Getting to Know Redshift for Cinema 4D

okay guys so what are we doing here today why why did I call you all here because I wanted to have you over to my house and invite you over to meet my friend red shift red shift is a renderer for cinema 4d it's you know Houdini Maya everything else I've been using it for over a year now I think in its beta and its alpha and its alpha beta Omega and all the different crazy other words that it's kind of been through well now it's officially out and people I've been told by the fine folks at redshift that I can start to show you guys some of the stuff that I've been playing with and what I like about it and what I've learned and I'm excited about that so that's what this is this is me having over to my house letting you shake redshifts hand and say hey what's up red chef how you doing [Music] all right so here we are we're in cinema 4d I don't even have redshift setup as my renderer yet and I've got this wacky window over here and I've got this toolbar over here and yes I'm gonna approach this from a very beginner standpoint at first because there's some people in here that are you know just heard about it haven't seen it maybe they downloaded the demo but really haven't played with it much so if you're coming from GPU rendering namely octane this is gonna be quite a bit different so you're gonna have to learn some fundamental differences between how these how they work it's also quite different from other renders like physical or Arnold and and whatnot so let's just begin at the beginning we need to officially just load redshift up as our as our renderer so I'm going to choose a renderer I'm gonna choose redshift and you can immediately see we have a quite a pretty long list of settings and and this can be kind of intimidating right it's it's it's kind of a lot of stuff in here a lot of little dropdowns there's something called Russian roulette which still to this day scares me so I don't touch it we've got memory and system and all that sort of thing got a lot going on before before I dive into actually rendering a frame and like making it go for the first time I do feel like I should tell you that I'm running a pretty beefy PC with four gtx 980ti is in it so if you see my IP are going faster than yours or maybe slower amen my cards are pretty old so it wouldn't surprise me that you got to take that new account it's a GPU renderer it's Nvidia CUDA only so the more Nvidia CUDA core course that you've got the faster it will go alright so just wanted to like lay that out there before I hit go on this okay so right now I have redshift setup my as my renderer and if you go into the redshift tab here or the redshift menu you can see we have this IPR and render view and that's probably confusing to people well don't worry the IPR is actually if you open that up it's the same thing as the render view only the render view is actually newer so the render view is sort of the future of the of the IPR window it's got more settings it's got more doodads I'll kind of walk you through that so if you're using the IPR that's totally fine you can still use it it's still adequate I personally prefer to use the the render view which I have docked over here and I can I'll actually share this layout afterwards maybe if everybody sticks around maybe I'll upload this layout and everybody can check it out if they dig it okay so we've got a shader ball we've got no materials in here the first thing that I think anybody would do just to be hit play on the IPR and and watch it go you can see it's a progressive it's in progressive mode right now and you're probably thinking well okay cool so it's progressive renderer right no okay so this is the biggest thing that I've been trying to like explain to people that are new to red shift or maybe they're just looking at it so there's bucket mode and there's progressive mode okay so why are there two different modes what is the deal with that well the biggest the here's why it's important bucket mode is what you're gonna render your final frames with it's what's going to give you buckets just like an Arnold right if I in fact if I come over and I'll explain how to do it in the render view in a minute but I think it's important to see it in the actual render settings right so we have progressive rendering and right now it's forced enabled on for IPR so that means it's progressively rendering this frame if I were to move the camera I don't know like orbit a little bit you can see actually this out of the way you can see it's it's pretty dang well it should be responsive but it's actually not being responsive for me let me refresh it all right here we go come on baby oh man the red shift guys are gonna be mad oh you know why I think it's because I have cam lock-on sometimes and I'll walk you through this in a minute but okay so you could see I just wanted to show you how responsive it is and I'm sure you know the twitch stream is probably not ideal but I'm just orbiting and I'm getting like 50 you know 60 FPS and it's doing a really good job keeping up with me right now it's it's pretty dang responsive and I'm not seeing much grain I'm not seeing much much it doesn't have to resolve very hard right now it's it has a default light right now there's no lights in here again I just wanted to kind of show you that and so another thing if I open up these Global's here if I'm in progressive mode which I am right now I can actually change how many passes I get in this progressive mode basically limiting how many passes the progressive mode will go through and I like to keep this pretty low I like to keep it like 128 because what I'm doing progressive I don't necessarily need it to resolve on the cleanest image that's because the IPR and progressive mode are for doing look dev they're for doing planning they're for like building shaders and checking out your lighting and doing all that sort of stuff right they're not for rendering out your frames okay I'm gonna beat that into everybody's brains progressive mode is for look dev bucket mode is what you're gonna render out for your clients okay so that's the difference they're really really important difference and that's why it's important that the render view has the ability to switch from bucket mode to progressive mode just with this little button right here that kind of looks like a bunch of buckets so if I switch this over it's really went pretty fast I bet you didn't actually even see it but when I go into bucket mode I'm now using the bucket mode so if I let me just go ahead and like give this a lot more samples and this is not really going to make a whole lot of sense for you right now but I'll kind of go over this stuff in a minute I just wanted to be able to show you and these are horrible settings I wouldn't recommend using these anyway I just wanted you to see these buckets ago that was my point so right now I'm in bucket mode right so I use bucket mode when I'm ready to start to really kind of fine-tune my render maybe check out my a Ovie's maybe get that final quality idea of what its gonna look like maybe prep it start to optimize it to go out the door that sort of thing but when I'm being creative and I'm lighting and I'm building shaders and whatnot I'm almost always in progressive mode because that's going to be a much more interactive kind of way to work okay so we haven't created any lights we haven't done anything yet I just wanted to number one get that out of the way so that you understand what progressive and bucket mode are and why you should use one or the other okay so when you're in IPR and you're when you're in the render view and you've got your IPR going and you're in progressive mode none of these none of these samples are really going to make any difference so the unified sampling which is really the the best part about red shift is the unified sampling it's a biased renderer okay which means that it's just it cheats it's not it doesn't it makes no apologies it cheats okay it's not a unbiased path tracer it cheats and that's good for production okay that's why I love it because I like a renderer that I can bend and twist to my will and make it as fast as I possibly can and forget everything else that I'm not using path tracing is great it has its place but in production I'd prefer to be able to bend a renderer around my will to get it to do what I want it to do okay so generally when I'm testing a render for the first time again I'm going to close this down and when I'm trying to render for the first time usually the first thing I do is try to get some image based lighting going so for that in in redshift you're gonna be using the dome light so I'm gonna go over the little lightbulb tab over here the light bulb button and you've got all your different light types which we're not going to get into too heavily all these other different types but I am gonna grab the dome light and you can see instantly when I create a dome light let me hide my psych object here it immediately loads white just like any other dome light in any other renderer right but what I love about their dome light is just the the sheer amount of controls you have with it and I'm gonna do like a shameless plug here for HDR I link because I really I do use it everyday of course you can low to any HDR I into the path here and changed the map type but for our demo I'm gonna go ahead and load in HD I link and if it didn't just crash which oh my god wouldn't that be not be something I think I'm I think it actually did I think it actually crashed oh nope it was just trying real hard to do something that was crazy really huh I was sweating there for a minute guys I gotta tell you alright so let's try link tag is over there I'm gonna go ahead and drag dome map on to the tag and let's just grab that tag and tell it to load a lower-resolution preview mode okay and I'm gonna double click the tag to open up my browser here doo doo doo let's just grab something from the commercial locations and we'll grab this guy okay so why why do I like this dome map are the still might so much because it's got a lot of really cool little features in it and by the way in case you're keeping score I have no GI going on right now and I'm just gonna kind of zoom in here and you can see how responsive that is and as soon as I mouse up its it's resolved on a clean image I'm not sure how that's coming through the stream but it is ridiculously fast and I'm still I'm in progressive IP are like this is not there's not a whole lot going on right now in the scene I know that but it is pretty damn fast okay so let's just toggle down here we have control over exposure for the HDR I so let's go ahead and bring that up a little bit you also have the ability and this is unique and I really liked it I liked having the saturation control in my dome light because we've all seen those those HDR eyes that are too blue like they they basically they exposed it maybe incorrectly or maybe the white balance is off and you end up with like a completely blue render because your HDR eyes blue that's fine you can actually just toggle the you just start to walk the saturation down of your of your dome light right here and that's awesome what you can also do is you can also obviously turn off the background and turn it back on but you also have the ability to load a back plate right in here I'm not going to do that right now but if I wanted to I could load in a back plate and it would all be contained in my dome light so this is great if you're doing like a CG object in a lot action plate or something it's perfect for that there's all sorts of controls for it I just I really like it a lot it's it's actually let's go in turn that off so we can see it it's a fantastic dome light and I've used lots of different dome lights and lots of different programs and this is definitely one of my favorites so we had you notice here it says samples I'm gonna talk a little bit about that in a minute but I just really wanted to walk you through the first things that I usually do is like I load up a an image based lighting scenario like this a dome light and maybe all like glowed in a ground I'll keep everything pretty default and then I'll start to turn on the GI and see what happens so let's just do that so let's go over to our render Global's here our render settings I'm gonna go under GI and you can see right now I've got nothing got no no primary GI no secondary GI so first of all if you've used v-ray or V Ray's probably the closest match to this sort of scenario it's very similar to v-ray in v-ray when I was using in 3ds max I would be a brute force light cache type of person like that's what I would always kind of default to is my primary secondary and in redshift I kind of do the same thing I do brute force and my secondary is almost always going to be irradiance point-cloud okay right now we've got a pretty low amount of bounces we've only got three so I might bring this up to I don't know how many do you really need six is probably fine for what we've got going in this and then you can see right down here we've got number arrays 16 I'm gonna I'm gonna explain this a little bit more detail in a minute but right now I just wanted to get some GI cooking and we've got our default shaders nothing else really going on I'm gonna go ahead and increase the exposure of my dome light and make it a little bit brighter something like that it's probably good so now we got some light bouncing around the floor we actually have some GI cooking so that's looking good okay so what let's let's make a material like I want it's the usually the second thing I do is I try to make some sort of material really quickly so let's grab a red shift over here we're going to grab a material down you'll notice there's a lot of different red shift materials there's car paint which is actually really rad car paint shader skin particle volume blah blah blah most the time you're just gonna be using there shader which is the material so with this material I'm going to go ahead and dump this on to my shader ball and you're gonna mmediately see that we have some reflections going on I've got some plastic looking material going on so let's let's just take a moment here I'm not gonna dive into the shaders just yet now I feel like we have something where we can talk a little bit more about this render view because this render view there's a lot of buttons here and these buttons are really really useful so what do they do so this first one is actually if you mouse over it it just tells you what it's gonna do it says I'm gonna render so that's gonna actually kick off a render from from the render view I'm not going to touch that one because it'll actually launch up a render and whatnot you got your play you got your pause which is basically initializing and uninitialized the the IPR you have this little refresh which is just going to send the scene again to the IPR then you have a drop down here this is all your channels well right now if you if you notice I've only got beauty Here I am in I am in progressive mode and you need to remember that are there are certain things that just aren't going to be visible in progressive mode and a OVS are one of them so I wanted to see if I had a Ovie's which I don't yet if I wanted to see my a OBS I could not be in progressive mode I would have to come over here and switch to bucket mode alright moving over we've got RGB we can just toggle these red green blue and then back to the Alpha and then it back to the RGB we can also fly these down you also have this little crop which you can actually initialize that way and drag drag the corners around to wherever you want or if you like me you can just hold down shift and just drag and now you've got the ability to come in here and kind of render region out a specific area of your of your frame which is really handy let's go click off that and we have the lock camera which sometimes I can mess you up if you forget that it's there like let's just go out to top view so sometimes you'll be working and you'd be like oh shoot yeah you know what I forgot to lock my camera down so I try to get into the habit of locking my camera down as soon as I start my IPR session we already talked about switching between bucket mode and progressive mode we've got a little snowflake here which is freeze tessellation so I'll walk you through this maybe in a future video this one's I don't want this one to go too long but with the redshift tag you have the ability to do like subdivision surface you know screen space subdivision surface type stuff where it smoothes it out based on how far away from the camera your object is and what that does is it freezes the tessellation of those objects so that it's not constantly calculating and slowing down your IP our session okay the other next kind of most important one that I use probably about as much as I use the start IPR is this one over here the render modes so the render modes if I toggle this little fly down you have the ability to do regular clay and samples so for the most part I'm in regular most the time but occasionally I'll go into clay and what that does is it kind of throws a white clay material on everything this is a great way to check to see if your filter light you know your key to fill ratio is looking good and your lighting is looking right the color temperature is where you want it to be and then you can dive back into regular the next one down is called samples and I'm going to talk about that in depth a little bit later because that's going to be a really important mode right there the next one you have over here is the ability to do snapshots now the snapshots is is kind of the RV's way of saving to the picture viewer so if I turn this on it's gonna like open up this little dialog and if I go ahead and click this down to a snapshot it loads it down here I don't really use this to be honest because I have this little cool button sent to PV which basically just sends whatever you have in your IPR to the picture viewer so you can do your a/b tests you can you know go let me look at that one let me look at this one and that's just a better way to handle that if I keep going over this way you have all the different size options so if we could do original size which is just going to say well this is an HD frame and it's it's cropping it right now so this is like whatever it is like if I come over here and say outputs 1920 by 1080 that's what it's showing me right there I can always do fixed scaling too which is kind of where I usually am so I'm looking at a hundred percent scale and 40% of my render output size right here if I go down to fit window it's pretty obvious that it's just gonna fit into the render view and I can resize the render view and it will adjust accordingly I can also do fill window which is going to take whatever edge it it that's kind of hanging off the render view and just fill it just kind of like if you had your TV and you know letterbox and you know set to fill or zoom or whatever I typically like I said I used this a fixed scaling just because I like that control and this is why because if you're working on a very specific part of an object let's say this highlight right here of the shader and I really want to see what that shader is doing what I'll do is I'll change my my actual output size to like 250% so now if you notice let me just reposition myself over here I can actually go higher than that to actually I'm go five hundred percent so this is not right now I'm just scaling this right so this is just I'm just literally blowing up the image which is why it looks kind of it looks kind of ratty that's not really how I would probably want to work like that I would probably want to work at like a hundred percent right and let's just go ahead and frame this up again and I dragged my render region over the area that I'm working and then I would change this this output percent to 250 so now if you look let me just kind of frame over here if it yep there it goes come on baby come on man super lag all of a sudden there it is okay so now you can see that I'm actually doing 250 percent of my output so 250 percent of 1920 by 1080 and that way I can really kind of hone in on just a little piece of of my frame and I don't have to I don't have to zoom in I don't have to come over to my output settings and change that all that sort of thing so it just makes it a lot easier so let's just go back down to 60 and oops turn that off and let's go and reframe here good and let's make this a hundred percent cool and I think I had it at like 55 yeah I think it was something like that and I'm just gonna render region around my shader balls so it's a little bit easier okay so the next one over is the settings which has some pretty cool features you have the ability to kind of mouse over and see what all the pixel data you have in your image is you have the ability to change the snapshot folder we're not really using that but one of my favorite things is that you can come down here and you can actually load a lot in here so which that's pretty rad so if you haven't checked out gorilla grade lots we have a whole set of look lots that you can buy on our website and you could actually load them in here in fact you could like you know change this to like 2.2 and then come over to the LUT and you could like navigate to a lot I'm not going to do it right now but you could actually get some pretty pretty rad looks that way let's go back to srgb cool all right so let's close that down so that's the render view kind of in a nutshell and again we're we've been in progressive mode this whole time so let's let's switch it over to bucket mode so now we're gonna be in bucket mode but you know what I'm getting tired I'm kind of I think this shader ball is kind of boring so I'm gonna open up a different scene I'm going to grab this robot which i think is way cooler then then a shader ball so we've got this robot and you can get this robot from turbosquid I'll link it in the show notes where you can pick it up I mean dude look how that's pretty responsive I mean it is like I'm not seeing I don't know if it's coming through but there's no grain when I'm like orbiting and whatnot I mean yeah octane is super fast and like the response time in octane is probably even a little bit faster but this does not even need to converge it's so quick alright so let's just go through that same steps again I'm gonna grab a dome light I'm going to throw the H right link tag on it and hopefully it won't die and we're gonna put it in here cool and let's go ahead and make it preview awesome and the next I'm gonna do is find that same map that I like cool there it is and let's turn on a background alright so now we have this little Cove this little background go on here it's pretty dim still I'm actually gonna bring this up to maybe two something like that alright so let's get out of let's get out of this progressive mode let's pretend that we're gonna start to render this out for real and now I can actually kind of explain to you some of the meat of the of the samples and and what all this stuff means but first and take a sip of coffee ah very good alright so let's open up our render settings let's go under a redshift now I'm going to switch from progressive to bucket so now we are in bucket mode and you can see if you notice that did a little irradiance a little radiance pass there which is the irradiance point cloud you can turn that off you don't have to actually watch that if you don't want to I'm also gonna bring everything down pretty dang low in fact let's turn off all of the GI for right now and I'm going to just start to walk around my settings and walk you through how I like to work with redshift okay so like I said before redshift strength is the unified sampling and that is all kind of done right here right these these are probably the three most important sliders you're gonna find in redshift right here the samples min and Max and then the adaptive threshold so what's happening right now I've got a pretty low min and a you know medium medium Max but I'm gonna actually turn them off I'm gonna say one and one and I'm gonna change my eye that's fine I'll actually leave the threshold there so why did I do that why did I what I just bring my min and Max sample down to one that surely can't be enough samples it's not and the reason that I did that is because you have to start thinking about sampling in a different way you have to start thinking about putting samples where they matter putting samples where they're needed and if you look at my frame right now I've got a lot of grain and why is that well the unified sampling isn't doing any any work here it's not it's not having to I've told it to use them in a max of one so that means if I'm seeing grain right now and I've got GI turned off that means that this dome light probably means more samples right so I'm just gonna render region over this grain down here and I'm gonna go under my dome light and we're gonna give it more samples and you always want to try to give redshift samples and powers of two it's just from what I've been reading it's just easier for the for the math the algorithms and whatnot so I'm just gonna hit x two on this 64 and now that's at 128 that's a little cleaner I think we're gonna have to go higher so let's go times 2 again 256 that's a little cleaner let's go times 2 again and now we're at 512 that's pretty dang clean but I bet we could go one more so - so now we've got 1,024 samples in this dome light and now it's cleaned so if I actually just uncheck the crop there you can see it kind of converge over the whole image and you could see how fast that was it was done in seconds so you're saying to yourself wow that's a crazy that's a lot of samples like that's way more samples than I've ever had to put in anything in my entire career well you know that's the idea here so you don't don't be afraid of that don't be afraid to put ridiculously what you think is a ridiculously high number of samples because it actually it's actually not that many when you consider how redshift is working okay so that I've kind of figured out and we've got our we've got a clean render going there let's turn on some GI now let's go ahead and turn on brute force and I'm just gonna leave it one pass and I feel like yeah it's a bit grainy it's kind of hard for you to see but let me let me actually get you like 150 percent actually let's go to hundred percent and blow this up over here so you can kind of see this grain a little bit better we're gonna clean that up by shooting more Ray's into our brute force again we're gonna go powers of two also times two that's not gonna be enough I already know this is not gonna be enough so I'm going to go to 50 six and see if that looks any better I'm just gonna region out this little area that's definitely not going to be enough so let's go ahead and times two on that and let's even go even further that's a that's a little bit better okay so let's go to on that now we're at 2048 and I feel like that is pretty clean and let's go ahead and regen eyes turn off that render region great all right so this is looking pretty good but you're saying yourself I've seen I'm seeing some jaggies over here well that's because that's actually going to be taken care of by the the actual unified sampling is gonna handle a lot of that for us so let's start introducing some min max here so what is the min doing what's the max doing it's it's number of rays I believe there I'm gonna I'm actually gonna show you guys I made like a whole YouTube like chant not a channel but a playlist filled with all sorts of amazing tutorials by people far smarter than me that explain these things in a far more scientific manner than I will but and you know we don't have a lot of time so I'll go through it pretty quickly so min I'm actually going to bring this up to 8 and max I'm sorry the max I'm actually gonna bring up to 16 and the min I'm going to bring up to 8 and let's bring this back down to 100% and you can see now it's much cleaner right so what is happening here what's what what is this stuff I don't understand the min the max what is this like number of samples okay well how does that work well the easiest way to kind of visualize what's happening here is remember when I said I was going to get back to the samples mode well that's what you want to turn on you want to turn on samples mode right and immediately you're gonna look at this and you're like what the hell is this this looks crazy well it's actually not crazy it's actually really really smart and it's a really great way to visualize where redshift is thinking about the image so right now anything that's white is getting my max amount of samples and anything that is darker or as close to black as you get will be getting the min now it's not very dark back here because we have a pretty a pretty small range of where these pixels could fall so if I increase this max like you'd think to yourself well if I increase the max it's gonna make the render times go up right well false so if I bring this like 256 you're going to notice that the render time gets faster and now we're starting to see a little bit more dark areas in our image we're starting to see where red shift is not necessarily thinking that much about parts of the image and if you if you remember we put all of our samples where they belonged we put our samples in our dome light and in our GI and if we had and I'll show you the material in a minute but if we had stuff going on like glossies in the material we'd be putting samples in there too so if you put samples where they belong then the unified sampling has to work a lot less hard a lot less harder yeah ok so what's happening with the with the adaptive error threshold if I bring this up to let's say 0.05 it's basically saying my threshold for being able to see what's falling in in this range or where I should wear redshift is saying like okay should I give this pixel the max amount of sample should I give it the lowest this threshold is going to make that decision so a really low threshold is going to assume that more things should be getting the max amount of samples and the higher it is let's say like 0.1 the more likely it's going to say you know what you're cool I'm gonna give you the min I think you look pretty good I'm gonna leave you alone I'm just gonna actually for this demo leave it pretty pretty basic setting and yeah I think this actually looks pretty good in fact I might bring the mat them in up a little bit just to get a little bit more smoothness out of this and obviously if when you're doing min max the only time you're sorry the the times that you'll want to get really high with these numbers is when you're doing any sort of depth of field and motion blur things of that nature you'll probably have to go a lot higher than what I'm going right here all right so let's get back into our regular mode and there it is and it's rendering it pretty pretty damn fast in fact let's go ahead and change our setting to fit window we have let's see how many bounces oh we don't even have our secondary engine on so let's go ahead and turn on our secondary GI engine and we'll give it six bounces and a number of brute force rays we already fix that that's all good I'm not gonna touch any of the other settings and there you go it's it finished it in man it didn't actually print how long it took but it was like seconds right all right so let's get let's uh I feel like I've got I gave you a pretty broad stroke idea of what's going on there but you're you know if you're like me when I kind of figured out how this worked I was like oh man does that mean like I'm gonna have to dive into every single light and change the samples does that mean I'm gonna have to like go into every shader and like tweak it and like try to find it and I'm gonna open up actually the finished version of this scene because I feel like it look cooler when I'm talking about this other stuff all right let's let that let that load for a second well the answer is no you don't have to go in there and and dive in and literally tweak every single sample setting they've got this really cool feature right here called sample override sampling overrides and that is really a powerful way to kind of globally change the sampling that you're that you're getting let's say you have a bunch of materials with reflect lossy reflections and you don't want to have to dive into each one you could say override you could easier either do a replace which is actually going to replace the samples of the glossies with whatever number you type in here or you can say scale which is going to be like a multiplier in my case I'm not gonna worry about that but this is a great way if you have a really complicated scene to kind of adjust all the light samples at once all the volume samples so on and so on in fact I think this scene I don't think I optimized it that well yeah I think it's probably fine for this demo so yeah so I hope that made sense and so that's a kind of a great way to not have to worry about diving into each individual light each individual setting I'm also gonna talk about the redshift tag but maybe not today we're already running what are we at here 45 minutes already and I haven't even like really scratched the surface of everything just but again this is just me and you and redshift shakin hands the you're probably yelling through your your monitor Chad show the materials already enough enough of this just show the materials okay let's do that let's I'll first I'll show you the material that's on this this mech and the way that you can get to that you can double-click the shader come over here and hit shader graph but if you're like me and you like hotkeys then you can create a hotkey in my case I made it control middle click to open up this material so this is a fairly complicated material for this mech which it's it's one shader on the entire mech and I'm using several different grunge maps and I know it's like looks kind of crazy it's really not that crazy and maybe in a future video I'll do more of a efficient kind of breakdown of this but it's all piping into a material blender and you can see over here to the right or sorry the left you have the ability to search for nodes just like you would in octane or Arnold so it's a very robust system it does use the the expresso looking material editor which also Arnold uses a lot of people are bummed about that but hey I've got I've gotten used to it it's really not a big deal for me anymore alright so let's just let's grab a new material and I just want to show you around the material just a little bit because again we're just we're just shaking hands here that's all we're doing just replacing this and I'm actually going to get out of bucket mode and go into progressive mode so that it things move a little bit faster for me okay so we have a this white plastic I'm gonna open up the material here so right off the bat in the uber shader another thing another tip for those of you out there I always turn off the auto refresh previews because this little this little preview right here is actually an instance of redshift and if you have a complicated material sometimes that can slow you down so I usually turn that off I've gotten kind of used and not using shader balls to look at my renders or sorry look at my materials what I'm doing looked up I've gotten really used to just looking at the IPR so I'm just gonna regen eyes my mech and I'm gonna walk you through the uber shader and then I think we will probably have to cache work on really long and then we'll maybe open it up to some questions ah so much I didn't have time to cover but there's always future videos okay so base property tab this is where you're gonna find all your controls for your diffuse your reflection your fraction and the sub surface and the subsurface there's a couple of different ways to tackle subsurface there's the transmittance kind of method and then there's also this tab Multi subsurface which gives you three layers of subsurface okay one of my favorite things about redshift are the presets I kind of like having a place to start and not have to start from scratch every time or rebuild everything all the time so it has some pretty nifty presets err in fact let's load iron up and it's gonna change the entire shader to be iron and its really pretty rough right now let's actually bring the glossiness or sorry the roughness down so we can see that a little bit better you can see how fast it is it's like pretty ridiculously it's pretty ridiculous how fast this thing is I gotta I gotta say so let's just kind of zoom in on this gun right now there's a bunch of different methods for doing the brdf it kind of defaults to this cooktorr inspect Minh method you can actually change it to ggx if you want you can also change the fernell type which is the the edge you can use a advanced IOR a color plus tint metalness if you're coming from substance or something like that or you can used to use like a straight-up ir i tend to tend to leave it at the default or occasionally i'll do an advanced if i you know have the the IOR and the absorption numbers handy if you're if you want to go that crazy with it for right now i'm gonna leave it as is right there refract reflection transmission this is where you're gonna make things look like glass I'm actually I'm kind of afraid to turn the robot into glass but I will and see what happens let's do glass and the whole thing's just gonna go crazy because it's refracting my HDRI but it's pretty damn fast I mean you gotta you gotta admit if I do a tinted glass that's going to give it just as like you know actually looks pretty rad I'm gonna zoom out a little bit so now we have like this tinted glass this is perfect for doing marbles or if you have an object you can see that it's it's more tinted in the areas that have more of a volumetric like a thicker volume and not so much of the tint on the edge of the gun over here so that's that's out that's pretty rad I'm gonna go back into iron and so if we keep scrolling down here we got the subsurface which I'm not going to get into today's video you also have the ability if I come over to the coating you can do multi level specular so you have two levels of spec 2 specular Loubs so let's go back to like a plastic and let's make our plastic kind of a black and I'm going to for this one find a different angle I'm just gonna try to find a highlight somewhere maybe on this tip of this gun right here yeah right here that's about where I want okay so let's go ahead and make our first specular lobe a bit rough so we're gonna make this a little bit rough and then our coating we're going to turn on and this is going to be like a little extra speck coating and I might give this one just a little bit of roughness and it's gonna use the similar IOR so what this is going to simulate is like a very fine dust or like car paints or whatnot where you have light being broken up on a surface and the first specular but it also has maybe a clear coat on it so it's not completely shiny and it's not completely rough it's just it's a great way to create realistic plastics and metals in fact I like to use it for for my for my metals let's see if I have this metal in here so I have a these shader balls I think is this might be an actual better way to kind of describe what that's doing so I'm going to create one of my favorite ways to kind of create a metal shader or chromed out kind of metal shader so I'm gonna grab a new red shift material put it onto that sphere and let's just go ahead and Center up on that guy let's go ahead and hide this dude alright let's open this guy up and we're going to give him we're going to start with that preset of iron and I'm gonna leave the the defaults with a pretty high roughness but I'm gonna actually bring it down to maybe like a point three five and I'm gonna come over to my coding and turn my coding weight all the way up and I'm going to change my IOR of that coding to probably like ten something fairly high and now I can sort of walk that value down and it's so subtle that you at home I'm not even sure if you'll be able to see it but what this does is it just kind of creates a little bit of a little bit of a glossy effect on these highlights that kind of makes it look not so perfect almost like there's a layer of dust on it or smudges or that sort of thing so that that that coat can really help you nail some of these things anyway so let's get back over to our robot and gosh darn it this robot model is so cool again you can get it on turbosquid I'll put put a link in man I could really just geek out on the shaders on this thing and like show you this whole bot metal material that I made but maybe maybe I'll save that for another one but you can see here just so that you're aware of what it's doing this material is actually using curvature it's using some crunch maps of my own some some gnarly noises and stuff you can see it's got like edge wear which I'm doing with the redshift curvature it's a little bit more visible I think up here on the face alright yeah yeah that's actually pretty rad pretty rad angle right there I'm gonna hold that right there actually anyway so uh yeah I've been at this we're at 51 minutes already I guess the one of the one other thing I want to talk about is depth of field because I think that's another really cool strong thing about redshift and again I want to know what you guys think after we get into the QA I want to know what you want to see more of I just was like wanting to give you like a broad stroke hey come come check this out kind of a thing but really I want I want to know what you guys want to see I already have some pretty good ideas someone I want to show you but alright let's set up some depth of field on this guy let's go ahead and delete the cam Tagg that's already on my camera so we're looking through this camera here I'm gonna grab tags and I'm gonna go down to the redshift tag and hit redshift camera and immediately you can see that we've got a lot of cool little tabs here we've got exposure which I'm not going to get into today you can do some really rad like color mapping type stuff tone mapping bokeh which is really where we're gonna spend most of our time and distortion if you haven't if you've you know somebody's given you a distortion map that you want to match a plate with that's where you'd load that all right so let's turn on bokeh so bokeh turning that on and I'm gonna go ahead and my camera and choose my focal alright actually I already have a focal object in here looks like this null right here where is that null let me go ahead and move this null to his face alright and I forgot to lock the camera down in case you were catching that alright so I've got a focal I've got a little null here that's let me just move this and right in front of his face so if we want to do this is a pretty realistic amount of Abdal Finn my opinion but I don't know like if you want to go crazy with it all you have to do is go over to the circle of confusion which just sounds like a Genesis song and bring that up to maybe like for something like that and I'm in progressive mode in case you were wondering and there it is I mean it's it's it's there we've got Boca Boca achieved a bouquet I'm never gonna get used to saying it that way you could change the blade count you can change the aspect let's say you want to make it look more like anamorphic I might try like a point seven something like that get more of like an anamorphic bouquet bouquet you can also load in your own image right so this is pretty rad you can actually load in a custom image in your bouquet again never gonna get used to saying that but whatever man I'll try it and I have a whole library I'm not gonna get into now but I have a whole library I can show you like you know cool ways to use that let's actually bring this up even more and wow that's a lot that's a lot it's a macro shot now it's a macro shot of our bot so let's render this out in bucket mode because right now progressive mode you see it looks pretty grainy and that's probably because I've got a pretty low amount of passes in my progressive so if I switch this over to bucket mode now and we let it do its thing it's gonna do the point cloud first and then it's gonna chew through this render wonder how many actual settings I have or how many samples I have on this guy probably not that many only only 256 so I I think that I'm probably gonna say that that's probably not going to be enough samples right off the bat in fact I'm gonna turn off this and I'm gonna make sure my output size yep cool and I'm gonna we're gonna render this actually out to the picture viewer and that'll be a little bit easier to see so let's remember we're doing bouquet so we're gonna have to have a bit more samples in our min so let's try I don't know 64 512 that looks pretty good let's go ahead and render this out to the picture viewer and see how it does so right now it's loading to the irradiance it's going to generate the irradiance point cloud another thing to remember too is that whoa why is it so dark that's super bizarre it's almost got like the wrong gamma on it or something I'm gonna escape and close that and send it again and hopefully it was just some sort of odd oddity another thing to remember to redshift kind of shares the the load with your CPU yeah must have been some sort of weird glitch there now the gamma looks correct so what that means is that it's not necessarily as important that you have a graphics card with a ton of memory on it because it can share that load with your CPU so that's why I think a lot of people in production like using it because it's actually really great in that you don't have to worry about all the machines having 10 1080 T eyes and their 5 or whatever so it it's a little bit more forgiving that way alright alright we'll let that go you can see already it's not it's not going as fast as I would like because this scene was actually optimized not for this kind of style of bouquet so bouquet like I said before takes a lot more samples in in the men the max which we kind of didn't build it that way we built it we put a lot of samples in the in the in the dome light well it's actually not that many but if I was going to do something like this where I was gonna rely a lot more on the adaptive I would lower the I would just lower all of the all of the settings down and again you can do that really easily by going in here and saying reflection and let's just say replace so we're gonna give it eight glossies we're gonna give the lights all eight we don't have any volumes in here as far as I know I'll go over volumes maybe in the next one or maybe if somebody has a question about it I can talk about it okay so that's a little bit more optimized I think for what I want to do let's go ahead and raise our max and I'm just going to reach in eyes and just see if that feels any better yeah that definitely feels faster already just want to see if that's cleaning up any of the bouquet which it is let's go ahead and make sure these guys can also be lower so I'm actually gonna go down pretty damn low and for this guy I don't think we need that many bounces probably to get away with just two and now let's go ahead and render that again and that's going to be quite a bit faster well I think we're approaching the hour mark and that is kind of what I wanted to do is just kind of show you guys give you guys like a really brief quick come on over meet redshift shake its hand say hello see if see if you like it maybe you already been using it hopefully I showed you something new maybe you're completely new to it I don't know but anyway that that's it I'm gonna I'm gonna jump into the into the chat real quick here so I hope you have your questions ready because I'm ready to answer them I got time let's do it let's jump into the questions thanks for coming if you if you like what you're seeing make sure you subscribe and and check out our schedule and watch all of our streams I'm gonna be doing a lot more of these in fact I thought I could get through a lot more than I than I did but you know time has a way of getting away from you so yeah dude let's jump into the let's jump into the chat and see what you guys have to say alright so uh uh sir surge surge edits if you had to choose octane or rich if what would you prefer redshift absolutely I just really enjoy the production features and the ability to cheat and the ability to put samples where I want and I didn't even get a chance to talk about a Ovie's and volumes and passes and proxies and all this stuff that we're gonna have to do streams about because there's so much to go over it really it really is a lot I don't hate octane come on Scott it's not my favorite I'd hate is a strong word I don't like that word I don't use it anyway this will be going to YouTube probably in a week maybe less hopefully less anyway Merc Merc vill s'en is in here and Merc Wilson if you don't know who that guy is you should because he is crazy talented guy always putting out these crazy gift tips and stuff and he knows a lot he gets so deep in the redshift that my mind is just constantly blown by the insane stuff that that guy does so check out his stuff is the unified sampling and redshift similar to the adaptive sampling approach in octane yes it is similar it is similar I think unified sampling is a bit more robust in my opinion oh so here's a good one Jay smart wants to know so is it GPU and CPU yes and no that's not really clear I understand that but fundamentally at its core it is a GPU renderer it is not doing any of the rendering on the CPU however it is using the CPU to kind of balance the load so there is that aspect to it but it is it is a GPU renderer strictly for nvidia cuda cards which i have for in my machine in case you guys were wondering or you came in late whatever so here's a good question mamamoo mayo mayo masia moshe wants to know hey Chad what features of redshift would you really want to have in Arnold and I would say off the top of my head have Arnold beyond the GPU would be absolutely number one and number two I really like the the granular controls in the dome light I really like that being able to adjust the saturation have the back plate right in there that sort of thing I dig that I dig those like the main two that come to my head what is a close approximation to read in redshift - Arnold's GI I'm not sure I understand that that question I mean redshift is a biased engine which which you could use brute force brute force as primary second and secondary but that's kind of like Y so it's a bit more of a it's it's probably a little bit less accurate in terms of the GI math then Arnold but hey you know what like that's that's a bias renderer that's the beauty of it because you don't need all that accuracy all the time I mean it's really it it's about speed it's about getting that frame out it's about being able to throw a lot at a thorough lot at your render and not have it completely you know kill your machine so cheating is good is the multi pass in redshift good so I kind of deliberately didn't show you the AOV workflow in redshift because they're they're currently working on it and it's going to be changing I think but right now it's not my favorite right now but I have been told that they're working on a fix and they're working on making it awesome and so when that happens I'll show it off for sure it's not as deep right now currently it's not as deep in terms of being able to create custom a Ovie's and all that sort of thing as Arnold is but it is robust and it has you know puzzle map passes and all the passes that you're used to having and the beauty of it is it doesn't require a completely Center a completely separate render to do it it can do it all in all at the same time whereas like some of the passes in octane require a completely different render process it does not it's just like Arnold it rendered it does the passes at the same time can you stack textures no you cannot stack materials in in red ship you would use like a blend material and mats and things like that you it's not like the typical kind of c40 like stacking um is redshift just as noisy as octane no actually it's really really clean that's the beauty of the unified sampling and it being biased it is really really clean I didn't have time to show you guys this but I'm going to anyway you know what screw it let's let's open up this other scene I really want to reiterate how how important I think redshift is to people that are doing interiors so I have this interior scene here that I wanted to show you guys and I'm just gonna let this I'm just gonna let this load up here and let's do fit window so redshift is really killer at at doing interiors because of its it's biased nature where you can really tell it to just don't think that hard and it renders much faster that way so it's not it's not like a true path tracer it's not like some crazy it it it's just so good at it because it's the irradiance caching is very similar to v-ray if you've ever used that so if I covert here the radians point cloud rather see I'm already using like old v-ray terms it's very similar to how that works so it's fast as hell for doing interiors so this is right now I'm using a progressive mode but if I come over to and I change this to bucket mode you're gonna see it does the irradiance point cloud Pass and then it's gonna chew through this render in like no time and so yeah there there it goes doing its thing and it's done so this has how many bounces of GI in here it's got seven bounces of GI and yeah it's got no issues with it I haven't really fully optimized this but it's it's pretty damn it's pretty damn fast in fact I'll go ahead and turn on my environment I'll go over this in a future stream but I went on it turned on some some volumes in here so I don't know how visible this is at home but now we've got some God rays coming through the windows I'm not sure let me see if I can like you know show you guys that hopefully you can see that but we've got God rays coming through here and it it's like yeah no problem man you want some godrays in here no no worries we got you redshifts got you so yeah I just wanted to show you guys that and I'll probably go over that more in depth in a in a future in a future tutorial but yeah the volumes are great I remember when I was I think I was at I think I was at see graph and people was you know people and I were chatting and he was like so what's the deal with this thing what's the deal with redshift and I had it on my laptop and I'm like a that's right here you know if you wanna check it out he's like do me a favor make a really small small light source and make it really really bright and then turn on like volumes and so I did it and I was like yeah there you go he's like that would kill octane like that would kill octane right there and I'm like yeah I guess I mean it I don't think redshift is really a really efficient that way so doing that sort of thing in redshift was like not a problem I could clamp I could clamp the sampling as well I didn't get into that but if we had an area of the frame well here actually let me just dive back in so we're on this window right here so if I come over to the the basic tab here and I tell it I'm aren't actually doing it but if I didn't clamp this output sorry the sample filtering leave this out like ten let me just mouse over that you can see that Wow I forgot that I actually turned up that environment like scattering crazy bright that's nuts let me turn that down that's really bright Sun so bright too bright and I'm just blocking the redshift environment scattering down okay so for instance like we have an over bright situation right here the pixels right here over bright in fact if I walk over inside pixels you're gonna see we're getting RGB a values of like 2.5 or something like that well that's when you start to introduce that's when things like fireflies happen that's when things like ratty issues happen on edges so you can use this sample filtering over here to kind of clamp that down a little bit whoa what just happened that's weird just think all of a sudden like went away completely all right there we go let's hope that doesn't happen again so right now I'm going to clamp it down I'm gonna clamp it down - let's say - so now I'm telling redshift the highest I'm gonna let you go is is a value of two and now if you look here none of that I don't know how visible this is at home but I'm mousing over these areas and they're much better the sampling looks much better and it's kind of clamping it now this isn't awesome if you need that dynamic range in in your shot but it's a great way to kind of like if you have a bouquet off in the background flaring out and like getting all grainy and whacked out this is a great way to kind of fix that bring these intensities down to kind of you know get a little bit more a little bit more less grain I guess so Kira wants to know no flickering if you use brute force or use prepass with radiance no flickering is just not even it's not even a thing like it's I mean I could be if you liked lower to all the settings and like made it really jank but it would be really hard actually to get that happening so no don't have to worry about that it's it's really there's there's none just that type of mentality like oh my god like the array and and and blotchiness and flickering just like cut that off right now and like throw that part of your throw that away that's just not not not an issue let's see does changing your samples and intervals of 8 like 128 one helpful to reduce noise I know the ISO and cameras operate that way curious if it's similar no I Oso is not going to do that for you that's just going to be handled either in the the samples of your lights your shaders all that sort of thing your volumes or in the unified sampling ISO is only gonna do basically like exposure it's gonna either make it brighter or darker I wanted to share where I got the mech model so I got the mech model on turbosquid you can go check it out it's the V mech by Dmitri of the silly and the other thing I have a youtube I have a YouTube playlist that have all my favorite redshift tutorials on here and this one is really killer this Houdini a lot of them are for Houdini or Maya but don't worry because a lot of the settings are completely transferable so that's another resource another resource is the redshift documentation which I highly recommend checking out and reading and learning and just absorbing all of this information then the last one is going to be the redshift forums which is a great place to not only learn about new new builds but post any sort of issues post your favorite render that you did so these are like the best these three things like YouTube there's a lot of great material out there the manual and what all right well guys it was a blast thanks for for coming out thanks for hanging out so many people showed up to this I'm so stoked that y'all come out came out and hung out and got to meet redshift and at least kind of just like sort of get a glimpse of it thanks for coming guys it was a lot of fun and we'll see you see you on my next one bye guys

Channel: Greyscalegorilla

Views: 263,997

Rating: 4.8910151 out of 5

Keywords: cinema 4d, c4d, tuts, tutorials, motion graphics, greyscalegorilla, Cinema 4D, Redshift, Redshift for cinema 4d, Redshift c4d, redshift tutorial c4d, redshift tutorial, how to use redshift, redshift settings, redshift tutorial cinema 4d, cinema 4d redshift, red shift, redshift3d, c4d red shift, c4d redshift, redshift quickstart, redshift renderer, redshift render, intro to redshift, beginner redshift

Id: LcxjkHFS-2k

Length: 63min 42sec (3822 seconds)

Published: Fri Oct 06 2017