Cinema 4D and Redshift: Importance of light and textures | Alexey Brin | Skillshare

Cinema 4D and Redshift: Importance of light and textures

Alexey Brin, Motion designer

Cinema 4D and Redshift: Importance of light and textures

Alexey Brin, Motion designer

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5 Lessons (28m)
    • 1. Overview

      0:40
    • 2. Lighting

      6:33
    • 3. Patterns

      3:59
    • 4. Textures

      10:08
    • 5. Summary

      6:52
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About This Class

 In this class I`ll show you how we can improve scene look with working on lighting and adding pattern based and realistic textures.  We will build imperfected shader of metal, will add details to materials so they start to look more professionaly.

In project file you`ll find all stages of our work and links to textures i`ve been using.

Important notice: This class is done with Redshif 3.0.22 and Cinema 4D S22, but should be easely opened in R21/R21 becouse i didn`t use any of features realted to S22 release. And you can use more earlier versions of Redshift either.

Meet Your Teacher

Teacher Profile Image

Alexey Brin

Motion designer

Teacher

I`m motion designer with about 8+ years work expierence. I like create both simple and complex scenes with technology scene. Now i`m a Shutterstock contributor and post cinema 4d and after effects tutorials in russian in my blog.

I got a lot of messages from english speaking audience about my tutorials, so i`d like to try (even my English is not very good) to share my knowledges via Skillshare.

See full profile

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Transcripts

1. Overview: hell. I strongly recommend these class for people who usually render their scenes and thinking that something is missing. Don't look so professional. Or maybe there is no eye catching details. I'll show you how we can use light textures and patterns, too, and good new details, even in simple on the screen. You see result of this class, what was in the start and what result would get. In the end, there is no color correction. This is just Renda. And if you like what you see on the screen, let's start to investigate the techniques and tools. 2. Lighting: I want to show you the scene. Overview. This is a very simple scene where we have some two years that cut with burn, a fracture and ineffective. It used random color with only one settings on is effective color. So it randomize the color that yes, distributed between these elements fractures and another fracture uses source metrics that generate these splits and random affect. Er, just offsetting metrics elements to find and to manage proper cuts. Unit them on my drinks you have, the more cards you will get. So let me go back toe safe fashion And now we see that there is no light. And on the front, facing speckle er which is generated by these before light are going to die. And now it's said toe brute forcing primary engine second arranging there are pre made sampling overwrites. You can wash my tutorial about sampling. Now I keep it as default and what you have to do is to make and you lights maybe a something interesting. I would like to put one light at the top. Of course, I have to decrease the strength. Maybe two for three. And even with these default light, we get light and shadows. And now I was seen start to have a beautiful shape presentation. Just check these one. And I want you one. I put it may be to the site that may lock it to the camera. We have self shadows. The bigger our area light, the softer shadows will be. And I would like to add one at the right side. And now everything starts toe work Our default one top one and right, maybe decrease its strength. Just small light from the right. Eat kills our shadows. I would like add one more light that called rigid Sigh, son in school rig. And when you add this thing, you have a very blown out image and you can play with intensity. Find proper value. You can lowering or Hying true beauty. So the light will effect with these option. It's like aiding fog. So the sun and one more thing is to add red shift camera I don't use and we will not use multiple compositing layers in these class so we can go to exposure going toe, other right enabled and decrease film speed, for example to 80 we can find some balance and off course. I would like to rotate this element to have shadows going, maybe to the site like this, playing with anger off son and the great thing that when you rotate the sun, you have the change of the sky. It's like night and day. I should set everything to zero except age. So I keep on Lee rotating my son like this. Inside, we can increase disk scale for creating softer shadows and maybe sounding like like this very bright and signing image. We can degrees may between speed or you can go to tone, mapping and degrees. These allow exposure to zero, and we don't have these bone outs. But when you use this thing, you lose speculum so we can keep some segments up to you how to play. We've lied how to set it. I want to show you that default scene skin looks awful, and when you start to Ed Sam Light that provides shadows speculators, you can dramatically improve the quality of your scene. These lights sit up, wanted top in one of the right, already creating a great looking imaginary with devils speckle, ersten battles and the soft shadows and everything looks great. I just want to add and to show you how sand can improve. You're image and Canete something like soft shadow, these additional light sources for bounds. You see, we have a lot of dark zones here and here and sand decrease it. You can play with intensity and find the proper balance. So the next lesson I'll show you their final set up and you can check there all the settings I apply because this is a very intuitive and it's very personal. So you can play and set settings for your scene for your mood. I just want to show you the logic. So let's go to improve our was seen. That light is ready. 3. Patterns: sometimes fighting proper grammar and said Lighting already provide the great result in your render. But what instruments can be used to improve this thing further? Let me hide our German tree and puts fear here, and I show you what elements can improve. The 1st 1 is betters. I permit two buttons. Texture. It's like That's maybe we can adjust the scale. Yes, looks nice. Well, maybe five for too much that would keep with this 3 to 2. And this one, of course, 3 to 2 and multiply by two. One more. That's pretty nice, how we can work with our color, which is already good and how to mix with our patterns. We can go and copy our collar, going to color, constant right click and paste. We're have to mix our patterns. We can use Carlo Composite if we have on Lee to object to blend one of the loading to base color of the 2nd 1 to blend color. One of I think if you use black and white textures for roughness, bump and displacement and be normal, you can use enable gamma overwrite for proper known converting to linear workflow. So this is should be gamma one call a composite connect with diffuse and I think happened because by the fourth would have based color Onley composting and then you can use Oh, similar with friendship users blamed ignores. I use head immediately. We have to see our buttered may be scaled down. I was fear start to look more interesting and you can go further with this by adding ramp. Note that can remember your Qala. I want to disable. These may be to luring their capacity or strength off this white zones. I going change white point Maybe too great. Too much? Yes. And this aspect will help you to bring to your seen these slightly visible but noticeable adjustment at another partner like these All the same logic, you can go trump and maybe decrease the slightly visible butter. This is the first to we can use, I mean patterns to improve and to bring small details in your already looking great looking sin. Let's go back. You see that these image this here start toe add the slightly noticeable but visible water in this he needs diffuse channel. In next lesson, I'll show you how to add realistic textures toe our scene for even better result and details 4. Textures: When you're playing with material, sometimes you can face the problem that we achieved shows these black squares. This is caused because all GPU is visiting with rendering I peer so you can stop. I pair going to red shift tools and in materials there is a button called Render All Materials. I put it to my could and now we see or our textures are ready to go and rent it. Of course, you can make patterns, but sometimes you need realistic looking textures and you can find them. For example, I use these site textures come. You can download a huge amount off texture to build your shader upon it. For example, I speak few of them and want to show you how toe work with it. This is called terrazzo terrazzo one and it provides play these kind off texture. There is a college texture and roughness. Dexter I use Don't forget to enable these DeMann on the right. It looks like there's nothing things, but how can we build our shader upon it? First of all, I would like to keep our collar so we have copy cooler, constant based and I will use the same technique. We're going to create crawler composite note Ramp one to and going to difference going to Ed and we're here with these type of lending. Decrease their strength off our texture by moving it to the ramp and lowering the white point. For example, like these or even like this. It's slightly visible now. And one more thing. Let me add Iowa their strength off reflection. You see that maybe we can add some blue to our big sphere. Put it down. Yes, we have these reflection and when we load, texture, toe our reflection Roughness, We see immediately result off It's a playing like me Disable, Let me extend I PR zone. I disable these rendered in four We have normal roughness, Reflection heading and seven strange has happened. We have very organic Look off our reflection. Let me add more Iowa. We start to see the reflection off our light disabling Just a simple zone. Nothing interesting. Now we're gonna drop ramp node into reflection, roughness and tow our surface. For now, we can remap our texture and make it more contrast. For example, I put it rare area strength and high contrast that black is like Miro. No roughness. The white is pure roughness zone. Let me connect and you'll see their result. It's like bottles or maybe water and something in some zone. We have no roughness. Our light is looking like with tango. And then it starts toe distort with Allah texture and the same weeds Here, here, where you can find the balance. I prefer not to have 100 roughness, maybe 90 and not so much pure glossy. So I would like to keep roughness even in every zone. So almost no dark zone. It's like low contrast, but looks very interesting Now. We can decrease our Iowa to default, William. Or maybe we can lowering its up to you. And one more thing is that we can use this roughness as a bump note, several bump mapping and huge value. It produced this displacement looking in effect. Or you can use negative value so it inside the wall and you can hire the balance. What wouldn't get if we're disable our materials? We lost ing this realistic small details and the brings a lot of more interesting thing to wash and to see in your sin. So building this type of material years were great and very helpful. One more thing that we can use. Base presets, for example. Silver it almost looking nice. We have a lot of reflection and for example, I dislike that these right light he's reflecting here. Weaken, Go and put our CIA to exclude to be excluded. Or you can go to Ray and maybe decreasing these glossing amount. So our right light is going to defuse lighting but has no effect on glossing Well, you can infect speckle er here it's up to you how to manage these protection. We will use the same logic to bring and more interesting details in these perfect room. I have black and white texture Mabel over right, processing the same logic as we have let me up with the tightening going to ramp, going to connect ramp, toe our reflection, roughness, texture to the input And now we will get these imperfections. As I said, I dislike to have 100 roughness and 100 closeness zones. So it up of their bottom that blick point and maybe decrease They're white one so it's slightly visible or we can play with this stuff maybe like 50 and 65. No, not much reasonable. You can find the balance and you can make it very, very subtle example like this. And it's only visible in direct light with this reflection. Or you can use maybe a higher contrast is a show in previous material to decrease and to recall it, there's another thing that we can use. These material is a bump, input and ed, some bumping effects, their white zones. Ah, and buff the zero level and the black one is bolos your level. So it's like holes and scratches and off course. You can universe the bump direction simple, uh, setting negative value. I would like to keep and low. And this is the result off our material with textures. Without Dexter, I think these looks more interesting. Maybe decrease the bump. And sometimes bump doesn't work proper. So you can go in system legacy and enable this legacy bomb sampling techniques. So we're built to materials that ed extra details and I was seen, and now we can look well. What whole scene? The result with these materials 5. Summary: Now we can see that there is another layer with wood texture and all our common techniques , patterns, imperfections, patterns and another scene. One more aspect that I didn't show you is blending our colors as they said we had a random color, effective with random color. Then it's affecting toe burner. Fractures go into effect. It's random column and rendered color. We have that color user data that we can connect to our out and nothing is happening until we use more graph cola or you can use another logic. But in this case, we use more moderate color. Now we have a few layers off colors that we can use s blending colors. Let me show you the logic. We take our cooler user data toe color correction with gamma two into in this case, it provides and black and white result because weaken separate skill, you'll see the default one and of the black and white. If we keep gamma one, we can play with the also because we can separate these 21 from these bottom in this one. But I decided that these gamma turning to almost great, almost identical and lowering contrast image then agreed a ramp with not set to step and find its position. So bottom and center zones have these kind off collar separation there green for their side , big ones and red and blue for center. How we can use it. We have color split note. Call us Peter, that can split our channels read green, blue and often. And then I made in basement. Uriel, this is our partner. Material like color compositing. And I use around corner in bump input just to imitate battling on the edges. So this is the base material that another material is food which has blending round corners with our bump nip, which is made from roughness. Dexter as a show? No, there in Bonn, Glenda would have to set editing mode and toe ed Ah, war bump, texture to round corners in full weight laughing fancy. And then we have this red and blue going to blend Qala is a MISC Let me show you once again one's own. And the second why s separate these Because I wasn't sure I will use one material. So, for example, you can use another material in, for example, layer to and built and other type wolf, for example, culpa material and you can mix with these Deacon yuk, Ole Allah, all your elements Let me delete this and just going Teoh these layer Carlo, so raise material Layer Qala blend collar. This is the mask layer color to blend color to. This is the result we have. Let me go back and make a small summary off these simple techniques with buttons and realistic textures and lighting that drastically improve our image. Going to picture you're already load our first result. I think you don't even believe that this is wars. I will start. Then we go to base, heading some lights. Then we go and add some patterns already interesting. And it's importation. Just make this Lance Pearl already much interesting and a lot more details subtle but visible. And the last one is adding realistic textures. So start and start and said a said to be and like this you can tell me that I'm thinking and this is another scene. Let me show you while I'm moving. I want Teoh Say thank you for attending this class and the point of this class is to show that sometimes textures and light can drastically improve Visionary off your very simple scene. And don't be upset that you can't modeling. And you have Teoh create a lot of details in mash. No. Sometimes textures can fake them and provide very realistic results. Hope you like this class. Thank you for your attention and have a nice day.