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Redshift has a number of integrated AOVs that require little to no additional setup to get started. We'll demonstrate the use of these integrated AOVs using the example scene below which includes most common shading elements (diffuse, translucency, reflections, refractions, bump mapping, normal mapping, SSS), several different light sources, environment lighting, global illumination, and caustics.
Where the scene does not already contain the shading elements needed to cover particular AOVs (emission, volume rendering, motion vectors) small changes will be made in order to demonstrate these AOVs.
Integrated AOV example scene
There are essentially two different methods of working with AOVs in Redshift. A more simple method that makes use of fewer AOVs and a more complex method that requires several more AOVs but allows for greater control over individual shading elements. The more complex but more flexible method of working with AOVs involves additional "raw" type AOVs that isolate shading elements down even further, like separating the color component of a material from the lighting contribution in the scene. By comparison you might consider the more simple method the "standard" or "non-raw" workflow.
Both methods are capable of perfectly recreating the primary beauty render so it's just a matter of choosing what works best for you and your project. We will cover both methods below but the raw AOV's separately to reduce confusion.
Standard Shading Elements
|Diffuse Lighting AOV|
If this multiplication is not desired, you can use the Diffuse Lighting Raw AOV, instead, which returns the non-multiplied diffuse lighting.
The Diffuse Lighting is tinted by each object's material diffuse color. The Diffuse Lighting Raw looks almost black and white because it contains only the light color and intensity information without the multiplication with each material's diffuse color.
The Diffuse Lighting AOV already includes a renders Translucency component. If you need to isolate the Translucency component from the Diffuse Lighting AOV please see the raw AOV workflow here.
Lighting from emissive materials is visible only in the Global Illumination AOV. For more information, please see here.
|Specular Lighting AOV|
Sub Surface Scatter
|Sub Surface Scatter AOV|
|Caustics AOV||Caustics AOV Exposure +4|
To demonstrate the Emission AOV the example scene has been modified to include emissive elements. Every material in the scene except the drinking glass, liquid, and table have had their diffuse color linked to the emission port with their emission weight set to 0.5. To further highlight the effect of emission all scene lights have been hidden and the environment shader disabled.
|Beauty with Emission added|
|Global Illumination AOV|
If this multiplication is not desirable, you can use the Global Illumination Raw AOV, instead, which returns the non-multiplied GI. Please see here for more information on raw AOVs.
Raw Shading Elements
Diffuse Filter & Diffuse Lighting Raw
|Diffuse Filter AOV||Diffuse Lighting Raw AOV|
The picture above shows the diffuse color of each object. Notice that the the objects are not purely diffuse but actually have a bit of reflection on their silhouettes (Fresnel effect). For this reason, the diffuse component is a bit dimmer around their silhouettes since reflection 'takes away energy' from diffuse lighting.
Reflection Fliter & Reflection Raw
|Reflections Filter AOV||Reflections Raw AOV|
Refractions Filter & Refractions Raw
|Refractions Filter AOV||Refractions Raw AOV|
|Caustics Raw AOV|
How to use:
Multiply the Caustics Raw AOV by the Diffuse Filter AOV for the correct caustic lighting result for your scene
Translucency Filter & Translucency Lighting Raw
|Translucency Filter||Translucency Lighting Raw|
World Position AOV
|World Position AOV|
Due to effects like antialiasing, depth of field and motion blur, Redshift has to generate multiple samples per pixels ('subsamples'). The filter option allows the user to define how these sub-samples are combined to generate the final per-pixel world position.
- The 'full' filter option will average the world positions together for the pixel using the same filter used for unified sampling.
- The 'min depth' option returns the world position of the closest-to-the-camera pixel sub-sample.
- The 'max depth' returns the farthest-to-the-camera world position.
- The 'center sample' option picks the position that corresponds to the middle of the pixel using a single sample.
Choosing these options depends on how you plan on using the world positions. If you need antialiased results, you should select 'full' filtering. If, on the other hand, you need non-antialiased results the 'center sample' option will provide the best results.
The world position AOV also has options to scale the X, Y, Z coordinates by user-defined factors. This can help convert them to other unit spaces (inches to meters, for example), if required.
The image above is an RGB representation of the world position AOV for the test scene. The origin is around the base of the drinking glass near the middle of the frame.