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Setting up a master file to control the final grade for an entire project minimises time spend testing renders: a trick Red Cartel used on its animated short, Lighthouse: Most large animation projects require you to keep track of many individual shots and grade them consistently at the end. You can use the Blender sequencer and compositor to do this. First, start an empty .blend file. This will be your master file. Link in every scene you need from the individual .blend shot files and place them in order along the timeline of the sequencer in the master file. (This helps the editor, since the Blender sequencer produces an OpenGL version of each scene, making it easy to see the latest work from each scene in real time.) You can now set the look and feel for each section of the animation. Select a group of shots that must have the same visual properties, and group those nodes together inside the master file, calling the group ‘Master Comp’ or something suitably witty. Go to each of the original individual shot files and link back to the Master Comp group.
I am a big fan of the node based compositor in Blender, but I always get annoyed by how slow it is. This makes comparing two different outputs in the node tree practically impossible. Fortunately there is a solution: The split viewer. This node replaces the default viewer and has two input sockets that are displayed next to each other. To see them you need to enable the backdrop in the top right corner of the compositor. I use it all the time when post processing my renders.
Never try to attack the entire model at once—instead, give each task your undivided attention. The more effort and focus that goes into every piece of the puzzle, the better everything’s going to end up. It’s next to impossible to master hard surface modeling without studying hard surfaces in their many forms—namely, in real life, as well as from photos and things that you read online. This includes not only using reference images but taking the time to make meaningful observations about stuff that you run into, even if it’s just something like the peeling yellow paint on an old steel banister. Structural details, mechanical details, and aesthetic design choices can all be fascinating to learn more about, and everything that you take in will inform your work greatly.
Proportional Edit can be set to many different Falloff types (shown by a rollout near the blue circle Proportional Edit button). Selecting Random will cause random translation, rotation and scaling of objects within the soft-selection region – useful for ‘messing up’ a scene to make it feel more organic. Since this trick works across all visible scene layers, put any objects that you don’t want to affect into a separate layer, then simply turn that layer off. To render, go to the machine you want to render from and set up your client by switching to Network Render and choosing Client from Network Settings. If you click the refresh button, the client should automatically find the master node. Read additional information at https://3darts.org/.