RedShift 2.5.48 3dsMax

We learn about Area Lights, Mesh, spot, directional and IES lights, Dome Light and Image-based lighting.

We talk about Redshift Sun and Sky, you learn how to approach interior and exterior lighting in Redshift for 3ds Max.

We learn about the amazing volumetric effects in Redshift with Redshift Volumetric Scattering Effect.

I explain how to use Redshift to integrate 3d geometries onto HDR environments or photographic backplates, and much more.

Chapter 3: Global Illumination (77 min)

In 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.

And finally explain how to render flicker-free object animations with GI.

Chapter 4: Shading and Materials (217 min)

In the next section of the Ultimate Introduction to Redshift for 3ds Max, 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.

First, 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.

Then we discover bump, normal, tessellation and displacement mapping in Redshift.

After 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 and metals.

You also learn how to create a highly realistic human skin shader using the Redshift Material.

Principled hair shader will be covered in detail, it’s an easy to use, yet powerful shader.

We’ll be covering the robust CarPaint material as well.

Then we learn about Material Blender, Color Mix and Composite nodes. Ray switch, shader switch, Tri-planar, Ambient occlusion, curvature and sprite shaders will be discussed in detail.

We also learn about OSL shader, math, conversion nodes and much more.

Hopefully after watching this section, you should be very comfortable developing complex shaders in Redshift.

Chapter 5: Camera (49 min)
Then we learn all about Cameras, camera types, Depth of field, motion blur and everything that relates to working with cameras in Redshift.

First 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.

Chapter 6: Rendering (257 min)

Section 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’ve learned previously, after that we learn about the differences between bucket and progressive rendering.

Then we take a close look at Redshift RT, which is  Redshift’s near Realtime interactive render engine.

Then 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.

Then we take an in depth look at Render View and learn about all of its features.

We also cover both Optix and Altus denoisers in-depth with a lot of comparative examples.

After 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.

We 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.

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