Easily Render Millions Of Polygons With Redshift Proxies!

[Laughter] [Music] hello everyone and thank you for joining us today we are talking about redshift proxies proxies are an incredibly efficient way to manage high density geometry in multiple instances in part one our contributor theo daily will walk you through how to set up a proxy and then later show you a practical example on how he made the cover page so let's jump in and see what it's all about so the quick answer is rs proxy is is the way that you're allowed to have complex geometry only be updated at render time that way your viewport is very quick and you can still update and change and light and do as you needed and really it was only going to really be affected by anything at render time it's the way that redshift is able to have tens of thousands or millions of instances of objects within your scene and with c4d you integrate that with the matrix object and basically the sky's the limit and how many uh instances you want of anything in your scene as long as it's being loaded up you know through a proxy so how do you actually make an rs proxy it's actually really really simple all you have to do is once you have your object set up and you like how it looks just select it and go to file export redshift proxy a popup will come up and essentially in here you can just leave it all as default but x4 you want to have your selected objects there's also the option for all objects uh you can put your lights in there don't worry about connectivity or compressed data you don't need those really scale you just leave it as normal scale proxy origin is world origin and you really want to keep this that way but you also have logic bounds the reason being is when you start to incen instance these you want it to come in at the scene origin so you can you know when you instance it it goes all over the place properly if it's offset it will look offset so just remember that um add proxies proxy to c and i'm going to leave that on so once i save this it will bring it back in uh the prefix i'm just going to leave it rs proxy i'm not going to remove it from the scene otherwise this would just disappear once i'm done eovs i'm just going to leave it off but you could put it on if you wanted to um if you needed to the animation there's no animation on this so it's going to be current frame but if you did you could say all frames or you could say manual and set it up and also put your frames steps so let's put that to current frame say okay and i just like to keep them the same name so i'm going to just keep that the same name and blind scott's field 2 static and say okay i'm going to save and then once that's saved onto disk it's gonna come in there it is right there so it just brought it in right on top and i'm just gonna turn these off just to prove the points that it's really in there and say i turn this proxy off there'll be nothing in the scene now really to see except it's playing it's just gotta update so just gonna show there it is so what if you already have a proxy and you wanted to bring it in and you weren't making a proxy well the thing that you're going to have to do is pretty simple so i'm just going to delete this and go up to redshift objects and then you're going to have richard proxy so once you do that it's blank and it's just like an image texture type of thing like it's looking for the path so all you have to do is find the path of the object and i'm just going right back to it and it was just too static i'm gonna say open and it's gonna load it in and it loads up the materials and textures and it's gonna say show bounding box with check mark so that's what this is right here and there it is right there so there you have it that's your proxy so if that's all you needed to do you're pretty much good to go now the next thing would be well what if you wanted to actually see it in the scene well you go mesh and you'll see a hundred percent you know one to one basically the thing is that if you start to have you know 10 million of these in the scene it's going to really slow down because this so what you'd want to do is preview your percentage maybe go down to one percent you can see it's still a fairly accurate representation uh what i like to do is leave either a bounding box so it's like a solid object in the scene or i like to keep it off and then you just have to just outline if you turn off show bounty box you have nothing in the scene so you won't know where it is the other thing here is materials from right now it's reading the proxy file all the materials all the shaders everything you do will get packaged into that proxy but if you're like hey i want to make this whole thing gold because i like gold well you know you normally bring in your texture you put it on top i've just set it up as gold and you're like how come it's not working it's not updating nothing's happening well that's because the proxy is explicitly saying take it from the file ignore anything else if you just switch this to object and then i'm just going to refresh it will now know that hey take it from the object itself you've put something on that object so now read it from there so now this whole thing will be your nice gold and you're happy and good to go and you can make a gold forest now if i switch this back to proxy it's going to ignore this object i mean ignore this material because it's looking at it purely from what's inside the proxy not what's on the object so i'm just going to delete that the other option you have is scene match by name and prefix so there's two ways to look at this if you just click it it'll give you this prefix now it's blank what it's doing is essentially saying hey in this proxy there's all these materials that you have and there's all these names on these materials use these if they still exist in the scene so since i just made it from the scene these already exist so i already have you know this material and say i wanted to change just one portion of it i've already set up this absolute color now i just switch this and just let it update you can see it's already updated right there so it knows like hey this is the exact same file name as one of the materials so just use that i'm just going to switch that back now you might be like well i don't want to use the materials in there i want to make a new one so what you could do is say let's just say update underscore so now that will say hey any material in here that has update underscore and matches the explicit names that are in the proxy read that instead so right now updates underscore i've already made one here update underscore which is just a duplicate of this needle all i did was rename it update underscore so if i select that one i have this blue so if i just take this blue and put it on the diffuse just give it a second to update because it understands okay i've got this update underscore and match the exact name it will read from there and there you go so now it's using that texture as opposed to anything else and that's how you would basically change any material within your proxy you have this other tab for animation and basically you turn that on to your simple your loop ping-pong and you'd set detect the frames but because this is just one still one still frame it doesn't matter in this instance below here you have these overrides so you can override the object id and then give it a actual tag and give it an id tessellation displacement visibility user data all of that's in here as well so essentially that would be the way that you would update and create your proxy now the other thing that you'd want to do perhaps is say like well i just have this one object but i want to have a whole bunch of them so what you would do is go object matrix scatter and it creates this rs matrix with a tag already and what you would do is under particles instead of saying optimize spheres you could say custom objects and drag your proxy into there now it's going to say sequential but you could do random uh you could do a scale multiplier say i said 0.5 and you can already see it's already made quite a few of them and matrixes or matrices are the way that you'd use it in redshift and c4d you don't use the cloner it's just a lot faster this way so right now it's using 40 by 40 and it's easy in this distance so let's let's just make it 20 by 20. and let's do i don't know 40 40 just to see if that's not nearly enough so let's do 500 500. and there we go that's sort of the way that you're able to instance a whole bunch of objects in your scene you can see my viewport is still you know quite performance-wise really really well done and you have it and you can still use any of your effectors that you'd like so if i wanted to use a shader vector because remember your matrix will still have your effectors and then you can put you know anything you want to do in here it could be your shader so [Music] let's do always 50 or 65 000. and you can see that it's taking on basically the settings from that so some of them are bigger some of them smaller i could make that noise a bit more extreme let's just do the contrast so now it's taking on all of those and again this proxy because i've set it to use the update if i just turn that off go back to the proxy i can leave it at scene on but i'll just put the proxy file and there you go that's the way that you can create uh you know instances of your object very quickly you can change the textures and you know in this tag right here like i put it to 1.5 but you could put it to two and you can see it just updated instantly and there you have it and you know it isn't relegated to just one proxy you could just have multiple proxies of stuff and then you could have a whole scene of various different trees or buildings or cars or anything you could possibly think of in the scene and there you go okay so say you have your proxy and you wanted to actually put it onto a surface how do you actually go about doing that so so we have the surface that's you know being displaced and let's go back to the height i'll make a 550 just to really have a big difference between so there we go see over surface now we want to put stuff onto the surface so best bet is to you know make a current state object and i'm just going to hide the original i just like to keep the originals there so you have your object now so what you could do is you know your standard way of you know picking in you know that certain area and you're good to go and then you could make this a selection so you could set this as a selection so now you have a selection tag so you have that that's one way of setting up three the other way is to go and be in here and set up vertex weight and have it to zero and now you have the option of you know painting sorry let's do a little wider deselect and double click it and now you have the option of painting which will allow you to you know hold shift and feather things so you're able to have fall off to certain sections so let's just do there there and there just to make it really obvious what's going to happen next okay so now you have that set as a vertex map and on the vertex map i just clicked once i'm just going to call this uh collection or so we have that now and we have our proxy so what you'd want to do is you either go to your redshift objects matrix scatter or you can create a matrix app scatter and add that tag and in here you're going to have in particles the mode which is same optimize spheres i'm going to say custom object and literally just going to drag my proxy into there it's going to have distribution sequential i'm just put random even though i have one object if i had multiples then i would at least randomize it you have your scale and you have seed and on the matrix object itself as you can see it's immediately already created a whole bunch of them for me that's going 40 by 40. so say i went 4 000 by 300 300. you can see it's created all of these proxies and it's loaded up no problem but i want to use this actual surface so what i need to do is instead of grid array i'd pick object and it's asking for an object which is my plane that's collapsed and it's aligning it to the surface so you can see it's using this object and tying them to that why are they sideways because of this aligned clone if i uncheck that you can see they all now will be upright so that looks well and good and it's giving me a count of twenty let's do a count of two thousand so you can see i now have two thousand of those trees that would normally bog this down and probably freeze my computer and they're just working totally fine but what about those selections i made like why aren't those being used well you can see here on the surface you have the option of using that selection that first one so i could use the point selection and you can see it's picking those that's perfectly fine and then you can also if you wanted to instead of using the point selection you could use this vertex selection so if i was to go that and pick trees you're gonna see nothing happened and you're like why did that happen well a vertex map is very different than a selection set so the way you go about that is you pick your rs matrix object and you'd go to your effectors i'm going to use a plane effector and in your factors you make sure it's there in here you would go into your fall offs and this is where you can then drag your vertex so you can see it says trees and now it's using it but the plane effector isn't seen what to do it's just saying use your position if i turn that off by your scale i'm gonna set the uniform negative one you will see it's adhering to those the vertex map and because there's the feather the you know the shift you're going to get certain areas are going to be smaller trees and then it's going to go up to the larger trees and that's all based on this so you can see it's using this as a keep away from those areas if you wanted to use those areas you can go into your falloff and there should be an invert and there you go and that's how you basically are able to do this and the beauty of this method is you see as i paint it updates immediately and i would say feather it updates immediately so this is the way i think is great for you to tailor make things and you could add a noise instead and it would adhere to the noise and you could have something animated it's a texture and use that so that's the way that you can easily scatter and remember with the redshift object tag set to particles you can put as many different proxies as you wanted to and it would instance and randomize and you could scale them up here and have a different seed and you'd have all these different objects so yeah so let's just start breaking down the scene and i'll sort of show you how i built it and you know just sort of some of the thinking i had behind this and you know just go from there so you know the biggest thing was you know start with really big shapes and then you know just build up there and then use boxes as you see fit so first i just have a plane with a displacer on it some noise just blister turbulence it's not you know not crazy it's 200 segments put that on and it gave you sort of this craggly rock feel and then collapse that and made a duplicate put that in the background just scaled it up so i have two of them now and this front one which is going to be sort of our focus is going to be the one where it has all the you know information on it so this is where i'm going to have you know my uh vertex maps painted and i just have a few different ones that so i could scatter different things different places um just randomly placed there and then from there that's when i start to add the scatters so i have these grass elements that essentially have quite a few i think in total 400 000 or so or so no more like 750 000 so you know in the viewport you know it can sort of stutter a bit but the biggest point of that is you know let's say divide that by 10 and divide this one by 10. now it can be chopped down and performance is quite good again you know i'm setting this up laying it out and sort of testing each element one at a time and then once i'm happy with it i start to increase the count so from there i have you know my plants and my rocks and trees so i'll just put on those elements just so you can get a sense of what those are doing and then you know the biggest thing is with the trees you know they're using the soil and then i have selection sets based on the uh different tags selection tags and those are just using the custom proxies that are just set to random and that's about it so you know if i turn these on you'll see that in a second this will be quite a dense place so what i like to do is try to keep the counts down not only work with multiples of 10 seems the easiest thing to do and then from there just sort of up them once i sort of know what i want to do and play with the seeds and stuff like that i get a sort of different look and then they're all the matrices are sort of tied to different effectors that sort of help give you know random placements to things and you know there's using linear fields and some of them are using the vertex maps that i painted so that way that they can be fed in and you know inverted and played around with so i'll just wait till this sort of initializes and we'll just sort of take a look at that and it should be in one second so there you go so again you can see it's really not that crazy um just a few trees in there give you the sense of things and then when i want to look through my camera you know i can give it a little test see sort of how things are working if i want more depth and space you know that's when i'd sort of approach it and then just like i said i was working with multiples to 10 so now i could just multiply by 10 so just see what happens with these smaller trees that are around here and everything is real-world scale so if you were to put a little person in here they would be you know the accurate height so the trees are all working with that i think that's really important and i'm just going to multiply this by 10 and then you just sort of build up your scene that way and you know as i said like now you can see it's pretty dense just wait until it you know cleans up a bit more so we get a better sense of what's happening with the shadows sort of where things are and then once that feels good you know just go through the camera and put your hero elements in there which are for me is just a stump and then some few uh butterflies i found and just you know downloaded for free and placed in here and then you know once it's cleaned up i feel like i have a sort of good composition you know then i have a environment that just has a slight tint of yellowish and a phase so so it pushes forward just ever so slightly and then sort of go from there and you can see already you're getting the god rays and things like that from the light because you know the light has a slight contribution um so the ray contribution is you know just very very very subtle but that's giving you more than enough and already you can sort of see the dap of lighting and some of that and then right now you can say well it's too braggy rock on the surface so let's just you know bump up the grass so i'm going to multiply that by 10 and just give it a second again and that's pretty much it you know it's once you have those vertex maps and you have your elements all prepped it's more about just scattering things and then just sort of playing with seeds and the counts and making sure that you know your composition is very interesting or dynamic or calm and you know just go from there so that's pretty much it so as you can see like it doesn't take all that much work once you have all your stuff prepped and especially with rs proxies you know you could just have your own library just sitting on disk and then at any time you just bring them in and you're good to go so i hope this gives you sort of an idea of how powerful proxies are and you could be using buildings it could be animated elements your whole scene could be proxied and then after that you just have your character in the scene running around and the scene will be very light very easy to work with and yeah that's about it so this opens up your mind to a way of integrating proxies into your just standard workflow

Channel: You And Me Academy

Views: 2,040

Rating: 4.9672132 out of 5

Keywords: c4d, cinema 4d, redshift, render, node, nodes, otoy, tutorial, 3d, cg, cgi, vfx, visual effect, visual fx, learn, education, free tutorial, free, how to, motion design, motion graphics, material, materials, shaders, c4d to redshift, beginner, beginners, tips, tricks, quick, quick tip, quick tips, redshift tutorials, redshift tutorial, c4d tutorial, c4d tutorials, cinema 4d tutorials, cinema 4d tutorial, lighting, maya, 3ds max, blender, proxies, matrix, instance, copies, fast, redshift proxies, theo daley

Id: 8HQtanrt05w

Length: 25min 53sec (1553 seconds)

Published: Tue Aug 17 2021