How to render large scenes with Redshift in Cinema 4D

How to render large scenes with Redshift in Cinema 4D

How to manage large scenes in Cinema 4D's Redshift renderer, how to optimize things in the scene, and how to optimize rendering settings in the Redshift renderer. These are relatively far-reasonable things. How to optimize them is very helpful for scene management.

  • Proxy file

For the Redshift renderer, you can generate proxy files from the scene and export them before rendering. For trees, the scenes with a lot of flowers and grasses are very suitable for the Redshift renderer. This is the theme that the leading cloud render farm in the CG industry, Fox Renderfarm, brings to you in this article.

How to render large scenes with Redshift in Cinema 4D

How to generate a proxy file? Now you need to generate the proxy file and export the Redshift Proxy (*.rs) to where it is needed. Proxy settings: after the ‘Add’, ‘Proxy to Scene’ are checked, the generated proxy file will generate a proxy file in the location where you want to export the file. If the exported file is animated, then ‘Range’ must be changed to ‘All Frames’. Then the generated proxy file will not occupy too many scene resources, and the production software operation will be smooth. And if you use a proxy file for replication, it will also reduce the resources of the system.

How to render large scenes with Redshift in Cinema 4D How to render large scenes with Redshift in Cinema 4D

Like the scenario below, most of the models are proxyed, so the rendering resources needed are even more economical. Take the following scenario as an example. Its number of faces is very large, and it will be stuck when it is operated. And all the models in the scene do not use proxy files, so you must optimize the rendering settings.

How to render large scenes with Redshift in Cinema 4D

  • Sampling

Before optimization, you must have a certain understanding of the working principle of Redshift. In the default case of Redshift, it does not emit light to the object through the light to show the light and dark effect. Redshift is the light emitted by the camera, hit on the object, and then the object will look for the source of the light to present the light and shade, which is somewhat different from other renderers.

How to render large scenes with Redshift in Cinema 4D

The two values in the picture below are generally used to reduce noise. Samples Min means that the minimum amount of light emitted from the camera is four, and the value below Samples Min can adjust the secondary reflection of the object.

How to render large scenes with Redshift in Cinema 4D

Sampling principle

How to render large scenes with Redshift in Cinema 4D

Noise

The Samples MAX value, if adjusted too high, the camera calculations consume more resources, rendering time will increase a lot. In general, the values are around 64. However, if the motion blur is turned on, then the value should be at least 256 or so.

How to render large scenes with Redshift in Cinema 4D

Samples Min=4, Samples MAX=256

How to render large scenes with Redshift in Cinema 4D

Samples Min=4, Samples MAX=16

If the noise is obvious, try to adjust the ‘Brute Force GI/Number of Rays’ under GI.

How to render large scenes with Redshift in Cinema 4D

GI adjustment

The ‘General/Primary GI Engine’ under GI is a primary feature, and the Secondary GI Engine controls the number of bounces.

How to render large scenes with Redshift in Cinema 4D

Calculating the GI information of the scene under /Primary GI Engine/Irradiance Caching will be faster. The number of light carried by Num Rays, Adaptive Amount represents the attenuation ratio of divergent rays. If Num Rays is 200, then Adaptive Amount 0.8 will decay by 80%.

How to render large scenes with Redshift in Cinema 4D

The above are several ways to optimize large scenes and rendering. By optimizing the scene and rendering settings, you can save more time and resources during rendering, and better complete the scene production.

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Using redshift to render a work Zen Bamboo
Using redshift to render a work Zen Bamboo
This time, the cheapest cloud render farm for VFX, animation, CGI projects in the world, Fox Renderfarm wants to use a case to show the powerful rendering features of Redshift. In this case, C4D and Redshift are used to render a photo-level picture of fresh bamboo. The main elements in this picture are composed of several parts, bamboo and glass bottles, which are the most prominent places in the picture. The difficulty lies in the part of the bamboo, especially the part of the bamboo texture. Scene construction The elements of the scene are simple, including tables, books, clocks, bottles and plants in the foreground. It is also possible to use some existing models directly, and choose an angle that shows the bamboo. It is still very simple to see the entire project now. The bottle uses an existing model and there is a layer of water inside the model. There is still a problem. The bottle is empty and needs to add some stones and bamboo. So, to make a stone first, you can add a launcher under Simulate / Particles / Emitter to make a stone. Transmitter settings, Create a sphere to make a stone, then make a different shape, drag all the stones under the emitter, then play to a suitable height and convert the stone into an object. The floating stones can be hidden. Create a bamboo using a Tube. Create other items for the scene, the wall and the wooden table. Place the camera: Material The material starts from the simplest. All the props do not use the Redshift material, but use the Cinema 4D's own shader. The background wall adds a default material to place the lights. Add wood grain to the board. Next, the bottle material uses the default Glass. After adjusting the value, copy a layer of glass material to the water level, modify the preset Water, and continue to adjust the value. The stone material uses a random color that makes the stone look more versatile. The bamboo material uses a gradual overshoot to increase exposure. Make a bamboo node using Vertex Attribute and Ramp. Lighting and adding other items In addition to Dome Light, you need to add an Infinite Light to change the brightness and keep the scene from being too bright. Adding a plant from the own plant library to the foreground of the lens, you can see that the effect of the lens is already very good. But trying to achieve the best results requires constant experimentation. Add other items, clocks, books, milk cartons, and photo frames to the scene, all using existing models and materials. Then output the test results. Post-production adjustment Adjust brightness, contrast, exposure, and change colors.
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2019-10-25
Redshift for Cinema 4D Tutorial: Interior Design Rendering
Redshift for Cinema 4D Tutorial: Interior Design Rendering
This time, the CG industry's leading cloud rendering service provider, Fox Renderfarm brings you a case study tutorial of Redshift for Cinema 4D for interior rendering. This is a basic case of Redshift's interior rendering, so the case uses an existing interior model, the focus of this case is the lighting adjustment and rendering settings. The effect in the image below is to use the Octane renderer, which will now be recreated using Redshift. Lighting adjustment Before you make the lights, turn on the GI and choose the most appropriate way for this scene. The Primary GI Engine chose Irradiance Cache, and the scone GI Engine chose Irradiance Poince Cloud. In order to match the light source, an Area Light is placed in each window to simulate the skylight. The advantage of using three lights separately is that it can be adjusted separately and saves rendering efficiency. The default material for Cinema 4D will be darker, so before the rendering test, you can create a new Redshift material, adjust the Color Picker up to 70%, and turn off the Weight. Give the material to the model, and the rendering test shows that the model is much brighter. Now you can see that the overall color of the light is white, so you need to adjust the color, first change all the light modes to Temperature, the window light is blue, and the room is warm. And make up a light on the left side. Adjust the brightness of the light to the right position. If the picture is still dark, you can also adjust the camera's Film Speed (ISO). Now you can see that the light is no longer a problem. Material Use glass material. First adjust the glass material, you can directly use the preset glass material that comes with Cinema 4D. You can make a material and copy it to adjust other glass materials on this basis. Next to the toilet and sink, the bathtub is made of ceramic material, and the Chrome ball is used here. The hangers and door handles are made of metal. You can also create a preset metal ball to give them and adjust them on this basis. The mirror material uses the Material shader, and the Reflection/Fresnel Type is changed to IOR, and the IOR is changed to 30, which is basically a mirror effect. The following content is selected from other materials. The wall uses a tile-like texture with wood grain on the floor. Because this material is built into the model, so just paste it back, but the details can be adjusted. Now you can see that the material of the large model has been adjusted, leaving some details, such as baskets, branches in vases, books, bath towels, etc. If the scene is exposed, you can adjust the value of the camera's Exposure/Tone Mapping/Allowed Overexposure, where the value that allows exposure within the camera is controlled. Put it into Photoshop after rendering, the final result, Content quoted from: `Https://www.bilibili.com/video/av15713359?from=search&seid=5150307806316506488`
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2019-10-12
Say Goodbye To Model Chamfering, Introduce Roundcorners To You
Say Goodbye To Model Chamfering, Introduce Roundcorners To You
The demos in the article are all based on the Redshift 2.623 postFX special version renderer, but other mainstream renderers (Arnold, v-ray, etc.) have similar functions. Arnold needs to be in the latest version, which is a recent new feature. It is available during the use of MtoA3.1.1 Arnold Core 5.2.1.0. 1) Basic introduction of RoundCorners technology The round corners technology was first used in the mental ray era, which was before 2010. This means that the technology itself is very old. However, it rarely appears in various rendering tutorials, so the penetration rate is quite low. Recent test results show that this technology can be very useful in many cases and is a technology that is seriously underestimated. Its main functions are divided into two pieces: 1.let the original hard edge produce a smooth chamfer effect. 2.Make natural overgrowth at the junction of the two intersecting objects. The specific way to do this is to create a RoundCorners node and connect the output to the bump input of rsMaterial to create an edge chamfer effect. The Radius value controls the size of the chamfer. If you do not check the Consider Same Object Only, it means that all objects with this material will have a chamfer effect, and a blending chamfer effect will be formed between different objects, that is, the effect of Figure 3. If the "Consider Same Object Only" is checked, it means that there is no chamfer effect between different objects, that is, the effect of Figure 2. Because round corners will take up the bump input, if the material itself has a bump, then the bump blending technique is needed. Create a bump blender node, mix the process bumps, and check the additive mode to get the perfect overlay effect. 2) The principle of producing good-looking highlights When making the model, everyone knows that the model needs to be chamfered and cannot have a hard edge. Perhaps the explanation you have heard is that objects in real life cannot be so sharp, there are always some rounded arcs, the difference is only the size of this arc. This statement is of course correct, but it is not a conclusion drawn from the perspective of rendering. As shown in the figure below, the reflection area of a square box without chamfering is shown, and the dark diagonal line marks the approximate reflection area. The green area is marked with words, which is a reflection blind zone. It means that when the light is in this "reflection blind zone", the model can't observe the highlights. At this time, the model texture looks very much like lambert! This is a very bad phenomenon. If the model is chamfered, then this reflection dead zone will not exist, and all the lights in the "original reflection blind zone" will form a slender and beautiful highlight on the chamfer. This will give a good representation of the texture of the material. (The reflection area of the chamfer will be very large, and it is easy to form a high light. It is easy to observe the phenomenon around it.) `[1] ` The difference between chamfering or not, the contrast between the two figures is perfectly reflected once again. Note the image below, where the highlights appear, basically in the chamfered area. This section mainly explains the principle and flaws of forming a good-looking highlight. The specific solution is to chamfer the model, or the cheaper and convenient method is the RoundCorners technology introduced in the article. 3) Limitations of RoundCorners technology The chamfering effect produced by RoundCorners is generated by bump. It also achieves the effect by changing the normal direction of the surface of the model, but does not change the structure of the model itself. So when the angle of observation turns to some cases, the area of the chamfer becomes When the outline of the model is observed, an abnormal visual effect is observed. Think about it, RoundCorners' chamfer is equivalent to shrinking these hard cut corners in a circle. This is a visual change; however, the real model is actually unchanged, so the conflict between the two forms. Incorrect visual effects. Some people may have thought that they can try to solve this problem by using the RoundCorners node as a replacement. Unfortunately, both the arnold and redshift renderers are not. At present, this problem cannot be solved temporarily. This technology is very convenient. To be clear, we use RoundCorners to form very small chamfers. When the chamfer is small, it is difficult to observe the problems described in this section. We can apply this technique to the mid-range and perspective of rendering. Very close-up close-ups are still used to achieve super high precision using model chamfering. Or when the required chamfer curvature is relatively large, it needs to be directly made on the model. 4) RoundCorners response to permutation Because there are a lot of situations in which the replacement is used in the film and television rendering, I also carried out the relevant test of the replacement, and the effect is satisfactory. The rendering of the following three images uses two patches, one of which uses a black and white checkerboard for replacement and the other with a water surface. And use the RoundCorners node to control the tension between the water surface and the wall to form a curved arc. The final result can be seen, is successful, RoundCorners responded very well to the displacement effect. In the three figures, the radius values of the RoundCorners node are 0, 0.02, and 0.1 respectively. It can be seen that 0 and 0.02 produce an essential difference in the high gloss of the contact surface. It is exactly the same as the content explained in the previous article. The effect of 0.1 is actually wrong. It can be seen that the amount of curvature generated by the water surface is obviously too large, but this is more likely to have a high light effect. Radius = 0 Radius = 0.02 Radius = 0.1 Model screenshot 5) RoundCorners practical application (with scanning material) Finally, with the application of the scanning material, the effect here is closer to the actual production application in the project. What quality effect RoundCorners can achieve. A B C Reference: Daiwei
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2019-03-29
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