learn. Redshift for Cinema 4D : V01

Begin by looking through the redshift menus for where to find the redshift objects and tags.

Take a quick look at where to set your preferences for things like the texture cache and GPU assignments.

A quick intro to what the renderview is.

We take a look through the main renderview icons and controls.

A look at the control for how to size the render within the viewer.

How to navigate the render in the image, panning and scaling the image as well as flip and rotate options.

We look at the display options including how to load in Lookup tables.

Brief video explaining how to use undersampling.

Rich talks about the RS material, loading it into your shader scene and applying it.

In this section, go through the setup of the main base layers of the RS Material.

Take a look at the Multi Scattering tab for subsurface scattering and what the controls do.

Look at the coating tab as well as a quick look through some of the other extra tabs.

An example showing how to use backlighting in a scene on a single poly object.

An overview of the main project you will be working on, briefly explaining the setup.

Select the renderer as well as a short look through the render setting tabs.

A look at the Redshift Area light and to set up our base scene lighting using these.

A very quick video, showing the setup Rich uses for almost all his scene files, whether they are stills or animation.

To follow on from the previous video, talk in more detail about Brute Force GI, Irradiance Point Cloud, how they work and the settings we can adjust.

Create your first shader for this scene, a simple plastic material.

We continue our plastic shader by taking a look at the Redshift Shadergraph, loading in textures, the RS ramp and connecting outputs directly to view the changes.

Create your next material, looking at how you can use Cinema 4D’s own shaders within Redshift. We then look at the Bump map node and how to use Redshift’s noise to add in some subtle detail to our surface.

A look at loading in some textures created in Substance Designer to create your next concrete shader. You also look at how to load in normal maps with the bump map node.

An introduction to the idea of linear workflow, how this relates to your textures and why you may wish to sometimes override the gamma settings to force a texture to be read in as linear.

A short example showing Redshift’s triplanar node and all it’s settings.

Continuing from this, use triplanar to setup your wood shader. Also take a look at creating a clear coat varnish effect over the top. Rich also introduces a quick look at how you can load assets from Substance Designer.

Take a moment to setup all the shaders you have created so far on our various objects in the scene.

Take your first look at Redshift’s tesselation as an alternative to using Cinema 4D’s Subdivision surface object. Also look at the wireframe node and how you can use this to preview the geometry.

Using a preset this time, setup a quick glass shader with a little bit of dispersion.

Load in a lookup table for preview, as well as a few scene fixes and also an overview of Redshifts asset manager.

A look at how to setup Depth of Field, aka Bokeh within the Redshift camera tag, as well as setting your focus distances.

Continue your look at the Redshift camera tag with a look at exposure, tone mapping and the effect on your render.

The BIG one! Talk about the theory behind how Redshift samples it’s scene and how to balance your samples against the AA for setting the final renders.

After covering the theory, take a practical look at setting the sampling for your scene, based on the methods that Redshift recommend.

Take a look at a sampling method that you can use to setup a final scene faster, at the expense of a slightly longer render time.

In this video, Rich explains the method he likes to use for sampling, which is essentially a mix of the two previous methods.

Take your final render and look at applying the Look up table, in post, in both Black Magic Fusion and Adobe After Effects.

Look at your second project, a simple logo resolve from a shattered ball and how the scene is setup.

In this video setup your lights, add some base shaders and setup your Bokeh.

Setup your floor shader, a glossy metal shader with some texture detail in the bump map and roughness.

Look at setting up your second metal material, this time using the IOR method of colour and edge tint.

A closer look at Redshift’s incandescent shader as well as how you can apply textures to your light geometry.

Assign motion blur to your scene and talk about how to view it within the renderview.

Discuss how all the various settings for motion blur work with a secondary example scene setup.

Add some extra reflection cards to your lighting setup as well as using Redshift’s object tag to hide the cards but keep reflections. Also look at how you can use exclusion to remove the cards from other objects in your scene.

Continuing your knowledge of sampling, Rich walks through his approach for how he would setup his samples for render.

Adjusting your logo shader, take a look at Redshift’s curve primitive to render your logo as an outline. Also look at adjusting your sample filter.

Time to look at the final render, applying the LUT and why it pays to check that your lookup table is actually suitable for the colourspace.

An intro course wouldn’t be complete without talking about HDRI setup! Rich takes you through a look at an alternate light setup using an HDRI and the options of Redshifts Domelight.

Not a tutorial in substance but you do have a look through the concrete shader that Rich setup in Substance Designer. Next, a brief walkthrough of the different nodes and blends.

Taking the same approach, look through the Substance Designer file that was created for the wood shader. The course includes the substance files for use in your own projects.