Creating Abstract Flowing Tendrils Using Zero Plugins | Patrick Foley | Skillshare

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Creating Abstract Flowing Tendrils Using Zero Plugins

teacher avatar Patrick Foley, 3D Artist

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

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

Lessons in This Class

9 Lessons (51m)
    • 1. Introduction

    • 2. Dynamics (Emitter)

    • 3. Tendrils (Geometry)

    • 4. Camera

    • 5. Lighting

    • 6. Texturing (Tendrils)

    • 7. Texturing (Spheres)

    • 8. Render Settings

    • 9. Post Coloring (Photoshop)

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About This Class

In this class, you'll gain the necessary skill-sets to create organic flowing patterns of tendrils, converting splines into geometry using dynamics!

We'll be using Cinema 4D and Adobe Photoshop.


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: Hey, what's going on guys? This is Patrick again, here for another Skillshare class. It's been a minute, but I've been working on a bunch of projects at the studio, that's what's been taking so long. Very happy to get this one out and very happy to say it's been requested by a lot of you guys. This specific render we'll be making, has to do with using dynamics to make these flowing tendrils and give you some really cool endless abstract combinations here. It's much easier than you guys probably think. Let's jump into it. We're going to need a Cinema 4D, little bit of Photoshop at the end to color it, and we're going over everything from modeling or simulating, texturing, lighting, the whole thing. We have a lot of work to do, let's jump in. I can't wait to see you in there. 2. Dynamics (Emitter): Hi guys. Welcome back. It's been a minute since I came out with the class, and the reason being is because I've been extremely busy doing stuff outside and I'm actually working for a studio for a short amount of time on some projects right now. But in either case, very happy to be back here. What will be making here is something like this. Although I did make this using x particles, we're going to try and tackle it using just native Cinema 4D stuff. It may not look exactly like this, but you'll be able to create some pretty interesting looking at tendrils or whatever these things are. But I think after using Photoshop, HDRIs and all this stuff, we'll come out with something that hopefully looks even better, so let's go back and try to make this thing. We're here with the default layout here in Cinema. I have R20. You don't need R20 to take the class or complete it fully, so really what we're going to do is start with an emitter, so let's get into it. We're going to go over here into the Simulate tab, go to Particles and Emitter. Let me get this little box here, and if you press play, these things shoot out, which is what we want, but not exactly there yet. We're going to pause that and actually click Shift V. We get this dialog box up here and go to View, and we can really opacity down to zero, we don't really need any guidelines for right now when we try to make this stuff. Let's start off here, let's go back to the start here. I would say make sure this is set to something like 500 frames because in a little bit we'll want to make sure we don't run out of space or restarts before we're ready. What we're going to do is actually just shrink this down a bit, something like that, so 59 percent or whatever. Once you have this siting here, what do we need to do? We need to make sure these particles are actually streaming out and not just like a centimeter long or however long they are. To make these tendrils, we're actually going to start by grabbing onto the MoGraph tab, we're going to go to Tracer, and if you click Play, it actually already begins to trace these things because I think we had the emitter selected. But if it wasn't, you would just go to the tracer and make sure that the emitter is inside the trace link. We're pretty close. We're here, we got these things tracing and depending on what you wanted, if you wanted these stars rushing by you, that maybe you feel you're going for, but I think for now we can actually remove the under Filter, remove the grid just so we see the necessities here. Once these things are actually coming out the way we want, we need to randomize it. We need these things to go every which way. Before we do anything, we're actually going to take the emitter and go to Particle, Speed and zero it out. Now they're just going to stay there and you can see they're actually trailing, but they won't be able to move anywhere, because they don't have any speed to release and leave the whole square. Without doing anything else, we're going to have the emitter selected and go to simulate particles, turbulence. Right off the bat, you'll see if you play, these things are starting to go in different places and breaking off the z-axis, which is the blue. This looks like children's scribbles, and depending on what you're going for, I guess this would work too. You've got some cool little lines going every which way. But the one thing we need to do is straighten these things out, and that has to do with the Turbulence tab and the scale. Right off the bat, let's bring the frequency to zero and take the scale up to 40 percent, and let's see what happens. Now these are actually looking more curved and they're going. They're still going in many different locations but at least we're getting something that looks a little bit more uniform and abstract and not chicken scratch or children drawing type stuff. Playing with these values, you can really get some cool results, let's try to go into 60 percent that is. You can see they're even more fluid and flowing in different ways, and this is really what where going to be playing within. Because we set the frame value to 500, we don't have to worry about them redoing or doing anything like that. There is no right or wrong answer here, this really just comes to being able to find the right camera position, depth of field law and stuff which we will get into in a second. But I'm not totally happy with this yet, there's definitely some difficulties trying to find the happy medium. With the X Particles controls you have much more I had to choose from and you're very limited doing it this way, but that shouldn't be able to stop us from doing what we need to do here. I'm going to try to cheat the system here, let's see. Let's take this emitter here, small in it a little bit, I'm going to shrink it down. Let's try adding more particles, so let's go some like 40, and remember to keep your editor the same as the render just so you have an accurate representation of what's going on. We have a lot more coming out, they're spinning. If we waited till this gotten to like 440 frames, there is going to be too much going on, it's going to slow your computer down. I think we're actually pretty close at 130, so let's just stop it at, let's say 160. We don't have to worry about if we keep going, it's going to restart obviously, but we don't have to worry about it slowing our computer down too much, so I think around there we'll be able to find some cool stuff. But as you can see, we had a lot going on here. We can probably even increase this value even more, so let's go to maybe 75 by 75 and see what happens, so even more coming out now. Really starting to look like a big highway of cars coming out at you, and I think once we apply geometry to this thing, it will actually turn out pretty nice. One last thing, let's take the turbulence actually, take the strength down to four. Let's go four centimeters, and maybe take the scale up to 65 percent, and take the emitter particle to 100 by 100, and this at least to me should probably get the job done. We're getting a lot there. We're having some problems. In X Particles you can actually change the emitter shape and you can change that a little bit within these settings, but you're really confined to the kind of shape you're going for here. I think there actually may be a way to change this, but it's nowhere near as simple as using X Particles, but I think we can cheat that with the camera angles and stuff like that. Let's take the strength of this down to three and the scale up to 75 for the turbulence. Cool. They're really just flowing in every direction here, which is cool. I believe we have enough geometry going. 3. Tendrils (Geometry) : Yeah, the next thing we can do is actually apply some real geometry of the stuff. We have the reason why nothing is slowing yet and our computers are not hitting us yet is because we have these tendrils with no actual geometry that are just like splines. Let's apply some geometry. Whether you're making a chord or anything kind of tenderly, it's pretty much the same concepts. You're going to go and grab a circle. What would be the shape of the actual tube? We would need the, what you call it. Let's go to the sweep within this menu. This is going to bring everything together. We need to bring the tracer inside the sweep and then this circle needs to be as small as the diameter of the tube. If we bring this down start safe, this is still going to be very thick but we'll see what's going on here. You've going to drag this in-between the tracer in the sweep. You'll see here these things start to populate. It's not too slow I don't know how you guys are working with your computer set up, looking at the segments, decent another segments, we can probably shape this up a little bit. But again, these are way too fat. What do we need to do with the circle selected, clicking "T" or the "Scale" button. We're going to drag this down and yes, it's going to take a little bit before this part might actually slow your computer. What you'll want to do is actually restart. So these things disappear. Let's just take off the sweep real quick, press "Play" for a second. Before we have too many let's reapply the sweep and take the circle and drag these guys down a hefty bit. I believe we're messing with way too many segments and we need that's way too many. I believe in the circle or it could be the tracer actually. Now, it'll actually be the where am I going wrong here? Yeah, let's try to circle and let's go to uniform. Yes, even going to uniform, smoothens these things out and because they're going to be far away, we definitely don't need them to be anything nearly as hectic. Even something like this, for now at least should be fine. Even pressing "Play" there won't slower computer down too slow. Just making sure we have the correct frame in mind. Let's stop it at like maybe 155 loops. Let's try it again, scowl all the way to 155 and then reapply the sweep. Now we're getting some a little bit more manageable. We can see the tendrils and it's looking pretty nice and we don't have any lighting or anything of course. At least in the other render, you see I had these spheres leading the way. They were at the top almost looked like a little worms or something. To recreate that in this sense we can collapse that. We're really just going to take a sphere on and have it be the size that we need if you want to move it. So you can see it. Controlling the size that we would need for this to work, God say something like that. Simply just drag it on top of the emitter. Hopefully this thing is going to populate at the edge of all of these tendrils so, oh, that's the thing. If you go to the emitter, particle, show objects that is what we had to do. That looks good like that. If you wanted to make this sphere icosahedron, the segments are all evenly distributed. That's looking much better, yeah, this is really similar actually to what I had to look at for the X particle stuff. I think we're almost good to bake this stuff in place once we're happy with a view or an angle or how this thing sprouted out. But for the sake of this class, I think we're good there. You guys can play with the turbulence a little more the size of the stuff and notice all of these tendrils are pretty similar looking. There are ways to randomize this. But for now there's actually something we can do is within the sweep tab, we can go down to this Details tab and within the scale, each going to take the left. What we want to do here is keep this part thick and have it originate from a small, tiny little tendril. It looks like the origin or the birth of this thing. What I got to do is take this and drag it all the way down. Even just doing that, you can see slims in that towards the beginning and makes them more stringy. But once they get here, they're fully grown. We're looking good there. We can actually beef these things up a little bit. We can take the circle, scale, and increase. They meet in the middle here. We're good there. Can l take a drink of water real quick? We're good. We're pretty much done modeling this thing. We can bounce this out here. The thing we're going to do here, we need two things. We're going to be a little destructive with it in this sense. But I'm trying to get to the textures part. I believe we can just take the emitter and they get editable, which creates all these spheres and in the same realm here. I believe that actually made everything editable, yep. We're good. As long as you make the emitter editable or just current state the object so we have everything we need. We can now delete the turbulence. I believe is the tracer, okay, sweep. We have the sweep and the emitter which is filled with the spheres. So we can just call it heads and tendrils I guess I spell it. There you go. We got the two sections we need for this tutorial or class, at least. 4. Camera: The next thing we're going to do is find a good camera placement. With that in mind lets click at "Camera" and hop inside the camera clicking the square there. With this image, notice, at least in here we have summed up the fields so this stuff back there is blurry, and this little bubble here is blurry. This is clear. We want a shallow depth of field. If we want to see that shallow depth of field even clearer, we're going to need a longer lens, so it's go to like a portrait. With this in mind, let's group these so Alt G, which we'll group them and just call this tendrils, and just make this all small. Oops. I don't think it like that. What am I missing here? If we have all this stuff selected, it will scale very weirdly. I'm trying to figure out why that is. Oh, I see. Actually in this case, I have to make the tendrils editable and I believe that will help. Let's just take the tendrils as a whole and make it smaller because we want this stuff to appear very small. In the depth of field will just reinforce that. What we're going to do here is with our portrait 80 millimeter camera selected, going to find a nice angle. Depending on if you want this whole thing in frame or not, that's up to you. But let's pop back these guides, we have those go to Shift V opacity 100 percent this time. You can see what we're working with. I think a square aspect ratio is fine. I think that was what we worked with before, oh - it wasn't. But if we want to change that, let's just go to Render Settings output 1080 by 1350. That is definitely the aspect ratio of the last one. Let's just zoom in there, find a nice little frame and this actually works out pretty well because we got this stuff hitting to each corner. It looks like it's blasting out. I'm happy with that. Once you're happy with the camera angle, let's lock it in place by going right-clicking Cinema 4D tags, and protections. No matter what I do, I can't move while I'm inside of the camera. 5. Lighting: I think we're good for that bit of it. Let's go to creating another panel for the lighting section. To test all this, we want a new view panel just so we can see what's going on here, and drag it on the right. If we want to do the same thing with this viewport selected, Shift V, and drag this opacity up to 100. This will be our render, this will be our viewport I guess. Well, to make the camera looking at we want these two identical. This to be the viewport distributor render. But we want to use as render view for a second, and just hop in the camera. Then if you want, just use this one as rendered for you to go back to the way it was. While this is selected or while your mouse is over this view panel, if you hit Shift Alt R, you'll see that this is actually going to suffice as the render for this panel. What's going on here? This is set to Octane, we just set this to Physical. You'll see everything pops up here. This is obviously not what we're going for. All we need to make sure is that this stuff is within the interactive render region here, and that is totally fine. Before we do anything else, let's go back to the Render Settings here. We need to make sure we're on the Physical tab. Then while we're on the Physical tab, we're going to click, I'll show you here so you can actually see what's going on. Let's go to Effect, Ambient Occlusion. It will add some nice little actual shadowing in. Although that looks pretty severe at first, we're going to change everything up. We're going to go to Effect, Global Illumination. Everything is going to disappear, of course, because we don't have any actual lighting now. This involves us having to actually take lighting into our own hands, and add the light, which is probably what you'd want to do in every case possible. But everything here is good so far. Let's go to samples here. Let's go to custom sample count to 20. We'll bump this up at the end when we need to render, but we want everything fast and speedy while we're in doing this. If you want, let's go to Progressive render. Just so we have the fastest possible experience before we bump this out. We're going to click "X" there. Without further ado, we're going to create a Sky. Voila, we've got some lighting finally. Very harsh, dark lighting, mind you, but it's actually pretty speedy with the samples we've got going on. We have this thing set to the probably median point. That just shows you the amount of clarity based on your processor, you want to make sure this is medium or low or higher. I think mine, I'll be able to take the high, just so you can see a clear view of what's going on. Yeah, let's create our first material which will actually be our HDRI. We're going to drag this all the way on top of the Sky, which will brighten everything up. Pretty much what we just did was that it's telling the Sky to emit pure white light from all directions, which is why it looks flat. However, we're going to kill the Color channel and the Reflectance channel within this material and check "Luminance." That's literally illuminating light now from all sides. Then you can just pick a texture of an HDRI like I have a bunch that I use. It really doesn't matter. This is just a general studio HDRI I'm using right here. You really can't tell because we don't have it reflecting anything. Apparently, we're facing towards part of this thing that was only white. Once you find an angle you like, just keep it, and that's pretty much fine. But let's go ahead, and take the Sky. Right-click it, CINEMA 4D Tags, Compositing, and uncheck "Seen by Camera". So we don't really need to see the HDRI. We just see the light that it's emitting on top of the tendrils. 6. Texturing (Tendrils): With that in mind, we're going to create our first material. Let's actually get into this thing. What I got to do is double-click this area here and create it. Actually if you'll notice the material that's on the tendrils versus the heads or the spheres are actually the same, so we don't really have to worry about separating them. Let's just drag this onto the tendrils as a whole. Let's double-click that thing to bring up the material editor, and we can delete the color channel right off the bat and take the reflectance add and reflection legacy. We'll see that we're now getting reflections. Nice. Really one of the big differences is going to the layer color. Drag on this just a little bit this way, maybe 21 percent on the saturation value, and we'll pretty much be getting some nice pink materials there. The next thing we'll want to make sure we do is maybe take the roughness up to 10, just to make them a little bit rougher and that'll more realistically consistent. We're then going to take the bump channel, take a nice little noise, go into the noise because this one's going to be far too big to enjoy. We're going to go to something like Paxo. Off the bat, this is probably going to look a little bit ridiculous, as you can see. These ridges are very big and probably too big. I would say actually, let's see here, let's go back into the material. Take the strength down to 10 percent and probably actually get this down to 50 percent in the global scale. That's looking a little bit more fun and nicer. We can probably take this down again to 30 percent, take the bump down to five percent. Because we really just want we have a little bit of roughness and we have a little bit of bump. We don't want this thing to be too crazy. Just to be realistic. If you go back to this one, I believe, yeah, you can't even really tell that there's too much bump. We may even be overkill with this bumps. Maybe we can take that four percent something like that, maybe even three percent. I'm pretty happy with that. That looks nice. Mind you, when you're following this, feel free to do anything you want. Feel free to go to the Reflectance tab. I don't know, maybe under the color if you want to go to something like a Gradient and then have these guys on like a step or something. Oops, go down. Then you can have your own version of what you think looks pretty cool. These things will probably help if you had different colors. Drag these guys up. If you wanted one of them blue, one of them purple. Just double them. Making sure you're on step. You can come up with some pretty cool, a little accents to these things just by messing around in the Layer Color. You can obviously double them again, going toward vertical. You can get some really cool patterns and stuff within these tendrils. You're not confined to just doing the stuff that I make. Also over on that note, when you guys are submitting that your projects, I love seeing them giving feedback. But if you want some easier feedback to give on and you want something you can really improve on. It's helpful if you don't actually just follow the tutorial, do some stuff on your own, at your own elements so I can actually see, it's one thing to follow the class, a 100 percent. But when I can see that you've added your own elements, I can see and understand easier where your expertise level is and see where you need to work on. Just a little note to self there. But whatever you guys want, totally cool. I'd love to see the products either way. We can actually go back. I don't think we need all this stuff that I just did. Let's go back. Now, we're back originally, just Command Z to all that. 7. Texturing (Spheres): Now, if you'll notice, we're going to go back to, I guess, that wouldn't be modeling per se, but we have these bubbles here. Let's make those guys next, and for this, I am probably going to probably cancel out or Alt R just so we don't have that rendering the full time, and I am actually going to go to, let's see, I am going to go to display and hidden line just so it'll be easier to see what I am doing. Let's create a sphere here. Scale it down. Let's see, bring it about there and this is really just placing these guys wherever. It really doesn't matter. As long as they look good in the frame and making sure they are not really colliding with any of these things too much. Here we got some collisions. By all means I really don't even think it matters if they collide too much but if we want it to be somewhat realistic, just having it. If it's behind, a little note to self, they can actually collide. You can afford to collide with stuff a little easier because you can't really see the collision point. Something like that would be fine. With "Control" or "Command" selected. Let us just drag this guy down, scale that down a little bit. Let's go maybe behind there, "Control drag" or "Command" if you are on a Mac, I am actually on a PC, as you can see. Cool. You can make this one even smaller. If it's in the front I don't think it should be too protruding. I will probably add one or two more of these things. "Command" again. This one might actually want to school there and let's do one more thing and bring that guy back. Plus this one's tucked in between all those ones. I am happy with that. I think that's fun. Let us go back into the camera and because they are all going to have a similar texture, let us group them. That's all G. Let us go just spheres. Yeah, and we can place that on top of the tendrils and I like to just have a hierarchy here. I think we're good there. Let's make sure these things are all textured, so we can hop the render view back in there by doing "ALT R", and we got our spheres, and they're interacting with the tendrils. We're double-click create another material and this will be like a specular material. We will drag this onto all the spheres, and they should be white-ish, double-clicking the material and let's remove the color there and the reflectance actually and enabled transparency and lets go to a custom refraction of glass. As you can see, we are actually getting the reflecting of the backdrop with this glass. Now there are few things you can do to remove this and I believe one of them is going to the- when you right-click on this folder of spheres for center 4D tags, compositing and I believe you are going to- actually no, my apologies. Delete that. You are going to the compositing tag on the sky and you are going to be seen by refraction and I believe that will remove it from the tag we have cool. Now they're just showing up as bubbles here. We get it. We actually are seeing the HDR is from the reflection, but not the refraction, which is what we want and now would be a good time if you wanted to add a backdrop or something, go into background and it is a good drink water again and that we have this backdrop here. Let us create a material for the backdrop and maybe title it BG and drag on the background and you notice that it actually shines through. The glass will shine through and actually reveal the backdrop. But we don't need anything probably that bright. Let us go to the color, drag it down and maybe make that teal bluish that I had, maybe a little brighter. That probably would not work actually and I think I did the blue part and post. The white is probably good. Cool. I think what will help us a little bit, is actually in the glass getting a bump and of course let us go to a noise and within the noise, let us go to something like a new shift or something, go to the global scale, bump that up to 400 and take the strength down to like eight percent, and let us see what that's given us. Not too much, we probably have to this back down to like 200 and if you want to speed up the render for the parts you are looking for. Or at least you can just take this guy down and go over here so it will be a much faster load time. Let us see, so we can plug boost that a little bit. Let's go to like 20 percent maybe. We're actually getting some bump there, we see it but we can probably go to the absorption color and add, have fun with it. Let us go to like a bluish, Cool, so it is popping out a little bit more. We can take that distance down to like 40 and depending on how much you want it to pop out, or if you had this thing to like read 10. Now we're actually really getting this thing to pop. Yeah. I believe in this one, let us see. We saw it a little bit more because this stuff is refracting this one. It depends on the HDI where it's placed and what else you have going on. None of them are except for probably this one. Yeah, this one's refracting it and so that is really what it comes down to. If you wanted to and maybe even enlarge this guy or is that guy a little bit more? Yeah, so they really start shine through and I think we're getting some artifacts here which we do not want that black stuff. Let us go to the render settings and I believe that's due to evaluate transparency. I could be wrong and yeah, I am trying to think of what that is. That is- let's see here. Yeah, I am not entirely sure out have to mess with it, but an easy fix is just not heading. You probably should not having them collide anyway but let's see if it's happening there. Not too much really. At least that's is good. Let's actually move this guy up front and let us see what is happening there. Cool. At least we are getting some refraction here, and we can see some stuff going on. We can probably just play with the bump as far as now. Let us change this around. It's got like blue here. Not bad, but if you made it like 350 and made the bump a little bit more crazy to like 44 percent I mean, I am happy with that if you guys want to work on a little more by all means but let us think of the next thing we can start working on is the depth of field and that's one of the last steps we have to do before post. With this thing loading here we will be able to see that this whole thing actually is in focus and that is not really giving us a very small field. This thing could be massive or small. What we are going to do is enable up the field, and we can close this for now. It was in the physical tab by the way and it is that pretty blurry as of now because of course we do not have a focus distance. We are going to have the camera and the easiest way is just by clicking this pointer in clicking a point of focus. Maybe this guy right here. The camera is now focused on that sphere, which is actually pretty close to most other things here. It should not really matter and you can not tell that were using it so far because of the f-stops. We want to make sure the lower this number here, the shallower, the depth of field or the blurry stuff is. Let us go down to like one and see how that works. It is working actually decently well. We have this stuff kind of becoming out of focus. This task mostly in focus. I think we can take it down to let me be like 0.6 and the crazy thing about 3D cameras is no matter where you are, are trying to focus or what depth of field you are having. You can get crazy with the f-stops 0.6 is not even realistic in the real world, but it is in here. This looks fine to me. We're getting some really blurred backgrounds, but this isn't focus and this is in focus. Obviously this is our object, that is our focus object, and we are looking to get maybe 0.7 or 0.8, maybe 75, I will be happy with and I think we're good to bump this out if you guys want to add anything else that you had in mind for this thing, by all means. 8. Render Settings: Get moving here. Without further ado, let's go to the Render Settings. Make sure these are the correct settings. You want to go with lock that just to be sure. I at least go with this ratio, especially that I work with octane. Now I have the time and it renders much faster with the GPUs I recently installed. When I only used physical in my processor, I would have to stick with a low resolution, but this is the lowest resolution that you can get by with and still look really good on Instagram. We'll just keep it there for now. Let's go to what Global elimination. Actually first let's go to physical, let's go down the line. Let's go to fixed. Let's go to sampling subdivisions five. Let's make these all a value of four except the subsurface scattering because we didn't use any. Global elimination, we can now go back to our samples. Everything looks good here except the custom sample count we set. We can set that to a value of 150 and that should be good. I believe we're good to render here. Let me just run down. It's been a minute since I've used the physical. Looks good. Yeah, I think we're definitely good. Well just making sure you're set in the camera. You got your protection tag on. Nothing can go wrong. You should probably save it just to be safe, and let's hit render. It really shouldn't take too long. I mean depending on the process that you guys have, it will take a different amount of time, but we'll see you back when it's time for the post stuff. 9. Post Coloring (Photoshop): I guess so it's been about 7 minutes, 20 seconds, and I can't remember the last time I waited that long for render. I got to be straight honest. This render using Octane with both of my 20 [inaudible] which by any means is not a normal setup. So I agree it's kind of overkill. But this same render probably would have taken me five seconds. That's not even a joke, that's full render, actually a bigger render size. So in the future I think I'm going to move towards also making Octane classes or GPU render, whatever pro render classes. So if any of you guys are thinking of switching to PC or have a PC or are just curious about that workflow, I'd be happy. Just let me know in the comments or within the review because I need to know the stuff in order to keep going. So without further ado, let's go back to it, submits 20 seconds. However, we dig it through the render, let's right-click save as 16-bit TIFF. Let's go to the classes here, let's save this here. So let's call it v1. That's what I'm calling it. We can jump into Photoshop here. So this is where we can actually make this thing look somewhat like an actual photo, change the colors, make it look a little bit grainier and kind of more realistic. So with this in mind, let's open the, let's go here. I got a bunch of different projects here. Skillshare tutorials, premiere, tendrils, v1. So let's open this guy here and right off the bat, it looks pretty nice. We've got some nice composition. Lets command [inaudible] it or just duplicate it by dragging the background to this button right here. And within layer one, let's actually convert this thing to a Smart Filter which will allow us to go back and edit this stuff non-destructively. So anytime we add any kind of effect up here, whether it's liquefy, camera or whatever, it'll pop as kind of a sub-menu over here in which you'll be able to go back and actually edit the settings. So camera filter here. If we want to kind of if get bigger field of view, we can click this thing just so we can see our before and afters. So this is the after, of course. Lets go to the Vibrance, knock this up a little bit, take the blacks up, crush it with the contrast. If you want to zoom in you can see a little bit better here. But we're going to do first is notice we got some grain at the parts where there's actual geometry but no grain at the background. We want that to kind of look evenly throughout, to kind of stitch it together as a photo. So that looks much more realistic than this, at least in my view. You don't have to add this. Let's go to the Shadows and add a little bit of red. I like to play with these values just to see what's going on here. Let's actually keep this around nine. And as for the background, let's make this thing tinted a little blue, and that's what we did in the previous renders. So just cranking this up, you can go crazy if you want. But add in if you have the background, kind of complimentary in a sense to the foreground. That's just for a nice overall image. So I think we're pretty good there. We can just mess with a couple more of these things. Whatever you guys think makes this stuff look more realistic, but just, just fine tweaking these views. I usually don't do anything too complex here. But what we really needed to do was make this stuff a little bit of a hint in blue which really ultimately accents the stuff real nice. It's not even necessary that you go too crazy with the shadows. This stuff looks fine. Of course, you can make presets here by just adding this stuff and clicking OK, and because this stuff is a camera filter or a Smart Filter, we can always double-click and get back into our settings that we just did. That looks nice. Lets do our last hue and saturation layer here. So anything below this layer will be affected. A lot of times I'd like to just play around with this stuff and see what else looks cool. So this one you really can't go wrong. I think that looks pretty good to me. So the blue looks fine to me. I think the reds, maybe we can make sure that it looks a little bit more like that copper. The blues, oops, no, that must actually be under the science. So this honestly looks good for me guys. This is a very short, at least post-process video. Command 0 kind of look at that thing. It looks really nice. So obviously this isn't the biggest render size. But this now I'd say this achieved pretty much everything we needed to do. Obviously, a much different color compound that we put on this one. But this is in a nutshell kind of what happened here. I believe actually it looks like a lot of crush blacks on that so, I mean, if you really wanted to replicate that one how we saw it. Let's just class this new group, command J this one again and just start. Let's go convert to Smart Filters. We can try it again. I was just going off of what I thought looked best. But let's just crank this stuff up. Take the blacks up, a little bit more contrast. Take the shadows down, and then take this value down a little bit. Here's the important part. Take the blacks up so that when you crush them, nothing is actually pure black. So you can take, let's go back to the background. So this was honestly just crushing the stuff even more. Of course, I forgot exactly what I did to achieve the other one, but this is pretty similar I would say in a certain sense. The lights were placed differently but yeah, I mean, we're getting these kind of crushed blacks. Let's add the grain of course. Now based on what we're going for, let's see, it doesn't look too bad. Let's click OK, and within the hue and saturation, let's kind of just play with this stuff a little bit more. So again, not the same. We add light, looks like we had a light coming from this direction here as well as this direction because the highlights of these guys, but this looks pretty good overall. I'm happy with it. So I hope you guys enjoyed this class. Please don't forget to review the stuff. It always helps. It gets me on the trending page, helps more people see this stuff. If you have any feedback, stuff you'd rather see or like to see even more, please let me know. Yeah, if you submit your stuff to me guys on Instagram @Patrick_4d. Let me type that for you here, @Patrick_4. So that's my Instagram handle. If you guys DM me your trial of the class, I'll try to get it up there on my stories and give it a nice little shout. So I always appreciate you guys even taking the time to take this class. So without further ado, we'll see you in the next one, and always let me know what classes you would like to see. I appreciate it guys.