- In this video we're going to take a look at setting up the scene for rendering. This will include setting up the Octane CameraTag, as well as the basic render settings. So the first thing that we'll want to do is go to the Object Manager filters, and then just Ctrl or Cmd+Click on the Object icon here to make everything visible. Then we can collapse the Filter menu, and we see that we have access to all the objects again. Now, this is a little bit messy, so let's go ahead and go to the View, and then to Folding, and Fold All. And then we can see our camera that we are looking out of for the rendering here. So we're going to start by right-clicking on the camera, then going to the C4doctane Tags, and adding an Octane CameraTag. Now, there's a couple of things that we want to address with the Octane CameraTag. The first is if we want depth of field, we need to add in an aperture size, and that's controlled with the Aperture slider right here. The other thing that you'll need to do is control the focal depth, and you can do this with a slider inside of the tag, or you can rely on the Auto Focus. Now, if you wanted to use the camera depth that you set in the Focus Object or the Focus Distance of the Camera Object, then to do that, you first need to connect the Focus Object so that the camera will set its focal plane on the objects here. And then, in the Octane CameraTag, you need to make sure that the Focal Depth is set to zero, and you disable Auto Focus. Now, it's going to use whatever you set up for your aperture, as well as the Focus Distance that is derived from the Focus Object. Now, just to see the effects of the depth of field, we can go to the Octane menu and open up the Live Viewer, and then, we can start that render. Okay, so the best way to preview the effect of the depth of the field is to set up a render region around something like an object in the foreground. And then, we can go to the Octane CameraTag and increase the Aperture size until we get the effect that we're looking for. So, we can see there it's a little too blurry, so we can bring the Aperture size back down. The other thing to note is that when you are working on a project, you will want to work on a real-world scale, which will make setting things like the aperture size a lot more intuitive. Now, the other thing that we can do is go to a different frame in the animation just to see a preview of all these settings on a different portion. Now, if we just turn off the Render Region, we will see everything together, and this gives us a good idea of the contribution from our depth of field. And then if we go into the Camera Imager, we can control the exposure here, since this is a little overexposed. So we'll start by enabling the Camera Imager, and then we can use the Exposure slider to decrease the brightness, so that we're really just focusing in on the Exposure value for the center of the flower here. It also looks like we have a little bit of contribution from one of the lights, so we can simply select the light that is inside the flower here, and then hit S on the keyboard and we can remove that from the scene, and see if that fixes the issue. So that fixes the issue. We'll go back into the Exposure, and just bring that up a little bit now. The other thing to note with the camera is the Response curve here. So, by default, there is a Response curve on the camera which is going to essentially apply a color grade to whatever you're seeing in the Live Viewer or the final render. To get something closer to what you're used to working with, you want to set this to Linear so that there's no grade applied, and then you'll increase the Gamma to 2.2, just to match the monitor gamma response. The other thing to note here is that there is Vignetting that is applied. If you want to deal with this in post, then you'll want to reduce the Vignetting to 0. Once we're happy with the camera set up, we can start looking into setting up the final render. So we're going to start by opening up the Render Settings, and you'll see that we have all the old settings from the previous project. What we'll do here is take the old render settings, and create a child. And we're going to set the child to Octane Renderer, and then, we can get rid of any of the effects that are not used by Octane, like the Ambient Occlusion or the Global Illumination. Octane also has its own multi-pass system, so in this case, we can remove all multi-pass layers and turn off Multi-Pass, and it's also going to save the images through its own internal system, as well, so we can disable the saving on this portion. Now, if we click on the Octane Renderer effect, we'll get access to the Octane Render settings. For the most part, you don't need to worry too much about anything in the main tab. The big thing here is going to be the Overwrite Kernel Settings. By default, nothing is going to show here, and that's because Octane is just going to use whatever settings are set for the Live Viewer in your final render. If we want to set this manually, we can click on Enable, and then, this is going to allow us to to set up everything that we would use to control our Live Viewer render usually. So since we are using the sub-surface effects, we want to make sure that we're using the Path Tracing or the PMC. We'll just go with Path Tracing at this point. And then, a lot of the settings that are in here are for the maximum possible quality, and that's not something that we actually need to go for in this project. So, the first setting is the Max Samples. This is how long the render will run for. A great way to figure out a rough estimate of your max samples is by going to a frame in your animation and taking a look at the noise as well as the number of samples that have calculated already. So, we're just going to update the render here, and this is going to render away up until 16,000 samples. We don't want to wait for that long, so we're going to set a render region on just a specific area of the image, and we will wait for that to converge until we don't notice a lot of noise. And if we take a look, there is a little number here that reads out the current sampling level for this area. At this point, it's at 560 samples, and we'll just wait for that to go up a little bit more. Okay, so at around 1,800 samples, we're getting something that's pretty clean, and should pass for our final render. So, we can just pause the Live Viewer, and then, we will enter that value into the Max Samples. The max Diffuse samples is the number of times that a ray can bounce, and let's just set that to about 8, and we'll do the same thing for the Specular Depth. Next, we have the GI Clamp and this is how bright something can go over a white value for your monitor. And so, if we are only worried about capturing the light that the monitor can display, then we can enter in a Clamp value of 1. But in this case, we might have some lights that are overbright, and we want that because it's working for the scene. So we'll go with something a little more moderate, like 3. So, once we have the render settings set, we want to set the save path. And to do that, we will go to the Render Passes tab, and then click on Enable. We'll then click on the ellipsis icon here which will allow us to set our save path, and we can just do this into a new folder. And then set our filename, then click on Save. This will set the initial save path for us. We can then choose our Format, any compression type that we want to use, and also the bit Depth. So, we'll go with 16 bits here, and then, we can enable what we want to see in the file that's saved. So we want to save the Beauty pass, that's everything all together, and we want to save this out into separate files. And if we're saving out an animation, we can also save each of the passes into its own folder. Next, we need to go to the Beauty Passes here, and this is where we're going to choose which passes we want for the final contribution. So we're just going to start with the Raw pass, and that will work for everything we want to do right now. If you want to render out anything, like the Depth pass, or a Position pass, you can do that in the Info Passes here. So if we wanted to get the Z-depth, we could enable that, and that will save out alongside our Beauty pass. The last thing that you have to do is make sure that you select the octane render settings as the active render setting to use, and then, you can click on the Render to Picture Viewer icon to start your final render. So at this point, we have converted the scene, and you can do whatever you want with it inside of Octane. Hope you've enjoyed, and picked up lots of information along the way, and thank you for watching.