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\nThe Ultimate Introduction to Redshift For Cinema 4d\u00a0 Free Download Latest . It is of\u00a0 The Ultimate Introduction to Redshift For Cinema 4d\u00a0 free download.<\/p>\n
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\nThe Ultimate Introduction to Redshift For Cinema 4d\u00a0 Free Download Latest . It is of\u00a0 The Ultimate Introduction to Redshift For Cinema 4d\u00a0 free download.<\/p>\n
I\u2019m very glad to bring you our new online course: “The Ultimate Introduction to Redshift For Cinema 4d”.
\nIt\u2019s 845 minutes, more than 14 hours of on-demand videos in 75 lessons, covering everything about Redshift for Cinema 4d, including lighting, shading, Cameras, rendering, etc.
\nIf you have any questions, contact us at: [email protected]
\nWe\u2019ve been working on this course for the past 100 days and it feels amazing to finally be able to make it available to you.
\nEvery single minute of every single video is planned and thought for, you get the top-notch quality you\u2019ve come to expect from MographPlus.
\nWe\u2019ll keep the course updated at least for a year after the initial launch, even though we tend to keep our course updated for much longer.<\/p>\n
Now let\u2019s talk about the course itself, Part 1<\/strong><\/p>\n
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\nChapter 1: Introduction (29 min)<\/strong>
\nWe start off the course by introducing Redshift for Cinema 4d, where to find different Redshift tools and functions, and walk you through the general workflow to get your job down with Redshift.
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\nChapter 2: Lighting (102 min)<\/strong>
\nThe next section of the course is all about lighting, you learn about the fundamentals of lighting and different lighting techniques while learning about the vast and unique lighting tools that Redshift offers.
\nWe learn about Area Lights, Mesh, spot, infinite and IES lights, Dome Light and Image-based lighting.
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\nWe talk about Redshift Sun and Sky, you learn how to approach interior and exterior lighting in Redshift for Cinema 4d.
\nWe learn about the amazing volumetric effects in Redshift with Redshift Environment Object.
\nI explain how to use Redshift to integrate 3d geometries onto HDR environments or photographic backplates\u2026 and much more\u2026
\nChapter 3: Global Illumination (84 min)<\/strong>
\nIn section 3, we talk about Global illumination or indirect lighting, first we learn how light rays work in real world and how Redshift simulates the same behavior using GI, then we start learning about different GI engines in Redshift, like Brute Force, Irradiance Point Cloud and Irradiance Cache We learn how to use these engines in different lighting scenarios to produce the most realistic lighting possible, the pros and cons of each one and where to use them.
\nAnd finally explain how to render flicker-free object animations with GI.
\nChapter 4: Shading and Materials (240 min)<\/strong>
\nIn the next section of the Ultimate Introduction to Redshift for Cinema 4d, we start discussing Redshift Materials, shaders and nodes. Not only you learn about all the specific Redshift Materials, but after watching this section, you will be equipped with the core shading fundamentals and cutting-edge techniques in shader development.
\nFirst, we learn about the powerful Redshift Material which is capable of creating all sorts of materials, we dedicated 9 in-depth videos to this shader.
\nThen we discover bump, normal, tessellation and displacement mapping in Redshift.<\/strong>
\nAfter that I will introduce you to a new simplified approach to shader creation, I will show you how to create some of the most daily shaders like plastic, wood, concrete, metals.
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\nYou also learn how to create highly realistic human skin shader using the Redshift Material.
\nPrincipled hair shader will be covered in detail, it\u2019s an easy to use, yet powerful shader.
\nWe\u2019ll be covering the robust CarPaint material as well.
\nWe learn how to read and render Mograph and field colors and render them with Redshift.
\nThen we learn about Material Blender, Color Layer, Mix and Composite nodes. Ray Switch, Shader Switch, Triplanar, Ambient Occlusion, Curvature and Sprite shaders will be discussed in detail.
\nWe also learn about OSL shader, substance support, math, conversion nodes and much more.
\nHopefully after watching this section, you should be very comfortable developing complex shaders in Redshift.
\nChapter 5: Camera (52 min)<\/strong>
\nThen we learn all about Cameras, camera types, Depth of field, motion blur and everything that relates to working with cameras in Redshift.
\nFirst we learn about the fundamentals of working with Cameras and photographic exposure settings in Redshift, then we learn how to get Depth of field and motion blur, we learn about different camera types and VR Ready renders in Redshift, we also talk about lens effects, color correction and Lookup tables.
\nChapter 6: Rendering (294 min)<\/strong>
\nSection six of the course is all about rendering with Redshift, we learn all about the fundamentals of image sampling and ray tracing in Redshift, first we explore how to use the Basic mode of the Redshift Render settings, then we discuss automatic and unified sampling in depth, then I show you how to setup unified sampling practically for a few different scenes to reinforce all the theories we\u2019ve learned previously, after that we learn about the differences between bucket and progressive rendering.
\nThen we take a close look at Redshift RT, which is Redshift\u2019s near Realtime interactive render engine.
\nThen we talk about ACES, a system to manage color in all levels of the production, I will give you an overall understanding of what ACES is and does, how to set it up properly in Redshift, which is really simple as it is the default color management solution in Redshift. Then I share a few examples comparing ACES and the older color manger and show you why ACES is just way better, and finally how to deal with ACES-managed renders in post.
\nThen we take an in depth look at Render View and learn about all of its features.
\nWe also cover both Optix and Altus denoisers in-depth with a lot of comparative examples.
\nAfter that, we dive deep into the subject of AOVs. What are the AOVs that Redshift offers and how to save them out. we talk about custom AOVs, cryptomatte workflow, light group AOVs, and finally compositing AOVs in fusion will be covered, both the famous back to beauty composite with the essential AOVs and the light mix composite for relighting purposes in post.
\nWe also learn how to deal with caustics in Redshift, The rest of the render settings will be explained as well in a few videos.
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\nChapter 7: Miscellaneous (77 min)<\/strong>
\nIn the next section, we take a closer look at a few miscellaneous topics, like Redshift proxy, object tag, dealing with particles and splines and much more.
\nWe also learn about Redshift Volume, I show you all the steps you need to render openVDB files in Redshift and how to render amazing and realistic clouds, fire, smoke and explosions using Redshift.
\nIf you want to learn Redshift For Cinema 4d, this is the course to get, period.
\nwe work really hard on our courses to assure the quality of them, and you get an academically- orientated, well-structured course that will take you to the next level of your career as an artist.
\nThis is our 19th online course here at MographPlus in the past decade, Thousands of students from around the world has participated in our courses, I invite you to join as well and learn from the Best Redshift course available Online.
\nso sign up and let\u2019s get started.
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