Cinema 4D Tutorial - Create Digital Nature Renders Using Octane Render [Part 2]

hey everybody what's up it's David are you here again for I design comm for part 2 of this epic digital nature tutorial yes we are really going to be creating godrays this time for reals and then we'll be jumping in and finishing up our scenes putting in some custom Luntz and looking at some other interesting examples let's do it [Applause] [Music] finally the moment you guys have been waiting for let's look at the settings to create godrays so i've got two basic forests or trees sitting here and i didn't even bother putting the leaves on them because I think this stripped-down scene helps clarify the settings and allows us to work a lot faster so let's just drop in a daylight and I'm gonna rotate it until it's backlighting our scene here until we can actually see the Sun there we go so this backlight will really bring out the Rays because it'll be casting light into these branches which will then create shadows in the volume directly into the camera that being said the next obvious thing to add in is the volumetrics so let's click on our daylight here come to the daylight tag and then scroll down to the medium tab and just hit add fog so let's crank the thickness a bit until the light decreases this is going to depend a lot on our scene scale so we'll play with this value a little bit later let's jump in here and here we've got the density the volume step length the absorption and scattering volume step length doesn't do anything when we're in this environment medium but it does when we're using an actual fog volume and I'll show you that later so let's start by adding a float texture in here instead of the RGB spectrum just because it's easier to control so let's go to C 40 octane float texture and let's bump this one up to one so that we're getting full scattering and let's bring down the density until we start to see something all right so the most important control here for getting those godrays is this phase and we want to bump this all the way up to something like 0.9 and you can see that totally boost the intensity of the light what's happening is when it's down towards zero the light is scattering evenly but the more we bring this up the more the light is scattered in the direction of the light source so it kind of makes the raise a little more parallel so you can just start to see something happening here but it's not very defined yet let's jump up a level here and go to our medium tab and we just want to mess with the thickness until we start to see it get a little more defined if we go this way we're going to start to lose the so let's bring it this away and then we're seeing a little bit more strongly let's keep going and now we're really starting to see these form the last control that's gonna make a huge difference is this Sun sighs so just for comparison say I brought this up to like five and then I'll store render buffer and now I'll bring it back down all the way this time to 0.1 which is the lowest it'll go and you can see the smaller the light source the more these shadows sharpen up and finally let's tweak the thickness one more time I think around 20 we're getting even stronger results and then if we move the camera down you'll see this really become apparent and one more thing if I jump into the scattering medium and boost the density you'll see this gets crazy strong cool so let's take a look at doing the same thing with an area light so what I can do is I can actually just come in here to the sky color and take this all the way down to black same thing with the Sun color so we've lost the sunlight but now we're keeping all the same fog settings and then let's just drop in an area light and bring this up and rotate it 180 and then let's set it behind the trees a little bit and let's kind of pull our camera in here now the reason we're not seeing anything is because this is actually a very large light source in order to catch those rays we need the light source to be really really small so first let's just change this into more of a point light so it's casting in all directions we can come over to details and change the area shape to sphere and now let's just scale this down and you'll see that we lose light because that's physically accurate the smaller your light source the less light it can emit so we're just gonna come in here and boost this like crazy and now we're starting to see those rays so let's just crank this all the way up and that's the highest it can go but again the smaller the light source the sharper these shadows are going to get so let's store a render buffer here and then let's make this light even smaller and now to boost it even further and bring up the exposure we can add a float texture into these texture and distribution slots so we'll go see for the octane float texture and now let's just crank this super high and then let's keep scaling down the light until we get to a similar exposure value and if we compare these you can see before these were much softer shadows same thing goes with the ground if we take a look at this and we'll compare this and then I'll scale the light back up and reduce its power by removing this float texture so I'll keep scaling it up when we have softer shadows in the volumetrics we also have softer shadows on the ground alright so jumping back to the super small light source it looks pretty weird right now because we can't even see the trees we're just seeing the Rays and that's because we don't have any kind of fill light on the trees so we can do that if we drop in a second light source and this will actually be good to show a little quirk about octane here so let's navigate around and let's boost the power of this light source as well so now we're seeing the trees but we're also getting a ton of fireflies and the reason is that this light source is so much bigger than this one and the rule of thumb is that with smaller light sources you want to give them more light samples so if I jump into the small light here and go into the sample right here and start to give this higher values we'll see things start to even up at some point if we go too far we see that this area light now becomes the one with a ton of noise so it's a balancing act and typically the closer you get to the source the noisier the pixels will become so with volumetrics a lot of the time it helps to just hide the lights off camera so I'll bring this off-camera and in this case this one actually appears noisier so we can probably distribute this a little bit differently and maybe boost the samples to like 3000 here when I go up to 11,000 here I think it cleans up a bit more overall so just a quick aside because this process is really important for optimizing scenes finally let's take a look at what happens if we use the fog volume rather than this environment fog the environment fog is a bit more of a cheat so if we go under objects fog volume we get the fog volume box and I'm just gonna go to my daylight and go to the medium tab and clear this out so let's scale up our box here and you want to be careful while doing this because you might crash your computer so I'm going to take the voxels up so it's a lot lighter and I'll just keep scaling this to somewhere around here where it encompasses our vision so the cool thing about the fog volume is that because it's in a box you can isolate it to just certain areas within your scene for instance if you want fog just to the top of your trees or just to the top of some mountains you can do that or maybe a layer just above the grass for instance so let's jump in here and let's take the density way down until we start seeing our trees and now let's open up the absorption and scattering and let's do a similar thing with the face where we just bring it right up to 0.9 or so let's take our scattering up to one cool so we're getting our volumetric light back but it's taking a lot longer to render so it's a trade-off I think that this scenario is a bit more physically accurate versus the environment fog which is more of a cheat but you have to consider the trade-off of render time okay another quick aside if you ever wondered what the surface brightness tick boxes if you turn this off then your uncoupling the scale from the brightness so if I remove this texture here and bring the power back down to something a little more reasonable what it means is I can scale this light as big or as small as I want and it won't ever change the intensity of the light so at some point you're starting to see the actual source and you can see that it doesn't alter the brightness now this is less physically accurate so in general I like to keep surface brightness on but it's just another good way to get to that result where if you want to scale it down and not have to mess with the brightness ton you can easily get those rays okay and another way to get a cool look if I turn off this light here and go to options a none tick check camera this means we can navigate around without affecting our hero view so I'm gonna turn off this volume but just in the viewport so I can see what I'm doing and I found that when I move this light right into the trees it was creating a pretty interesting look so let's stick with that for the time being while we experiment with the volume object I'll jump back into this camera and then go to check camera again and I'll turn back on the volume so that we can see the voxels in the viewport so I'll jump it to the generate tab and then I'll put a noise in the texture I'm gonna drop in just a standard c40 noise I'll jump into the noise and then I'll select my favorite electric noise for creating some cloudy looks and now in order to see what's going on we definitely have to decrease the voxel size so let's set this to like 155 for now and we'll jump back into the noise and increase the low clip slider so that we're punching the noise down I'll boost the octaves as well and then let's just increase the global scale by a lot now let's bring in some more density so we can actually see these clouds and let's turn this other light back on so we can see the form of these things a bit better and maybe we'll duplicate it across as well so that we get even more okay right now there are some really big dead zone so I'm thinking I'll take down the size a bit more let's try 2500 that's looking a lot more interesting but now I want to give it some more detail and to do that I'm gonna have to go to this voxel size here and decrease this but if I go too far it's gonna crash so one way I can avoid that is if I actually make my volume smaller since we're just dealing with a smaller scene here so let's let's just scale this down and this is gonna clip the volume so you can see the volume stays the same but as we scale this down its clipping off the box so maybe we only want this much in terms of the fog now so we don't get hard lines here I'm gonna increase the edge feather all the way up and that's just going to prevent us ever seeing the clipping of the volume against the sides of the box and now if I jump back in here I can probably reduce the low clip so it's a bit more even on the hole and if we jump back here into our medium yet again we can mess with the scattering phase and this'll actually allow us to preview the shape of the volume a lot better because it scatters more evenly so let's store render buffer on this and then go back to our box holes and decrease this all the way down to like 15 be careful doing this though because this could easily crash your computer so now we're getting a lot more detail okay now I'm feeling like this is actually too small so let's go back to like 5000 and I think that gives us a bit more interesting variation in scale so now if I turn off those other lights I add it in it'll look a lot more dramatic maybe we need to bring back a bit of fill here so I'll just bring this one down and jumping back into the volume I can mess with some funky colors in here in both the absorption and scattering and then this light can come down even further back into the volume we can also mess with the density but that's going to bury the trees but also define the outline of these volume metrics in a really interesting way so imagine pushing through this could be really cool and remember that we can bring the scattering phase further up if we want to punch this light through the volumetrics even more but the trade-off there is that we're going to darken all of this stuff so in that case we will want to bring back some fill light with these other lights also if you ever want to see this refine a lot faster you can just grab your render region here and just have it preview this section and if you wanted a different look you could also mess with the volume step length this is kind of like feathering so the lower we bring this the more we're going to see these defined edges but for this I'm gonna go back to what we had before now weirdly the noise type electric doesn't have a seed so if you want to see different looks really quick you can just mess with the animation speed parameter so if I crank this up I'll get some different looks and lastly if I want to get even more detail in this rather than decreasing the voxel size even further and risking crashing the scene I can use this voxel multiplier here which will actually allow us to add more detail once the image goes to the picture viewer and I'll show you what I mean okay and it actually added the leaves back in because the render levels were set to 6 so this is actually a prettier result than I was anticipating but testing the voxel multiplier in this instance didn't do a whole lot because the volume metrics are not very dense so if we go back here you can see that I upped them to a much higher density and a much lower volume step length and I don't like this look better but it'll at least let you see what I'm talking about so let's boost this a bit in the filter so we can see what's going on and for instance in here you can see this really adds a lot more detail when I boost the multiplier so this is actually a difference between 1 and 5 for this setting but the number that works for you will totally depend on your scene and you're gonna have to do some trial and error all right so before we jump into the main scene I wanted to make a correction from last week and thanks to my buddy render head for this tip so we've just got a multiflora sitting here and if you remember it's not a big deal if we just click through the library and try out different plant species but the area we get into trouble is when we were removing unused materials so say we grab all these and go to materials convert materials and materials remove unused materials now when we were to jump back and try to add in a flower we get all of these missing textures and last week I recommended jumping into a new scene but there are some helpful tick boxes here that I know about so if we just click on insert new materials we can then click on reset materials and it'll remove all of them and from there we can then go and add our flour or whatever it is and it'll be fine but make sure both of these boxes are ticked alright here we are back in our scene the only difference is that I've changed the camera angle and lighting a little bit from last week and we want to finally add in the trees so let's drop in a new scatter object here and I think I only want like a hundred trees because this is not the biggest scene ever so I think 100 is gonna be enough and then let's switch to surface and I'll pick one tree to start with let's try I was having some good luck with this Morton tree earlier so let's drop this in and turn this on and of course we have to tell it what to scatter onto so let's grab the landscape and drop that in there okay and our vision is now filled with some tree all up in our grill so let's scooch back here and see what's going on so there's all of our trees but they feel a little bit condensed downwards like we can't see the landscape anymore so one thing that I like to do is just jump into the tree and we can go to the trunk parameters and then we can come down to trunk height and boost this up a ton there we go we've got much taller trees now so let's jump back to our previous view and let's boost these trees even higher there we go and that should get all the leaves out of the way well let's scooch this up so we can see a little bit better ok so the first thing that should be pretty obvious about this scene that's really wonky is these trees are growing diagonally out of the ground which doesn't happen much in reality so we can just go in here to this octane scatter and super easy change the normal line to zero all right so that's looking pretty cool maybe we do want to introduce a little bit of that variation so we can maybe blend it back in so that they're not all perfectly straight up so there we go maybe that's a little bit more interesting ok at this point we also need to add in a random effector so let's go to mograph effector random and let's put this down here and apply it a nun tick position turn on rotation and let's do 360 let's rotate our daylight around so we get a little bit more light coming into the scene and after a bit of tweaking I found this position that I liked and this is where things start to get really fun and creative because we've just created this whole world that you can fly around in and pretend you're a photographer find compositions that you like and for the most part it's procedurally created so it's pretty bizarre still to me that this is all possible so say I come down here and I like this composition I can do my favorite little trick with my bokeh and go to my thin lens and start cranking up the aperture change my aperture aspect to two and then edge to three so I get more of an anamorphic bokeh look and suddenly we have this really pretty nature picture that looks fairly convincing I'm gonna jump back to our camera angle we were using a second ago and let's play around with adding the rest of these trees in here and see what happens and again we landed in the middle of the tree so let's navigate out of here so again this is looking a lot more dense so maybe we could just copy the tree height for most of these that we did with this Morton tree so let's go to trunk parameters select the trunk height copy that and then paste it into the rest of them okay that helped but maybe let's try getting rid of some of these bigger trees that are blocking out all the light so let's get rid of the beech tree the cork tree and the oak okay that's definitely more like what I'm looking for let's jump back to our original camera angle and there like maybe some weird distortions from lengthening these trees out for whatever reason the Morton tree I think responded better to that so I'm just gonna go back to the simplicity of that single tree in this case but in a little bit after we do the godrays I'll show you a scene where I've used a bunch of different trees for bigger aerial shots cool there we go let's play around with adding in a sky so I'm just gonna get rid of the trees real quick so we can focus on the sky alright so I'm gonna go to objects hgri environment and then I'm going to jump into this image texture and navigate to an HDR eye that I like okay I like these visit park sky domes and they come in extremely bright so I'm gonna reduce the power at I'm cool and then I'll hit UV transform so I can scale it around I'm gonna scale it down quite a bit so that we get a lot more detail and then I'll jump up one and rotate it downwards and keep in mind this is only going to work if you have mix Chi texture on on your Sun without it you're only going to see the background from the sunlight let's turn our trees back on and let's boost the power of this a bit so it's a little more subtle and so we're not getting such dark shadows and if we want to further effect HDR I like maybe shift the Hughes or desaturate we can just add a color correction here but there's a bit of a gotcha to keep in mind that it shifts the position of the hgri so we're just gonna have to realign it let's turn back off the trees and if you look now these controls don't work anymore because we've added a second node in here so let's jump into the color correction and deal with this first I think I want to shift the hue a little bit if we go this way it becomes more cyan I think I just want to desaturate a bit and maybe shift the hue slightly to pull it a little bit away from purple okay now if we jump into this image texture we can then bring this back down let's pop the trees back on and let's scooch the surround and see if we can get a nicer background okay I think I took the saturation down a little too much so let's split the difference alright so this is looking really cool but let's finally use what we learned about godrays to totally change the mood of the scene so I'm gonna rotate the Sun around until we're back lighting the scene there we go and now let's go into this North offset and play with this for a bit okay I think this is getting close but let's lift up the Sun a bit let's keep rotating it until we actually see the Sun I think this is getting close you can tell because the shadows are coming towards us it's good to our coordinate and just drop this down even further okay this would be a whole lot easier if we lost the trees again should've done that earlier and of course the Sun is just right there so let's pop the trees back on and then rotate the Sun just a bit more until it's kind of coming through the leaves so we know we're gonna get some of those shadows so there the Sun is blasting us so let's just go a little bit up until it's covered so I think right about there is gonna be good alright let's drop in our fog and then before we mess with the thickness let's jump into the scattering medium and take the scattering all the way up to one and maybe the absorption around 0.5 though it's easier with a float texture so there we go the absorption just controls how much light is soaked up by the volumetrics so if you go for a higher number closer to one you're gonna get a lot more light in the scene but it's not gonna affect the distance that you can see into the scene unlike scattering which will let's go back to 0.5 and let's pull down the density so there we can already see even without changing the phase we're getting some of these rays which is pretty cool now keep in mind our daylight is also at a Sun size of 0.1 if this were higher these rays would get a lot more diffuse let's go back to point 1 jump back into our scattering medium and let's take the phase right up to point 9 okay we're getting somewhere but obviously it's way too much right now so let's mess with the thickness to see if we can dial this back let's jump up okay this is an interesting look it's a little more graphical and silhouette II pretty cool but I don't think it's what we want let's take the thickness lower but increase the density and this is cool but maybe we could rotate the daylight a little bit downwards so that we don't necessarily see it directly okay now we've got these pretty intense light rays beaming through the trees I like this look better but it's still really really strong okay I just took the thickness up to 265 and this gave us more of a super foggy day and taking the face back closer to zero will basically scatter the light a lot more and produce more of a general fog so I never thought I'd say it but these God rays are over the top and I want to take them way back so the main controls for that would just be the phase so if we took the phase back down to zero these will get a lot more subtle and to me that's already looking a lot more natural we can also reduce the density and I think that's looking a lot more subtle and nice if you wanted to find these a bit more again you can just bring the phase up a little bit so that's definitely more defined and pretty but not horribly over-the-top so I loaded up this scene into the newest version of octane which is 3.08 RC 2 and this is available to subscription users and for the rest of this tutorial I was using 3.07 but I did this because I wanted to show this new feature with custom Luntz but first I noticed that the settings don't look the same at all so if you're following along with me you might be having trouble if you're using this version so I want to just show a couple things that I do to get the scene back to where we had it so it looks like Amon has changed the thickness to medium radius and that's just a difference in the name but it does the same thing so in this case I found that if I crank this up to around 2000 we'd start to bring those strong cadres back in so the software is always changing and these values will change with it so it's more important to learn the techniques behind what I'm doing rather than the values that I'm using and it's always gonna take some trial and error and dialing values against each other with any scene to get to the point where you like it now one more thing I'm gonna lose the god rays and turn this sunlight back on so it's gonna override the previous one and this is one last thing I wanted to show about HDR eyes in our scene right now we've got some pretty deep shadows that I'd like to lighten up now if we went to our daylight and we turned off mixed sky texture you'll notice that the shadows get a lot lighter but then we lose the backplate which is not what we want but maybe there's a way we can get the best of both worlds so let's turn this back on and now if we come to this environment tag we can change the type of the environment from primary to visible and by default that's only gonna appear as a backplate and you can see we've now got much lighter shadows that are dependent on the daylight instead now if we want to control this even further we can duplicate our hgri one more time and this one we can set from visible to primary and now we're kind of back where we were but here we can jump in and change the gamma a lot and you can see this is affecting the shadows so if we bring this way down we could really add a lot of fill light in and all the while we still have independent control of the backplate so we could come in here and we could desaturate it and we could expose it up and down but here you have to be careful because you can easily break reality and create something that looks pretty weird where the background is not well illuminated but the foreground is so even the way we have it right now the rocks are clipping but the background isn't so that's not very realistic so what if we boosted this background to two and now we're clipping but things seem to be more in the same range and then we could come to our camera imager and bring down the overall exposure and this feels a lot nicer to me in terms of the exposure from what we had before the shadows aren't too crazy deep and the highlights aren't blowing out either okay here's the new setting I want to talk about it's called custom LUT what that stands for is lookup table it basically means just a color grade it's a way of transforming colors from one set of colors into another to get a different look so think like Magic Bullet Looks but it's all integrated in TOC which can help you make decisions in render rather than in comp so from my color grading days this is one of my favorite let pax it's called Osiris it's vision - color comm and if we look at all products you can see they're not too expensive and this is what I'm gonna be using so I can navigate to this custom field here and navigate to my Osiris pack and rather than installers I'm just gonna jump into my Lutz and we've got versions of these Lutz that are both log and rec.709 so the log Lutz are meant to be applied to much flatter footage and the rec.709 let's are meant to be applied to footage that already look pretty contrasting in normal so that's what we've got here so we'll use the REC 709 okay and my favorites that I want to highlight are K DX and vision X so I'm going to start with K DX and so this is pretty interesting already you can see how much this is shifting colors and making a dramatic difference and all the while when we're navigating in octane we can be viewing through this LUT which is pretty cool this one I like in particular because it kind of has an orange and cyan vibe but it creates really strong primary colors and just blues a little bit more towards cyan and greens a little bit more towards this yellowy orange color you can see these strong oranges so if we compare this and then take down the strength this is a really cool that we have the strength slider so we can blend it back so let's go all the way back to what we had this is a pretty big difference that it's making but the reason I like these Luntz is because they're pretty subtle they're not like wrecking the colors like you'd expect from something like magic bullet they're just constraining the color palette okay let's bring this back up and if we feel like this is a bit too yellowy green we can just shift this a little bit more this way and maybe boost this a bit and now maybe it's getting a bit magenta so let's bring it back a touch but maybe shifted even higher that's looking pretty okay to me if we enable our a/b comparison you can see what I mean we've gone from pretty green to a little bit magenta so maybe we could bring it a little bit the other way still there we go I think I like this better and now the other thing to take a look at is we've got this drop-down called order for response gamma and LUT so what this means is the response curve is happening first as the first grade then the gamma is applied next and then the LUT is applied after that so if we shift the order of these things it's going to dramatically change the image so typically I'd say stick with the default but if you know what you're doing you can change this around it's just like having a layer stack of color grades and after-effects where the order matters because you're processing it in one way and then you're processing additional color tweaks on top of that okay let's try out one more let let's go to this vision X and this one's a little more stylistic it puts a lot of Blues in the blacks and shifts the highlights a little bit yellow but it's kind of neat looking maybe let's give this a half cut and maybe let's shift it away from magenta that's looking a lot better so maybe now we can crank it back up so let's compare this to it without and you can see the color difference that's making I've been waiting a long time for custom Lutz in octane and it's really cool to have them because I used to do a lot of color grading work and I've got some favorites to pick from this one's got a very sepia tone kind of interesting this one really hits the orange and cyan thing hard to the point where it's really ugly so I would definitely dial this one back and if things are flattening out too much you can always play with the gamma and exposure and try to correct against it until you end up with something a bit more interesting cool so now that you know the majority of the techniques that I use I just want to show you through a couple of scenes and give you a bit of a breakdown so this is a larger scale scene and it doesn't necessarily have more instances like if we take a look at this scatter for the grass there's only just above a million instances they're just larger and a bit clumpy err but from a distance it works and here with the trees I've got a bunch of different types in there so we get a lot of variation and I've got 15,000 instead of just 100 like we used in the last scene because this is meant to be a much larger scale scene and it's covering a much larger distance then for the distribution I've got a layer shader with a couple noises overlaid over top of each other to create large patches in the trees so they're not all uniform and the same thing goes with a scale I've piped in a noise into the scale so that we get a bunch of variation in terms of the scale of the trees and in this case the god rays are created by this volume object rather than an environment fog so if we jump in here nothing too interesting going on I've got white in both the absorption scattering and the scattering phase is set to zero in this case and as for the volume box itself if i zoom out here you can see that it totally covers the whole landscape but not really the sky so that with an aerial view we can see a bit more clarity peaking up over this haze also in this case the voxels are set to a thousand because we're not actually looking for any detail here and we're not creating any clouds or patches and it's always kind of a stout once you've built out a world like this that you can just fly the camera through it and try to find interesting compositions and places to seat the camera basically in order to take pretty pictures all inside your computer it's pretty freaking weird okay and if I turn off both of the scatter objects and this volume you'll see the secret to my large scene it's that the geometry is extremely simple it's just a plane with the displacer so the planes got 255 segments and width and height and then in the displacer I just set it to the basic noise type and I've got the scale super-high so we've got these rolling hills so if we wanted we could make these hills even more extreme and turn all the scatter and volumetric stuff back on and now we've got the tops of these little Hills poking up through our volumetrics and there we go we've got a totally different look going on so these are some scenes I've been experimenting with lately and I'll run you through it here in a bit and you'll see that in this tutorial you've learned everything you need to know to create these scenes so even these lanterns are utilizing all the same techniques we just learned for instance the ground is just a couple real displacement textures there's a volume object covering the scene this time with voxel size 500 white colors in both the absorption and scattering and if we pan up here and keep going we can see that there's a sunlight pretending to be a moon light up here so if we look at the sunlight you can see that I stripped out the color from the sky color and sun color and then in the camera imager I've got the white point set to very orange and without that the Sun and the rest of the scene wouldn't have that blue cast so I like seeing that blue and then the warm orange from the lanterns and if I take off the volume all that's back there is a single black color even though lanterns are using some techniques that we use before so if I jump into this paper lantern and go to the node editor I've piped this diffuse texture both interested diffuse slot and the transmission so if I were to remove these nodes let's just get rid of the bump there and then take the transmission back down to zero where it was originally you'll see that light is no longer allowed to pass through then the second we piped this into the transmission that allows the lights that I've got sitting in these lanterns to shine through them and again these are just spiracle area lights all right well that's about it for now but let me know in the comments what other ideas you've got for tutorials I've got some myself like light tunnels underwater scenes snowy scenes some space-based base slash Mars stuff the list goes on I'm gonna be doing these tutorials forever so you just let me know and we'll do it for you see you later

Channel: eyedesyn

Views: 121,574

Keywords: digital nature, nature renders, octane shader, octane render, otoy, otoy octane, cinema 4d octane, cinema 4d octane tutorial, octane nature, octane trees, octane god rays, god rays, octane volumetric, octane volumetrics, octane LUTs, luts, cinema 4d tutorial, c4d tutorial, cinema4d tutorial, c4d tut, cinema 4d tut, cinema 4d, c4d, learn c4d, cinema4d, eyedesyn, octane lights, octane volumetric lights

Id: aBKtkNjzpqM

Length: 36min 55sec (2215 seconds)

Published: Wed Apr 04 2018