Creating A Cloud Using TurbulenceFD | Patrick Foley | Skillshare

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Creating A Cloud Using TurbulenceFD

teacher avatar Patrick Foley, 3D Artist

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Topics include illustration, design, photography, and more

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Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

7 Lessons (41m)
    • 1. Introduction

    • 2. Cloud Emission Geometry & Camera Placement

    • 3. TurbulenceFD Simulation & Basic Lighting

    • 4. Cloud Volume Parameters

    • 5. Finishing & Render Settings

    • 6. Finalization in Photoshop

    • 7. Thanks

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About This Class

Programs needed: Cinema4D

Plugins Needed: TurbulenceFD/Octane/Photoshop

In this class, you'll learn how to create the popular cloud seen many times on my instagram!

We'll go over all the of the modeling and simulation/settings needed to create a realistic looking and behaving cloud. 


Looking for more inspiration? Head here to discover more classes on animation.

Meet Your Teacher

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Patrick Foley

3D Artist

Top Teacher

Hello, I'm Patrick. Many know me as Patrick4d. I've been creating photorealistic abstract renders in Cinema4d and Photoshop for awhile now and was overwhelmed at the support and buzz surrounding my social media. My work has been featured by Adobe, Photoshop, The Motion Designers Community,  and more.

So as a thank you, I've decided to share some of my knowledge. I will be releasing a new class every other month so hit the follow button and jump aboard!

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1. Introduction: What's up, guys, this is Patrick. Very good to see you on this overcast day in Atlanta. Today we're going to be going over how to make a cloud. Very requested class by a lot of you guys on Instagram. I thought I'd do it. Unfortunately, this one will require Octane and Turbulence FD. I know I promised you a lot more of the physical classes, but this one people are asking. You really want to know how to make this cloud. And the way I'm making it happens to be using turbulence FD and Octane, so that's what we're going to be going off. If you have those plug-ins along Symbol 4D, I think you'll enjoy it. Pretty easy class. It's not that hard at all and not that time intensive either. hope you guys enjoy and let's go through it. 2. Cloud Emission Geometry & Camera Placement: Hi guys, so we're here on my Instagram. You can see here and the reason why I'm coming out with this Cloud class in the first place, cause everyone was asking me how I create these kind of imagery. Images like this with the Clouds are going pretty realistic, even this one, and I agree. I think the clouds definitely resonate with certain people, even this one, and we're going to give it a shot because we need a couple of plug-ins. We need octane for this one and we need turbulenceFD, and that's pretty much it. This is a pretty specific class, and I'm really doing it because I haven't made a class in a while. I've been promising that I'll release one for so long and I haven't been able to just because of work and other stuff I've been doing. But I think this cloud one should make up for some of the stuff. So let's get into it. It's much more simple than you guys probably imagine. Here we have a blank template here in central 40. I'll even delete the camera and this should be what you guys are looking at. So the very first thing we want to do here is actually create a camera cause we want to get our camera composition set up already, and to do that, we're going to go grab a camera here, and here we see we're at this default view here. But what I usually do is just to center everything out, let's go to the coordinates here. Let's go from the x. Let's go zero, zero, and then let's try this guys go negative 600, and if you jump into the camera, of course it's not centered because we didn't cancel out the rotations. Now it should be looking straight on. So if you jump out of the camera here, this camera is looking straight on where it should be. So I'm going to hop that in there, and if you don't have the same aspect ratio is I do, go ahead and just try and locking that down. Assuming these are all the same number let's go to 1,200 by 1,200 there, and we should be good. I'm set up for octane because we'll be using octane the second. But you don't really have to worry about too much here. So it will be good there. Our camera is actually placed pretty perfectly for the time being. The next thing we want to do is start making this cloud. So the first thing you want to do is create some geometry that you'll be able to use as an emitter for the fog or the cloud material. So generally what you think is, maybe create a sphere, flatten it out, maybe like this, do what you got to do. I use to make them like that, but I realize it's a little bit too simplistic for the kind of clouds and trying to make. Maybe it's a nice base. But because we have the volume measure and build their I like using that much more and even metal ball. So if you guys aren't using R20, if you're using something below R20 like 19,18, that doesn't have volume measure builder. I would just go ahead and use the metal ball. But assuming we have most of our people here watching using R20 and above, we should be okay. So we're right, we want to use a sphere to start off with, and you'll see why in a second. Next thing we want to do is make sure that's centered. It should be if you just click it there. Next thing you want to do is actually clone this thing. So let's go and grab a mograph cloner, and then we're going to place this sphere on top or as a child of the cloner there. The next thing we want to do is, I guess so you can see everything going on there. Let's go to Display, hidden line, I like this view a lot more you can just see all the segments and the lettering doesn't really confuse you. Were going to go to cloner here, go to object, and we're going to go to object mode. So those are going to disappear. So we can just save those there for now, and these are going to be displaced along another sphere we're about to create. So the next thing we're going to do is create another sphere, and this is kind of like that first step I was showing you guys. So if you just leave this how it is and click "C" or make it editable, you'll notice this guy is now malleable to whatever you want. So you drag that out a little bit, and if we happen to our other view, we can see why this thing is something like that, maybe, cool. So as much as you can make a generic looking cloud for the time being, that's what we're going for. Maybe some that everything starting to look alright, maybe a little bit thicker, and that should be good. So this is our generic cloud shape. You don't have to worry about the segments right now. Cause these are all going to be mixed and matched once we open it in the volume measure. So we want to do now is go to the cloner and drag the sphere. If you wanted just call this cloud base maybe, and you're going to drop the cloud base into the object tab. So now you see even right now it's starting to look more like a cloud or something going on there, and we're just going to shrink these guys by clicking on the sphere there, clicking "T" and to drag them all down a little bit, and then while we have the cloner selected, I'm going to go back to mograph, effector and random, and you can leave it there. A lot of times I'll just cancel out the position cause we didn't say the position, but I think it's fine for now, and then we're going to go to the scale, uniform Scale and drag these up to wherever you think they look nice and random. Then we can start an adder, subtract them as much as you want. So this looks more like a cloud shape to me, and then you just start messing around with how many you want, how small you want them to be. How much of the random effector is working effectively. Once you start seeing the shape you kind of generally like and you might be able to see it better once we put this into the volume measure. That's what we'll do next. So I would actually move this cloner above so we don't get confused there, and then all we have to do now is create a volume builder and a volume measure. First we're going to hop the cloner in making sure we don't have render instance on. Keep it at instance. We're going to go and drop this under the builder, and then we're also going to drop the cloud base into the builder, and notice you don't see anything yet and I believe that's because our displays set to hidden line. But if we set to this one, would be able to see what's going on there. But we can skip that step and just look for the geometry once we place this guy on top or as a child of the volume measure. So now we can see what's going on here. Pretty decent segment count. I'm pretty happy with that so far. It doesn't have to get too crazy. But now you can start messing with the randomization. You can see what shape this is actually taking. It might even help go to grout shading here. So we don't have to worry about the segments. We're going to see how everything looks, and now this is your chance to smooth everything out a little bit before we start using this as animator. So if we go to smoothing, grab that smoothing effector, and place that in between the measure and builder there. So you can see what happened there as you adjust the stiffness. You are making this whole shape a little bit more malleable, and then you can play with literally every setting you see here. We can make it a little bit of shrink easier, bigger, puffier cloud. That looks pretty decent. I think what I'm going to do is keep it somewhere around 59 percent. But take the random effector and just check out on the position scale. So if we uncheck that, now we're starting to get a more generalized shape and everything is not going too far off. Maybe we can keep this to something like five by five by five. So a little bit more contained, and this is pretty good for me. I don't have a problem with this and go to the random and maybe start making these things a little bit more, depending on how bulgy or how many variations you want in this cloud, you can adjust that by adjusting the scale here as well as the seed. So you pretty much have a decent amount of infinite variations of this cloud that you already can see, and so my rule of thumb is once you see a shape that looks most like a cloud that you want to portray. It only makes it easier to convert this thing into a real looking cloud. But again, you're not going to be seeing any of these bulges or anything like this. So don't let that confuse you and don't worry about the segments too much for now. So I think I'm just going to wait till I find a shape I really like. I think something like this might work for me. So we can stop there, and just another way of smoothing this thing out, of course, you can actually duplicate the smoothing tabs. So if I just hold down Control and drag to make another one, I can do as many times I wanted to smooth out the shapes. So that looks good for me, and we can start moving on. 3. TurbulenceFD Simulation & Basic Lighting: You actually don't have to collapse this, which makes it really nice for switching up these cloud shapes later on in the game if you want to. We're really doing this non-destructively. Already we have a decent shape for our cloud. If you want to move this whole thing around a little bit you can. The next thing I'm going to do real quick before we get into it is going Shift V on my keyboard and just making the opacity 100 percent just so you can see the bounding boxes here. It is nice and helpful to see, especially when using the composition. That reminds me if I go click "Camera," go to Composition and click "Grid," we can now see more accurate representation of where this lies within the scene and now you can move things wherever you want. Make sure it's completely centered, as well as using a cross here. Sometimes that works for me as well, you can keep them on. I think we're ready to start working on the TurbulenceFD. I guess first we can create a ground if we want. Other times I use a cylinder, just creates for a nicer looking shadows when you want to portray them and stuff of that nature. What I'm going to do is create a little cylinder here, and notice this is where the camera angle and all these things plays a part in that. Right now we're using I believe a 36 millimeter. I always like the look of using a portrait or 80 millimeters, so if we hop in there, that should be much better. Let's drag this whole thing back a little bit. Just like that. I like the way these sit in the frame when using these focal lengths. That should be good for now. If you want to make this a little bit more or less you can go back to hidden lines, let's create the rotations. I want to go to 80 and then go to Caps, Fillet cap, just to make it a little bit because nothing's too hard edged in the real-world, set that to like one and that should be good. As we get time to save the project if we want, let's go to, I believe I created a Skillshare cloud. Let's go to tutorial, C4D. That should be good for now and now we can start working on making this emitter and creating the actual fog volumes. The first thing I want to do, assuming you guys have got TurbulenceFD, of course that is a necessity in this tutorial or class. The first thing you want to do is create a container. Now you can see this container is created, we're going to have to enlarge this quite a decent bit and the rule of thumb is, for something like this, you're going to want to make sure it is at least covering the whole cloud and you can see the dimensions here. So I would probably take the x, bring that out a little bit. But for this, this should be good. I don't think we should have to worry about anything escaping this box too much. Next thing you want to do is in the volume measure. Let's right-click here, and let's go to turbulence emitter. Now this whole thing is an emitter of what we're trying to use the cloud for. The next thing we'll do is set the temperature value here and the channels and set it to one and because we're setting it to one, we really don't have to worry about anything else because this is a cloud, there's no emission, there's no anything but the pure fog volumes. We only have to worry about that and I've known that setting it to something like one is perfectly fine. If you do that, you'll be able to see now, if we go to Plugins, TurbulenceFD, Simulation window, this is always handy to have open when we start using the simulation of course, just drag that somewhere like that and for now, let's take this from cache to interactive. Excuse me. Now look what happens when we click start. As you can see, this thing is not using up any memory because we're using this in interactive mode and the reason that's important is because you don't really want to have to cache and make this really slow simulation every time you want to see what happens or the things you changed. This is generally the default of what we're getting and you see everything past the bounding box goes away and if you see this cloud is in the way here, so a couple different ways of working with that. What I usually do is going to the volume measure and hiding it from both the render and the view port here. You can really see what this thing looks like and so now the original shape won't be seen really. But a cloud doesn't really go up like this and smoke up in flames. That's not really what we want. We're going to skip some steps here and just start opening up octane so we can see what's going on here. What we'll do is go to Octane, Live Viewer Window and let's just drag using this box here to the right of this window. Now we got something we can see. Now if I were to click Render, you'll see that we have a cylinder here is our base, but nothing's going on here. There's a couple of reasons why that is not happening. For one, we are an interactive modes, so it's not actually creating any volume, this is just for us to see and two, because our container is not viewable by octane here. The next thing we'll have to do is one, let's cache this. We're going to go to cache and then let's go to start and we can start right there, this is a good starting point. Now this thing is actually visibly here. If you render, we still won't be able to see it and that is because we're unable to see whatever's in this container by octane. The way to do that is just right-clicking Octane Tags, Object Tag and now you can see this stops being visible. But this looks absolutely horrendous and is not anything like what we need right now. Let's create some lighting for this. So I'm just going to create a Object, Light, Array light. This is just a generic array light that we have here. What I'd like to do is if we just make that invisible and just rotate this 90 degrees and maybe make it a little bit bigger and have this coming from like a certain angle here. Let's drag it all the way up. For now, we can have this in the frame just so we can see what's going on. The next thing we want to do is, let's go to Objects, HDRI environment and we can see here now, that's what's going on here. The next thing we want to do is get this thing back on and notice you don't really see anything and that's because we have to severely mess with the settings within the tab of the particle rendering within the object tag. This is the tab where you'll be manipulating what this cloud looks like. Before we get into all that, we're going to want to simulate this thing until it looks more like a cloud. So we can go back to interactive mode. We can pause the render and I think we're at a good spot here. If we click start, we'll see what's going on. We don't really want to mess with that so let's stop that there. But the settings it'll change for the simulation will be in the TurbulenceFD container. It will go all the way to simulation and this is where you have all these different types of settings, I think we'll be using turbulence, we'll be using temperature and that might be it for here. The first thing I'll do is the buoyancy is the way this thing rises. If you take this off and you re-render, everything just stays there, which is good for what we want. We don't really want anything to rise. We just want the stuff to start fluctuating and creating their own little wisps of air and cooling is how much these things dissipate as time goes on. If we went back to buoyancy 60 or something and we made the cooling 50 percent, everything cools down really fast but if we keep that zero, they never cool, they just keep going. We'll keep that down to maybe two, like we had it in a buoyancy zero and then we'll stop it. Notice nothing is happening. Next what we want to do is work with the turbulence. This'll be our wind factor and the stuff making these waves here. If we turn this to something like 10 and render it. Now we're getting some nice fluctuations and stuff that could be perceived as more of a cloud. I think I might take that up to like 15 and take the smallest size. You don't want these things to be too big, it looks like a low-resolution cloud to me. If I take this down to like one and take the largest ice down to like four and a small power or something like 0.8. Now let's render it, looking a little bit nicer like a cloud. The other thing we have to mess with too before we get too far into this is the actual voxel size of all these things. If we go to the container and get a voxel size for this specific scale here, three is a little bit too low poly or low-res and if we go up, the higher you go the lower res will be. So if we go something like six, this is going to look much more puffy and bloomy which may work for some clouds, but we want a little bit more detail in ours. Let's go to something like 1.5 render, you can see we're getting a much higher quality looking cloud here and the longer we wait, the more we're getting artifacts that we want. I think that should be good for the voxel size and a big thing to note that once we start rendering the container voxel size and the medium voxel size have to be exactly the same for it to show you a correct representation. Let's go 1.5 and now we're set there and then we're going to go back to the container. There is one more thing I wanted to change, the simulation like that, lets go to a larger size. Let's go to like six actually. Let's go 0.6, see what we got here. Now we got a little more differations here in the size of this thing. Maybe just go down to five, start. That looks pretty good to me, that looks like a decent cloud and now we can start rendering and see what we got. Let's unpause here and re-render. Of course I forgot, we got to go from interactive to cache. Let's make sure this is paused again and render it up. Like a nice and you can stop this whenever you guys are happy. 4. Cloud Volume Parameters: I'm going to stop this right there. Let's see what we got. Let's uncheck the pause and re-render this. Can't see anything, of course, because we have to go manipulate these settings. What we are going to do is go to the particle rendering tab. Let's actually bring this whole tab up here if we can. We don't have to mess with too much here and now. We're going to mess with everything in the volume medium tab. Let's click in there, emission, scattering and absorption. All these settings will give us the correct parameters to really transform this thing from nothing to something like this. Right off the bat, you don't need emission for this. Nothing is going to be emitting light or anything so let's go zero. Let's go volume gradient. Let's kill this one and take this all the way to black. That's because we don't need any color associated, these clouds are white. We know that. You're going to take the absorption to whites. You're going to take the RGB spectrum within the scattering to white. Now we're getting something. We got our first glimpse of a cloud. This is exactly what we want here. We can move this light around, you can see the way this affects the cloud. It's pretty much exactly what we want here. I'm just going to move this here. We might not need a light that bright, but for now it's fine. While we're talking about lighting here, you notice that the light is heavily clipping here, so it's something I like to do with all the cameras is right-click. Let's go Cinema 4D octane tags, assign octane tag to this camera. Then within this tag, we're going to go to camera imager, enable camera imager, and take the highlight compression to one. What that's doing is anyone who knows anything about film is that the higher dynamic range you have, the more latitude you have, or the more amount of light values you have, which is better for editing and you won't get as much clipping. If we bring that all the way up, it takes away almost all of those highlighting issues we had. You may say that looks more flat now in general, but that's totally fine because we'll all be coloring this after in Photoshop. You know, messing with the contrast and it's harder to retrieve, highlights them in loss versus adding more contrast if needed. That's good for now. Now we can go back to the volume medium. Now these two tags are the ones that are going to make this thing really pop and yet density and volume step length, the best way I can explain this the way I see it, is density is the girth of this cloud for lack of a better term. Volume step length is like the detail. Usually I want my cloud to be as puffy as possible, while also having a decent amount of detail. Bringing this down and this up. Let's see what happens when we bring this detail little bit down and you'll notice the more detail we have, the more dense this cloud becomes. You'll notice that when you do that, light has a much harder time passing through. Of course that just makes sense because you have light, the dense of the cloud, the harsher it gets on the inside. We don't really want this much. I'd say maybe around 0.1. You can see the density here the more you take that away. But if you get real girthy with it, you're going to get this massive looking cloud that looks pretty nice. The render time severely is determined by the initial voxel size. This is a pretty decent one especially for people who aren't running two 2080 Ti's in their system. Fortunately, I have a couple of those, so it might be easier for my machine to take it, but feel free to take this up to two or three If you need. These clouds specifically look like the ones that are much higher in the air, that are a little bit more dense. I don't think we need anything too crazy like that. What we can do is if we like this girth we have here, let's just take the volume step length up a little bit. Now you can see a little bit more light's being passed, little bit wispier. This actually looks really nice. The other thing we want to do to make sure all the light is working properly is going into octane settings and changing our direct lighting to path tracing. This will just allow the global illumination to do its thing where needed. We're going to take the GI clamp down to one and that should be good. Let's just take the samples down to like 200 so it doesn't kill our system. These settings should be good. But we're getting a nice looking cloud here and we only have one light. We haven't even assigned an HDRI, which we can do certainly if we want to. If you want to do that, let's just click this tab here, texture, load image. I have a couple of HDRI's. I like using all the time. You guys feel free to use whatever you need to use. I'm just going to use a simple one, which really isn't even HDR, it's like a photo I took, but it fills in the gaps for the shadows that we need. That should be good. Let's just add another object, HDR environment, which will create the black. I'll actually delete what we had. We have to overwrite. We can have a black background but still have the HDR heading. Let's go to the one we just created, primary environment, visible environment. Now we're getting light hitting from where we needed to. Now you can just start messing with the lights, the amount of light you have hitting this thing, maybe not at all. This is honestly where you're comfortable with in this stage of it. You can see the more light I pump at it, we may not even need this much detail so we can go back. Go to our volume medium, increase this a little bit and there we go. 5. Finishing & Render Settings: This thing's much brighter looking cloud. What I like doing is taking the camera, going the coordinates down a little bit, and start looking up. It's just creates for I think a nicer looking view of the image we're looking at. We can see we are going to little bit of that fun thing going on or the segments here. So we can just increase the segments as needed to maybe 120. That gets rid of I actually said 200, so that gets rid of that issue we are getting here. To see this viewport in a better looking bounding box view strictly lock here. For these settings, I clicked "0.4" here, and gives us a good, right there is fine too. But we see we have this light here hitting still. We can either move that other frame completely or in this tab, the OctaneLight tab, we're going to Opacity and take that down to zero. That should be good, the only other thing, if you are interested to do is adding some bloom. Let's go back to the Camera. Before we do that, we can right-click Cinema 4D Tags, Protection, so now we can't move this no matter what. Let's go to the tag here, Post processing, Enable. Now we can add some bloom power if needed, some glare power. Let me take this down to two. Blare that glare out a little bit, and add some spectral intensity, add some nice little chromatic aberration lensy thing that might be cool, and maybe even creating a material because the cloud doesn't need a material. So let's create a Octane Glossy Material maybe, and apply it to this shape here. This could be whatever you can make this black, if you want it to appear a little bit less jarring, and then we can just start messing with the roughness. There we go, something like that. Whatever you're feeling here. I think what might stand out in the background a little bit more is maybe a red background. So we can always take the octane sky that we made. We just call this one background, and take color texture here. Right now this is not affecting the image because this is purely just the background. We can make this a little bit redder if we want. You can actually see there is some translucency in the cloud here, which is actually giving us some pretty valuable information. So don't be afraid also, if this red looks a little bit more faded, you don't want to go too red here, because remember we compress the highlights here. So just noting that everything can be brought up in post. Judging by this, we can probably increase the detail little bit more. So we don't have that thing being too translucent there. Looks good, it looks like it's actually reflecting off a little bit. But that should be pretty decent. Actually what I'm going to do here is I'm going to hide this one here, and just create a plane for the background, because now that I see it, this red is wrapping around 360 and it's actually casting onto the cloud in the front, and we actually don't want that. So we're just going to create a plane, rotate this 90 degrees, increase the size heavily, and just push this back a bit increase, looks good. Then we're going to create a material for the backdrop, Diffuse material and call it background or BG. Just make this a reddish color here, looks nice. If you want, we can actually add an emission here. Just double side this thing, surface brightness. Check that, let's go all the way down. We can take the diffused down to zero. So now it's purely just emitting light here. Then we can take this all the way to not that tab, temperature to red. We can just turn this down a little bit. That probably isn't the best way just because we're getting all of these distortion issues here. So it's just working around these issues, what I would actually do is kill the emission for now, and go back to a reddish texture, and probably bring it up so we get some light hitting it, look somewhat decent. As long as we're getting some background we're happy with, but we'll probably have to move this light a little bit. So if you go to this view here by middle mouse clicking on the screen, we can just drag this off the frame as much as we need. That should be good, now we can increase the light a little bit. The harsher shadows we want, we don't want this light to be too big, so let's maybe make that smaller, and brighter. Let's make it small a little bit. So the smaller the light source and then the brighter the light, the harsher the shadows. In which in this case I think would work well, we can see the size of this thing. So let's maybe decrease that, and increase the light a little bit more. So these are a little bit harsher lights for this cloud, looks nice. I think this is starting to look a little bit better, for my liking at least. Then let's see what else we need here. Just messing at the cloud settings as much as you want. Of course, the density, I guess girth the cloud is, and I guess if you wanted to change the color of the cloud, I believe that would be in Absorption. So now we've got red, we've got blue cloud, purple, whatever color you're feeling. So we're just going to stick to white for this one, and that looks pretty good. Depending on your liking, we don't necessarily need a background here. We can just leave this thing floating, if that's what you prefer. I like having somewhat of a light source at the bottom, so it fills up these shadows. But it's totally up to you guys of course. So what I might do is just heavily. To create like a bounce let;s go to a Plane maybe, increase this severely, and just putting that underneath. So now we have some nice underlining there as well. You can manipulate that by creating material for the plane. The darker you make this, the more the shadow goes away. Filling the shadow wherever you think it's needed. That looks pretty good honestly. I'm not mad at that cloud. Maybe take the density down a little bit, so we get some harsher shadows there. That should be good. You can see how just manipulating this cloud, you can do as many times as you want, re-render it, re-cash it out, and you can get different combinations. I didn't really leave it going for that long. So you can see how you can create some really amazing effects there. So I think this is good. To end this one. I think, and I'm just going to mess my Render Settings, start rendering it out. So 1200 by 1200 we had that already. Next thing we'll do is go to the Octane Settings, and let's change this from 200-1200. They usually use a decent number for me. For somebody to cloud, maybe you want to do a little bit more. Two thousand might be alright, if your computer can handle it. Then, yeah, this looks centered. I think we are good to move on. We have the bloom and we have the highly compression on, and we're good to go. So let's render this out. 6. Finalization in Photoshop: This thing is that about 1,200 samples, I'm probably going to stop it here and I guess it's fine. It's been about minute 41, not too bad. Let's right-click here. Save as a TIF, a 16-bit TIF, save that where we had everything else. Skillshare Tutorials, Premium Cloud and just save it where we need to save it. Now we're going to go into, I guess was the daily today, we can go into Photoshop. Right-click here, open document. Let's go to Cloud. Open this image, 16-bit TIF. Of course, it looks very flat, it's the purpose of this. Let's go Ctrl J, so we can duplicate this image here. Let's go to filter to convert for smart filters, now we have the ability to really edit non-destructively in camera raw. It's going to filter, camera raw filter. Now we can start messing with different lots of looks here. Let's increase the contrast gets on that detail back. This where if you want to have this detail, that cloud here, that's fine. I usually don't when I'm working with clouds like this. Usually keep it fairly modest. Clarity sometimes works for this stuff. But I really don't want too much detail like that. I don't even know if I need too much contrast. What I really want to do is mess with the values here, the shadows, and bring everything up a little bit. This looks nice. Maybe even during those trendy little edits where you take the blacks up, dim it down, and then give it a little bit of an S curve here. Something like that. That's pretty cool. We're going to add any tones we need or what I like to use, add some grain. Let's zoom in, a little bit of photo realistic grain here never hurts. Then just messing with the toning, I usually likes to keep this fairly simple. I don't like to mess with it too much. For this I don't know if it even needs really anything because it's a cloud it should really just be white. I'm pretty happy with that. Messing with everything else. However you like your cloud, this is where you go off and do your thing, making sure losing too much detail on the whites. You can see that with this guy here. If you click these handles so you can see what's too dark and too bright. If I brought this down way too much, you'll start seeing some blue. I guess you won't actually, because we move the blacks up, but especially for the highlights, bring that down. We really don't have anything pure white. That works out nice. I believe you have your cloud. This is an icing cloud here it's a basic one. You can see using bunch of turbulence, a bunch of different effects. Maybe increasing or decreasing the saturation. It's how you like it here. This honestly looks pretty good to me. I think we're set here and we click okay and because it's a smart object, I can always go back into my camera raw filter and edit the settings I just had. We're good to go here. I appreciate you guys tuning in. This is how to make a cloud using Octane in Turbulence FD. Please let me know on Instagram or here on Skillshare what classes you'd like to see. What you want me to do more of, but I have heard a lot of these clouds suggestions. I wanted to get that out to you guys and I haven't made one in a few months, so hope you enjoyed this one, it was pretty snappy. Will see you in the next one. Take it easy guys. 7. Thanks: I appreciate you guys taking the time out of your day to view this class. I hope you liked it. If you did, give it a thumbs up. If not, let me know, please, what I can do to improve the next one and let me know if you have any future suggestions for these classes. Always happy to hear this. I guess until next time, we'll see you. Take care and I hope you guys enjoyed it.