Save Time with Custom Render Passes / AOVs in Redshift for Cinema 4D

this is Chad here from greyscale gorilla calm where we bring you the tools training and tutorials you need to make yourself a better motion designer today's video I'm gonna talk all about a Ovie's and that stands for arbitrary output variable it's kind of a fancy word for pass I'm gonna show you how I use them in red shift to save me a ton of time so let's jump in alright so before we jump in let's talk about a Ovie's that stands like I said for arbitrary output variable it's a fancy word for pass now a lot of people they think that oh you know passes are something that I need to set up through takes or I need to set something up through multiple scene files well no actually a Ovie's happen at render time they can happen as separate output files like separate renders or they can be embedded in an EXR which is ten that's how I use them so that's what we're gonna talk about here today and specifically we're gonna talk about how these a Ovie's can be used to save time in your comp and I think it's better to just show you rather than tell you and we're gonna do something a little bit different in this in this particular tutorial in that we are not going to start out in cinema we are actually going to start out in whoa not that we're going to start out in fusion so Fusion is a node-based compositor and there's a free version for those of you out there that want to try it it's a node-based compositor made by black magic and if anybody wants to be cool and post a link in the chat that would be awesome so what we are going to do instead of showing you right away how to create them in redshift I'm gonna show you how I like to use them and why they're important because I thought it was important to show exactly like how I use them before or sorry I guess why I use them before I show you the how so typically the way that I use them is a couple different things like usually I'm sort of lazy and I'll render out a beauty pass and then a bunch of matte passes as my a Ovie's so that I can control the beauty in the comp so in this particular render right here which you put this up on Instagram I think last week we've got a XR rendered out of redshift and I'm just gonna show you the beauty so let's go ahead and throw a lot on that I'm not gonna get into the to the house of fusion here but just know that the cop the core concepts that I'm showing you right now can be carried over into nuke they can be carried over into after-effects it's all very straightforward kind of stuff okay so here is the raw beauty pass out of redshift okay so the first thing I wanted to do because I really don't do it this often usually like I said I start with a beauty and a bunch of matte passes to manipulate the beauty but in this particular demo I wanted to show how to comp all of the different elements back down from a Ovie's into your beauty so basically the idea of comping all of the different a OVS to get the same result as your beauty and you're like what what how do you do that well redshift makes it very easy on their website actually in their in their manual they actually talk about the math that needs to be done to achieve the beauty using a Obi's so I don't know if this is really visible here so this kind of zoom in and and kind of walk through it so a beauty pass to redshift equals this the diffuse filter multiplied on top of diffuse lighting raw added on the diffuse falter diffuse filter multiplied on top of global lumination raw added to diffuse filters subsurface scattering raw and then spec and then reflections refractions I'm not going to go through all this you can actually pull this off of there off of their website so I did exactly this I built a comp that takes all of that math and puts it together I split out all of my EXR Pat all my channels from my EXR and I'll show you how to do that later if you want I don't like I said I want to get too far into fusion here so the first thing that I have like I said is my beauty filter which as you can see just has the the actual color of the bots and it's got the sticker that I added and then it gets added or sorry multiplied it on top of the GI now the GI just looks like very grainy and noisy there's not a lot of I didn't really need a lot of passes in there sorry a lot of samples so it's kind of greeny so that's good melt gets multiplied there and then it gets actually the GI raw filter gets multiplied on than any sort of subsurface that's going on which I don't have and then a spec and then reflections and then refractions and so on and so on and I'll show you this cool stuff later so why is it important to do this like I said before you don't have to take all these different sub passes diffuse filter all this madness and put it back together in your comp you totally can and it's it's a valid workflow for a lot of different people but I typically don't I typically just do a beauty and then a bunch of mattes but like I said I wanted to show you that it's possible I wanted to show you how it was done so that you could you could choose to go down that path later on if you want okay cool so now that we got that out of the way what the hell is a custom AOB and why would I need one well a couple different reasons well a lot of times you're gonna render something out and a client's gonna make a change and they're gonna say hey you know what we like this render that you did but you know what we we don't like the color of that sticker or maybe we wish that the the edges of this metallic kind of edging showing through we wish it was a little bit brighter so typically if you didn't have custom AOV set up to work like this to give yourself this freedom in the comp you would have to go back into your 3d scene you'd have to set that all up as a separate take or maybe a separate scene file re render it all out and then be able to give your client those changes and that is a huge huge pain in the ass so I I love to use custom Aoki's to sort of act like insurance so that I'm setting myself up in the comp to be able to answer questions or be able to answer tweaks that come on later down the line okay so here's here's an example you can see right here in this EXR I made a couple of different custom Mayo fees I made a pass for the label sticker actually sternness on high quality so you can see it a little bit better and let's go ahead and make this a hundred percent okay and so I also gave myself a mat for the center of the sticker where it's orange I also gave myself a mat for the stripes now this is all coming out of one EXR this is using custom a Ovie's right this is why I did this so and you can see I've had it hooked up to a color correct right now so if I if the client says oh you know what we want that orange to want to shift it to a different color okay well no problem I can just come in here because I've run it out that custom AOB I can shift it to like a blue and if I walk all the way down to the end of my comp and because I applied it before I applied any of the lighting effects it all shows up perfectly me turn off the LUT there so right now I have the ability to change the color of that sticker at any point in the cop so that so that you know you just have that freedom that freedom to to do it in the compa not have to jump back into 3d and that is the name of the game trying to avoid rear Enders costly rear Enders so if we had like I said we've got this stripes we've got this pass I'm going to show you how this was set up in redshift in a minute but let's say the client was like yeah we like the stripes but they're too dark I want to brighten them up I want to see them a little bit more that's okay we have a mat for that I'm gonna just brighten those up a little bit let's walk to the end of our comp and look at the final output and there it is we brightened it up or inversely if we wanted to darken them those stripes we could do that as well just bringing the gain down very simple and we'll bring the gain down and now they're much darker so that is in a nutshell why I use them to be able to affect things in the comp without having to go back and re-render and you can get is as crazy into the minutia as you want as far as what sort of custom AOV you want to build so how crazy well you can do an AO pass which is what this is right here and we actually turn on the right light so you can do a oh that's a great way of making a custom AO v you can see here I've actually made a mat just for my edge where on this particular shader so if the client said yeah you know what I like this but I want the metal to be brighter alright no problem let me just adjust that really quick let me turn that Pat that that on so let's go ahead and make sure I've got the right one and yep okay cool so now you can see we've got I can darken or brighten the edge where if I want so just that control that control is what I'm talking about and for those of you paying attention I've also got I'm doing all my depth of field here with the lens care depth of field which I'm sure all of you are familiar with I chose to do it that way because it kind of helps me illustrate my point about a Ovie's now the depth a ovie is gonna look weird to you because it's completely blown out but trust me the data is there you can see well it's kind of hard to see but in my little overlay here I've got the values of that Z depth or I could just clamp it right there and you can see that I've got depth there alright I'll walk you through that - what am i doing on this one I forgot what was doing on here oh yeah I'm just merging the background on and then I apply the two points of gamma and then a little bit of color correction a little bit of sharpening and that's how I end up where I'm at right here so that is in a nutshell I went really fast through that but we'll come back to this in a minute I just wanted to give you the why I use custom Aoki's and then we can start to explore the how in redshift you okay so all of this by the way is possible like the splitting of e^x ours if you have questions about how I work in fusion hit me up after during the Q&A at the end and I can tell you all about how I split these out if that's interesting to you or sort of the scripts that I use in fusion to make that happen all right so let's jump back into cinema and let's look at some actual redshift here okay so here's the scene that created the render that you saw and I'm gonna fire up the IPR now the thing to remember when you're using a OBS in red ship is you're gonna want to be in bucket mode because they will not show up in the render view in progressive mode so I can just tap over here to see all my channels you could see I've got all the different a OBS that I'm spitting out I've got my beauty obviously I got the AO going I've got I wonder if I can actually just arrow through these yes I can there's no caustics but i brenards out the caustics just to make a very clean sort of like I said I was using the AO B's to rebuild the beauty so I made sure that I outputted everything that their their formula wanted me to depth like I said before there's depth in there you just can't really see it the diffuse filter diffuse lighting Edgware which is a custom AO V which is the whole reason we're here a mission there's no emission GI raw there's no GI I turned off GI for this there wasn't really a need for it since I had a dome light doing all the dirty work I got our MEK logo matte our MEK logo sticker and then our MEK logo sticker stripes and then object ID ooh this is a really important one I will hopefully get I'm gonna make myself you have time to get back to this because this is super fun okay reflections refractions sss which we don't really have specular which we do have and i believe yeah that's it okay cool so that is all of our AO vs in a nutshell how the heck did we make these alright so if we open up the render settings and we open up we go to the red ship we go to a OB tab you're gonna notice that they've thanked thankfully completely Reve revamped this entire workflow thank god so before I dive into that too heavily I want to tell you how I output because that's that's kind of important for my workflow I'm only rendering out e^x ours and all of my a Ovie's our multi-channel the exarch they're embedded into my e^x ours right so the way that I like to work is I don't even have this turned on usually let's just turn this on for for the sake of this demo so I don't even have regular image turned on I have multi image turned on and as far as my format setting go for EXR I created a preset which is basically zip in blocks of 16 scan lines half float 16 bit per channel Multi file all batch as make sure you turn on alpha channel I don't know why the hell it's up here it's kind of stupid kind of annoying sometimes I forget to turn that on anyway so that is how I do it and then if I jump back into the redshift AOB tab I don't really have to mess with anything then and I'm gonna create an AO V here in a second and show you what I mean by that so you can see we got all the AO AO views that I've created I can actually twirl down and see the different settings for each one I will give you this quick tip if you're gonna do a depth pass out of redshift to use with post up the field you want to make sure that your your filter type is gonna be oh god is this even the right one genius that I actually said I'm pretty sure it's min depth I'm pretty sure I'm pretty sure and that's that's gonna give you the best edges that most the edges are gonna go just a little bit beyond the anti-aliasing to give you a really nice Z pass anyway that's a different tutorial so I will say that if you open up file output on here you can see I've got multi pass enabled so I don't have to mess with any of this stuff now if you're into saving out your your passes as separate as separate image sequences great go for it it's really not how I like to work I like to keep it clean keep it all in one EXR so I'm gonna leave that where it's at so where I'm spending most of my time with the custom AO B's in redshift is going to be in the AO be manager which is a really awesome little UI that they've created here for managing your a Ovie's so you can see here I've got them all listed I can turn them on I can turn them off I can actually spit them out to separate files in fact you can in it you can actually access all of their different settings right here inside of this tool I mean just make a little more space inside of this little this little view space a little view area this is super fun and easy to use and I got to say that because before it was kind of a nightmare to add and subtract and deal with UAVs in general and redshift so let's go ahead and start with something simple I'm we're going to create a new Oh Pass and I don't typically do ambient occlusion passes because of generally rendering a lot of stuff with GI or dim lights or whatever so I don't necessarily need them but I understand that a lot of people need them so I'm gonna go ahead and just delete this pass and we're gonna cut it like I said I'm using this Wacom and it's super sensitive already and I'm gonna delete this shader down here boom gone okay so we do not have any AO going on anymore so how do we create an AO pass our naio an AO AO v that that's gonna be tricky to say that throughout this video okay so what I'm gonna do first is I'm gonna go over to my little redshift menus and I'm gonna select this the shaders and go down to utilities and choose a OH okay so this is what this is doing is it's pre it's kind of creating this for you essentially just taking an AO texture and putting it out to a surface one thing to note you cannot publish a material out to a custom AO be it will only accept color integer or float okay so that's something to keep in mind you're not gonna output a completely different shader it just doesn't it doesn't let you neither neither does Arnold so that's that's a totally normal thing so this is not a shader this is just a map it's just a texture it's the AO texture going out to the surface so it's all good got our samples in here and whatnot we'll just leave it all as default right now alright so we created that shader but I don't see it's not gonna show up under under my a Obie's yet because we haven't actually created anything we haven't created a custom aov for that so let's do that really quickly I'm gonna open up my render settings go under AOB grab my AO v manager and I am going to create a new custom AO v and I could do this couple there ways I can double click and it'll just add it to my list and I'm gonna rename this guy a oh I want it to be different than their AO so I'm just gonna say mine AO mine and then all you need to do is select a little picker or you can drag it and select the AO utility shader that it created and let's just go ahead and see if it showed up and there it is a oh mine and there we go it's as easy as that and now we have an AO pass and so that is a really really fast quick and dirty little introduction to how they work but let's go deeper let's say that we want to create a pass for the sticker okay so I already showed you that sticker pass and I think it's this one yep so we've got the sticker pass how did I create that how do how did I make that well let's let's go ahead and make another one so I'm going to just close those down when I open up my my MEC material I'm just gonna be right here it's gonna be a little bit hard to see in this sort of tiny view and again the most frustrating thing about a Wacom pen is like trying to grab these edges I've found okay I'm not gonna like get too crazy into showing you how the shader works it's just a simple sort of whip worn metal shader and it's using the material blending I've already done a few tutorials using this sort of technique before so that is that that's kind of covered you know in a previous previous tutorial but I am going to show you that I have this sticker let's go ahead and locate this image and let's go ahead and look at it and here is our sticker and it's a PNG so this PNG has an alpha in it so the first thing I like to do when I'm bringing in a PNG into redshift and I'm gonna use it for any sort of copying is I throw it into an RS color splitter and I get the Alpha out of it so that is how I am actually able to layer this material doing sort of a probably easier if I showed you in the beauty and that is how I'm able to get this sticker to overlay on top of my mech and we have that right we have that texture so why not use it we have the Alpha let's use it to create a custom aov because that's really what's important here so if I come over here to my fine notes and I type in a Obi you can see I only have to start typing a o and we have store color to AOV store integer to a Ovi Store scalar to a OB I doubt I'm gonna have time to get into the store integer but the store integer is very powerful store color is probably what you'll use the most so you can see I've already got one here sitting outside in in my in my shader and let's just go ahead and I'll show you how that works so you always want to put your store color OB or integer or whatever in between the shader that you're outputting and the actual surface output that's where they go and you can stack as many of them as you want you can see here that you have the ability to put I believe I want to say it's like eight yeah you can put eight in here but you can daisy-chain these to create infinite amount if you want it's up to you so let's go ahead and do what I set out to do which is we're gonna split out this pass and I'm gonna go ahead and view the output of this mat so we can see it and oh actually that I think it and at the output of the our channel for some reason that's weird I guess it just chooses the first channel but we can just do this link and there we go so now we're looking at the mat of that texture so let's create a new AOV for that boom I'm gonna go back to looking at the output of my story OB uh what do we need to do here well it's pretty simple we could split this out and just for just for the hell of it I'm gonna split this out to a new color splitter and I'm gonna use that same sticker texture to drive its input and I'm gonna take this alpha out which is just going to be the alpha of this PNG this is where it's gonna get tricky with the size and I'm gonna say the out a if I can grab it with a pen again I am NOT a pen user I'm gonna go over to the blue tab which is gonna allow me to choose or add an existing channel and I am going to choose AO V input 4 and let's go ahead and select that so I've actually put it in AO V input 4 you can see it pops up down here notice that I've got something in there but it does not know what I want to connect this to does not know where I want this to go so in our case we are we could add it to an existing AOB but we're not we're gonna actually create a new one we're going to add a new custom and I'm going to name this one another sticker mask and hit enter okay so now if I over go over here and i refresh my IPR sometimes it's it needs a little kick in the ass to it to work properly and another thing that I wish I need to actually tell them that this menu needs to like flyout marks I can't read any of my a Ovie's alright so here's my another sticker mask and it's working so it worked so it's as easy as that so once you start to kind of get your your head wrapped around how it's working it's really not that hard and you can start to figure out different things that you might want to pass out to an a OB for comping so in my case I think what I did at one point is like I did the the where I did the where the edge where I think my dog is trying to get out my dog is stuck in my office give me one sec I'm gonna let my dog out you you [Music] you [Music] that's the first Cooper totally interrupting my stream okay where was I oh yeah so let's I did this Edgware which let's go ahead and look at that and that's really easy to do because I had already made a curvature map I already made a curvature somewhere in here if I can dig around and find it oh yeah here it is and it's going into a comp where I'm adding some noise so that it's not so perfect and I'm actually if you could see this noodle or line whatever you want to call him he stretches all the way out into input aov input 3 and that's where that's happening over there so that is actually just outputting this mask that I had already made for my Edgware so let's make another one maybe let's do something with the scratches maybe I want a I know I have some scratches in here somewhere let's say no it's not that one I believe it might be this one yes okay so we have actually this might be a dust map but let's go ahead and look at the output of that and go back into our beauty and if I can select beauty here okay cool this is like a dust like a dust map and it's being tri planar try play nerd in there so that it Maps correctly let's say for whatever reason or do we want let me see what this one is this one might be more fun yeah this is kind of like a pockmark scratchy texture so let's say in the comp we might want to control more of this part of our render like maybe we want to bring the I don't know the reflections down wherever it's scratchy or whatnot so we're gonna publish this out to a custom aov so we know that is right here and that's our try planar this is where it gets a little bit tricky because actually for the demo I'm just gonna move this over just so I can get there a little bit easier all right so with that try planar I'm gonna actually just drag it into my store aov now we're gonna choose a o V input v I'm gonna select that store color to a o V and I'm going to give it a new custom AO v and we're gonna call this dust scratch and hit enter and let's go ahead and publish out the story OB to our output and let's go ahead and see if it shows up does scratch and there it is so it's super easy and super powerful so now when I rendered this out as in the XR this is going to be stored as you see it right here so that it can be used as a mat to color correct the reflections or color correct the diffuse or however you want to use it it's crazy crazy crazy powerful and I use them all the time actually let's go ahead and Boop boo boo let's let's jump in and see what else we can do so the other interesting thing that you can do with these custom Aoki's is that once they're created and let's go ahead and shut this because of the way that redshift chose to do its AO views in this fashion you could actually save a render preset with a fixed amount and fixed kind of a Ovie's so if you like for me like I created this AOB list here to rebuild the beauty so let's say that you wanted to do that every single time you've rendered out of redshift you could create you could save this as a render setting and all of these AO B's are gonna come through and you won't have to rebuild them every single time which is nice the other thing I think is worth noting is I don't have it set up here but usually I'll set up a output with a bunch of tokens and if you haven't watched my my tutorial on how to use tokens I think I covered it in either my takes tutorial or maybe it was oh man it could have been I could have been my 3d workflow for 30 workflows for lazy people anyway so being able to not have to render out my output and having everything just kind of built-in along with having your a Ovie's set up for you is a great thing to do because it saves you a ton of time what else is interesting Oh so another sort of aov that that you can do I don't tend to do this a lot but it can be extremely powerful I promised that I was going to get back to this in a minute and that is the object ID pass so the object ID pass is actually a the object ID pass is unique in that some people think of it as a clown pass which it sometimes is known as because it gives every object a very unique and funky color and sort of looks like a clown car or something but it actually the way that I'm going to show you how to use it in redshift it's an integer pass now the way that works is it's going to give every objects ID as an integer value in the Alpha or in its pass in its AO V so what the hell am I talking about okay so here is a list of all of let's go ahead and turn off the API we don't need that so we have all the pieces of this mech and by the way this mech you can get on turbos good I'll throw a link in the in the show notes so that you can check it out that's an awesome model it's a lot of fun to play with anyway so you can see I have redshift tags on everything here so the way that I'm doing my object ID pass is I'm throwing a redshift tag on it if you go over to object ID you can plug in a number well I hope Merck is merck Bilson is in in the chat because he is a brilliant dude and a reg fellow redshift user and I'm like yeah you know what I want to be able to like you know assign object ID numbers to everything in the scene and have them be sequential because that's the only way I'm gonna get a valuable object ID pass out of this and he's like duh just make a bunch of redshift tags and do this which I'll show you in a second let me just delete I'm gonna delete all these tags and I'm gonna start at the bottom come on dude this pen pens killing me already and I'm gonna delete all these tags and I didn't mean to actually delete these guys though I'm actually just gonna do this delete those tags delete these tags and even even that tag and this one I'm gonna I'm gonna keep separate actually you know what for this demo I really don't care I've already read it out it's no big deal all right somebody grab all these guys I'm gonna select them all go to tags go to redshift grab a redshift object tag okay so now we've got object ID I can turn this on and Merc was like dude just type in num and +1 and that's gonna sequentially number everything for you automatically without having to do it so you can see the first ones got one this one's got two three four five six and I was like dude I Love You Man you're genius so once you've done that you're kind of like okay well what does this mean why is this important why do I need to know how to do this well because it's really awesomely cool let's go ahead and turn on our IPR again and we're gonna find that object ID Pass which I believe is right here and you're gonna look at it and you're gonna be like this makes no sense dude it's all white I don't I don't understand why this doesn't look like a clown past it's nothing I can pull a key on what is this thing well if you render this out and you give everything a unique object ID and you render it out you know floating point or EXR like I was just showing you multi-channel and you bring it in to a copper either nuke fusion maybe after-effects I'm not sure I have to look into that but okay so let's just go in here and I'm gonna show you that exact same pass in the comp alright so here's the object ID and it looks the same you're like wait I don't get it this isn't this isn't what I thought it was gonna be well if you notice as I'm mousing over every object it actually has a completely unique RGB value okay so in this case I'm bullying I'm channel bullying bullying boy that's a tough word to say bullying this into my cop so that fusion knows and if you look right here it says object ID fusion knows what an object ID passes in fact I shuffled it if you look here I'm not gonna get too far into this like I said this is an effusion demo I can shuffle that information into my object ID channel so that fusion understands that this has object IDs an integer value each object has a unique number all corresponding back to that tag in the number that I was giving it so if I mouse over this canister it says 106 my mouse over this piece it says 130 and you can see that number changes okay so let's go ahead on those LUT so easier to see so why is this important well because instead of having to render out a puzzle mat for every single object which can get really tedious and sometimes you just need to create a little bit of a color grade and you're not doing anything too crazy then this can work for you and how does it work well in our case in our case we're using fusion but you could do this I want to say it's relatively simple to do this with nuke and it's I think it's even it's a little bit more difficult to do with after-effects but I think it can be done so let's grab a color correction node and let's just plop it into our tree here let's look at it and let's say that we want to shift the color of one of these metal parts to be blue right so if I just grab the blue and maybe the gain comes up a little bit so right now I just shifted everything to blue but really we just want this one canister to go to blue well because we've got the object IDs working properly and this is not like anybody in the chat saying oh is this deep is this DPX are like deep compositing not really it's um it's not quite shallow and it's not quite deep it's like sits somewhere in between really anyway so uh here we go we got our color correction we want to affect just this canister part of the mech right here easy to do if you've setup object IDs correctly I'm gonna jump into my little utility part of the node here my color correction I'm gonna turn on use object and check this out I'm just gonna hold down pick and I'm gonna drag whatever object it is that I want this color correction applied to because I have all the IDs built correctly I can even do individual slats since they're kind of hard to see at home I'm sure I should probably skew this a little bit brighter so you can see it let's go ahead and select the canister like we wanted go back into the color grade I'm gonna boost the intensity of this gain maybe even boost the saturation for comedic effect but at least you can see it so again jumping back into that color correction gonna select a different object so you can see this a little bit better so all this is happening before the depth of field and whatnot so that it comes out all pretty let's go ahead and turn off the LUT and there we go so this is why object IDs are super powerful if I had done like the typical sort of clown pass I would have had to pull a key on these individual crazy colors but this is a lot easier now this isn't super clean like if you notice that this is a this is a channel pass so it's not gonna have any anti-aliasing so you will get cleaner edges off of something like a puzzle mat or a typical sort of clown pass with a object ID clamp house but for most situations if you're just do tweaking it a little bit you're not going to crazy this can be just fine in fact if you're doing it just to do a little slight color grade it's totally fine so I hope I hope that made sense I feel like I'm I'm I feel like I covered quite a bit I feel like I could do an entire another entire tutorial just on the the integer part of a OBS and actually there's already quite a few videos out there that people have created that kind of showcase how you can use user data to drive a custom aov if you guys tell me that you want to see more of that I'm gonna jump into the chat here in a second if you tell me that you'd like to see that maybe we can if everybody agrees we want to hang out and and see more of that I'll try to on-the-fly whip something up or if you have a question about any of this crazy stuff I just laid out hit me in the in the chat for those of you watching after the fact thank you for tuning in and I'll see you on the next stream you all right so I'm sitting here in the chat ready to answer questions about custom a Ovie's Matt say buddy what's up haven't seen you in a while happy new year sorry about my my dog totally interrupting me I was really trying to keep this tight and it's so much to cover and if you guys want I can dive back in and and show you the integer stuff or ways of using user data to generate a Ovie's so yeah Karla what's up buddy thanks man grant good to see you happy new year Kakui yeah we just we we just wrapped it up trying to keep these sort of around 30 to 40 minutes but it'll be up on YouTube as soon as it gets edited however if there is things that you want me to show or you want me to dive into a deeper sort of dive I'm able to do that right now I'm actually free for another however you guys want how long however you guys want us how long you want to stay completely up to you I'm here for you okay so image lab wants to know why are there store integer and store scalar to aov when the custom AO bees are limited to RGB a only so the store integer and I'm not really I can't really speak to the store scalar I haven't come across the situation where I would need that but the store integer is really great if you wanted to let's say build your own object ID pass similar to how I just did so if you had a very specific integer value that you wanted to assign to an object through a pass that is or sorry through an AO V that's how you would use that so that's kind of for doing that Hoddy wants to know any advice to reduce artifacts for depth yes so as you may have noticed I was using post up the field lens care you want to make sure that you're using I'm gonna jump back into the screen cap and you're gonna want to make sure that you're rendering out your AO v for your depth out of redshift using doo-doo-doo-doo where is it at here I'm just going to the manager I believe I'm using min depth this may not deep default to that I think it might actually default to full or something I can't remember but if you notice I think I have a tutorial about this z-pass requires extra pixels along the edge to cover for anti-aliasing and you actually don't want any anti-aliasing on your z pass to get a proper depth of field going using something like lens care so min depths I believe is what I used I'm pretty sure that's right but if it's not I'll try to update update the post with a correct setting and yeah then I use lens care it's a fresh lift man I butchered that name every single damn time but yeah I use that to do my depth of field in fact I can just like dive in here and kind of show you how that's working so here's my depth of field let's go ahead and turn on my LUT so that I can work in 2.2 let's go ahead and also look at the Z here so this is what will ship sees as my depth I have to invert the depth here because redshift sees the depth as white being far away and black being close to camera so you invert it you do an auto range and then you come in here and you can say sharp zone and you can like sort of pick where you want your depth to be on your shot in my case I chose just where that sticker was that's really sensitive so like somewhere in there then go back to normal blur and then if you look you can actually say oh I want to look at the iris so this is the actual bouquet or bokeh whatever camp you fall into and I've got it rounded a little bit I got six facets a little bit of a of an anamorphic squeeze on it to make it look a little bit more realistic and that's kind of makes it look nicer on these areas down here so that's that's how I do that's how I do it so yeah I'm going back to the chat and let's see that working okay cinema 4d tutorials uh so he wants to know is it possible to get a link of your metal material I am actually currently working on a entire material pack that will be for sale at some point for grayscale gorilla and I imagine there'll be several flavors of it in that but I do not have a timeline for that yet I'm in the chat let's see min depth is the same as min max effect in AE yeah I believe the frill shift tool the lens carrier depth of field is the same whether using it for nuke fusion or After Effects I believe it's the same yeah it's not in my case it's not auto-mapping to because it's a it's a 16-bit half load it's brighter than white so but it's smart enough to know that so if I we usually usually click the auto range and it like to clamp sit down ben says render two million passes just to be safe dude yes i mean once you understand like how custom Aoki's work and how they can save your your ass in post you start to think of like all the different things that you might need like maybe Afrin l pass where you just take the output of Afrin l and keep in mind they they don't have to be connected to your shader they could be something brought in completely separate you could have a facing ratio R for an l texture going out to an a OB so that you could control some light rap or some backlighting I've been promising that pack forever I know dude but it's a it's so hard to find the time to actually like sit down and jump in Brune wants to know complete new peer but what is redshift used for so redshift is a third party well it's a it's a it's a biased renderer that's available for Maya Houdini 3ds max cinema 4d it's typically used to do photo real 3d renders very fast add it to do you always use z-depth instead of rendering in depth of field no I'd say it's about 50/50 I'd say it depends on the scene so if the scene has if I it's just pretty this way if I can do it faked I'll do it faked if I can't meaning that it's there's glass or there's some sort of really tight shot with something that the extreme foreground and like extreme sort of background then I'll do it in camera but I usually try to do it in post because I just love to be able to control every little aspect of it and not be tied down I want to be able to sort of get into that let's see complete noob here as well doesn't see 40 you haven't have a good multipass system it might I have only used third-party renderers I'm fairly new to cinema 4d so I started off using octane then I moved to Arnold and picked up redshift so before that I was using v-ray and 3ds max so I believe you can build a beauty from all the different components using physical totally possible however it does not have custom a Obi's so custom arbitrary output variables are definitely something that's more in the the the newer sort of renderers that are coming out right now somebody wants to know is redshift faster than octane I'd say in some situations yes and some probably no it really kind of depends on what you're doing Oh Philip wants to wants me to show the fusion XR shuffle okay let's do that really quickly I know a lot of people are like probably like I said Fusion there's a free version of fusion that you can pick up that I think it's only limitation is that it's HD and you can't use any scripts but otherwise it's completely functional so I'm back in fusion here so like I said I bring in one axr and I'm just going to show you how I do that and this is actually a script that a friend of mine wrote Tim little I'm gonna put the link link to it after finish the stream so let's go ahead and import let's import something let's just go up here to there and I'm gonna grab this EXR and I don't even know what the cxr is oh it's this one okay cool so I'm gonna select that EXR I'm gonna go to script and it's called H OS split EXR and I'm gonna select it and I'm just gonna want a vertical placement of the EXR so I'm gonna hit OK and it's gonna take any channels that I already have embedded in the cxr and it's gonna split them out to their own loader so that makes it a lot easier to deal with when you have as many custom a abuses I have it's easy to just like cut split them all out and then start to spread them around where you need them or channel billions them in where you need them so if you I believe if you google Tim little EXR host split the XR script you might be able to find it so I hope I hope that's true anyway okay back in the chat slob oh saying I think I'm saying that right I keep having problems with foreground objects edges whenever I tried post up the field you'd have been when using frill shift or why is that it's probably because your z-pass is is not filtered properly as e-pass needs to be unfiltered and needs to go a little bit beyond the anti-aliasing edge and I think I have a tutorial I want to say I did a tutorial in greyscale gorillas about that and it's so that's probably the what's causing it it also could be that you're trying to maybe push too much depth of field into a fake depth of field situation and that can also fall apart because it's only it can only take you so far alright so back in the chat here Arvind thanks I've never tried a multipass systems always rear-ended stuff every time yeah REE rendering is bad I hate rerender unless I absolutely need to or unless I'm making something a lot less I'm fixing a problem or making something significantly better I try to cover my ass with passes so that I can and they're generally mats like it's almost always I'm spitting out custom a OB mat passes puzzle mats out of I actually didn't show puzzle mats in red shipped I should probably do that at some point but yeah that's that's definitely how I work I usually do a beauty and then a ton of passes mat passes to cover me for four post yes we rendering can cost time and money oh yeah that's right I did a I did a I did a tutorial about the Z pass coming out of physical and how it's wrong and like a cheat kind of way to get it right but if you're using redshift octane Arnold whatever there's he passes are right so you don't have to worry about that and maybe I should update that tutorial at some point and maybe cover different renderers and stuff but yeah for right now I think it's good redshift behaves kind of weird when I use alpha texture with volumetric lights create shadows on texture borders yeah I don't know about that one I'd have to I'd have to dig deeper under that one it's not one that I would be able to just answer right off the bat how does AOV render preset handle your custom link to a OBS if the material doesn't have the call up I understand generic passes beauty you are correct it would not work because if the shader is not in your scene then of course it's not gonna be able to find it so it's kind of like I would recommend just getting the generic stuff sort of out of the way if you wanted to do that but yeah or actually you could make a startup scene that had sort of the AO and all that stuff built in but that's kind of a pain I would probably just keep it basic I'm gonna do the basic stuff that doesn't require any mats and that your map any sort of textures and then sort of go from there let's see should have my render engine or learn how to use standard physical it's really up to you I mean you could totally use physical I still use physical not as much as I used to I sort of jumped right into third-party rendering when I got into cinema it's it's not I mean yeah why not you might as well know it's there I think it's good to know there's many render engines as you can to make yourself a little bit more flexible and be able to tackle things that certain renderers just aren't good at certain tasks so knowing more than one will just mean that you'll be able to do more so I sometimes I know it's hard with time and whatnot but a lot of these renderers operate very in very similar ways the OB concept in Arnold is very similar to the OB concept in redshift so once you kind of learn that part of it it becomes much easier yeah so if there's anything you want me to show let me know I'm sitting here waiting for some for some juicy questions otherwise we'll wrap it up here pretty soon but yeah you Chad did you use the second copy of color splitter just for demo or for some other reason no just for demo I told Lee could have pulled that alpha out of that same one but I didn't want I just I want everyone to come times if I don't do it and go through the motion or you know some people just don't realize that you can control and I didn't even actually make that apparent like when I'm control clicking something it's actually creating a duplicate so sometimes I just do it out of muscle memory so yeah that was totally not needed I could have pulled the alpha out of that one and went into the other ones uh Ismail wants to know is there a tool to convert cinema4d materials into redshift materials I believe redshift will do a conversion on-the-fly meaning that you could actually take a physical material and render it in redshift and it'll try its best to make it look similar I don't believe there's a script yet I know Arnold has one that will convert things that you've made in physical to Arnold but I'm not sure they're one there exists one for redshift Tokyo wants to know what can you do with your AO B's and Comp when you build your beauty from scratch I've never understood why that is useful is there any practical uses for that yes there is glad you asked that is a great question let's jump into I'm gonna jump back into my copper now this like I said you could do this in any copper it does not have to be fusion it can be nuke it can be after-effects so why did I split this all up and rebuild the beauty like we see right here and like let's actually jump out to this and okay cool so this is the combination of all the diffuse filters on top of the GI on top of all that stuff that that that formula that I showed you earlier right here that is on red ships manual if you follow this formula in anything even in in Photoshop you'll get the beauty and why is that important well like in this case if I'm tweaking the texture of this of the sticker I don't want to necessarily have that effect the reflection right that's happening on the metal because if I put this matte on a beauty and had it affect it way down here at the end of it I would be let's say if I wanted to let's just do something kind of crazy here so let's grab our sticker matte and we're gonna pump the gain of the sticker make it really bright so if I did this later in the comp before the reflection was actually put on top I would be blowing out the reflection as well as I'd be blowing out the sticker that makes sense so it's a good idea to sort of build it this way so I'm actually applying the the color correction to the sticker on the diffuse on only the diffuse of our render here so you can see the reflection hasn't even been added nor has the GI nor has the any refraction that I might have any of that stuff so I'm actually able to affect my render in a more physically correct way because I can come down here to the very end of this comp I mean it's not it's not a super great example because it is white but this reflection here isn't blown out over that sticker because I applied that color correction before the reflection was even added so I hope that makes sense so that can be very useful if you're just looking to affect something that's in the reflection channel so let's say we have our reflections here and these actually you know what I'm gonna do specular are actually already had this demoed out so we have our specular and we actually have the ability to now do a color grade on just the specular so if we wanted to let's say I don't know tint the reflection a little bit green here I'm not sure if I'm passing through that my passing through that see what's going on here spec should be actually let's reset these color changes don't use object and let's make it okay here we go blue green right there so now we're effecting just the reflection it's not actually affecting the diffuse color so you can always come back here and say okay this is the diffuse color the GI all that sort of thing now we have a blue reflection and it didn't I didn't have to tint my entire image blue so it's the ability affecting just parts of the comp that's what makes this workflow nice so be able to really kind of dissect it again I don't really use it that often to be honest I'm kind of lazy I'll do like a beauty and then I'll just do everything else with mats so a good question well because the Arvin wants to know this reflection won't consider the color corrected sticker does it well because it sort of does because the reflection is just a layer of specular on top of the sticker so I wasn't when I when I shifted the hue of the sticker I wasn't shifting the hue of the reflection of the sticker I was just shifting the hue of the sticker so as doing it this way that's why this makes sense because you're actually just you're adjusting the hue of the diffuse on that sticker not they're not the reflection of the room or whatever on top of the sticker very easy to do to affect the reflection color since we have this custom AOV we could use that anywhere in the comp to tweak the color of the reflection just over the sticker we could use it to do a number of different things we could we can use it to blur the reflection over the sticker if we wanted to obviously you can only push that so far but it is a totally viable workflow Bogdan wants to know is there any news on the GPU version of Arnold no no new news no new news but I'm hoping it's soon I'm excited about that I've been waiting for it for a long time and I'm really really looking forward to it in fact I need to do this video I'm gonna try to do a version for Arnold as well because I think it's it's kind of good to have both since the workflows are very similar I'll probably use a very similar scene and probably use this scene and try to come out with that in the next month or so is there a way to toggle through the object ID mats to visualize each individual component in Fusion or do you only use object selection so yeah the way that I was doing it earlier let's just jump in here just find that object ID where I was shuffling at in I still use terms sometimes I I still use new terms sometimes but channel boolean Singh is what it's called here I camera timed out here we go okay so let's find that where is it at I thought it was down here you know here it is object ID I even labeled it and I didn't even read my own labels so I don't know if it's coming through but right here Fusion has a little menu and that you get that just by coming over to this little sub View menu and you can go to color inspector and just turn this on and now whatever I'm mousing over it gives me the ID number of that object so that is object 106 this is object 101 95 183 and so on and so on so that's usually how I do it what do I know about AI the AI denoising and redshift I know that it is based on the AI Nvidia denoiser I believe and I haven't played with it I I don't know how I feel about it because I mean obviously denoising is cool but I've never really had a problem with noise in redshift so I'm a little bit like I'm not sure if I would use it I mean I guess if I had a noisy render I might I would use it but once you kind of understand how redshift works it's pretty noise free especially once you dial the settings and it can be pretty pretty noise free but yeah I mean it's great that it's there if it works awesome it's only gonna be for the IPR though that's kind of a bummer but I mean it's useful okay cool guys so looks like we're coming up on an hour here which is about where I wanted to be any other questions that I can answer in the next three minutes hit me and I will do my best again thanks for showing up thanks for hanging out it's fun I always make sure you check grace go gorilla calm slash live for our latest schedule and whatnot crossfader is that you Lucas he wants to know what's the current limitations of RS redshift Wow that is a guess completely dependent on the use there are things that that it doesn't have that I wish it had I wish I could just quickly create an object mask very easily with a tag the way that I can and Arnold sometimes I feel like the SS s the subsurface scattering in redshift is not very good it can be buggy sometimes the IPR does weird things that you have to restart it just small annoying things like that sometimes the GI can look a little bit almost sort of approximated and not as real as like octane or Arnold but you know I'd say it's it's it's great for what it is it's super fast when will I be making a class for learn squared oh man I would those guys are so good I love those guys someday maybe if they asked me I'd probably be down redshift is not production-ready question mark no absolutely it's production-ready absolutely I would say that none of the things that I mentioned would mean that it's not production-ready it's it's fairly new it's only been around in cinema for a year so there's gonna be there's gonna be problems like any new piece of software they're still working out the kinks so I think it's production-ready I have run into issues where I've had to switch from using redshift to Arnold because something was bugged out but I usually am pretty good about letting them know what's going on and they're usually pretty good about fixing it so yeah do I think redshift is good for arch vid arc-v' is absolutely in fact I it's my most recommended renderer for people doing art this because it is so fast at it and you can bake your GI solutions the way beer a can so you could actually bake your entire irradiance cache into a file and it'll render ridiculously fast so arc biz yes for sure can you split the channels up in fusion without that script yes it just takes time it's just we made the script back when Tim used to work for me back at decay and so we made the script because we got tired of hand doing it all the time just was such a pain but yes you can do it by hand all right uh would I ever take on virtual mentor wait would you ever take on virtual mentors to learn look this mentor Iza maybe our mentees students asthma mental yeah I probably I might do that that might be fun I would actually like to do more looked of instruction I just haven't had the time to figure out how to make that happen but yeah that's actually a good idea maybe maybe I'll talk to Nick about that it's think of some some way to make that happen okay so I think that's gonna wrap it up I'll take one more question so edit wants to know what's the biggest but different what's the biggest difference with octane there's a lot of differences between rich F and octane I would say that octane is a unbiased renderer meaning that it's a it tries to simulate reality as close as it can which often means that it needs more samples and more time and that sort of thing whereas redshift is kind of an unapologetic biased frame renderer which when I say unapologetic I mean that it is just a like I'm gonna crank out these frames and get them done and it they both are GI or so they both work off the GPU but I would say redshift is a more of a production renderer something that you're gonna do a lot of animation using or arc these type of things not to say that you can't do that in octane you can but there's a lot way more ways to cheat and to kind of cut corners in redshift which is what production is really all about in my opinion um okay do-do is there some way of pulling out a polygon selection to AO be like object ID oh that reminds me thank you for that question I think I might need to do a part two of this because that just reminded me of a completely other AOB workflow that I think you guys would really dig but I'll save that I'm gonna keep that secret save it for the next one Mike you made it but I'm wrapping up but good news is as soon as I'm done here we edit it down it'll be back up on YouTube and so yeah it'll be there for when you guys have time to watch it so with that I'm gonna wrap things up thanks everybody for watching thanks for tuning in it's always fun I hope you enjoyed it hope you got something out of it give me a thumbs up if you liked it obviously subscribe if you haven't and we'll see you on the next stream you can check out all the stream schedule on greyscale gorilla calm /live and see what we're up to we're trying to stream a lot more so get get in the know and I will see you guys on the next one bye everybody

Channel: Greyscalegorilla

Views: 68,100

Rating: 4.8533792 out of 5

Keywords: cinema 4d, c4d, tuts, tutorials, motion graphics, greyscalegorilla, Cinema 4D, redshift, redshift3d, redshift tutorial, redshift3d tutorial, redshift c4d, redshift c4d tutorial, redshift aov, redshift aovs, redshift aov tutorial, how to use aovs, cinema 4d redshift aov, render pass tutorial, how to use render passes, how to composite passes, black magic fusion, fusion tutorial, redshift fusion, redshift render passes, redshift aov c4d, redshift aov cinema 4d, redshift passes

Id: ARykOD6lG3c

Length: 65min 44sec (3944 seconds)

Published: Wed Jan 03 2018