There is probably some middle ground to find here. I have seen both cultures : some studios just love heavy compositing work to avoid any extra rendering and some VFX supervisors just want to nail it in 3d to avoid any compositing tweaks. If your art direction is based and planned on compositing, like Spiderverse, it may look perfectly fine. Please note the use of the verb “ compensate“. STEREO COMPOSITOR MOVIERule of thumb is the more you leave to compensate in comp, the cheaper the movie will tend to look. It is all about the desired flexibility later down the pipe. All the things we do not have time nor money to do.Everything that is not achievable by the render engine. STEREO COMPOSITOR FULLBut one may ask this question : since there has been a huge improvement of rendering techniques with PBR and path tracing, why would you want to tweak your renders in a compositing software ? How do we define compositing in the context of a full CG animation film ? I personally see two reasons. I am not trying to start a controversy here. And remember that I only talk about PBR cartoon movies for Hollywood. But this does not make me a compositing artist per se. I do open Nuke daily and understand how the software works. Please keep in mind that I am a lighting artist. But what about animated features ? What would be a proper use of the compositing tool ? In VFX, it is compulsory since you have to use a film plate to light and comp the shots. Compositing in a feature CG animation film is quite different to what’s usually called compositing in VFX or just straight up live action.
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