XGroups are not only containers, but can be connected to other nodes and XGroups; demonstrated down below. There wont be as much control as using the GraphEditor, but can be useful for changing basic parameters on the fly. Redshift Shader Nodes are very simliar to an Xpresso Node's functionality, they have Input paramerters and Output parameters.
Input parameters, which can be viewed by clicking the top left blue box of our node, can sometimes be controlled by other shader nodes. Output parameters, which can be viewed by clicking the top right red box of our node, have different types.
To view the type of Output port we can hover over the port or we can right click and view the Port information. Only ports that are compatible can be connected together, but our graph will do automatic conversions when possible. The Output Node represents the output of the entire material, every redshift graph has one. The different Inputs are described down below:. Material surface output. Normally the output, from nodes, from the Materials category, are connected here. Although simple Utility or Texture nodes are also supported, can be useful to quickly preview a Fresnel curve or textures in the scene.
Material Displacement output. Used with nodes from the Displacement category. Requires geometry to have displacement enabled through an RSObject tag. Material Volume output. Used with nodes from the volume category. Volume materials should not have any other outputs connected. Light material output. Used with nodes from the light category. These materials are applicable only to RS Lights.
Light materials should not have any other outputs connected. Viewport output. Allows overriding the viewport preview with an alternative shader.
This can also be useful to preview a certain texture in the viewport when editing UVs. Adjust the resolution of a texture in the viewport by going to the editor tab and picking a resolution, similar to built in C4D materials.
The UV Channel, available in various nodes, is used to determine the source of UV's needed by the node, by default this channel will be left empty, so Redshift will use the UV's from the texture tag that holds the material. Alternatively you can set the name of or drag and drop a UVW tag. The node will use the raw UVs from a tag that matches the name, in any object that holds this material. The Vertex Attribute Name, for example in the Vertex Attribute Node, is used to determine the source of per-vertex Color data needed by the node.
Weight-maps or Vertex Color tags can be used by entering the name of the corresponding Vertex attribute or by dragging and dropping the tag. The Object Attribute Name, for example in the Scalar User Data node, is used to determine the source of per-object data needed by the node.
Please see here for more info. This controls the number of samples cast for Multiple Sub-Surface Scattering rays. Higher numbers will reduce noise issues but will take longer to render. The Point-Based image below is provided as an example for comparison. Notice the difference between the different methods around the collar and neck in the images below.
To make the difference more prominent a Redshift Skin shader is applied to the jacket part of the model and the Radius Scale for both the head and jacket shaders has been increased to Weight: 0. This parameter is scene-scale related. It controls how deep light can travel within this surface. If the value is high, light can go deeper which creates a softer effect. Smaller values, on the other hand, mean that the light reaches extinction early which creates a harder more diffuse effect.
Radius: 1. Radius: 2. Describes the sub-surface attenuation color. A color of black means full light absorption, yielding a solid material, while a color of white means light rays will pass right through without being absorbed. Dark colors can be used to describe denser materials.
This acts as a scale of the absorption effect, with a value of 0. Acts as a scale of the scattering effect, with a value of 0. This is the maximum number of samples shot for single scattering rays. More samples will mean less noisy looking single scattering, but can affect rendering performance. This describes the anisotropy of the scattering effect, for forward and back scattering. Forward scattering requires values between 0 and 1, which means rays will scatter away from the light source.
Back scattering requires values between -1 and 0 which means rays will scatter back towards the light source. The 'Overall Scale' allows you to adjust the brightness of all the layers together, so you can quickly fine tune the intensity your diffuse lighting for the overall material.
Note that the 'Overall Scale' is applied prior to any layer weight normalization see 'Normalize Diffuse Weights'. This means if your layer weights sum to a value greater than 1. This is an example of dimming the overall diffuse lighting effect using an 'Overall Scale' value of 0. The sub-surface scatter effect is still visible, but much darker. The 'Radius Scale' allows you to adjust the strength of the scattering effect for all the layers.
Since sub-surface scattering is heavily dependent on the scale of the object, you can use this option to quickly adjust the scattering effect until it is visually pleasing. Smaller values mean quicker absorption of light, resulting in less scattering effect and a more diffuse look.
With larger values you get a more translucent look. This is an example of lower the overall sub-surface scatter lighting effect using an 'Radius Scale' value of 0. The sub-surface scatter effect is almost completely absent, leaving an almost entirely diffuse result. For physical correctness, the 'Normalize Diffuse Weights' should be left enabled.
This will ensure the material does not reflect more light than it receives. However, if you want better control over the overall layers brightness or want your material to be more emissive than physically correct, you can disable this option.
Below is a side-by-side example showing the difference in lighting with the 'Normalize' option disabled, using the default layer weights of the material. The 'Diffuse Amount' lets you control how much of the overall sub-surface scatter effect you want, versus pure diffuse lighting. When the 'Diffuse Amount' is set to 1. Equally, when set to 0. With 'Diffuse Amount' set to 0. Half the amount of light can be scattered and penetrate through. With 'Diffuse Amount' set to 1. The head is now purely diffuse and appears solid, as no light can penetrate through.
Now let's take a look at how each layer can contribute to the scattering effect. While the differences can be subtle at times, they are noticeable. Initially, the mid and deep scattering layers have a radius of 0. The shallow layer effect can be seen here with a radius of 0. Now adding the middle scattering layer radius 0. Adding the deep scattering radius 0. Cinema 4D c4d. Maya ma,mb. Blender blend. Collada dae.
Sketchup skp. Autodesk fbx. Lightwave lwo. Rhinoceros 3dm. Free Textures. Free Lights ies. Interior Scenes. Exterior Scenes. Other Scenes. Reception and Bench. Office Furniture. Other Furniture.
Building Tools. Interior Tools. Exterior Tools. Architectural Tools. Wall Panel. Ceiling Lights, Chandelier. Desk and Table Lights. Floor Lamps. Wall Lights.
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