How the Redshift Proxy Renders the Subdivision

Today, I have a friend who asked me a question about how the redshift proxy renders the subdivision.
I think this question should be a very common problem and a problem that is often encountered in movie animation projects, so I am going to write a tutorial on subdivision today.
Everyone knows that in the Maya scene, if you want to create a proxy, you must first export and then create it.
Then let's first talk about the Export Proxy:
Redshift - Proxy - Export, be sure to click on the small box behind the Export.
Then, keep the General Options - File Type - Select Redshift Proxy in default, meaning that this proxy is a Redshift proxy.
The next step is the important what we need to know:
File Type Specific Options – General, and there is an Export Polygon Connectivity Data under General. What does this option mean? The official Redshift documentation explains this:
The Export Polygon Connectivity Data option should be used if you plan on applying any tessellation & displacement to the proxy. Enabling this option does increase the size of the proxy file, so should only be used if necessary.
In other words, if you want the Tessellation and Displacement options under the properties of your proxy to work, you must check the Export Polygon Connectivity Data option when exporting the proxy, otherwise, no matter what proxy file will be set, there is no subdivision or permutation in the proxy model. Except for one case, you have already set up all the model substitutions and subdivisions before exporting the proxy. Replacement I can guarantee that all projects are set up, but the subdivision is not necessarily true.
For now, you can know that why I want to export the proxy, because this is the key to whether the redshift proxy can render the subdivision.
And the last command is below: Sequence -Export Sequence, it's easy to know, export the animation sequence.
After finishing the proxy export, now say about Create Proxy: Redshift - Proxy – Create.
After the creation, put the proxy file you exported into it.
Under your proxy properties, check Overrides - Tessellation & Displacement.
Then find the Redshift Proxy Placeholder Shape panel property
Redshift - Tessellation - Enable, check Enable is OK, as for the subdivision parameters, according to your needs to modify it yourself.
   

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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
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 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. 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. - 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. 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. Sampling principle 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. Samples Min=4, Samples MAX=256 Samples Min=4, Samples MAX=16 If the noise is obvious, try to adjust the ‘Brute Force GI/Number of Rays’ under GI. GI adjustment The ‘General/Primary GI Engine’ under GI is a primary feature, and the Secondary GI Engine controls the number of bounces. 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%. 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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2019-10-15
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
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