If the scene looks familiar and you don't know why – the animation is based on a scene I created as a test scene for Maxon Cinebench.Ĭontemplating on light – that is also how I created the lighting for this work: photorealism is achieved only by using roughly a dozen manually placed lights, and that's (almost) it.

You can watch it on renderbarons' website. A worn-out living room in early spring flooded with light, two people talking, and street noises in the background. It is about the fascination and fleetingness of everyday light situations. 01.Light Is Just Fine Now is a free animation work I created with Cinema 4D and Redshift. If you are a Redshift and Cinema 4D user, learning to get the most from Redshift Proxies can speed up your workflow and reduce the computational load of your scene. If the Redshift Proxy is from an animated Cinema 4D file, the specific frames required can easily be selected in the master Cinema 4D scene. Each Redshift Proxy duplicate is then assigned its own material set, which when mixed with Cinema 4D's mograph tools, can allow a lot of variation in a scene with the minimal amount of geometry being loaded. Using this is perfect for cars, rocks, crowds as well as various types of foliage where one Redshift Proxy in the Object List can be duplicated many times in the master scene. Aside from the better viewport and render speed, a Redshift Proxy offers the ability to reference different materials within the master scene by changing the prefix of a material.

Redshift Proxies in Cinema 4D offer several advantages over the native instancing tools.

Where Redshift Proxies are really useful is for geometry-heavy elements, which are only of secondary importance to the scene, for example trees and foliage. Proxies can be either still or animated scenes.

Redshift cinema4d