Jump into the compositor and activate it (click “use nodes”). Use the Render Layers input node, or add an Image or Movie Clip node. Let’s add a “Hue Saturation Value” node and lower the saturation to about 0.5. Note that the values I’m giving here are in ballpark, you’ll want to tweak them to your images.
Add a Mix node and plug the result of the previous node into it. Set it to difference, choose a highly saturated color for the second image input and lower the factor to about 0.1 or 0.03. This will give you a quick color cast.
From here on you can add a color balance or RGB curves node to fine tune colors and get some contrast back. Personally I like to use the Hue Correct node.
Go into your timeline and Make a new marker (press M, or use Marker > Add Marker).
Select your camera and press CTRL+B (in the timeline) to bind it to the marker.
All cameras need to be bound to some marker with this method. If you want to have a different camera at the beggining make a marker at the beggining of the timeline and bind it.
Method 2: Using the Video Sequence Editor
Switch to the video editing layout (or just make space for a VSE somewhere). Add your a strip for your scene (Add > Scene). Move the cursor to the exact position where you want to change cameras and press K to cut the strip. Now you can select each strip and change it’s camera in the properties panel under “Camera Override”.
The benefit to this method is that you can crossfade and use effects between cameras.
To make any material shadeless in Cycles you simply need to use an emission shader with a strength of 1.0. You can plug textures and anything you want, but the final shader (connected to the output) needs to be the emission shader.
The fun part of shadeless is that you don’t really need light rays bouncing around. If you’re creating an entirely shadeless scene (like a 2D animation) you can set all light path settings to 1 and the samples as low as 20. Less samples won’t give you less quality but you will start seeing aliasing. Though it might be useful if you’re going for a 8-bit look.
For even more performance you can render with the GPU and set the tile size to the entire render size.
First disable the compositor (ir you’ve been adding nodes already). Then save the render result as an OpenEXR Multilayered file. This will save all your passes and render layers. Render layers will be stored as layer groups and passes as layers inside that group (you get a dropdown in the compositor).
OpenEXR is an open image format developed by Industrial Light & Magic. It supports lossless encoding and up to 32-bit floating-point depth and is supported by many 3D applications and 2D editors, like GIMP or Krita. You can also use OpenEXR files saved by other applications like Maya in Blender.
All you have to do now is replace the Render Layers input node with an Image node, and select your exr file. I recommend you do this on a different blend file if you’re working on a complex scene or just plain heavy file to save RAM. Be careful with large images in the compositor though, it can quickly gobble up lots of ram and when you run out of RAM Blender will crash.
First animate the scale of your object as usual, or just add a couple of keyframes to get some animation data. Decide which channel you want to animate. It can be any of them, I usually choose X. Now go into the dopesheet editor and delete the other two channels (Y and Z in this case).
Now we can add drivers to them. Open the properties bar and ctrl+click on the Y scale to type a value. Type # followed by this:
Replace “My Object” with the name of your object but don’t remove the quotes though. You can check it’s name by selecting it and looking at the bottom of the 3D view or in which one gets selected in the outliner. Do the same for the Z value.
The hash (#) is the shorthand for quickly adding drivers in Blender, you could also right-click and select “add single driver”. Once a driver is added you don’t need to type the hash anymore.
Now you can drive the scale values (and F-Curve) for Y and Z using X.
You can also do more advanced things like using formulas and math functions. For instance if you wanted your object’s height to be half it’s width, your Z scale driver would be:
bpy.data.objects['My Object'].scale.x / 2
The sky is the limit with drivers, not only for creative or experimental uses but also to workaround issues like this. So learn some Python, and have fun.
1. Create an empty and give it a descriptive name like “Camera Control”. Position it over your object, remember our camera will point to this empty.
2. Select your camera, go to the properties panel and add a “Track To” constrain. In the constrain settings select the empty as your target, make sure “Up” is Y and “To” is -Z. By adding this constrain we make sure the camera will always face our empty.
4. Select the camera and then the empty, then go to Object > Parent > Object (or press Ctrl+P) to parent the camera to the empty. Now you can rotate the empty and the camera will follow it’s rotation!
You can also scale the empty to move the camera closer, or move it to change the point of interest.