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A club for Redshift for C4D users. Post your WIP/finished work, tips and tricks, questions, or any Redshift-related discussions here!

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  2. Apologies if this is in the wrong forum but here is my problem: I have been trying to get turbulance fd to work with redshift and I have managed to make it render but it never looks as good as it does in the physical render can someone help all I'm wanting to do is create a campfire please can someone help by telling me what to do or providing some sort of an example please. Thank you in advanced Luke
  3. yeah i can get height maps to work perfectly either, but my question was about tangent vectors, not height maps ;)
  4. yea, its fine just lose the normal bit of height amount
  5. Hi, it is a little late to answer this quiestion, but i faced to the same promblem. After a while i found that it can work perfectly, although you have to tweak the settings a lot depend on the scene. I attached some screenshot with a simple defult sphere object. You can see the main process is to find the right ratio of the scale and old range min/max values. In another sceenshot you can see the baking settings, and a render with a pure sculpt on the left and with the baked displacement map on the right.
  6. Thanks for the reply Fastbee. I was playing with the colour splitter but I couldn't work out how to pull the green channel with it like I was able to in Cycles.
  7. I checked Redshift and yes there is a node like that. It's called the Color Splitter.
  8. Not sure about Redshift, but there is Cycles 4D so you can have Blender Cycles in Cinema 4D.
  9. Hi I'm trying to rebuild some game materials that use the RGBA channels for varying degrees of damage. I need to isolate the green channel from the diffuse map. Is there a node like the 'Separate RGB' one in Blender, in Redshift for C4D? I've tried the Colour Splitter but couldn't figure it out how to use it. Thanks
  10. I know this is an old thread, but i also use PixelPlow on occasion, and queried this with them. They replied: "The real question is: Can you prepare the proxy files such that C4D can find them by using relative pathing? The answer to that question is: Yes, you can. That’s all that needs to be done." So as far as they are concerned it should work. I haven't tried it myself.
  11. Hello all, I was wondering if anyone knew how these materials were created. The iridescent glass on the tubes and the blurred light inside I have reached out to creator of this image and he said he used redshift. Any ideas? Thanks in advance! https://www.instagram.com/p/Bjz75fWgCKy ... _copy_link Thanks in advance. catnap
  12. BobGF I sent it to PixelPlow last night, just to see if it would work, it's a low res preview so it doesn't matter if it doesn't work at this stage, it didn't work ;) I've sent a support email to them but as they are US based and I'm UK the reply might be long time
  13. Hi Push. It depends on the workflow of the given render farm. I understand that you are using a farm which just renders your project using automated workflow. In general, if the render farm offers a plugin for uploading your project, it should relink the proxy and upload it to the farm with the whole project. The proxy, like other assets such as textures and caches, should be properly linked in the scene or use relative paths if your setup allows it. If it doesn't work, then I'm sure it can be relinked on the farm's side, you would just need to contact the support team and upload the file. The question is if that particular farm is ready for such semi-manual workflow and how long it takes to get a response.
  14. How do I send a project to a render farm that contains a proxy object? Any ideas?
  15. Hi, As the title siaid. I found some Instructions on redshift help website. https://docs.redshift3d.com/display/RSDOCS/Baking But it did not have detailed steps. How to Creating Bake Sets in C4D, and how to Executing Baking? Thanks.
  16. Yes. They updated it recently and now it makes sense. I was amazed how quickly the devs replied on the RS forum and even gave me a sneak peak at the new documentation. https://docs.redshift3d.com/display/RSDOCS/Integrated+AOVs
  17. I think you shoud learn the PDF of Redshift in there website.https://docs.redshift3d.com/display/RSDOCS/AOV+Tutorial?product=cinema4d
  18. Hi, I'm having trouble working out the correct workflow for AOV's in After Effects. I'm used to doing multipasses from C4D render but new to Redshift and there are a lot more options that I don't know what they are and how they should me layered in After Effects. Any help, links to tutorials or general info would be appreciated. I've watched GSG / Chad Ashley AOV tutorial & looked through the manual. Cheers.
  19. Hopefully, it is something they can fix soon. I know a lot of people use and rely on displacement maps.
  20. redshift support couldn't get it to work either, they forwarded it to the devs, so hopefully we will see a fix soon... they also tried it in arnold, and they couldn't get it to work properly there, too.
  21. like i said, it doesn't help increasing the base mesh density... really looks exactly the same. the fall back option would be to model in the bigger folds manually and then add finer much simpler displacement on top of that, but that would also mean way higher poly count. i mean it's no problem to rig and weight a higher poly count mesh, so no, it's not a MUST... but it's just much more convenient in animation to have a low poly mesh. much less effort in weighting, and much better viewport performance when animating. so if possible i'd like to keep it low poly.
  22. Sounds like an annoying problem. Maybe it's something the RS are looking or need to look into?! Surely though using the min/max values, if you went for example old min 0, max 1, to new min -.5, max .5 or something like that it would then act like you need, essentially making the "grey" or midtones 0? Ooooh, yeh maybe for an animated character keeping polys low is a must. Not sure. I just keep playing with setting so they look right. Is there any way to add a little more detail to the base mesh in the trouble parts so the displacement maps works as needed? eg adding in the folded areas?
  23. yes, i have tesselation on, i wouldn't expect it to look right without it. i didn't try it with z-brush, since i don't have it. but i've read in the rs forums that people are having trouble with maps exported from z-brush as well. i have to say although i love redshift and also find it fascinating how fast it processes and renders incredibly high tesselated geometry i'm not really happy with the way redshift handles displacements in general, i think an optional "intensity centered" approach for height maps would be very useful, you know like the c4d default, where 50%grey is flat, black means displacement it the negative normal direction and white in positive. haven't had much success yet getting that right either by playing with the min/max values. it's not so much of an issue if you just do slight displacements, but if you want rather intense displacements the geometry always gets kinda bloated. and as for the vector maps, i tried subdividing the base mesh, but that made no difference at all.. i also tried messing with the colours, switching rgb channels and what not. i think i really spent a whole day now on that issue :D also this is for an animated character, so i really wanna keep the mesh as low poly as possible.
  24. Not sure about the actual length of the rays but I tried just a few days ago on a scene I had learning the C4D lighting and one technique was adding a disc in front of the light with fractal alpha map applied which then broke up the overall beam. Maybe like everfresh mentioned, maybe adding some sort of object to intersect with the rays/beam and then turning its render visibility off?
  25. Have you tried this with Zbrush displacement maps at all? I know I used to have problems with Zbrush and Softimage and never got it to work. Displacement maps can be quite finicky. Maybe the base mesh might need more polys for it to displace properly in Redshift? Have you got the tesselation on also in the RS tag object? This adds a lot of the finer detail.



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