Introduction to Redshift: The Basics | Derek Kirk | Skillshare

Introduction to Redshift: The Basics

Derek Kirk, CG Artist Videographer Youtuber Teacher

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14 Lessons (1h 57m)
    • 1. Introduction to Redshift: The Basics

      2:15
    • 2. What is Redshift?

      8:30
    • 3. Redshift User Interface

      8:49
    • 4. Redshift Area Lights

      20:12
    • 5. Redshift Dome Light

      8:49
    • 6. Global Illumination

      4:15
    • 7. Redshift Material Node Editor

      16:30
    • 8. Making Photo-realistic Gold

      13:48
    • 9. Redshift Camera

      7:13
    • 10. Render Settings

      13:24
    • 11. Post FX

      7:44
    • 12. Your Assignment

      0:36
    • 13. Bonus Examples

      3:29
    • 14. Congrats!

      0:56
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About This Class

In this class we will learn the basics of the Redshift Render Engine inside of Maxon's Cinema 4D (C4D). We will cover workflow, lighting, render settings, creating materials, camera options, and an overview of the UI and how the renderer works. We will learn to create an abstract art scene with a studio set up and create a fast clean render. By the end of this course you will know the basics of how to use Redshift and be amazed at it's speed!

This class is for beginners and experienced users alike looking to learn more about Redshift. This 3D GPU Renderer makes amazing renders and animations possible on a low budget and minimal hardware. Follow along in this Redshift Tutorial to create your first render and become familiar with this renderer's workflow 

THIS CLASS:

- We are going to take a look at the Redshift Render Engine.

-We will go over:

  • The UI
  • Lighting - A Studio Setup
  • Materials
  • Camera Settings
  • Render Settings
  • Post FX

This is the first class of a series of Redshift training.

-The goal of this course is to get you comfortable and familiar with the Redshift render engine, its layout and workflow tips and tricks.

-This is for beginners and people curious about the Redshift engine to get you acquainted with the software, its strengths and how to incorporate it into your workflow.

-I will be using C4D but the information is not limited to Cinema 4D, it applies to all 3D software that Redshift supports, 3ds max, maya, etc. GPU rendering like Redshift is an incredible tool for independent users and teams alike.

I'm excited to introduce you to it's incredible power to make insanely fast amazing renders.

Class Outline 

Transcripts

1. Introduction to Redshift: The Basics: Hey, how's it going? I'm Derek Kirk and welcome to an intro to Redshift: The Basics. The Basics is the first part of a series of Redshift tutorials that I'm going to put together. It's just going to introduce you to the Redshift render engine and hopefully show you how to navigate around it, how to use user interface, had to add some lights, had add some materials, use the material Note editor, some camera settings as well as most importantly, the Render settings to get a super fast clean render. You're going to see we're going to provide you with the scene and you're going to light, add materials and render out an insanely clean, fast image that's going to look beautiful. It's going to be this nice little abstract piece of art. A little bit about myself is I'm Derek Kirk, I'm a full-time videographer and editor for university. I have worked at studio production houses in the past. I've been a 3D generalist for two years as well before that. Before that, I worked in production for another studio as well. I've done lots of things from national commercials to huge sporting events. I've done floor projections, video boards, intro videos for sports and things like that. I've done all kinds of things, but throughout all my career of being behind the camera, in front of the camera. Wherever I've been doing,my favorite aspect of it is 3D. The reason I love 3D is because basically I get to control everything. You're not bound by reality. You want to create a set, you in actors, you do it, you create it. You camera, you want to push your camera through a wall, no problem you got it. This course is really good for anyone who's just looking to speed up their workflow. If they're a freelancer, side hustle, they're just a hobbyist. By the end of the class, you're going to have this really cool abstract art scene with your own personal touch on it. I really encourage you to do that. I really can't wait to see what you guys make and see what you guys think about Redshift render engine, how fast it is. Once I used it, I honestly couldn't go back to anything else. So I'm just super excited to introduce it to you guys and hopefully share honestly the software that I love and it's made rendering and doing 3D a possibility as a hobbyist for sure on my own and I hope it can it can do that for you as well and help you out. All right, let's get started. 2. What is Redshift?: Let's get started. The first thing I want to discuss is just what is Redshift. Maybe you've heard about it, maybe you haven't. What Redshift is is a GPU renderer. Here on Redshift 3D.com , you see appearances Redshift by Maxon, and that's because Maxon actually bought Redshift recently in 2018. If you get on Maxon and you go to Buy, you actually can bundle it now with a yearly subscription or a monthly subscription. You could actually get Redshift with it for a lower costs and it will keep your maintenance fee up to date and everything like that, it'll just recurring payment and you get Maxon in Cinema 4 D and Redshift bundled together, which is amazing, super awesome for new users and stuff. If you want to just try it out, you can. You don't have to commit like $500 to buying a product you can just try it out. Also if you don't have it yet and wanted to try and just follow along under their website here. You've got up here in the top right it says "Free trial". You can click that, scroll down and you see you've got a Demo for Windows, Demo for Linux, and Demo for Mac. Now one thing I will say is that Mac, there are some hoops you have to jump through right now. I know that you can use I think it's called an E Video driver or something like that, and then I do know that in the future, Redshift is working on making it metal friendly, that's the Mac GPU metal. But right now as you can see here, Redshift requires an NVIDIA GPU to operate. Basically, that means you need an NVIDIA graphics card which most likely you'll have. But especially if you're a gamer or anything, if you want to get into GPU rendering, I highly recommend NVIDIA GPU. Search on Newegg or Amazon or whatever to get one of those. I have a GTX 1070, and when you're looking for GPUs for rendering, you want to have what's called CUDA cores. You want a high number of CUDA cores. One thing that's really cool about Redshift is that it actually supports multiple GPUs. If you have a motherboard where you can hook in multiple graphics cards, you'll see inside a Redshift, it actually will support it. Let's say instead of having one GTX 1070, you had four GTX 1070s. Literally, your readers will be four times faster. It just makes it faster, each graphics card you add literally doubles. Like once you have two, it's twice as fast as you had one, three is three times as fast as you had one. It's just like each one's going to work on its own as if it's the only one and it's just going to collectively render out your scenes exponentially faster. It's awesome. Its just going to render out your scenes faster, it's really awesome, really cool. That is how you can follow along with the demo. If you own the product, you can buy it a node-locked version, it's a permanent license, it's going to be tied to your machine, this can be deactivated and reactivated. Don't let it fool you think if you buy a machine and then you buy a new computer, you have to buy another license. You don't. You can deactivate it and reactivate it somewhere else. It just means you can't have it open in two places at once. Floating license is $600 per license but the five license minimum order, that means it can float around between computers easily, so you can have multiple machines with Redshift on it. I honestly would go for this subscription with maximum, but if you're not buying for Cinema 4D, the good thing is this actually works with Maya, 3dx Max, Soft image, Houdini, Kitano, all of these things work and you just buy the one, you don't have say like other renders where you have to buy, one license for one 3D software, one license for another, like one render for this one render for that. One Redshift install will install across all of them for you. If you have your multiple that you use or your workflow. So you like to do some animation in Maya, but you do some stuff in Cinema 4D or whatever, one Redshift license will work across them all. As you can see here, you can have up to eight GPUs concurrently working which is amazing. That's also a thing a lot of render firms now will have GPUs, so you can render out things really fast with that if you're not doing a rendering at home, but the thing I love about Redshift is, for inexpensively, for just the price of one GPU to upgrade which is a lot cheaper than upgrading a CPU, and actually have animation again because my frames are rendering so fast, it's not going to take a week to animate out and minute-long thing or anything like that. Anyway, really cool. I suggest keeping an eye on this because they will do sales. You can actually get this for about $400, I've seen that in the past, that's how I got it. Just keep your eye on that. Subscribe to the newsletter to find out that of thing. They also offer support, they've got all the documentations, video tutorials, all stuff. It's just this really cool program there. Keep adding a lot more now that Maxon has bought them, they're really just now figuring out how to market and get it out there. There's some really cool, nice things out there. I have some tutorials on YouTube as well for them but obviously you're doing this for Skill Share. Then we're going to really get to know Redshift. I love it, once I used it, I couldn't go back. I will show you real quick just because it's fun to look at this stuff. I really love it. This one's really pretty. I think this is amazing looking and I was like no freaking way. How is that? Look at that. This is like quick [inaudible] scans and stuff, but look at that just, looks amazing. The one that got me is, I got Redshift coming early was this. I also love this game, but when I saw that this cinematic was Redshift, I was blown away. All the fog, all Redshift channels volumetric lighting like a boss. Where is Sledge? I want Sledge. He's the coolest. Here it is. Look at this So awesome. Oh men Sledge is the best. When I saw this I was like, okay, that's Redshift, that's insane. I had read articles about how people are switching over to it from movie industries and things that used to take hours now takes you seconds and minutes. It's insane, It really is crazy fast. How well it handles fog and hair and I just love it. I honestly just want everyone to use it because it's amazing. It does photo real. It does it all and it is a fast and clean and it's so easy to use, I can't wait to get into it and show you guys some more about it. That is all I'm going to say about Redshift, so that's how you get it. This is how you can buy it. There's galleries, there's forums, you can try it, you can see all these things to use it. Redshift is awesome, but basically it's a GP render. Make sure you've got NVIDIA GPU if you want to use this the easiest way. All right, let's get into it. I'm done talking about it. I'm just excited. All these things just fire me up. Let's go. 3. Redshift User Interface: Once you download Redshift, you'll see you have the redshift setup EXE file here or the DMG if you're on Mac. But you'll just have your version. I'm going to use version 3.0.12 for this video. But by the time I'm recording this, 0.13 comes out, like I said, they're always updating. It's pretty awesome. You'll double-click that, install that, it'll find Cinema 4D on your drive already. You can choose to put it in there and it'll automatically, or whatever software you use, you can install it across all of them, 3Ds Max, Maya, all of them at the same time. Once you have that installed, you can open up Max and you'll see there are few tiny new things. They're like not super obvious at first, but here they are. Right up here you'll see Redshift. There's little Redshift button here and that's pretty much all you're going to see that's different right off the bat. One thing you need to do is click your render setting, and under render it's going to be set to standard by default. You can click that, and go down to Redshift, and you can see already this changes. We've got Redshift Post Effects, which we'll cover later. We've got Redshift and we've got all these settings, got Basic AOB, Automization GI. Memory, one thing I will say you definitely need to do and it might be automatically done, is Automatic Memory Management. You need to definitely make sure that it's checked. That's going to be very important and it's going to basically optimize your graphics card to render for you. Everything Else, the system, stuff like that, you can use some stuff. There are some experimental options you may see, like Enable Automatic Sampling is a new one for 3.0.13. But I am always questionable about automatic things. I like to be in control of what I'm setting our renders to. Basically we're not going to talk about most of this stuff because we don't need to mess with it. We want to make sure Automatic Management is on. Then we're going to go over here to basics and we're going to cover this stuff. But right now we don't need to worry about that. What we need to worry about is what all is new in Redshift. If I click Redshift, you see we have all this. Now this is everything to do with Redshift we have. If you've got objects, which we're not going to cover any of these in this basic tutorial for all of these things are a little advanced. The environment is really cool. We're definitely going to cover that in the future series where we're going to talk about lighting for Redshift. Be on the lookout for that for sure, and also we'll do volumes at some point as well. But we are going to cover lights. You can see under the lights here we've got, Infinite lights, Point lights, Spot lights, Area lights, Dome lights, IES lights, Portal lights, Physical sun. What we're going to do is we're definitely going to talk about the Area light and the Dome light. These are going to be your two lights that you're probably going to use the most, and they are super powerful and very cool. We are going to talk about those on this tutorial. Then for our camera, we've got Standard, Fisheye, Spherical, Cylindrical and Stereo-Spherical. This is like VR goggles, 360 images that are actually 3D as well, stereoscopic. Cylindrical is a weird one and I it's guess good for making environment maps or something I'm not really sure what the point of that is. But Spherical is 360. Fisheye is literally a fish eye lens like in old skateboard video. That's just a stylistic choice. Standard is what we're going to use in this. Then we've got materials. Actually for materials, what I like to do, instead of dealing with them up here, I like to deal with them down here. I'll say, you go create and then you go to Redshift. You've got this Redshift here and that's where you have Materials, Lights, Utilities, and Tools. We've got all this. Now the best thing of Redshift. My favorite thing, one thing, is the help. There's an online manual and video tutorials you can find, you can download latest version, all from right here inside of cinema 40, which is very nice. You can report bugs, go to the forums, have workflow guides, everything's here at your fingertips, which is really nice. There's a getting started tab which is nice. But the main thing and the best thing is this Redshift RenderView. This is going to be our best friend. We're going to click that. Already you're going to see this little window pops up. We're going to go over everything in here later on in the render settings of this tutorial. But right now what you need to know is this is an IPR renderer, so it's a progressive renderer. If I hit this play button, you'll see we've got no textures or lights or anything. Boom, already instantly an image pops up. You can see down here in this little corner, it's doing a progressive render, which means that once this gets to a 100, it'll be up to the full quality of the settings we set in here. Now this is really cool because this updates live. Very neat. It's incredibly fast. I know we have nothing on the scene, but when it gets really cool is when you start adding materials and things and you realize you can actually edit your materials live and see the changes you make instantly, which is really cool and really my favorite part. It just makes working on things and tweaking things so much faster than if you had to sit there and wait for it to bucket render real quick. Speaking of bucket render, if you push this off, it will stop it. You can actually hit this render which will bucket render. It's like a normal render that you might be used to. Another way that you can do the same thing in a progressive way is actually hit this grid, this bucket rendering icon. That's going to bucket render. What's cool about this bucket render is that it will update if I move. I'll go ahead and bucket render that are right out. You see it takes longer, but it's going from nothing to a final image. There's no progressive look, dive or anything. I like to save that for the end and leave it on without the bucket render for now. We'll talk about the rest of those buttons and a bit. But this is going to be what we're going to use. We can close that or you can grab this and pin it wherever. A lot of people like to shove it in here sometimes so they can see stuff while they work on their thing because they just leave it open live all the time because it is so fast and so helpful to see. What we can do next is go over this Redshift and the rest of this stuff, the Viewport IPR, I don't use much. What that does is it basically opens up this little tool thing that's like what you saw at the top of that. Instead of opening up a separate window, it'll just do it here. Which is neat, but I'm not really sure why you would want to do that over having it on a separate window, except maybe you don't have a lot of screen space. I like to keep my render window on a separate monitor. But this is pretty cool, that you can just see exactly what you're looking at here in the render window. That's pretty nice. Then that is almost it. There are a few new things. If you right-click on an object, we've got Redshift Tags, we've got Redshift Camera and Redshift Object tags, and we're definitely going to cover this in a later tutorial. Very cool, especially some of the stuff you can do with splines. These are going to be very nice and we'll cover the Camera Tag and later in this tutorial as well actually. Lastly, as far as the User Interface goes, you've got your preferences, which you can load up, which is really not something you're going to need a mess with, but if you're ever curious about what version you have and things like that. That is going to be your User Interface. Let's go on, we're going to talk about lighting next, and we're going to light our scene before we make materials. Let's see you in the next video. 4. Redshift Area Lights: Here we are in our first scene, we have got our scene loaded up, we have no lights, no materials, I'm going to show you some quick things, and the workflow we are going to go through to create this object. Now sometimes I like to do the lighting first, and then the materials, sometimes the likelihood of the materials burst, it really depends on what I have the clear vision for, what exactly I want. But for this, we're going to do the lighting first because our end goal is to create something that the materials can be changed and added so that our lighting is able to be effected, our lighting needs to be something that we can adjust slightly, if we need to. But preferably we would love to have a lighting setup that does not need to be adjusted based on the materials, vi-n creates something that is just a nice studio setup, so you have got our scene file Intro to red shift the basics 001, and that is the file we're looking at here, you will see we've got our geometry here. We've just got some capsules we've created, it gives this nice little look here, just different sizes, disposition in a different space across this inside of this cylinder here, we've got this psych here, so clearly we are setting up a scene to be shot in a studio setup look like, something like this or that. We want to always know the framing and resolution of your project first, which can be set up here in the render settings. The first thing we are going to make sure we have, is to have our render set to red-shift normally is here under the standard, by default, so we are going to bring this over to red. The cool thing about red shift is if you open up your project and close it, it keeps all these settings exactly how you had it when you close. When you last saved the project. If you make a bunch of crazy tweaks and settings and get it all tuned in, just write. Everything will stay there, which is really cool, basically this is all the default right now we've got progressive rendering is not enabled, we've got samples min-max 16, we're going to go over all this at the end. Right now we just wanted to make sure that we've got red shift here, and we're actually going to go to RGI here, by default, this will be set to none. I'm going to go ahead and save that, so that, when you have this project, it is going to be accurate. The lights, we've got lights here, these are all red shift flights. Now if you use other renders lights, like if you throw one of these in the scene, it will work, it's just not going to be accurate. You can see it does work, it does let your scenes that's good. If you have a scene that's not red-shift, you're still using red shift to render it but you're not getting the benefits of using a red-shift flight, I'll show you the difference between the standard light and red shift light and just how amazingly customizable and quick it is to get an amazing result. We've got lights now, these are awesome, all of these really cool, but my favorites. What we're going to talk about with our video is the area light and the don't like. We're going to use area lights to create our studio lighting setup, basically what an area light is, if you use physical render or anything like that, like if you use areas, shadows, the actual dimensions of the light effect, how the light reacts, so it's not just coming from a point. It says if it's coming from a space, we've got this rectangle here, you can see in our view port here, you can just grab it and scale that up, you can see are seeing gets brighter because our lightest stretching out wider. If we have a bigger light, the bigger it is, the brighter it is, that is by default, but not always the case, so we've got this big old area light right now. If we go here, click our area light, we have all these settings where there's a lot, of tab and settings, it can be a lot to look at, we're going to go over just the basic ones that help you figure out and troubleshoot some issues if you might have some along the way. Firstly, what we are going to want to do for our scene is create a studio like setup, if we've got this studio, I'm going to close this actually. What we're going to, we are going to use the area light here, so we're going to light our scene before we get into cameras or we get into materials, we're going to light our scene first, we've got this large area light. What we're going to position this middle mouse click to get into our four views here, I'm going to bring that up, I'm going to light this like I would a real studio. Basically, if I had a big site like we had in rural studio, we had a row of lights above on the top, then we had a big old silk. We will put a giant silk up underneath the lights but above whatever we're filming, basically that is just a big white piece of fabric that's going to allow bytes to go through it, but when the light hits it, it diffuses it, when light diffuses, it makes all the shadows softer and things like that, if you do, the best example is if you look at something with like a flashlight and you can see there are spotlight, you're going to get these shadows that are really harsh and really intense, I'll show you that real quick just so you can understand what I'm talking about here, we've got a light, let's do infinite light. This is going to act like the sun, we've got this light with S at constant speed and it's coming from a point, so if I go over here to red shift and this is going to be your best friend. Redshift render view right here, pop that up and we're going to hit this play button, this is the IPR, this is the IPR preview. You can tell right now. This is crazy bright, we're going to go under our infinite light, we'll go over all this in just a little bit, but just to show off, I'm talking about with soft shadows and things like that, where do you send this back down to one. Now you can see if I rotate this slide, then I'm just rotating it in the point here. You see all of our shadows are really harsh and really sharp, that's what the infinite light, that's not an area light, that's an infinite light. Now one thing you can do with redshift Infinite lights, is you can actually go under the shadows tab here and soften it up, you can actually make that a little softer, and make it act like an area light if you want to, so really soften that up, really soft metal. Now it's not even really an infinite light anymore, you've lost the effect of that, but you could use it to light your entire scene, but you can see the difference already, so here's our infinite light. Super sharp, super harsh, get rid of that. We'll hit this button here, and we'll go over all this stuff inside their interviews. Well, this is going to provide us with the snapshot, we have this image to go back to for reference. We're going to delete that, you can see already or lighting has changed, we're going to add that area like back in the square, we're going to bringing that back out here. You can already see that the light from this just looks more natural, it is real. It's pretty nice, it's just got a nice soft softness to it. The bigger we make it, the brighter it's going to get for right now, but the software, the shadows even going to be. What we can do, is we can turn down the brightness of this area light, that's the same thing, under the General tab is where we're going to adjust the brightness and almost all controls we need for this slide, so one thing we can do, there's two things we can do. One option is you can go in here and we can turn down the intensity, we'll take that about 10. That looks nice, that's a nice light, you can see the shadows really soft, it's hitting it, is wrapping around it nicely, there's no super sharp shadows you can see. It's just where we like, it's a good fill diffused light, you can sell already. Just how clean that is, how fast that's rendering with a nice area light. Shows going to wrap around this nicely in this not going to be super sharp or anything like that, that's a really nice, easy way to get a good soft light here. Another thing I mentioned, is that we could do a different option to control the amount, the exposure, this slide, so by default it's at a 100, by default, if I zoom out here, the size of my light determines the intensity of my life. Even though my intensity multipliers exactly the same, unless you hit this button down here called normalized intensity. What that's going to do, and you can tell already that you're going to need to add some more intensity to this. Like a lot. It's wild. All of a sudden these numbers, which to me these numbers have always been just arbitrary. They don't represent any real unit types, pressure when the unit is image. Now, if I actually understood the luminance and luminous power and I knew exactly like what wattage I wanted things to be. That is all going to be right here and the unit type but we're just going to leave it under image for now. Okay. Because we won't get into all that. But as you can see now, we have this lighting effect and let's just double this it might be more. Yeah here we go. So we've got four times. So if we didn't have the normalized intensity on, if I make this bigger, it should get a lot brighter but it doesn't. It doesn't get brighter. Instead it just softens it up even more. It makes the bases like acting as a silk. Now, it's just depending how big your silk is, unless the power behind the socket is exactly the same. So now, it's just creating this nice soft light. No matter how big my light is, only thing it's going to affect is the softness of the shadows, not the brightness. So if you have the lighting that you like really nice and you just want to tweak your shadows. You can normalize that intensity and just start tweaking. It also works really well with reflections. If you want something, this big rectangle to reflect off of a shiny object, this is a good way to do that without blowing out your seeing with a giant super bright light. Little tip there, we're definitely going to go more into lighting as we go but in a further series, we will go over every single one of these shapes, everything by directional visible, all this stuff and the spread. I'm going to talk about the spread right now. So that is a really cool way to get a nice soft area light. Okay. So let's take this. Let's normalize it because I like to work with just the size of it go. We're going to take it back to one which is much less than the million or so we had. I'm just going to drag this up and bring this over. This is just going to be my nice big and I'm holding shift to rotate about 10 degrees and we can look at it from multiple views. We just want this to really covered this whole surface area because I want just a really nice giant silk over my scene and we're going to zoom in here. We're going to take a look. We're going to frame it up and we can see. There we go, we're not seeing our psych or anything I could do anything beyond our psych. So I'm going to go Redshift render view, and I'm going to hit this play button here. Can you see this is what the Infinite Light was really harsh, really sharp and they could tell is really harsh across all this stuff but with this, this is a nice soft light. Okay. We're going to actually up this to about four. Yes. Okay. That looks pretty good. It's still a little dark, but that's not the only light we're going to add in the scene. Okay. But can you tell us just got this nice. Everything is pretty nice and evenly lit. Everything's looking pretty good. Okay. So that's our first light. Now, we're going to add two more lights. The focus of these lights are going to be for the psych wall to create that infinite floor look. So right now you can tell in this rendered image, they are psych wall has this shading right here, which is just from the light. We don't have global illumination on which we'll talk about, which that's going to help get rid of that as well. But we want to separate the background and our object a little bit, so one thing we can do is add a back light and that's going to put a rim around our object here. Then another light to just light the background back up. A little more evenly. It's pretty evenly lit, but I just want a little bit more of a spotlight on there and of course. So we're going to add a area light. We're going to grab this. They always start as a default little rectangle here in the middle at 000. So we're going to rotate that and I'm going to rotate it maybe a little bit that way. So you can tell it's just a little sideways pointed towards the back here. We're going to bring that up and we're going to stretch it out. We're not going to make it as big as the other one, but we are going to stretch it out and have it be pretty wide. By default I think it's at a 100, so it's going to be extremely bright. Yes, that's very bright. So you can tell that's going to create a really bad hot spots. So we don't want that. We're going to take it down at one. We're just going to turn this light off, turn it back on and just to make sure we can see what it's doing. There we go. 20 looks like that's a nice amount there. We still got this little area right here. So what I'm going to do is, I'm going to lock this into perspective mode right here and exit out to another window. That way I can still move around in this scene, I can move my arms around, but it's going to lock it down to that first window we have at the perspective view. So I can take my light and you can see you can move it closer to the wall and get that harsh highlight on that wall. We can pull it back from the wall a little bit and I'm going to take it out just a little bit wider because we really want it to just spread across this wall and it's kind of fall into the space a little bit more. We're going to make it a little bit bigger. Here we go. We really just wanted to fill this space nicely. Okay. So we've got a giant silk and we've got this little. We're going to tighten it up a little bit and bring it closer to the wall. Yeah. I like that. That looks like there's an accent live splash across this wall here. Okay. So then to create another one, we're just going to hold Control and drag this over here. Now, this one we're going to rotate, hold Shift, rotate it 90 degrees. Then we're going to rotate it so that it faces towards our object. We're going to grab this little yellow dot and scale it in. Then we're going to rotate it this way. So that is basically this angle adding back at her object here and we're going to bring this down. We're going to tighten up a little bit. We're going to bring it down. Then we're going to bring it forward somewhere in the scene and you can see it affecting our background here. It's because it's clipping through the background just a little bit. There we go. So what I want to do is, I want to take this and I want to increase it just a little bit just so we can see exactly what we're doing. So I'd like to amp it up really high so I can see really exactly where it's hitting. So we're going to rotate this, hit W to orient the rotation. There we go. Rotate that just a touch. We're going to bring that up. There we go. Okay. So we've brought that up above our psych, so we have this light and we can turn the other lights off so we can see exactly what this light's doing. Now, I wanted to provide an [inaudible] highlight rim across the tops of these. So I'm going to bring it down just a bit if I grab my little green dot here. So one thing we can do here, if you notice there's like a really harsh shadow back there. I don't like how it wasn't lighting that up. So one thing we can do is actually turn on bidirectional you can see that is going to shoot out light from the front and the back. Now, you notice there's this stripe where there's nothing and that is because if we look at our scene here, you don't do that. Okay. So let's take our light and just bring it down just a bit. Okay. So we've got this little rim is creating on the backs of these cylinders here and this really bright here, but we're going to turn this down. We're going to go back down to about one, maybe five. Yeah. Five or 10. See how easy it is to make real-time adjustments with when you have this IPR render window open. It's amazing. Okay. So we've got this rendering. You could tell it's going to clean up over time like this is just the draft image but as until this gets to 100. It's not going to be almost final render quality. So we've got this backlight that can tell us for this nice rim light on these little objects in this circle here. So we're going to turn on other lights. So we've got a nice light here, we've got a soft light here. We've got this light, but we don't have any light at all coming over the side of this. This is all in the dark. But in real life, with this big old silk over top of this, you would get something that white psych wall. You get some bounds from that and that's called GI. But here we are with three area lights and we've got this nice, clean look to it. Okay. I'm going to show you. The reason I like this area lights is I can change them, I can adjust them, I can move them around, I can tweak them and have more control over them. But let's say you want to do something super fast and you wanted to use a HDR map. So we'll talk about that in the next video. 5. Redshift Dome Light: We've got our area lights in here, but we're going to turn those off and we're going to look at what's called a Redshift dome light. The dome light is going to be a light that's going to use a texture map or a image to create the spherical lighting around your scene. When I have it set to spherical, which is normally what we have. That's what we're going to cover today, and that's what a lot of HDR maps are for. Right now with the dome light, we can see all it's doing is providing this big soft shadow 360 degrees all the way around it. There's no good contour or definition or any contrasts really going on. It's just a nice good use for a good clay render or something like that. If you wanted to just do just super basic to show off a model you modeled or something, it's nice. But, we're going to use an ECR map. If you can get something like a studio or something like that. I really recommend grayscalegorilla has some really nice dome studios and that's all I'm going to use. You can use something from a HDR haven or wherever resource you want. I'm just going to show you how to do this. We're not going to use this for the final render, but you can see the color of this scene is very orange and you have a few light with just the dome light up the exposure here. Then, we can lower the saturation. You can make all adjustments. Then all we have to do to rotate our dome light is literally, grab our dome light, and rotate it, and it's just going to pivot. You've seen around and you'll be able to rotate wherever your scene looks like. We can use a nice dome light and we have instantly this really nice scene. It's got pretty nice lighting, it's got slit in the front, the back walls, little okay. It's got nice soft shadows. It's looking pretty good for adding one light and a texture map. If you have a braddy texture map, save lots of different looks. It's a really good way to bring in something and just throw it on there. You can create your own texture maps and lighting setups if you want, just with them, colors and just make it extra wide and export it out like a VR 360 image kind of a thing. But anyway, so you can see this is nice, is very simple and you can just a quick way to throw on some lighting if you don't want to design it and set it up yourself and get some really neat looks, and it still customizable for here. You can notice I just said the exposure and adjusted the saturation. You can also adjust the hue. You can change the colors of things that are colored. You can use different looks. If we get rid of that, we choose something else like let's say we went back and we used something from HDR havens is derelict highway I think is one. Do not copy to my search path. Now, we've got a blue sky with some concrete below and you can sell it just the blue sky is just going to introduce that color from the image into our scene. We can brighten that up. But because it's got the sun, so it's got one sharp spot. It's going to react as if there's only one light in the scene. That's where you have these harsh shadows again. The other image had multiple lights in it and a gray over map. That's the cool thing about HDR, is not only does it one light you put in your scene, but just based on the image you use is basically like faking, setting up your whole point of it is it can speed up your process alive. If you're just doing something that they shouldn't throw something on really quick and you don't want to worry about setting up a bunch of lights and things. It's a really good way to get a really nice render, and just play around with and [inaudible]. It's a really nice results from stuff like that and have some fun just tweaking them. We need a weird color palette there and neat look. That is spherical and same thing with the scene since it has the one light as you rotate it around, that one sharp light is just going to rotate around. You can rotate it more than just on the y-axis. You can rotate it this way. You can make that light really low and to this guy. Now it's almost like the lights below or object lighting up, and you can see just how fast this is real time really cool and very nice so you get some cool dramatic shatter shading, and lighting, and stuff like that. Pretty neat. The dome light, very cool. There's alike to do animations. You can enable backgrounds, Alphas, all this stuff. That's one thing I will mention really quick, with a dome light. We have our cycle back here. We're going to turn that off real quick. Now, you're like, ''Whoa, that's pretty crazy and reset this.'' You can see our dome light. Yeah, well, that's cool except when I render it. I don't want to see my dome light, so you want to do something with Alpha. All you have to do within Redshift is, there's two things you can do. One you can do a back plate. If you want to have an image show up the dome light, so you want to go live background like the background setting inside of 10 or 40. This is where that is called the back plate and it's under the general tab of a dome light. You can insert your image or your animation JPEG sequence, whatever there. We can turn that off and one thing you can do to do this is we can say Alpha channel replace. Then we're also going to say uncheck enable background. Now, we've got this Alpha channel and our background is off. We've got our scene, we've got the lighting from that dome light, but we don't have, and if I click this right here, this RGB and switch it to the Alpha, it'll switch when you click it. That's going to show you that this is in fact Alpha doubt. If you export this as a PNG or something with an Alpha channel, this is all it's going to save all this will be transparent, which is fantastic. If you want to put it on a different background or anything, and you want to customizing control, it's separately. Very cool, very neat. That way, your dome light isn't affecting your entire scene because if the backgrounds enabled, that doesn't look cool. If you're not doing an Alpha channel. Without Alpha channel replaced, it's going to look like this. It's basically a command like this, so you're not going to be able to cut out your shape from your background. If you enable Alpha channel, replace, it will put this on there. But you'll also have this in your [inaudible] and you'll have to apply the Alpha channel to remove this from that. It's just easier to turn that off so you can just ignore that step and post work. There you go. That's a cool thing about the dome light. I like them I don't use them a whole lot except I really loved to use dome lights for reflections. They're really good for filling in those gaps in a shiny object. One thing I really like to use dome light for is for reflection. When I have a shiny object is called spherical or anything like that. It's really reflective. When you don't have a dome light, there's just dead space and if your scene isn't set up to make sense with that, it can look weird and fake to have shiny things that are just reflecting a few lights, and there's just nothing in between them. But if you can create user dome light in HDR image, it's going to fill those shiny spaces and with this other information like these trees and this blue sky, and how this blue phase [inaudible] will gets brighter towards the light like those things will reflect and it will help things look more natural when things are reflective. Very important to use with reflections needs really good area lights for this next video, and then we're going to go on and to materials after that. 6. Global Illumination: So we are back with RS Area Light on, our dome light is off was turn our site back on. So what we can do is we hit "Redshift" and then go down here to re-interview. We hit "Play". We're going to notice that this is what a scene looks like and it looks a little dead, honestly like this. I don't like how dark this is. It's almost like we didn't let it all there. So what I want to do is introduce you to GI. GI is not gastrointestinal, it is Global Illumination. You're like, "Dah, that's not a funny joke, sorry." So what we're going to do is, this is the secret source of Redshift. So this by default is set to 16, and these are set to none. So what we want to do is we want to choose Brute Force as our primary, and Brute Force as our secondary. Now sometimes you can do Irradiance Cache if you want. Instead, now Irradiance Cache will go faster, but it will not be as accurate. But honestly, this doesn't take that long in a scene like this for the worry, so I use Brute Force whenever possible. The number of rays will show what that's going to look like. So if we hit "Render" now, also, this is one of the GI tab in the Render settings. Under Redshift GI settings, the number of bounces, it's default to three, and we're going to up that to six. So I'm not loving how this isn't getting filled in as much. So what I'm going to do is I'm going to zoom out, and I am going to take this bigger Area Lights. I'm just going to turn it just a tiny bit inward and then pull back. So that maybe it gets a little more in front of this object. So let's take a look at that and really watch right here and see if that looked that up at all. It did. But we want to make this just a tiny bit brighter. Grab this to 10. It might be a little too much, take it back down to six because I really want it to be back-lit. I think that's nice. So there we go. We've got this scene here, we've got some GI. Let's take a snapshot of this just so we can tell the difference with the GI on and GI off. I wouldn't rotate this off. We'll watch it render again. Will take a snapshot of that. I'll go back and forth. So off, on, off, on. You can tell especially right in here on the inside, there's no light bouncing around in this image. In this image there is light bouncing around. So you have this where there's extra dark is now not quite as dark because light is filling it up. You can see that little difference there and that really makes a huge difference in your scene. In real life, things react to light. So we like to have conserved reflections on, what we can do is increase the number of rays and we're going to go to 512. That is just going to be, sometimes when you do GI, you can get these little spectrally dots. If you increase the number of rays, it's going to help reduce the [inaudible] of those dots in those points where the light is bouncing back. So there we go. We've got three Area Lights, we've got nice little setup here. I'm liking the way this is looking, it is looking nice and dramatic, but not crazy. But here's the best part, now we get to do materials and adding materials to this scene is going to change how our light bounces around now that we've added GI. So once we added colors or any kind of reflectance or anything like that, the light is going to act differently then is across this gray Matt object. So here we go. Let's get into the materials. See you in next video. 7. Redshift Material Node Editor: Now onto one of the coolest things in Redshift and my favorite thing that really shows off the speed of the preview render view is not just the lighting, but also we can update our materials and things live and see them and how they're actually going to look in our scene. One thing what I'm going to do is I'm going to leave this window up. You can grab this little icon and move it around and plop it in. You're seeing here a lot of people like to do setups like this. You can look up what a lot of people like to use. This way they have their render view action was crusade in beside here. This way you can have like a nice render view window, and also you still have space to work with over here, but you have a good window here that it's always there and you're not moving it around and stuff. You can just slap that in there and then you can undock it when you're ready to pull it back out. Lot of times I'll have mine on a second monitor. Now, pull it off and then plop it in. That way I can look at that full screen as big as I can while I'm working. I can see things like that. What we're going to do is talk about materials. This is where the material setup is down here. You can either do down here, you can go create Redshift, which is new, since you have Redshift installed, Redshift material. There are a lot of materials here, and there are a lot of things you can do down here besides just materials. Now this is all we're going to cover, This is the material. But there's hair, there's incandescent, there's multi shaders, skins, brights, subsurface, scattering, particles, volumes. Then we which we're going to add a material and it's going to create this RS material. If you look over here, we've got our little preview window here, and you've got an edit shader graph. Now you can edit this by clicking this and that'll open that up. Or if you somehow lose that, you could double-click this and it's going to automatically open that up for you. Double-clicking this is the same as clicking this and then clicking that. This is the shader graph. As you can see, there's a lot going on. We have all these words over here, the control down twirl and all these colors. It can get pretty overwhelming pretty quick if you start messing around with a bunch of stuff, galaxies, math, we've got color, we've got all of these things we're not going to mess with right now. These are little advanced and right now we're just talking about the basics. The crazy thing is, you don't need all these things to get really cool, great results. You can get amazing results with just some basic knowledge. Then we're going to play around with. Firstly, here's your material. This is where we create it. We had this Redshift materials, this little square here and you can adjust the size of these. You can move them around. If you zoom in too far and like hold Alt the middle clip to move around and you get really lost and you're like, where the heck am I, hit H on the keyboard and that's going to frame everything that's in this window up for you so you can get back to where you were. We've got these spaghetti noodles. You've got all this linguine out here. To create an object, you have to have a material. These are normally default labeled with red, which you can change that if you want, if you'd like to organize things, color code things so you can keep things more organized. You can. we've got this, in this plugs into an output and this out color, which is going to be all the information within this Redshift material. It's going to go into the surface of this output. Under this output thing, there's not really much we need to worry about. There's just this basic and there's this node for now. If you want to connect something up, if you say you double-click something and all of a sudden you're like "Oh gosh, I want to connect". I can't connect things. What have I done? Double-click this, and that's going to open up everything that you need basically, anything you have plugged in or anything, the minimum requirements to plug something in, it's going to open that up. Same with the output, double click that. You brought our surface back. Then we can grab either this little circle here and quick whip it to the surface over here. You can tell it's being [inaudible]. Sometimes if you're zoomed out and you have a lot going on, it's really hard to grab these little circles. Like we'll, shoot so we can zoom in and do that. You just whip that. I've attached, you can tell when I disconnected it, the output here became yellow and this became bright red. What this is doing in this means that if I apply this material to an object, it doesn't have any data to actually create it. It's just going to default. It's like, "Hey, something's wrong, this has no information. Please put something on this." Here we go by default. Now if we take a look at our Redshift material here, there's so much to go into and now they're there will be a series entirely on materials and we will cover a lot of these things. If you right-click, you can create all kinds of new things inside here. If you go up here to edit tools, create action nods there's a lot you can do and it can get overwhelming really fast. We're going to keep it super simple and we're not going to go over a lot of the details of a lot of stuff, but we're just going to go over the basics of what you need to understand what you're looking at. Inside of our registered material, we have these tabs. When this is selected, we have basic, which is where you can name your material. Sigma 1. Change the color, like I did, remark. We can say like this one is cool, goes on the ring. That way if you're working with somebody, they like "Oh, what's this material is supposed to be used for?" You can leave them a little note here. Then under that we have base properties. Now, under base properties is where we have the diffuse, backlight translucency, reflection, refraction, transmission, subsurface. There is a lot of things that all have a lot of power and they will control a lot of elements and the way they interact with each other is going to really determine. It's a really cool stuff and you can really create some amazing things inside of Redshift. I'm not going to cover diffuse reflection, refraction and subsurface scattering in depth, but we're just going to cover the basics. The color of the defuse.The diffuse is going to be the color of the object. Now if you want to add a texture map for the diffuse map, if you go over here under textures, we have a texture map here. We can drag this out and then load our texture, which we're not going to do. If actually you have a texture like a picture and you open it up in like explorer and just drag it in, it'll automatically create this texture node for you, which is amazing because I'm lazy and I don't like extra clicks. I just drag and drop. I'll download something and drag and drop it from the bottom of Chrome where it just says it finished downloading because that's how lazy I am. I'll drag it right in there. It'll create the texture node and I'll plug it right in. If you want to plug something in, just for the sake of example here, you'll see this created a yellow instead of the red. A yellow thing and that's going to be under this texture, so they're color coded. In this, you would take this output color and you would, since there's no dot over here, you're like "Well, I can't connect it to anything because there's there's no dot." When there's not a dot, you go up here and add it to the blue and see how the lines turns green there, and when you add it to the blue and let go of the mouse, it's going to open up all these options. That means you can take this texture and plug it in to any one of these datas to use it as a reference. What we do for the diffuse would be the diffuse color. Since there is no image it turned it black and you can see it right there. If you had an image or texture or something you could do that, so that's how you add things to this. But we're not going to do that for that, we're going to go and we're going to add a white, and we don't want pure white we're going to back it off a little bit and do 96 percent here. We've got this a lighter gray and then we're going to look at red-shift here. It showed off let me get my Window out of the way. What we're going to do is we're going to apply this material. Well, actually we'll just wait with it, we'll turn on our live preview and we're going to apply this material to work. All of the sudden boom, all of our lights, everything are crazy bright because we added a reflective material. Right now this white is super shiny. That is because we have as you can see here, our reflection weight is one so this is binary one or zero. Closer to zero it is, the less reflective it is. As I turned that down, you'll see it adjust. What's happening and the reason it looks so bright is because we added a white material instead of this gray. Since we have global illumination on it means that more light is going to bounce off because this material is lighter. It's easier for that light to bounce off and effect our scene wall. We've got our light here, our material and what we've done is we've turned the weight of the reflection all the way down. We're going to turn this back to gray so you can see what I'm talking about here. We've got this gray and you can see it's just not reflecting any thing where the lights are hitting, it's just really super matte. If we turn that reflection backup, you can see is reflecting everything, all these weird curves of my scene here reflecting all those lights back at it and it looks really bizarre. But we can do is add the roughness. If we turn the roughness up, that's going to be the same as I glossiness if you're familiar with that. A roughness of 1 is very blurry. If we see these baby steps up, you see a really clean, clear image with zero roughness. As we go up, set this up, you see our reflections, little rougher as they go and then all the way up there very rough and it's spreading that reflection across the surface area a little more. But really what we want is the reference all the way up and really just the weight all the way down because we do want a mat material, okay? We're going to take this and bring it back to the white and we're going to about 88 percent. Yes. We're going to just our lighting because this is too bright, but this is the look we're going for. We've got our lights here. Let's take this down to one. The good thing is with area lights, if as long as they're all area lights, you can actually adjust the intensity of all of them at once, so if I say I want them all to be one, I can do that. But I don't. I want my big overhead light, which is this one. I want this one to stay at about four. I want to be my brightest light, I like that. Now this slide, is 20 I think it`s going to be way too much. Let's take it out of five. Lets take it down to one. Here we go. We're getting software on our back here and this are lights. Here we go. Now, as you can tell, we've got four for our big old light up here and then one and one for these. We turn off the light, you can see what these lights are doing. This light is lighting up or background nicely. This light isn't really providing our rim light like it was now, keep in mind that it will be affected by the material we put on this. What we can do is actually just apply this to the ring real quick. There we can see how that light is going to hit that and we can drag this on this object. That's going to let us see what that light is doing. Let's turn on our other lights. They're going to fill in that space and all of sudden scene is so crazy bright. We're going go ahead and add this texture and we're going to hold Control, drag and drag. Now we have our texture on everything and it's not reflecting. It's just bouncing off because of the GI. In accordance to that let's adjust everything. Take the overhead down to one, maybe two. I like that. We'll adjust that a little bit, but I'm liking the way that is looking take that down to two. Now, we can look at these light. This light, okay, is doing that. This light is doing that. This light is letting the whole thing up nicely. These are just helping separate the background from our object is a little bit. We've got this white material map object on everything. Because of the GI, we've got this nice light bouncing off. You see here this isn't quite near as dark as it was. Everything is really just nicely evenly lit, it looks like a weird little studio. You've got this real nice soft shadows, very pretty. That is area lights and this material here. One thing I want to do and I love to do is create a gold material. Here we have a map material, right? What we can do is change the color. You'll see if I change the color, something really saturated. This is all going to update live. We are seeing is getting really weird. But go darker. Instantly, got fascinated just to my scene so if we do something that really, this is really going to tend to everything because everything's is color. It's gives some really neat things to kind of a clay look or something like that. This is how you would do a clay render or something like that. You would have it on a probability of 50 percent gray or something and just let it be. But so we want to do this white look and we have our reflection weight all the way down. That looks nice. I like it when it's looking, I wouldn't go pure white. Nothing is really like pure, white. We've got all these other tabs here. We're not going to worry about these at all for this. We're going to just deal with just this. Let's take a look at creating a shiny gold material with some roughness. That's the cool stuff, right? We've got a map object which is really popular and you can change colors plenty, you can just reflectiveness on it and all that stuff. But let's look at making something a little more photorealistic. 8. Making Photo-realistic Gold: To create something a little more photo-realistic, you think we're going to look up gold, textures and things like that. We're actually going to build it all 100 percent inside of Redshift procedurally. It's super awesome. To create a new material, you're going to click ''Redshift Material''. Let's go ahead and label this. If we go to ''Basic'', I'm going to call this, gold. Then double-click our gold and it's going to open it up here and you can see sometimes we open up a new object and the material, you'll realize that this is black and this isn't working. You can change it and doesn't respond. What happening is because sometimes if you have the IPR RenderView outgoing, it will put computing power from your GPU, it'll put priority on this over this. If you added this to your scene and then made changes to it, like if we go to our ''Presets'' here, this is what I want to show you. Under these presets, there's all these really nice, cool things already made, glass, tinted glass, water. These all look very similar right now. Plastic is nice and nice, shiny plastic. Aluminum, very cool. You've got this Aluminum. Copper, which I don't ever think really looks like copper much it looks more like gold if I'm honest. Gold, which looks pretty good. Iron, we've got all these things play through these platinum, platinum is basically like chrome. It's things like milky coffee right now. Messed up. Just ignore those. But paper is a pretty neat one, it's basically a good one, if you want to do a matt white, it's a good idea. We're going to need to lower the roughness. But the cool thing with paper is it has this back light translucency on it and it's actually going to allow thin objects to let light through it like paper does. But we're not going to worry about that. What we're going to do is we're going to choose gold. We're going to take it off of our psych, put a white back on there because it's awful looking. We've taken our gold and we are going to throw it on. For now, let's throw it on the ring so we can see what we're doing. We have this nice gold already you can tell that's looking really nice and you can see with the GI we've got the light bouncing off that affecting our white mate ground there. We've got this really cool ring. But something about this just isn't right. It's too perfect. By default, we've got our gold here, we've got the roughness is 0.12, which is why you have this little blurry. If you want to be super polished, you would do no roughness and then you're going to have this. But that always looks really fake to me because nothing exactly. But you turn it up more you'll get a more matt look. You can see with the roughness up all the way. You've got the matt gold, that cool modern look. Then you can notice here, with our reflections because we're under the gold preset, we actually have this GGX and this color plus edge tint. You think it'd be under metallness for a metal but it's actually under color and edge tint. This is what gives us that gold look. What we want to do is actually add some imperfections into this. I actually like the roughness of this. I might bring it down a little bit. We got a little more. There we go in between the two. What I want to do is actually create this natural distortion to it. Underneath the textures here there's something called noise. This is going to be universal for all software, that we can create a noise. Now the cool thing with maxon instead of 40 is it now supports maxon noise. We're actually going to grab that and you can use noise if you're using something else besides cinema 4D. Plug that in, we're drag this line over to the blue and we're actually going to not connect this because I forgot something. What we will do? We'll grab this and we'll plug this into the reflection roughness. What that did is inside of this where I was adjusting the roughness to point whatever, it's actually going to take the values of this noise, which if we want to we can plug this into the surface so we can see what's happening here. You can see it took the values of what's black is going to be, I think that's what's shiny right. What that does, if we plug this into our surface here, you'll see black and white. You can see what this is actually doing. Whether it's black, that is going to be super shiny, so the reference value will be 0 and where it's white, the reference value will be 1. We're going to just fill around in here and play around here. One thing we want to do is we're going to increase the overall scale over here within our maxon noise, and we're going to do about five. We've got this bigger look and it's all fuzzy and foggy and really we're just going to scroll to this noise a little bit more. I come across some just weird looking shapes and things. There we go. I like that turbulence. We've got this foggish noise words white means it's going to be rough. This means there's no pure black, so there's nothing that's going to be purely reflective. But this may be just a little too much contrast for me, so what I want to do is I want to grab this black and just bring it up to like a dark gray. I'm going to grab this white and I'm going to bring it down to like a middle gray. There we go. Now nothing is super rough and nothing is super shiny. When we plug this back in, you'll see we have this nice roughness, the same value we had. This basically now instead of 0-1, it's black to white, or black is zero and white is one. If we want it to be a little rougher, we want it to be a little closer to the black. We'd bring it down. Opposite, sorry. It's going to be the shiniest, so it's the opposite of what our roughness value was, the roughness on us. So black is shiny, white it is rough. Black is a roughness value of zero, white is a roughness value of one. If we want to be closer, a little more rough, we're going to increase these two a little brighter. That's going to affect the overall roughness of it. But it's not going to be perfectly evenly rough all the way around. That's what we want, we want to a natural almost like something that someone's touched it and it's got fingerprints and there's something. It's just a more natural, realistic look to it. You can see how that light's hitting that. We've got these little spots here. One thing we also want to do is we want to grab this, hold ''Control'', bring that down, and that's going to copy that. We want to add this to the bump, so under ''Utilities'', this is important, there's a bump and there's a bump map. We're going to grab that and bring it in. We've got this noise, we're going to plug that in to the texture and the input, map input and that output is going to appear to blue. We'll go to ''Overall''. Why bump is an overall, I'm not sure, but it's going to go and overall and then into bump. Let's take a look at this, if we plug this straight into the surface, we're going to see what this looks like. If we go and make this more contrast so we have black and white, but you actually scroll down here and just up the contrast so we can really see the difference between the black and the white. If I take this bump and I plug this in and this is the bumper, you're going to see, it actually creates where it's white is going to be raised up and where it's black, it's going to be flat. That is just going to add this hammered look to it. That might be a little too much and this is where you really start just flicking around and the noise singing is really cool, bumps and things like that. This wavy turbulence looks like it's providing this wrinkly goal as if it was like a gold leaf on there. Now it's a little dramatic and so we're going to actually tighten this up and go to a scale of 1. You shrink that down. Then inside of that we're going to go into a bump map here at defaults to a height scale, which is why we're using a height scale. Because we're using a black and white image. If we're using a normal map or those purple things, you would change that to tangent space, but we use a high field. We're going to bring this down to 0.1. That's going to bring that down. But you can see here in these little details, you still have these little bumps, that just make it look like it's just not quite perfectly polished and brushed. But if we really want to make this look like a brush to gold we can do. I'm going to turn this back up to one. Do you want this to look like a brushed gold? You can take the scale of our noise here. In one of these scales up this to 0.01. The easiest thing to do is when you're just in these things is to plug these in. Let's plug. We've plugged this in. Let's plug this into our surface so we can see what's going on here. Let's add 10 here and 10 here. See what that does? Let's take this and do 0.1. Here we go. Now we've got these really wide lines here, these really thin things. What that should look like is almost a brushed metal look. This is awkward. I don't like the way that wrapped around there, so what we need to do is reverse these, I believe, 0.1 and then make this 10. That'll make it go this way. Now it looks better. You've got this brush to look, but it's a little too intense, so we're going to take this down to 0.1. now we've got this gold that looks like it was rolled out of a machine, it got these grooves in it, but it's also got some roughness in it, so it looks more realistic. I like that. Do like that, we'll leave it at that. We've got this nice scene here. Let's take our gold. You could tell down here it does not look right. We're going to plug these into a few of these little cylinders. Let's just rotate around this little bit. That's looking pretty cool. There we go, we've got this nice gold material with these textures that we can control and choose. Play around with those bumps, make something really neat. Let's now take a look at adding a camera to the scene, and then lastly, rendering it out. See you in next video. 9. Redshift Camera: We've got our scene here. All we want to do is add a camera. We go to Redshift camera, standard camera. This is the only camera we're going to look at. It's got some different camera options such as spherical, fisheye, stereo-spherical, cylindrical. These are for VR and this is like a skater dude video, like in the 90s, for fish islands. But one thing we're going to look at our Redshift camera here, it creates the camera and it adds this Redshift tag on here. Now there are other Redshift tags besides a Redshift camera tag, but we're just going to cover the Redshift camera tag. We'll cover the Redshift object tag in the materials view most likely. In the material series will cover the Redshift object tag. Sorry, we will cover the Redshift object tag in the materials video in the series. Look for that coming out soon. If it's not already available when you watch this. We've got this camera now. Let's click this button, so that we can look at through our camera. One thing I'd like to do is I like to choose a Redshift camera and then lock that. Now if I go out here and I want to move around my scene, I can uncheck my camera and I can be like, "well let me look and see what this is looking like here." I can move around and I can click "Okay". My renders are messing up, but I wanted to move this up, see what that looked like. That's what that look like. If that's up there, let's move that back. Or if I made this ring rotate in another way. I can edit my scene around without changing my view here. That's really cool once you get your camera set up perfectly there. One thing we can do is, I always when I set my camera, almost defaults to a 36 I like to either do a 35 because that's what you would use. An actual lens would be probably a 35 or a 50 millimeter. Now, I'd like to do 50 and I'd like to zoom out. Because 50 is most like the human eye as far as the field of view and stuff of it. Let's look out. But honestly, I like to do that a lot, especially for archivists and stuff like that, 50 is a really good choice. I'm going to go with the 35 for this because just because I think it looks nice for this just to show off this extra empty white space I think that's important to have here. When we have our camera selected and this toggled, we can hold Alt and middle click drag around. One thing I like to do when I'm framing up my shot is pretend there's the rule of thirds going on here. I really want my focus and my shot to be this left side of the screen and this empty space over here on the right. It's this off-balance image, but everything is lined up. Nice, you've got the ring here and then the dots appear. It's all flowing across this space, so your eye is going to be drawn to this space. We've got that and our camera, and honestly you are good to go with our camera now if we want to. One thing I will show really quick. We're going to go a lot more in depth in the camera and rendering series of this video, but we can do some Boca. This is one of my favorite things with Redshift. What we can do real quick is we'll open up our Render Viewer, and it's going to be looking to the camera. One thing we can do is, underneath the object tag, we can set up focus distance. Let's say we focus on this centerpiece here. Now if I go to my Redshift camera tag, I turn on Boca overwrite and then enabled here. We'll go more into detail about this and what these are doing. But let's say we want to turn up these real quick. It's going to be easier to see if I actually zoom in. Let's move my camera and I just want to look across my, I have this depth of field here. I've moved my camera in, I'm going to click this right here. I want this ring, to be in focus, maybe a little more like right there to be in focus. Now you can see we're getting very noisy and blurry out here, but we have this depth of field applied. So the things that are further away are getting very blurry in this spot right here within the normal camera object, since this is in focus, and then we're controlling the depth of field based on the COC, radius and the power here within the Boca system. I can tell you, it's a really cool, just nice micro cameras stuff, stuff you can't get with real cameras. You can make the depth of the field so small it can zoom in maybe put any of the macro, all this stuff within Redshift, and it looks really pretty. We're not going to use this for this scene. We don't need it because our background has no detail at all, but just wanted to show off just how cool that Redshift Boca is and how nice it looks and how quick it renders as well. If I move around, you'll see that change. Very cool, very fun. So let's undo. We'll go ahead and we'll take this Boca and we'll just uncheck that. We can back this up. We'll back our camera backup. Realign our scene real quick. I think somebody starts [inaudible] and perhaps. Think that looks pretty good. Rotate it a bit. There we go. Very cool. Now that is all, we're going to talk about with the camera, so lastly, we're going to talk about the Render Settings. Well, one thing I will say real quick about the cameras is that anything you can do with a normal camera and snow 40 you can do with Redshift camera, you can do came a cranes objects, create any camera you want. Then just right-click and go to Redshift tags and apply the Redshift camera to whatever camera is in the scene, and you can instantly, make it a Redshift camera, which is very cool. 10. Render Settings: Lastly, we are going to talk about render settings. Before we get into the settings, I want to show something that is very important with this IPR Redshift interviewer. One thing to note is with this render view, you can only do still images. You can't look at animations inside of here like you can within the render viewer. There are few options here that we're going to go over, but we're not going to cover everything. We've got bucket render which we will talk about. We've got freeze tessellation which is important if you're using a Redshift object tag to displace things, we don't need to talk about that yet, we'll cover that within the material render and also the render settings video of this series. The freeze geometry updates, which is really good for using displacers and things with a lot of geometry. That way it doesn't have to load all these calculations up every time it saves that and it skips that and goes straight to rendering everything else. One thing I'll talk about real quick are samples. We've got this button right here which we can look at regular and we can look at a clay render. This is good to check to see your lighting and how it looks with a clay material if you want without having to do with material override or anything, you can do a quick little preview of that. You can also look at the samples. Now, samples are going to come down to bucket rendering and you're going to see all these weird little gray and white dots. Basically, what that is going to tell you is how hard the computer is working in certain spots on lighting and things like that and the appeal what is getting the attention of the GPU and what is not getting as much attention. You're going to get some things like noise and stuff and some of these areas that aren't white sometimes. It's good to know that, but we don't need to cover that right now for the basics, that's really more when you want to do like a very final, nice, clean, render and doing something super accuracy, super photo realistic. We're not going to worry about that, but we are going to worry about this button right here. We've also got different passes. We can do an AO pass, AO occlusion pass which we're not going to worry about right now. We're going to leave it. Few quick things I do want to show about this is one, is this crop, this region window which you can hit "R", if you want that brings up the square. If you're making changes to something, but you don't want to wait for it to render out the entire scene, you just want to do one part. Let say we made our ring white here, so the gold that we didn't want to have to wait for the whole scene. We just wanted to see what that's going to look like here. That's pretty good. You can just render that. That's easy. You can tell, do I like the gold color or do I like the white better. I like the white, but I'm going to stick with the gold for now. That's just going to allow you to make these tiny little details. Sometimes if you have a floor, one's privacy in your making tweaks to the lighting tube. It's not affecting the other parts. This is a good way to use that and just get a quick preview without having to wait for your entire scene to render. This is also very useful when using the bucket render option. Now, the bucket render is what you're going to get when you use a final render. When you hit this render button here, it's going to bucket render because we have progressive rendering off. All these times IPR has been progressive rendering, so it's been loading in. It's really good for getting quick little previews what you're going to see. If you want to see what it actually looks like, you're going to need to use a bucket render. What that's going to do, we click this button and it still can update even though we are bucket rendering, see this little bucket here. It's going to go boop. This can be hard to see against this white background but it's gonna give you the final image and what that looks like. It's going to go piece by piece around, till all the buckets are full. This is what you're used to seeing, it's going a little slow now because of RGI. We've turned that up a little bit. You can tell up here, we are getting some noise here. That's because the GI as well and the lighting samples and things like that. You can see, we're start to see things where we're going to need to do some work and up this a little bit. As that goes, even if I rotate around, it's going to automatically start to re-bucket. [inaudible] It's going to update again. We go back round. This is what you're going to need to do to render. This is why I like to use render regions because there's something really detail you need to see what's going to look like in the final. You can just render a region that off and it'll put the buckets inside there. So you can see we're getting some noise in here and this is very clean. If we look at this, well, we don't look at examples but, we can see here what's going on. What we need to do inside of the Render Settings is under our GI, we have a six. Our number raise is 512. We're going to turn that up to 2048. We're just going to see what difference that makes in the same. This is going to take longer to render. But as you can see, it did nothing. So as you can see here, we've got this noise here. That is most likely due to our lighting in our light samples. By default, all the lights have sample rate of 16, I believe. Instead of going in here and up in this unified samplings, the mins and maxes here and doing a lot, that is going to do a lot more calculation, power and pull more resources from your computer, than you need for it to. Basically, what we're going to do is we're going to twirl down this sampling overrides menu. Right here you have the samples for reflection, refraction and even occlusion light, volumes, singles and all this stuff. If we turn these up, that exponentially updates all of these as well, every single one of these. But sometimes you don't need to calculate these and up the calculations on these. We just need certain things. For instance on this, we need to upgrade the amount of light samples, but we don't need the increase in mass volume samples or refraction or anything like that. We just need light. Let's do this and this can default it. So we're going to turn this up to a 128. We're going to see, already that clean that up instantly and it was fast, crazy fast. We're going to move that up and just see already cleans all that up. That's just light samples. That's all we needed. Let's look at somewhere else in our scene. Let's see if we have any. See all that's getting cleaned up nicely. Let's take a look at these shadows down here. These might need even more. Those are cleaning up pretty nice too. It's a little noisy so let's turn this up to 256 and see if that cleans that up any more. Not really, so that means it's something else. Go back to 128. Let's go up to 512, bump it up even higher. That's pretty nice, but it's still noisy. We're going to go back down to 128. These shadows here, at 128 are pretty noisy. We definitely saw a difference when we pulled up to 256. That's much better. One thing we need to do is this is probably more based on the GI than anything. So we go this GI, we increase the number of rays here to 2048. You can see that clean that up a little bit, but honestly, let's go back. Let's go and let's up our lives samples even more. Let's go 1024. Now that's pretty clean. That's pretty clean right there. We're going to go up to our GI and increase that to 1024 as well. The shadow is really getting affected by the GI. That's looking really good, really clean. I see, every time you go up exponentially. The reason I'm doing those weird numbers like that, powers of 16, it's like megabits and gigabytes and all that stuff. Megabytes, how it's early,like a 1000, It's actually 1024. You go [inaudible] 50, 64, 128, 256, 512, 1024 like that times two. One thing we can look at and see if there's any weird little specs from our reflections here, which I don't think we will since we don't have too intensive reflections, but we might have a little noise, here. It might be from the bump map or we can do is turn our affliction override on the 128 and see if that cleans that up at all. I think that's just our noise. Now that did a little bit, so we'll turn that up to 512. Now we've got our light samples and our reflections samples turned up but we've still got, all these is set to default. So let's turn off our render window. This is going to give us a good estimate of how long this will take to render. We will sit here and watch this renders slowly and it's going to be super clean, nice image and I say slowly compared to the IPR view, but not compared to a CPU render or something with my CPU at least. We're going to let this go and we'll come back to it when it's ready. There we go a minute, 28 seconds to render this all extremely clean. This is all very, very clean. Everything's looking really nicely. This is probably cleaner than it even. If I was going to do like an Instagram post or something, I won't even worry about making it this clean. You're not going to see these little details like fuzz in this far. You're not going to see that on an iPhone or something. Keep in mind, but I wanted to show you how to increase your cleanness without increasing your render time so much. If we just left all this default and jack this way up, it would take much longer. It's important to use these values over these values, we don't have to. Honestly, for me, the only time I touch these values is if I'm using depth of field or motion blur or also if you're doing a VDB like a volume render, these actually affect that more than the volume tag down here does this will affect environment volume, which we'll cover in the lighting series. I love fog and how fast Redshift does fog but real quick. That's the only time I will touch these, honestly, sometimes I'll take this down to 0.003, it's just some accuracy, but honestly, you don't even need to for this scene at all. This is looking really nice, really good, really fast still and that's extremely clean and how fast it is and that is how you would render that out. You got to get a view of what that's going to be like. Now if you want to do an animation or something, all you have to do is go period, go to output and you would choose all frames or wherever animation, settings, preview range wherever you want and that'll do your frames. The main thing to do if you want to save your image, you need to check this save box. Choose the format. I like to do JPEG, PNGs, depending what you can do EXRs, things like that. Let's say you just sat there and you let that render inside of this render viewer and that's good enough for you. Well, real quick, I'll show you where you can do is go to "File", "Save Image", "Save Image As", it gives you these options where you can save it as EXR. You've got TIFFs, you've got JPEG as you can choose quality. So you can save your image from here, which is really cool or if you want, once you have this saved, you choose your output, you choose your file type. You will now just be able to use the render view, normal like you would normally, and then we'll just build it in there, you'll have your layer information and all this stuff. There you go, you've got it in your timeline and all this stuff right there. 11. Post FX: One thing that's really cool about Redshift is they have what is called, underneath the settings tab, the post effects panel. Inside of this, let's turn this back on. Here's our scene. If you have LUTs, you can apply those straight to your scene. If you want to just use some basic color correction, increase the contrast, lower the contrast, increase the exposure, lower the exposure, that thing, you can literally do that right here inside, as soon as it's done. You can add a little S-curve to this if you want. I always like to do that sometimes, not always, sometimes I don't think I need S-curve. But if you do these things, you'll notice under the Render Settings that it adds Redshift post effects, and checkbox it, and then you have these same options all right here as well. One of my favorites, let's uncheck that, is Bloom. Photographic exposure is nice. It's a good way to adjust your scene as if it was a real camera. Lowering your f-Stop is going to increase the brightness, raising your shutter speed is going to let less light in, the same with ISO it's going to digitally enhance your noise. You can adjust the white balance. All this cool stuff. You've got all that, all built-in, you can adjust the vignetting, you can add a vignette to your scene really easily. Let's bring the shutter back down a little bit. You get this nice vignette which is a neat look and you can just edit that in posts and you can just take that right off. No big deal, but I like it now that I've seen it. In there little bit. You can adjust saturation. You can desaturate it, and I really like that silver look with that actually. We can up it just a bit, punch it up a little bit. One of my favorites is Bloom, and I click it and nothing happens. What Bloom does, you have this threshold and it is going to take things that are very sharp highlights and it's going to add a little glow to them. It's like glow and after effects, use that, so you can adjust the intensity of it. Seeing it's really nice, cool, like romantic looking shots and stuff like that, and that's going to react to any highlights within your scene. Flare is really cool. Flare is really neat if you have a light in your scene. But right now we don't have anything, so it's just going to say whatever light's entering the cameras, it's going to create a flare in the middle. But what's cool is if I had a light in the scene it would move around and react to that light so you wouldn't have to do any post work and track that flare on your light. You are unlikely to build it in. You can adjust the chromaticness and softness and all this stuff, really cool. You've got all these really cool settings for as soon as your scene is done. I got the settings on here and we'll apply those when we hit "Render". Now, if I was going to render this out, I probably would. Just render this out in the render viewer and click this button right here to do a final render. That's going to be the same as if I hit "Play", then hit "Bucket rendering", the difference is I've hit final "Render" and now if I move this around, it's not going to update, its not going to live update, it's going to just leave it from where I hit "Render", that's when it's going to render. If we let that render up we'll see how long that takes and it will automatically apply these post effects settings. But what I'll do is just to show that it's the same, I will hit this "Render" it right here. This will render it out and then apply all the post effect work right after it's done. You'll see once that finished rendering in here it started off looking like this in the render, but when it finished, it will applied those posts effects and it made it brighter and looks like this. Now, I noticed I have my little corner down here, which drives me crazy. This is a good instance where if I had done this within the render viewer, let's just open my square here, let's hit "Render". You can see my little spot is down there. This is what my image looks like. I've got this little gap, but I could have taken this and grabbed this plane, this line here, and pulled that out if I wanted to, and then just move this back down and fixed it but really I'm just going to push in and fix it that way, the correct way. I'm just going to adjust my camera. We can hit "Render" again through the Render Settings up here or in here. I like to do it in here because I like to adjust the post effects and play around with them a little bit when it's done rather than trying to deal with it in post and stuff like that, I just like to control it here. Minute 24. We're going to save that. Going to snapshot that, and we're just going to go in here and we're going to tweak our settings and see if we can get away with doing a little bit faster of a render even. We're going to go to Redshift, we're going to go GI, we're going to take that back down to 512, we're going to go to Basic, we're going to go over to Reflection, we're going to take that down to 64, I don't think we really need it to be up that high, and the light we're going to take down to 512. We're going to see what difference that makes in our image and our render times. There you go. You see, it doesn't really look that different. This is the original image, this is the new. Don't see that big of a difference honestly and we got the render time down to under a minute for this really nice scene. Even on the cone here, we can see if we zoom in real far, we can see a difference there. This is clean. This is dirty. But if I'm posting this on Instagram or something like that, or if I'm just doing a daily abstract card, that's totally clean. The main thing, if I was doing a still image, I would go the higher quality one. But if I'm doing an animation and I can shave 30 seconds off a frame, and the quality difference is minimal. I'm going to want to definitely do a min-max thing on that and I'm going to say, if I can shave 30 seconds off of a minute animation, that's hours you're saving. It's very exponential, but keep that in mind when you're rendering, what your end goal is, there's always where you want to be perfect and then there's good enough and you really want to land in the good enough and make it be quick as possible and efficient. That's my tip, is try to get your render time down as low as possible, but also keep the quality up. Play around with those settings, what you can take away and what you can add on and get those settings really where you want it. But now let's talk finally about your project and what I want you to do. I'm excited. Let's get into it. 12. Your Assignment: So now you know how to add a camera, lights to your scene. I want you to do two things. I want you to make materials for this and change what this looks like. Two, I want you to play around with the lighting. I want you to delete these lights, add a new lights, create your own area effects. Just move these around, just play around with lighting and materials and see how they react and just get used to how these things interact with each other, okay. 13. Bonus Examples: For an example, of materials you could do. Let me show you what you can do. Hold CTRL and drag this over. We've got this white material. This is a really cool trick I learned. If you go over here, let's say we grab this light pinkish color, we like that. Now let's grab this and drag that over, let's take this original one and put it on the background. We'll just turn this to the renderView and we'll take out them back at rendering. You've got this really nice, pretty pink color that might be a little too saturated, but it's okay for now. Let's open up the one that is not the pink one, but the copy of the pink one. I want to do a complimentary color to this pink. It's a really easy way to do that within Cinema 4D. We're going to click this color and then you'll see this little wheel right here, we're going to click that. Inside that we're going to click this. This is going to choose the color that's exactly the opposite on the color wheel. Meaning it's complimentary. So if we go on here and click this, we're going to get a color that we know is going to look good with this pink. Let's throw that in on these little objects here. All of a sudden we're getting a pretty nice, I actually like the ring thing in the material. We're getting a very nice little shape and then we're going to take this gold and we are going to mess with, we could choose a different preset, but we're just going to mess with the edge tent and we're going to make it more of a copper. We're going to make it more pink and red and well, let's take a look at that. That looks like a very cool, almost like a rose gold really, that's what that would be. I think honestly what might look best is if we did almost like a metal, like a silver. There's the tiniest bit of pink, it's a neat color right there. Play around with that, play around these presets, choose which is platinum, whatever you want. Tinted glass is a pretty cool one. It's going to be pretty interesting but don't get too bogged down in trying to make things look perfect. Glass is pretty cool if you take this roughness map and this bump map off, we'll see the glass is just going to be this super clear object so if you're going to do something that's reflective, I really suggest adding a custom roughness map to it, as well as a bump. I really think that just takes it to the next level and makes it just look a little nicer. It's going to be pretty cool, it's pretty cool. Play around with that and then post and play around different color combinations. If the ring is a color, the background is a color, I suggest leaving the background a matte finish though. It's just going to really look a lot better than if you do something that's purely reflective. If you use something that is reflective, I really advise you to use a roughness map and play around with noises and things and see how that interacts. 14. Congrats!: You did it. You finished the course. If you're watching this video, you are awesome. Hopefully you learned a little bit about Redshifts or you feel more comfortable with it and it ignited this flame that you want to learn more about it because we have barely scratched the surface of this powerful tool. Hopefully it can work into your workflow and help speed up your innerism, because it really changed the way you view 3-D and just open up all these opportunities for the speed and the power that it presents. I'm going to continue to do more classes and tutorials, so please be sure to follow if you like the content or if you want to learn more about Redshift and I cannot wait to see what you guys create in this class and get to know you guys as artists and just really see what you can do, and travel along with you in this journey of learning Redshift and in creating 3-D art. Thanks for watching again so much. I can't express how grateful I am. See you next time.