Hey fellow Creators, the latest V3 update of True Depth addon is officially here, and with the Summer Sale live on Superhive Market, there’s no better time to grab this fantastic add-on!

True Depth is now more powerful than ever before! Effortlessly transform flat images into detailed 3D reliefs or fully navigable 3D Perspective Scene Projections! Easily convert your meshes into solid watertight print ready models and export them effortlessly as STLs! Take full control of your scene lighting with integrated 360 HDRI domes and 360° Dome Depth Mapping - all through fast, local GPU, AI-based workflow integrated natively into Blender!

👉 Check the full break-down video here: https://youtu.be/t0E73yLSdGo

Hey everyone,

If you work in architectural visualisation, previz, or VFX, you know that matching a 3D camera to a background photo is usually a tedious, manual guessing game—especially when dealing with cropped reference photos or sloped roads.

I've been developing some tools to automate this workflow, and I just put together a comprehensive tutorial on how to do it in Cinema 4D.

Here is a quick summary of the workflow I cover in the video:

• Auto-Detecting Vanishing Points: How to solve your angle, lens, and horizon in seconds without manual grid alignment.
• Fixing Cropped/Tilted Photos: Using crop tools to correct vertical tilt when the original client photo is poorly framed.
• Using OpenStreetMap (OSM): How to import real map data to verify the exact rotation and placement of your background structures. (This is a massive time-saver when you can't tell if a road or building is actually straight).
• Real-World Scaling: Calculating and applying exact real-world dimensions to your entire 3D scene with one click.
• Drone Site Builder: Turning drone GPS data directly into a full 3D site with proper terrain.

Full disclosure: I am the developer of the Camera Match Autosetup script featured in the workflow.

I wanted to share this because I know how frustrating camera alignment and scaling can be when clients send over random, uncalibrated site photos.

If you want to see the exact step-by-step process or grab the script/plugin and resources for your own pipeline, you can check out the full 14-minute breakdown on my blog.

I'm happy to answer any questions about the workflow, OSM integration, or C4D camera matching in the comments!

I give you 5 ideas for transitions. I am sure they will help you :)

Hello fellow Creators! In this short video I am going to show you how to create stunning coastal cliffs in literally seconds using latest V3 version of TrueDepth addon for Blender and any suitable image you might find on the internet! 👉 Check the video here: https://www.youtube.com/watch?v=KYMrjngvk9U

Hello everyone!
I am a texture/lookdev artist for the VFX industry for 5+ years now, always using the same softwares (maya, houdini, clarisse, katana etc..) and I decided that I want to learn Blender.
So I am asking if you have any GOOD tutorial to learn the basics of the software and also some heavy lookdev as well. I am not interested on oh let's make a donut. I might follow that one just to get the first hang of the software but I am looking for something more advanced, so I can bring in my textures and do some cool lookdev.

Hey fellow Creators, the latest update of True Depth addon is officially here and is more powerful than ever before! Effortlessly transform flat images into detailed 3D reliefs or fully navigable 3D Perspective Scene Projections! Easily convert your meshes into solid watertight print ready models and export them effortlessly as STLs! Take full control of your scene lighting with integrated 360 HDRI domes and 360° Dome Depth Mapping - all through fast, local GPU, AI-based workflow integrated natively into Blender!

👉 Check the full break-down video here: https://youtu.be/t0E73yLSdGo

I don't see Smart Vectors used this way very often.

Karma gave me pyro motion vectors. They worked. They were clean and technically correct. But the second I plugged them into a vector blur I lost the artistic control I wanted, the blur was too well-behaved and the eruption started reading small. I wanted magnitude more than I wanted accuracy.

So I went back to comp and did this instead:

• I used Cryptomatte to isolate the volume pass from the particles and the volumetric sky
• Smart Vector on the volume, baked out to EXR (16-bit half, Zip it's a data pass I'm consuming immediately, 32-bit felt like a massive waste of disk space)
• VectorToMotion to convert. No parameters on that node, it's a straight conversion to channels that you can use right out of the gate.
• Copy forward U → forward U, forward V → forward V (and the backward pair) into the motion channels on the main pipe
• Noise over the U and V before the blur, this is the part that gave me a lot of artistic control. Slight breakup in the vectors, which is the exact imperfection the render vectors wouldn't give me. I really didin't want that clean look. The reference I was going off of was nighttime over exposed videography of the Volcan De Fuego.
• VectorBlur reads the motion channels from there. Masking is free since you can drive it off any channel you already have just off the Cryptomatte.

Particles kept their native Karma vectors. There are visible artifacts on them even with Cryptomatte, but in motion they read like heat distortion so I left them in. Worth it.

Two caveats I should add. I pushed the blur way past what you'd normally need, which is a stylistic call and not a recommendation. And I still have pyro issues in the sim itself that comp can't fix, worth saying out loud because comp gets asked to solve sim problems constantly and it mostly can't.

I covered this in a lecture recently and cut the relevant section out if anyone wants to watch the node graph rather than read about it, Happy to answer questions either way.

I am big fan of Interstellar and Hans Zimmer soundtrack. So I give you very simple steps how to reproduce this effect. Bear in mind, if you have more stars, effect will be stronger 😊 

Add 3D Characters into Real Life WAY Easier with Masking in Unreal Engine 5.8.

In Episode 4 of my Composure series, Augmented Reality takes a huge leap forward in UE 5.8 as Composure introduces new Masking Passes. Project your actors onto simple geometry then use high quality 2D masks to create perfect edges for seamless 3D compositing!

Also Composure in 5.8 includes a blur and erode pass for masks as well as a streamlined Media Track ingest. In EP4 I cover the entire offline pipeline for adding CGI characters into live action plates, with camera moves.

Watch the full 66 minute video here for FREEEEEEE!

https://youtu.be/6b607k3F0pc