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Now this is a value that is going to change definitely from scene to scene. There have been many cases where I have used this GI clamp to kind of choke up some sampling from the indirect light that was not needed. So the GI clamp will help rid some noise. So let's go to 0.2, and now you can really tell a difference between these two images here. Again let's go down by 0.2 again, so to 0.4. Let's say 0.6, and that we're starting to see a little noticeable difference, this is appearing a little darker now. And you can see the difference from 0.8 and 1 from in and outside of this boundary. I'm going to go ahead and we're going to use this surrounding area to kind of see the difference of this value. So another way that the GI clamp can really help us is cleaning some different parts of noise. Okay, so we're back again at this GI clamp. So I usually leave this around 0.2 just in case if there is any kind of caustics that are showing up in the scene, we can blur it by a pretty good amount. I feel like that is way better for something like caustics. I'll switch it to path tracing Montecarlo, the PMC colonel. I don't usually worry about caustic blur inside of path tracing unless I need to really focus on something that is going to show caustics. Now, the caustic blur setting, I believe by default, is set to 0.02. So I think it's safe to say that 14 will do this pretty well. As we go to 12, you can see it becomes even clearer. So as we increase this to 11, you can see that that becomes better. So this is tracing the ray depth going through specular materials. You can see that the two panels here from the geometry become black. Now your specular depth count, if we were to just sample the translucent and refractive materials, as I move this down from 11 to 10, you can see a noticeable difference here on this glass. So I believe I'm going to leave this at five, how it was, and that's kind of a simple way that you can arrive at your diffuse depth count. So from four to three, definitely seeing a noticeable difference, especially here on the auto min. From five to four, not quite a huge hit, maybe here on this left candle.
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So, from five to four, put that back to four. So I pull this down to five, do I see a large difference between five and six? It doesn't seem like there's a noticeable difference, at least not yet. So you may be asking yourself, "What is the proper diffuse depth?" Well, the best way that I can put it to you is to adjust the diffuse depth accordingly with your scene. You can see that we're kind of getting the same type of look from the GI clamp when we had that down very low, close to the zero. So if I set this back to one, and then I come up to the Diffuse Depth, and I set that to one.
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Okay, so that's definitely going to be a threshold. We're going to lose that overall indirect illumination in the scene. Of course, we bring this down, so closer to zero. So when I usually do test scenes I can set that to one and play around with the slider just to see how that's really affecting it. So these numbers are going to affect each other. So that's going to tie in to the diffuse depth as well. So the GI clamp is the overall contribution of indirect lighting to the scene. So I'm going to play with the GI clamp right now. And you can see, it's looking pretty good at 3800 but there's still just a little bit of noise here. I try to keep most of my renders around 2000 to 3000. I do not want to go over 4000, definitely not. So I'm assuming at this point that 4000 is going to be on the high end. And you can see now that we're seeing much more detail and this is going to really help us magnify and see our shaders and see how long it's going to take for this to actually clear up. Okay, so with the render region I can just kind of drag out areas that I want to get a better look at, maybe this breakfast set and the candles area. And once I do that, it's just needing to reload. So what this is going to do, it's going to lock our resolution at 4K. And then I'm actually going to use the Lock. First thing I'm going to do is just grab a render region.
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Right now we're just going to concentrate on the samples for pixel, diffuse depth, specular depth, and talk about how we can justify our settings. We'll save this render settings window for the end portion of the video. And I just hit play and that's where we just kind of stopped it at so that it would be resting. The current frame right now is just set to 53 just because I kind of have this hair simulated on the pillows.
#Octane render tutorial c4d full#
And in this video we're going to be talking about how we can improve our render settings, our speed, and rid our actual full scale render of noise.