Geometry

Texture Displacement

Texture Displacement works great when adding detailed geometric detail to objects like flat walls and ground planes. Just set up a material with displacement, set it to use Texture Displacement and adjust the Bake Resolution.
In the example below, the low polygon flat wall uses a brick texture to add high quality Texture Displacement.

Brick wall without displacement	Brick wall with Texture Displacement
Window model from PolyHaven.com

Texture Displacement is great for adding detail to surfaces but it requires extra care to make sure everything works correctly. The most common issues that crop up when using Texture Displacement are covered below.

Split Normals

Texture Displacement, can run into trouble with complex geometry and even deceptively simple models. Take a cube, it poses a challenge because of split normals due to its hard edges. When a single vertex has multiple normals assigned to it - like the corners of a cube - it is likely to result in holes in the object. This is because rays fail to intersect with the surface since there is no surface between the normals.

By default Redshift avoids this issue by using the "Smooth Normals" mode for the Edge Handling option, this overrides and smooths all surface normals when using texture displacement. Below is a default cube from Cinema 4D using texture displacement. The first image uses Smooth Normals which keeps the cube from splitting apart. The second image uses Vertex Normals and the default phong angle of 40°, seams appear between each side of the cube because of the split normals at each vertex. The cube has no subdivisions and each face is unwrapped and placed directly on top of each other in the unwrap. Note, in the examples below, the small cube in the bottom right shows the UVs and wireframe for that example.

Edge Handling: Smooth Normals Phong Angle: 40°	Vertex Normals 40°

When using the "Vertex Normals" mode there are two main options to resolve this, either adding support loops like a rounded edge or increasing the phong angle. Adding rounded edges works since it decreases the difference between vertex normals by spreading the angle transition across more vertices while increasing the phong angle just smooths out the vertex normals.

In the first example the phong angle is left at the default 40° but the edges are rounded with a bevel as seen in the wireframe. In the second and third examples the phong angle is increased to 90°, this does a good job of fixing up the seams. However, in the third example it's worth noting that the lack of subdivisions on the default cube can cause shading issues so adding some improves the result.

Default Cube + rounded edges Phong Angle: 40°	Default Cube 90°	Default Cube + subdivisions 90°

Overlapping UVs

The story of the default cube is not over because a good UV unwrap is very important for Texture Displacement. Adding rounded edges helped reduce the seams but there are still some prominent gaps in the mesh because of overlapping UVs. In Cinema 4D the default cube's UVs are all stacked on top of each other, this causes severe issues for Texture Displacement which is reliant on baking the displacement result to a texture. When UVs are overlapping a unique texture can't be baked for each part of the object.

In the first example we see the default cube with it's overlapping UVs, in the upper right there is a gap in the mesh and stretched displacement. In the second example the cube is unwrapped so that all six sides have their own unique area. There are still seams but the stretching is fixed and the seams are much less prominent.

Default Cube + rounded edges UV Unwrap: Overlapping	Default Cube + rounded edges Overlapping	Cube + rounded edges Non-overlapping	Cube + rounded edges Non-overlapping

Enables or disables subdivision.

Redshift supports two algorithms for polygon subdivision: Catmull-Clark and Loop. Catmull-Clark can be used with quads or triangles but the Loop method only works with triangles.

The Subdivision Rule parameter controls how Redshift subdivides your mesh from the following options.

• Catmull-Clark + Loop - The Catmull-Clark method is used to subdivide all quads while the Loop method is used to subdivide all triangles.

• Catmull-Clark Only - The Catmull-Clark method is used to subdivide all quads and triangles, each triangle is split into three quads. This should only be used when Redshift is combined with other software that does not support Loop subdivision.

Subdivision Rule: Catmull-Clark + Loop	Catmull-Clark Only

The Screen Space Adaptive parameter controls how polygons are subdivided by changing the unit of measurement used by the Minimum Edge Length parameter. It might be helpful to think of the Screen Space Adaptive parameter as a subdivision mode selector.

When enabled, polygons are subdivided based on their measured edge length in pixels in the final render — hence, Screen Space Adaptive. When disabled, polygons are subdivided based on their measured edge length in scene units — in this case, subdivision takes place in World Space.

• Screen Space mode:

  • Advantages:

    • Subdivision is highly adaptive and can be much more efficient

    • Able to limit tessellation for objects outside of the camera frustum

  • Disadvantages:

    • Results can be inconsistent and change based on many factors like render resolution

    • May be unstable in motion

    • Cannot be used with instancing

• World Space mode:

  • Advantages:

    • More consistent

    • Stable in motion

    • Can be used with instancing

  • Disadvantages:

    • More likely to be heavy on GPU memory and render times

    • Cannot limit tessellation for objects outside of the camera frustum

In Screen Space mode polygons are subdivided while their edge length measures longer than the number of pixels set by the Minimum Edge Length. For example, if the Minimum Edge Length is set to 10 then all polygon edges that measure longer than 10 pixels will be subdivided until the Maximum Subdivision level is hit or the newly subdivided edge length measures less than 10 pixels — whichever comes first.

In World Space mode polygons are subdivided while their edge length measures longer than the number of scene units set by the Minimum Edge Length parameter up to the Maximum Subdivision level. For example, if the Minimum Edge Length is set to 2 then all polygon edges that measure longer than 2 scene units will be subdivided until the Maximum Subdivision level is hit or the newly subdivided edge length measures less than 2 scene units — whichever comes first.

Screen Space subdivision is adaptive where as World Space subdivision is effectively static — the only time subdivisions will change in World Space mode is if the Minimum Edge Length is changed or the actual geometry changes in size. However, in Screen Space mode there are many ways to change how long an edge measures in pixels. For example, moving an object closer or farther from the camera, changing the render resolution, the camera zooming in or out, and an object scaling up or down could all trigger subdivision changes.

There are upsides and downsides to this adaptivity. On the positive side screen space can be much more efficient, like only adding more detail to objects close to the camera while far off objects have less detail, leading to savings on GPU memory and processing time that can be significant. Screen Space subdivision is also uniquely able to limit the amount of tessellation on objects outside of the camera frustum which can heavily reduce GPU memory usage. This is an optimization World Space subdivision is not able to do, instead, World Space mode will always tessellate objects — onscreen or not — as long as they meet the requirements set by the Minimum Edge Length and Maximum Subdivisions. However, since the subdivision level of an object can change as it moves across the screen the transition between different subdivision levels may be too noticeable and undesirable — for this reason screen space subdivision is frequently better suited to still images or animations where the transition is not as easy to see.

When enabled, objects are smoothly subdivided using the selected Subdivision Rule algorithm. This is great for smoothing out coarse low poly objects.

When disabled, objects are subdivided without smoothing using simple linear subdivision. This increases the polycount while retaining the original shape and silhouette of the object. If you are using Vertex Displacement on simple angular meshes (such as walls or a box) and don't want them turned into smooth objects, disabling smooth subdivision might be the right option for you.

In the example below, note how the handle on the cup and the edges of the spoon are rounded off when Smooth Subdivision is enabled. When disabled, the objects are still subdivided but the actual shape does not change.

Smooth Subdivision: Enabled	Disabled
Teacup model by Raphael Rau

When "Smooth subdivision" is enabled, Redshift will smooth the vertex positions as well as the UV coordinates and tangent space vectors. Smoothing UV coordinates shifts the UVs to remove any 'zig-zagging' and 'UV breaks' during tessellation in order to maintain smooth UV-space curves. In the majority of cases, this is the desirable way to treat UVs. However, there are cases where strict UV layouts (such as when UV tiles are aligned to quads) need to be preserved and not smoothed. For this reason, Redshift supports enabling/disabling UV smoothing.

Minimum Edge Length (M.E.L.) controls when polygons are subdivided based on their edge length. If a quad or triangle has an edge that is longer than the Minimum Edge Length then it will be subdivided either until the Maximum Subdivision level is hit or until the edge is shorter than the M.E.L.. When the Screen Space Adaptive option is enabled (Screen Space Adaptive subdivision), the edge length is measured in pixels. When the Screen Space Adaptive option is disabled (World Space subdivision), the edge length is measured in scene units.

Lower values result in more subdivisions while higher values result in fewer subdivisions. When the M.E.L. is set to 0 tessellation will continue until it hits the maximum allowed subdivision level. When using Screen Space Adaptive tessellation there is an internal minimum limit of 0.5 pixels, this can result in polygons not actually reaching the Maximum Subdivision level. However, when using World Space subdivision, a M.E.L. of 0 will always hit the Maximum Subdivision level. Regardless of the subdivision mode, it is extremely important that the Maximum Subdivision level is set carefully otherwise render times may increase exponentially. Determining the right balance between polygonal density and render time by optimizing the Minimum Edge Length for your scene is an important step.

In the examples below you can see the difference in behavior between Screen Space Adaptive and World Space subdivision. The scene is comprised of five identical cubes measuring 4x4x4 scene units, each with only 6 polygons before any subdivision takes place. Since the Minimum Edge Length in Screen Space mode is measured in pixels note how polygons closer to the camera are consistently subdivided more often than polygons in the distance — this is common behavior as polygons nearest to the camera tend to have longer edges. However, as the Minimum Edge Length gets closer to 0 even the distant polygons reach the same level of subdivision since most edges now measure longer than the very short M.E.L..

By comparison, in World Space mode, the cubes changes subdivision levels at the same time since each cube is exactly the same size and Minimum Edge Length is calculated in scene units. World Space mode is the best way to hit specific subdivision levels consistently regardless of where the object is in the scene but this behavior also makes it easy to subdivide distant objects more than necessary, potentially wasting memory and render time in the process.

Next is a demonstration of Screen Space Adaptive and World Space subdivision with a ground plane using Vertex Displacement. On the right side of the screen is a wireframe overlay and a pink object that matches the current size of the Minimum Edge Length. In the Screen Space example there is a pink square that matches the M.E.L. in pixels from 0 - 30, and in the World Space example there is a pink cube that matches the M.E.L. in scene units from 0 - 0.5. The transition between subdivision levels is clearly visible in the Screen Space example, it moves up and down the ground plane from the large polygons in the foreground to the small ones in the background due to perspective. In the World Space example all of the geometry updates at the same time since the ground plane is made up of equally sized quads.

Sets the limit on the highest number of subdivision passes that can be applied to a tessellated object.

Subdividing a mesh happens in 'passes.' Each pass turns a single quad or triangle into four quads or triangles respectively and each pass is applied to the result of the previous pass.

For example:

• A setting of 1 will turn 1 quad into 4 quads
• A setting of 2 will turn 1 quad into 16 quads
• A setting of 3 will turn 1 quad into 64 quads
• A setting of 4 will turn 1 quad into 256 quads
• A setting of 5 will turn 1 quad into 1,024 quads
• A setting of 6 will turn 1 quad into 4,096 quads
• A setting of 7 will turn 1 quad into 16,384 quads
• A setting of 8 will turn 1 quad into 65,536 quads

The number of polygons can grow very quickly so the Maximum Subdivisions parameter should only be set as high as necessary for the look that you need. Sometimes increasing Maximum Subdivisions by just one level can make a frame take four times longer to render than the previous level or you might run out of system memory and not being able to finish rendering the frame at all. So if you took a mesh made up of 1,000 quads with a Maximum Subdivisions level of 8 it would become a 65 million quad mesh. This could take an extremely long time to generate and would consume lots of memory! For this reason, great care has to be applied when setting the Maximum Subdivisions and balancing the results with the Minimum Edge Length.

Out of Frustum (O.O.F.) Tessellation Factor allows objects that are outside the camera frustum (i.e. objects outside the camera view that are not directly visible) to be subdivided to a lesser degree. Higher values result in less subdivision outside of the camera frustum, while lower values result in more subdivision outside the camera frustum. As a result increasing the O.O.F. Tess. Factor can help save memory and reduce render times by performing fewer subdivisions on objects that are potentially less visually important. However, sometimes an object might be outside the camera frustum but still perfectly visible in a reflection or the object might be casting a well-defined shadow within the camera frustum. For such objects, lower values should be used and an Out of Frustum Tessellation Factor of 0.0 disables this optimization entirely. Additionally, the Minimum Edge Length parameter has an impact on O.O.F. subdivision too — lower Minimum Edge Length values push O.O.F. subdivision closer to maximum subdivision levels which reduce the effectiveness of this option, in such a case consider capping the O.O.F. subdivision level with the Limit Out Of Frustum Tessellation options.

In the examples below, a blue cube placed just outside of the camera view can be seen reflected in a mirror, note how subdivisions increase as the O.O.F. Tess. Factor gets closer to 0 in the first example but don't change at all while the Minimum Edge Length is set to 0 in the second example. Generating fewer subdivisions is more efficient as long as the result does not negatively impact the look that you are after.

In the previous examples you may notice how the upper left part of the cube always remains more highly subdivided, this is because that part of the cube is closer to the camera frustum bounds than the rest of it. In the example below you can see how moving the cube farther away from the camera reduces the subdivision level.

This effect can also be illustrated on a tessellated and displaced ground plane. Take the following scene with a single quad and Vertex Displacement, the camera is tilted down toward the plane from a close position. In the example images below the scene was rendered once from the camera, then the tessellation was frozen in the Render View, and the camera was pulled back to see the still frozen effect of the tessellation outside the camera frustum. As you can see, the polygons inside the camera frustum, outlined by a pink border, are tessellated the most. Polygons that are farther away from the camera frustum are subdivided less based on the Out Of Frustum Tessellation Factor.

O.O.F. Tessellation Factor: 0 - 40	Test scene render (for reference)

When the camera is close to an object with Vertex Displacement you should be careful with the Displacement Max value because it is used to determine if a polygon is inside the camera frustum or outside of it. This is necessary because a polygon with high displacement might start outside the camera frustum before displacement but end up inside the frustum after displacement. Without this consideration the polygon would not receive the tessellation it needs to look right. When Displacement Max is too high Redshift might incorrectly "think" too many polygons are inside the camera frustum leading to a lot of subdivision outside the frustum.

In the example below, the Displacement Max value is animated from 10 to 100. 10 is the highest value necessary for this scene and raising it any higher than that results in unnecessary tessellation outside the camera view. This is a waste of resources and render time since those polygons are not visible which is why it is important to set Displacement Max only as high as necessary. If you need a high Displacement Max but are generating lots of unnecessary subdivisions off screen the Out Of Frustum Limit can be enabled and the polygons outside the camera view can be capped at a lower subdivision level as demonstrated in the last image.

Displacement Max: 10 - 100 Out Of Frustum Limit: Disabled Max O.O.F. Tess Subdivs: 3	100 Enabled 3

When Limit Out-Of-Frustum Tessellation is enabled, you can specify the highest number of subdivision passes that can be applied to objects outside the camera frustum with the Max Out-Of-Frustum Subdivs option. This setting is useful when increasing the Out-Of-Frustum Tessellation Factor still results in excessive subdivision. This condition can happen when the mesh is using Vertex Displacement that has a very high displacement scale. For a more detailed discussion on this, please see the relevant section below.

In the examples below, a blue cube placed just outside the camera view can be seen reflected in a mirror and the camera pans over until the cube comes partially into view. In both examples the cube has a Maximum Subdivision level of 4 and a Max Out of Frustum Tess. Subdivs level of 2. Note how the subdivision level does not change when Limit Out of Frustum Tessellation is disabled. However, when Limit Out of Frustum Tessellation is enabled the subdivision level changes depending on whether the cube is visible in the camera frustum or not. When the cube is directly visible the reflection of the cube also illustrates the higher subdivision amount and when it disappears from direct view the cube is limited by the lower maximum subdivision level

In the next example, you can see the result of applying an Out of Frustum Limit to an off-screen object casting a shadow on a plane in the camera view. When Limit O.O.F. Tessellation is enabled a five-sided torus is limited to 0 subdivisions resulting in a very jagged shadow compared to the smooth torus when it is disabled and allowed to subdivide up to the Maximum Subdivision level of 4.

Limit O.O.F. Tessellation: Disabled (default) Max O.O.F. Tess. Subdivs: 0 Maximum Subdivisions: 4	Enabled Max O.O.F. Tess. Subdivs: 0 Maximum Subdivisions: 4

Sets the limit on the highest number of subdivision passes that can be applied to objects outside of the camera view.

In the examples below, a blue cube placed just outside the camera view can be seen reflected in a mirror and the camera pans over until the cube comes partially into view. In both examples the reflected cube can be seen matching the subdivision level of the part of the cube when it is directly visible, however, the off-screen part of the cube is subdivided less based on the Max Out of Frustum Tess. Subdivs value.

Reference geometry is important for texturing objects when deformations are applied. When a reference object is not found or specified, textures can swim through objects as they are deformed. The Source parameter sets the reference behavior from the following options:

• Auto : Redshift tries to find the appropriate reference object automatically. If a deformer is applied to an object the geometry is automatically referencedbefore deformation.
• Object: Manually specify an object as the reference geometry. Useful when the object has changing topology.
• Capture: Use the captured geometry as reference. Incompatible with changing topology.

In all cases the reference object must have the same topology as the object the tag is applied to. If not, the reference is ignored.

When Source is set to "Object" the reference can be manually specified here.

When Source is set to "Capture" the reference object can be set by hitting the "Capture" button which uses the state of the currently selected object as the reference.