sense of depth and atmosphere.
Overall, the Volume Light pass is a valuable tool for creating dynamic and immersive visual effects, and can be used in a variety of ways to enhance the realism and drama of a scene.
24. Volume Fog pass - The Volume Fog pass is a type of render pass that captures the effect of fog or mist in a scene. It is often used in visual effects and animation to create realistic and immersive environments.
Use - Creating Atmosphere: The Volume Fog pass can be used to create a sense of atmosphere and depth in a scene. By capturing the way light interacts with the fog or mist, it can create a natural-looking effect that helps to draw the viewer into the scene.
Enhancing Lighting: The Volume Fog pass can also be used to enhance the lighting in a scene. By capturing the way that light is scattered and absorbed by the fog or mist, it can create a more natural and believable lighting effect.
Creating Mystery: The Volume Fog pass can be used to create a sense of mystery or suspense in a scene. By obscuring objects or characters in the scene, it can create a sense of anticipation and tension that draws the viewer in.
Simulating Weather: The Volume Fog pass can also be used to simulate different types of weather, such as rain, snow, or mist. By adjusting the parameters of the Volume Fog pass, it is possible to create a wide range of atmospheric effects that can be used to create different moods and emotions in a scene.
For example, in a scene set in a forest, the Volume Fog pass could be used to create a sense of depth and atmosphere, with the fog gently wafting between the trees. This could create a sense of mystery and intrigue, drawing the viewer into the scene. In another example, in a scene set in a city, the Volume Fog pass could be used to simulate the effect of smog or pollution, creating a gritty and realistic effect that enhances the mood of the scene.
Overall, the Volume Fog pass is a powerful tool for creating atmospheric and immersive environments in visual effects and animation. By capturing the effect of fog or mist in a scene, it can enhance the realism and believability of the environment, and help to create a more engaging and compelling experience for the viewer.
25. Reflection Filter pass - The Reflection Filter pass is a type of render pass used in some rendering engines, such as Arnold or vray, to capture the contribution of each individual reflection in a scene. Specifically, it captures the reflection of a single object on all other objects in the scene, allowing for more precise control of reflections in post-production.
Use - The Reflection Filter pass is a powerful tool for compositing and refining the final image in scenes with complex reflections. By capturing the contribution of each individual reflection in a scene, it provides more precise control over the reflections, making it easier to create a realistic and visually appealing image.
For example, imagine you are working on a VFX shot of a spaceship flying over a city. The spaceship has a reflective surface, and you want to make its reflections more prominent in the final image. To do this, you can render out a Reflection Filter pass. When you render the Reflection Filter pass, the rendering engine will capture the reflections of the spaceship on all other objects in the scene. This includes reflections on the buildings, streets, and even other vehicles. By doing so, the Reflection Filter pass provides a detailed map of all the reflections in the scene, which can be used in post-production to adjust the intensity, color, or other properties of specific reflections.
Overall, the Reflection Filter pass is a powerful tool for compositing and refining the final image in scenes with complex reflections. By capturing the contribution of each individual reflection in a scene, it provides more precise control over the reflections, making it easier to create a realistic and visually appealing image.
26. Refraction Filter pass - A refraction Filter is a render element that captures only the refracted light in a scene. It is a grayscale image that shows the areas where the refracted light is strongest, weaker or not present at all.
Use - The Refraction Filter pass can be used in post-processing to apply effects to the refracted light separately from the other elements of the scene.
For example, if you are rendering an image of a glass of water with V-Ray, you can use the Refraction Filter pass to adjust the amount of refraction or to add effects such as chromatic aberration or distortion. By separating the refracted light from the other elements of the scene, you can achieve greater control over the final look of the image.
Overall, the V-Ray Refraction Filter pass is a useful tool for refining the final look of a V-Ray render that involves transparent or refractive objects, providing more control over the refraction effect and allowing for more precise adjustments in post-production.
30. Self Illuminance - A self-illumination pass is a type of render pass that captures the contribution of self-illuminating objects or materials in a scene. It isolates the parts of the scene that emit their own light and creates a separate layer for them, allowing for greater control over the final image in post-production.
Use - Self-illumination is often used to create special effects such as glowing objects or surfaces, such as computer screens or neon lights. By separating this element into its own pass, it can be more easily adjusted and manipulated without affecting other parts of the scene.
For example, imagine a scene with a glowing ball in a dark room. By rendering a self-illumination pass, the ball can be isolated and adjusted to make it brighter or dimmer, without affecting the rest of the scene. This allows for greater flexibility and creative control in post-production.
The self-illumination pass is often used in combination with other passes such as the beauty pass, diffuse pass, and specular pass to achieve the desired final look of the scene.
31. Bump Normal Pass - A Bump Normal Pass is a type of render pass that stores information about the surface normals of an object. This pass is used to create the illusion of surface details, such as bumps, scratches, and wrinkles, without actually modifying the geometry of the object.
Use - The Bump Normal Pass works by encoding the surface normals of the object into a texture map, which can be applied to the object's surface in post-production. The texture map uses color information to indicate the direction of the surface normals, creating the illusion of surface details when the map is applied to the object.
For example, if you have a 3D model of a brick wall, you can use a Bump Normal Pass to add surface details, such as roughness and bumps, to the wall's surface. This can create a more realistic and detailed look for the wall without actually modifying the geometry of the bricks.
32. Emission Pass - An Emission Pass refers to a type of render pass that isolates and stores the light emitted by a particular object in the scene. This can be useful in compositing and post-production, as it allows the VFX artist to adjust the brightness and color of the object's emission separately from the rest of the scene.
Use - The Emission Pass is often used in conjunction with other render passes, such as the Diffuse Pass, Specular Pass, and Ambient Occlusion Pass, to give VFX artists more control over the final look of the scene.
For example, if you have a scene with a glowing ball, you can use an Emission Pass to separate the ball's light from the rest of the scene. This allows you to adjust the brightness, color, and other properties of the ball's emission in post-production, without affecting the rest of the scene.
The Emission Pass is often used in conjunction with other render passes, such as the Diffuse Pass, Specular Pass, and Ambient Occlusion Pass, to give VFX artists more control over the final look of the scene.
33. UV Pass - A UV Pass is a type of render pass that isolates the texture coordinates (UVs) of the objects in the scene. This pass stores the UV information for each pixel in the rendered image, which can be used in compositing and post-production to create advanced texture and shading effects.
Use - The UV Pass is useful in VFX workflows where artists need to create complex textures or add intricate details to the surfaces of objects. By using the UV Pass, artists can apply textures and patterns to specific areas of the object, or adjust the placement and orientation of textures based on the UV coordinates of the surface.
For example, if you have a character model with a complex tattoo pattern on their arm, you can use the UV Pass to isolate the tattoo texture and adjust it separately from the rest of the character's skin texture. This allows for more precise control and detailed adjustments in post-production.
34. GI pass - GI (Global Illumination) Pass is a type of render pass that captures the indirect lighting information in a scene. This pass stores information about the way light bounces off surfaces and illuminates the surrounding environment, creating a more realistic lighting effect.
Use - Global Illumination Passes are commonly used in 3D computer graphics to simulate the way light interacts with surfaces in the real world. In a scene with complex lighting, such as an outdoor scene with multiple light sources, the GI Pass captures the indirect lighting information, which can then be used to create a more accurate and realistic final image
For example, in a scene with a room lit by a single light source, the GI Pass can capture the way light bounces off the walls and surfaces, creating soft shadows and subtle variations in the lighting. This can be used in post-production to adjust the brightness and color of the indirect lighting, and create a more realistic and immersive final image.
GI Passes are often used in combination with other render passes, such as the Diffuse Pass, Specular Pass, and Ambient Occlusion Pass, to create a final image that has advanced lighting and shading effects.
35. Color pass - A Color Pass is a type of render pass that stores the color information of a scene. This pass is used to separate the color information from other image elements, such as lighting and shadows, and allow for greater control over the color in post-production.
Use - Color Passes are commonly used to adjust the color of a scene without affecting other elements, such as lighting and shading.
For example, if you have a scene with a red car and a blue sky, you can use a Color Pass to isolate the color information of the car and adjust its hue, saturation, and brightness without affecting the color of the sky.
Color Passes are often used in combination with other render passes, such as the Diffuse Pass and Specular Pass, to create a final image that has advanced color grading and correction. They can also be used in compositing to blend multiple passes together and create a final image that has the desired color and visual style.
36. Ambient Occlusion pass - An Ambient Occlusion (AO) Pass is a type of render pass that stores information about the ambient lighting in a scene. This pass is used to create the illusion of shadows in areas where objects are close together, such as the corners and crevices of a room or the joints of a character model.
Use - Ambient Occlusion Passes are commonly used in 3D computer graphics to add depth and realism to a scene. By simulating the way light interacts with surfaces in close proximity, the AO Pass creates a subtle shading effect that can add detail and texture to objects in the scene.
For example, in a scene with a complex character model, the AO Pass can create subtle shading effects around the joints and crevices of the model, adding depth and texture to the overall appearance. In a scene with an architectural interior, the AO Pass can create subtle shadows in the corners and around objects, adding a sense of depth and realism to the scene
Ambient Occlusion Passes are often used in combination with other render passes, such as the Diffuse Pass and Specular Pass, to create a final image that has advanced lighting and shading effects. They can also be used in compositing to blend multiple passes together and create a final image that has the desired visual style.
37. Cryptomatte pass - Cryptomatte is a type of render pass used in visual effects (VFX) that allows for automated and precise selection of objects in a scene during compositing. It works by generating a custom ID matte for each object in the scene, which can then be used to easily select and manipulate objects in post-production.
Use - The Cryptomatte Pass is created during the rendering process and stores the ID information for each object in a scene as a separate image. This information can then be used in compositing software to quickly and accurately select and manipulate objects in the scene without the need for manual masking or rotoscoping.
For example, in a scene with multiple characters, props, and backgrounds, the Cryptomatte Pass can generate a custom ID matte for each object, allowing for easy and precise selection of individual objects during compositing. This can save time and effort in the post-production process and allow for greater creative control over the final image.
Cryptomatte is a relatively new technology and is becoming increasingly popular in VFX workflows due to its efficiency and accuracy. It can be used in conjunction with other render passes, such as the Diffuse Pass and Specular Pass, to create a final image that has advanced lighting and shading effects, while still allowing for precise object selection and manipulation during compositing.
38. Cryptomatte Material pass - The Cryptomatte Material pass is created during the rendering process and stores the material information for each object in a scene as a separate image. This information can then be used in compositing software to create advanced material-based compositing techniques, such as selectively adjusting the reflectivity or roughness of specific materials in the scene.
Use - Cryptomatte Material is a type of render pass used in visual effects (VFX) that provides information about the materials used on objects in a scene. This pass works in conjunction with the Cryptomatte ID pass to create a custom material ID matte for each object in the scene, which can then be used to isolate and manipulate materials during compositing.
For example, in a scene with multiple objects that have different materials, the Cryptomatte Material pass can be used to create a custom material ID matte for each object. This allows for advanced material-based compositing techniques to be applied during post-production, such as adjusting the reflectivity or roughness of specific materials in the scene.
Cryptomatte Material can be used in conjunction with other render passes, such as the Diffuse Pass and Specular Pass, to create a final image that has advanced lighting and shading effects, as well as precise material-based compositing control.
39. Cryptomatte Object pass - Cryptomatte Object pass is a type of render pass used in computer graphics to create masks or mattes of objects in a scene, using the information stored in the rendered image's metadata. This pass is particularly useful in compositing, where it enables precise selection and isolation of individual objects within a complex scene, without the need for manual masking.
Use - We can use the Cryptomatte Object pass information to generate a matte for each object, which can be used to isolate that object and make adjustments to it. We can use the ID information stored in the Cryptomatte Object pass to create masks, select specific objects, and make color corrections or other adjustments.
For example, let's say the ID for the cube is green, the ID for the sphere is blue, and the ID for the cylinder is red. The resulting image would have color-coded pixels that represent each object.
Overall, Cryptomatte Object pass makes the post-production process much easier and more efficient by automating the creation of object IDs and allowing for easy selection and adjustment of specific objects.
40. Raw Lighting pass - A Raw Lighting pass is a type of render pass that separates the lighting information from the rest of the scene. It captures the raw unprocessed light values in the scene, including the intensity, direction, and color of each light source, without any shadows or reflections. This pass is commonly used in compositing to give greater control over the lighting in a scene during post-production.
Use - The Raw Lighting pass is often used to adjust the intensity, color, and direction of light sources in a scene. This can be particularly useful when working with complex lighting setups, where adjusting individual lights can be difficult or time-consuming. By using a Raw Lighting pass, the compositor can adjust the direct lighting independently of the other lighting elements, giving them more control and flexibility in the final image.
For example, if a scene has multiple light sources, including a key light, fill light, and rim light, each light source can be rendered as a separate Raw Lighting pass. This allows for easy adjustments to the brightness, color, and direction of each light source without affecting the rest of the scene.
In a Raw Lighting pass, only the direct light that is cast onto objects in a scene is rendered. This means that shadows and reflections are not included in this pass, and are instead handled in separate passes such as Shadow and Reflection passes
41. Position Pass - A Position Pass is a type of rendering pass in computer graphics that provides information about the three-dimensional position of each pixel in the rendered image. This pass is often used in compositing and post-processing workflows to enable advanced effects and techniques.
Use - The Position Pass can be used for various purposes in post-production, including creating depth-of-field effects, compositing 3D objects into live-action footage, and adjusting the spatial relationships between elements in a scene.
For example, in post-production, the compositor can use the Position Pass to create a depth-of-field effect by applying a blur to the pixels that are further away from the camera. They can also use it to composite 3D objects into live-action footage by matching the spatial relationships between the 3D elements and the live-action footage using the depth map.
In addition, the Position Pass can be used for camera tracking, which involves matching the camera's movement in the 3D scene to the movement in the real world. By using the position information in the Position Pass, software can accurately track the camera's movement and position, allowing for realistic compositing and special effects.