The Essential Thinking of Roughness and Anisotropy (6)

We put the textures we just made in SD into the renderer and try to render them. In fact, there are still several problems that are quite serious, let's solve them one by one.
First of all, if you directly insert this image into the anisotropy rotation channel, all other parameters are adjusted correctly and directly rendered with the Arnold renderer. The result will be very strange.

Why? In fact, the previous article has always had a big doubt left there without explanation, that is, in the process of flowmap to aniRotation map, the previous steps can be easily understood, the last operation -0.25, means the meaning of everyone now It should be understood that it is rotated 90 degrees.
But why do you want to do this rotation?
We built a simple scenario to illustrate this problem. In the figure, a row of cylinders is lined up, the cylinders are horizontal in the figure, and their highlight directions are vertical, and the two are perpendicular to each other. In fact, this figure is also a brief display of the nature of anisotropy.

This figure illustrates a problem in which the direction of anisotropic highlight stretching, and the structural direction of the groove itself, are vertical.
When we have lateral grooves, the specular pattern we want should be vertical. The black line in the figure represents the groove, and the white line represents the highlight.

And what aniRotate texture we use, if the color is pure black, what effect? Yes, the default is not to rotate the horizontal highlights. Looking at our previous production process, the horizontal grooves are always black. So, this highlight direction is in one direction with the groove!

So we have to rotate the highlights by 90 degrees!
In Arnold, the brightness of the texture is +0.25 (or the same).

We got this effect!

Change a fast renderer like Redshift.
In Arnold we have made the benchmark effect, but can't stand the slow rendering speed. We try to reproduce this technique in some GPU renderers. In this article, we mainly analyze the problems in the Redshift renderer.
Because the anisotropic rotation direction of Redshift is the opposite of that of Arnold, after performing the same operation above, an inversion operation is required.

Although the scratches are there, the results are still very strange.

Convert the original scratch map into a mask, as long as the scratches are now pure white. Push this mask out of the alpha channel of the image.

Then in the renderer, the mask is output to the anisotropy property, so that only the scratched places have the opposite sex, and the place without scratches is just ordinary highlights.
Adding a remapHSV node slightly adjusts the anisotropy intensity of the scratched area, which belongs to the effect adjustment node. This depends on the individual requirements.

With the mask we can fine tune many parameters separately.
After the adjustment, the effect is very ok.

What makes the most sense is not that the problem itself is solved, but the ideas behind the solution. Although I understand the essence behind Roughness Anisotropy, I still don't have enough thorough understanding of their characteristics. Like the method described in the article, although I have seen those practices, I didn't understand it at the time, and I didn't try it.
Using Roughness with Anisotropy does simulate and replace the effect of bump or normal to a large extent. This will make the rendering efficiency much better, and even the effect that could not be achieved due to the parameter breaking the upper limit is now possible.
There should be many reflections in nature that are somewhat anisotropic. This depends on how much of the structure is in the bumps when the artist is dealing with it. How many percent of the structure is in Roughness, as long as Roughness has, then more or less will reflect the phenomenon of the opposite sex, but the extent is different.

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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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How to render large scenes with Redshift in Cinema 4D
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Redshift for Cinema 4D Tutorial: Interior Design Rendering
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