Ned Rush Blending 3D Worlds in Jitter: Scene Isolation, Texturing and FX

Learn how to create and blend two independent 3D scenes in Jitter by converting them into textures and processing them with visual FX in this Ned Rush deep-dive.

Rendering Multiple 3D Scenes in Jitter Using Textures and Feedback

Scene Separation and Blending in Jitter

In this video, Ned Rush dives into an advanced rendering technique using Jitter: building and isolating two separate 3D scenes, converting them into 2D textures, and blending them into one composition with independent and combined effects.

What begins as two rotating “sci-fi cog” objects becomes a playground of visual experimentation—exploring texture feedback, blur, composite operations, and final-pass enhancements like grain and vignetting.

Creating the Cog Interfaces

The initial visual constructs are simple:

• Two separate jit.gl.mesh shapes, each a sphere-like grid distorted with jit.noise.
• Each is styled using jit.gl.material, colored separately (white and red), and animated with jit.time and jit.pack rotate.
• Displacement via jit.op adds visual complexity.

This setup creates two distinct yet complementary objects that rotate in opposite directions.

Routing to Independent Textures

The key technique introduced is the use of jit.gl.node @capture 1 and jit.pwindow to redirect rendering from the main jit.world into separate off-screen textures. These textures can then be processed independently with effects like:

• jit.gl.pix feedback loops (via multiply chains)
• jit.gl.effects.blur and radial.blur
• Controlled material parameters like line width and emission

Each scene exists in isolation but can be manipulated without affecting the other—this makes the workflow modular and highly creative.

Compositing the Scenes Together

Once isolated, the two textures are fed into a central jit.gl.pix, where Ned blends them using simple operations like +, -, *, and even == to experiment with different forms of composite merging. This mathematical blending enables a wide range of outcomes, from harsh inversions to subtle overlays.

Finally, the blended output is routed back to the main jit.world through jit.gl.layer, reuniting the scenes into a single visual field.

Final Polish: FX and Screen-Saver Chic

To wrap it up, Ned adds:

• jit.fx.rotor for mirrored, rotational symmetry
• jit.gl.pass effects like grain for cinematic grit and vignette for focused visual tone

The result: a stylised, retro-futuristic composition that evokes data screens, sci-fi interfaces, or ambient visual loops for live AV sets.