Scattering Mountains : Cinema 4D // Redshift Tutorial

hello my cinema 4d and redshift users this tutorial is for you we're going to be talking about how to create a mountain range and staying in cinema 4d so there's other tutorials on how to create mountains and other software like uh world creator and other things and bring them in which is awesome but i'm going to show you how to create a massive mountain range procedurally in cinema 4d let's check it out so step one we're going to come up here into the cinema 4d objects and we're going to use the landscape object we can scale this up and we can change a lot of the parameters to help this look a lot cooler and one of the first things i like to do is i like to turn up the width and the depth segments that way we get a little bit more detail what i like to do next is within the landscape parameters you can play with the rough furrows and this will increase a lot of that mountain detail you can also play with the fine furrows and this is going to give smaller details as well making our mountain look a lot more detailed once we're happy with our mountain the next thing i want to use is the redshift matrix scatterer now this is basically a way to scatter geometry really fast and each of these squares represents where we can scatter our mountain object so i'm just going to stretch this out so it's nice and big now i'm going to click on the redshift tag and if you come over into the particles and click on this drop down you can see custom objects that's where we're going to put our landscape and in the viewport you won't see anything but if we click on our redshift render what we're going to see is the mountains scattered properly but before we begin what i'm going to do next is i'm going to create a redshift material and i'm just going to give this a base noise texture just something that looks a little bit nicer first i'm just going to come over into the reflection roughness and i'm going to turn this up because we don't want the rocks too shiny the next thing i'm going to do is come up here and search for noise then we have the max on noise which i'm going to use and we take the out color and we're just going to drag this into this blue square and go to the diffused color now from here we can choose two colors that look really nice together that may look like some dirt so i'm just gonna go in to this channel and make a dark colored dirt and the color two i'm going to add a lighter color dirt all right there we go so now we have some noise that's going to look like some dirt we can also choose from the different types of noise and i'm just going to go with the booyo one now when we click render this is what we get so we can see that our scatter is working great and we can see our material looks nice on those mountains but obviously the huge problem is this looks way too much there's way too much pattern so we can break up this pattern and give it much more of an organic feel and the easiest way to do this is come up here into the mograph objects and we're going to add a randomizer make sure your rs material is selected when you do this so that it applies to it and we can open up the parameters and see what this is doing so right now the position is on and that is what we do not want right now we don't want it moving in the y position because if we look underneath we can see that some of our objects are dipping beneath the ground and we don't want that so i'm going to set this to zero and we may be okay with the x and z's being off a little bit so that they're intersecting to give us a little bit of variety the next thing we want to do is come into the rotation and change the h rotation to 180. this is going to rotate everything and offset it so now it feels like a gigantic mountain range so this is looking pretty stale on a render so let's come over into the redshift objects and add a redshift sky and sun object and this is how we're going to get some nice looking rendering and lighting and so let's just preview this and see what we got and already this is looking a lot better and by rotating the sun the nice thing is our environment changes as well giving us a much more realistic environment with the rs matrix selected i'm going to add a plane effector and what a plane effector does is it will affect everything and not randomly and what i want to change is the scale in the y i'm also going to add a 180 rotation and i'm going to change the scale in y and this is going to make the top of the mountain's peaks a little bit higher now the cool thing is we can use the falloff and i'm going to add a linear falloff and what this does is it makes it so that we can choose where our plane effector is affecting so by sliding this around and adding a linear on we can see that now it almost looks like there's a mountain range and maybe some hills so this is another great way to customize your environment the cool thing about falloffs is you can add other falloffs on top of each other and just like in photoshop you can change the blend modes between them so i just added a shader field with some noise to get some variety and then what i'm going to do is add a multiply so it's going to multiply between the linear and the noise that i created now i'm going to increase the contrast so you can see this a little bit better so now we have some noise that's changing the scale and the y value and the linear falloff now i'm going to duplicate the mountain range and i'm going to create another mountain range with a little bit of some a couple differences maybe scale the top down and we'll make it a little bit bigger what we do next is we can drag that new landscape we created into the rs matrix and we're going to see that it's going to scatter it with the other landscape so now we have two objects that are being scattered together now this is looking really uniform so if you come down here you can change it to random distribution and now you're going to get that nice organic random scatter between the two objects and the cool thing is you can throw in as many objects as you want into there and we can just scatter it and get a lot of uh variety so i'm going to duplicate the mountain again and i'm going to give a another mountain maybe one that's a little bit taller and go back into the rs matrix and drag this landscape into that as well now this is looking a little too big so what i want to do is zoom out here and i'm going to change the scale of that mountain it just isn't fitting for this scene so i'm going to scale it down and see how this is looking in a render and that's looking much better i want to show you something in the sky parameters on the redshift sky is if you come over into the overrides and we change the gi intensity this may this is could lift up the brightness in your shadows so if you have really dark shadows you can turn this up to like two and you can see now we're getting a lot more bounce within the darker areas if you feel like that's a little too dark i also like to play with some of the other settings in here if you increase the scale of the sun it's going to soften your shadows so if you don't like those really harsh sun shadows we can soften those just a little bit by making the scaled sun a bit bigger all right let's now talk about the materials within our um mountain and getting a little bit more detail on some of these ridges um adding just a lot more sub details so the first thing i'm going to do is i'm going to take this rs max maximum noise i'm going to duplicate it then i'm going to add a bump tag so i'm just going to drag this in here and connect it and do into the input texture and then we're going to go into the overall bump input now what this is going to do is give us a little bit more detail in some of these areas just making it look like rocks but the first thing is let's crank the settings up even more to see if we're getting that there nice so now we have some what looks like little rocks throughout here and that's looking pretty nice i like i'm thinking that's looking good all right i want to get a little bit more detail out of this so the next thing i'm going to do is i'm going to bring in a displacement tag so let's grab this displacement tag and we're going to plug this into the displacement plug-in at the on the output then we can plug in any texture map we want i'm going to plug in the noise and then what you're going to have to do is add a redshift object tag onto our landscape so i've gone ahead and done that and if you select them and turn on the displacement in the geometry tab and then you can play with the displacement maximum displacement and the displacement scale if for some reason you're not seeing any anything happen with your displacement a really good way to check your texture map is let's disconnect the displacement and let's just plug the noise directly into the surface bypassing our material and now we can see what our noise is looking like and we can see maybe the scale is too small or too big and we can change it right here and the other thing we would want to change is the contrast and the color so right now we're using uh brown and um light brown but we probably should change this to a white and black so that um it's easier for the displacement to understand because brown really is just a gray value so i'm going to turn down the contrast and get this noise to what i'm liking and then i'll plug it back into the displacement and then we'll put our material back into the surface now we should be able to see something changing in our scene and yes we can see now we have these like little clumps and um one of the things i want to turn back down is the displacement i had this a little too high so i can turn it down to like two and we can see we our displacement is working just great now i feel like i need to invert these i don't like that it is um going in the way it is so i'm going to switch these and i'm going to have the bottom one be white and the top one be black so let's switch these by clicking back on the color and turning this back to white and turning this one down to gray or black now we can see that we have this displacement happening and we have the noise and this is giving us a lot more detail now what else we can do is we can change the scale and right now our bump and our displacement are sharing the same noise and i don't think i wanted to do that so what i'm going to do is i'm going to duplicate the maxon noise now i can change the overall scale of the bump input put it maybe a little bit smaller and we'll have the displacement just a little bit bigger and this is going to give us that variety in our details that we want so what we want to do now is duplicate our material and we want to grab a material blender and we want to blend between these two materials so i'm going to grab our base material which was our first one and plug it right into the base color and the out into the output surface now i want to i'm going to organize this just a little bit more and move the displacement down since that's going to be on the bottom and move our first base material up just a little bit more to give us some room and the next materials i'm going to just put a red color on so we can see it a little bit better and i'm going to put this into the layer 1 color now we're not going to see anything happening yet and that is because we don't have a mask we don't have any way for the material blender to know how to blend between the two we could change that blend color to a gray or white and that would switch it from the base to color one so we can use what's called a curvature and a curvature looks at the convex or con cave of an object and we plug this into our surface output and we can see what it how it's going to mask this procedurally so it's looking at right now the convex which is the edges and by um moving your slider around in the gain moving it down a little bit we can give it a little make it a little bit brighter and by playing with the input range so i want to keep the min at zero and bring the max down and this is going to give us a lot more contrast so we can see those lines so again this is a great way to preview your materials or your textures now like i said if we change this to concave this would be something that you would want for water for rivers or dirt anything like that that gets in the deep crevices and on the on the edges you would want to use the convex so let's use this rs curvature as the mask for layer one so go to blend color and then take that output and put it back into the surface and what we should see if we zoom in here is a little bit of that red coming in here so i'm going to turn up the brightness of the red it may just be a little too dark and we'll be able to see on the edges the red color appearing so that is exactly what we want so we know that the mask is working and we can see that now we have this nice blend between two materials on one object so let's come back in here and let's change the color to maybe a lighter brown so almost like the rocks have worn off on the edges that may look a little bit nicer or the mountain ranges that's where the most weather hits so they kind of make them a little bit lighter so that's looking pretty good so that and that just is another way to get some procedural um details in there without having to do things manually like painting or anything like that i'm going to come into my um render settings and i can change the output to 816 which is your 235 aspect ratio or it's like a cinema scope aspect ratio i just think it looks a lot nicer and i'm going to add a camera in and we're going to make sure we're looking through that camera view if we click on the camera parameters we can change the focal length let's change it to maybe something like 50 so it's a little more telephoto and let's just position our camera up to see how we are liking this angle another trick is coming to your camera and turn on the on the composition tag the grid and this is going to help you know where to position things when you're setting up a shot so it's really nice one of the most important things to do is lighting and composition so i'm going to duplicate one of these landscapes and i'm going to scale it up so that we have some visual interest so by putting it in one of these corners of our composition grid it's going to help just compose this a little bit better so we know that's kind of an area of focus is in this uh top left corner i'm going to duplicate another mountain and i'm going to bring one in as a foreground element to kind of help draw the eye so now when we see this in the render we're going to see that we have something that looks a little bit nicer and will composed as a shot so looking at this this is nice as a foreground element and i like the mountain in the background but i feel like the foreground one is a little too big and is kind of taking too much attention so i'm going to click back on our foreground landscape and i'm going to just kind of reposition this and i'm going to scale it down just so it's not obstructing the view too much and not drawing too much attention attention to itself okay if that's looking a little bit better and now i think we can do a couple other things to make this seem a little bit more interesting now what i'm going to do is click back on the rs matrix and we're going to add a another plane effector so i'm going to put this planet factor in and we're going to come in here turn off the position and we're going to turn the scale down to negative 0.5 so it's going to scale some some of these mountains down then we're going to come back into the fall off and we're going to add a cube fall-off so basically anything within this cube area is going to be scaled down negative 0.5 so let's position this i almost want to make it look like there's a little bit of valley that's kind of connecting these two mountains so um once that's in the falloff and we just want to make sure that that plane is effector is in our matrix object and now let's see what this is going to look like okay so we can see that this flattened out some of those mountains and i feel like we need to make this a little bit bigger and reduce even more of those mountains so i'm just going to stretch this out and that's going to bring it down and it's really nice because we can see pretty much real time how it is affecting that and i'm also going to make this mountain a little bit bigger look more ominous so let's just scale that up okay so now what i want to do is add a little bit of environment hey so just add a redshift environment and the next thing is we need to make sure that our lights are contributing to the volume so i'm going to click over on the volume tab and if you turn up the contribution scale our skin our scene is going to go totally white because now it's all just fog so we got to turn this down i just wanted to kind of show you how that works so i'm going to turn it down here and i'm also going to turn down the scattering on the redshift environment objects and as we turn this down you're going to start be able to being able to see our environment and this is the kind of effect that we want because we want that atmospheric perspective so we want things to kind of fade off in the distance it'll make our scene feel much larger by adding in some haze by tearing the phase up what this is going to do is concentrate the haze around our light source a little bit more i enter the contribution down also on the sun even more because i want this to be subtle i don't want to i don't want to overdo it i don't want this to be a hazy area but i just want it to look like the mountains are distant so i feel like that's looking pretty good so i think i'm going to keep it right there and i've decided to move the sun a little bit to the left it just looks a little bit more interesting and now within the redshift parameters if we play with the bloom we can also kind of make our highlights look like they're just a little bit softer and also we can play with the photographic exposure i'm turning this up and down and kind of messing with some of the parameters and i always like to come in here and just kind of see what each of these sliders do desaturating the overexposed areas and until i find something that i like now there is also a new tab that they've added and that new tab is the new magic bullet looks tab and once we click on the open magic bullet looks it'll bring up a whole new dialog and in here we have a bunch of really cool tools so for example you could throw a gradient mat on here and again they have just different ways you can change the color let's say we want this to be a little bit more red we could push it there and this is just a great way to test out some looks um in your render or you could render it out with them and they have many different effects and cool things like that so i could add a film negative maybe add some film grain um we could also add a pop maybe make it a little bit sharper so it's really cool to have these options to be able to test out things for magical looks and i i've enjoyed kind of coming in through through here testing out some stuff seeing how it's going to look in post when you're ready just hit that check mark and then it will update in your scene on your render and you can see what your effects are actually doing so there's also a nice little slider here that we can just turn down if we feel like it's a little too intense we want to back it off that's a great way to mix between what you originally had and with the looks once you're happy with your render just do a high quality render this is a little bit low res but and that's how you're going to be able to create a procedural landscape here in cinema 4d really fast and it's nice because we were able to get all that detail and we could change things very quickly if i wanted to add more rocks more detail smaller details we just drag it into that rs matrix and it's going to scatter it out throughout and i think it's really fast to render i was very impressed with how quickly it was able to render out this many polys that fast thank you so much for watching this video uh don't forget to subscribe like the video and share the video that would be super helpful for me and if you want to learn more about how to do cg stuff visual effects all that fun stuff go to vfxcentral.net where we have courses stock effects all these fun things just for you go check it out and we'll see you in the next video

Channel: VFX Central

Views: 14,298

Keywords: c4d, redshift tutorial c4d, redshiftc4d, c4d red shift, redshift tutorial cinema 4d, Redshift c4d, c4d redshift, Redshift for cinema 4d, how to use redshift, cinema 4d redshift, beginner redshift, redshift settings, redshift render, intro to redshift, redshift renderer, cinema4d, vfx, visualeffects, redshift, render, composting, vfxcentral, filmmaking, tutorials, Cinema 4D, Redshift, redshift tutorial, red shift, redshift3d, redshift quickstart, gpu, c4d tutorial, c4d tut, cinema 4d

Id: YEuzCwPPeI0

Length: 20min 23sec (1223 seconds)

Published: Sun Oct 04 2020