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This sort of tech has come up a few times on the forum and it's really impressive for the right use case. I think Stefano showed some examples from Vray. I'd love to see it in Redshift.

Hey guys, Just thought I'd show you my latest experiments: I've been creating them using the Corona Renderer For C4D feature called Corona Pattern. Corona Pattern will take any little 3D object you create, and use it as the "building block" or "seed" for a larger 3D object you've created. It's kinda like creating a "single stitch" which will be compounded to form a "whole cloth". As I understand it, Corona Pattern is a form of "Scatter" which will take your little 3D object and "scatter" it across a larger object in an organized way. Thus you can create sophisticated "cloth fabrics" which have highly detailed "stitches" forming it. The results you get are more sophisticated and realistic than anything you could do using Displacement, Opacity, Bump and Normal maps, for instance, because the individual "stitches" or "building blocks" are not illusory or dependent upon greyscale maps... they're real 3D geometry with assignable materials, which will exist in light and shadow like any 3D object. But the process does not use up a lot of CPU or memory, and your renders develop as fast as any other kind of render. The effect is not seen in your modeling viewport, but is seen only upon render (with Corona Render, of course). I have been experimenting with it in order to create fascinating "woven and knitted cloths", "pailletted cloth" and "chainmail" type renders. I'd think it would look killer when used as a tweedy/nubbly textile surface for a sofa or chair in an Interior Archviz. But it occurs to me that there might be many more situations in which this effect could be used... to create the facades of buildings, perhaps, or surfaces of sci-fi objects. Thoughts? ras

For a recent project I had to integrate a photographic environment with 3d characters. Having spent ages in previous projects getting the perspective right with camera calibration I decided to try using lidar scans (a Trimble X7 Laserscanner with sampling set to 1 cm and a very friendly operator named Paul from paul3d.nl). With the correct lens settings for my camera I found this to be much faster, compensating for the extra cost tinkering with the setting. If anyone is interested I'll post a more detailed report of my journey. Philip .

It does hold up even for close-ups, never tried that before, actually 🙂 (Added some texture for the Macro-feelings)

Hmm, no problem here. You can use the attached file for reference. I guess there's something odd about your bump.jpg Laser.c4d

Shouldn't matter. Bump is independent of geo. CBR

We'll be able to help an awful lot more with a project file. Looking at the screenshots my main guess would be that you have 2 bottles in the same place, one with a bump and one without, and theyre fighting to see which gets rendered. Maybe you copied the bottle model intending to change it into a liquid or outer label but forgot about it?

You're using a bitmap to create those letters, yes? Maybe one you tweaked in Photoshop? I'd say that's where the problem lies: the bitmap you're using is either: 1). Not high-res enough... go for at least 600dpi, or 2). What we're seeing is "lossy" JPG "blocky" artifacts. Try using a high-res PNG file. In P'SHOP, soften your greyscale letters using a Gaussian blur, rather than using their native soft/hard chisel to simulate an Emboss. Lastly, the Bump protocol lacks the finesse of a Normal file, IMHO, and I eschew it whenever possible. Convert your Bump map into a Normal file, or create one in P'SHOP using the NVIDIA TOOLS, or, barring that, use the Normalizer shader within C4D. Let us know if this helps!

Bit of an obvious point but have you got enough polys in your model to support that, had similar problems myself with diagonals and needed more polys even tho it was pretty dense. In R18 you have the mip, sat and alias sampling settings too, tho Im not sure they would differ between themselves that much. Deck

Really well done. Every time I see chainmail, I think of that poor guy at Weta working on LOTR who had to make all that chain mail for every character by cutting plastic plumbing tubes (the ones reinforced by a spiral loop of wire) into individual rings and then linking them into that cloth pattern and gluing the ends together. Kind of makes the work you put into learning Corona Pattern all the more worthwhile doesn't it!!!😀 Again, great work! Just love it. Dave

Here's a practical example of Corona Pattern in action: Shown is your basic seed Pattern, seen from two different angles. Note that it is a fully-fledged 3D object, with two (Corona) materials added. The pattern object could be absolutely anything, as could its materials, but this pattern is a kind of "knit stitch" comprised of two interlocking "yarns", red and yellow. Designed to repeat seamlessly... on all six sides. The third image is this seed pattern, applied to a larger object... which, likewise, could be any 3D object at all, but here is an ordinary Sphere. You can control how "coarse" or how "fine" is your application of the seed pattern. It's all determined, not by your target object's vertices or poly faces, but rather by its assigned UV's.

Yep... Corona Pattern seems to be a variant of Corona Scatter. The sole difference is that Pattern casts the individual 3D "pattern" units in a regular pattern, defined by the UV's of your larger target geometry (not the vertex points or poly surfaces, but the UV's).

I think this is normal when rendering hard-edged bump maps. Try to blur/soften the texture a bit.

Thanks a ton once again @noseman!