Remember to use the gamma override checkbox for things like normal, roughness etc... as they are linear values rather than sRGB like the diffuse. For people who dont know what this means look up linear workflows and it should help you understand why it matters.
Most software nowadays use node materials and I understand there is a lot of power in it but to me it seems like a system invented by engineers for coders (especially the one implemented in redshift). From an artist's point of view, it takes away from the creative process of an artist. More time is spent figuring out how the material system works than actually concentrating on one's artwork.
I can definitely understand where you are coming from. For me I started with Blender, which had Nodes then I got more serious with 3d and learned Mental Ray in 3ds max. Then I learned Arnold, then I learned Redshift. I personally prefer the Node style. For me it speeds up the process. It definitely has a steep learning curve. But once you understand it it's much faster for me because I can see everything all at once. I can see the workflow and how things are affecting each other faster than flipping through tabs and a more classic hierarchical system. I like how nodes present a physical representation of the way your material is being created by the software. But I can understand it's not for everyone, but if you want to learn more and take a deep dive into Redshift's shader graph I have a course that does just that, that might help. - skl.sh/2B91uog Thanks for sharing.
When you are hired by a client, you need to achieve the result that they are paying you for, and PBR is quickly becoming the standard (as opposed to the usual ‘standard,’ which is let’s just slide around the buttons until something looks cool). You wouldn’t get on a piano and just start hammering on the keys, even tho that is technically ‘art.’ Learn the tools and process of your craft.
I think that the gloss maps should be inverted and plugged into the roughness slot for an RS material (inverted bc a gloss map is the opposite of a roughness map). Good tip though on using the grunge map as a subtle bump for effect...I’ll def try that one =)
Yes! You are correct I have been meaning to add that in the description. You can invert it with a color invert node or a ramp with the ramp inverted. Also RS has a feature in the advanced tab that has a checkbox to convert gloss map to roughness
Did you know Poliigon provides a free plugin that will automatically create the material for Cinema 4D based on the rendering engine you want to use. I use it all the time to create Redshift materials, and even though they are not perfect, it's a huge time saver since it creates the material and brings in all the maps and wires them together. You can always go back in and adjust settings if you don't like them.
@@effectatron I only had 1 problem tho. At 1:55 you change height field to tangent-space. I work in R19 and I could not find that option. Do you know what to do there in R19?
@@ManexFX That's most likely is a Redshift Version change not C4D. I think i was on 2.61 maybe. I can check later but try updating your redshift version
You could do Roughness. I like to though it in the bump because if there is enough oil from your hand to lave a fingerprint on a glass, you can actually see it has thickness. Same with a grimy floor, wear and tear on the floor seal from dirt or scuffs or cuts is what causes the reflections to look like that more than the glossiness of the floor. Not saying u can't plug it into the roughness but by plugging it into the bump and having my camera very low to the floor makes its really look like crime and wear. :)
@@effectatron what if you wanted to put some scratches on the surface as well? wouldnt that be in the bump since it has depth? Im still trying to wrap my head around Redshift. its different and more complicated to doing things with standard C4D materials.
@@yoyoz333 Yes. I think I put the smudges in the coat bump, I can't remember. But thats like a layer on top, like a sealant kinda thing. But I am actually currently working on a Redshift Materials course and have learned some better techniques. Blending multiple things for bump and roughness and adding ramps and control etc. I will walk through the process of making a ton o materials and explain how each thing effects the final result. To answer your question yes. You could put scratches in a bump map and use a bump blend map to combine the scratches and the floor bump. or add it to the bump coat the same way. But yes you would ad cuts to the bump :)
Hey, great video! Can you help me explain to me something specific about nodes. When linking a texture to lets say "reflection weight" for example, that the 'weight' parameter freezers and can't be adjusted. This can apply to other connections in nodes. I'm just trying to understand the theory a little bit more. I've been using C4D Redshift for a little while now, thanks.
If you plug the bitmap or whatever is driving your diffuse straight into the surface it will show in your viewport. You will need to reconnect ur rs material to the surface when you are ready to render though. :)
Idk, it seems like an issue with your UV mapping. You could try to set it to cubic instead of UV mapping in the material option and see if that fixes it. But double check with the IPR preview, the viewport is not the best for Redshift, the beauty of Redshift is u can have a preview of a render going while you work instead of relying on your viewport. So it will be more accurate.
It can if you don't have enough polygons or segments in your geometry for your cube. Tessellation Overdrive is the same as adding a Subdivision modifier. If that is happening you can add more segments to your cube, use the Loop Cut tool and cut around the borders, or highlight your edges and bevel them. Or Fillet your cube. Several ways to add geometry near the hard edges of the cube to help it keep its shape when (smoothed) tessellated. The it won't become a sphere anymore :)
I agree it can be a bit overwhelming. I actually have a course on Skillshare -skl.sh/39nQsXT "Introdcution to Redshift: The Basics" That is designed to demystify many things in Redshift that can be overwhelming. Maybe that would be helpful. I'm also working on a Material Course designed to unpack from the ground up a lot of the Shader Graphs tools and nodes.
Remember to use the gamma override checkbox for things like normal, roughness etc... as they are linear values rather than sRGB like the diffuse. For people who dont know what this means look up linear workflows and it should help you understand why it matters.
Yes, this can be needed for sure, most commonly you'll need to check the Gamma box and set it to 2.2 if its a texture image.
finally a tutorial that really makes sense!
Thanks man! love it
Even easier now in the new nodes. Even can make em procedural
Most software nowadays use node materials and I understand there is a lot of power in it but to me it seems like a system invented by engineers for coders (especially the one implemented in redshift). From an artist's point of view, it takes away from the creative process of an artist. More time is spent figuring out how the material system works than actually concentrating on one's artwork.
I can definitely understand where you are coming from. For me I started with Blender, which had Nodes then I got more serious with 3d and learned Mental Ray in 3ds max. Then I learned Arnold, then I learned Redshift. I personally prefer the Node style. For me it speeds up the process. It definitely has a steep learning curve. But once you understand it it's much faster for me because I can see everything all at once. I can see the workflow and how things are affecting each other faster than flipping through tabs and a more classic hierarchical system. I like how nodes present a physical representation of the way your material is being created by the software. But I can understand it's not for everyone, but if you want to learn more and take a deep dive into Redshift's shader graph I have a course that does just that, that might help. - skl.sh/2B91uog
Thanks for sharing.
When you are hired by a client, you need to achieve the result that they are paying you for, and PBR is quickly becoming the standard (as opposed to the usual ‘standard,’ which is let’s just slide around the buttons until something looks cool).
You wouldn’t get on a piano and just start hammering on the keys, even tho that is technically ‘art.’ Learn the tools and process of your craft.
Good stuff my man easy to follow
I think that the gloss maps should be inverted and plugged into the roughness slot for an RS material (inverted bc a gloss map is the opposite of a roughness map). Good tip though on using the grunge map as a subtle bump for effect...I’ll def try that one =)
Yes! You are correct I have been meaning to add that in the description. You can invert it with a color invert node or a ramp with the ramp inverted. Also RS has a feature in the advanced tab that has a checkbox to convert gloss map to roughness
I used octane with this process, it worked fine THANKs!
Did you know Poliigon provides a free plugin that will automatically create the material for Cinema 4D based on the rendering engine you want to use. I use it all the time to create Redshift materials, and even though they are not perfect, it's a huge time saver since it creates the material and brings in all the maps and wires them together. You can always go back in and adjust settings if you don't like them.
I'll have to look into that!
I like what you said at the end. I am always trying to do it all.
This channel is the best
Thank you very much!
@@effectatron I came From Octane Now am Learning Redshift and Your my Best Lacture
@@Terry_Raphala Thank you very much! That means a lot! Keep Up the great work! I'd love to see some of the stuff you make!
Thanks master!
Appreciate the tutorials! Super easy to follow and great explanations.
Thank you very much! more are on the way
Thanks for the head start. I've been using vray and I'm planning on upgrading to R21 to start using RedShift.
i realize Im kind of randomly asking but do anyone know a good place to watch newly released tv shows online?
@Ernest Mordechai i watch on Flixzone. You can find it on google =)
@Jaxtyn Arturo yea, I have been using FlixZone for since april myself :)
@Jaxtyn Arturo thanks, signed up and it seems like a nice service :) I really appreciate it !
@Ernest Mordechai No problem xD
Thank you so much! very good explanation !!!
thank you! it was very helpful for me
thanks!
You are very welcome! Thank you!
Love your work, brother!
amazing bro! really good!
Thanks!
Thank you :)
@@effectatron I only had 1 problem tho. At 1:55 you change height field to tangent-space. I work in R19 and I could not find that option. Do you know what to do there in R19?
@@ManexFX That's most likely is a Redshift Version change not C4D. I think i was on 2.61 maybe. I can check later but try updating your redshift version
You forgive about linearize workspace on normal, gloss and disp textures
It’s my first time using cinema 4d, how do I put the wall and sphere in the beginning of the video
why would you plug a smudge into a bump? shouldnt that be in the roughness map?
You could do Roughness. I like to though it in the bump because if there is enough oil from your hand to lave a fingerprint on a glass, you can actually see it has thickness. Same with a grimy floor, wear and tear on the floor seal from dirt or scuffs or cuts is what causes the reflections to look like that more than the glossiness of the floor. Not saying u can't plug it into the roughness but by plugging it into the bump and having my camera very low to the floor makes its really look like crime and wear. :)
@@effectatron what if you wanted to put some scratches on the surface as well? wouldnt that be in the bump since it has depth? Im still trying to wrap my head around Redshift. its different and more complicated to doing things with standard C4D materials.
@@yoyoz333 Yes. I think I put the smudges in the coat bump, I can't remember. But thats like a layer on top, like a sealant kinda thing. But I am actually currently working on a Redshift Materials course and have learned some better techniques. Blending multiple things for bump and roughness and adding ramps and control etc. I will walk through the process of making a ton o materials and explain how each thing effects the final result. To answer your question yes. You could put scratches in a bump map and use a bump blend map to combine the scratches and the floor bump. or add it to the bump coat the same way. But yes you would ad cuts to the bump :)
Hey, great video! Can you help me explain to me something specific about nodes. When linking a texture to lets say "reflection weight" for example, that the 'weight' parameter freezers and can't be adjusted. This can apply to other connections in nodes. I'm just trying to understand the theory a little bit more. I've been using C4D Redshift for a little while now, thanks.
Goood!!
how can i view texture on view port without using the render view
If you plug the bitmap or whatever is driving your diffuse straight into the surface it will show in your viewport. You will need to reconnect ur rs material to the surface when you are ready to render though. :)
Thanks! where to put AO / OCC?
Ao maps plug into the Overall color :)
how do i pull up the shader graph.
if i apply these texture to a square in the view port it makes them circlular why?
Idk, it seems like an issue with your UV mapping. You could try to set it to cubic instead of UV mapping in the material option and see if that fixes it. But double check with the IPR preview, the viewport is not the best for Redshift, the beauty of Redshift is u can have a preview of a render going while you work instead of relying on your viewport. So it will be more accurate.
@@effectatron i found it there is a smooth tick box under subdivision :) thanks.
If I turn On Tessalation Override on a Cube, it becomes a Sphere...
It can if you don't have enough polygons or segments in your geometry for your cube. Tessellation Overdrive is the same as adding a Subdivision modifier. If that is happening you can add more segments to your cube, use the Loop Cut tool and cut around the borders, or highlight your edges and bevel them. Or Fillet your cube. Several ways to add geometry near the hard edges of the cube to help it keep its shape when (smoothed) tessellated. The it won't become a sphere anymore :)
Beginners tutorial???? Nah
I agree it can be a bit overwhelming. I actually have a course on Skillshare -skl.sh/39nQsXT "Introdcution to Redshift: The Basics" That is designed to demystify many things in Redshift that can be overwhelming. Maybe that would be helpful. I'm also working on a Material Course designed to unpack from the ground up a lot of the Shader Graphs tools and nodes.