Transcripts
1. INTRO: What's going on guys? This is Patrick again. Thanks for joining. We've got a really good class for you today. Today we're going to be going over how I usually go about making a usual style that I'll post on Instagram and you're going to need two programs for this. You're going to need Cinema 4D and Adobe Photoshop for post works and all that but we're going to go over everything from dynamics to composition, lighting this thing, texturing it, some more cool glass textures that make every once in a while that look really well on screen and we'll finish it up on Photoshop and coloring it so it's pretty decent size one, so let's strap in. Let's get into it.
2. Setup: Hi guys, so we're here in Cinema 4D. We got a blank template here. The first thing I'm going to do is I'm going to delete this camera because I had already set up. First thing we're going to look at is our Output Settings and the Render Settings here. We're going to want to make this set, like a square size, so 600 by 600 looks good to start off with. We'll end up bumping that up way down the road once we start exporting it and rendering it out. Then you can make sure the amine occlusion and global illumination are set from the start this time. That's totally fine. We're going to start looking at this raster size here. The first thing you want to do is hit Shift V. That'll give you this window here and you're going to click ''View'' and there you are going to boost the opacity all the way to a 100 so we can see our art board pretty well. Next thing you want to do is create the first sphere. I'm going to go to display constant lines here, so we can see what we're working with here, segment wise. The next thing that we're going to want to do is actually start messing with dynamics.
3. Object Creation: The first thing we're going do is put it into a cloner, which will give us three of these stacked on top of each other. But we're going to change the mode from linear to grid array and we're also going to click Render instances, which will help the render process as well and we're going to click this sphere and drag this down a bit, until none of them are touching. That looks good to me. None of them are actually fully touching. The next thing we're going to do here is, we're going go to the mall graph effector, random effector. By the way, when you click that you have to be selected on cloner. While that's selected, you're going to click more graph effector random and it'll automatically apply everything as you see here. What we're going to do is kill the positions, everything is the same and you're going to take the scale, check that and uniform scale. Make sure they're all uniform because technically you could do all this by hand, but we don't want to deform the spheres, we want them all to be spherical. With informed scale checked, we're going to drag this up or down to about 0.4 and through that, let's see if any of them are touching. Some are barely touching, so we'll make this a little bit smaller.
4. Dynamics: The one thing we're going to start to do is having the sphere checked when I click tags, simulation tags, and rigid body. Now, this is officially telling semaphores that these things are physical objects and they will be able to be controlled by the default gravity settings. If you press play, they just fall down and because one of them must be too close to each other, starting off, they just bounce off each other like that. But of course, we want this thing to stick in the middle. We are going to have to put a simulation, one of these simulators on it, and we are going to click attractor because we want these things to all start grouping towards the middle and fall off from one of each other and start building up. By default and for us play, nothing happens because of course, the attractor, strength is way too small, so let us bump that up to like 200 and see what happens and you start to see some stuff and you will notice that the higher I do it, the higher I set the strength. They start bouncing everywhere and it's not really giving the effect we want. Let's go to like1000, and now you really start to see these things. We see the attractor is definitely working. But because something's happening, strength we put it, we are getting everything to collide, which is good, but they all bounce everywhere which is not what we want, and that's happening because there's nothing. The attractor tag, once they get to the center, there's nothing for them to really latch onto except, based on real physics. There's nothing for them to orbit or latch onto. They just like go to the center and pop out. What you want to do is create another sphere, something to counteract that so they can't get to the peer center of this thing. All we do is just drag it and make it pretty insignificant, something like that and we have to put a tag on it because these things won't recognize that it's actually geometry like this. If we don't put a tag on it because press play and it'll do the same thing. We go to the sphere, tags, simulation tags, and Collider body. Now you'll see these things all stick around because the sphere in the center won't let them get to the exact center of the gravitational pole and that's what we're going for here. Sometimes if this thing is showing and you don't want this sphere showing, all you got to do is hide it from the render view as well, so hide both of these and that should be good for the most part. That's how we get these this spheres together doing their own thing. I don't want all of these to eventually be textured the same. What I'm going do is command copy, command paste one of these spheres that's in the cloner and drag it underneath sphere one, copy and paste so we can call this three, two, one. That looks good like that. Eventually, we're going to be editing and putting multiple textures on a bunch of these things and they won't just all be the same texture because I think that's sometimes can get a little repetitive and a little bit boring. The next thing we want to do is create the background for this thing and set the camera because right now we've different floating wherever in space and we want this thing to be floating in like abstract space or whatever you call it.
5. Composition / Camera Placement: What we're going to do here is, we're going to create a camera. You're going to create a camera, and in both views, you're going to hop in the camera. We're in the camera. View uses render view, hop in the camera as well. So now, wherever we move, we're moving both view port windows. One thing you'll notice is I always like to have my camera navigation on object mode, so whatever object you're on, it'll orbit around. It makes it really easy to get around that way. The next thing we're going to do is zero out the camera. We're going to click the camera. We can drag this to the bottom if you want. We're going to go to the coordinates and take x zeroed out, y zeroed out, z zeroed out, and you're going to leave this set at one. You're going to take the rotations and zero amount as well, and now what you're going to do is drag the z back and because these things are centered already, this thing looks centered. We're going to drag it back probably farther than you'd think. Here we go, minus 1,300, looks pretty small, but because I eventually want summed up the field on this thing, I'm going to go to the Object tab in the camera and take this from classic 36 millimeter to portraits, and it'll help with the depth of field because the shorter the lens, the harder it is, or the lower you have to crank the aperture to get the shallow depth of field look we're going to be going for. Next thing you want to do is create a little background. I don't think I want to go with pure black as a background. So I'm just going to create a plane and rotate this 90 degrees. Hold down Shift so it snaps. We're at 90 degrees there, and If we click the middle mouse button, we can easily see, we can just drag this plane all the way back here. Now, I want to drag it pretty far back because I don't want any shadows from these balls hitting it, so I'm going to drag it back a decent bit and then just enlarge it. That looks good to me. So now, we got every part of our aspect ratio has been covered by a certain geometry, which is what we want.
6. Lighting: Part 1 (HDRI): The next thing we're going to actually end up doing here is making sure the lighting is correct. Before we add anything else to the geometry, in fact, we're going to make sure this lighting is looking pretty decent. For when we're doing that, I'm going to click the sphere. Make another dome, and make sure this goes around everything including the backdrop we have. That's going to allow us to get some light going from all angles here, and it's not going to be interrupted by the background. If you want to already option are, so we can get this interactive render region here. Again, in previous classes, I have explained how to get this render view up here. I actually explained it in my layout class, my freely layout class that's on my profile. If you want to go back and check that out, that's totally fine. It's pitch black because of course, we haven't added any light to this dome because we have global elimination on there, if we were to take it off, we could see what's actually going on here. But we're going to check that on, create a new material and start to apply it to the dome, and of course, you can title this HDRI. You can [inaudible] all this backdrop, and it looks good for me. Another thing, just so we don't lose what we got going on here, which you'll probably want to do is uncheck render instances, and let me see [inaudible] some works here this might not actually work. We're going to have to unchecking render instances, we still want to make this editable, so once we're finished with the formation of these spheres, let's see. [inaudible] with that. Because this is set to run an instances off and we click C with the cloner selected, it's going to make these all editable. The next thing you can do is let's go back, press play, and once we're in a position where we like them, what we're going to do is just delete all of these tags. Keep selecting them, and then just delete them. Forgot one. Now you'll notice this thing is totally editable and move this wherever we want. That looks good to me. But you still have the functionality of actually changing the segments within each sphere, which is nice. You're not confined to these low poly spheres as well, and because they're on render perfect, that's totally fine. Let's drag this to a place that we think looks good, that looks cool. Let's look [inaudible] and we're going to finish applying this thing to the HDRI. We're going to kill the color obviously, it is set to the HDRI, [inaudible] For the first time we have light hitting this thing. Now this thing looks pretty nice already, but we haven't textured it or added light value. It just looks like flat light coming from every direction, which is exactly what's going on here. The next thing we're going to do is we're going to upload a image here. For this, you can use any image, I'll be going over in another class specifically how to create your own HDRI and whatnot. What makes certain HDRI better or worse. But for now, pick any HDRI that you want to use. I use a preset studio HDRI that you can see here. This looks pretty nice, it looks like the light is coming from the right side here. If I want, I can jump out of the camera and see exactly what's going on here. It's exactly what it looks like is going on. I'm just going to rotate this, fill out the lighting where I want it. Of course, the bright areas are giving me the light. Looks good to me. I'm going to jump back in here, but at least we're actually getting some realistic looking lighting now. For the background, we can give that a texture as well. BG set that there. This looks nice this looks like a good base for us. If you want to actually zoom in a little bit more, you can totally do that. I'll just zoom in, and we can start applying a little bit of a depth of field here.
7. Camera Settings: What we're going to do is click the Camera and take this f-stop down to like one, and actually maybe like 0.6. Then we're going to take this focus distance to about right, it's going right here. Because we want this thing focusing pretty, we don't want this on the very top because everything else by and it'll be out of focus. But we definitely want this focus business to be pretty close to a lot of these marks. That looks good to me. We're actually going to have to take this down a little bit more maybe to like 0.43. Of course you have to hit down the field, once we do this, you're going to see a crazy amount of that depth field. The background is going to be very blurry. That's what we're missing. That even looks cool, but we're going to bump this up to like 0.4 for starts.Maybe 0.3. That looks good to me, 0.2 because we're using a portrait lens, so we're going to have a lot of it be blurry, but that looks pretty decent to me. We've got a good start here with the camera settings. I think we can lock the camera in place. Let's take the camera tags, Cinema 4D, tags, protection. What that did was lock the camera in place, so we don't have to worry about going anywhere else. I can try to move the camera, but it won't let me move because we have the production tag on there. In a way it's just like saying, "Okay, I'm happy with where this is, we can start moving on." Let's take this down here so we can get some faster render times, we can start to texture this thing.
8. Texturing: Part 1: So the first set of balls I want to go through is this glass texture. A lot of you have been asking about these cool glass textures I've been making. How to get the refractions right and how to get these subtle bombs going that really make it look realistic, and I'm going to go over that with this first texture here. So I'm going to title this glass and apply this to a few of these balls. We're going take the color at first just so we can see which ones are coloring. Now we're just going pick and choose certain ones that we want to go by. Again, we could have done this early on in the cloner, when we had three of those spheres selected, but I guess for the way that we did it, we have to manually go in now and plot these in, but in a future class, I'll be going over how to do it the other way as well. So let's go rates here. We're actually going to jump out of the camera. Looks good to me. The next thing we're going to do is, let's test this glass out. Of course they just look like black balls now, which if that's what you're going for, you're done, but for the majority of us we want to make this glass. So we're going to take a reflection off and click transparency and you'll notice that they just go invisible and a lot of people stop and ask, well, why are they invisible? They should look like glass now because they're transparent. But the thing that glass has that invisible things don't have, is refraction. So it's messing with these values here and Cinema 4D has custom made glass templates for you, which makes it really easy. A lot of times I just use one of these, because there's really no point in using anything else. If you know refraction number that you're good with, by all means go, but they all just change the way the light bends and change the way these things look. But already, without even adding a bump distinguish great. This look pretty realistic, little sphere of glass here. So I'm happy with that, and we're just going to add a little bit of a bump. And Here's where it gets pretty cool so, we're actually not going to use a noise, we're going to use a gradient. With the gradient selected, take this value down to ten. Click the gradient and you're going to mess with the turbulence. So let's turn this up to like 78. We're starting to get some texture here, and we're going to take the scale up to 300. As I really start to get this funky glass texture that we've been talking about. Let's see, we got here. It's all about messing with these values here. The more you want to tweak with these, the core you can get this to look, and we haven't even mess with color yet. So let's see what these look like up close. We're definitely getting some texture there, of course it's being a little protruded by the depth of field so you can't see too much, but I think we can move some of this back and take the turbulence up to 90. Maybe take this up to like 15. It depends how crazy you want this glass to look. I guess for now we're going to turn off depth of field, just so we can see that these textures look like. We don't have to worry about them just being totally blurry by the end of this rendering. It's really just to double-check these textures. See that shadow looks really cool, that looks good to me. You know what the values that we have. I'm going to take a look at this one real quick. We're getting the same kind of texture that we've seen from some of my other renders on Cinema 4D , and it looks really organic, it looks like the Earth made this thing after years and years, so this is what we're going for. So I'm pretty happy with that. Maybe we can dim it down. You can go back to 10 percent on the bump, maybe eight. And I'll be happy with that. Let's make another texture now. Let's go subsurface scattering with this one so we can just call this SSS. I think for some of these we're going to make them white and shiny with some subsurface scattering because I feel like what these compositions, they look really nice, really clean and abstract so, that's exactly what we're going to do. Again, we know which ones we're coloring. We're just going to drag three, four turn back the the camera. That will save one group of spheres for us to tag. Looks good to me. So that looks pretty decent, I'm fine with that. The first thing we're going to do is, turn this color channel on. This should already be at the right value, I'm happy with this. We're going to click luminance and texture effects, subsurface scattering. If you've seen the last show, I think I mess with this a little bit, or the last class. I'm going to take this up to 150, take this value down to four. So let's see, we're getting already. We're getting a little bit of stuff, It's hard to see the majority of it. But, let's start messing with these values more, so let's add some legacy reflection here, and then kill the default specular and take this down to 15 percent. Now let's see what we got. This is looking okay, but we still have depth of field yet. And also make sure if you're renders are pretty slow. If you've been following because this is a premium class, you'll know that the global elimination samples have been set to twenty, which makes this render much faster. And the physical settings have been such progressive and all of these are going down, but, other than that, we should be getting similar results. Let's see here, another thing, just by looking at this, you'll notice, is that it looks pretty cool, but the lighting looks a little more even than I want. I want some more harsh lighting coming from a certain direction, we're getting some cool textures here, but there's nowhere near done because there's not enough contrast going on yet, so we're going make our own lights.
9. Lighting: Part 2 (Plane Lights): To do that, what I'm first going to do here is I'm going to take this material here, take the luminance, and set this to Mix Mode, Multiply, and take the brightness down to about 75 percent. So this thing will be much darker now if we render this out. Now we're getting much darker image here, and what we're going to do is we're going to set our own light up. Sometimes I like to make a cool little design here with these. What I'm going to do is simply put this in a cloner, this plane, take the segments all the way down, we don't need to worry about them because they're going to be lights, and put this thing in a grid array, take this value to middle, down, Render Instances, and take the plane, and scale it down until we get a nice little formation here, then we can scale this up a little bit. A lot of times I use this as ceiling lighting, but for this purpose, I'm going to take this and use it strictly from the side. This looks good to me, make another material called Lights. Drag that on the plane, and we can start applying some luminance on it. Let's uncheck all these, and check "Luminance" of course, Illumination, click "GI Area Light". What that'll do is a lot of times with the low samples, you'll get a lot of splotchiness, especially from lights like this with a distinct source so this all help take away some of the splotches so always make sure this is checked on. We're going to crank this up. Let's start with 200, and let's see what we're getting. Already we can see some differences here, so this is looking better. I'm liking this more because we're getting a distinct light source. We can even see some nice reflections from this window pane type lighting here. What we really want to make sure happens is the subsurface scattering balls really look like they're getting the full effect here.
10. Texturing: Part 2: We're going to go back to this texture, and we're going to boost up the strength of the subsurface scattering to like 250. Set this value to like, let's go three. We can take the color channel off right now. Let's see what we're getting here. I'm liking that a little more. Let's take the value again. Let's take the path length down to like two, and again, the lower this number, the higher the render time will be, because it's doing a little bit more calculations for this. But I'm starting to be happy with these. Let's take the color channel back on, see how that affects this. Again, we still haven't applied the depth of field yet, although it is setup and ready to go. I'm happy with this. So I think we can start moving with the texturing too or the adding the bump. Let's add a little subtle bump to this. A lot of times for something like this, although texture noise and go to cranial or whatever that's called. Then just kill it to like 12 percent, and let's see how we look in there with some of these. I can definitely see the textures popping out. So I'm happy with that really subtle. We're not going crazy with that one. Our last thing, let's create our last texture for the balls or spheres, I should say. This one we can make a nice gold texture. I'll show you how to do that. For this, we're going to hop out and just tag the rest of these. Again, kill the color channel so we can see what we're tagging. I believe it's just the rest that are pure white. We got a tag, so boom, boom, boom, boom, got it, got it. Looks good to me. It looks like a lot of these we didn't tag. So instead of making the vast majority of them gold, we can color them. We make some glass, make one of them the subsurface scattering, and make the last one gold. So it looks like we covered all of them, oops, and sub this one right here. We can make this the subsurface scattering. Looks like we tagged all the spheres. Let's see what that looks like. Of course, it's not going to look like anything crazy. Let's go in this view. Just so we can say we tagged everything, and it looks like we have. So we can start messing with the gold texture. So really the biggest thing you got to worry about here is going to reflect this channel adding refraction legacy, and changing the Layer Color. A lot of people want to go crazy with this and go, "Oh sweet, let's go." Let's go gold. That is way too much. You got this value pretty much, but you want to make sure this is fairly low. Because you'll see even adding that amount makes this thing very gold and you don't want to go too overboard. So a lot of times I just take it back a step like that and make sure the color channel is killed for this. You don't need the color channel, but all ready, let's see what we got here. So we're getting a gold texture in. What's really going to make this look nice is the texturing we're about to do on it. Because this looks pretty fake with this makeshift HDRI we got going on. One thing we can start to do is crank up the roughness to like 10 percent and start messing with the bump. For the bump, I'd be happy with just using a noise. In fact, the noise we'll probably use is poxo, paxo or whatever. We're going to take this down to like eight percent, and take this up a little bit here to like 18. So kill some of those values. See what we're looking at. We're looking better with the gold, not completely satisfied yet. Without looking quite yet. Still looking a little unrealistic, but that's what we're here to fix. So the next thing we'll want to do probably is, you know what, I'm actually going to take the roughness down to five percent. Intake the bump up, take the bump value, take this down to zero again, the low clip, and take it to like 14 percent. Let's see where that gets us now. So we're getting a little bit of a nicer texture here. Again, anything we can do to kind of distract us from this HDRI in the back unless you're using a real one. A lot of times that does work, but we're using a studio HDRI for this time. But again, I guess I didn't show you what it looks like with other HDRI is paired too here. So if you want to take this and just test it out, take this back to a 100 percent and change it to one that's maybe outside. So something like this. Let's see how it looks now. Already getting much different light sources here. Yeah, and this is crazy like this is making everything pop away more. A little bit more than I'm going for this specific instance. But you can definitely see this thing is raging with color here. But I don't think we need that for this one. So we're just going to go back to this one, and let's see. Let's make sure we're in the right position here. We'll take this back to 75 percent. So it's not as bright and we're letting this, these lights over here set the mood going over there. What I'm going to do here is start to get used to what the final render is going to look like, and I'm going to enable depth of field again. Let's see what we're going with there, oops, not this one. See what we're looking at. Nope not this render. Let's make sure this one is the one being rendered. This will take into account the depth of field we have now. We're losing some of the splashes in the background, which is nice. For the most part, this is looking nice. Maybe I'm not liking the fact that it's this gold, maybe I can move it down a smidge and to the left, to get more of this rose gold, and this is how we get that rose gold book as well. Let's see how we do this. I think I actually kind of like that better to be honest, it's more subtle. I'm happy with that, more so. But let me see what happens if we take the subsurface scattering. Again, you've already learned how to use this. So it's not that bad if we were to take some of these values off. If we took this off and left them black like that? Again, this is what I do with literally every render. It's all about testing. Instead deleting these things out. So you've seen me make a perfect project on, first go. I think it's healthy for everyone to see the trials and errors. It's all about the good amount of colors working together. I mean, these things are all abstract, they're all over the place. But if you're happy with the way they look in the long run, I'm happy. I'm actually satisfied with this. I'm actually satisfied with the background as well. We can actually move this up, pure white. Let's see how that looks. We're actually almost done and ready to render this thing out.
11. Render Settings: To me that looks good. I think it's ready for the next phase because this doesn't look finished yet, but it still needs Photoshop. What I'm going to do is take the camera, go to like 0.25. So we can get a little bit more detail in there. I'm going to take this to 1080 by 1080. In the physical render, I'm going to go to fixed, let's go to medium, actually set that to five, and take these all to a value of four, and because we're not using [inaudible] scattering anymore, take that to zero. We're going to go to global elimination, take this to 150. Again, we want this pretty high because it's very easy for pure white backgrounds to get splashiness, and this is exactly where you can prevent that. Any other texture, I would say you could leave it like 100. But I would say with this one go 150 because it's more susceptible to being caught with splashes. So that looks good, and I think we're ready to bump this thing out. So we'll see you in Photoshop.
12. Photoshop Finalization / Conclusion : We just got this rendered out and only took about 20 minutes, which isn't too long when you think about it. A couple of ways we achieved that, one, we have this big border here, which allowed the render time to significantly decrease, which is exactly what we want because we were able to achieve this nice realistic looking lighting and texturing on these spheres. We also were able to add a border. I think it adds a lot, to not have these things spread out the whole way. Adds for a cool little border, and we're also saving render time. It's a win-win. We're going to jump into Photoshop here, save as a 16-bit TIFF here, everything looks good. Click "Okay". I'm going to save it as tutorial spheres, as a TIFF. We're going to jump into Photoshop here and drag what we just had into our composition. That's what we got. If we pay attention, it's actually much more grayed out. It looks flatter than what we had in internal 40 and that's exactly what we want. Because just like a raw image when you're editing from a DSLR, those appear flatter, but it also gives you more latitude to adjust the colors. I've gone through this and some other tutorials. But this one, I just want to mention as well. The first thing we're going to do, is we're going to duplicate this Command J. Right now, I always like to add a non-destructively. The first thing you want to do is convert for smart filters and that's going to allow us to go back into camera raw after and adjust the settings as well if we don't like it in the long run. We're going to camera raw filter. This is Photoshop CC as you can see. What we got here is the same image. The first thing I'm going to do actually is take the vibrance up, to let's say 30 for now, looks good. The next thing we're going to do is take this black value all the way up and you say, why would you do it? Because it's making it more flat and less contrast. Or we're going to make up for that by adding some contrast. The next thing you want to do is go to the split toning, I usually like to add some pool variations here. The change really happens when you mess with the highlights. Now, let me move this more towards the yellow. Now we're getting this really cool effect here. Looks like retro, even. But it looks so much nicer than what we originally had to me. Of course, we're going to go to effects and add a little bit of grain on this. You can see without, with, and some people who are not artists and are not photographers would argue, how would you add grain? It looks nice and smooth and therefore it looks sweet. That's totally up to you. But as a photographer, I want everything to blend in because I don't want certain things to have a little bit of nice and the rest to look like it's totally CG or whatever. This solidifies that it looks like a photo. Most people wouldn't even point it out, but it's a huge part of what I think makes these things look realistic in the long run. I'm definitely for it. We can go back here and mess with this color split toning. I want to make sure no colors look better. But I think I'm honestly sticking with the red here. The last thing I want to do is adjust these two values here. Make sure nothing else. I definitely don't want to go warmer with it, maybe a little bit cooler like that and maybe add a little bit of green. Take this back a step. It's just filling it out how you like it. The more realistic I think we can make these cool figures look, the better. I'm fine with that. Let's mess with the vibrance again. This is where it starts to look a little bit fake, but this looks too de-saturated to the point where it looks fake again. I think where we had it honestly is a good middle ground, 30. I'm honestly happy with that and sometimes exporting takes a little bit of the saturation out. If you want to go with like 35, that's totally fine. But we should be good here. This looks good to me. I'm going to okay this and if you want to go to this tab here and save your own presets tutorial. That way every time we okay this and we're like maybe you don't want to go back. This is more for, if you are editing non-destructively, or if you use the same lighting situations very frequently. Let's say you just had this. You're like, oh, I don't want to re-edit that whole photo. Let's go to camera roll. Go to our presets. Where did I? Was it tutorial? Yes tutorial. We're back here. It's very easy to get these presets that we've made back to us. To be honest, I'm happy with the way this turned out. This looks good for now. To save this, I'm just going to go to file export, safer web, or here's the Hotkey and everything looks good here. We're going to attend 1,080 by 1,080 quality, a 100 JPEG, before I export out, I just want to say, I appreciate you guys for watching and we're going to have a few more Sundays where I'm going to be releasing videos all the time. I appreciate you guys, going through my DMs or messaging me however you guys want, and giving me suggestions for future tutorials because I'm always looking for different classes to teach. I think I have a pretty good idea of the next one, but I like to keep it somewhat of a surprise. But any you guys who feel like you think you have a good class idea for me to teach, please feel free. Also please rate this video because it helps get it out there. I'm pretty sure if I go to Skillshare right now. You'll see that in fact, browsing through the classes, I think go and do animation, let's see if we are up there. We are literally up there. I appreciate you guys so much. Am the top trending class, my other one and the original class I uploaded is number one feature class. Now, I owe it all to you guys. I appreciate everything you guys have done. You guys have followed me a long the way through. It gives me more motivation to make these classes that much better. Until next time guys, take it easy.
Patrick Foley, 3D Artist
