Redshift Essential Materials is set of Cinema 4D presets which have been built as an introduction to the most useful Redshift parameters, nodes and tags. Covering usage for the most commonly required setups, this is an essential library of resources when building your Redshift scenes.
A collection of 31 pre-build setups for Cinema 4D which demonstrate Redshift’s most important and useful nodes. Each material includes remarks in the network to explain the nodes. This library is a great way to learn how particular shaders work in combination with specific objects in your scene as many of these examples also require Redshift Objects, Tags and Mograph setups to function correctly.
Create dispersion, absorption and sub-surface scattering. Work with Redshift’s nodes to add wear and tear to edges, or dust settling on the top of the surface. Explore world, camera and object space as falloff types which offer unique effects.
The set includes a collection of materials specific to Mograph. Create random coloured clones using one Redshift material and define the range of colours using Fields or with a Ramp. Two examples of a Multishader network allowing you to combine multiple textures in one material channel and a Material Switch example, so you can apply different materials to your Mograph objects.
Using the Redshift Object tag allows you to add displacement or render splines, particles and matrices without the need for geometry. Two X-Particles examples demonstrating how to read particle attributes for rendering the XP Emitter and XP Trail objects. Other special cases include the Sprite node, plus Hair and Volumes.
31 Redshift materials with notes
Dispersion, Absorption and SSS effects
Wear & tear, dust & surface techniques
UV projection, normals, camera, object & world space
Mograph setups for enhanced workflow
Render matrices, splines, particles & hair without geometry
X-Particles setup for XP Emitter & XP Trail
Create wireframes and sprites
Render Volume Builder & OpenVDB files
C4D project files with Takes for each setup
Content Browser lib4D Library
Cinema 4D R20+
Redshift 3 and above
Shaderball scene courtesy of Rich Nosworthy, Thank you!
The node networks include notes which explain how to work with each setup.
Unlike any other Redshift shader pack this collection has been designed as a go to for learning Redshift materials. A library of pre-built node networks that can be copied into your scenes to quickly access some of the most useful setups.
Refraction & Translucency↓
Simple example of using Dispersion in a glass material to create the beautiful rainbow effects that we all love.
This material using single scattering and absorption.
Single scattering refers to a single ray that enters into the volume then bounces out again somewhere else (unlike multiple scattering).
Absorption allows you to control the density or opacity of the material based on the thickness of the object. Thinner areas will appear more transparent and thicker areas more opaque.
This material using single scattering and extinction.
The Extinction coefficient determines how far into the object the light ray can travel before the value becomes ‘extinct’.
When using Extinction with colour, be sure to select the opposite desired hue (+180) to achieve the colour you require as the colour you choose becomes extinct and the opposite hue is bounced back to the camera.
This uses multiple scattering, which refers to the light rays scattering within the volume in multiple directions. As the rays bounce around they exit at multiple points on the surface to create a soft sub-surface scattering effect.
Mapping and Surface Direction↓
This shader setup uses the world normals and splits this out into the green (Y axis) component which is then used to mask between two materials.
In this example we create dust, but it could be snow or you could use an alternative axis, or combine two, or invert the ramp and use it for rust underneath.
There are so many uses for this simple setup where you define a falloff direction.
Similar to the falloff example, this also uses the normals, but this time in camera space which creates an effect based on the angle of the objects surface in relation to the camera, similar to using a Fresnel shader, but in this example we use a Vector Change Range to remap the values to positive only.
Simple example of how to set up a Camera Map node with Redshift.
For this example, we used our hero camera to project the texture, which gives this frontal projection, but you can use any camera in your scene to project from.
This node allows you to reproject your material using alternative projections such as cubic, spherical, flat, etc.
This is very handy for quickly applying decals to specific areas without the need to change your UV map for one specific part of your material.
This uses the State node to output the normals which is then remapped using a Ramp to create an alternative iridescent effect.
AO Bent Normals
This uses the AO node to output the object’s bent normals in world space, this is then remapped using a Ramp node to create this iridescent effect.
This set up demonstrates the Curvature node and how you can combine this with Noise or Texture to create simple worn edges on your objects.
You can choose to use either concave or convex to control which parts of the model are affected. In this example the Curvature node is using Convex mode, this is applied as a mask between two materials.
Vertex Map Tag
On the object we have a Vertex Map Tag which has a Linear Field controlling the Vertex values.
This Vertex Map is linked in the C4D Vertex Map node which is then used to control the Blend
in the Material Blender.
Vertex Color Tag
On the object we have a Vertex Color Tag which has a Random Field creating random Vertex values
This is mapped using a Colorizer Field and a Gradient
This Vertex Color Tag is linked in the C4D Vertex Map node which outputs the colour info for the material.
Mograph, Particles, Splines and Hair↓
By using the RS Object Tag it is possible render splines directly without the need for geometry.
This material uses the RS Vertex Attribute Node to output the CurveIDNormalised which can then be mapped with a Ramp to essentially run a gradient along your splines.
By using the RS Object Tag it is possible render particles directly without the need for geometry.
Unfortunately Cinema 4D Particle System doesn’t support a Colour Attribute, but rendering with a regular RS material is possible without any geometry present and there are various shapes to choose from.
By using the RS Object Tag it is possible render matrix objects directly without the need for geometry.
This allows for an incredibly powerful Mograph driven particle system as Cinema 4D can handle hundreds of thousands of matrices quickly and they are easily controlled using Effectors and Fields.
Color User Data - MGColor - Fields
This example uses the Plain Effector with a Random Field to create random greyscale values, these are then adjusted and colorized using additional fields. This colour information is then piped into the RS material via the Color User Data node.
Color User Data - MGColor - Ramp
This example uses the Plain Effector with a Random Field to create random greyscale values, this greyscale information is output using Color User Data and colorized with a RS Ramp.
The Multishader allows you to combine multiple textures into one material channel and then use various attributes to decide which texture is used.
One example might be to create a pack of playing cards with only one material and 52 images. In this setup we have used the Mograph Index to number each clone using 27 separate bitmaps.
An alternative setup for a multishader, this builds a similar concept using separate nodes and a shader switch to control which input is chosen. You can use many nodes as inputs as well as imported textures.
This can be driven by User Data, (or any other input), and although this setup is more cumbersome to setup than the regular multishader, it this does offer more room for expansion and also demonstrates how to link multiple shader switches together.
Similar setup to the Shader Switcher, but this time we use it to switch between multiple materials, rather than driving the channels of an individual material.
In this scene we have glass, metals, plastics, all controlled via Mograph Fields.
When you create a Cinema 4D Hair object, the application automatically creates the Hair Render Settings and the C4D Hair material. Once you have done this, you can add the RS Hair Material. Redshift automatically wires the parameters from the C4D Hair material into the RS Hair node.
This allows you to use the C4D hair parameters to define your look and all the parameters such as kink, bend, curl, etc will produce the same results with the RS Hair.
Wireframe, Ray Switch and Sprites↓
Quick solution for rendering the edges of objects, try using this in the opacity for some hollow wireframe renders.
This node allows you to define different colours for the front and back of surfaces, this can be in camera space, reflections, refractions and GI. For example you could make a two way mirror or apply a different texture to each side of a leaf.
In this example we have used it colour the wireframe surface a different colour based on whether the normal is facing camera or not.
This uses the RS Sprite node which is designed to handle scenes where you need lots of 2D sprites which can result in high ray depth, such as leaves on a tree.
This example also combines the Incadescent Node to make the Sprites illuminating with GI.
Example of how to setup Displacement in Redshift. Make sure to use the RS Object tag and enable Displacement!
This example uses a combination of Maxon Noises to define both Diffuse Colour, SSS and Displacement.
Example of how to setup Displacement in Redshift. Make sure to use the RS Object tag and enable Displacement!
This example uses a combination of noises combined with Multi-SSS to create a polystyrene material
This example uses the Cinema 4D Volume Builder to create a Fog Volume which is then manipulated with Fields. The Volume Builder ‘channel’ can be read directly into the RS Volume Node and can be applied to Density and Emission for rendering your volumes.
RS Volume Object
This is an alternative setup to the example above. This uses the same approach, but this time the Volume Material is applied to the RS Volume Object which is reading from an external OpenVDB file.
You can define the particle colour in your X-Particles Emitter or using a Modifier, this RS Material uses the RSPColor attribute to output the particle colour and when combined with the RS Object Tag allows you to render your X-Particles with no geometry using the particle colour.
This material setup is similar to the X-Particles material, but this uses the RS Vertex Attribute node to read the colour attribute and apply it to the X-Particles trails.
In both of these setups, you could easily output greyscale values and then remap the colours using an RS Ramp node.