1/29/2024 0 Comments Cinema 4d materialsAnd in this Fresnel type, I'm going to choose conductor, from the presets, I can choose the copper preset and we have this pretty much set up. We'll create the GGX layer and then we'll come down to where it says Layer Fresnel. But all you need to know is that GGX is a good type for metals and Beckmann is a great type for anything else. There are many different types here and they're used in different ways to determine how light is scattered by the surface. So we'll delete this default specular by just highlighting it and clicking remove and then we'll click on add, and I'm going to use a GGX layer. The Reflectance channel defines how shiny and reflective the material will be. So I'm going to turn off the color and just look at the reflectance. To make a copper material, we use the Reflectance channel. Let's double click this and we'll call it Copper. Let's just turn that Interactive Render Region off and create a new material, double click. And you'll notice at the bottom here by using an absorption color, we also color the area shadows. Let's close down the Material Manager and I'm going to enable the Interactive Render Region and just move it over to around about where the sphere is. If we set this down to 10, you can see that there, and this has become way more pronounced. The lower the value, the more intense the Absorption Color, because the light has less distance to travel. If we just move the Material Editor over and click onto the sphere, the radius of the sphere is 70 centimeters and just through a little bit of testing, this gave me a decent look. So I'm going to set the Absorption Distance to be a little bit less than this and around about 70 centimeters. Just click onto your little color chip here and in the Color Picker, I'll add in some values and just press enter to confirm that. And when light enters the object, it weakens and changes color, we can emulate this with the Absorption Color and the Absorption Distance. Most glass objects in the real world are rarely colorless. Simply by turning this channel on, we have managed to create a glass material that's because the index of refraction or the refraction preset that we have here is already set to glass. So I'll disable the Color and the Reflectance channel and just turn on Transparency. Now to make a refractive material, we work with the Transparency channel. And I'm going to double click this once again, and we'll call it, Glass. I will assign it to the sphere because this is the first object we want to work with. So in the Material Manager, I'm going to double click to create a new material. Please note that this older archive uses only Xpresso nodes and only includes the original 31 materials from that set.- Let's continue where we left off in the previous movie and create some reflective and refractive materials. We also include eight AOV examples, demonstrating how to create various utility passes, such as puzzle mattes from objects or materials, creating mattes from textures and shaders using custom AOVs, and global AO & UVW passes.įor those still using Redshift 3.0, we also include an archive of the original set of materials from Redshift Essential Materials v1. Other special cases include the Sprite node, plus Hair and Volumes. Four X-Particles examples demonstrating how to read particle attributes for rendering the XP Emitter and XP Trail objects. Using the Redshift Object tag allows you to add displacement or render splines, particles and matrices without the need for geometry. Two examples of a Multishader network allowing you to combine multiple textures in one material channel and a Material Switch example, so you can apply different materials to your Mograph objects. Create random coloured clones using one Redshift material and define the range of colours using Fields or with a Ramp. The set includes a collection of materials specific to Mograph. Explore world, camera and object space as falloff types which offer unique effects. Work with Redshift’s nodes to add wear and tear to edges, or dust settling on the top of the surface. This library is a great way to learn how particular shaders work in combination with specific objects in your scene as many of these examples also require Redshift Objects, Tags and Mograph setups to function correctly.Ĭreate dispersion, absorption and sub-surface scattering. Each material includes remarks in the network to explain the nodes. A collection of 62 pre-build setups for Cinema 4D which demonstrate Redshift’s most important and useful nodes.
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