Cinema 4D - AOVs Part 2

okay now that I've loaded up my multi-layered EXR you can see over in our layers panel we have our Beauty on top and all the other AO B's rendered alongside with it and you can see all these here now I want to know if you are running into issues loading these EHRs into Photoshop I am using a free plugin known as EXR - IO and this should resolve any issues you are having and before I get started we want to make sure that we're working in 32-bit and as you can see here we are because by default we loaded up a 32-bit image so that's the mode we're going to be working with inside of Photoshop and the reason we're using 32-bit is not only does it have the largest range for us it also is gonna allow Photoshop to do all the math in a linear matter and when we're adding these passes on top of each other so let's actually go ahead and rename this to Beauty let's start actually organizing our layers real quick and let's create a new group and we'll call this custom AOV and we're basically gonna throw all the a OVS that we don't need to rebuild our Beauty into here so we're gonna need a Oh custom one will throw the puzzle mat in there even though it's not a custom aov we're still going to throw it in there are a slow go one and the user data a custom on to the custom AOB folder let's go ahead and hide this for now and let's go ahead and start reordering our a of these to rebuild our beauty so we have our Beauty on top and we'll hide this for now so we'll have it for reference later so let's drag our diffuse lighting to the bottom let's have the GI on top then let's have the subsurface scattering then the specular whoops the specular reflections refractions emission volume mining then caustics and what we'll do is we'll hide all these for now so we have the diffuse lighting on bottom and we'll just keep this at default we won't be adjusting the layer options but we will will enable the GI and we'll be adding this on top and we'll be adding each layer on top of each other so the GI subsurface scattering specular lighting and if we output it all the correct a Ovie's in a correct manner this should result in a basically a one-for-one result of our beauty pass and we'll be comparing those in a second so we're just adding all these layers on top of each other and as you can see we'll just do a comparison and I'll even zoom in and we'll compare this to the beauty and as you can see you know we're getting a basically a one-for-one result now it's not going to be a 1 through one down to the exact pixel as the way the ABS are clamped or the way the beauty is clamps and the way that a abs are clamped they're different in like the super white areas but you know to the i/o you can't tell the difference between and I'm enabling and disabling the beauty and you can see you know you can't tell that any difference so what this allows us to do is and I'm saying go ahead and disable our Beauty for now is we've separated all the elements in our scenes so I'm able to disable a subset of scattering and in my image I'm able to disable volume lighting in my image disable caustics you know I'm able to do whatever I want now on a per element level so I'm better yet what I'm gonna be able to do is adjust these on a global basis and so and I'll show you what I mean by that is so we have our subsurface scattering level or a layer and because we only have one object with subsurface scattering we don't need any type of mask to adjust this so I'm going to add an exposure layer and what I'm actually going to do is I'm gonna hold down alt and in between the two layers I'm going to left-click and this makes this a clipping mask and I'm gonna be using a lot of shortcuts during this part of the video and I'll make sure to describe each what kind of musing just so you don't get lost so we have this exposure layer applied to the sub sort of scattering and we can just start adjusting the exposure we can raise it a little bit and lower the GAM a bit to added some contrast and we'll actually compare this to the beauty and you can see the difference that it's making you know it's just brightening that up and it's almost like that we've changed the material but without having to re-render and you'll start to slowly realize the power of a Ovie's by the end of this video so let's start making some more adjustments so the judgments I'm making right now is for everything in the entire scene and I'll be showing you how to adjust certain elements in our scene using custom movies in a bit so we have our specular layer also had an exposure again clipping masks and what we can do is you know we can almost make it we can make it seem like the specular stronger than actually is by adjusting this exposure and you can see it and I'll actually whoops actually zoom in right here and just show what I'm talking about so we have it at default and as I started to slowly raise his exposure it's making it appear as the lights are almost brighter and our scene whether or not and the same effect is I can lower the exposure to make them seem darknut darker than they actually were so let's actually yeah we're gonna on lower that effect just a tiny bit and you can see that effect that's having on the entire scene and then in the specular and we can do the same for the reflections because why not it's not another exposure at a clipping mask and let's we can even brighten this up now we don't want to do it too much actually just a tiny bit and you can see the effect that is having especially on this very reflective sphere she's brightening it up a tad and on the edges of our other sphere we can actually let's play with the emission so let's add another exposure adjustment to the emission and say we want to bring some of the color back to this well we can actually lower the exposure a bit to get some more of that blue coming back and that should be good and these are just all pretty slight adjustments that we're making just to improve our image at the same time we can adjust the volume lighting as well so let's add another exposure adjustment and as you see as I start to raise this exposure it's making it seem as it's almost the the fog is getting thicker now you know we don't want to do it too much goes again that's not very pleasing to look at but we can race this up quite a bit to get that effect and move over the gamut just a bit and we actually can change the color of the fog if we want to so let's add a hue saturation level or layer and we're going to make a clipping mask and we'll do colorize and we'll make a look the fog from the newest Blade Runner will try to at least boost the saturation and that's good and as you can see no we're affecting all these different elements that are making up our scene or making up our Beauty um in individual parts so if we compare the beauty to what we've now made you know it's almost like a completely different image now and I'll just enable and disable this beauty so you can see what's actually happening yeah it's like we've almost rendered out an entire new image but we're not we're doing this on post so now let's take a look at the custom Aoki's now so we go into our custom AOB folder let's take a look at our RS logo first so what I'm going to do is I'm going to ctrl left click inside of this box next to the RS logo to select the entire canvas and I'm going to ctrl C to copy and then ctrl D to deselect this selection and we're going to close this group and now what I'm going to do is I'm going to create a hue and saturation level or a layer keep saying level hue/saturation layer and I'm going to alt left click inside of the layer mask thumbnail so I can directly affect this layer mask and more into control V which is paste the custom AOV we copied earlier and once again ctrl D to deselect and now what we can do is as I'll make this fullscreen I'll zoom in we can now start adjusting the color of our red shift logo and we'll do like a purple we can raise the saturation lower this you can see that effect that's having and you can see how powerful this can be inside of post you know say you have a client last minute once they change the color of a label or a logo or you know whatever it is we're able to do this without having to rerender our entire image and even though we are in post we do want to keep this as physically accurate as possible so right now we have this hue and saturation level over our entire art or over all of our a Ovie's sorry at some housefull so what we actually only want to change is the diffuse layer and the G eila layer not all the you know reflections specular and all that stuff even though this material doesn't have a ton of reflection and specular we just want to keep this as physically accurate as possible so let's drag this layer down to the diffused lighting and we're gonna make once again a culling mask and we're going to ctrl J to copy this layer I mean want it to affect the GI as well and once again make a clipping mask as you can see we've changed the color of this logo now let's take a look at some other custom IVs we created so let's just go to the user data custom one and this was the custom a OB that we assigned two different objects in our scene once again I'm going to ctrl click ctrl C to copy to copy this layer ctrl D to deselect hide the folder let's create an exposure level once again alt left click to adjust the layer mask ctrl V to copy this and now we can adjust the exposure levels of those objects in our scene there's the random objects we selected now so I start to make these brighter a little bit too bright as I said to make these brighter remember I how I said earlier in the video that this custom a of V isn't taking into account of the refractive nosov this other object so you can see the image starts to it starts to break the image basically well remember that we're gonna take a look at our puzzle map in a second to how to work around this or how we can look around this so let's actually we're gonna head and delete this this this aov is pretty much useless to us as its because it's not affecting the refractor than this so we're gonna delete this and we're gonna take a look at our puzzle map right now so let's open let's actually take this out of the group and let's open up this puzzle map and now remember I talked about earlier in the video we can look at the channels of our puzzle mat and directly grab these red green and blue channels and use them as masks inside of Photoshop so we look at the red you can see that this was our backdrop that we assigned the red ID to the backdrop and as you see it's taking an account for the reflection of all our materials so because even though we only assigned it to our backdrop this metal ball was reflecting our backdrop so it's that that's taking into account for our our red basically red channel so what I'm going to do is almost the same as before I'm control clicking inside of this red channel to select all this and all I'm going to do is go back to the layers panel and I'm going to create a new human saturation and I'm gonna go ahead and hide this puzzle map and now as you can see now that we have this selected oh so let me hide this custom AV group now as you see I can start adjusting the color of our backdrop now remember we just wanted to we want to keep it as physically accurate as possible so we wanted to take this down to the diffuse lighting level and the GI level so remember what I'm going to do is so we're just going to slightly be adjusting this so we're gonna make this a almost like a purple we'll go a little bit more almost like a purple remember we're going to copy this and drag this into our GI level as well and if we compare this back to our Beauty you can see that we've completely changed the color of the backdrop so let's go back into our puzzle map and take a look at one more channel so remember the green channel which we assigned to the torus and once again you know we had the refract slash reflect IDs option enabled so it's taking an account to everything it's refracting and reflecting so once again we're going to control left-click go back to our layers and create a hue and saturation we're gonna hide this puzzle map and if we start we start adjusting I'm actually able to colorize and we can start adjusting the color of this Taurus I'll raise the saturation up you can see we've effectively were changing the color of our entire Taurus and where it's refracting as well and if we just fullscreen this for a second and we'll drag this down you can see if we compare this back to our beauty you know we've completely changed this is almost an entirely new scene now that we've made now all these changes I made are pretty drastic I'm usually inside of post you know you're not going to be doing this big of changes but I'm just showing you the power of you know these simple AVS we've outputted and just you know spending a few minutes adjusting inside of Photoshop the results we can get so if you put some serious time into an actual scene you know you can actually have lots of control over everything you're seeing so we'll compare that one more time you know it's it's and you can see right here we've effectively changed the reflection that our Taurus the reflection in the sphere that our Taurus is emitting as you can see and that's the power of the puzzle map to be honest um one of my personal favorites so this concludes using a OBS inside of redshift for cinema 4d and coughing them inside a Photoshop we looked at writing custom AO B's based on the shaders in our scene and based on the objects in our scene as well there was a lot of information in this tutorial so I hope everything was easy for you to follow along and understand make sure to subscribe for more tutorials with redshift and cinema 4d you

Channel: Redshift3D

Views: 15,053

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

Id: fVgRUWDm3Q0

Length: 15min 13sec (913 seconds)

Published: Wed Mar 21 2018