It has little purpose in life beyond guarding its chosen turf. The beholder is an aberration-a magically summoned creature of extraplanar origin-with a hateful, avaricious and territorial temperament. Why do I mention this? Because the beholder is such an iconic D&D monster that our host-who knew hardly anything about the game before we began playing-told me near the beginning of our campaign, “All I want is to run into an ‘eye of the beholder,’ and I’ll be happy.” The solution isn't ideal as it will create Alpha fringes, but you might get away with it.Īnother option would be to use the alpha as a factor for a node like HSV, to dim the composite down locally, but that requires you to separate shadow from object, like in the question linked above.Our current Dungeons and Dragons group got together after one of my wife’s coworkers cattily referred to a client as “someone who looks like he’d play Dungeons and Dragons in his mom’s basement,” and another of them retorted, “I would totally play Dungeons and Dragons.” He ended up being the host of our weekly sessions. Now, work on the Alpha by throwing in for example a ColorRamp node like this:īy doing that, you basically change the factor in which foreground and background are merged together. blend I had used a World (intentionally, to create the issue). The result is a somewhat bright shadow, because in my. We use an Alpha Over node to merge foreground and background. Let's have a look at the composite as you might have it right now: So one option to change that look is to mangle the Alpha. The shadow color is defined by the RGB channels, and those are pitch black already. possible workaroundĪs mentioned here, the Shadow Catcher creates the look in the Alpha channel only. At least, there's a trick that might help you out. So you're missing two keystones of proper compositing, and are stuck at guesstimating a fix. ![]() Also carefully watch your World material, as it also brightens the shadows. What happens then is that one light source brightens the shadow another light source had cast. You had no other choice than guess something together. Even the objects that were on the set caused light to bounce and therefore shadows to change. However, how would you know how bright they were, and at what distances they were located? Both information is crucial for the shadows to be correct. Judging from the shadows, you rightfully have seen that there is multiple light sources. 2) You don't have a clue about the lighting intensities on the original set Again, in your case, I believe you don't have this option. In that case, Shadow catcher and scene would play nicer together, you could merge the layers and then apply the desired Grade. ![]() The values the camera had recorded, including the intensity of the shadows, has not been altered in RAW yet. When compositing, ideally you work on the RAW footage, which hasn't been mangled that way yet. That's why some images look Canon-ish and some are Nikon-ish. jpegs the camera provides you for convenience always have some sort of intensity mapping applied, and it's a different one for each camera maker. However that footage had been taken, may it be a simple iPhone camera or some advanced Blackmagic thing, judging from the look of the footage some kind of intensity mapping has already happened here. Actually there are two of them: 1) Your footage has been graded already You have rammed into a common issue compositors are facing.
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