Cinema 4D - AOVs Part 1

hello my name is Dan Nissen and today we'll be looking at a obeisance at a redshift for cinema 4d I will show you how to render these passes as well as quickly comping them inside a Photoshop we will break down the new custom AOV features and the many ways we can write our own specific a Ovie's we will also be taking a look at some of the other aov choices that will make comping our images a lot easier alright let's get started alright as you can see I've prepared a scene for us today that is composed of a lot of different elements which is going to help us when taking a look at a OBS and set a redshift now a V stands for arbitrary output variables and these are passes that are rendered alongside our final beauty now we're gonna be taking a look at what I refer to as the standard a movies first and these are the ARVs that basically make up our Beauty so let's go ahead and hide this for now and let's go to our render settings under redshifts and let's go to our AV tab and as you can see we can quickly start adding any a movies we want and as we start expanding these different settings you can see starts getting cluttered very quickly and quite confusing so we're gonna open up the AO v manager which I suggest always using this when dealing with a movies and this is basically a much easier way to add and delete our IVs and better way to manage them as well hence the name AV manager and before I actually get into the actual AVS themselves I want to note that I'm not gonna be covering each and every individual AV as I won't have time today but if you go on the redshift Doc's they actually have a brief description for every single AV here if you're ever confused and I'm also not going to be going over the raw a OB use today which is basically it's even more control if you need it so for example or what I mean by that is we take it the diffuse lighting into here the diffuse lighting is actually made up of the diffuse lighting bra with the diffuse filter multiplied over the top and you be doing that math inside of Photoshop fusion new you know whatever you're using and that's I've personally never had to use those but if you do need that extra control it is there for you and once again if it's not very clear to you you can go on the red ship docks and they cover that as well so let's actually look at their settings for our a Ovie's now we have an option to enable or disable it from being rendered we can actually change the AO v that's being outputted but we want diffuse lighting we can also rename it if we do need to but I like keeping the default names for the most part and actually a setting that we need to play or pay close attention to is the apply color processing and we're actually going to be disabling this for every single AO v and what this is doing is if we go to our camera and go to our camera tag this is actually disabling all these settings the tone mapping and exposure settings from being applied to our AO V and I don't have these on anyways but we want to make sure we're disabling these because it can lead to issues inside of post so we're gonna make sure we're always disabling this for every single Iove we're gonna keep multi pass output enabled and we're going to make sure rendering out at 32-bit now that we won't be using the direct output settings today and basically what these are is if you need to change the individual settings for every AO V so say what I mean by that is you know say we want to run into this AO B as a PNG instead of an e XR you know we have the ability to but we're not going to be needing that because when we're using multi pass output so all these a OBS are gonna be included inside of one single EXR image so let's go ahead and take a look at our scene again and let's see what a Ovie's we're going to be needing to rebuild our beauty so as you can see you know we have subsurface scattering we have emission we have refractive materials so we're gonna need we're going to need to be including all these a Ovie's in our list to render out and then later rebuild inside a photoshop so let's go ahead and hide this again and let's start dragging dropping these a Ovie's that we're gonna be needing so we have caustics in our scene we have omission in our scene we have G I enabled we have reflections we have refractions their specular lighting we have subsurface scattering and we have volume lighting and once again I'm going to be disabling apply color processing on each one and you know the way you're adding these a Ovie's it's based off your own scene so if your scene doesn't have subsurface scattering then you don't need a subsurface scattering aov but at the same time you need to make sure that you're including every single part that is making up your Beauty because the whole point of a Ovie's is to save you in the long run it's kind of like insurance to tweak certain elements and you're seeing later in post and if you're forgetting a Ovie's you know you're defeating the entire purpose of them of saving you time if you have to go back and rear ender them especially if you're working with a compositor you know you don't want to put more stress on him by not including a Ovie's that you actually need so what we're gonna do now is we're actually gonna render these out so we can take a look at them and the way we do that is we go back to our render view and we need to render this out in bucket mode as the AO B's won't be displayed in progressive mode so let's go ahead and do that and take a look at after this is done rendering so now that it's finished rendering let's take a look at array of ease so we go to our drop-down menu here you can see all our AO V is rendered out and we're gonna be using the arrow keys to cycle through them so we have our beauty as before but now we have a few more passes so we have our caustics our diffuse lighting our you mission our GI our reflections refractions subsurface scattering specular lighting and our volume lighting and these are all the passes we need to rebuild our beauty inside a photoshop which we're going to be doing that a little bit later for right now we're going to look at some more AV options inside of redshift so let's go ahead and hide this for now and let's go back to our a avi manager now say we want to create a cool ambient occlusion pass for our entire scene well you might say let's just drag in the ambient occlusion aov into our AV list well this AV actually only accounts for the ambient inclusion in our shaders on this won't be a global ambient occlusion pass so we don't have any ambient occlusion in our shaders so this a Ovie's gonna render out a blank or it's just gonna render out black so what we actually want to do is create a custom AO beam now you might have noticed when I dragging this custom iov the custom AO the option and in our left hand column is still there this basically means we can create as many customer movies as be wants I mean you also might have noticed earlier when we dragged in our diffuse lighting caustics etc basically our AO B's one through nine they actually disappeared from this list on the left this basically means that we can only have one instance of this AO be rendered out so let's take a look at our custom a will be options so it has the same exact settings as a regular AO v except it has a default material slot which is basically going to be a global override for our AO v container which will make more sense once I demonstrate this but for right now let's go ahead and hide this and let's create a new material now thankfully red ship has already set up a ambient occlusion node set up for us to be easily used with custom AO bees so if we go to utilities and AO you can see our new material created and let's go to the shader graph and as you can see this is our regular and being occlusion node connected to the output now we actually can write any data we want to this AO V so for example if we wanted to write a global curvature map to everything in the scene you know a texture if you want to write a texture to every object in our scene let's go to utilities if we wanted to create a fernell curve for everything in our scene you know we can render these out as a custom AO be the only thing you can't write to customer movies is shaders you know you so you can't write on anything under this materials categories to our custom a of being this is an illegal operation inside a redshift it won't work and I believe that's how it is for most render engines so let's actually take a look at our redshift ambient occlusion and we're gonna keep all these settings default and we're just gonna raise the samples to 64 let's go ahead and close this and we actually can rename this material just to stay organized to do custom ao1 and then once again the name doesn't really matter it's you know whatever your naming conventions are so we'll actually let's go back to our AV manager and what we want to do is we want to drag our newly built material our custom AO one into the default material slot so basically what it's going to be doing is the settings we set up which we kept the default in this custom AO one it's gonna be applying this ambient occlusion shader to our entire scene but it's not gonna be affecting our beauty at all it's this is a custom AO V so let's go ahead and rename this to AO custom whoops custom one and once again make sure apply color processing is disabled and we're gonna render this out in the render viewer once again remember in bucket mode and after this is finished rendering we'll take a look at it okay now that it's finished rendering let's take a look now remember if we look at our a avi manager we named this custom a movie AO custom one so when we go to our render view we can see a ou custom one and as you see we successfully set up a custom AO v which is applying a global ambient occlusion to all the objects in our scene now say we want to take this a step further and we want to exclude certain materials from receiving this ambient occlusion well we can easily do that with the store color node inside of the shader graph so let's go ahead and hide these for now and say we want to stop our emissive fear from receiving this ambient occlusion well we can easily do that we go to the shader graph and we're going to look at our AV nodes now we're just gonna be using the store color to AV node today as most the changes will be making imposed is slight hue/saturation changes and maybe some lighting adjustments but we won't be needing any integer or a scalar data today so the way this store color to AV node works is it's like a buffer between the output and B material so we're gonna connect our material to the Beauty input and then connect this to the output and now we can start writing data on top of a lease so what what I mean by that is we go and find our AO custom one which we want to exclude certain shaders from receiving this ambient occlusion we can so we make sure we click on AO custom one and the way these ambient inclusion maps work is you use them to multiply over the top of things so basically what we want to do is to exclude certain things from this ami occlusion we want to make them peer two five five white so when we go to multiply them it's not having any effect on those parts of the AOV on which it will make more sense once you see inside of the render view so that's all we have to do to write over the top of this AO custom one and the way this works is it's adding over the top it's adding this this white you've got five over the top so let's go ahead and add this to one more material let's do our water material just because it's so easy to setup just store color to a avi connect this to the Beauty connect this to the output once again we're riding over AO custom one and we're writing 255 white so nothing is being multiplied when we go to into Photoshop now let's go back to our render view and we're gonna rerender this out the see how it's affecting AO custom one and once again number we have to do a bucket render as they're not displayed in progressive mode all right now let's look at our AO custom one to see what's changed as you can see our emissive sphere is no longer receiving ambient occlusion as well as our water bubbles up in the top left are not receiving ambient occlusion now remember we just wrote custom AOV data for our one water material but because all these objects that are bubbles are sharing the same material they're all being affected and everything I've showed you so far is on a per material basis and later we'll be looking at writing custom AO B's on a per object basis so for right now let's actually go ahead and create a new custom AO v and we're gonna be creating a custom Iove for our redshift logo so let's go ahead and hide this and let's actually open up our logo shader graph now once again we're gonna be adding the store color to AO v plugging the material into the beauty input plugging this into the output and we actually can create a new custom AO be from this menu so we're gonna do add new custom AO be and we're going to call this RS logo 1 and ok and now what we actually want to do is so we have our redshift logo texture and we actually want to write the Alpha out to our AO V so we're going to plug this into a o V input 0 so we're just getting the Alpha I'm included in this a OB and not the entire object so now what we're going to do is we're going to render this out to see how it looks and if we go to our air view manager as you can see we have our redshift logo 1 the custom a V that we just created make sure apply color processing is not enabled and we don't need a default material applied here because this is just on a per material basis that's not a global shader so let's go ahead and go to the render view and run into this out to see how it's looking alright so let's look at our newest custom AO v and remember we named this RS logo 1 so when we we go to our AO v drop down menu we can see our S logo one and we have successfully written now a custom AOV just for our redshift logo on our objects now I've been showing you how to write custom a Ovie's based off the materials in our scene and now I'm going to show you how to write custom a Ovie's based off the objects in our scene and we're gonna be using user data to do this now before I start I have to give a huge shout out to Adrian off of the redshift forms I'm sure if you've ever asked a question on there he's the first one to answer a really helpful guy and he's the first one that exposed this technique to me so big shout out to the him I'm really appreciated of it so let's go ahead and hide this for now and let's create a new custom AOB so we're gonna name this user data custom remember the name doesn't really matter but I want to try to stay as organized as possible and let's go ahead and create a new material and open up the shader graph and remember we cannot write materials to custome Obie's so we're gonna go ahead and delete this and we're going to bring in a shader switch and connect this to the output and we're also going to need an integer user data node and we're going to plug this into our selector for our shader switch and I'll be explaining this set up and a little bit but first let's start assigning user data to objects in our scene so say let's add we want to add user data to our figure object so we can go to user data add user data and first what we want to do is change the data type to integer and we're also going to rename this to user data rs1 and we'll be needing to remember this name for our shader setup that we'll I showed you earlier but we can always come back to if we do forget it so let's go ahead and hit okay and let's actually go back to our material and we can actually rename this as well let's rename missus rename this to user data one and let's open up the shader graph again now remember we need to use that name that we set up for the user data so we can actually go back to the figure and we can go to manage user data we can actually copy and paste this name with ctrl C and then paste this here ctrl V so you make sure that we don't misspell anything and also we want to do is back on our figure where we set up the user data we actually want to set this to one and I'll explain why in a second so if we go back to our shader graph and our material that we created it for user data 1 the default set at 0 so we go into our shader switch we actually want to set the shader 0 color to black and we want to make sure that we're setting shader 1 color to white so everything with user data that is set to 1 is gonna run your white everything else is gonna run your black so let's add a few more objects of pre-render so I can show this effect so let's go ahead and hide this and let's just start adding this user data to other objects what we can actually do is we can copy and paste this user data to make it a lot I'm quicker so if we go to manage user data on our figure and we can right-click this user data RS 1 copy and now let's say let's add this to our blue doughnut here so we'll go to user data tab and then paste user data interface make sure the settings are all good yep and hit OK and then more and change this to 1 remember and then let's add this to one of the bubbles in our top left hand corner and remember once again once you use your data base user data interface make sure the settings are all good yep and where I said this to one remember this is writing a custom aov based off the objects in our scene not the materials so now what we want to do is we want to go back to our custom a Ovie's and we actually want to drop this material into the default material slot for our user data custom so we'll drop this in here and make sure once again apply color processing is disabled and leave everything else the same and let's run your this out to see what is going on alright let's take a look at our latest custom AOB so if we scroll down and look at the user data custom you can see that we're getting the expected results all the objects that we applied user data to and set the integer to 1 as rendering out white now you might have noticed that our blue torus that we applied user data to I'll go back to the beauty is actually being intersected by a refractive material now if we look at the custom aov we created it's not taking that into consideration so if we were to use this to adjust the color inside a photoshop we'd run into some issues because it only be adjusting the parts that are not being refracted so if we were going to change the color to red the refracted part would still be blue which would obviously be trouble for us so there is a way to work around this and it's actually the next aov that we're gonna be looking at let's go ahead and close this for now and let's take a look at the puzzle mat and remember I talked about this earlier on we can add as many as we want but it is limited to three sets of selections and what I mean by that is it's limited to red green and blue values now basically let's actually let's go ahead and look at the settings before I get into it real quick so we're gonna switch the mode to object ID and we're gonna change the red ID to 1 green ID to 2 and you guessed it blue ID to 3 now with these settings right here depending on which objects we assign which IDs to we're going to get pure red green and blue values now say we took on the reflect / refract IDs option which we are we are for this puzzle map now what this is going to do is it's going to take multiple objects into consideration for the final color and what I mean by that is it's going to take reflection and refractions into consideration for the colors so you might not get pure red green and blue values anymore you might get some magenta some yellows you know some Pink's you know whatever it is I'm out of our final puzzle map and this will make more sense once we render it out and view it in the render view and make even more sense once we use it inside of Photoshop and the reason that these um this AOV is so useful inside of photoshop is you can take the pure red green and blue channels from an image and use them as masks inside of Photoshop and that's why it's so useful inside of there and it once again don't make more sense once we're inside the Photoshop and you can actually um visualize it so let's actually go ahead and let's move this over and let's start adding red shift object IDs to different objects so let's actually take our actually let's add to our backdrop so let's right click this got a red shift tags and red shift object tag and let's change the object ID so we're gonna override and we're gonna put the object ID to one so basically this is assigning the red to this um backdrop and we're actually we're only going to us because we want to isolate the backdrop from everything else so we're just going to include this to the red ID one so next let's actually add our blue tourists that I was talking about that was having the refractive issues let's actually so let's add a red shift tag object ID override and we're gonna make this ID two for the green now once again we're not going to get a pure green value anymore because that's taking into consideration for the reflections and the refractions and we'll be able to view that inside the render view and a little and now let's add a couple objects to our blue id3 so let's just add our pyramid and we'll ride this to three and let's add our redshift logo as well just so we can view this effect and actually let's add one more water metal sphere as well and we'll set this to object ID three now we're actually going to once again remember rendering out a 32-bit and let's actually go to our render view and let's run into this out number in bucket mode and see what this is doing all right now let's take a look at our puzzle mat before we hop into Photoshop so if we go to our AV list and go to the puzzle map you can see this is the result that we're getting remember we assigned our backdrop to the red Channel and as you can see on what I mean by the reflects last refract option that we enabled as you can see in our sphere that is very reflective we're getting a kind of a pink color and if we bring up our actual pixel values so you can see here it's almost like a magenta because it's reflecting that red background but it's you know it's not gonna be a pure it's not gonna be a pure red reflection of it so it's gonna be coming out magenta and that's what I was talking about earlier also you can see the these objects that we applied the blue ID which was three to the edges were you it's more reflective as you can see it's getting like a more magenta and once again remember the green ID to which we applied the tort or which we applied to the torus we're now getting that refractive nough scumming through which is going to be very helpful when adjusting this tourist inside of photoshop now let's actually hop into Photoshop so I can properly show you how to use this pass I also I'm going to show you how I save this out really quickly so if I go to file save multi layer Exe are as I have it here as a would be underscore tuts and we're going to save this here and basically what this is going to be doing is saving our beauty plus all our abs as a layer in a single EXR image that we can open up inside of Photoshop

Channel: Redshift3D

Views: 43,789

Rating: 4.9855595 out of 5

Keywords: redshift, gpu, rendering, cinema4d, c4d, aov, photoshop, tutorial

Id: 2J_76pNSU8k

Length: 26min 52sec (1612 seconds)

Published: Wed Mar 21 2018