Redshift for Cinema 4d | Creating Hyper Realistic fabric Materials

in this lesson we'll learn about the shin component of the redshift material and how to create realistic fabric shaders in redshift for cinema 4d using the shin component hey folks welcome to mograph plus this video is a free sample from our course the ultimate introduction to redshift for cinema 4d it's a massive 14 plus hours course in which we explore all the aspects of redshift for cinema 4d thoroughly make sure to check it out the link is in the description also be sure to subscribe and ring the bell to get notified about our latest videos if you take a look at this reference picture you can start to see what makes fabrics look like fabrics look how the faces or polygons that are parallel to our viewing direction are darker and the perpendicular faces to our viewing direction become fuzzier and brighter if you can simulate this you can get realistic fabric shaders and this is exactly what sheen component is supposed to do it is basically simulating microfibers and cloth like surfaces or any sort of fuzziness on fruits and other things before creating any actual fabric shader let's take a look at the sheen parameters so let's create a new redshift material and assign it to the geometry and also open up its shader graph for a realistic fabric shader you only need the diffuse and the sheen component plus any bump normal or displacements mapping so for now we can zero out the reflection weight and use a dark gray with the rgb value of around 50 for the diffuse color in the shin component let's set the sheen weight to something like 0.5 and the shin color is set to white by default we immediately get that fuzziness at glancing angles you notice how the parallel faces to our viewing direction are showing the defined darker diffuse color and the perpendicular faces are showing the defined white sheen color in addition to that white color shin component also adds that feeling of fuzziness and cloth by simulating microfibers we have the shin color that controls the color of the microfibers and generally this should be a brighter less saturated version of the diffuse color for now let's keep it at white we also have this shin roughness which modulates how much the microfibers diverge from the surface normal direction basically using the roughness value you can control where that fuzziness begins by increasing it it begins at lower angles from the parallel faces and by decreasing it the fuzziness starts at higher angles from the parallel faces if i set the roughness to 0.1 you see how the sheen effect is limited to very extreme glancing angles and if set to something like 0.6 now that sheen effect is more widespread and starts earlier and sheen weight controls how much the sheen component contributes to the overall shader so that's about the sheen component now let's make some realistic fabric shaders first we try to create a purple velvet shader so create a new redshift material and assign it to the geometry and also open up its shader graph zero out the reflection weight for the diffuse color use this dark purple you notice it doesn't look like fabric at all or velvet because we still don't have that previously described attributes of fabrics for something like velvet set the sheen weight to 1 and sheen roughness 2.2 and for the shin color let's use a brighter less saturated color compared to our diffuse color and now as you can see we get this nice velvet shader let's go for a blue velvet i'm gonna just copy the purple velvet shader and assign it to the geometry to create a blue velvet you just need to adjust the diffuse color and the sheen color so let's use this dark blue for the diffuse color and a less saturated brighter color a pale blue for the sheen color and now you have a nice blue velvet shader if we bring up the reference picture again and zoom in a tad you notice we have this fabric pattern throughout so let's add this pattern as well so i'm going to duplicate the purple velvet shader and assign it to the geometry let's add a texture node and load this fabric pattern image and as we want to use this as the bump map input which is a data input let's change its color space to raw as we are in asus and now connect it to the texture input of a bump map node and connect the bump node to the bump input of the redshift material i'm going to set the bump height to around 0.2 because we are dealing with velvet and any pattern should be very subtle set the texture as the output shader just to see how it sits on the geometry i'm going to set the tiling of the fabric pattern image to our 1.1.2 and finally we can set the redshift material as the output shader again and let's see what we get and now we have this beautiful fabric pattern as well now let's create a crushed velvet something like this picture right here for this duplicate the original velvet shader and open up its shadow graph and obviously assign it now here we need two base velvet shaders one should be fairly brighter than the other one then we mix the two to get the final crushed velvet look let's duplicate the material in the shader graph create that brighter version and now we can use a brighter diffuse and shin color compared to our base shader now add a material blender node and connect it to the surface input of the output shader material blender basically allows you to stack up and mix materials so i'm going to connect the darker velvet shader to the base material base color input and connect the brighter shader to layer 1 layer color 1 input now add a texture node and let's load this texture called bw8 and use it as the blend color one input so basically where the texture is white the second shader will show up and where the texture is black the first texture will show up i'm going to set the tiling for bw8 map 2.2 so it sits better on the geometry and it's color space to raw as it controls the data input now we are getting this nice and realistic crushed velvet shader next let's create a simple upholstery cotton fabric shader so let's create a new redshift material and assign it zero out the reflection weight as we don't need it load the fabric pattern image again and set its tiling 2.2 and connect it to the diffuse color we want to use the same image for the sheen color as well but we want it to be brighter compared to the diffuse color texture as we'll learn the sheen color needs to be brighter and less saturated so connect it to a color correct node and now connect the color correct node to sheen color input of the shader in the color correct node let's increase the gamma to 3 so we get a quite brighter version of our original texture now in the material itself set the sheen weight to something like 0.6 set the sheen roughness to something like 0.3 and for the bump map connect the original fabric pattern texture to a bump map node set the bump height to 1 and connect the bump node to the bump input of the redshift material and here is our beautiful realistic cotton while we are here let's create a colored version of this simply duplicate the whole shader and assign it now add a color layer node which allows you to layer up textures and rgba inputs use the fabric pattern image as the base color and use this light reddish brown as the layer one color now set the second layer blending mode to exclusion and connect the color layer node to the diffuse color input of the material and simply use the same layer color node as the input for the color correct node that is connected to the shin color but we can decrease the gamma 2.2 for this to look better let's increase the sheen weight to something like 0.8 so it really depends on what you are looking for if you want more of that fuzzy feeling just increase the sheen weight and let's see what we get there you have it next let's go for a satin look and for this one we won't be utilizing the shin component as for satin if you take a look at this reference picture you notice a satin or silk is different and the highlights are kind of playing with you there is no well-defined pattern that you can describe but i have a pretty good formula to create highly realistic satin or silk shaders and it involves curves or ramps so let's create a new redshift material and assign it zero out the reflection weight for silk first we need a fresnel node so let's load it and connect it to our diffuse color if i change the facing color to white perpendicular color to black disable use index of refraction and correct facing color intensity and finally set the curve falloff to around 1. now this fresnel node outputs zero or black for the perpendicular faces to our viewing direction and one or white for the parallel phases to our viewing direction but we want to be able to remap these values for this we can use a scalar ramp node so connect the frail node to the input port of a scalar ramp and connect the ramp node to the diffuse color input after a shift material now using this curve we can remap these values to whatever we want there is a particular curve that results in a very close look to satin or silk so let's open up the curve in a separate window we are trying to put the highest and brightest values to be a bit off of the exact parallel angles to our viewing direction making the very frontal angles a bit brighter at something like 0.1 or 0.2 and a curve like this should give us a silk like look just needs a bit more work to make it better i have saved out a better curve let me just paste it here and this should give us a really nice satin shader as you can see now the next thing would be to incorporate the specific colors that we are looking for to do that we can use a color mix node so connect the scalar ram to the mix amount input of the color mix node and the color mix itself will be connected to the diffuse color input of the material for the input one color let's use a dark purple and for the input 2 color use this brighter shade of the same color and voila you have a very realistic satin shader to get a different satin color you can simply change the input one and two colors first duplicate the satin shader and assign it and this time let's use this dark and bright green colors and here is our green satin shader so that's about the sheen component of the redshift material and creating realistic fabric shaders in redshift for cinema 4d see you in the next video make sure to visit our website mographplus.com or our gumroad page at gumroad.complus and check out our premium cgi and rendering courses for cinema 4d 3ds max maya arnold corona v-ray redshift octane and so on see you in the next video you

Channel: MographPlus

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Length: 16min 24sec (984 seconds)

Published: Mon Nov 15 2021