Create a Greeble Cube with C4D + Redshift (Beginner Friendly Project)

1. Create a Greeble Cube in C4D + Redshift Displacement (Beginner Friendly Project): Dear Kurt, from a full-time teaching instructor and trainer, you might've seen some of my YouTube ad effective Tron or maybe you've seen me teaching over on CG shortcuts.com as well. I love teaching and creating and I've created this group of course, because one, I love peoples and the whole cyber punk aesthetic too. It's one of those designs that I used to look at when I was starting my 3D journey and be like, man, one day I want to be able to make this. Well, it turns out they're actually not that hard to make. They look difficult to craft and they're very impressive looking. But in reality they actually are very simple once you know what tools to use and that's what this course is for. I will equip you with the tools you need to create a music greebles of your own, as well as step-by-step instructions and resources to follow along. The first half of the course is about creating the table design and then using native C4D to create the Greenville. We'll cover how to make them and troubleshoot some common issues that you may face. The second half of the course is for my Redshift users out there will use ours displacement and tessellation to create even better and more detailed greebles will also go step-by-step through creating the materials and lighting setup to create the scene. We'll also cover rendering and post effects as well as some camera tips and tricks. Even if you don't have Redshift, I encourage you to at least skim through the redshift lessons just to kind of see how much better redshift handles this kind of thing. But the end of the course, you'll have a scene that you can drag and drop your own Google Maps into an easily create your very own unique greed will render. All right, let's get started. 2. Setting Up A Default Layout For Your Workflow: For C, we are instead of Cinema 4D or 25. First thing we want to do is set up our render settings and stuff. Because every time you open up Cinema 4D, you can see that it's set to the default of standard and 720 p and all these settings. And we pretty much have to go in here and change this every time. I'm gonna show you how to set up a scene with Redshift and then how to save all this as a preset that way when we come back and open up Cinema 4D, next time we won't have to touch any of this stuff again. So firstly, let's go up here to this little gear on the clipboard here, IT control B to open up the Render Settings. Appear in the top left we have render here we want to choose redshift. Now for my non-written diffusers, like I mentioned earlier, this course is not redshift exclusive. So if you're not a re-shift user, these changes and things will still apply to you as far as saving, you're seen as a default, but we'll just use the standard of physical render or octane wherever you want. Set up your render settings to where you want it. I'm gonna walk through Redshift for this bit. But then we're gonna go through and show you how to save this as a default. Seeing this case, you need it from a retrofit. Users go ahead and choose redshift. Firstly, we want to set up our output settings because beyond just our render settings, It's also going to save as our default settings for whatever file we want to output. So if there's a certain type of file or image size, do you output out the most? Go ahead and set that up and save that because that's just gonna be one less thing you have to set up every new time. Once that set, we can go ahead and go down to the orange shift option here. You can see here we have a couple. They've simplified this so we have a basic tab and an advanced tip. Now, instead of the basic tab, we have Bucher quality. So bucket quality is going to be your bucket rendering. And so these are just presets that set a value for your bucket quality threshold. Changes in this slide set up and we're gonna go ahead and just say the book of quality of low for this, because we're actually going to be using the denoise or as well. This is a post effects smooth. It is applied at render time to try and fix any noise or speckled. So we may have. Lastly, if you have an RTX card, you're definitely going to want to choose hardware ray tracing if available. If you don't have an RTX curb, sorry, just won't do anything. But if you do have an RTX card, this actually will speed up your render is quite a bit. Go to the Advanced tab real quick and there's a few things I want to change a super-quick. I'm gonna go to a global illumination and you want to make sure these are set to brute force and brute force. And you don't have to do this. I often like to just boost the raise up to at least 128 with the Automatic Sampling they were actually going to use here is on by default, it should sit there for you, but I'd just like to be safe. Last thing in our Advanced tab under the sampling Tim, go ahead and twirl down this denoising and we're gonna make sure optics is being used. If for some reason you have a scene that has a lot of detail and stuff and you seems like the denoise or is blowing it out. The ALT is dual is slower, but a lot better option for smoothing out your scene without removing a lot of detail. But for the optics, we're going to go ahead and take this deal is called a down to 0. This is going to speed up our render and actually make it so that we're not trying to smooth out our scene while rendering. It's going to wait till it renders to seem completely and then smooth it out. But that's it. Now lastly, we could do is if you wanted to do a multi-pass image or an ESR looking multilayer image. You can set that stuff up. Like I said, we're not going into detail about this workflow. So I just like to use a JPEG or PNG, and you just choose where you want to save that file. Now that we have these settings setup and we'll right-click down here and say Save Preset. Double-click in here to rename this. And we can rename this fast Redshift noise. That way when we open this backup will have this preset setup. And if you want to have one that's set to medium, low or high, you can just quickly click those. And if you have other settings that you want in here, you can just save those as a preset. And you won't have to recreate those every time. We have our render settings set up, whether it's redshift, octane, whatever. Go ahead and create those presets you want. So you have a default one that's gonna be loaded up because we're going to disable this so that every time your prompts in 40 in the future, it's going to be saved like this. Now this also applies to how you want to lay out your scene. I always like to have the material thing open, but it's way too big. We don't need it to be that thing. Just going to slide that back over. And so odd to have this screen space here. And if you're using Redshift, you can open up the render view if you want. I often like to have it as a pop-out because I use it a lot when teaching. But if you went to lock it in somewhere, you can either sit in a sudden monitor or something. But if you just grab these three lines, you can place this in your scene somewhere if you want. If you want to have that built-in, you can have a designated area to build that in. If you don't like it, just click and undock it and puts it back out to the pop-up window. You can set things where you want them if you know you like to have these tours somewhere else, go ahead and set that up. Because this is all going to be saved in our layout and our default scene. Besides render settings and your layout, you can actually load in actual objects in your scene. They will be loaded up at the default start as well, such as a floor and some lighting that I've added here. I'm just going to add a floor and a redshift overhead light so that every time I open up my scene, I don't have to add those things in. So go ahead and add in whatever it is very common for you to be at a floor or a cyc wall, maybe a studio setup if you want a dome light wherever you use most often and go ahead and add those things in. This is just gonna be again, one less step you have to do. Every time you open up some 40. We're going to just make sure that we have. I'm going to hit Control D and your viewport, and that's going to open up your project settings. We're gonna make sure that we have the scale set to how we want it. And the frame is set to how we wanted to. Well, make sure this stuff that matches your render settings, you set up. One last thing that I really like to do is I go in here to the View and I go to Configure. I go to Safe Frames. I turn the opacity of these renders safe frames all the way to black because sometimes the light you don't notice, you don't notice them and you can put something up here and it's not going to show up in your render because it's actually out of frame. I just go ahead and crank that all the way up so that I do not get confused as to what is actually going to be in my scene and the V is visible in the render. Now that we have this setup like this, I want to do is compute a Window customization. And we're gonna go ahead and say Save Layout as we can change this as Redshift simple startup. Now they have this saved. You can go to Window customization again and go ahead and say Save as Startup Layout. And then one more time, go to customization and go down here and say Save as Default scene. Now if we go in here and we go to new project, you'll see that our scene is already open. Here in our new project, we have a floor, we have a light, we have a plane. Render settings are already set up with redshifts. And in our settings we have here. So now we are good to go and all we have to do when we open up some 40 is start creating and not to worry about changing those winner settings every time. Again, this works with octane physical render. All of this center render, everything. If you have a standard workflow that you use a lot, go ahead and set this up that way every time you open up somebody, it's one less thing you have to do. Awesome. So now they're all in the same space. Let's go ahead and go to the next lesson where we'll start creating our global cube here. 3. Setting Up Our Cube: In this video, we're going to create our cube instead it up for displacement and go over that. All I need to do for that is we need to go ahead and add our cubed. Just go ahead and click this Add Cube object here. It's going to add our cube. You can see it's going to splice it right here into the ground. So we need to go into the Coordinates tab and raise that up about 220 centimeters in the y. And that's just going to raise that up off the ground a little bit. Because what we're going to want to do is we're going to want our object be floating and we're gonna rotate it towards us here. So what we want to do is for the H, the rotation are excited to 48. Hit tab to go to the next one, hit 21 for the p tab and negative 21 for the b. So now we have this nice object where it's just facing a right at us and we'll add a camera later. But this is the look we're going for here. That's it for this video. Actually, we're just going to go ahead and go over the displacement and finish setting up our cube for that in the next lesson. 4. What is Displacement?: In this lesson, we're going to cover displacement. Displacement is, well way of displacing geometry of an object based on a texture map or a noise map, often using grayscale values where white means a displacement value of one and black means a displacement value of 0. Everything in-between is giving a relative value. But default, white values are pushed away from the surface 100% of the strength of the displacement. And the black values are left where they are because they're getting 0% of the strength of displacement. Easiest to understand visually. So let me just show you what I mean. First, there are two ways to do displacement in Cinema 4D with Redshift. One way is to use a displacement modifier for Cinema 4D. But you're not gonna be able to get as much detail as the redshift displacement can get, but you might still be able to get a really cool effect. So keep that in mind. In order for displacement to work correctly, there must be enough geometry on your object to actually displace it accurately. Let's select our cube and hold shift and click and hold this purple bend modifier and go down to the displacer. Shift click and hold makes this apply as the child of our selected cubes so we don't have to drag it in right afterwards. Inside our displacer, let's click the shading tab at twirl down this arrow and select Noise. See it creates a black and white map for us. We can do is we can just change this noise to say total noise. You can see we have all these white areas in black areas, but nothing is happening on our cube. And that's because we don't have any geometry for a cube. What we could do is we can increase the sigma. So this, Let's go ahead and change. This is 202020. You'll see it's displacing stuff with that isn't at all look like our texture map there. Because we're going to need a lot more geometry. We can go to the display here, turn on the lines, and you can see it's displacing. Whereas just got these points where our intersections are reading because there's not enough detail on this to actually displaced correctly. Let's just go ahead and add more segments to work cube. Let's go ahead and just add 0 to each axis, so it's two hundred and two hundred or 200. Now we actually have a really nice boxy displacement on our cube here. This demonstrates how the more detail you want, the more geometry you need. Now I will say around or diagonal texture maps or noise maps will require a lot more geometry in the basic quad displacement maps. Now, some things can need a ton of geometry. In our 25, it is much better than the previous versions about handling high geometry in the viewport. It used to really lock up your computer almost instantly. But the issue is you can still run into too much geometry in your scene and it can really slow down performance and cause some lag and even crashes Still. But this isn't the case with the redshifts method. And so that's why I will say if you really wanted to make a lot of greebles stuff with a lot of high detail. You're going to want to definitely look into Redshift. So like I mentioned in the intro video of this course, you do not have to have redshift to follow along. For you Cinema 4D standard render or physical render users. Or if you're using another third-party software, there's still a way that I will show you how to create the fund Google Maps and how you can create your own, apply them in Cinema 4D. Using the Cinema 4D is built-in displacer and still create some really cool, amazing looking greebles. You can follow along now I'm not gonna go into materials and lighting and post effects for those renders, but for the redshift users out there, I will show you how to do that. And for your non-registered users, I highly recommend you watch the video on redshift displacement so that you can see how much more detail on how much better and faster redshift is since Cinema 4D display certain when it comes to displacement. So no matter what render engine you are using, you can follow along. In this next video, we're going to make our agreeable maps. 5. Creating A Greeble Map: To create these really cool green balls, you actually need a really nice grip or texture map. Then there's an amazing free to use software out there called JS placement. There is a link to it in the class notes. So go ahead and download that. And once that's installed, we can open that up. Click the little box grid up here in the top-left, we have options of all types of greebles here that we can choose from. So just take a second and kind of click through those and see that a lot of them are pretty cool and just kinda understand how it's working in generating maps and things like that. Now let's go ahead and create what we want for our class. So let's choose JS placement too. You can see here we've got a classic set crap pack, big data, aromatics and custom sprays. Now we definitely want to use the crap PECC. It's awesome. It's just gonna witchcraft in here. And it's really cool looking. You can see this is the one that I would say avoid if you don't have redshift because there are a lot of around things and diagonal lines. And this one, if you don't want to use this, you can use something more like the classic set, which has some diagonal lines, but in some round things as well, this is more of a sci-fi look. Big data is what I would recommend if you're using something like Cinema 4D to do this. It's a lot of very straight edges. There's no round bids and it's still looks pretty cool. So let's go back to our crept back here. What we can do is we can actually adjust the settings here. And the first thing we want to do is you want to go ahead and take this background brightness and turn it down to 0. And that's just going to go ahead and regenerate this every time we change something. This is going to be our surface that it will not be affected by our displacement. Anyone where it's white, you see it's going to be affected at a 100% and everything else is in-between. If you click here, you'll see you just regenerate a map to get a random seed every time. And the best part about these is that it is completely seamless, meaning you'll tie all these and there will be no hard edges or borders. It will be a really cool click until you find one that you'd like. You can just go ahead and choose Save. You can adjust the number of iterations. The sprite scaling as well. Lower these down and it'll have less objects. And you can increase the size and that'll make it those objects larger. You can see how you can really create a whole bunch of really cool looks in here without a lot of work. Very cool. Once you have one that you'd like, go ahead and go to Save height, saved your object, and be sure to leave this dot PNG. It's very easy to accidentally delete that, name your object and save it. You may not have the same exact map this nice, so I'll make sure I provide those maps so you can follow along perfectly the first time. And then I encourage you to go back and add in your maps that you create. Keep in mind the smaller the detail and the smaller the items in your texture map, the more polygons should go into neat, these are AK images. A small little lines are very small. If you are using Cinema 4D and not Redshift, I encourage you to try more blocky map like a big data or some of the others that don't have as many diagonal lines or these round bits that this one has. Let's go back into Cinema 4D. And real quick, we'll just up the segments for our cube here to one hundred, ten hundred, ten hundred, ten hundred, which is the maximum let you do. This is just going to give us the most detail possible before adding subdivisions and before starting to take a real big hit to the viewport performance. Now that we have enough segments, Let's take a look at loading that map in and creating our grip or using the standard Cinema 4D displacer in the next lesson. 6. C4D Displacer : Let's go ahead and look at this lines. You can see it's so dense. There's a lot of segments here which is going to allow us to have a lot more detail, which is what we want. Let's go ahead and turn off shadings. We can actually see what's going on here. Instead of our displacer, go down to the shadings tab and then twirl down this little arrow and go to Load image. This is where we're gonna grab that grip of math that we made. You can see that that applied very quickly or viewport is still running very smooth in our 25 thousand segments. But you can tell that it's just doesn't quite have the detail that we want. All of our circles. And things are still very jagged, almost. Have a Minecraft look to them. Where are these little tiny details are in our map? We have these kind of little weird spiky bits and you can see what I'm talking about with our, all of our diagonal lines in our curves are where we're heading issues. It's straight across, is looking really, really clean and nice. So how do you problem-solve this? Well, we can try to sub-divide this. We can throw the save. Before we do this, throw in a subdivision surface, we're going to hold Alt and click solution surface. You can keep trying to divide this out more and add more subdivisions. But each time you do it's gonna get slower and slower. And also it's just going to take a whole lot to actually get that level of detail that you're looking for. It's not really ideal to try to do this kind of map with Cinema 4D displacement. Alternatively, what we could do is create a map that doesn't have any round bits. But for this piece, we're just going to scale this up to scale out of the way. And so we just kind of have this part here. This can be blown up. So go down a mapping which can change the strength of 200 by 200. That should show up a lot of that stuff out of the way. We went to offset this became, There we go. Now we have more of these rectangular bits. It looks a lot better this way in our diagonal lines are still jagged, but only so much you can do with this. Now one thing you could do is because our edges here looking kind of funky when using the Cinema 4D displacer, it's helpful to go in and fill out your cube. And we're just going to go ahead and make this radius pretty big. Tin changes. So divisions in here to about 50. You can still create cool gribble objects. Just be careful what maps you use and you are gonna be limited to more of a blocky look versus rounded diagonal lines and things like that. That's how you can do it with Cinema 4D. And you can see it definitely works and you can definitely create some things. But there are some issues that you might come across and you might have some limitations. Now if you have your group will create it and you want to control the height of it. You can adjust the height here or the strength of the displacement and you can make things more subtle like that's a pretty cool looking ahead look. So we can always have to be a little miniature cities. They can be useful for nice hard surface modeling to make something for a space block or something like that, that just looks like a panel on a spaceship or something. That's really nice-looking. And it's more detailed and more pronounced in a bump map is able to create them. So that's when you use displacement, is when you want to make something that basically you don't know how to harden surface model. And you want to use a texture map and make it stand out more than a bump map can do. This is really neat if you want it to be sunk in, in, in the white instead of being pushed out in the white, you just need to make this a negative number. Now we'll have the inverted effect of what we had, which can produce some cool it looks as well. We also could have just the height rather than the strength if you wanted to. That's how you can create and control some really cool looks. You can just plug in different maps and try those out as well. The cool thing about this is it's very fast and you can just click and drag. And then all of a sudden you have a completely different look. But by the end, product is always pretty cool. And since it's soluble, we can offset these things like that. And I'll never have these really harsh seems. It'll all look pretty good. But once you scale things up, you lose that seamlessness. So think about that when you're creating your people, you can see there's just a lot of really cool things you can create very quickly with the combination between your displacement map and your displacer settings when you have the geometry. And I'll show you how to do it with redshift in the next lesson. And if you were a C4D user that doesn't have redshift yet. I highly encourage you to just kind of watch it to see the amount of detail that you can get with Redshift and still keep viewport performance. It won't slow down and won't lag. And you'll be able to get such smooth things so your circles who are actually perfectly around. So it's kind of amazing the detail you can get with redshift displacement will check that out in the next lesson. 7. Redshift Displacement + Tessellation: Now that we've learned how to do it in cinema 4D, Let's show how we can do this with Redshift as a few things we want to change real quick. Firstly, for a cube, we're gonna go ahead and go back down to five hundred and five hundred and five hundred for the segments and uncheck this fillet because we won't actually need to fix those corners that way with Redshift. And we won't actually need that many segments in our viewport or on our object for redshift either. But we've still been able to get more detail and I'll show you how in just a minute. The first thing we need to do when using Redshift is it displaces it through a material and not through a modifier. So the first thing we need to do is create a redshift material, material, material. It'll throw that on our cube. Double-click that to open it up. Now all we need to do is open up our texture map that we just created. Just drag and drop that in here. That's going to go ahead and just create a texture node for you. This is gonna be labeled. Instead of here, we have the option to under the General tab, to adjust the gamma or adjust remap the scale or choose whether they want to wrap, you can rotate it offset at all. Those options are built-in right here. Already to do now is we don't actually connect this to our RS material at all. What we need is a displacement node. So go ahead and type in display. And you're going to bring in a displacement node right here. We take our texture, grab a little circle plugged into the blue, go to texture, texture map. Instead the r's displacement, we have the scale of our texture, which is going to determine how much the redshift displacement number is multiplied by. So it's very good to just leave this at one and adjust the scale of this inside of the redshift tag, which I'll show you here in a minute, versus doing it here. Height field is what we want because we're using a black and white grayscale map space type. We want object. You only ever want to use tangent really if you're using a vector map, which for displacement is a really cool multi-colored map that allows you to do so many things. But we're just going to use this black and white map. It's super easy to use. Instead of our displacement, we also have these change range, which we are going to use later on to make some adjustments. This is all we need to add, and we just need to connect this into our shader graph here correctly. Now this does not connect to our material. This actually just connects straight to the output. Let's go to this blue box for your output and choose displacement. And that's all we need to do for that. Now if you look at this, will render this. You'll notice nothing has happened in our viewport. And that's kind of how it's going to go with Redshift. You'll notice that nothing is happening in our render view as well. Now that's because we actually, there's a few things you need to do to activate redshift displacement. We need to right-click our cube and go to the redshift tags, redshift object. Instead of here, we have a geometry tab. And this is where we can override and create our displacement. We want to check override and we want to enable tessellation. This is a redshifts subdivision at render time. We also need to check redshift displacement. Now if we hit render on this, we'll see that it calculates the tessellation and displacement first. And then it will render. You can tell our displacement is here, but it's not really looking like we want it to look, so we need to make some adjustments. Firstly, like I was talking about here, we have the displacement scale and maximum displacement. And this is what's correlated to our height field and our scale field inside of our displacement node. Living that at one allows us to just use numbers here to adjust the scale of our object. What we want to do for this, instead of 21515. The way this is going to work is it's going to displace it away from the surface 15 times further. And the maximum displacement means that it will allow it to go all the way to 15. You can have a higher maximum displacement and displacement scale. But if you put your displacement scale higher than your maximum displacement, what you're gonna do is you're gonna run into some clamping, or basically it's going to push everything out but stop it at the maximum displacement value. For example, here we have a displacement scale of 15 and a maximum displacement of 15. If we were to lower our maximum displacement down to just two, what's going to happen is it's going to clamp everything down to just the height of two rather than allowing everything to push out 15. That's how that works. As long as your displacement, your maximum displacement is equal to or higher than your displacement scale, you'll be able to have as much range as possible. Let's go back to 1515 and take a look at how to get the most detailed possible with this redshift displacement. Here's a bird's-eye view of our circles when we have the main imagining the four maximum subdivisions at six and the displacement on with enable auto bump mapping on as well. The first thing we can do to add more divisions here and make this smoother is add more subdivisions. So we can go ahead and increase this all the way up to 16. That's the max. The maximum subdivisions is going to tell redshift to allow it to sub-divide it 16 times, which if you add a subdivision surface and put 16 in there, you're gonna break your computer. But with Redshift, it does it at render time and it doesn't really have an issue. It does calculate. And then goes. And you can see that it doesn't really make that big a difference right away because this only works in conjunction with a minimum edge length. Basically the way this works is it's going to say use up to 16 subdivisions and in order to obtain a minimum edge length of four, it's only going to divide it that many times if it needs to get this minimum edge length. And the minimum edge length, the lower that is the smoother these corners are gonna be. Let's go ahead and take this from four down to 0.1. You'll see this going to calculate that. It's gonna take longer because it's going to use more subdivisions. But the cool thing is is that once we get to sit, we can actually load this in so it doesn't have to calculate it every time. And wallah, you can take a look at this and holy count, that is a perfect circle. Doesn't look like Minecraft anymore at all. So with our render region removed, we can see that we have a ton of detail in all this and this is all super clean. Diagonal lines are perfectly clean or round corners are clean. These little circles are clean. Everything is looking really, really good. So what we can do now is if we take a look at this and we move our camera around in the viewport. You'll notice there's some lag here and it's going to wait and then recalculate what we actually can set this up so that it doesn't have to do that every time. Now that we have everything, how we want it. All we need to do is click these two snowflakes appear. These are going to freeze and freeze the geometry. So basically this is going to cache redshift displacement in Redshift installation. So that remembers that, that it doesn't need to calculate at every time when we hit Render. Now this will work as long as we don't close or stop our IPR window here. Now that we have that cached, we can go ahead and zoom out and look around and we get live feedback of this insanely detailed displacement, which is just awesome. But still in our viewport, we don't have anything going on. This is normally pretty fine because this is so Real-time that we don't need this. You can just run into some issues if you're trying to align something up with your displacement or something like that. Like if you have it for a ground, you will need to use the IPR view two lines and the officers on the ground. Now we have this displacement looking really good. What we want to do is clean up these corners. And the way I want to do that is a little different than the wave for Cinema 4D. I actually went to go into my Redshift material, go to my risk of displacement. I have old and new ranges. The way this works is basically if I say the new range is 0 and the maximum just one, everything that is black in my shader graph, in my texture note here it gets applied 0 scale. Everything that is white gets applied to one scale. And then that's multiplied by the object tag settings in our displacement. Now if I say negative 0.5.5, what that's gonna do is everything that's black is going to be sucked in. Half of this scale. And everything that's pushed out is going to be pushed out half of the scale. We're still gonna get the same ratio between our black and white values. But we're not gonna have the issues of these weird, clunky edges. So it actually gives you a really nice cool look where it pulls it in and pushes it out and it makes these squares corners a little better. If there is an area in your map like here, see this, where this half circle is getting clipped into the side, I hate that and then drives me crazy. I'm going to offset this texture map this way just a little bit. So let's go ahead and open up this scene. Go to our texture map. We want to move this in the y negative 0.1. Want to make sure that this value is less than one because one is just going to tile it completely. So it's going to move it, but you won't be able to tell because it's seamless texture. You can see everything is sliding over now. So now we have that split over. Our circle is not being cut off for the edge here. And we've got this nice, much cleaner edge going on because of that. In the next video, we're going to go ahead and create some cool glowing lines that we're gonna put throughout this. This will do in the next one. 8. Glowly Lines: Glowy lines that I have on our thumbnail here. In order to do that, what we're gonna do is we're going to create a new material. We're going to go to Redshift Materials incandescent. Before we get into that, we wanted to go into open up a JS placement. Again. We're going to use this to create our alliance. We're going to click this box and go to classic. Instead of classic that lets us have all these settings. We have all these shapes. We just want this form, we just want these cool lines. So we're going to go ahead and just drag all these down to 0. Our leftist with are these lines. And there's a couple of squares in here and that's from the background brightness. And we're gonna go ahead and just turn that down as well. Now we have these cool lines. They're just gonna be kind of flowing through our scene. So let's go ahead and save that. We're going to call this glowy lines. Use. Okay. We're open up our incandescent material here in Redshift, you can see it's a different node. We're going to make sure we go under the illumination tab here so you can see what we're doing. We're going to want to drag in that file we just saved. That's gonna go ahead and just create that texture node for us. We can connect that to the Rs incandescent and we're going to go to Alpha. What that's gonna do is you'll see here, it's going to change it to just an Alpha Lear. Everywhere that's black will be see-through and everywhere that's white will be light. Now we want to cover this and call this allergies or ramp. You can use a color node. I just go to ramps because just two ramps. So we're going to connect that to elimination color. Instead of this ramp, we're just going to grab this notch here and we're gonna make it a nice blue, but 205 blue there. I'm going to delete this black one, so it's just pure blue. You might want to go a little lighter blooms, so 1956 somewhere around there. Close that. And what we want to do is we want to create a copy of this cube that's going to just have this material on it. So we're going to copy this cubic copy and paste. Go in here and we can just change the segments down to one because we don't need to do any displacement or anything for it. So we can uncheck the override tab for our geometry so it doesn't try to displace this. We can remove that material and put our incandescent material on here. Now, firstly, we need to go back into our incandescent material inside the R-S incandescent and make sure you have the intensity multiplier is set to 20. Now the way incandescent works versus like an emission layer is that this intensity multiplier works exactly the same as Redshift lights. These values are going to be very similar with your life values and things like that. The brightness of this is gonna be the same as if you said a light to 20. It is a good gauge of understanding how this is going to work. Well hit render on this right now just to see what this looks like. You can see it's adding these cool blue glowy lines all across our scene, but it's also asking weird dark areas. And that's because even though our cube is set, our material is set to have an Alpha. It's still casting shadows for that alpha is causing some really bizarre issues. I wanted to do is go into this redshift tag, go to the visibility option. Click override. Uncheck cast shadows and self shadows. You can also cast uncheck receive shadows because it doesn't need to do that either because it is glowing. Now we see we just have pure lines of light running through our scene and everything's just kind of floating, kind of a little oddly above our green bowl. And because we have our agreeable set to sink into our surface and now we can actually, I want this to look like it's more built into the gray wolf. So we're gonna go in here. We're going to sink it in by shrinking the shape of the cube. That is just going to bring all of those lines in to make it look more like it's within our greebles surface here. So it's just kind of a lot more of our gribble is going to be poking out above our lines, which just gives it a more dynamic, cool look. You can see how that is working really nicely and that's looking pretty cool. Okay, so now that we have these lines, we want to set up these cool neon lines. It gets just going to go around the border. And that's just going to look cool, but it's also just going to cover up these weird edges here a little bit to make it, it looks a little cleaner. What we want to do is go and copy this cube. We can delete this switch if tag and this as well. What we can do is go ahead and what this cube selected, click and hold the solution surface. Go down here to Atom Array, hold Alt and let go. And that's going to put that into our Atom Array for us. Because our segments are set to one. We can turn this cube off the viewport so you can see it's based on the segments of our cube. If we increase this, increases the atom array. So that's why it's kind of nice. So if you wanted to add extra lines in here, you totally could. And we have these little circles here where every point is intersecting here. We don't want that. We actually want this all to be at one. So if we just change the sphere radius down to one, That's going to take the cylinder radius down to one as well. The cylinder radius can't exceed the sphere radius. So as long as this is the lowest one will be good to go. We have these match. Now, what we want to do is we want to make a copy of our incandescent layer here and just connect the texture. Now we just have this blue color here and we just want this solid blue to go on our Atom Array. Go back in here, and let's just make sure our cube set to one. There we go. So now we have this nice, cool just glowing edge around everything. Like I said, if you wanted to add more, you can definitely just up the values of these until some more segments in there. If you wanted more lines, I think it looks really nice and clean without those, but if always, make it your own, It's pretty cool. What we need to do next is we need to set up our material for a cube and then do our lighting. It's important to set your materials before your lighting so that you can get your lighting accurate. And we'll do that in the next lesson. 9. Redshift Materials and Lighting: In this lesson, we want to go ahead and fix our material on our object before we light it. Because it's important to have your materials right before your lighting is finalized. Because you weigh your materials, are going to look is really going to depend on how the light hits them and stuff like that. And a lot of n vice versa. The way your lighting looks, you might have your lighting looking really good with the default material than you thought your material on and you realize it doesn't actually look as good. So I find it better to throw your material on first and then adjust the lighting afterwards rather than trying to tweak your material to fit your lighting is most likely you're going to need to tweak your lighting to figure rather than material feet lighting. First thing we want to do is begin. We can go to edit here and just go delete unused materials. Sometimes when you copy things and paste them, it creates a duplicate of your material. Even if it's not being used in that can be kind of confusing. So you can just clean that up a bit there. Let's go ahead and open up our displacement material. And we're gonna go into our color and the diffuse. And we're gonna set this to 12% black. There we go. So it's just slightly above black. Then we're gonna go down to the reflection roughness and we type in 0.35 and change our IOR to 1.8. And that's going to give it a more metallic look at anaplastic look. That's all we need to do for that. Now you can see our materials looking pretty cool. We're getting some reflections from our cubes, but our light is kind of boring right now. Also, let's go ahead and create a material for our floor here. We're just gonna go ahead and create Redshift Material, Material. Double-click that, reset this to pure black. And which refers to point to the IOR to 1.8. And we'll just throw that on our floor real quick. We can't see our floor reflecting here very well. We're going to change your camera angle a little bit here, but let's go ahead and grab our plane. And we're just going to pull that up a bit to be a little closer to our floor and see if you can't cheat their reflection in there a little bit. Okay, cool. We can zoom out a tiny bit here. More fixer camera angle here in a second. We just want to make sure that the floor is looking pretty cool in this reflection. This is where our freezing our tessellation is going to come into play when we start moving our lights around. This is really what's going to give our scene life. Like this looks kind of neat, but it's very flat and steel and that's because our letting me is just to pick overhead light that really only looks good on things like cars that are very curved and have a bunch of cool looking stuff. A cube needs more angular light to make it look better. Let's go ahead into our redshift area light here. Richard area light. And what we're going to do is we're going to firstly increase the intensity to 20. We're going to change the color more blue. I say 1350 for the red and 135 for the green, and that's going to give it this nice blue color. What we're gonna do is we're gonna take our null, which can erase up our null 200 meters just so it puts it in the center of our cube here. Now, when we move our light around, which what we're gonna do is we're going to move it closer to our camera. What we need to do is make sure we have our cameras set where we want it before we finalize this flooding as well in our camera is actually not quite where we want it. For our camera, we have this kind of see a warped, this cube looks with these lines being very angular. And that's because we're using a 36 millimeter lens and that's prospective bending. In order to fix that, we need a longer focal length for our lens. We're just gonna go with an 85 millimeter. One of my favorite ones is to use really nice. You can see when we do that, we get tighter here. We can take our camera and our top view and just slide that back until we get it where we want it. We can do that. And then let's go ahead and just pull it down a bit so that we get a little more of that floor in there. And our q is more than the upper part of our scene here. Just like that. You've got that floor in there, and we have our cube here as well. Now we have that right. Now we can go ahead and put our protection tag back on that if you want. Rigging protection. Now we want to grab our area light. We just want to pull it back towards our camera here. Just grab that and pull it back here to the right of our camera. And we just want to gently light cube here. We're going to pull it down a bit. I really want to light these two, this side of our cube more than this side to kind of add some dynamics to that. So let's bring this more this way. There we go. Now with just shrink this up a bit, we go into our area that we could change this to 1500. By 1500. Women want to do is pull it over a little bit more to the right because we really don't want any light to fall on this set of R cubed. We really want it to have a more dynamic look where we're gonna have this slit and the slit and the slit. But we still wanted to catch some of those highlights here. Go ahead and pull this up a bit more to, it's more on the top and the side. There we go. We have three different levels of brightness across R cubed. Now, we want to create a copy of this light, will control click and drag and bring that over. The first, this is gonna be way too much, but we want to do is go in here and change this to it all the way to slide this over to a cyan color. Then increase the intensity up to 50, which seems very high. But we're going to change the scale down to 500 by 500. Now we have this sharp light. We're going to drag this back behind our cube. What we're looking for here is we want a nice fall off across the top here. And it's very high up. Make sure you can see it in all three views and bring this down low. Then we'll slide it over and back. So now it's should cascade across the top here. What we can do is bring it down a bit more. There we go. Now we can have this nice highlight coming by backlight, coming across from here, this nice cascading light across the top here. We can delete this target, this just so we can kind of adjust this a little more if we want to kind of tilt it down, is to add a little bit more onto our surface. Here. We go because we like having a nice highlight here and it falling off across this top here. We still have almost total darkness on this side and we have some more light on this side, which looks nice. Now that we've got our lighting, how you want it. We don't have any reflections of our lights which is good. In the floor. We're looking. It looks like it's just in this nice boy does so now we need to go into the post effects in the next lesson and clean this up and make it look polished. 10. Redshift Post Fx: So now for the post effects, we can go ahead and pull this out and make it bigger. What we want to do is go into click this little gear here in our render view. And that's going to open up our settings and that includes all of our posts defects stuff. This allows you to change your view port mode on tone map if you want to do something different, but aces is the default and that's what we want. You can apply. Let's, if you want, you can do color controls such as s-curves and different curves, the RGB curves, photographic exposure, which is like camera controls. We'll get into that bloom, flare streaks, Bokeh, which is depth of field de-noise. And if you have magic, but it looks, you can use that here as well. The first one we're going to get into is we're going to use the color control enable that. What we want to do is we have exposure, we have contrast, and we have a line here. You don't want to do is we want to create an S-curve just ever so slightly. Let's just going to make our darks a little darker and our brides a little brighter. And this basically is the same thing as contrast, except it gives you just a little bit more control. Very small S-curve here. You see the difference, just very slight and just makes our darks darker. And we want to go into photographic exposure. By default, our f-stop is set to eight. And we want to actually pull that back a bit to say 10.5. That's the same as closing your iris on your camera. Higher F-stop, less light comes in the dark your image is going to be. Now we also want to go to the saturation and just bump this up to 1.2 and this is going to make it pop a little bit more. Next one we have here is bloom and re-enable that you can see already that that is giving this nice glow from our corner material here. This looks nice. What we can do is we can take the threshold value down to 15. Softness down a bit. I think this office can go almost all the way down. We'll leave it at 0.1. Then for bloom intensity, we can turn that up or pull that down. But I think turning that down to 0.8 is gonna be a nice spot for us. Next, we could add a lens flare to this, but those really only react best to visible area lights and things like that. We don't want that in our scene, so we're just going to skip past islands layer for now. Backend. If you ever get lost in here and you can't find it, just hit F and that's going to frame it up to full screen for you. We're going to add Street, which kind of adds this nice cool 80s basketball games Star Filter, kind of look. Pharaoh, watch old gains. A lot of the cameras had started filters on the lenses which may not have this really nice, cool look. I love it, but we want to change the number of streaks to just one streak. And we wanted to change the angle to 90. That's just going to give us this cool blur. Line appears. Glowy bits are just going to stretch and causes streaks. This is also a cool way to make cool. Lens flare looking looks. If you wanted to with horizontal, if you wanted to make it look more like a lens flare. We can do softness, but we don't need to kinda like it being sharp. Only the download and intensity, we can print it up just a bit to 1.5. There you go. And you can also obviously just play with the color of your lights. You can bring this back to be more of a blue. Think it looks pretty nice. We could change this back to 170. I think that's going to look a little nicer than that cyan. Very cool now. And it looks pretty good. Now to render this out, we need to go to our render settings. We haven't set up. We can change it to something like two k square or something, or we can I2k. Teach it to fork if you want. Then make sure you save it. I'll save it as a PNG, you can save it for whatever file or close you want. And if you're still getting some noise or in your render or anything, it's just increased the book quality a little bit or this adjust this slider closer down to 0. You'll get, it'll take longer to render, but it will look cleaner. But let's go ahead and just do a render for this. It is important to note that when you're using the render view, it will not apply. Your post effect looks until it was finished rendering everything. You can start hitting Render and you can look at it and you're like, That doesn't look right at all. And that's because it applies to post effects. A post. So as long as it looks correct in your IPR view, your bucket quality view of your Redshift RenderView, it will look correct when you render it out through the render viewer. There we go. All so it took one minute and 11 seconds. We have a fork render of our green wall here. And now in the next lesson, I'll show you how to create a cool Depth of Field Camera to get those nice tilt shift looking shots of your Google keeps. 11. Redshift Camera Depth of Field (Bokeh) Tips: In this lesson, I'm going to show you how to create this really cool tilt shift look with tip the field really quickly with it RS camera inside a redshift. The first thing we want to do is uncheck our camera that we have here. Let's zoom in close to the edge here of our top of our object here. And then once we have this sort of roughly where we want it to be, we can go to Redshift cameras, standard camera. It makes sure to click this little box here, which is going to make sure we're looking through that camera. Bring up your render window, hit IPR, be sure to hit those snowflakes once those pop-up as an option. Let that calculate. Let's go ahead and just tilt up just a bit and move forward a bit here. So we're just kinda have the circles in this sort of quadrant of our screen here. Next we want to click this Redshift camera tag. Go to the bokeh tab, click override and enable. Instead of focus distance and COC radius, we're just going to change this to just focus distance. Now we can control the COC radius and the power separately. And our focus distance is derived from the camera. But there's actually a very easy cool setting instead of redshift where we can actually just use a render view here, box here with a dot in the middle of it. And that's actually going to bring up your clip to focus option. Like it says, click or drag to adjust the bokeh focus distance and Alt. Click Alt drag to adjust the COC. Let's say we want to focus on our circles here. We're just going to click our circles. It's going to initialize and then render that out. There we go. We can see now these circles are in focus and we've got a little blur before in the foreground and the background there. Now, if you want to increase the blur, just need to increase the COC size. We're gonna set this up to three. There we go. Instantly you have this nice sort of microscopic tilt shift. Look. The cool thing about this is we actually can't do this inside of our RenderView because our displacement isn't there. If we try to click on sort of roughly where those are with our object focus distance. It's just not going to work properly. This way we can actually use our displacement and just click or displacement to adjust the focus here. When it comes to Boca with Redshift, the only setting this going to affect how clean that is. Going to be your Min and max samples, which are going to be controlled by your threshold here in your bucket quality. If you want to lower the threshold value to clean those up, you'll be good to go, but you denoise is going to do a really good job of cleaning and those up for you. There you go. That's how you create some cool till shift things. Now, if you want, you can set this up. If you notice when we click is going to adjust it here. Change that because you've clicked closer. We can do is if you want to keyframe this to make a sort of a rack focus effect, you can just keep him that GoTo later on and then click further down. Let that load in. Keeping that again. Now everything in-between will be that transition between sort of a rack focus from one object to the other. You could obviously do an animation keyframe on this and make it look more organic. I could add some overshoot. You can really control the focus and stuff are very easily just with this little button here. Instead of your render view. Pretty cool. In the next lesson, I'm going to show you just how, how easy it is now that we've built this scene. How easy it is to just plug in new maps and change your lighting a little bit to get completely different looks. 12. Make It Your Own!: In this lesson, I'm gonna show you how to quickly change out your maps and change the lighting just enough to get a really cool, instantly different looking green ball. Let's say you make a different looking pre-built inside of your JS placement, you need to do is drag and drop that greed Berlin and or replace it here in the general tab. And just connect that up. That's gonna give us our different look there. And then for our lines, we can also change those out. For this, we can go in and change the lines here. We can use to one that is designed for a diagonal lines that we created using the wire mode and JS placement. Also, we can go in here to the color, and we could change this to say, a punk style, yellow. The same for our incandescent color here. Then lastly, do the same for our top light. Change it to yellow. There are big light changed that to more of a sign-in. Hit render on this, you can see we have a completely looking, completely different looking agreeable. And we can go into her up-close view here and play around with that. And you can just see already how different and cool these greebles can be. You can always just tweak the lighting a little bit. You could take this light, you could turn it down. If you wanted to. You can lower it down as well. It around, do whatever you want. You just instantly change the vibe and feel of your PCR. But completely different. Google didn't change anything, but the texture maps. This looks completely different than the thing we made. Really cool just to swap those out and see how quickly that works right away to make alternate looks. Also, feel free to add different colors in here. You can use the actual ramp to create ramps in your scene. Very cool way to create alternate looks very quickly now that we've set it all up. Also feel free to change out your materials, something like glass or use mixed materials or things. It just have fun. Make it your own. And just really, now that you understand how to do it, it's actually very simple to set up the right way and make it happen really fast. Joy. Thank you so much for watching. Please leave a positive review if you enjoyed the class and let me know, let me see anything you make posts it in Instagram tag at affects, try and be sure to share it in the class projects. I'd love to see what you guys make. Let me know any feedback you guys have, what you want to see next. I always want to hear back from you guys. Thank you all so much. We're all supporting. See you next time. Thank you all so much for watching.