Introduction To Redshift For Maya (Part 2)

hello everyone this is Rob with redshift this is the second part of our redshift for Maya video we'll do an overview of camera lights shaders visibility Flags tessellation and displacement first up we'll introduce it to cameras redshift translates almost all of the Maya camera attributes such as angle of view focal length camera scale near-far planes as well as most of the film back attributes with the exception of the pre post scales and film controls the native Maya depth of field attributes are also supported by redshift but only when there is no redshift bunker assigned to the camera or render global then shaders and the orthographic option is also supported by redshift now further down we can see that redshift added some custom attributes the first of these attributes is the camera type which allows you to render using fisheye spherical and cylindrical projections and please note that cylindrical projections by default look the same as spherical ones except you can change the horizontal and vertical field of view and below that we can see that redshift also added environment and land shader connections these connections allow the user to override the environment tool and shaders specified in the render Global's this type of override is useful when different cameras need different bokeh or photographic exposure settings and if you need to add more than one than shader then you can use the additional lens shaders option next we'll talk about lights redshift supports the existing native Maya light types and introduces a few redshift specific lights as well redshift lights for sorry physical lights are the most common lights in redshift we'll describe them in detail shortly IES lights allow the usage of real measured photometric light data most real life lights do not emit light uniformly so in order to render them realistically we need photometric data which accurately defines the shape and intensity of these lights portal lights are useful when rendering interiors which affected by outside environment lighting a portal light placed where the windows are can help cast environment lighting into the room in efficient manner thereby reducing noise and dome lights allow the usage of HDR image in your scene this is called image based lighting and lets you light your scene realistically and efficiently now let's take a look at an example in this scene we have three Dragons lit by a rectangular redshift physical light will now describe the properties of the light the first option defines the light type we support area lights which have physical size and shape point and spotlights and infinite lights which are useful when modeling bright distant lights like the Sun or the moon moving on to the intensity attributes the intensity multiplier property at the bottom is self-explanatory it controls how bright or dark the light is the intensity mode settings defines whether the light color will be adjusted via RGB values or via temperature values in Kelvin the default unit type for their light intensity is image units where you can also choose physical intensity units such as what so in this case the value and the intensity multiplier property is in watts the Ray contribution settings let you fine-tune how much light affects diffuse or glossy surfaces you can make the light effect only specular surfaces or only diffuse surfaces or you can scale the contribution to simply dial back the effect on a particular surface type the decay settings allow you to control how the light intensity decays with distance setting it to non means the area light won't decay with distance depending on the decay type you might have to adjust the lights intensity as you can see in this example our intensity is too large for a no decay light so we have to reduce it another decay option is linear decay where the lighting becomes gradually dimmer between the start and stop fall-off ranges out of these decay options inverse-square is the only one that is physically correct which is white as the recommended default the area controls allow you to change the specific shape of the light apart from these basic shapes you can also link a light to a mesh in order to turn the mesh into a light this is useful when your light can not be described with basic shapes such as if it was a neon sign the visible setting controls whether the area light will be visible from the camera or not and the bi-directional setting allows planar area lights such as rectangle and disk shine on both sides now let's see what happens when we increase the size of the light by scaling it as the light becomes larger notice that it becomes brighter and its shadows softer this is physically correct since the intensity is measured per unit area if you prefer to maintain a constant intensity of the light as you change its size you can turn on normalizing tend to team notice that the light now appears dimmer because the intensity is not affected by its size so we now have to increase the intensity of the light are quite a bit and now if we scale the light back down notice how the intensity remains constant as we shrink it but the shadows remain sharper area lights can produce noise when rendering sometimes also called grain increasing the samples parameter will produce smoother less grainy shadows this parameter has only an effect during bucket rendering most scenes will render smoothly when this parameter is set to a value of around 200 to 500 and the spot settings only apply when the light type is set to spot the shadow controls define whether alike a shadows or not and also how opaque or transparent these shadows are and the softness control is useful for lights that are not area lights such as point or spot or directional without the softness control these light types would always be casting sharp shadows lights can also cast for the metric lighting let's enable a volumetric scattering shader to see how they look now you can see the volumetric lighting the volume contribution scale controls how much body matured lighting light will produce brighter lights will naturally produce more volumetric lighting but sometimes that might not be desirable in such cases you can use the contribution scale to tweak lights volumetric affect the volume namsan 'pls can help when rendering in bucket mode increasing the samples will remove grain from the volumetric lighting and below that we can see the photon settings but those will be covered later in a different tutorial now let's look at our IES light which is currently disabled as you can see our is light has a more complex shape than our redshift physical light that shape comes from an IAS profile which we assigned previously IES lights share quite a few properties with the physical light such as the Ray contribution scales shadow and volume controls is lights are typically used for architectural renderings where real lights are required to accurately show how rooms are going to be lit and up next we're going to talk about projector effects one neat trick you can do with redshift lights is assign shaders to their color input amongst other things this can be useful for achieving projection style lighting effects in real life texturing a light happens via special light filters which are sometimes called gobos here we have a simple scene containing three lights a quad light spotlight and a point light a gobo texture is assigned to all three lights and before we proceed one thing to keep in mind is that you should set the gobo textures default color to black instead of gray this is because due to filtering red shift lights might attempt to read outside the village range of texture and we typically want that invalid range to be black which means no light not doing so means that gray lighting might leak into the color of our textured lights and for the same reason the wrapping option should also be disabled so the projection doesn't leak neighboring colors when sampling the edges of the Cobo textures so now let's take a look at how the gobo texture behaves when combined with all of these basic light types as we can see here when a gobo texture is assigned to an area light the visible geometry of the light also contains the texture as far as lighting is concerned we notice that the emitted light doesn't appear to project the gobo texture onto our geometry though instead we seem to be getting some kind of blurry version of it this is physically correct area lights are not emitting light towards a focused range but instead emit light in all directions so as a result we get this kind of blurred light emission now let's see how our spotlight behaves with the gobo texture here we can clearly see the gobo texture projection our our scene geometry as expected this is because spotlights are focusing their beams in a way that's similar to how a cinema projector works so please note that spotlights can still produce blurry shadows via shadow softness options so notice how the shadow of the sphere is shot by default when we increase the softness parameter the shadow becomes blurry it but the gobo does not but your for your convenience redshift includes a softness affects gobo switch which allows you to choose whether the softness should affect the gobos as well okay now see how the point light behaves as we can see the result is similar to what we got on our spotlight except for the fact that the image is projected all around the light and not towards a particular direction next up we're going to look at dome lights here is the scene lit by a single dome light as mentioned previously the dome light allows you to light your scene using an HDR texture this can produce realistic and complex lighting easily and depending on the format of your HDR dome texture you'll need to choose the appropriate map type the most common type on the web is spherical which is also known as latitude longitude the dome light has exposure controls which allow you to make it brighter or darker exposure is measured in powers of 2 so 0 translate into intensity of 1 an exposure of 1 means twice as bright 2 times 4 times as bright and so on negative numbers will darken the dome light minus 1 will make it half as bright minus 2 will make it a quarter as bright and so on the hue saturation and tint of the dome light can be adjusted to fine-tune the dome lights color and looking quickly at some of the other options the flip horizontal can be useful as some 3d apps of a different convention for the x-axis of the dome light srgb and gamma can be useful depending on the contents of your image in most cases though there should be left to the defaults the scales shadow volume settings work the same as with your redshift physical lights as discussed previously and the environment an able option below controls the environment the visibility unfine Lee regarding the back plate options sometimes HDR images come in pairs a dome image for lighting everything at a separate background image to be used as a backplate and finally if you want to rotate the dome image light you can do so by rotating its gizmo in the viewport and next up we'll talk about shaders on hypershade you can type redshift to filter out the redshift shaders we can see the various shaders that redshift is added to the Mayas list of shaders redshift supports some of the existing my shaders - such as Fong lambert and ramp for example but probably the most common shader is the redshift architectural shader so we'll cover that one here so if we take a look at the dragon material let's look at the redshift architectural shader options as you can see there are a lot of options so let's collapse everything first so it is easier to read so the rs architectural shader has a diffuse layer to reflection layers a primary and secondary one and it can do refraction and ambient occlusion if we open the diffuse layer we can see the color and roughness controls which are self-explanatory and weight the weight controls how much diffuse we want our shader to have one thing to keep in mind with Aris architectural shaders is that it is layered and energy preserving the way layers are stacked on top of each other means that even if I make the diffuse way one this doesn't mean that my surface will be perfectly diffuse this is because the weight of each layer takes away from the previous one if we look in the reflection layer we see that it has a weight to which we'll discuss shortly and this will take away from the diffuse layer so if we closed the diffuse layer let's take a look at the reflection layers the glossiness controls how rough or shiny the reflection will be higher values mean higher glossiness and therefore a more shiny look in bucket rendering mode adjusting the samples is important to get rid of any grain caused by low gloss reflections here we are rendering an IPR so the samples parameters don't matter the final controls the strength of reflections around the edges of the object versus the inside of the object this can be achieved either via the index of refraction which can be found in the refraction controls or via the facing perpendicular reflectivity and curved fall-off properties for physically correct results we recommend using the index of refraction method if the material is a conductor its K value is also required examples of conductors include most metals examples of dielectrics include wood plastic glass and water there exist tables on the internet that explain the various different refraction indices and K values for most real-world materials but if instead of physical correctness type control of reflection is required we recommend using the facing perpendicular reflectivity controls these allow the user to specify the amount of activity on the silhouette versus the inner parts of the object and also how quick the gradiation of that reflectivity should be so we'll quickly disable diffuse and secondary reflection to show the effect of the facing perpendicular effectivity and curve full of controls okay as we can see we have a strong facing reflectivity and a weak perpendicular reflectivity when this is the case adjusting the curve fall-off to values less than 1 will exaggerate the fall-off effect and here we demonstrate how to get reflection only on the edges of the objects by setting the facing reflectivity to zero and perpendicular to one adjusting the curve fall-off allows the effect to be tightened around the silhouette instead of using the facing perpendicular controls or can use the index of refraction option doing so will use the IOR value of the refraction settings to produce a physically correct Fornell result okay let's restore all our default reflection properties and let's rename the second reflection layer a second reflection layer can be useful in a variety of scenarios for example we can invert the facing perpendicular for now controls between the two reflection layers allowing us completely different reflection layers for the inside and the rim of the object is shown here and if we change the color of the second reflection layer you can see how the effect is exaggerated now moving on to the common reflection attributes these attributes are applied to both reflection layers the first option is metal material which basically tents the reflection colors with the diffuse color to emulate one of the color properties of metal materials and next we have high light versus reflection balance which is used to tune the amount of specular light reflections versus reflections of objects in the scene by setting this bow to 0 only reflections of the objects such as the ground and the other dragons are visible and now I'm going to show you a quick demonstration of the anisotropy controls here is a simple scene that shows the effect more clearly the anisotropy controls essentially allow you to adjust the shape of the material roughness this can be used for effects such as brush metal which guess it's unique look due to imperfections at a micro facet level adjusting the amount between 0 & 1 allows you to tune the roughness along one axis while values between 0 and -1 tune the roughness along the other axis you can further control the direction of the effect by using the rotation control and the surface orientation gives you further control of the direction by specified specifying a UV map tangent space and finally you can achieve some interesting effects by driving the amount and rotation properties by textures for example you can get a brushed metal effect by texturing the amount here is a simple scene we made earlier that applies a texture to the rotation to get a beaten metal effect now it is important to note that there should be no texture filtering enabled for this kind of texture otherwise you will get incorrect results when there is a jump and rotation values if we go to the file mode you will see some redshift attributes the enable filter option here should be set to none okay and now we're going to talk about refraction this scene is configured to be using reflection and refraction the refraction weight dims or brightens the refractions reflection is using dielectric for an L setting which is automatically linked the refraction IOR setting the IOR to 1 makes the rays go straight through without being bent at all also notice how reflections have disappeared as discussed previously the IOR affects the final reflection strength which is 0 when the IOR is 1 and with higher IOR values the Rays will get more bent and the reflections will get stronger lowering the glossiness can produce a frosted glass effect but remember that Iowa has to be pretty high for this to work if the IOR is set to one that no matter how low your glossiness is you won't get the frosted glass effect and just like reflections any glossiness can produce noise so the number of samples has to be set sufficiently high to combat this when rendering in bucket mode okay we'll go through some other settings here firstly the disable refraction bump mapping option allows you to turn off any bump or normal mapping effect for refractions but we'll talk more about bump map and shortly and the disable ray bending option is useful for emulating very thin glass surfaces without you having to model actual thickness when enable there will be no ray bending as if the Iowa was set to one but if an hour effect will still behave as expected the enable refractive caustics option will make transparent shadows solid which can be useful for glass objects they expect their shadows to be defined by photon caustics instead not enabling this option on caustic glass objects can result in the sometimes unwanted effect of double lighting that comes from both the transparent shadow and the caustics and finally the allow global volume scattering option allows global light volume scattering of fog to happen inside a closed transparent object now in real life closed mediums such as a sphere for example would not be affected by atmospheric effects in the air so if you have a closed object and you want a more realistic interaction with global fog and scattering you should disable this option okay now let's enable the fogging here using this setting as Ray's travel through this object they will become dimmer the more they travel this is emulating transmission through a medium and is great for producing convincing looking tinted glass the higher the distance setting the less light is absorbed by the material the fog and color enables tinting those rays as they pass through the object disabling this means rains rays get dimmer as they pass through without tinting before we talked a little bit about the built-in ambient occlusion feature of this shader let's go back to the diffuse properties and take a look at a neat option useful for lighting thin translucent objects such as paper and leaves translucency is a cheap alternative to proper subsurface scattering and is used to achieve backlighting or scattering on very thin objects such as paper or leaves it should be noted that real subsurface scattering requires object thickness to function anyway so in cases where there is no object thickness translucency is the only viable alternative to get a back scattering effect here we have a simple scene to demonstrate the effect of translucency inside the dragon' object we place three lights when translucency is not enabled the surface is effectively solid and the light cannot penetrate through but when we enable translucency you can now clearly see the effect of the lights inside the object the translucency settings are similar to add a few settings above and describe the diffuse color of the surface when backlit there is a weight control to scale the amount of backlighting and there is a color control that allows you to choose a different diffuse tint for the backlighting this color is typically the same as the diffuse color but you can use any color or text you like for more interesting effects so for example when rendering a leaf you could apply a different diffused texture for the translucency color that also contains some of the natural subsurface scattering effect and last but not least we'll touch on the built-in ambient occlusion or AO feature of this shader AO is essentially a legacy feature that was primarily used to get cheap but fake GI when real GI was impractical nowadays GI is practical so AO is not as useful but some people still like to use it for artistic purposes or for dirt map effects AO is most noticeable where there are creases and corners so first let us disable the dome light in the scene and enable a non shadow casting light to better demonstrate the effect so without global illumination enabled as you can see the contact points between the ground and the dragon contain no shadow and look flat and unrealistic so let's now enable AO on both materials now with AO we have nice soft ambient shadows around the contact points giving the objects more presence in the scene so looking at the options the first thing we see is the combine mode this tells us whether to add the results of the AO for a fake ambient lighting effect or to multiply the results for accentuating occlusion around creases and corners here we are using the multiply mode below that increasing the samples value will help reduce noise during bucket rendering mode and the max distance option controls how far the AO rays are shot with zero meaning the length of the scene you can use this option to better localize the effect resulting in less overall occlusion if we take a look at the dragon material you can see that our max distance setting is relatively short this is because we want to try to limit the occlusion to around the contact points with the ground and don't want the track until overly occluded itself so if we set the distance to zero you can clearly see that the dragon gets darker because of this the spread option allows you to control how the Rays are distributed with zero being the widest distribution over the entire hemisphere values less than one will gradually produce more exaggerated results the fall-off option allows you to control the tightness of the transition between occluded and UNAC if are these greater than one biasing towards occlusion and vice versa and the invert normal option flips the surface normal so the occlusion rays are shot in the opposite direction and the shadow and ambient colors describe the tent for the occluded and unincluded results respectively finally it should be noted that we also have a standalone ambient occlusion showed a node with similar options to the built-in one here a standalone node is useful for such effects as dirt mapping where it can be used to drive the blen weight between two blended materials for more detail on the features of this node please see our online documentation and up next we'll talk about bump and normal mapping bump and normal mapping is a great cheap trick to get extra surface lighting detail through perturbing normals instead of perturbing geometry let's take a look at an example of bump mapping so inspecting the dragon material we can see there's a redshift bump map node connected to the bump port of the material and a texture file connected to the redshift bump map node the texture is of a scaler looking noise that will stand out for this demonstration so let's enable the bump map node and now we can see bump mapping the height scale controls how strong the bump mapping effect is and is in world units it works best when the bump scale takes into consideration the size of the objects we were applying the effect to for example here the dragon is around 16 units from tail to head so we need to scale down the bump significantly to prevent the shading effect from breaking down it should be noted that the same rule applies when applying displacement mapping to and if your bump map texture is in some weird intensity range you can use the change range controls to adjust it wretch if materials can also fake clearcoat reflection layers let's take a look at our clear coat material and apply it to the dragon as you can see the bump map affects both the diffuse and reflection layer to get a clear coat effect we simply disable the bump on the reflection layer now we can see that the reflection layer a-players smooth compared to the diffuse layer and if you're feeling adventurous you can try mixing multiple bump maps together using the redshift bump blender as shown here this can be useful for more complex looking services with bump details at different frequencies here we have a base bump of cloth which is a distinctive pattern it now we're going to blend this bump map with the scaly bump we saw in the our other example and also don't forget to enable normalization to get predictable results when blending bump and normal Maps and finally redshift does normal mapping in a very similar fashion instead of the bump note used the normal map node instead and just like you can blend bump Maps you can also blend normal Maps so we've talked about the architectural shader and bump mapping and this is just the tip of the iceberg redshift supports several utility in math shading modes which allow the creation of more advanced shader effects for example we support sampler info as well as plus minus average multiply divide reversed set range and contrast ratio also supports several noise and procedural texturing modes such as solid fractal cloth snow and checkered with support for more coming soon it has its own multi-layered car paint shader with metallic flakes and it supports efficient material blending it has a physically based hair shader and for a comprehensive list of supported those please see our online documentation redshift also supports multiple UVs as well as UDI m and UV tile textures using the ujm & UV tile tags for efficient texture tiling when redshift is installed it adds a parameter group on each shape in the scene amongst other things there is a visibility section which controls if this object should be visible from camera reflections refractions lights and so on and even though redshift translates the equivalent Maya render stats the redshift options are more elaborate so we recommend using these instead of the Maya ones but please remember that when the redshift visibility options are enabled they will override the Maya render stats these visibility options can be useful in terms of both artistic control as well as optimizations for example there is a switch that can make objects invisible to GI rays and another that disables GI computations these options could be used on high transparency objects such as glass glass objects don't strongly affect other GI lit objects so the visible to non GI photon story the non photon GI option could be disabled furthermore GI effects on glass are not visually important so the receives GI option could also be disabled doing so means that redshift can skip certain are visually unimportant but time-consuming up computations and shorten the render times another important option is the force brute force GI redshift supports certain point based global illumination techniques such as irradiance caching while irradiance caching can be efficient on flat surfaces it is less efficient on geometrically complex objects such as grass foliage and hair such objects might actually render faster using brute force GI so if your scene is using irradiance caching the Force brute force GI option allows the user to override it but the brute force GI technique on specific objects another important option is that casts caustics photons please note that this option is disabled by default if you render with caustic photon emitting lights please remember to enable this visibility option on the objects you want to produce caustics so now we'll demonstrate the function of a few different visibility options first we'll disable the primary rays visible option this makes a dragon invisible to camera raised secondary Robers ability refers to reflections and refractions notice that even though we've disabled secretary rover's ability there still appears to be a reflection on the ground however this is actually a glassy shadow coming from the scenes dome light so to get rid of a pound reflection we also need to disable the cast shadows visibility option and for more information about the visibility options please refer to our online documentation and next we'll talk about tessellation apart from the visibility options the per shape redshift options also contain settings for tessellation while redshift is capable of using Maya's native smooth mesh settings the redshift tessellation parameters contain more options such as adaptive tessellation when redshift tessellation is enabled some of the smooth mesh settings will no longer function most importantly the subdivision levels and other options like whether to smooth UVs honor are still in effect so here we will enable the smooth mesh and the cube we're using two levels of subdivision so the cube has now turned into a low tessellation sphere like object and now will enable the redshift tessellation as it can be seen ratchet of tessellation takes precedence over smooth mesh tessellation the default redshift tessellation settings performs six levels of screen space adaptive subdivision which is why the mesh looks smoother compared to our two levels of smooth mesh subdivision redshift supports two kinds of adaptive subdivision screen space and world space by default screen space subdivision is enabled when screen space subdivision is disabled world space subdivision is implied screen space adaptive subdivision means that polygons which are small on screen will be subdivided less than larger polygons therefore objects that are small or far away from the camera will use fewer polygons during subdivision this is the most memory efficient option worldspace adaptive subdivision means that polygons will be subdivided based on how large they are in the scene and not depending on their relative position to the camera the minimum edge length controls how aggressive the subdivision will be smaller values will force more subdivision and vice versa and depending on whether screen space subdivision is enabled or not the minimum edge length setting will be either in pixels or world units when performing screen space subdivision the setting will typically range between 1 and 8 and when performing world space subdivision their setting should be set according to the same size of your scene so here are increasing the minimum edge length of 32 as it can be seen the object looks more polygonal because less subdivision happened on it now if you store this back to 4 and setting the maximum subdivisions controls how many times the object will be subdivided this works similarly to the equivalent smooth mesh setting and here we're reducing the maximum subdivisions to 2 as it can be seen the object has not been subdivided enough so it looks low poly now let's restore it back to 6 it is very important to understand what six subdivisions mean if more polygons count standpoint each subdivision level can potentially increase the polygon count by a factor of four so two levels of subdivision can increase the poly count by 16 three levels increase it by 64 and so on therefore the poly count increase is exponential a subdivision level of 6 can increase the poly count by a factor of 4096 so this means that if your mesh originally contained only a thousand polygons it could now contain 4 million polygons adaptive subdivision tries to prevent this maximum number of subdivisions from being reached with screen space subdivision the polygons will stop tessellating when they are small enough in screen space and with world space subdivision they will stop tessellating when they are small enough in world space however if the screen resolution is very large the polygons will need to be subdivided more to the minimum edge length similarly if using worldspace tessellation a huge object might seem might need more levels of subdivision it is therefore important to be able to recognize those problematic cases and be ready to adjust your subdivision settings accordingly otherwise the rendering performance could suffer due to the sheer number of polygons generated during subdivision and even though redshift doesn't have an explicit fixed subdivision setting you can do that by set disabling the screen space adaptive and setting your minimum edge length to zero this will ensure that your maximum subdivisions will be reached and we'll talk about the smooth subdivision option a little later the final tessellation option is the out of frustum tessellation factor this controls how much subdivisions should appear on objects that are outside the cameras field of view this helps performance by subdividing these options objects less the larger the factor the less subdivision will happen for these objects setting this setting to to higher value though can create visual artifacts and reflections and shadows cast by objects outside the field of view in other words it will make it obvious that these objects are subdivided less now one great feature of redshift tessellation is that it also supports edge and vertex creases so here's a quick test we go to the Edit mesh crease tool and we select an edge and crease it okay and now we can select a vertex increase it and up next we'll talk about displacement redshift can perform displacement mapping here we have a scene similar to the one used on our tessellation tutorial the difference here is that a redshift displacement shady was connected to the shading group of the cube so let's take a look at that in hypershade and also in the attribute editor in the hypershade we can see the shader connections a file node is connected to a redshift displacement node which is in turn connected to the appropriate redshift port of the shading group and we can also see this connection in the attribute editor so looking at the options of the redshift displacement node we can see the redshift supports both height and vector displacement maps furthermore it is possible to do range remapping of the original displacement in case the texture is in some arbitrary numerical space this is similar to the bump node options we explored earlier and the enable bump mapping option helps enhance high frequency displacement detail without requiring extremely high tessellation levels it does that by adding an automatic bump map join rendering also in case you can't find this option prior to version 1.2 point three one this was incorrectly named enable Auto bump so even though this is the most basic displacement shader graph possible by shift allows many displacement possibilities for example you can blend multiple displacement maps together as well as using procedural noise for displacement purposes okay after configuring our redshift displacement sure getigraph we also have to enable tessellation and displacement on the object as shown here and if we render this we can see that the cube contains a brick like texture detail notice the silhouette detail as well as the micro shadows in the surface of the object one tessellation option we didn't mention previously was the smooth subdivision one smooth subdivision can turn an angular object like a cube into a round object like a sphere and conversely disabling smooth subdivision helps preserve the angular shape also notice that for this example we reduced the minimum edge length to two to get better definition in our displacement this means that more tessellation had to happen this place message meshes can often require more aggressive tessellation settings in order for the micro shadow is in silhouette detail to be well-defined we also increase the max subdivisions to ten from the default six because the cube by default has very low tessellation now looking at the object displacement options we can see maximum displacement and displacement scale maximum displacement is a hint to redshift about how much displacement the shader will apply to the object if you're using height based or grayscale displacement the second setting can often be left at one if on the other hand you are using vector displacement or have elaborate displacement shader graphs that might be adding or scaling the displacement textures this setting might have to be increased according to your scales not doing so means that displacement might be clamped and will not render correctly on the other hand setting it to high values means the rendering performance might suffer too here we demonstrate the kind of visual artifact you can expect if the maximum displacement setting is too low as it can be seen the Durham at geometric detail was clamped and the object now has become flat the silhouettes in any microt shadows have been clamped to the point where they are now almost invisible however because our displacement showed it had bump mapping enabled the auto bump effect still gives the impression of some surface detail so let's put it back to one and the displacement scale controls how strong the displacement effect is while you could change that via the displacement shaders having such an option on the objects themselves can be convenient for quick tweaks here we see how the displacement scale changes the look of the object this concludes the second part of our redshift from our video for more information please visit the documentation and forum sections at www.virtru.com if there's a particular topic that you'd like to see covered in future videos please let us know in our forums Cheers

Channel: Redshift3D

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Keywords: Redshift, GPU Renderer, Ray Tracing, Redshift3D, Maya, GPU, Renderer, GPU Accelerated, CUDA, Computer Graphics, 3D, Intro, Introduction, Animation

Id: ChvPeRdC8T8

Length: 43min 52sec (2632 seconds)

Published: Fri Feb 13 2015