Description
Principaux enseignements
- Learn a quick and efficient workflow between Maya and Redshift.
- Learn how to properly select and set up Redshift shaders in Maya.
- Learn the differences between Redshift and Redshift RT and when to use each.
- Learn about Redshift's lens effects, denoisers, AOVs, and VDB rendering.
Intervenant
- Marcio GoncalvesMarcio E. Goncalves is a 3D artist and filmmaker, currently working as an Assistant Professor of Emerging Media - Animation at the University of Central Florida (Orlando, FL). Prior to this, he worked as a Maya Designated Specialist with the Premium Support team at Autodesk (Montreal) where he was the DSS for Disney, Pixar, ILM and Mattel. Marcio also worked as a Communication and New Media researcher at McMaster University (Canada) where he studied multidisciplinary practices and applications of virtual reality. Marcio is originally from Brazil and has more than a decade of experience directing and producing animated and live-action content. Marcio holds a Master in Digital Media Design from Harvard University and a Master in Film and Television from Academy of Art University.
MARIO CONGALVES: So hello, everyone. My name is Mario Goncalves. I'm a assistant professor of emerging media and animation at the University of Central Florida. And I'm here today to give you a talk about Autodesk Maya and the Redshift Renderer, which is a very powerful third party renderer which can be very useful if you're a freelancer, a indie artist, or even a smaller company. If you don't have much access to extensive render farm, Redshift can be very useful because it's a very fast renderer.
So today we're going to learn basically the differences between the Arnold Renderer which comes with Maya and Redshift. We're going to learn about how to set up Redshift for Maya, then I'm going to go through some very basics of Redshift the render settings, how to create a physical sky, how to use HDRI sky, types of lights, differences between progressive and bucket renderer, the difference between the progressive preview window and the final render, differences between the production mode and real time mode.
Then we're going to switch to an example of how to do something a little bit more complicated. I'm going to load a character then I'm going to show how to set up some text painter materials in Redshift, and how to get a very good look and very fast renderer. Then we are going to switch to a more complex scene with a character and a more complex environment. And then I'm going to show you the magic of redshift, how you can really play with the settings and get like a super fast renderer, much, much faster than would be able to get with Arnold, for example.
And we are also going to talk about the Redshift render settings, and finally before I switch to Maya let a quick talk here about the main difference of Redshift and Arnold renderer.
Arnold is amazing renderer that comes with Maya. We all know that, if you have been using Maya for a long time. But there are some considerable differences between Arnold and Redshift, and depending on your workflow, and what you do Redshift could be a very good alternative. So basically Arnold was is mainly a CPU renderer, even though it has an optional GPU mode, this GPU mode is kind of limited. It doesn't have all the features of the CPU renderer.
Meanwhile, Redshift was originally a GPU renderer, and in the last two versions they included a CPU mode, but that's optional. Is not as fast. The fact that Redshift it is a GPU renderer makes it much, much faster by itself than Arnold.
Arnold is an unbiased renderer, which means when Arnold is trying to render an image, it tries to simulate life, how light works in real life. The most realistic way possible. So if you have some experience in geography, you can try to simulate a lot of stuff in Arnold, and a perfect way, because it is going to work very close to real life, the way light interacts with objects.
Redshift is not unbiased. Redshift is biased. Is a biased renderer. It means it takes shortcuts, it does not try to simulate light precisely like it works in real life. On one hand, by itself and the renderer is not going to be like super realistic as Arnold. It will take a little bit more time to mess with the settings to get a super realistic scene, like we get in Arnold. But on the other hand, this gives us a lot of flexibility in changing the settings to get a super fast renderer. If you don't need 100% realistic look. You can get something that is really, really realistic, but is only like 90% realistic and your render time will be much faster.
Arnold comes with Maya, so if you have Maya subscription, you get Arnold. Redshift is a third party plugin, so you're going to have to get a subscription from Maxon. So it's an extra cost. This is a Arnold gets you get for free. Redshift has experimental real time mode, which is similar to a game engine, Arnold has nothing similar to that. This can be very useful if you're doing something that's very stylized. You really do not need any approximation of real life, or like, for example, motion graphics. So in this one Redshift can be very useful because of the real time renderer.
On the other hand Arnold can render Maya fluids and other visual effects [INAUDIBLE] in Maya directly. So you don't need to do any exporting. Redshift, you would need to export the Maya fluids and Bifrost to a PDB format, and then re-import to render. So that would be maybe for this type of work, Arnold would be a little bit better, even though Redshift can be very, very fast, if you do take the time to export this [INAUDIBLE] VDB format.
Finally I think Arnold is it was designed more for big production in big teams. It's really for like big companies like Lucasfilm, Pixar. They have render farm, you have technical directors, like people like really focusing on the render. Redshift was made more for the indie artists, the smaller crew. So if that's you, Redshift is a very good choice.
So before I move to Maya, I'm going to go to Chrome, and I'm going to show you guys a demo reel, recent demo reel showing some work that was created by Redshift in films, TV, movies, et cetera. OK, we're here in Maxon Redshift channel on YouTube. And this is the most recent release showing some work done with Redshift.
[MUSIC PLAYING]
OK, that was the current demo reel of Redshift, and I think that gives you a very good idea of what you can create with the renderer. Even though it's a biased renderer, as you can see, you can create very realistic renderers, or you can create very stylized. So do not think that because it's a bias you cannot reach realistic renderers. You can. But you just have to work a little bit more.
Now I'm going to jump to Maya so we can start working with Redshift in Maya. Well, OK, I'm here inside Maya, and I have a very basic scene here. Just a plane and some primitives here. Before we start working with Redshift, after you got a subscription from Axiom you installed the software, first thing you need to do is to check if the render was loaded by Maya. Be sure with that you just go to Windows, then we can go to the plugin settings preferences, plugin manager, and then we should just type here Redshift.
Then you're going to get this Redshift for Maya [INAUDIBLE]. Just be sure you have this loaded. And if you want, make sure you click the auto load, too. So they're going to be sure Redshift is going to be loaded every time you start up Maya. If everything is working correctly, you should get this extra Redshift shelf here. So those are going to have all the Redshift tools, get like the preview window, create materials, create the sky, settings, you can access everything through here.
You are also going to get an extra Redshift menu. Here is going to be next to the Arnold. And of course, if you go to the Render settings here, Redshift will be available as one of the renderers here. So you're going to have the Maya software, Maya hardware, Arnold renderer, and then you're going to have Redshift. So we can start working with Redshift here. The first thing I want to do is to click here to create on the shelf to create the preview for the Redshift render view.
So I'm going to dock this in a way that we can work a little bit better here inside Maya. So I'm going to dock here on the side. And I have my image here. I could go here in the camera settings with the resolution gate here. So we see exactly what's going on here.
So the Redshift render view is where you're going to be doing a lot of your work. In Redshift here. So press play here, we're just going to start the IPR mode. So if we rotate our scene here in Maya, we're going to get a automatic almost real time preview. The little bit noisy here. I'm going to teach you how to optimize that and get something much, much faster. But this is with the standard like default settings that we get here, which are in the medium quality.
I'm going to talk about basic settings here, then I'm going to go through how to create some of the basic lights. I'm going to talk. So some different types of lights here. How to create a sky, physical sky. And then we can move to more complex scene.
So basically, Redshift here in the render, you have two options to play with it. You can use the basic settings or the advanced settings. If you are beginning, if you don't want to be overwhelmed by the settings, just start here in the basics. You have some, well, basic options. You can change the rendering engine, which could be the production, or the real time mode. We're going to mostly focus on the production in this tutorial. But I'm going to briefly talk about the [INAUDIBLE]
And in the production mode we have here the bucket quality. We have can, by default medium, you can select low, medium, high, very high. So basically every time you change some of those like, high, basically where we're selecting is a preset, but we're select some presets of different settings that we have here in the advanced. So Maxim for me make our life easier they created like those presets for us.
Medium, it gets like what you see here, a good quality, but it's still a lot of noise. If you go to very high, we're going to progressively get better, but still going to be a little bit noisy. In the end, after playing with a little bit this, you're mostly going to have to work in an advanced if you really want to use the power of Redshift to get a really fast renderer. But in the beginning, it's good to work with this here.
I'm going to put this in medium for now, as I show you guys some stuff here in the render view. So basically let's go through the buttons that I have here. The main one is you need to know, the Play button is going to start the render. The render view here. This one here on the left is going to actually start rendering the final image. This here is going to reset the renderer, if for some reason you change the material, you change something, and you're not seeing updated in the scene here, you just press this.
[INAUDIBLE] Enters in the real time mode. As I said, is still kind of experimental mode, but it gets super fast, if you enter in this. Almost as fast as a game engine, but can get very, very noisy. But so for now it's still not a good option, unless you're doing just a very quick review. So we're not going to be touching this a lot.
Here you can see some different facets. We're working mostly with the beauty pass. We can see some color channels here. Out of this part here, select the camera, you're going to be rendering. You can select different auto is going to be basically selecting the one you're playing with my here. This case, I could actually select just perspective and not going to change.
We have this lock mode, if we want one to lock the view. We have this interactive button here. So you click this, you can actually control the Maya camera here in the Redshift view. So I can rotate here I don't have to go to the side here.
This button here switches between the progressive rendering, and the bucket mode. The progressive rendering is what we get here when we change view, it starts like super noisy, and then progressively gets a little bit better. And this is control here in the hearing that best, in the progressive bucket. You have this progressive [INAUDIBLE]. So by default, that is 1,024 passes. So we're going to do all those passes until you get a very clean image.
But for the final renderer, the default is the bucket mode. And if you want to go to the bucket mode here you can. Just click here, and then if you rotate here, during the update is going to do not do progressive stuff anymore. It's going to go like bucket by bucket. So it's going to process one bucket, and then you get the final image here.
Most of the time if you want to do work with the preview, you should work not with the bucket. But the progressive bucket is a way for you to quickly see the final image. We have some other commands here. But the most important here is to you need to open a little bit more here. We have here the control, split the window, but this we cogwheel here open, is going to open the display setting. And here you can select a lot of different important elements of Redshift.
For example, we can change the color management. We can apply LUTs. We can use color controls like curves. But most important, we have a lot of effects that we can use here, post effects, like bloom, like flares, streak, bouquet, and very importantly, the denoise. So but I'm going to come back to this.
Let's talk a little bit about the lights we have here. Redshift can work with the Maya light, but it's much better to work with the lights we have here that are specifically Redshift lights. So I'm going to right click here, we have area light, point light, spotlight, directional light. So let me create a little light here. And we automatically see the light in our scene here.
Let's move this up, yeah. Well, it's a little bit. So works very similar to the point light in Maya. As in Maya, point light is not very realistic. So much better to work with a area light. Let's create area light here. So in this case, I have a plane, so my the shape of my area light, the plane, to save this. Yeah.
So you can control all the aspects of the light, just like in any light here in the Attribute Editor. We can control the decay, we can control the color, density, the exposure level. One interesting thing we can change the shape of the area light by default, is rectangle. But we could get a sphere, get something a little bit more similar to what you would have maybe in a photography studio. We can get a sphere also a little bit more similar to what you would be using real studio.
We can use the cylinder, or we can use even a mesh, so you select the mesh you would select the mesh that you have on the scene, and then you would use that as the base of your area light. Very powerfully, they work you could compare this with the Maya light, they tend to be more realistic. You can make this visible or not visible. So very simple, use not that different than what we have in Maya.
We can create a dome. And this dome is going to work as a very even light around the scene. We can select the texture and we can put a texture here. So I'm going to select one texture here, here, and here, let's put this is guy one here.
So I have my HDR image here, and it's a sky, and works pretty well as a light here, give you a much more realistic light here. Other than this one, a very useful one is the sun and physical sky. I'm going to delete my dome light here. And going to create a physical sky here.
So physical sky works kind of similar to the physical sky in Arnold. So you get a sky, you get a ground, and you get a sun, too. So you can control the direction of the sun here in the outliner. You get here the direction, and you can rotate this. So let's rotate.
Get a realistic looking sunny sky here. Again, you can control all the settings here in the Attribute Editor. I have some different models of the sky. We have the legacy model, so a little bit different. Most of the time you want to work with this here. Here if you click the physical sky node, we have some different models. We have the [INAUDIBLE] clear sky, which is the current model, and but you can change for some of the older ones. Like this or this [INAUDIBLE], and you can control turbidity, horizontal height, horizontal blur. Again, not that different from the Arnold sky. So if you're similar with the Arnold, that would be [INAUDIBLE] fine with you.
So those are very like basic introduction to Redshift. Before I jump to the character demo here, just remember I talked about the settings. I think the most important thing here, we're going to go back here and I'm going to go through one of each one of those. But the denoise is probably the most important. So if you have the denoiser, you can have the option of optics, whiten, auto single pass, auto dual pass.
If you have an RTX view, optics is going to be by far the best one to use. And that's what makes this possible for us to have a much cleaner image and a much faster time here with the progressive mode. So I'm going to load a new file now, and we're going to start from a character and I'm going to show you how to put Substance Painter textures in this character in a Redshift material. So let me load here.
OK, I have my file here. And let's play again. So what I want to show you guys, we're not getting baked here for some reason. [INAUDIBLE]. Just a moment. So this is what the guy we're going to be working with here. You have the version with the texture. It's a very simple, low poly character they did inspired by Japanese Tokusatsu TV series that I watched when I was a kid back in Brazil.
So here you can see how fast the renderer can be, even in a high quality medium, with a lot of progressive. Have the reflections, would have everything that I created. Substance Painter is showing pretty good here. I'm going to hide this version here with the texture, and I'm going to hide this version here without the texture. And we're going to go through the process of creating the textures here.
So I'm going to open my hypershade here. And let's go through the process of creating a Redshift material. So right click, Create a node. So if you have Redshift installed, you should see this Redshift here in the Create node section of the hypershade. Here in the shader we're going to have surface, we have a bunch of different materials here.
But the one we're going to be using most of the time the one you will be using most of the time is the Redshift standard material. That's a very recent material released by Maxon, and pretty much replaces all the other ones. So you can pretty much create all the other materials of former versions of Redshift with just Redshift standard materials. Which, by the way, he has a structure that's kind of similar to the Arnold standard surface material. So not going to be totally different for you guys.
So I'm going to create this here, that one, and I'm going to pipe this new guy texture. So you give great texture, I'm going to graph this network. Let's look here in the attributes. What do we have?
So basically I'm going to show you guys how to plug the textures that I created for this character. So I have, let's go here. So basically here I have the base color that I created Substance Painter, and I have a bunch of other ones. But basically we're going to be using the base color, the metalness. We're going to be using the roughness, and we're going to be using the normal matte.
So to begin with, let's come here go to base color, click here, go to File, and then I'm going to select texture. Base color. So I'm going to load a little bit there, OK. So now that I have the base color, I'm going to click my character here, and now I can actually apply the texture to it using my selection, and we see the color. But we don't still don't have the reflections, et cetera.
So I'm going to go back to the main node here, hypershade. The is very important to think about the area in the file about the color space. For the color, texture, the color space is sRGB, that's fine. But all the other ones, we need to change this to the raw mode. So let's go back here and now we're going to put the metalness. I'm going to go here, file. And you [INAUDIBLE] look for my metalness texture.
And again, this is really important. We need to come here, utility, raw. And color balance out with luminance. Now we're going to put the roughness, same process, file. Look for the file. Roughness. And same thing, we need to change raw, and off is luminous.
And for the normal map, is a little bit different. We need to go here, create a node. We go to Redshift shader, we look for utility. And then we have the Redshift bump map. We're going to click this, and here in the bump map, we're going to change the input map type to tangent space normal. And then we are going to put a file node, and in this file node we're going to actually put the normal map here.
So this normal [INAUDIBLE]. And now that we have this, we again we need to change role as RGB to raw. And this also should be alpha dominant here. And then we need to connect this to the pump input here. So that pretty much what you need to do to make this work, like anything that you create in Substance Painter you want to put here. Works pretty well. We have the normal map, we have the texture respecting the parts that should be metal because of metalness, and the ones that should be more opaque.
So then, of course, you would have to repeat all the same steps for the sword here. But because I already created this for the sword, for the other guy, what I'm going to do is to actually open the outliner here, got to find this guy here. I'm going to unhide the one I had before. And I'm getting some problems here with my [INAUDIBLE]. OK. So this is the character here that I had prepared before. So I have the textures, including the sword.
So let's talk some about how to optimize this at the speed of Redshift. So it's not that bad here, the way we have so far, because we just have one character in a physical sky. One of the things we can do is here in the progressive mode, we can go here in the view, IPR under sampling, we are in zero. If we put like something like three, then as we are rotating we get a less resolution, but the rotating is a little bit faster. This is one way of making this a little bit faster.
Another way is to come here, and the not in the basic, but here in the advanced in the progressive basis, we can have way less faster than this. Let's put something like 32. And then you can get an approximation of the final scene much faster. If I would dress a character like this, this kind of stuff would be enough. But if you have a whole lot about the whole environment, and we actually have an environment here. So let me unhide the environment here.
So now we have a much more complex scene here. So my Japanese hero guy here is inside a very complex hangar, where we have a bunch of crates, is that like a spaceship hangar. We have some starfighters in the back. And we have even the part of the hanger that goes to the outside world.
As you can see, as we get more complex. This is not really getting-- it's getting like really slow. And you might be wondering what is the point of using Redshift instead of Arnold, because it is so slow here. Looks like Arnold [INAUDIBLE]. So I'm going to show you how to optimize this.
Notice this scene, I have some materials with emission. So the lights are emitting actual light in parts of the hangar. So what I'm going to show you now is not going to be like the more optimal way of getting like perfect, because if we want to get the most realistic image, you actually would go here in the basic, you would change-- you would try to use high.
I do not recommend very high because the difference between very high and high are not that much. But the difference in render time is gigantic. So it's much better if you want a high quality, you're not like super thinking about fast renderer, high is a good setup, and then you could just pose here the character. Pose here. And then you could do a little test with the bucket mode here. And that would be good.
But that's if you actually don't mind waiting for the renderer. So let's see how much it's going to take to render this one here. 26% we can see here in the bottom right, the time is taking to render everything. [INAUDIBLE] is calculating the global illumination, that is going to get to the bucket to render the final image.
As you can see, in the high it takes quite a long time. So now we're seeing the first bucket. That's only 2% of the image. Because we don't have time in the presentation, I don't want to show the client the total render of this final image, but you can have an idea it can take a long time. The final quality would be pretty good, same level of Arnold, for example. But it kind of defeats the purpose of Redshift. The fact that you're going to be using Redshift to have something super fast, right?
So I'm going to stop the bucket rendering here, and I'm going to show you how you can do a very, very fast renderer with this. We're going to work in the advanced mode here. We could to start change this to low, but the control here it needs to be really advanced. First, the sampling here. We have the sampling and how the render is going to be happening, both in the interactive rendering and the final render. By default the interactive rendering progressive, and the final rendering is bucket.
I would change both to progressive. And here's the magic. I'm going to put this very, very low. We could go as low as eight, for example. And then we're going to jump here to the global illumination. This is really important. We need to change the primary engine the secondary. Actually the primary engine, if we're going to be using brute force, but we're going to change the race that to just one.
And then the secondary engine, we're also going to change to [INAUDIBLE] actually put two, because otherwise it won't let you change it. So let's change here, and we're going to put one here, and brute force in both. Then one. We're going to start with one. If we want to sell a little bit more effect of global illumination, we can raise this. But basically this is telling you how many times the light will bounce for global illumination. And one is going to bounce just once.
So we're not using any of the effects yet. But I'm have here progressive, eight, and now we need a denoiser. We're going to go here to denoise, and I'm going to turn on the denoising here. And we're going to be using the optics, which is the faster one. Now and here in my view I'm going to go to under sampling, and go zero. And I'm going to click this button here to be sure I'm getting like correct focus of the character.
So now if we start like rotating this. It's going to be way faster. You notice when what happens when I change this to zero, it means I'm going to rotate and then, Maya is going to update the scene. If you want to a little bit more interaction, you can put maybe these two. But let's rotate this, and you see here in the progressive rendering, we get something that's much faster. But it's still a bit slow, so let's try to go here in the-- gonna do sampling again. And I'm going to go-- I'm going to play with this, let's go with one.
So now if I rotate this, much, much faster. But we get a lot of noise here. So let's go like two. A little bit better. Less noise. Then jump this for four. Feeling a bit better. But again, you have to play with this. I think eight, as I had, it was a good compromise of speed and quality, you have less noise. But you can still play with this mostly almost in real time with a very complex scene. You can set up everything that you need, and then you can jump to the higher quality mode. And then render what you want.
Keep in mind I'm recording this, I'm doing this presentation in a laptop, which is just basic Razer gaming laptop, which actually a kind of older RTX, is still a 280 [INAUDIBLE]. So it is really a slow GPU by today's standard, and we are getting a good result. It shows how good a Redshift can be using the GPU.
So now that we have an idea how to do a faster render with Redshift, I want to talk about some of the effects we have here for you, like the post-production effects. Let me close my rendering here. So I'm going to turn on here.
So first of that color management. So here I'm working with display, which is this sRGB, which is the color space of most monitors. But I'm working here with the view, the color management I'm using the Unity net neutral tone map. By default you would be an [INAUDIBLE] which is more realistic and better for post-production, but if you're rendering directly to your final video, that would be a little bit too dark. But that's what you want, actually, if you want to send this to After Effects or new to composite and play with the colors.
You can have the [INAUDIBLE] tone maps. So that will be more like the direct output of Redshift, without any tone. Unity is one that I like to work if I'm going to be rendering direct to the final image. That's an interesting tone. A little bit reminds me of either Unity or Unreal, and you have raw. It gives you all the information. And again, this is only for [INAUDIBLE] stuff, or post-production.
You can apply [INAUDIBLE] for this just like you're doing like a video editing. In this case, you would work with the raw, and then you would select [INAUDIBLE] let them different cameras convert. I mean this is, for example, you convert the final one. You can see the result here. This very common in video editing. So you can simulate the look of some specific video cameras with this, it can be very powerful.
So let's turn this off, go back here. We have some color controls. You can apply some curves here. So you can make contrasty or you can make this more flat. Just working with the exposure contrast and this curve here.
We have a photographic exposure. This one is really interesting to talk about because it confuses people coming from Arnold, or more a physics basic realistic unbiased renderer. We have some settings here like the F-stop shutter time, usually in a realistic renderer like Arnold or [INAUDIBLE], this if you change this, this would affect the motion blur, the shutter time would affect the motion blur, and the F-stop would affect the depth-- the shallow depth of field or not.
That's not the case with Redshift, because Redshift is biased. It's baking the effect. So this would only affect the exposure of the image. So it's not as useful as it would be in Arnold. Then we'll have some effects that I had applied to this scene. Let's go one by one here, and I'm going to turn all of them off first.
We have bloom here, which is basically what gives you glows in some lights here. So if I have this off, all my materials with emission here, you wouldn't actually see a glow. They just look like very bright white. But as I turn this on, I have the glow here. I can control the threshold. It means when the glow is going to start, and then relatively to this how strong is going to be, the softness, we can create some tints of the bloom, if you want to create, for example, a lightsaber. That's where you're going to create some tints here.
And you can change the intensity here. Could go crazy here with the intensity, but in this case, I want to do something a little bit more soft. Not so strong. So that bloom.
We can have flares here. So flares usually you would use bloom and flare together. So flare basically simulates light entering the lens camera, and creating this interesting circular artifact, because of the actual glass lens. So similarly you can control the threshold here, you can make this more chromatic, the flare size. How much halo you get or not, and then flare intensity. So if I go really crazy here. You get the effect.
The flare looks a little bit more obvious when you move the camera, so you get this kind of effect here. So in this case, I went praised with intensity here. But most of the time you want this to be much more subtle. So bloom, flare, and then you have spring.
Sprig is going to create those streak of light here. So pretty much kind of it's kind of an addition to the bloom. So let me take out the bloom. And so you see the difference. If I just have the trick that the fact that I get here from the light.
And finally, we have the [INAUDIBLE] which is basically a way for you to simulate a shallow depth of field in the camera here, Redshift. Let me turn this on here. We have this button here. So you can select what is going to be on focus here. So let's select my hero here.
And then you have a bunch of controls here, the focus distance, the radius, the power. Here I'm in one. Let me try to go stronger here. This is in the radius. So the radius and the power are going to control how much we're going to have here. So in this case actually, don't mess much with the power. So it's 0.1. And the radius here was too much, one here.
So it takes a little bit more time because it's going to be blurring the background. This is kind of a extreme example here. So maybe we can go to 0.5. And then we get something that's more kind of realistic for a film camera or a digital film camera.
So basically here with the bulkhead and here without the bulkhead. So basically without bulkhead, everything is focused. With this we get this nice shallow depth of field.
The difference of this, the bulkhead in Redshift and Arnold, Dane, or any unbiased renderer, it's that Redshift kind of simulates this. It's not really respecting the way a real camera would. A real camera the shallow depth of field depends on your aperture. Depends on your aperture and the lens you're using, and also the sensor size. And that kind of information, if you have a unbiased renderer, you need to take that in consideration.
That's not the case here. So you can just plug the numbers you want, and you get the effect you want. Depending of your experience with real photography, this can be good or bad, because if you don't have much experience with photography, maybe this is going to be easier, because you're just plug the numbers in, you discover the look you want.
If you have some experience with the photography, this can be a little bit disappointing, because it's not going to act exactly like the camera you-- like a real camera, where you were expecting. But the final result is going to be the same and it looks great. And finally here, we have denoise. And here we have the options of denoise we have.
We have optics and [INAUDIBLE] which are like GPU based and much faster optics, is what I recommend super fast, especially if you have any NVIDIA RTX GPU. If you are using some other GPUs, maybe [INAUDIBLE] would be a good option. But is a little bit faster, considerably not faster, slower, than the optics. But it's still much faster than the Altus. So Altus single pass and Altus dual pass are pretty good. You get the better, the highest quality of denoising with both.
The problem is they are very, very slow. So I mean, it's a trade off. I think those two would work pretty well if you're working with architectural visualization, but not so much for animation. For animation, I would stay with optics. I think that would be a little bit easier. And you're going to get much faster renderers.
Those are the main positive effects I wanted to talk about here. And before we close this, I want to go back to the render settings, and go through each part we have here of the advanced parts of the settings, and some stuff that you can do in Redshift, because it's a biased renderer. So it gives you a lot of power of turning off what you don't need.
So again, here in the event, we have the basic, and we have the advanced mode sampling. You can paint you can select if you want to progressive or bucket, progressive or bucket, how many progressive passes. A unified sampling, it means you're going to automatic sampling, everything in the scene.
The filter you're using you can change from Gauss to Matrix and some other ones. Most of the time I wouldn't bother with this one. Here have denoising, where you can select denoising just like here in the render view. And we have here the globals. This is where you can really start playing with some-- we make like blaze realistic in terms of rendering, but giving more time.
For example, you can control the how many rays you're going to get for reflection or by default, it's going to be four. How many rays or refraction, by default six, and this kind of stuff. Here in the environment you have the physical sky plugs, if you want to delete the physical sky, you have the delete here. Not just in the outliner.
Color management. So it's the same thing that we have here in the render view. And this part here is really important. The other overwrite. Because this gives you a lot of interesting power that you would not have in an unbiased renderer. You can pretty much like come here and just turn off reflections, so for example, if I turn off reflection, I'm going to have the whole scene here, without realistic reflections.
I only get like this kind of fake reflection here in the character, which is basically the reflection of the physical sky. But he's not reflecting any of the objects. And of course, if I have this override, my render time is going to be much, much faster. So like way, way faster, because I'm turning off some parts of the render that are really hard on the computer.
You can do the same for refraction. You can turn this off, you can affect the lines or not, you can turn off emissions, for example. So I wouldn't see the light there. So my lights are off.
And similarly of this controller here, you can have the same type of control object by object. So why go here in my game guide [INAUDIBLE] shape note and go here to Redshift, and I can turn off the visibility, on and off. I can make the guy be visible for reflection or not. Visible for refraction or not. If it is visible for the global illumination or not. So you have a bunch of controls here.
Because it is a biased renderer it doesn't need to be super realistic. You can turn on or off. Why do you need the [INAUDIBLE] of how much speed do you need. OK, going on here, the other tab is motion blur. You can turn on the motion blur, on and off.
Globe illumination, we talked a little bit here. Here you can turn on and off global illumination. You can select different types of global illumination. Let me turn this off. So here is the render without global illumination. You see a big contrast like the character, for example, becomes almost black because there is no bouncing of the light back. So let's turn this on again.
You have [INAUDIBLE] that when you're using lighting, et cetera. And Redshift has a very robust and strong ALV system, which is basically the render layer system of Redshift. I'm not going to go through about this, it goes a little bit above the scope of this presentation, because this is supposed to be just introduction. But keep in mind everything that you need in terms of AOVs and like if you're doing more complex composition, you can get from Redshift. Including crypto math if you use crypto math a lot in your composition. You can get from this. And works pretty well.
We have some optimizations here. You can make some cutoff thresholds for each one of the elements of a render image, like fused reflection. Shadows. You can play with the settings for subsurface scattering. And finally, we have some settings here for like the system, more technical stuff here.
Most of the time you won't need to play with this here. And of course, you can reset to default here. So those are like the basic advanced controls. Even though they are called advanced, as you can see, they're not like super complicated. And most of the time after you play a little bit with the basic controls, if you want to jump to the advanced control, so you can really actually use the power of Reshift.
And so again, this is what you can get, like, best renderers even in an old laptop, like the one I'm using here. Very good results. And I'm going to briefly talk again about the real time engine that we have here. You can access this clicking the RT here. I'm going to click this. And going to process the textures a little bit. You can see here in the bottom right, or 5%. Because basically is compiling the shaders in a real time manner. A little bit like Unreal works when you have to bake the lights. So it takes a little while, because this is a more complex environment.
So we are in 84%. OK, so we're back to progressive rendering. And you see, let me rotate this. So as you can see, the real time is still experimental, and as you get a more complex scene like this, is not as fast as it should be. When I showed only the character, the real time was actually pretty good, pretty fast. I can show this again.
So let me go here to the outliner, and so I'm going to hide my hanger. The hangar, so I [INAUDIBLE]. And rebuild the image here. So it can be really fast when you just have one character, but the quality is really not there. I know it's an interesting experiment by Redshift, and some people have been using this for non-realistic renderers. But as you can see, I do not recommend right now.
So especially you have the environment, is not going to be worth it. So let's go back to the normal mode, but [INAUDIBLE]
--here. So again, that was just a quick view of the real time version of Redshift. Is still not very useful for work. But you can get some very good and fast renderers with the normal version of Redshift.
So this was my Maya and Redshift renderer presentation, a quick workflow for indie artists. It was just a quick introduction to Redshift for you. If you are interested in using an alternative renderer for Maya, I think Redshift is an amazing choice. It can be very quick for you, and a good alternative for Arnold. I hope you enjoyed this presentation, and I hope to see you again in any future presentation of mine. Bye-bye.
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