And the next - a Portal Light, which used in the interior lighting and
allows you to maintain light indoors.
The so-called a virtual window.
Which passes the lighting from the external environment to the room.
Portal lighting effectively creates an one
Bruteforce rebound in GI which is painless for performance.
If you will modeled a transparent window -
You would need four times more
rays to get less noise in the room, which of course
negatively affects the performance.
Therefore, the developers came up with such a light source.
The Principle of portal lighting
is to block and absorption of GI illumination.
There is sampling of light color from the HDRi map, or from the standard Environment Sky
during the creation of the sun.
To show the portal lighting work -
I will create an ordinary Box with a window, then convert everything to Editable Poly
not paying attention to the grid.
Since, now - it doesn't have a strong
importance and our task is to analyze Portal Light.
Next, you should put the camera inside the room.
To do this - I choose it in Perspective mode and adjust a view.
Then press CTRL + C to seizure of this angle.
After that I change the angle of view a little bit.
In the Front view, I create a Portal light and place it outside the window.
This is the best solution in Redshift.
And now - if you will click the render,
then we won't see anything, since there is no Environment in the scene,so that absorb the light from it
In order for the scene to have light - I create the sun and turn on the Environment Sky.
I press the Render once again and voila - we see the sunlight.
Now I'll add a volume light little bit, that the scene looked more interesting -
changing the value of the contribution scale by 0.05.
Once we start working with interiors - the question immediately arises:
"But how to deal with the noise?"
In this case, you immediately should increase the volumetric sampling.
I think that 1024 samples will be enough.
For the shadow put 1024 samples too - because usually in the scene
a lot of different objects and render will need the quality shadows.
In GI - we always increase the number of bounces to 5-7.
To make the interior lighter.
And this will significantly reduce the amount of the noise.
For the BruteForce - at least 512 samples,
And in the output always put to the min = 16, and at max = 256.
And to shorten the time with sampling searching - you can make a steep trick with Adaptive Error Tresh.
Setting its value to 0.002.
With this value - the rest of the sampling is possible lower and noise - 100% will go away.
To show the effectiveness of this trick - I will return the default value.
That is, 0.01, at max = 16, at min = 4 ...
And a picture with such values was rendered for 1min2sec.
As you can see, in dark part is a lot of noise
and I remembered another trick that I will show you now.
You need to go into Environment & Effects.
Press 8, select Redshift Exposure and lower shutter time to 30.
Then in GI - put 7 bounces. In Output - min = 16 samples, max = 256 and Error Tresh = 0.002
In most cases, this is enough.
In the Sampling override - I leave the same values and if you have a refraction
and reflection objects - you also should to turn on them and experiment with the parameters.
Save the snapshot and render the picture.
So, render time increased by 45 seconds.
Save the snapshot and compare the result.
As you can see, the picture became much lighter and the noise became less.
Let's increase the value of GI samples to 1024
and in Output - max samples = 512.
Then experimentally - you can gradually lower these settings
and look at the result.
Since usually in the interior we have another additional light source -
let's add it.
I will place it this way and decrease it intensity.
Checking the result in the IPR.
5 will be enough.
Press the Render button.
And as a result, we got a perfectly clean render.
If you only have the light from the window
and the noise is still there - you already know what to do.
As you can see, I increased the sampling, but the rendering time decreased by 10 seconds.
because Redshift didn't have to suffer with noise sampling in the dark places.
With an additional light source - noise is removed more quickly.
Please, remember this rule.
Save the snapshot. In GI - I will return 512 samples, and in output - max samples = 256
Also reduce the value of the samples in sampling override and press Render.
As a result, we see that there is no difference between the renderer
with increased values and the last render.
As I said, an the additional light source plays a big role.
Always recommend looking at picture in 100% resolution.
Doing a zoom doesn't make a sense, because low quality pixels will be confusing.
So, I think - now you know how fight with the noise in the interiors.
Go next.
Before the viewing the settings of the next source which named Dome light -
I will show the identical to it - Redshift Environment, which I often use.
Because from it, according to my observations we have much less noise in the interior.
To add this map - press 8,
and delete DayLight.
and in the Map Browser - select the Redshift Environment.
Remove the sun, because now we don't need it and in the material editor
drag our map in instance mode to see its settings.
I often use the HDRi from the Poliigon website.
They are quite high-quality and have the resolution - more than 6K.
If you use HDRi, you don't need separate light sources in the form sun and so on.
If the HDRi is done correctly, then its will be sufficient,
to make a cool and realistic lighting.
So, let's load HDRi and start talk about its settings.
I very often use the HDRi which named - HdrOutdoorFieldSunsetClear004
At upload time - you don't need to select override, as in other renderers.
Click OK in the drop-down box and the Render button.
In the end, we get this result.
Let's reduce the intensity of this light source and will continue.
If you want to remove the overexposure outside the window - then you don't need to lower the exposure,
because then - less light will be get into the room.
To avoid this - in Redshift came up with the option BackPlate.
Which allows you to replace the background and set up a separate exposure only for it.
Without affecting the main source.
It is enough to copy the HDRi, enable BackPlate and insert it into bitmap slot.
Then lower the exposure and thus - you get the background outside the window without overexposures.
But there is one disadvantage.
The rotation of the BackPlate doesn't match with the main HDRi.
That is, its rotation - will change the lighting, but not the background behind the window.
Also, if necessary - you can enable RaySwitch mode
which allows you to separately load the map for reflection, refraction, backplate and lighting.
So, this is the all which I want to tell about the Redshift Environment. Let's talk about Redshift Dome Light.
Create this light source in the scene and it has an identical settings with the Redshift Environment.
The only thing I noticed is that sometimes HDRi in this mode gives more noise.
But its rotation is more convenient, rather than in the Redshift Environment.
You just rotate the manipulator and HDRi interactively changes its angle.
As in the Redshift Environment - the image from the Backplate doesn't match the main image.
Also, if you want - you can turn off background, the effect on diffuse and specular.
And if you want - you can change the shade of lighting and get some kind of fantasy result.
This is all I wanted to tell about the Redshift Dome.
And the last light source that we should analyze - Redshift Sun.
I won't talk in detail about the all settings, since they are very simple
and just changing the parameters - you immediately understand which of them affects what
and what will you have in result.
Let's talk about photons and caustics - about the same tab,
about which I promised to tell in the first part.
To show how the caustics work -
I will delete everything in the scene, again create the plane and add the vase object.
I won't create it in 3dsmax, but in PolyBrush.
Since - it will be much faster than creation the spline with Lathe modifier.
On the official PolyBrush website - you can download the trial version for 90 days.
The interface of the program is very simple and you will quickly understand it.
In left of the toolbar - select a Lathe object
and increase the number of Radial segments to 32.
And now, if you start to drawing an object - you will immediately see the ancillary
splines which forming its shape.
It is very convenient.
So, let me draw some ribbed vase, with which I will experiment with caustics.
With a simple drawing, we received such a vase and now to export the object -
click the options icon on the top panel, select the preset for 3ds max and save
object by using save as.
Now import this object into the 3dsmax, reduce the Scale and do ResetXform.
And now you need to make a cap - in Editable Poly mode.
Polybrush developer already works on this function,
so most likely - you can skip this part of the video, as possible a new version with it is already on the site.
Then add the Meshsmooth with one iteration and convert the object to Editable Poly.
Next, check whether the object is on the plane.
Then create the Spotlight, which place in this way and in its
settings turn on the Emit Caustic Photons option.
To begin with, 100,000 will be enough.
Then - choose a vase, press RMB and click on the Redshift object properties.
In the window that appears, turn on Cast Caustic Photons.
Assign the usual gray Redshift material to the plane and to the vase -
the same material, but select the Glass preset.
Go to the camera, set up the angle view and pressing Render - see what will happens.
As you can see, caustics appeared, but I don't like its intensity.
To make the caustic more pronounced - go to the light sources
and increase the intensity of the multiplier.
For example, up to 3.
Render the result.
Here, it's better, but the quality is still spotted and blurred.
To make it more clear with more details -
go to the Photon tab, in the render settings
and reduce Caustic Search Radius to 0.1.
I usually start with this value and
gradually increase it - if the details are too pronounced.
Press the render and see what happens.
As you can see, there are more details, but also there was more noise.
To remove it - you should to increase number of photons.
For example, let's put 1 million and render the result.
As a result, the caustic has become better.
Now let's save the snapshot and set Caustic Search Radius = 0.01
Render the result.
As a result, the details became more ribbed and clear, but again there was a noise.
Therefore - if you reduce the Caustic Search Radius value - it is necessary
increase the number of photons - if you want to get enough quality caustic.
Now, to compare - let's increase the number of photons to 3 million.
Caustic Search Radius value = 0.5,
A little closer to the camera and render the result.
Save Snapshot, reduce Caustic Search Radius to 0.01 and increase the number
of photons to 6 million, so that there is less noise.
Render the result, save the snapshot and compare both options.
Comparing the two options - you'll notice more pronounced details in the renderer
with a lower Caustic Search Radius value.
I rendered the another result with ten million photons to
show you - how the increasing of photons quantity removes the noise.
As you can see, it has became less noisy.
Now let's come closer and compare again the results with Caustic Search Radius = 0.5 and 0.001
As a result of the comparison - you will understand, that the greater value of the Search Radius
blurs the details, but requires less number of photons.
That is, the result will be rendered faster.
Which option to choose - it's up to you.
Now you know that reducing Caustic Search Radius - gives a more detailed caustic pattern.
And if you will set it even less - then there will be even more ribbed details.
So, let's increase photons value up to 30 million.
In the render settings, turn off the Volume in Sampling Override, since we don't have volumetrics,
and increase light samples to 1024.
Then go to the GI tab and set the number of samples to BruteForce = 1024.
Reduce the bounces, because itsn't the interior.
And increase the resolution to HD = 1920 * 1080px
I will remind you that I am doing all of this - on the not powerfull GT 1030.
I press the Render and Redshift showed a notification that the memory of the video card is not enough.
What a nuisance!
I reduce the value to 10 million and voila - everything was rendered.
As you already understood - my video card isn't pulled out 30 million,
So there are still spots here and to remove them - you should to increase the number of photons.
But 8 minutes - for such a steep caustic in the 1920 * 1080 resolution
on the one Geforce GT 1030 is a great result.
To calculate 30 million - I go on our farm with 3 * 1080Ti
and I will show how this caustic is rendered there.
So, I already went to the farm with 3 * 1080Ti and for start - I will render the result with 10 000 000.
To compare the time with my video card.
Then I will put 60 million to see how 3 video cards will cope with this task.
Click the render and see what happens.
So, at 3 * 1080Ti with 10 million photons - the caustic rendered in 1 minute 32 seconds,
which is almost 8 times faster than on my 1030.
But, as you already understood - 10 million is not enough for awesome caustic in this case.
If you pay attention, the spots are still visible, especially in the dark places of the render.
Let's put 60 million and let's see what happened as a result.
And as a result, the picture was rendered for 5 minutes and 49 seconds.
That is almost 4 times slower than with 10 million.
But don't forget that I increased the number of photons in 6 times.
Let's save the snapshot and compare both renderers.
As a result, the result with 60 million is much cleaner.
Don't pay attention on the brightness of the caustic, because it can be corrected with the help of Intensity Multiplier.
And in fact - you can reduce the number of photons up to 10 million,
but just increase the Caustic Search Radius value.
You will definitely win time, and the result won't be practically different.
Let's check this theory.
Increase the Caustic Search Radius to 0.1, and the number of photons is reduced to 10 million.
Render the result.
So.
Caustics rendered for 1min18s - instead of 5 minutes.
Let's compare the result.
As you can see, the difference is almost invisible, but the time has decreased several times.
Now you know how to optimize time and how to get a awesome caustic.
That's all I wanted to tell about light sources and the awesome caustics.
Then let's talk about the materials.
Krivulya Andrew Charly was with you.
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