Quixel Workflows with Cinema 4D & Redshift (1 of 3)

welcome everyone thanks for joining us and and welcome to this series of webinars i'm delighted to welcome not one but two maxon master trainers we have darren and jonas with us this week hey there hi everybody so good good morning to you all good afternoon and evening depending where you are and we had a quick look at people who are joining us and joining from all over loads of different locations so thank you and we'll cut a couple of quick housekeeping things before we start one of which is you can see on the main page that we got showing here the the contents of what we'll be going through and darren's going to be talking more about that in a second about all these wonderful workflows with cinema for the and kwixel and other applications too but also if you want to re-watch this then you can of course watch this because we put all the recordings onto our youtube channel so if you go onto the youtube channel on youtube and just search for maxon training team so we're sharing the onus's page now so thank you jonas for clicking on that tab there we go so everything that we've done this last year in terms of the training team webinars we've put on here including all the specialist webinars and the demystifying ones that we do every monday at 9 00 a.m pacific time and so if you've missed any of those please feel free to watch them and talking of demystifying if you haven't watched them or if you're not aware of it every monday we run a series of topics that cover the whole gamut of different disciplines that we have at maxon and that covers redshift and also all the red giant tools so um the we've got a link here and this is the the landing page for those blog pages and we'll share all these links automatically via email and i'll put some of them in the chat as well so you can see them now we finished up in november we did a whole series on editing in resolve and grading rather in resolve and advanced workflows for that and dealing with aces and so on and in december we're looking at the new features of trap code 5 and how to do motion graphics in after effects and in january we're looking at volume builder all through january with the the training team experts and we'll have more information on that shortly so just really another resource for you to access these trainings and if that wasn't enough we also want to give you a t-shirt so on the um on this link on the max on merch store we've got a special code for you for free yes free t-shirts so this was kind of um in response to people asking questions about how we get a free t-shirt in the same way that we used to when we visited your stand at the various shows whether you're coming to the the 3d motion show whether you're going to an event like nab or ibc yeah in fact both darren and i are modeling these shirts too so um if you type in the code demystifying in fact i'll put it into the chat link right now and you'll have this as a follow-up too but basically demystifying code gives you a free t-shirt um and you only have to pay the shipping on it i think it's three or four dollars or three or four euros but it's basically that's what we just want to say thank you and um so that we've got three designs i think there's more designs coming too great so um also the uh just one other uh quick link we wanted to show you is i'm sure you know this anyway but um good old quicksil um is the main theme for this session this week all these sessions this week and here's the main site that darren i'm sure will be mentioning again so just a reminder about where to find those particular resources as well thank you for some of our regular viewers slash listeners so uh thank you drake martin kent slasher um jamal and daniel and appreciate the the qa that you always do for us kent it's actually looking good and you can see the screen this time excellent so let's um without further ado pass over to darren um and jonas is going to also be moderating the questions during the session so please jump in and ask questions um on the little questions area and we'll answer those as we go along we'll probably have time at the end for audio questions we'll try not to interrupt aaron too much unless it's something absolutely relevant to what he's talking about but we want to make sure that we cover all the tech stuff and that we also answer your questions because that's the whole point of turning up and showing up live so great so over to you darren awesome thanks thanks guys um thank you all oh wait i just turned off my camera and now it's back on okay uh thank you all for for joining us today um so uh today we're going to be getting into um bridge and mega scans tomorrow we're going to be getting into mixer and on our final day we're going to be focusing on uh redshift um converting uh cinema 4d standard or physical scenes into um into redshift um and there is a lot of little bits about this workflow and about these products that i'm going to be getting into i'm going to stop sharing my camera um so uh but today to get into all of this i have an interior and an exterior and also i promised you that we would be modeling a tabletop to use a mixer and i think we can get that out of the way real quickly i'm just going to create a new project and this is going to be a very simple a very simple model so i'm going to get a cylinder this is going to be a round table top um let's see let's make it about four inches high and let's make it uh five let's see or you know what two foot radius okay cool um and add some more segments in there so it's a little more round uh you know let's double that nice big round table and then i'm actually going to turn on the fill it and bring that radius in a bit just so i got a little bit of a of an edge there and let's up those rotation segments so it's a little smoother as well so this is going to be the table top and i'm going to make this editable and i'm actually going to go ahead and switch to the uv edit layout so when we're um saving our models out of cinema 4d specifically for mixer which what is mixer well mixer um is this texturing program from qixel which allows us to let's go lab to paint textures or blends textures but even better than that it allows us to work directly with mega scans assets which are photometric scanned materials and models so everything um comes with like roughness and bump and displacement and we can blend them so you can see here there's some nice wear on the edges but we're going to get into how to actually create this mix tomorrow but we need a clean uv we need a single uv so i'm going to go ahead and close this for now nope not saving those changes and let's talk about this uv here so i'm going to switch to the uv edit layout and i can see that this is well this is just a little bit crazy i got these massive triangles on the top and on the bottom so i'm going to totally change how this is um how this is wrapped right here so what i'm going to do is i'm going to select everything but the bottom and then in my top view i'm going to set a frontal projection just for those and then let's see let's unwrap just uv unwrap and that gives me a good clean island for there now for the bottom i'm going to select those and i'm going to do the same thing with that frontal projection but i am going to move those over here to the corner and scale them in because i don't really expect that in the render we'll be seeing the bottom because we're just interested on what's on the table top but now we have no overlapping uvs and i just want to make sure that the orientation of the uv is correct so we're seeing the front so we have this filled polygons feature in the view and i can see that these are tinted blue that is not what we want if they're tinted blue then we can't see the surface in mixer so we'll select all of these and then mirror u and now they're no longer tinted blue as they were and this is good so then all i need to do now is export this so i'll go to this file menu in the objects manager where we can export a selected object if we go to the main file menu then we have export but it's for the whole scene okay if we want an individual object to export we can select it and then from this menu we can do the uh oops my menu is not coming up export selected object as fbx um mixer i think also supports um obj and uh maybe a little alembic i'm not sure but i'm going to do fbx i'm going to export that these aren't the default settings but your default settings are fine and then just hit ok and then i'll say name this tabletop day one um live so and uh that we are going to get back to tomorrow okay now i actually want to get into qixel um so here i have bridge bridge is basically the browser um for quick sold mega scans and on this first page we have like collections and new surfaces new 3d models plants latest collections all the newest stuff on this first page on this left column we have um the the homepage where i am now we can browse all of the assets um and one of the great things about qixel bridge is how everything is organized so you can search by uh by colors um you can search by uh environments um states uh sizes assets surface decals so there's all types of different assets here so we have let's see let's go back home but basically we have services and then 3d assets 3d plants are also assets although they may also come through as sprites um but anyway uh now when you download and install qixel bridge um mega scans comes with it and if you have uh if you're working in unreal with your unreal account this is all free um i if i understand correctly you'll have access to the full library now if you aren't working in unreal then there is this category this free category which has uh some selected um 3d assets plants uh surfaces um oh gosh what's this called uh uh atlas um uh which is like um scattering sprites on the floor like leaves there's brushes imperfections or grime maps and when we select something like let's go to this this is one of their most popular free 3d assets then you'll see when you select it on the right you get this preview render but there's also these icons here so we can actually view the texture maps albedo bomb displacement so you can preview the texture maps um and this last one is an actual preview of the 3d object with the materials now i'm going to click on this little icon to go full screen and we can zoom in and we can rotate around and check out this gorgeous scan so this is exactly the quality that we love about mega scans um and there are levels of detail so in this 3d view i can say let's just check out the wireframe of this lod um log0 is loading but this is not the full resolution scan that is also available um but it just it's a little too high uh high polygon count for just previewing so it's not listed here but we can you know view all the levels of detail with the various textures on the levels of detail at different resolutions texture resolutions so this is you know really great now once you find an asset you like then um you can download it so let's see if i have one here that i've not downloaded so see these little blue check marks that means it's downloaded um this guy's not downloaded so i can this is just a surface just which is a material and the coolest thing i think about this other than mega scans is that bridge has a super one awesome one-click workflow so i can okay two clicks i gotta click once to download it and it is downloading up here it says 21 and now it says export so i can go to this gear icon and i'm going to go to my export settings and here i have selected cinema 4d um here all here are all of the other applications that you can export to and you can also do custom export now after you install this you're going to want to make sure that you go to your edit menu and to manage plugins and you can see i have downloaded and installed the unreal engine plugin and the cinema 4d plugin so you just click on this little icon to the right and it'll download it and install it for you and that's all you have to do and then once you find an asset you like you download it and then you can just export so let's actually go back over here and in cinema 4d i'm going to go to um let's see which layout do i want i have too many layouts um i'm going to go to this layout and switch to my interior scene so this is a scene that i is i'm going to be showing you in day three the original render this is the original render this is one of the preset files that come with cinema 4d it's a the architectural visualization category um and on day three we're going to be converting this to redshift but today i'm going to use it as a um oh gosh what's the word i'm looking for a testbed or whatever to show you the workflow with mega scan so um what i'm going to do is i'm going to select the floor here and i want this to be like a little more um rustic worn down dirty so i'm selecting the floor i can see that is selected and you know i don't need that now there are some tags left over and i kept them because they have specific projections and sizes and positions so anyway the point is you select the object you want and then in bridge you find a surface that you want to put on there so let's see i actually um would like a wood one so i'm actually going to get one here let's go wood and let's do planks and i'm scrolling down and you know what i want something that's damaged what okay let's remove this collection so we'll just do wood damaged and we can restrict it to surfaces there we go so there these are all from photometric scans i think i really like this one this has a really cool uh pattern i like the the wear on it um so i think i'm gonna go ahead and let's go uh 2k resolution for now and this is two points this is going to cost me two points and uh i have 35 remaining um so i'm gonna go ahead and download that and at 2k it's going to be pretty quick and then i'm going to export it to um to cinema so remember i already selected that floor i click on export it says exporting and then exported successfully so i can now go back to cinema 4d and there's actually now a new material up here and because i've already set the render to redshift it automatically has created the redshift nodes with all of the textures loaded all the appropriate gamma overrides um is set uh so one click and i got the material on in here and on the object so where's my viper let's go to redshift viewport ipr and under sampling0 and let's start that okay so where is it well it's actually underneath this white material which as i mentioned earlier i saved because it has a unique projection so i'm going to go ahead and apply this material into this texture tag because of its unique projection settings and let's go ahead and uh solo the floor and jump out of the camera so that we can get a closer look at this material so there there it is um and we're getting all that excellent detail now it this does have a displacement map and this did automatically create a redshift object tag uh to add redshift displacement but we do need to enable it um so we turn on the override and that is already in there um so uh you know if nothing else this is a great starting point um so let's see there's my floor i'm gonna call that one done and let's turn off solo and go back to my uh camera in my scene um and so let's see let's go to the wall here i'm gonna do this a couple more times and then we're gonna switch gears uh and go to the exterior so i think for this is cool burnt forest floor um let's see let's see what we have in the free surfaces category for the wall uh let's try this damaged concrete let's see how this is gonna come through um or you know what no actually there was one that i liked even better and i think it was this rough concrete now when you're previewing in this render section here i can see there's actually three different renders the first one is the full render the second one is uh a oh gosh oh is it gray shaded so we can just sort of see the the bump and displacement and then the last one is the um the full render but tiled okay so i'm going to go ahead and let's see did i select the yes the wall right is selected i will click export and minimize this and there we go we get the tag we get the material but this object has no uvs so i need to set its projection appropriately i'm going to say cubic and there is that material we can go ahead and turn on the displacement i really don't want a lot of displacement on this it's you know it should be a relatively flat wall um so i think i'm going to apply the same material onto this cylinder here i'm just going to do that manually just dragging and dropping it on and i'm going to set its projection to cylindrical and i can add a couple of tiles here as well let's see here so i've been seeing a lot of reflection on the floor and this has a lot to do with you know lighting and also the quality of this render right now um this is the uh the progressive render preview um you know so i to see this most clearly uh i like to go to the redshift renderer view and use the uh render with bucket mode so let's move this down now i actually have magic bullet looks turned on right now and let's scale that down a bit um and so it's actually interfering with how clean this looks i'm going to temporarily turn on the floor and let's do a bucket render i'm not going to let the whole thing render because it'll you know take longer like to wait so now see the uh the final render detail um so it you know it looks really great um and this is just a super fast way to get uh your materials for your architectural visualization or product renders um or [Music] levels or you know your whatever your cinematic environments um let's see do we have any pressing questions yet you guys um there has been one question actually um which was do you gain or lose access to any features if you use alembic versus fbx versus obj in mixer so when you when you exported it in the beginning you use you were using fbx um did you try the other formats i don't think that it's gonna be a difference because it's just bringing over the geometry right that's right that you're absolutely right the reason why those formats are supported and not all of them is because those are supported equally oh sure yes sir um um now um you know the with some of those the restrictions i pointed out earlier like one uv map um you know one one object with one uv map um you lose some things in cinema 4d but uh that's the the sacrifice we make to be able to work with it in mixer which we'll we'll see more of tomorrow um now let's see here um how are we on time so we're about halfway through our time i'm gonna um let's go to my picture viewer i think i have a render from earlier let's see if i can find it um just our case room preview yeah so this is um a render um i did from earlier with a different material on the floor i thought this one was just really cool all that wear and corrosion and i just thought it was great um anyway so this is uh from earlier um and yeah i'm gonna shift gears to an exterior scene now because one of the most difficult things to do aside from creating materials that are this detailed which are is practically impossible to do by hand um is creating like grass and plants and trees and rocks all of these all of these things that they're are just scattered throughout the world in just such immense numbers that it's just unrealistic for us to create by hand um so mega scans is like for that scene start here um let's see recent files there we go um day one nature scene start okay so basically i have a random effector which i'll use later i have a dome light a camera and a plane and this plane is um just like uh 4 000 by 4 000 with like 100 or 200 segments on it so it's a relatively dense plane now onto this i actually have a material i created in mixer so let me adjust my layout here okay and i'm going to go back to bridge and um let's see i already closed mixer so i'm not going to open it up here but at the bottom here is local assets everything that's downloaded or imported you can import your own objects like here is the preview of the table that i showed you at the very start right i showed it to you in mixer but here's the preview in bridge okay and we can also view the different textures on it as well but i created in mixer a some surfaces some like landscape ground surfaces so here's one and uh here's another one with a liquid layer and this is one of those things that when you do a search for um like you know beginner tutorials you're gonna need like how to create uh you know this like muddy ground or how to create like uh you know puddles or whatever because it's it's really cool to do in in mixer but i'm going to take this flatland 2 and i'm going to export that to um to cinema and it put it on the camera because i had my camera selected now this automatic applying of materials let me show you we can actually turn that off if we go to the extensions menu in cinema 4d at the very bottom you see mega scans plug-in and here you can tell it to use exrs when available it'll that usually tends to be on displacements displacement textures apply mirror material to selection and enable displacement um so i have all those on by default but let's take these tags and put them on here so now i can see that on there let me start the uh oops the redshift viewport render and we what we're seeing now is the um you know the color the bump and the normal but we're not actually seeing the displacement i mean look how flat that is so what like i pointed out earlier we need to enable override and then it finally turns on displacement but it's very small so you know we really need to crank up these values to get something more noticeable now i'm going to jump into my camera so you can sort of see the framing that i've sort of predetermined that i'm gonna be working with today um and this area is gonna be water um and we need some grass in here um the problem is when we start cloning onto this the cinema 4d cloner or matrix object doesn't recognize the redshift tag and the displacement that it creates so um you know there is you can match up um like mograph um like plane effect position uh you can move clones um up and down so that they closely match with this redshift displacement but what i decided to do instead is to simply use a displacer so again i have the camera object selected um i'm going to select the plane and while holding shift i'm going to add the displacer so that it's a child of the plane now in here i'm going to go to the shading tab and in this little drop down i'm going to go to bitmaps and right there is my displacements from my material so i can select that i can increase the height of this very good and another thing that we can explore is changing the color profile so we can try srgb which i like because it's giving me more of the the curve at the top and the bottom parts are much deeper maybe too much now so i'm going to go and change this type of displacement from intensity centered to intensity there we go so it's a little more subtle and natural maybe up a little bit more but the thing is we want to get some grass on here so you know we don't want to build it by hand let's go to the free category 3d plans and here is a ribbon grass asset there are now this one has actually multiple meshes which we can preview but i'm just going to go ahead and export this 3d plant asset to cinema 4d and i get these objects and they actually come in at a scale of 2.4 which is weird i'm going to set that to 1 and group them and i'm going to name that group grass now to actually scatter those on the ground you know in cinema 4d we traditionally um use the word clone or cloner or cloning redshift has its own type of cloning and that's scatter but it works through um cinema 4ds cloning generators so if we go to the redshift menu in objects there's a matrix scatter object and this is the cinema 4d matrix object with a redshift object tag because this tag is on a matrix object we automatically by magic get this category here which we don't have in this in this tag on the plane um the tag just knows it's on something different and it gives us these settings so on the matrix object we get this mode in particles and i'm actually going to set it to custom objects and then i'm going to select all of those grass models and i'm going to set the distribution to random and i'm going to change the matrix cloning mode from grid array to object and i'm going to tell it to clone onto that plane all right so let's see this is updating let's uh let's stop that playground let's start it back up again interesting it appears to be stuck in a bit of a loop here um let me let's redo that um you know i'm going to do this manually this time i'm going to add a matrix object object mode with the plane there we go so now we got those settings that was an interesting little bug there but also we need to add on to this a redshift tag redshift object and as i did just a moment ago custom objects and then i need to choose the grass models and i also did random okay um so let's see here now there's we can see just a few let's go up to what two hundred thousand it's quite a bit um let's go ahead and press play here and um maybe we'll be able to notice that they're all very uniform and they're all actually rotated on their side um let me turn this down to like 50 000. so if we zoom in real closely then we'll be able to see that they're on their side let me find one clone here to zoom in on and let's press play of course i picked one in shadow um but they are actually rotated on their side uh and that certainly is not what we want so i'm going to go to the matrix object and in its transform tab i'm going to set the pitch to just want to get a view here for you guys so yeah if you look around here i'm going to set this pitch to negative 90 and then they're going to be pointing upward and they're all sort of rotated in size the same that's why i actually have this random effector so i'm going to drag that in this random effector is randomizing the scale and rotation of these but i don't want grass everywhere so i've i'm going to create a polygon selection of the points that i want to have grass so i've already created some selections i've one for grass one for rocks and one for ferns but the way that you can make a selection is simply by going into your view and just sort of scribbling a selection and you know we want to be pretty chaotic because this is nature after all right um and we only really need things that are in view of the camera and i like to zoom in on the texture so i can see where there is some green in the water or in what will be water and select some of those as well so i've actually already done that once you make your selection you just go to select menu and then set that selection that saves it um as this selection tag so i just uh re-saved this tag with a with a new selection i'm going to go to the matrix object turn it on and in its object settings here is where i'm going to drag that polygon selection tag there we go so now if we go into the camera um there we go we you can see that there's just grass in that bit you know i actually don't want to see the edges of the landscape over here they are actually blocked by some of the grass but i am also seeing some edges so i'm just going to add to that selection and when i jump into polygon mode the deformation just disappears i can't really tell which polygons i need so here's a little tip go to configure your display your viewport and in the view settings enable deformed editing so now i can say i want these polygons and these on the horizon to have um to have more grass and maybe those and right so i'm just sort of adding to this a bit and then i'll re-save that selection tag go back to model mode and turn on the matrix object which has that selection tag and there we go so now the edges are hidden but there's this weird thing going on with the color of this grass this actually has everything to do with the backlighting or translucency that automatically comes in so there's a couple of options we can set that down to zero so that the grass is more closely matching the material on the on the ground um or we can have a little bit of translucency and then in the overall settings there's this overall tint we can bring that down as well um which i which i like so um now like i mentioned earlier i want some water in here this looks awfully dry um so i'm going to just create a plane and it will be the surface of the water so this plane um i know i pretty much just added a zero to all of these settings and i need a water material so i'm going to create a redshift material now when it comes to glass [Music] or water when it comes to transparent materials then you're not gonna come to quicksole you're not coming to mega scans for um scanned glass materials um it you're going to want to rely on whichever direct contact content creation program you're using and its render engine and how it handles transparency to do like glass and water and and stuff like that um so uh let's see in this material i'm gonna redshift material i'm going to go water and i'm going to actually turn the reflection weight down to 0 and dispersion 0 and set the ior to 1.31 and apply that to the plane and then i'm going to move that plane up to i don't know pretty much where the grass line is um so that's maybe a little high here it's easier to control if i turn off my render so let's go like there and what i want to see is i want to see that in the deeper parts of this water it's darker and more murky so in this material i'm actually going to go all the way down to this subsurface now this is actually in the materials base properties if we fold everything up it's actually way down deep inside refraction transmission subsurface so i'm gonna put in a i don't know green some sort of very faint lightly saturated color here um and then we can already see that that's coming through so you want to be careful with the saturation if we go too high even 10 um actually that's not too bad but it can get very colorful very quick especially if we have too high of an absorption scale so if i multiply this by 10 so we go to 0.1 look at how red that looks i mean that's crazy even if we go to like one percent saturation um well that's not bad but um you know you can see there's a balance here so as a rule of thumb for to create this sort of murky water look you want a very low saturation um maybe like 99 brightness uh in that transmittance color and then in the absorption scale you want a pretty low value and you want to start with this low value and adjust the saturation and brightness from there to find something you like at least that's uh that's that's how i like to do it and also i turned the reflection all the way down to zero and that's because i'm gonna turn it up now when it's all the way up we can't really see that depth and i'm gonna add some rocks in here um so i wanna see the rocks in the water so i'm gonna go to bridge and i've have some 3d assets uh nature rock scatter i have these small stones so i'm going to send these into i just so you know earlier i clicked on this export button down here right when you are looking at the assets there's also this little icon here um so i just clicked on that it exported a group which is a little different from those grass models and these are at scale of one whereas the other the grass models were 2.54 anyway so let's rename this first scatter grass scatter or the matrix object graph scatter and then i'm just going to duplicate it no need to set it all up over again i'm going to call this rocks scatter and let's turn off the grass in its tag i'm going to right click and remove all those grass models and then i'm going to go in and choose the rock models instead i'll see one two three four five one two yep got them all and then i want this to be on my rock polygon selection so i'll go apply that tag and there we go we're seeing the rocks scattered around let's turn on the grass with that cool and this already has the random effector assigned to it i'm going to copy this one more time and name it ferns scatter and in the redshift object tag right click i'm going to remove all and let's go and get a fern model so this one i also got with some of my points let's see is it under plants yes it is fern there we go i'm not sure if i pointed this out uh you can choose the resolution that you want to export but for you know something this small and that's going to be scattered around everywhere the low resolution is absolutely fine so i'll go ahead and export those fern models we can see that there's a couple of different meshes in there so let's minimize that and here they are they come in at that scale of 2.54 i'm gonna go ahead and group these and name that group ferns and then set the scale to one one one and i have the fern scatter with the redshift object tag where i already i'm ready to load them in so i'm going to select oops if it'll allow me i'm going to select all those fern models go back to that redshift object tag and then pick that selection and my they are massive so let's see we need to restrict this selection and here i've selected just some polygons on the like top of the um highest points and uh and there they are um let's see so how are we doing on time oh wow am i correct we got like nine minutes left yeah yes yes i'm sure everyone will forgive you if you go slightly over though um well let's see actually um that's you know the the majority of the stuff that i had prepared that i wanted to run through um with you guys there's uh you know the thing is we we could spend all day going in here and let's go like 3ds yeah we can also see we can already see this in the comments like eric just wrote just keep going uh we have a few questions though so maybe this is the right time to answer some of the questions yeah so joe wanted to know um are there pre-made landscape maps and assets in the qixel library and i think he's not just referring to texture maps but also to like real scans just there well i know that there are some in there from from one of the from the grand canyon i guess yeah oh there's from so quick souls or i don't know if it's quicksilver mega scans but like one of their their slogans is scan the world um so when you know if we go to this let's see let's say i should go to home um so we have like canyons of utah we have here let me close this um you know they actually just released a video previewing a new collection um of this polish historical building but you can see there's all these different environments and geographic locations nordic coastal cliffs so let's um let's find one that's sort of lush let's say wetlands so we have surfaces we have some 3d models but there's also these types of 3d assets and let's go to the 3d preview so like you're not going to get a full landscape that contains everything um small chunks that you can bring together again to to create your landscape to create the bigger picture yeah exactly um and and that's actually way better um so that you can create your own so like if i let's i'm gonna see how many points is this four points um you know what i think i may already have one like this um there's some moss trees okay let's go with uh let's go with this guy this mossy embankment um and let me show you the preview of this so when you download an asset you can actually zoom in more you can preview it better if you hold shift and right click and drag you can rotate the light around um so uh cool i'm gonna export this to cinema so you you could build up your own land uh landscape with these types of assets um i chose to use a mixer material that i created um let's see i and while this is loading um other questions yes yes um martin wanted to know uh can you adjust the lod of the texture and model in cinema 4d so does it come over with lods if there are any is there an option to import them like into an lod object or something yup there is and i'm getting the feeling i should have done that um so you'll see like with ferns it says lod zero right all the other assets i've imported like grass rocks say log0 um now let me turn this off let me go here and solo this um solo this tree uh tree stump okay and let's zoom in wow my there we go and turn off textures and show the wireframe so this is the mesh this is the full resolution mesh and we can't even see the surface because it is so fine look at that you know it's it's a it's a true scan so this is the full resolution scan essentially so that's too dense i'm going to delete that and i'm going to go back to qixel and uh let's see this was a free 3d asset here it is so when we click on the gear icon we have our export settings and i'm going to go to models and here i'm going to turn off high poly source and i can say export all lods for 3d plants fantastic then let's um i'm not sure if i need to re-download them or not so uh i'm gonna click on export but let me point out this it actually gives you a little icon showing you how big this asset is relative to a human it seems off but anyway i'm to export that so i should get a number of different uh assets but i got lot 0 only well that's a shame maybe i need to download them again let's try it so let me go to my download settings to models um there we go download all logs for 3d plants yes good um nope don't care about textures there and to re-download i'm going to click on this.dot and say download again there we go and let me just double check my export settings because yeah export all lots for 3d plants let's turn some of these off um let's see if that'll do it honestly i've been very selective with this type of um exporting in the past and i remember it working so yeah so we're supposed to be able to run some tests yeah i'm gonna have to have to figure this out uh so i did a re-download and i got a different sized sort of change the size of it but usually yeah usually once they are there um are they going to be imported with an lod object or is it something you would have to say that is not that has not yet been added to the to the bridge yeah to the um bridge plug-in to the cinema 4d plug in a bridge um uh i've asked for that i would love to see it um i would also love to see them automatically add a hair object for um because this object has a fuzz map yeah it has a fuzz map which is great for you know like if we wanted to add hair on there um so i think that would be very cool um now here's the thing if it's not coming through automatically we can always go to the files okay so that dot dot right there go to files and then let's see here are all the materials and here are all the log models level of details so i can bring i can bring those in manually um and set it up in a lod generator uh manually um so that's that it's all available to you and there was also there was also an entry i saw it like a report report issue or something and this might be with in the three dots menu yeah report issue this might be the thing where you can write such things so um they can improve the plugin here's another question um can you leverage the terrain shader when scattering grass possibly in the shader fallout or of an effector that's a that's an awesome question i'm gonna i'm gonna be totally upfront with you i have not um mastered the the if we're talking about the terrain mask shader in cinema 4d that's something that i just sort of fiddle with um you know to to sort of figure out so if i um let's see and and it will work um well actually you know what here's the problem with that it is a cinema 4d shader it's not a redshift shader so what we would need to do is change okay this could get messy it's changed to a standard or physical cinema 4d renderer and then um create uh you know a material with that shader uh so i'm gonna do this in the luminous channel uh effects terrain mask apply that on there now because we have a cinema 4d displacer with this material on here it should recognize that so let's actually solo the ground plane uh there it is okay let's see okay and let's um let's do a test render here let's turn off this other stuff it's preparing uh there we go so it's starting to come through but you know like i mentioned a moment ago i have not mastered this thing um so let's see this appears to be oh okay so let's say size plus wow okay let's select all these polygons what i'm looking for is a y size jonas i'm sure hasn't uh has a solution to this i do know that my displacer height is 110 and it's intensity so we could say that the minimum altitude is i don't know zero and max is 110 and start use that as a base point where's the it's preparing um yeah on my end it will also be just trial and error here you go yeah which is exactly what i'm doing yeah so here's the thing once you get that once you find the mass you like and we can you know soften and add some slope and let's do one more uh render preview is you have to bake it okay so um this is in the luminance channel so what i can do is i can add a material bake material tag and there it is and under options i'll enable luminance and i get some uh unique luminance settings um don't want diffusion auto uv is off good so it'll keep the uvs that it has um and then i can choose the file format and width and height and bake it out and then after it's baked out go back to redshift and you can load that load that baked texture into wherever you want to use it so if you're using a texture to mask out grass or pebbles or whatever let me show you that real quick there's a lot of different ways to do it but let's turn on the grass scatter get rid of that material and i'm actually going to get rid of this selection here uh in the grass scatter and let's see it's on why am i not seeing oh solo that's why okay so there we go all right so um one way to use textures um to mask them out like that baked terrain mask is with a shader effector uh or a shader field um but i'm gonna or a plane effector with the shader field anyway i'm gonna add a [Music] shader effector where are you where are you i've looked at it a hundred times there you go um so that's being added to that grass scatter and in it i am going to load in the shading tab the bitmap that i want to use so what i can do is on here i have this material if we check this out then we have an albedo we have a roughness we have normal but we have this displacement so this is flat land 2 to library 2k displacement so i can go to the shader and i can load that same flatland to to library 2k displacement and then in the shaders parameters i want to enable visibility so using the texture it's affecting the visibility of the clones so i i like doing the polygons because then i could actually paint and i can select where exactly i want it but yeah that was a really long answer to that question but it was also good because it was very in-depth and uh showed the whole process so there there is no side question left you know um cool another question from drake how about double-sided objects like a flower petal or a leaf or fabric too um how to solve for this in this workflow you are showing i guess they they are not single-sided are they well you know with redshift it's automatically not going to um i if i remember correctly um redshift does not automatically render the backs of things or or it does but they're blacked out let's let's actually check this out let me go back here like so um let's get rid of this and let's come around to the back of this ground plane and let's turn off all of these okay those are all off so let's go red shift viper play and we're looking underneath at the back side of this um now in quicksilve there are like i pointed out briefly there is translucency that automatically comes through and we s it is updating materials and we saw that in redshift i don't think i've ever actually said out loud if i was in standard cinema 4d and exported okay so yeah we can see the back side um if we want to hmm you know what i lost my train of thought repeat the question please join us i'm sorry um yeah the the question was uh how about double-sided objects that that was the okay um so redshift has a uh has a node for this if if i remember correctly so let me just create a red shift material here um and gosh you know what i don't even remember the name of this one [Music] um um you know what i'm just gonna say that's a great question and there is uh it's totally doable but i cannot remember the name of the node because i don't i haven't been using it it might be like it might be in the race yep here we go um front back uh yeah so let's take let's go to a new project here i'm going to add a plane and just sort of rotate it like so let's create a red shift material put it on there and in this material let's see that was the ray state i'm going to send this directly out to the material output so let's render this okay so we have white on one side white on the other okay that's not what i expected let's enable front back we have uh let's make the back red and the front green there we go um so you can use this ray switch node and of course you can pipe in textures you don't have to use this flat color right um so there is uh there's one way to do um double-sided uh with different textures for like leafs and stuff did that answer his question jonas um well i'm not sure at the moment but um i think yes um let's take a close look at um the at that fern uh real quick um so 3d plants fern um and we'll export that uh so the thing is this does have a that you know translucence as does like grass um so if i go over here [Music] uh let's see there's cavity texture displacement gloss normal opacity roughness specular translucency so if we come back over here and we check out this material ah i'm in standard cinema 4d renderer interesting um so i here you can see the standard cinema 4d material uh as uh qixel bridge creates it um but that's not what i wanted so i'm going to go to redshift and we're going to re-export let's just confirm that this is just oh gosh wrong so many windows opening and closing and moving okay so here we are in redshift renderer green front red back same deal perfect okay now let's export that i just want to show you that it's um it is exporting that we can pipe that translucency into just the the back that translucent map but i think we want that lighting to come through so it's uh i don't know it's complicated okay so here we go here's the redshift material [Music] translucency there's the texture so this is automatically going to transmit light from the back uh to the front but if i wanted uh you know something different on the front than on the back here in here i would add that ray switch um in the in the middle so um i hope that answers this question but these are yeah i i guess so yeah um another question came up and i don't know if you'd tried it would the workflow be similar with other render engines like octane or is there an advantage using redshift um i belie i mean the advantage to using redshift is that it's part of the maxon family so you know that um you're going to be getting you know there's there's a i want to say that there's a certain level of quality and support that you can expect in both cinema 4d and redshift that you may or may not be able to expect in another third-party renderer they'll have their own you know they'll have their own thing um i personally i like redshift but it if we if you check out the website wow 15 minutes over if you check out the website then you should see a you know i don't really want to load up the web page right now because i'm not sure what all is going to pop up on my screen but it does have if you go to the bridge page when you look when you browse it there's a graphic that shows like all the other products that it works with including third-party renderers we'll see i believe it'll work with octane because it's also octane also does pbr materials it also works with textures just like redshift just like cinema 4d just like unreal um so [Music] uh yeah but the short answer is i don't know about octane i haven't tried it sorry that was such a long answer um yeah maybe not yeah maybe one more question here from from jeffrey would you be able to show how to use the fuzz map that was part of the tree stamp mesh with cinema 4d hair i guess we shouldn't do that now because we would go through the whole process but maybe we can prepare something for tomorrow and show it like three minutes apart or so because it is interesting and i didn't know that some of the assets are coming with a phasma and i love it yeah you know what um i actually have a preset that i did in an older version of cinema 4d that uses the fuzz map um let's see i think it's i think it's this one okay so let me go uh new project and let's uh open up this piece yes so this um i saved as a preset to my content browser because i went through the process of setting up the hair using the fuzz mat fuzz map um so i have gosh see if i can even remember how i did this um let's see oh we have an albedo [Music] here we go so i've loaded the fuzz map in length um it's not finding it right now i'm going to have to figure out what's going on with my presets i have it in scale also um so i think probably rendering this isn't gonna it's not gonna work but it you know the the whole idea was it would only had hairs to where the moss is where the fuzz is um gosh sorry about that yeah no worries i mean but um yeah any other questions um some of the amazing i'm sorry sorry i'm just going to jump in with some praise for darren because there have been some lovely comments about the amazing tips and the knowledge you've been dropping darren and many people who are very appreciative thank you this is great i like that exactly and we and we appreciate everyone's patience with us because it's it's always an interesting balance isn't it because you've covered the main things you want to cover but it's also useful to hear real life kind of thinking through of questions that people are asking you and i know but we're balancing that with going over the session so thanks for bearing with us and you of course you can watch the full recording with it but it's if this is something that's useful for everyone please let us know if it's something that you like to have at the end of a session a q a and it doesn't involve you having to miss further meetings let us know because we we want to be flexible with how we share this information with you i'm trying to bring out my camera so i can see you guys but but i think we can see you the thumbs up for the queue and how you hit the comments yeah thank you for that there have been also a few questions about the licensing part of these assets so i'm i'm not sure about it because um epic said that they want to make it free for the usage in unreal i don't know i mean we can export them to cinema 4d so and you know when you create your unreal account you choose what type of essentially license you're going to be using the free one which is um i mean i don't know all the details of it and then there's the commercial one which you pay for um if you're actually going to be uh selling or publishing um a game or whatever and i think that uh when you're using the qixel tools into unreal that the same uh licensing hey kitty the same licensing applies uh through there i think when um you're definitely going to want to go to their website and check out their faq because that's an important question i mean yeah um yeah definitely go check out the epic side to be on the on the safe side when it comes to to legal stuff yeah but keep in mind like i've spent i spent my own money to get points in bridge so that i can purchase quote unquote with points assets to use how i want so there is um uh yeah i don't know what the license is exactly but it's it can't be that restrictive if i'm spending my money on it right i would hope oh gosh we love the overshare it's great yeah cool so now just to wrap things up um oh go on going unless no i just wanted to bring that up so you can [Music] you can uh talk along thank you um for some of you who may have heard this before i apologize but just in case you missed it at the beginning we're recording all these sessions and we store all the recordings on the maxon training team channel on youtube and you'll be able to see this recording shortly as we upload it in about an hour or so and we'll put the links that we mentioned in there on the descriptions including the t-shirt link where with that code the mystifying code on the merch store then you can get a free t-shirt it's good for 100 orders by the way and i think it expires at the end of december did you just say we could please jump in i didn't say exactly that but you know it's if if they're proving popular then this is great indeed but i think it's the first hundred orders that jump in and get it to you so you should be good if you wanted to do a hundred t-shirts and i've not tried that i don't not encouraging that but you know now supposed to be sharing out across the community but anyway so tomorrow's live and um please i guess i was going to ask you what we were covering tomorrow darren yeah tomorrow's all mixer um if uh let's see if if you want to keep talking i'll share my screen i'll bring up mixer and i'll show you uh mixes well we've got we got it on the screen now we've got the we give the highlight about mixer and stuff cool cool cool yeah so tomorrow i'm going to show you um uh remember the very first thing today was that uh it's really simple table model uv mapped that is going to go into mixer we're going to create a material for that i'm also going to show you how i created the landscape material with the displacement and mixer so we're going to be going over a lot of features and tools in mixer but most importantly how to get that from mixer into bridge so that you can just click one button and then send it to unreal or send it to cinema 4d or send it to whatever your whatever program you're using um nice so that's uh that's tomorrow and uh yeah very cool very cool excellent um any last thing is any follow-up questions if you've got topics for future sessions if you want to pick our brains a bit more training maxon.net comes through to us please keep in touch let us know what you think brilliant all right thank you again thanks for letting us run over it seem to be popular we may do it again all right everyone take it easy see you on the next one bye guys stay safe you

Channel: Maxon Training Team

Views: 12,467

Keywords: Maxon, Cinema 4D, C4D, Redshift, Quixel, World building, tutorial, Darrin Frankovitz, 3D

Id: oyHOXiITsNo

Length: 85min 23sec (5123 seconds)

Published: Tue Dec 15 2020