The Redshift Bump Map node supports both height maps for bump mapping and object space or tangent space normal mapping. The resolution of the these textures are important — you ideally want a one pixel per texel maximum resolution to get the best visual results.
Magnifying the texture will blur the results and minifying will lessen the effect with distance. Bump maps are controlled by a height map texture which is used to perturb the surface normal.
Since only normals are perturbed, not geometry, it does not affect shadows. Bump maps do not contain directional information. Normal maps are controlled by a 'normal' texture which is used to perturb the surface normal. Normal maps contain directional information. If set incorrectly, normal mapping will not work properly. This enables the bump map effect. When this is disabled, the normal that is generated is just the surface normal. Object-Space Normal maps contain normal information specific to the object it should be applied to.
In Object-Space the up axis is directly tied to the up axis of the object itself and therefore using an Object-Space Normal map on any object other than the one it is intended for will not look right. Tangent-Space Normal maps contain normal information that can be applied to any object and behave properly. In Tangent-Space the up axis is relative to an objects surface normal and therefore using a Tangent-Space Normal map on any object will behave correctly. Below is a comparison of an object-space normal map and a tangent-space normal map.
First the object-space and tangent-space maps are demonstrated on their intended source geometry, both look perfect. In the second example the same shader is applied to a flat plane which is where you can see how the object-space normal map perturbs the plane's normals in such a way that it does not look good. Comparatively the tangent-space normal map looks much better since it is relative to the surface normals of the plane. This scales the height value that is read from the texture.
A value of 0. Greater values increase the bump effect. Negative values invert the direction of the bumps. The default is 0. Because this is a visual trick, very large values will not yield good results, so in those cases you should use displacement mapping instead.
This option forces the resultant bump vector output to scale along with the objects scale. Disabling this option will essentially remove any scaling bias, yielding more predictable results when blending bump maps and normal maps. When this is the case, the normals will have been pre-biased to fit into the 0. This allows you to flip the Y axis of the normal map.
This is useful if the normal map was generated using a flipped uv coordinate system. In the examples below note that the lighting has not changed but where the specular highlights appear on the sphere has been inversed.
Quick Search. Redshift Documentation. A t tachments 38 Page History. Pages Shaders Utility Shaders. JIRA links. Table Of Contents. Only applicable for Height-Field Bump Mapping. Only applicable for Normal Mapping. All rights reserved.Normal mapping is a texture-based technique used to give the impression of sub-polygon lighting detail, without having to model it. It is controlled by a 'normal' texture, which is used to perturb the surface normal.
Since only normals are perturbed, not geometry, it does not affect shadows. The resolution of the normal map texture is important — you ideally want a one pixel per texel maximum resolution to get the best visual results. Magnifying the texture will blur the results and minifying will lessen the effect with distance. When this is the case, the normals will have been pre-biased to fit into the 0.
Check this option only when you know that the texture map is unbiasedmeaning the normals were floating point and stored in the This allows you to flip the y of the normal map, which is useful if the normal map was generated using a flipped uv coordinate system. This allows you to scale the resultant normal from the normal map, yielding a stronger 'bump' effect. Texture Space This is the texture mapping space, which defines the uv channel.
This is the channel for the pre-computed surface tangents, since normal mapping is always calculated in tangent space. This gives you extra options for filtering and defined the texture coordinates. For examples, see 'Image Sampler' document.
This specifies the maximum eccentricity for elliptical filtering. The higher the value the better the results, but at the cost of performance.
A value of 1. This controls the repetition of the texture coordinates. Normally a texture is mapped with values 0. A 'Texture Repeat' value of 2. Values lower than 1. This example shows an un-textured surface, with a diffuse and glossy reflected spherical area light. Now the same scene but with the normal map applied you can see how dramatically a normal map can increase the lighting detail without paying for the extra polygons.
The normal map that was used to create the effect. Quick Search. Redshift Documentation. A t tachments 11 Page History. Pages Shaders Utility Shaders. JIRA links.
Table Of Contents. Tangents This is the channel for the pre-computed surface tangents, since normal mapping is always calculated in tangent space.
Working with Bumps And Normal Mapping In Redshift
All rights reserved.Every texture is 4k, seamless, PBR based and very little tinkering is required. This pack will save you a massive amount of time! No need to mess with nodes. Just add a variation to quickly test out different options. Included are 10 types of rock surfaces, 10 types of pavement stones, 10 types of stone walls and 15 types of cliff rocks. We have a bit of everything: sandstone, slate, granite, fieldstone, lavastone, limestone and many more.
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Thanks for all you do! Thanks for providing awesome products. We work in Redshift and just bought your new material pack. Go To Shopping. This pack includes premium materials for Cinema 4D Redshift. Iterate with Ease Designed for Experimentation. All materials are 4K and completely seamless. The most comprehensive collection of RS stone textures on the planet.
What makes this product unique? Shader ball model is courtesy of Paulo Barrelas of Ultradigital www. Granite Cliff 54 Materials. Sandstone Cliff 36 Materials. Pavement Fieldstone 7 Materials. Pavement Granite 7 Materials.
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Rock Lavastone 12 Materials. Rock Limestone 6 Materials. Rock Sandstone 24 Materials.Click to download tutorial files. Click to download project files. In this video, Aldo Vicente shows how to use the photographic exposure lens shader in the Redshift plugin for Maya. In this video, Aldo Vicente shows how to use the bokeh lens shader in the Redshift plugin for Maya. In this video, Aldo Vicente shows how to use the lens distortion shader in the Redshift plugin for Maya. In this video, Dennis Hansen shows how to use bump and normall mapping in the Redshift plugin for Maya.
In this video, Manuel Casasola Merkle shows how to use tessellation and displacement in the Redshift plugin for Houdini. In this video, Moritz Schwind shows how to efficiently tweak sampling settings to reduce noise in the Redshift plugin for Houdini.
In this video, Nate Rodriguez walks you through an introduction to shading in the Redshift plugin for Cinema 4D. In this video, Merk Vilson walks you through an introduction to lighting in the Redshift plugin for Cinema 4D. In this video, Dan Nissen walks you through an introduction to bump and normal mapping in the Redshift plugin for Cinema 4D. In this video, Valeriy Seleshko walks you through volume lighting in the Redshift plugin for Cinema 4D. Product Gallery Support.
Free trial Buy Now Log in. Video Tutorials Try these video tutorials to get going with Redshift.Texture Maps Explained - PBR Workflow
Maya Cameras Part 2 In this video, Aldo Vicente shows how to use the photographic exposure lens shader in the Redshift plugin for Maya. Houdini Lighting In this video, Varomix shows how to do basic lighting in the Redshift plugin for Houdini. Houdini Tessellation and Displacement In this video, Manuel Casasola Merkle shows how to use tessellation and displacement in the Redshift plugin for Houdini. Houdini Sampling and Noise In this video, Moritz Schwind shows how to efficiently tweak sampling settings to reduce noise in the Redshift plugin for Houdini Click to download tutorial files.In the second generation of 3D games Quake, Unreal a light map was combined with the color map to create a more realistic sense of shading and soft shadowing.
The trouble with this technique is that the shading on a particular texture would often be at variance with the perceived sources of light in the scene in which they were used. For example, a texture might be drawn as if it were lit from the upper left, but in a particular scene, the actual light source may be from the right, or below the texture. The color map and light map combined on a surface in a game engine. Although the surface is realistically shaded by the light map, highlights and shadows on the texture ignore which direction the light is actually coming from.
A color map that has no intrinsic shading property.
A height map that encodes the distance of the geometry from the camera as shades of gray. A new technique was developed, generically called "bump mapping".
In its simplest form, a texture on a surface contains two textures - a color map and a second map that contains the height information for the surface.
A height map would be a gray-scale image that encodes height information as shades from black the lowest to white the highest. The game engine is able to use this height map to render highlights and shadows on the surface according to where the lights in the scene are located, resulting in a vastly improved surface realism.
C4D Redshift Tutorials
The color map and height map conbined in a game engine. The height map allows the game engine to render the surface as though it has been illuminated by the light source in the game. Highlights and shading appear coming from the correct direction. Because of the limitations of this technique, the resulting surface appears flattened and lacking in richness.
There is a limitation to simple height mapping techniques - the game engine is restricted to portraying transitions in elevation only, resulting in a flattened appearance of the actual height information the designer is trying to convey. Fine details get blurred out of the bump map render, because a single pixel contains no real data of its own - it is only in relation to its neighbors that it has any meaningful information. A game engine looking at a height map has to take a sample of a certain radius around each pixel to determine if this pixel is the same relative to its neighbors, or sloping up, down, to the left or to the right, before it can rendering the shading on that surface.
This sampling slightly degrades the detail that can be portrayed with the height map. A normal map of the texture geometry. The red channel encodes X horizontal vector information. The green channel encodes Y vertical vector information. The blue channel encodes Z depth vector information. Enter the "normal map". While a height map only contains 1 plane of information - the "Z" height plane, a normal map contains 3 vectors of information - "X" direction, "Y" direction and "Z" direction.
Thus, each pixel in a normal map encodes which direction that particular point is facing - the "normal vector" of the surface. Each pixel in a normal map has meaningful information, so details can be rendered more crisply than with bump maps alone. This allows modern game engines Doom III to more realistically portray the lighting on a surface.
A properly constructed normal map can fool the eye into perceiving much more complex 3D geometry on a simple surface.
Theoretically, normal maps on a cube can make it appear spherical, at least in terms of shading properties the outline remains unchanged. A combination of color map and normal map on a surface in a game engine. Note how the surface appears much deeper and more geometrically complex.Nearly all of the materials are seamless. The product comes as an easy to use. This product comes with a page Helpful Tips eBooklet which will show you how to work with and modify the materials. This guide will help you get the most out of the materials, especially if you are new to Redshift.
These packs are not just PBR, they also have dozens and dozens of fully procedural materials.
Redshift Fabric Materials Pack for Cinema 4D
If you want to learn how to build your own layered, procedural Redshift materials, this is a great pack to study. Or if you just want that extra freedom to control the amount of rust, mold, paint, dirt, and lichen using simple sliders, then this is the pack for you!
Motorcycle render by Richard Jones of reddimension. Motorcycle render by Dave Howe of PixelLighter. The more I dive into your Redshift Material packs the more I am excited. The translucent material is just stunning, someone really spent a lot of passion and time to create these materials. Go To Shopping. This pack includes materials for Cinema 4D Redshift. Easy to Customize Cleverly Created and Versatile. Help Included page Helpful Tips eBooklet.
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Money Back Guarantee. Your Biggest Savings. Recommended Products.Support the channel and get access to exclusive files and more! Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube. I go over my attempt at replicating a foam material using Cinema 4d and Redshift. Sorry about the audio! I have a pop screen in my Amazon cart!
This video is about adding imperfections such as water droplets,scratches,thumb impressions,dirt etc on glass surface Download textures from : substance s Hope its helpful to someone. I am a newbie myself.
Note : If you are using subsurface scattering connect AO to overall color. Quick tip on how to get Multipass Render using Redshift. Did this tutorial due to some requests. Cinema 4D Redshift A short tutorial on how to set up Gobo's within your Redshift lights or create custome light blockers from alpha's applied to polygon planes that are invisib How to set up a scene to create a shadow catcher using the GPU accelerated redshift renderer and the rs matte shadow shader.
Cinema4d Redshift Scatter In this quick-tip I show you how to make your plants or object all go verticle when scattering across uneven terrain. This can b In this video, Laszlo Mandi shows how to do basic shading in the Redshift plugin for Maya. Chad also shows some of his favorite tricks to get more