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It would be impossible not to mention
film grain among other effects of our
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cinematic post-processing chain. the
visible silver crystals in the film
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negative's emulsion add something
very important to the filmic vibe,
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so let's try to recreate it. a quick note, we'll use
a fairly simplistic method for adding grain only
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suitable for static renders, even though there are
ways to make animated noise in Blender compositor.
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all right we would need the image node with
the film gran texture loaded in, you can find
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one in the project files... if you hold Ctrl Shift
and click on this node you will notice that I
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cheated a little bit and this texture resembles
a digital noise rather than a film grain, but it
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will work just as well for our purposes, so
let's connect it to the second socket of the
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newly created mix node, set the blending mode to
Overlay... it led to some rather weird darkening
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of the image and that's because this texture was
designed to be used with the linear color space,
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that is important to keep in mind, the color spaces
of any texture whether it should be srgb or linear
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and then basically what we need to do is mix in a
teensy bit of that noise, homeopathic dose really.
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it could be pretty hard to see, I hope you
are able to to notice it through the video
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compression. let me zoom it in for you. our digital
noise texture imposed over the image helps to
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break up a perfect digital look, the straightness
of lines, it kind of brings all elements together
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by throwing in a layer of entropy on top of it and
diluting the digital look just like we have said,
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so that is our film grain even though it's not
necessarily *filmic* in this particular case. it is
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also worth mentioning that the size of the noise
can be changed with the help of this scale node.
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and I also wanted to mention that
we have included some real film
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grain textures in the project files
like the real deal, so have a look.
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that being said, a tiny amount of a good old random
noise or Perlin noise gets the job done in this
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case. and that is usually one of the finishing
touches that I add to the post-processing pipeline
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that helps to soften the digital look, even
though it's a digital noise (that's paradoxical) :)
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next we'll have a look at the
output blanking AKA changing
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the aspect ratio visually and then
we recap the steps that we have taken.
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in the realm of cinematic post-processing,
changing the aspect ratio to something
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white screen is an easy win :) I know it could
sound weird but adding the black bars to the
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top and bottom of the image or so-called
letterboxing the image could make it look
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slightly more cinematic right out of the box
or let's put it like this... it could be a useful
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way to explore different possibilities related
to changing the aspect ratio. so let's set up a
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box mask, set the width to 1 and the height
to something that represents our letter box.
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a quick disclaimer, it won't be terribly useful
in the case of this image because it was already
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widescreen right off the start but other than
that it could be very handy to know... so... uh the
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box mask goes into the invert node and that
goes into the mix factor of our aspect ratio mix
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node, then the height parameter in the box mask
could be used to calibrate the output blanking.
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to avoid any confusion the output blanking is
meant for... well... for preview. the aspect ratio of
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the final render should be defined in the
output tab via adjusting the resolution.
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and of course we should also mention that there is
no direct link between some aspect ratio and how
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cinematic it looks in the end, so when I say that
the widescreen aspect ratio is somehow cinematic,
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I'm obviously being ironic (even
though it's true to some extent) :)
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there are some historical connotations of certain
aspect ratios like anamorphic format or 4x3 that
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was adopted more than 100 years ago originally,
but anyway I think it is still very useful
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to be able to control the aspect ratio like
that in the Blender compositor so here we go!
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