Christoph Voorn

@Icecaveman For beginner especially in AE I think the nicest method is importing EXR as Composition, no? So it gives you all the Comps for your passes and assembled Composition on import. @Matteo Caretti, you already have diffuse lowest so that's good. If you set everything else to 'Linear Dodge (Add)' blend, you should have your render result, IF you have all passes needed. But Material ID is not part of your rendered image so you should turn it off. The order or layers shouldn't really matter as long as you put Diffuse at the bottom, but yet I always use this order from bottom to top: diffuse, GI, Specular, Refraction, Reflection, Emission, Volume Lightning. Only AO needs the 'multiply' blend. Working in Photoshop in 32-bit can be tricky. Some things can't be done, and effects like Levels don't work as we're used to. What I do is first composite the AOV EXR in Photoshop and I do my adjustments of the passes using adjustment layers (with clipping masks so it only effects the pass you want). When that's done, I save it as psd and link in a new 16-bit psd to it. That's where I do all other post-work with adjustment layers, dodge/burn layers, etc etc. Nice & non-destructive 🙂

I find it just a difficult issue. Yes 2 GPU's are slurping when rendering of course. At the same time, I also have so many other costs, software, hardware, etc that I don't 'charge' for, it's paid from my income. On the other hand, if I'd give my client the option to render at the farm at xx rate, or at home at reduced rate, the choice would be obvious. I like this. Because even though this client is at the top of the dance music industry, these organizations aren't very organized. They tour 5-6 days a week and party (and make lots of money). It's a cowboy world, also on the business side of things 😎 They just want to know what the whole thing costs and move on. If I were to render for an ad agency or something corporate, I the other approach could also work I suppose.

Hi everyone, Since I use Redshift I don't use farms that much anymore. Yet, my machine's rendering 5-16 hours a week (at night mostly). Depending on how busy it is and render times. Do you guys charge for this? Should I? And how does one calculate this? Or what's reasonable?

I don't quite understand how you made a selection. Your results from U-P do have points, but only from the center loop. When you use Rectangle Selection you can select half of the sphere like so Then U-P will give you this:

Wow, so I can just draw and there so goes the texture? That's so much better than moving planes & cubicals. I have to often align (PBR displacement) textures on faces with different texture tags. If it helps aligning those what would be a time saver.

If anyone ever wants to know 🤓 I got a reply from around the corner on the Redshift forum. Adrian from Redshift/Maxon says: In retrospect this was expected.

Ah! I didn't know 🙂 I've posted the same on RS forum. Let's wait and see..

Nobody? @Cerbera? You always know what to say 🤓

That's really cool!

Hi everyone, After doing 20 versions of this 15 sec sequence, I'm trying to drastically cut render times in Redshift by not rendering the studio background anymore but just the logo + shadow and composit back together with a still later. The logo is just rotating so the frames are like 70% identical. I can get the shadow using RS tag > matte > etc and 'affect alpha', but I don't really understand how to composit this other than use a black fill and combine with the alpha to get the shadow back. But all lights are colored and with this method I don't get the nice colored shadows. What am I doing wrong here? I'm also using glass with emission more. The RS tag is luring me into thinking I could catch this as well.. Left: normal render. Right: RS tag with matte + affect alpha (basic ;shadowcatcher')

@Cerbera is right of course, but it looks like there's little to no difference between the facade parts & windows, so in Photoshop you could create displacement for 1 set of window + no window + 1 wall part and repeat them? This looks like it would benefit from a normal map, then some displacement. Normal map is probably easier to create. But you'd have to get rid of the shadows first for a decent render.

Yeah would've been nice to try. At the same time this is mostly seen on smartphones so nobody's gonna notice the difference, and the poster was sent to print yesterday 😇

I think the Voroni creates quite an interesting triangle structure together with the Atom, especially when more dense than this (max distance in Details at say 25). Mine's at 50 I think. Doesn't look like someone made it in a workshop but what can you do.

Cool, thanks! Went for an easy solution as it was a matter of 1-2 hours 😅 Also more dense

Thanks so much @Cerbera Could you help me out and share the Voroni file?

Hi y'all, At first this seemed simple but I honestly have no idea how to create a similar structure inside my mesh like this. I can fill the model going from one side to the other (Ricochet plugin works great for this), but idk how to make more evenly distributed connections / knots. I could make such grid and cut it down but I don't want that. I want the grid to 'start' on the outside of my model and don't cut anything. Is there an easy way? It doesn't have to be perfect, in fact some imperfection is welcome as my model is already very simple and not very deep. Plus I want it to look like someone actually made it 😎 Btw it doesn't have to be triangles, as long as it gives the reference vibe. Model M2 Basic.c4d

Why are you two throwing shade about me on the forum?!?! Lol just kidding but it painfully reminds me of how I used to work. I remember those shitty models from the interwebs and spending hours and hours zoomed in on the polygon while it's barely noticeable in the final render. Thanks to a better machine and my current client who knows very well what he wants and for whom I have to meet 4 deadlines in one week at the busiest peak, I've learned (still learning actually) when to just stop trying and move on. And zoom the f*ck out while working 😎

Looking very fine @Vizn! 👌

yeah I added it later. I actually got it to work, but the intensity is inverted and whatever I do, I can't fix that 😞 So confusing .. Acrylic Lights v2.c4d

Welcome @Vizn! Glad I could help. Still wondering if the doors would slide up to perfecty horizontal when the middle hinge is placed evenly between both doors. Did you try?

The project file is there! You don't see it?

Hi everyone, Fields & the Plain Effector confuse me to no extend 😎 UPDATE 1: I got it working but the effect is inverted and I can't fix it whatever blend / field color etc I try. UPDATE 2: With a new Box Field set to 'invert' in Remapping tab I got the floor lights working as they should. I'll just animate the Fog Field now and copy them keyframes onto the new Field I added. But I'm still SO confused about why it doesn't work with the same field so if you know why, tell me please! Update 1 scene file: Acrylic Lights v2.c4d Setup: I have 11 slices of material with 11 Volume Builders making emissive Fog inside them with a Box Field to control the intensity. Each light has it's own Redshift Volume material. Together the colors go from blue to yellow and back to blue. The Fog light isn't doing a very interesting light show on the floor, so I made 11 colored Mesh Lights similar to the Fog lights, all inside a Cloner + Plain Effector + the same Field. The Floor lights are floor exclusive. The Problem: The Floor lights turn on, OUTSIDE of the field instead of inside 🧐 What could it be? Thanks so much if you know! NOTE: please use previews & project for this purpose only. With Plain Effector off and Cloner lights manually: Cloner lights (black) and Volume Fog (white)

These things always puzzle me as well. The hierarchy is important of course. But no need for bones. I used the IK chain tag. So in this setup you can't move or rotate the whole thing, never really understood why. Maybe if you delete the tag, reposition, and add it again. You can set chain direction in the tag settings. Some produce weird results. If you want to add the tag again, select the top hinge and bottom hinge and choose Character > Create IK Chain and you're done 🙂 Use the Null it creates to move the door up. EDIT: I had moved the doors to axis center. Reuploaded with doors in (almost) the same place as your original file 😉 PS: for accuracy you might want to redesign your mid hinge a bit and check position of all hinges because right now now the doors move too far up. Bi-fold Window Rig_R18(1).c4d

That's wild 🔥

If you recreate this with a Sweep, make your first spline editable, move the anchor to the bottom left like so: Then rotate in the Sweep settings like so (move both points up at once to rotate equally)