I modeled this character for the Zbrush workshop 4R6 certification course. I've been revamping my old Zbrush characters lately to develop my Redshift workflow. 

Skin detail (Sub-Surface Scattering) 

Subsurface Scattering has always given me trouble in Cinema 4D native render. The Redshift skin node is the most intuitive SSS process I've ever used. I'm able to isolate the Diffuse chanel by color and plug the Green/Blue channel into the Deep/Mid colors, and have the red channel driving the shallow color. Giving the appearance of veins under the skin, and separating the redness of in the cheeks and nose from the surface imperfections like moles and discolorations. The process was very flexible and I got some interesting results with small changes in value. I worked on the material for about 4 hours but I could have spent a week trying different maps and settings. I intent on exploring this process further in future projects. 

Curvature node

Another big advantage to using RedShift is the curvature node. I took my time sculpting the embroidering on the Fez. I wanted it to have that stitched on look. The import from zbrush lost all of that detail with a standard cloth material. Instead of having to go back into Zbrush and painting it into the diffuse channel, RedShift Curvature node is able bring that detail back with one click. A huge time saver.  

As for the velvet material for the Fez was pretty strait forward. I made a fresnel material over a cloth displacement. I wasn't interested spending too much time making crushed red velvet. This works for what I need.