Live Stream: Redshift - Ep 1: Displacement - C4D S22

you're right you can't see what I'm doing that is true you're just too good to live screen aren't you hey I'm a dummy first live stream there you go I'm a noob okay cool let me pull that back open um but to prove to him today okay you guys can see now right uh thanks thanks thank you very much okay let's start over then first live stream okay so we've got a plane we've created a plane here okay cool you guys good now thumbs up in the chat you can see what I'm doing yes yes yes cool cool cool thanks TV thinks a little moon thank you very much okay so what I was saying is we have this plane here and there's two ways in your displacement you can use redshift displacement and you can use cinema 4d displacement and we'll look at cinema 4d displacement first so we've got the displacer to modify here we're going to put that inside the plane go to shading shader tabs and we go to noise okay so now I said this noise we're gonna choose one that's got a little a little detail to it we're gonna do something like like this fire okay we'll leave it like that as default and you see nothing's really happening right now so we're going to always something happening there we go you don't have enough geometry so you have to have geometry so if we set this back down to ten and ten you'll see that there's nothing visually happening here except the whole plane is lower and the reason that's happening is because inside this the only values that are showing up here are that there's enough polygons is the black and when there's black it's actually gonna go down when it comes to the displacer inside of this cinema 40 so black is down white is up gray is gonna stay exactly where it was so we've got this black but we can see when we start pumping in more polygons or polygon count we started to see the detail of that I'm like okay we're getting there there we go cool I think honestly I think I said that wrong I think it's just lower I'm pretty sure that black is I think I was right the first time black is actually just gonna stay where it is white is gonna go all the way up that's that's kind of how it's gonna be and bear with me this is why yeah I don't want to try live you know you never know okay cool cool cool so we've got that going on but you tell it doesn't look like this at all so we're gonna have to start adding more geometry so we say okay 200 200 okay I mean that's looking better that's pretty cool I like the way that's looking we can go to this place err and lower this down a little bit just so I can get but you still don't have much detail and so we would love to just hold alt and click Add subdivide and that's gonna add subdivision on top of the displaced geometry so it's not going to displace that geometry so we're gonna take that out of that turn this off actually a little bit so when you add a subdivide all you're doing is adding more segments exponentially so the same thing would be going here and say 500 and 500 ok so now we're starting to get a little more detail and that noise is starting to look like that but we're still we could go more we need more detail where you go a thousand and a thousand and now you're gonna notice we've got nice detail everything looks pretty good but holy cow like the viewports running very smooth I'm glad I got a new computer because this is sluggish so here's the thing Maxon displacement works great it's very cool but here's the problem with this there's some cool things that it can do that redshift can't do and so here's a cool thing we can do we can just go in here to the noise and we can just start scrolling through that boom boom and you're just gonna see instantly the update so that's pretty cool-looking okay we're gonna leave it on this my noise here's what we can do we can say Luke period one animation speed one and we're gonna go back to Imogen hit play and you're gonna see the viewport is chugging it's going pretty smooth but what's happening here is we've got this geometry everything displaced well and now with an animation speed of one and a loop period of one it's gonna loop perfectly when we get to the end you be easier to tell if this was going at real time so what I'm gonna do is I'm gonna lower this back down to like five hundred and five hundred that way we can see it you'll be able to tell it's just looping seamlessly so there you go that's a quick tip with some cool stuff you can do with this place is inside of red Maxon without using the red ship displacer but you can tell when you start cranking up your geometry up to a thousand to get these little details you're just gonna start just chugging and it works with any noise if you do animation speed loop period one you're gonna get a seamless loop so if you're doing like a really cool background or something for a VJ DJ video or something you can make some really neat stuff but you'll see it's kind of sluggish at playback pretty cool though I mean you could render that out and that's pretty slick but here's the thing so let's go ahead and add a light to our scene we'll do an area light scroll out we'll pull it back up this way and rotate it around is everything sound good I think you should I tested it but just you know like to make sure set that back down to ten and we're gonna grab in another one we're gonna hit W to move it in world space and we're gonna pull it right above we're gonna go kind of up high and we're gonna flatten it back out hold shift to rotate by five degree increments we're gonna pull that little forward and make this a little bit bigger okay so it's just gonna be a big overhead light create rich if material material boom slap that on there let's just go with a preset of like plastic will make it kind of a nice light blue up the roughness a bit and let's see what that looks like that render here sweet cool cool cool thanks thanks F this visual sync slow moon no problem so you can see right away boom we've got a pretty cool nice-looking thing here you can see that when you look at it you can really see these weird little angles and stuff so what we can try to do is this is just my break the computer a good good note is whenever dealing with high poly scenes and stuff and you have your IPR render window open you're gonna want to like pause it when you start changing things sometimes some things when you change they can lag you out and basically the program will crash so let's go in here and let's lower the the reflection all the way down we don't want reflection and we're gonna go back to like so vote up gray Haven it does that get stuck sometimes okay so we look at this take a look at what that looks like okay so here's what we're gonna do I'm gonna take this and we're gonna hold alt and click subdivide and you can see it's gonna be thinking thinking thinking and it's gonna be like Oh God and now our viewport is so full of polygons and pixels and stuff that it is gonna be kind of laggy but honestly s22 i gotta say you know i've been doing this in our 21 I just got s 22 the other day I I am impressed with how well the viewport is working right now this is really I'm impressed okay so let's render that out you see it's taking a second it's a lot of geometry to calculate there [Music] still preparing let's take a snapshot this is a snapshot button so you can take a snapshot of your previous render that you have here your window so you can compare stuff so this is what it looks like now that looks nice that is nice and smooth we can tell that tip 13 seconds to render and this one I don't remember if it tells me how long it took to render that or not I don't think so so we're gonna turn this off and let's render that we'll just see what the speed difference is three seconds okay so adding that subdivide added on 10 seconds to a render which still really fast with red ship timer obviously this is a very simple scene if you lights in a very basic material but for that I'm out of geometry just pretty good okay so now let's take a look at the difference with redshift makes so hide this side that had that boom boom boom we've got a new plane here 10 by 10 no problem we're gonna leave it at 10 by 10 for now we will create redshift material and then actually miss click red ship at Oriel we're gonna double click this and say so here's how I used redshift displacement so say we wanted to use the exact same thing so we go in here and we type in noise and here we are with Maxon noise and if you don't have a version of redshift that supports Maxon noise they introduced it at 3.0 and I'll show you we're gonna we're gonna plug this into the diffuse color actually now where she goes so if you don't have Maxon noise let me say this real quick you just fit an IPR so smooth yeah oh I use fit Windows and I Ferris so smooth yeah if you don't have max a noise because you have something before 3.0 what you can do is you can use AC 40 shader and then use a texture map if you go to your C 40 shader and you go to shader noise you now have the exact same controls that I just did this is exactly the same as what I did and this is the same thing that max on noise uses you can take that plug that in to the input the text zero and there you go so basically this is exactly the same so now if you need to change your noise and stuff you can do it within this shader and plug it in if you don't have max uh noise the only difference is you're now adding a step or basically the way is calculating that is it's going to create this shader bake it down into a texture then use that texture which if you're only using it a few times you're not going to see any issues but if you have like a bunch of materials in your scene that are doing this and you will start seeing it slow down your scene but that's how you can use it if you don't have 3.0 but 3.0 I do have so here we go we're gonna plug this dirt into the surface and this is kind of a thing I like to do I'm gonna open up my RP our window if you just you know scroll wheel to zoom in and out of this alt + middle mouse click to move this around if you ever accidentally get lost hit F and that frames it perfectly so if you're in Madrid oom hit F is it fits to window like a boss so there we go hide that F okay F key will fit that perfectly so what we do when we tie this in straight in to the surface is we once we apply this to our plane this will allow us to see it here now I like to do this rather than there are some excuse me there are some advantages to using uh you know max on shaders and stuff versus redshift and that's the fact that you can see everything in the viewport live but honestly redshift so fast I like to pop up my little redshift window here and instantly it's just this fast so now I can see in the surface we can see what this noise is actually gonna look like on our object and so here we go we've got our scale here let's go to what do we do fire we did fire for that right fire is not an option it is there is it's just hidden down there cool cool so now let's increase the scale we'll just leave it okay so this is what our noise is going to be applied so here we go displacement type in displace over here and we've got two things here we've got displacement in this place blender without the R there it is displacement so we're gonna grab a displacement and that blender is when you want to combine textures to displace so the bump map is kind of the same thing the way it works is if you have two textures or two noises you want to displace you're gonna need to connect them here's what we're gonna do we're gonna connect this into text your text map okay and that's how this is gonna work and it's gonna work as a height field because we are using white and black values so like I mentioned earlier black is no change white is elevation now if we switch this scale to negative one now black is no change white is going down so that's the difference there so if you leave it at one will be okay now there are other options vector now vectors are insane and I do not understand how they work but basically if you get a height vector map like there's a good there's a few free examples there's one of like an ear a human ear and you put that in the displacement somehow basically what it does right now is where it's white it's gonna raise those polygons up but a vector map has all kinds of colors and you can actually create contours so like it makes an ear where the middle is lifted up and then it goes out above the plane and just kind of creates its weirdness bizarre we're not gonna go over vectors that's a whole nother tutorial and they are wild and I do not understand how they work but they are really cool okay so displacement so here's before I talk about this placement blender here's how this placement works if we take this and if you try to plug it into your material you're gonna realize there's nowhere for it to go and you think well maybe I shove it in the bump map you don't okay it doesn't go into your material it goes into your outputs you grab this output plug it in here right there that's where displacement is boom and you can see nothing changes nothing happens in our scene at all that's because we have to add a red shift object tag zbrush is that how they do it ZBrush is ZBrush is amazing and now with Unreal Engine 5 being the way it is with people are gonna make them amazing models and they're not gonna have to optimize it here's much and all the detail that's gonna be awesome anywho that's a whole nother thing basically what we have going on here is we've got max on noise plugging into his placement displacement you were good but if we wanted to use a displacement blender if we have another material we can't just grab this we grab the displacement and we plug it in we make that the base layer okay we can't just grab something and plug it in to the second layer to mix it it's not gonna work you have to have another displacement node so it has to funnel into that as well then you can grab that and plug that in to a input grab this bring this down and now we're combining two things so if we were to change the noise who'd be combining those two things because inside of this you have the blend weight and basically if you set that to one you're gonna say use this 100% and use this 0% but if you say add this to 1 and add additive then it's saying use this 100% use this 100% on top of it so basically it's like setting it to screen or ad in Photoshop or something like that so there's you can make some really nice displacement things you can have a couple basic scratch maps you can have big concrete maps you can have big overall dents and you can mix them all together really cool all inside of this instead of having one math it has all these details where they get muddled up you can start controlling them and fine-tuning them individually and on top of that you actually have the option if you notice here you can say displacement weight so that you can just grab a map plug that into the weight and what that's going to do is that's gonna act as like an alpha layer where anywhere that it's white it's gonna say okay words has a white value that is going to apply these input okay so this is layer zero okay and this is the base if we have a weight map going into layer zero wherever it's white it's gonna apply this it's gonna apply this texture but where is black it's not going to so it's gonna be solely this it's not gonna add it add this on top of that it's just gonna work like that so it's like an alpha map okay little side tangent there back to the simple quick tip of displacement got that plugged in nothing's happening so we're gonna just plug this back into our surface so we see our material here we're gonna leave it at the default grey clothes that you'll notice nothing is happening so here's what you got to do you right-click your object that you want to put this displacement onto you got a red shift tags red shift object still nothing happening that's fine go over to the geometry tab click override then go down here to displacement click that now I know that's a lot of steps but it's actually very quick you'll see instantly in our scene here we scroll in we have displacement and that looks pretty good because we only have ten polygons in there ten segments so we already got way more detail but the reason we have detailed don't let this fool you these will be saved yet I will post these live on my channel afterwards good question thanks F is this it's hard to say this isn't actually displaced right now this is a bump map I believe so here's how you test crank that scale up well yeah it's displacing it but it also is implying Auto bump so we turn that off yeah so it's just a fake bump map so that's one thing to notice the cool thing that red shift object tags have is this enable auto bump mapping so basically that's going to apply your displacement as a bump map on top to kind of smooth out everything and kind of cheat the calculations a little bit like a bump map does so what we want to do is actually we want to up this to Satan okay and we'll see that that's going on we're gonna turn off the Autobot mapping just so we can see what's actually being displaced right now you'll see there's not much being displaced because we don't have a lot of geometry going on so what we're gonna do is we're gonna add we're now at 50 because what I want to do is I want to use the redshift tessellation instead of subdividing it when's the next life I don't know yet I haven't decided I don't have like a full schedule I'm kind of testing it out to see how it goes if you guys like and stuff I like talking to you guys so while I'm doing this this is this is better than a an almost tutorial I like that but I don't know yet we'll see I will see yes let me know if you if you enjoy the the livestream format basically what I want to show off is how much faster this is than the other way so here's what we do we go in to our redshift object tag here and when we click this tessellation enabled what that's gonna do is that it's going to subdivide so that when we click this tab that's the same as subdividing except that you don't have to actually see the geometry in your viewport it skips the subdivision surface to render time and by doing that it allows it to go a lot faster so you'll notice there's some like peaks and stuff and everything and if you have like weird points where things aren't quite going up smoothly and stuff you can what you can do is change the maximum displacement I always like to change the maximum displacement anyway I thought that maximum displacement would mean the amount it was displaced and it's not it's more the actual how detailed it's gonna be it's gonna let you let you move things so I'll have to change that to about 50 and now you can see whoa there is apparently a lot more detail in our noise so if we plug that noise map again to our surface you can see there's definitely a lot of little details in this noise so before we added that displacement took that at one it was just kind of raising up these as one big chunk it was like okay well those are those aren't black and they're kind of white they're kind of this similar I'm just gonna bring them up it's one big chunk but when you start adding let's add a hundred displacement it's gonna allow you to put little details and know those little differences between the gray and the black in there so plug it back in get these details we have the tessellation and so the good thing is we can actually just up the up the so division like this I'm gonna go 12 and so if I did 12 subdivisions on a subsurface scattered take forever and it would break our scene so basically if we did four which is if we try to do our plumbing at a thousand this is at 50 we can set this to 100 so we've got a tenth of the number of polygons here okay well go we'll do the same thing we did here we had a subdivision of two and Institute is a case with about thousand thousand thousand okay we're slowing down but we're looking we're looking good and then we're gonna add a subdivision here I'm going to would do to that now we're doing the same thing we did we had that plane and we had that subdivision we're doing exactly the same but now we can actually subdivide even more we can say six which is exponentially more detailed and you can see it still calculates and renders way faster if we tried to subdivide that plane six times instead of review port I think you would break our machine but even with that's 22 so what we can do is it allows you to lower your actual polygon count and do all the calculations and post so we can get the same amount of detail but without slowing down your scene and having a very heavy render scene let's polygons let's everything less smaller file size everything is good so that is one cool thing that red ship has so it has instantly you know you've got your displacement turn in you want to change it it's gonna change instantly now one thing that this doesn't have maxilla noise doesn't have that the other one does have is the loop there's no loop option which I really want redshift to add the redshift is you're listening please add a loop option inside the artist noise yaris Maxon noise because it's not there I can do everything else that noise can't accept that but you can still like take this and offset at fifty it's gonna move it so if we keyframe that and pull that back and would act a zero keyframe that and then hit play you're gonna see it moves so you've got this moving noise and you can see already this kind of looks like water well shoot let's just make some water real quick and I want to show how to do that really cool real quick way to make waves you can do water but what that's gonna do is gonna make all this dispersion which is really neat but you don't need that you don't need to do that at all so what I actually like to do for water is just turn that off and then for water and stuff the key for a good water is a good dumb map is you got to have those reflections so what I've done here I'll I'll show you my seen I have seen created already and I'll swapped it see that so I should stop there okay here's our scene we've got this plane 100 segments hundred segments and we're just gonna go ahead and hit F and hit preview we've got this ocean water which I put sharks I'll put sharks underneath it you know I can never like stop working on a project I'm stupid so it was going really smooth and then I put a whole bunch of sharks underneath it for fun and that was a mistake let's turn the shorts off slow everything down okay so if we go to our camera here you'll see we've got some water going on here and we can zoom out a bit you can't tell what's going on here one thing we think it's like dark like this I like to go to hidden lines view just because I don't like looking at a black screen I like to be able to see the details so we've got this water here it looks really good I think so let me show you what this is so there's no displacer no nothing going on in the scene except a texture on a plane so the way I built this in will pause this so you can see it's a little more complicated but it's a little overdone to be totally honest reorganize my stuff here but basically it's the same we have a displacement map we can pull this up just so we can see we'll plug in what what's going on here so we've got this Maxon noise so this is our noise map and this is just a wavy turbulence I thought that kind of looked like water I've got some settings here you know it's a pretty basic scale of 10 some brightness didn't even really mess with it too much and that's going into a displacement map and our other map down here is just kind of a more Ripley softer wave and so I plugged that in both these are just set to 1 and they're going into a blend mode where I just kind of added these on a little bit so that point 4 percent or point forward there and so as those are both going in the displacement the displacement settings are just 6 subdivides 50 max displacement 20 displacement scale scale is going to determine how high off the ground off the original geometry it's going to push it so with that like that I then just change the materials and the materials are really what make this look nice the default is actually plastic and I changed the IOR up to like 1.5 ish made it a little see-through here that's what the refraction is like point 1 refraction so I could see the Sharks but the cool thing with these little white these this I think is what sells it as water you know how the ocean kinda has those little pools of a white foam they're just gonna happen and all that is is another noise I just made a noise map and plug that into a ramp just so I could control kind of that what how much it added and stuff so if I just read this out you'll see I think this originally was something else actually I think you just spread it out that's messing that up there we go so that was adding just some dark spots and the actual in the reflection roughness that was screwing it up okay okay I kept messing with it you know but basically I have the this map and this map these are both noise maps and this one looks like this I'll plug it in I can't ever grab these things so that's that so this noisemap is the is POC so and I just clamped up the low clips and so all we have with these white little bits that look like foam and then we've got the water there and that is going into a color layer and that's mixing with another noise the color layer they're just set to add and color layers just just like the displacement blender bump blender anything it's just a way to mix noises and texture mats together inside of redshift just so you can get a little more dynamic of a look here and so this is my darker spots in the water they kind of look like just darker patches of stuff whether it's stuff floating around or whatever there's just nothing's ever like uniform and perfect in the world everything is kind of organically messy so those are plugged into the diffuse map so there you go we've got displacement plugging in we've got this for our colors here and we've got a really nice easy water looks like ocean and it renders crazy fast for how big this is 4000 with the detail that this has that's going super fast so one thing that's pretty cool you see if I still have my picture viewer open yeah is when you add something this is my first test but you add motion blur yeah that wasn't working and boom I mean you got that the beginning bit that with the motion blur on there that looks good and these rendered add two three minutes of frame Steven hey hey thanks for Jordan we're just going over making some water some waves is my shark I failed shark attempt so there's some things to keep in mind here's another scene some cool things we can do as displacement let me show oh okay this is really what I want to show so that's displacement in a nutshell any questions so far because we're gonna go over how to make it Griebel next is they're my favorite yeah it's pretty cool in it I love that the lag is pretty pretty bad I think you guys were like twenty seconds behind well it's pretty cool the ocean looks really nice one thing I'd tried to do forever ok-hee such how to use a curvature madam I couldn't get to work so redshift again another feature request I have if you take a curvature map and plug it into this ramp here let me take this ramp up up a bot and we plug that into the surface so this is really cool to yourself so curvature map will actually read I will creel on the curvature map actually reads the displacement so when you do the curvature map even though our geometry is a flat plane using this curvature map we can get the displacement edges and stuff from our scene so I thought oh what if I use that you know cramp crunch that down so that I have to pull it back just a bit there right so that's kind of what I wanted I was like okay I'm gonna have these white little highlights that are actually exactly where they need to be on the geometry and they're gonna move with the displacement and I rendered it and I'm like it yep that that worked that's cool plug that into the diffuse kind of a thing just so we can see it hit refresh sometimes I missed my mark there like okay that's really cool this geometry is updating I can you know pull this back a little bit to get a few more when we see those curvatures exactly where it needs to be and that's organic and it's gonna work perfectly and I'm like okay let's test to make sure it's moving with my scene because my noise is moving because I animated my noise with the speed here they just said to one and that's and that I'm not sure that leaps I think it does and I offset the displacement of one but I'm like okay it's actually updating this is gonna be perfect but when you go to render it as an animation it stays on the first frame the curvature doesn't update frame to frame but if I render this out frame one and then frame two three four five it would work but if I rendered out as animation redshift doesn't know to change the curvature data between frames and the drives me crazy cuz it would look so cool to have these little highlights exactly where they need to be and so instead I have to fake it with another texture map so redshift get on that thank you um that's what I want because I'm lazy and I don't want to like do an elevation height map and all that stuff I just want it to work this is so close to being perfect why so new scene greebles great will be will be removed you'll let's do a sphere cuz spheres are cool with greebles turn that up turn on display they're all I'm shading even know how to say that like is it Gerard Garron good I don't know someone phonic phonetically type that in Jace we've got this fear we're gonna say 64 just cuz that's pretty nice and clean we're gonna make sure we're set to red shift red shift yeah I put a force brute force and I'm just girl willing to flip through these really quick and we're gonna leave that how that is for now we're gonna say we're gonna make a psych real quick so we'll take a plane pull that down at te scale it up hit C to make it editable go to the line mode and this used to work we used to be able to double click and it would only do a line so I think I have something I don't want it to choose I think there's something I've selected that makes it select the whole loop instead of just the straight line but we can it's a spacebar to pull up our little selection thing we'll just oops just select that and then we'll hold ctrl and you select that okay so we're gonna grab this corner and we're gonna hold ctrl we're gonna click and drag click and drag click and drag click and drag click click click click trying to make these about the same distance and speed and we're gonna make this a little better there we go and we hold alt hit subdivide and now we have an instant it's like okay cool side background we can scale up there we go in case you didn't know how to do that that's how you make a cycle quick you well is that for the loop I might if I might have triggered that um okay so we'll do red shift material material throw that on there and double click that we're gonna go take that all the way down the roughness down we're just gonna make it a matte white okay my shift material material this is gonna go on our sphere and we're gonna default this to iron because that's cool okay pop that on there red shift light area light we're gonna build the studio setup real quick so we're gonna rotate this hold shift to rotate at 90 degrees make a big overhead light that's kind of how all studios are there we go we could go way higher actually since our psyche is ginormous that would be good I'll hold ctrl and click and drag that around and we'll slide this over here rotate this crunch this and we're gonna squish that back down yep and then we're hit W to move it and we're gonna go right over here holding ctrl again to move it and we're gonna take all these lights and they're all gonna be way too intense right now so we're 7 to 10 because by default they're crazy intense okay we're gonna move this one in this one I think actually coffee two of and okay here we go we're gonna take a look what this looks like yep so we've got this nice studio light setup everything's really nice and soft looking good I'm gonna take one of these side lights this left one and I'm going to give it just a tiny bit of an orange tint and crank it back up to 20 there we go and I'm gonna take this other side light which is there's this light oh I don't need that light I'm gonna raise this up bring this over there we go it's just a little backlight for it this light we're gonna make you just a little bit blue this isn't really displacement I know it's just kind of boring foot okay just setting up our scene real quick thanks for bearing in mind this is all the stuff I cut out my tutorials but here we go we've got a nice fancy orb here actually let's go ahead a control CV we'll duplicate that and we're gonna pretend that this is like our big studio light so we're gonna pull it up here I'm just gonna let our psych up with that here we go mmm okay so that's got a lot of our psyche nice and smooth and they could have an infinite background look yeah cool okay now focus is this in displacement so displacement here we go Oh in motion dude can you save the stream fine displacement technique you did a few minutes ago with the water really helpful yes yeah the stream will be live or it'll be on YouTube the recording will be able to watch it for sure thanks here's the coolest thing if you guys don't have this you need to download it it's called jeaious displacement it's totally free and it is a Griebel maker and you can just click and you have all these crazy settings and it instantly makes just randomly generated greebles and it has different styles you can do you can do like cool you know motherboard looking things you can choose the crap pack which is really cool looking let's use the crap pack they've got big data other things too and you can adjust the brightness the iterations the sprite scaling what you want in it these are all no problem no problem these are all very cool things and you can colorize them save a normal map of them all this stuff but I like to just save a hight mountain so we're gonna save this and we're gonna call this just place one okay and you need to type in dot PNG or jpg or something sometimes it freaks out if you don't like specify how you want to save it but so now we have that we're gonna open up this material we're gonna go to a texture node boom texture we're gonna be choose our path and we are going to go to where that was which I don't have I don't have a good memory this place okay that's loaded in and there's like 4k there insane plug that in to the diffuse and we'll take a look at what that looks like real quick and it's gonna take a second to think because it is such a high res texture what play on that and nothing's gonna happen because I'm a dummy and it's set to iron and iron doesn't use diffuse where's completing the surface there you go you can see how that's going to be applied to our sphere and these are seamless so if we go in here and we scale this way down and we say like point 1 point 1 it's gonna actually make it bigger because it's the opposite of UV map we say 10 and 10 it's gonna make tile 10 times across our sphere and this is probably gonna break it she's just done to my mat it just breaks the stream okay we're gonna okay there we go so tile seamlessly I like the way that looks though I might leave it at that I'm going back to to Incheon okay doing - we're good plug this in once again we need this placement plug that in texture texture boom boom output displacement easy peasy take our sphere right click red shift tag objects we can close that we're going to go in here check override check tessellation check displacement we're gonna say 50 and we're gonna say 20 boom if you zoom in here you're gonna see then we have all this geometry actually lifting off it's not a bump map is actually lifting off off of our sphere and we can go in here and we can say like 256 really make it high res and up this light if you want to you start shooting these that even further boom 50 so if we had like a really big object you know you can make like a city so that's pretty cool like a little Cybertron instantly made boom any reason ever use a height map instead of a normal map um no honestly for me I like height maps more than normal maps because I can like visually look at them and I know that white is gonna be up and black is not so it's like when I look at a normal map and it's all purple and green I'm like I don't really understand what this is doing so but you can use a normal map I just like height maps cuz it's easier for me to like visualize what's gonna happen before I gone there so we can go all the way around this and so that's just an easy way to have this really cool Greenville City on your sphere and obviously you know if you do a lower poly I'm sorry lower res a lower detail you're gonna get cleaner edges and stuff like that so now we have this really cool robot droid looking thing and we haven't modeled any so we just have this yeah so what we can do again is you can say minus one and that'll invert it in so now we have everything that was popping out is now getting cut into the sphere which can add some cool effects so we can always play around with that she never know it's gotta look totally different but here's the cool thing I like to do like I was showing with the waves but this actually looks cool inside of here I could use a curvature map which if you look at this what that does is it selects the edges of the geometry and you can mess with that bring that down and samples you I would recommend typing these in let's pause this because when you go to click this slider you're like okay it's like thirty thousand like that now I'm just like wow why is what's the top of this I don't even want to go up that far because I just missed clicked and broke my computer you know I don't know why it oh I don't have sixty five thousand is the top of this what is this little this is silly should go up to like I don't know five thousand we're gonna say like 256 and all that's gonna do is that's gonna clean up these edges basically if you go lower samples like will say with one it's gonna really soften them up and they're gonna it's kind of gonna be like feathering our edges so if you look at that see how feathery get noisy the edges are and if we go five twelve it's just gonna clean those up and make those really tight so curvature map into a ramp and the reason I do that is just because I like to clamp down the values this is gonna clean it up it makes the black easier so I clamp that down so anything that's not an edge it's not going to be an edge clamp that just like that yep cool nice clean clearly black clearly white so now actually what I want to do is instead of saying white I want this to be like a cyan color I'm going to take that plug this into the overall emission color plug this material back to the surface go to our overall go to the emission weight type in tin boom and Cintron how about that I love Tron so if we take our little thing here our background and we change it to like black like a dark gray maybe add a little reflection back in it and then we go slide this window over hit this little gear bring up the bloom feature here check that slide down the stairs and boom there we go instantly have a nice glowy cyberpunk greevil like a Tron city you can make a whole city out of this you can do it on a plane make a whole city make a cube whatever you want to do a disc and all we have to do let's say we add this plane to our scene stretch that out hide the sphere we can grab this controlled control drag it up that plane hold this hold control drag it up to there and then we hit render and we'll see we will have to update the geometry on this plan a bit say a hundred by hundred but you can see they have this pretty cool Griebel circuit board it kind of looks like an alienware computer does look like my headphones does so we could say like five hundred and five hundred and keep this pretty simple and clean it yep so there we go instantly have a pretty cool Griebel e-city and we can really jack this up and you say like hundred fifty it's gonna really keep those up oh there you go I mean that's awesome I couldn't model that it would take me forever to model that but now just using JSS placement and that boom instant Griebel very cool you can turn off some of these lights top there yeah and then the cool thing is with an omission it actually does work with the GI so the global global illumination will actually work with this very cool didn't have to model a thing we just took a plane and we even just plopped it on a new material I mean you can't beat that that's just awesome so we could even do text we'll do a text real quick and then I'll take some questions if I can't remember where the heck mo text is if I keep moving stepmommy mo tics let's hide this plane I'm going to say nice big font hold ctrl and drag it up there drag it up there one thing you need to do see we don't have any geometry on the front of this at all so with mocap stuff you're gonna need to choose subdivided for sure and then inside the caps you're gonna need to change it off of in gone and swap it to regular grid and that's gonna add this geometry on the front in case you did not know that so now we can go into uniform actually is probably gonna be our best bet and just up the number and we're not gonna get a whole lot going on there there we go slide the scale size down here and I can go back into this and change that back yeah that's better okay so now hit render on this we got a crazy crazy amount of displacement there let's turn this back down to 15 there we go and back down to 10 and so the reason this is backwards it's because I hit F no H yeah H will flip things horizontally just so you can look at stuff from a different angle and accidentally hit H yeah pretty cool you can see how it's glowing off the floor and everything as if she's lighting a purse in her bloom is super intense so if it's not high poly enough you can just go into the caps bring the grid size down even more maybe do a couple more so divides I think changing the grid size will be enough yeah I mean very cool instant greevil some this placement has all kinds of freaking uses you can do noises you can do whatever and it's just I like red shifts displacement better than max songs just because it goes faster and it keeps your scene going really really smooth even though s22 I will say s22 was impressed me with how well it handled that high poly playing yep and if you want to change the way it's applied just change the scale of your texture here and remember with texture maps if you want it to be bigger you go smaller and with noise maps if you want to be bigger you configure so very cool you can add some streaks to this up the street trail a single number was just out of one there we go so now we had this cool like lens flare II kind of looked a nice really material cool let me get them all a thing all righty and any questions with how to put redshift displacement on an object or anything or I mean that's awesome you can still animate it you can move it and stuff just as like a texture offset it you could animate the scale of it if you wanted to so the city would just build on go back to the game it'll be that let me scoot in so you can do some really cool look how awesome that looks I don't know that's cool me Oh another cool thing that's a good good idea I just said so instead this curvature map one thing you can do is um actually I'll just show this I mean that's it's neat thanks man what's the link to the generator it is let me see if it's got a link here if you look up J s placement it's by windmill here we go this is it windmill art dotnet and uh somewhere on here you can find it yep there it is it's totally free it's awesome they have like wires and all kinds of things you can make trippy well I mean you name it look how clean that looks I mean I didn't model a thing that looks pretty good so one thing I was gonna show real quick is just this isn't displacement related but I love it in redshift so here's our cube I'll cover to my plane okay here's our cube so if we have a redshift material material when we throw that on here just a basic one and we rendered this out you'll notice that it's very 3d looking because it has these perfectly flat edges okay and I did another tutorial on this I just want to show it real quick just in case you didn't see my round corners tutorial that's what this is going to be inside redshift there's a thing called round corners and it works as a bump map so you have to plug it into the bump put that in text your texture boom into the overall bump and what it does is it fakes the edges so if we plug this right into the surface so we can see what it's doing we can increase the radius of it and increase the samples it's gonna clean that up so you can see it's finding where the geometry is is edging out let me put my stream back up nicely hey the Chet cave silver oh I didn't even know what to say man that's why you texted me I was like I figured you must be watching but I was like maybe that is just a random text and you're gonna follow but the generators is very cool but basically what you can do now is plug this into the surface and with round corners it's going to fake maybe I don't need to plug it into both Matthew and plug it straight in yes okay sorry don't plug it into a bump map you can plug it straight in and it will fake a fulfill it so you don't actually have to add any geometry to get those nice highlights on an edge which is very helpful for complex models that you download off the internet that you couldn't possibly bevel at all so if you get like a crazy model and you try to bevel it and you're just never gonna get these sharp edges you can actually fake it with this you get some nice highlights and keep your geometry super low so when you add like something like you know add this into a cloner and have two one two one two one two bitter instances you have like ten ten and ten do a quick random effector right see now you have a whole lot of squares everywhere each will frame everything out so now we don't have a lot of our geometry super basic cuz it's just a simple cube has no Filat or anything but when we render this you'll notice that all the cubes have very nice little highlights on them because they all have the round corner applied to them you can still get that nice soft edge on all these without actually having it in there there we go that's it there's a first live stream thanks for tuning in everybody let me know in the comments below or whatever or message me on Instagram anything if you guys liked it try to do more I'll try to get a consistent schedule with them if you guys like them I like doing them more than then recording tutorials as far as my tutorials go I like to keep sort of more of a long-form thing going and I have some classes on Skillshare and I actually I'm going to show you guys a sneak peek at the next let's go share class this is what I'm gonna teach and we're gonna set this to so I'm going to teach how to make this looping retro wave style background on Skillshare this is my next class so be sure to definitely turn it in hotkeys to zoom out is number two three just rotate and when it's bad okay thank you yep so I'll show how to make this reflective road how to make the digital Mountains City this Sun back there the car and how to make it loop so that it you can't ever tell when it's cutting this is actually only three thirty seconds long but it's just going see 40 Basecamp nice nice a love school of motion school motion is fantastic I love those guys okay here we go pretty cool thanks for watching yes and that's I mean honestly making that Road on the on the floor that's just max on noise again it's just kind of layered together in the right way redshift is so good at reflections and stuff okay cool all right let's go share classes for sure if you guys don't know I have a couple let me bring them up do a little self promo I need to work on my website so that actually you can just send people there I have this hi hey nerd introduction to redshift before we go over all the basics of redshift we make this scene here but basically we learn how to use what's most common lights to use and everything has set depth the field to camera what actually are good render settings and things like that and then my other class the newest one is swap off just so I don't show anything I'm not supposed to this boom in this class learn 50-plus metal materials with redshift so learn to create them seriously we I make over 50 materials and we just do a deep dive students I've had really enjoy this class we just go deep dive into making materials and you see this is this this is a student this is his final material it looks crazy but by the end of this class it makes sense and that's how it looks I mean that's really cool and so really neat this is are all the materials we make I mean we really just make a ton and we go through and we cover a ton of stuff and way more detail than we did today it's 5 plus hours but if you want to learn how to use the redshift shader node and some good workflow tips definitely check that out I will post a link if you don't have Skillshare I actually you can use the link that I'll post and sign up for two months for free which is plenty of time to take this class but I will be putting more out soon so I'd really appreciate it if you sign up there's a ton of good stuff on Skillshare for sure it's got everything but there you go thanks for watching everybody I need to go back to the YouTube chat so just a dope peace peace thanks guys how do I end this dream there we go see y'all

Channel: Effectatron

Views: 1,667

Keywords: c4d tutorial beginner, Cinema 4D Tutorial for Beginner, Beginner tutorial for Redshift, learn c4d, c4d tutorial, c4d beginner, quick tips, c4d, cinema 4d, cinema 4d for beginners, cinema 4d tutorial, motion graphics, 3d software, 3d, maxon, tips and tricks, Cinema4d, C4D tutorial for beginners, C4d For beginners, Cinema 4D for beginners, effectatron, C4D help, C4D how to, tips for c4d, subdivide, c4d shortcuts, redshift, s22, Redshift displacement, displacement, greeble

Id: YAPwMDIsWt4

Length: 64min 15sec (3855 seconds)

Published: Fri Jun 26 2020

Reddit Comments

[u/tcollier91]

I don't think it's accurate to compare a deformer with a material sub polygon displacement approach. You make it sound like cinema 4D doesn't have it's own sub polygon displacement.