Realflow For C4D: The Basics And Emitters

[Applause] [Music] [Music] hey guys it's Sam for digital me and in this tutorial I'm going to be looking at the real flow plugin for cinema 4d that's what one the right on the website so that's what I'm doing so this will be the first in a series of tutorials I'm going to do on real flow the real flow plug-in I'm going to start off with the basics and the emitters so that way often go through everything within the plugin over the course of a few tutorials so let's just jump straight in I suppose okay so first off once you've installed the real flow plug-in you get this menu up here so if you go to the top to real flow drop-down you'll get this menu now everything that you're going to do with real flow is held in what they call a scene tree it's quite similar to I think X particles or something like this as well so I'm just gonna go to the top and create scene and within this scene you you get meshes and it is fluid demons and these are kind of nulls for each of these kind of objects so they're kind of like holders really but this thing tree gets created by default when you create a real flow element so if I delete the scene tree and seeing as we're going to be dealing with emitters I will go down to emitters and create the top one on the list which is a circle emitter and you can see that it creates the scene tree for us and it's created this emitter object and this fluid object okay let's start with you mirror the emitter is basically the the emitter is basically where particles get generated from in 3d space so you can move it around as you can see you've got this which is the direction of flow this arrow and and also you have these markers which signify radius not radius some escape the object so that'll be width and depth so you can see that you can size those two things there so I'm just going to go straight back to normal so this is the thing that determines where the particles are generated from and this fluid object which got dumped under the fluid now this is the thing that contains those particles so let's let's start with your mirror let's bring this up a little bit and just hit play as you can see as soon as you hit play it starts generating particles now I just I pause this a second because that might be hard for you guys to see what I'm going to do is I'm going to click on this fluid object and if I go to this last tab display you can actually make the size of the particles bigger so I'm just going to give a take up to four so it should be more visible for you guys watching the video there we go that's a little bit better now you notice the color of the particles of blue and if you go to the display on the fluid you'll see this gradient here which signifies park color and this is based on velocity so the faster the particles are going the lighter they become and obviously you can see in the scene that they're a constant speed at the moment okay so let's go through the emitter types oh one more thing before I move on if you click on the scene and then go to the solver I just want to go through this briefly so this global tab here's his number of flavors in this is 12 which is correct for my chip I've got an i7 in this hex core so mote multi-threaded that's 12 logical processors so that's correct usually this will figure it out for you so you don't have to worry about anything like that these are just four sub steps the solver there's several different types of solver and then at the bottom this is what I'm going to talk about the GPU so you can say use OpenCL GPU or use cuda GPU I've got an Nvidia 917 it should list it here I've actually got two in there unfortunately you can't use art on use both realflow and uses one GPU at a time so I have got a cuda GPU so I'm going to take that on and choose this you like that if you actually click this help button and in fact I'll do that now and have a look at this and go down to the bottom for GPU it will say this option is only available if your graphics card supports OpenGL GPU I think that's a typo it should say CUDA GPU and good very fast with very fast multi-core CPUs the GPS impacts on the simulation is often negligible now my CPUs getting on a bit now and my GPUs is a lot newer so it actually should help in your case it might not always bring anything to a table so I'm just just warning you okay so now that's dealt with I mean play that's pretty much the same maybe a little bit quicker framerate so let's let's have a look at the emitter type then so if we click on our emitter object we've got a basic tab like you've normally would with any cinema 4d object coordinates so this is where it is in 3d space its scale and its rotation and all of which can be animated like any other cinema 4d object so I mean just taking a drink and and then we've got the emission so this is the important one okay so let's just play off soon let's crank this up to five seconds which you can't do when a real flow simulation is playing for some reason okay so the emitter type is currently set to circle wonderful that okay let's just go through this so that's set to circle okay the volume it creates a defined volume of particles the size of the volume is defined by the emission area and the value entered in this space so the emission area would be the site of the emitter and and I think this volume is so okay as you crank up you can see that the volume is being created so let's let's just say hundred fifty-three go back to the beginning so that's what it that's what it does it creates a volume of particles conveys it okay so let's click that down and then we've got the speed so this is the speed that the emitter cranks out particles so if I crank this up you can see that they start coming out faster and you can even see that there so obviously if it's at a faster speed from the beginning you notice they've got lighter as well because it's velocities are increased and if you remember what I'm saying about display tap on the fluid in the viewport it displays increased velocity lighter so let's go back to our emitter so the great thing about this speed thing is you can actually change oxide and you can actually change this value and animate that value so if you want it to you can have particles coming out of this speed and then halfway for it cranks up and you can see that the particles interacting with each other so I crank it back down again and then crank it up you can actually see that there's actually some there's in some play so my which is really really good it's what you'd expect from a fluid so that's good okay so that's just basically the speed that it comes out the emitter then they've got vertical random so if you don't want it to look regular if you don't want the emission to look regulate possible to randomly displace the particles and the so if I tell the vertical random down you can see that it's much more uniform if we go to a side view you may be yes can you see this very very uniform but if I crank up the random vertical you can see that now they kind of mixed together a lot more which is probably a lot more realistic I suppose by defy is set in 0.5 so I'm going to leave on nor point 5 okay so the next thing we can have look at is the horizontal random so this is um the same thing but I'm still a to avoid regular mission-based to displace the particles horizontally so again if I came to this let's have the vertical random Dennis only makes it more obvious so very very uniform if I turn the horizontal random right I'm you can see that it randomizes their position from side to side so at no point five so both of these at low point five is probably a good value to get some kind of random a mission although by default this horizontal randomness is set to null point one that's probably good especially if you don't when your fluid spreading out side emission if you click that and it just emits from the side of the emitter like that so you can is pretty obvious what allows doing and then this ring ratio you can see they're resuming to the emitter you can see that it's just a solid thing that this creates a ring so it will emit from everywhere but not that middle section and obviously you can tweak this to control where the particles are coming from it could be of be a very thin wall of particles if you wanted to so that's just you know some options for the emitter there and so let's crank all this back to normal he said to default I think that's all normal yeah okay so that's the circle emitter next we've got the cylindrical emitter so this is just an emitter with this shape and it obviously craps out from the side much the same values as the other the circle emitter so we've got a vertical random horizontal random and a speed so you can control how fast these are coming out and that's it that's all your options for that one next is the fill emitter change to that and not a lot happens so we're going to need some geometry for this one so if I create a cube and then we'll go back to our now it says body what's the body so if we drag our cube into this field and then play not a lot seems to be happy and apart from now this and it's because the cube is still visible so if we hide our cube we can actually see what's going on so basically all it does is it it fills the UM it fills the cube with the uniform amount of particles and or you can create particles on its surface so um did you do today or is it full volume I wonder what that does okay let's have a look so so the body you can then you can drag any closed object in into this lot I think it does have to be closed and then we've got this get value so if I just let this run as it is leave st. you can see that the particles kind of shifts likely they kind of reorganize themselves a little bit as you'd expect so this get a value and by default the emitter create a regular particle distribution so obviously it leads to some patterns which you can see and so from the side it's very regular and killer I really find it quite cool that in this view because of the way the particles are laid out look at this look at this because of the regular pattern of the particles it gives rise to this kind of mathematical feature it's cool man very cool there anyway if you didn't want that Rogerian basically sorts that out it adds random displacement to the particles and so let's just crank up the jitter into already look very uniform and then crank it up add some noise to it if you put it right up it's completely random and is now no longer any recognizable patterns within this shape which is great I also adds noise to the simulation as well you'll notice that all these simulations at present apart from the emitter ones look like they come to taking place in space and that's because our scene is basically a empty void there's no forces well there are forces between the particles so they can interact with each other they can collide and all that kind of stuff but the the scene globally at this point does not have any forces so no gravity there's no turbulence or wind noise or anything like that and that's where these come in demons and that's how it is pronounced as well demons that's just an old archaic spelling is from ultimatum mid 16th century or something something around that time period Burt here so demons are basically forces so we'll come to those in another tutorial but to just letting you know so if we go back to our emitter so that's what the jittering does the seed is so let's bring the jitter right down and get it back to zero the seed is to change the initial distribution of particles so if I crank this up not a lot changes because it's very uniform but if I turn the gear up and then change this seed you can see that there's some slight changes in the distribution of the particles so that's all that that's doing so let's put it back down to zero and zero the fill ratio for x y&z they're all set to one at the moment so one being 100% and zero being nothing it's to achieve partial fill of filling so you can you can choose how full a directory is so if I crank X down and I did it there wow what a lot seems to be happening Atlas bear it just needed to refresh so ah I think is actually gotta be it's gotta be plain okay so this is the Z ratio so you can see that particles are being created and destroyed this is the hypeeeee ratio and this is the x ratio so with a combination of those things I could actually say right I wanna choke this down to 45 percent I'm gonna take this down to say 0.6 and their stats you can kind of choose how full VM the object is so I'm just going to return all of those to their default values of one layers to remove it and you can delete particle layers from the outside to the inside and it creates a gap between the object and the fluid so if I wanted to as I step this up you can see that it's um is cranking it's you know slicing off layers from the outer edge on it so I saw that that does fill volume to checkbox and we this activated it will fill the objective particles as digital [Music] good good good yeah I think that's all all that don't it actually make sure that the volumes filled and lay off the next check box as you can see is grayed out here and for you to use this you have to uncheck fill volumes so with full volume disable the particles are spread over the object surface it doesn't create a particle stream when you meet a when the emitters associated object carries a texture okay cool so apparently this creates particles so I need a layer checked on so yeah this just creates a particles over the surface so as you can see it's just a cube of particles that's quite beautiful really kind of cave in on themselves slightly attracted okay so yeah that creates a layer of particles on the surface now underneath you notice that we have this texture slot so basically what this means is it's a new night so if you've got later turned off that this texture slot I don't think is available to us and so we've layer turned on obviously you get this thing on the layer but you can also use this texture slot to define where on the surface these particles are actually generated so less necessary test this on the make of material sometimes reflectance because we won't need it and in the color channel and we drop this down and create a gradient go into the gradient and I'm going to choose a very circular gradient and I want it to be a lot more sort of harsh so I'm going to drop that down and choose this to none so now we get this kind of thing so a black value is there where there's nothing in a white value is a positive value so that's kind of like 1 so 0 1 so I'm going to copy this black knot and bring up here so in this white area that will be particle generation on the D again like this and do this nope not need the black one and do this so now we've got this kind of pattern and I think so particles are only creating areas with texture value so color greater than C like texture tags and projection methods are not evaluated the emitter uses you v's only so what I basically means is if I try and drag this material into a texture layer nothing's going to happen I have to open it up and it's actually this texture that once so if we go back to the emitter now and just grab this image and drag it in you can see it's gradient and provide this and play bugger all happens and it's because this cube is sort of primitive object so it needs to be editable it needs you these for this to work so you press C hopefully now something there you go something will happen so you can see that it's creating particles just where our white sections are in this texture in fact I think I'm going to make it a little bit more obvious by cranking up the amount of particles now because this isn't actually eight emitting any particles it's just creating it on the surface what I'll need to do is go to the fluid and go to the fluid and then we've got this resolution so just to demonstrate I'm going to change my emitter back to the circle Emil go back to the start and we can see what these particles being shat out there let's go to fluid so the resolution basically describes in fact let me tell you its definition from the help with this setting you can change the amount of particles when resolution is set to warn a volume of 100 centimeters by 100 centimeters and by woman so 100 percent of me is cubed is filled with a thousand particles and so obviously if I set the resolution to - it means that 100 meter cubed area is going to be filled with two thousand particles if my understanding is correct so the resolution is already - so let's say I make this three let's make this let's make this five now you can see the stream is a lot more dense so it just means that the particles are closer together and there's more of them which generally will give you a better fluid simulation and it will demonstrate what stray valves talking about me they go for my emitter as well so if we go back to the emitter and turn it back to the fill type you can see that and it's a lot more obvious now than it was before so if we go back to the fluid again and say crank this up to 8 and then reset the thing or play it there's a there's a lot more particles not as many as I thought at least try 15 so if that there we go so yeah there's more particles to describe that texture that we had there and here we go will attract so you can learn you can get some pretty interesting results from them here okay we're done with that I met Alan I don't think there's anything else there um - where was I so the next the next one on the list I think is the image whoo let's go back to the beginning so the image Amer now because I had a gradient in the middle before it's dumped in this texture slot so this image emitter it lets you load a single image or an entire image sequence into this as an omission mark so if you took a video and convert it into an image sequence you can actually have a video sequence in here playing and the particle particles will be shat out in a using the values from that video so the lighter and the light of the image the more particles get emitted and the darker so I think it probably works of grayscale value excuse me so so we've got some of the same things as we did with the circle emitter we've got the volume so they'll just go specified volume amount we've got the speed we've got the vertical random of that horizontal random the only difference is that we have this texture slot that the gradients in at the moment and if I play it and go above you can see that you can see that the shape of the my gradient is being upheld in fact let's make this object a little bit bigger let's make it let's make it around 200 by 200 so there you can see my gradient is being respected and that's where it's a mooing from so yeah you can use any image in that way also it's probably good to note that while the simulation is happening I can move this which is correct so it means that I can animate this object and the simulation will run you know as such and also the other stuff you can rotate this emitter so you know you could you could wipe this emitter on the end of whatever animated hose or something like that and it would react accordingly which is uh which is really good it's great really so let's grab it's a mirror again oh and scale as well scale works so like it's garbage in and out so that works as well okay so I think that pretty much covers the image emission type and how did you do let's get back to our mirror object so image linear emission I think this one's rather boring okay yeah is this one's like it's a two-dimensional emitter so it doesn't actually have any sort of thickness if you like is just on the X&Y and again it makes a curtain like you know and so this height this is a lot like the volume type and it will just make a curtain of particles so like if I say I get 190 centimeters squared bang that's what it will do it will create that so that's rather boring and just like the other ones you get a vertical random vertical horizontal random and the speed so it's a little bit like a waterfall really like that one so yeah that's pretty much the long and short of it let's go to the object emission okay and as you can see that it's already populated the body bit here with the cube but I'm going to delete this just to make it a bit more interesting okay so if you're press play nothing happens because it needs an object so let's try this with this sphere here so there's a sphere let's go back to the emitter and let's drag off sphere into body and hit play there we go look around um I'm just going to go back to my fluid and turn the resolution back down to 15 to 2 because it was a little bit overkill okay so there we go looks like a slow-motion explosion or something okay so let's have a look at the emitter then so like always we've got the speed so I can slow the speed right down all I could speed it right up and now push those particles out bang okay so let's put that better too and drill it we've got a randomness and again this is to avoid patterns and regular structures by displacing the particles randomly so if we crank this up you can see the velocity of the particles as well so if I crank this right up bang yeah so we're getting some heavy interactions there so that's time this back down to one and and then just slowly incrementally crank this up and see what happens there we go sorry given there's a lot more randomness there and now it looks way less uniform crunch it up two point three point four point five we should start to see velocity change as the particles interact and bounce off of each other so they should get lighter yet they're definitely lighter now let's try one point five si a lot more random and getting some good collisions there that looks like a planetary explosion or something like that I'm just going to turn this grid off so it's not in our way so we get a nice view of this it's quite mesmerizing really okay so sounds like a leave the randomness on for the time being and distance threshold here you can determine out far away the particles should be from the object surface during birth so if I turn the sphere I don't think it's visible anyway actually let's go back to the other ways so if you get right in there and have a look at this so you can see that they're being generated from the object surface and if I turn this distance threshold up you'll see that let's crank it right up yeah you see they're being generated a lot farther well low very far away from the actual from the actual object and so there are thousand Cynthia's away if I bring this back down they should start getting generated they should oh that happens sometimes I haven't ironed out all the bugs yet so um I will restart and then continue recording from them okay guys I'm back and we've got a scene back again okay so I'm going to just create this randomness down to zero I think we got to distance R a child yet next is jeering so you can see this is very very uniform if I had some gel to it let's just say to didn't do too much let's crank it up a lot and yeah okay so this is kind of like jitter in Photoshop for a brush now if I go to the top view and crank this down press play you can see this very uniform and even when I add randomness I think it adds overall noise yeah doesn't all know that so let's add this much noise so yeah it sort of random generation so it's not this down so this is clean let's crank the jitter in up to 0.5 and see what it looks like so it's almost kind of like jitter in in the emission direction so instead of being really really uniform so let's have a look so very you can see that they're released at regular intervals like clockwork and that if the if the jitters up it kind of randomizes that emission you know forward backwards you know you name it if I crank it right up yeah but you can see from side to side is still quite uniform so if you rack the random up to 0.9 so a combination of these could result in something nice and random if that's what you're looking for you might be looking for something that um you know is uniform so necessarily set these back to their defaults parent velocity and the emission object can be animated and will flow for cinema 4d takes a something out of the object's velocity and transfers it to the particles during the state of creation so let's move this this if I grab this fear and keyframe it at zero and keyframe it back to that position and then what I can do is say here go here and then at this point go here so you sort those right in a little bit of a triangle so it does this and then play it so that will be animated like it should be but you can see the emission particles are just a meeting from it and not actually taken any the force of the the sort of object with it so let's have a look at the emitter and per parent velocity up to a point or up to 25 so now you can see that that's actually you can see the color has changed because the velocity of the particles have changed so it's actually transferred some of the energy from the velocity of the commissioned object into the particles itself let's crank it right up oh yeah love that love that they're being shot off into space bang so that's nice that you've got the option for that because there's no point doing all that calculation if there's no need for it and you don't need it it doesn't the simulation doesn't warrant it but it's nicer that it's there as an option and crank some of that in there yeah really good really love that okay so let's undo some of this animation and go back to the beginning so the other thing Wes we've got smooth normals this function should be used when the emission appears to random appears to be random or fuzzy okay smooth normals maybe it takes the normals of the object let's check out and there are smooth normals I really didn't see a difference well maybe hmm I think there's a lot of difference maybe it's one of those things where if it's not quite right check that box and see if you get a get a result maybe maybe that's the deal with that one and again with the texture and mission type fully not phases vertices so yet you can see that they're coming out the vertices now so if I go to display ground shading lines you can see that the particles have actually been coming from the points now and if I change the phases you can see they're being generated from the inside of the polygons it looks as if there's two to three emission points for each polygon there and I should imagine if you wiped up the resolution of this fluid in fact let's check that now if I go to fluid simulation and a solid fluid and crank up the resolution to five yeah now you can see there's a lot more mission points per polygons now but they are coming from the faces so very good if you can hear a word in the background that's my computer and it's my GPU kicking into action every time I play this okay so that controls that and then we get this text to type on the left and make that material again quickly so that I guys because of a crash yeah that'll do let's get down on this object ah now that's strange let's hide it and then go to our emitter and we got to choose our texture type oh this is got a be a editable object as well no that's that Lobby in there actually see what this looks like okay so we got okay so it's kind of like an eye so they should be out in that direction so look oh another crash goody goody gumdrops so that obviously didn't iron out okay guys I'm back again I'm not sure why these crashes I have in it maybe they need to make improvements the plug-in it may be the only maybe some you know it's locking heads with another plug-in I've got installed it could be just a hardware configuration issue that real flows not recognizing could be anything um I'm sure these problems get ironed out as we go along anyway I saved the scene now so I don't have to keep again you know bouncing back and forth like I shouldn't should have initially so anyway we've back to where we were I've got this fear as the object emitter and I just need to drag my [Music] paste it into this texture thing hopefully this won't crash if it does I don't know what I'm going to do Oh again this fear needs to be an editable object because it needs UVs and so I'm hoping that this one crapped the bed did we crank up the display yeah we did okay good and I'm hope I'm hoping this won't crash there we go so it's actually doing what it's made do now so if we actually have a look at the sphere let's put the texture on the sphere that might help you can see that there's only stuff being emitted from where is white on there so yeah that seems to be working as it should good okay go back to the emitter and what if we got next we've got what we are objects are we yep so sphere self-explanatory this one let's get rid of our sphere let's hide this so this one is I mean it's pretty obvious it just emits from a sphere shape again it's got a speed parameter and it's got a random parameter so you can randomize the particles just like the other one is it's got a fills fear options so it's just a full sphere at the beginning bang and then explodes if you don't need to do that you can pull the all of the internal pressure something like that so yeah not much to say about that one really the next one this is a spline now this is interesting and so let us create spline so if I go to the spline tool and I'm just going to the pen so I'm just going to draw out a spline shape it can be as random as you like it doesn't have to be anything particular so that'll do me so that's my spline just for argument sake I'm going to Center my pivot to the set of being world zero I'm going to Center it to the access center axis Center execute so it's in the center of all the points of the spline basically time to go where I use that up and I'm going to go to the emitter and lower it's got the spline object field on a drag neck in there and an object's a little bit off let's just drag that down a bit just so it's in the same position of the spline and in fact we can hide this point as largely irrelevant and then I can move this emitter up so it's out the way of you can see what's going on okay so this emitter then we got the spline object field we've got the creation field in the options you've got access to band edge you got the speeds just like all the other and it is any of this randomness just like the other one is so let's have a look so if I play it it is going to be generating particles from this splines edge which is pretty cool I think that is very very cool so let's just go through some of these options so the creation is on its axis if I go to tube it basically gives the object a radius so it craps out from sort of like a cube imagine a tube being swept along that shape it generates from the surface of that but you're probably wondering why is it only traveling in one direction and that's determined by these control points so as you can see this control point it determines the radius just the radius of it and it also determines the direction you can see this hour and so get to that in a minute the next one is edge so it uses the first control point - clamp particles out in the direction the spline is facing if you like now there is actually a way for you to be able to make these particles follow the splines path round so you can get some like twisted vortex II type water effects and but the best way to do that is actually through a demon one of the demons and I think it is called let's look where is it now it is called D spline so that's the best way to do that so I won't be covering that in this tutorial I'm gonna be going over that in another to talk about the demon specifically so let's just get through the emitters and okay so edge isn't particularly interested in this case I'm just going to tell you back to access and so we get this so how can we use these control points to when I control what's going on now if I flip down as control thing you can see which one of the control points is selected because it's white and if I press next or even better previous it will flip to this control point previous again he'll go to this control point each control point has got some control so we've got an offset so that will move this along you can even add control points so you've got more control points as you go along so I'm just going to believe that at the beginning its radius you can control in this case it doesn't matter so much but if I just change this from access to tube you can see that now this radius of control point one is a lot bigger than the radius for this one and what I do is it will blend between this huge shape and this not so huge shape it will try and blend between the two so there you go there's a lot more uniform now it's because it's flipped back to access there yeah so you can change that on the fly so yeah I can crank this up oh that's the offset sorry there we go so a lot bigger so you can see how you can control different aspects of this spline let's go back to access so you get you can see what's going on and speed you can have the mission coming out a lot faster for this control point and as you can see that it's very fast here and as it gets down to this control point which is of the slowest speed you can see the blend here so it's great now this is the best part rotation so you can actually choose where it's emitting from so up here is coming from this direction and again it blends that direction as it gets round to this control point it and blend so what you want to change this one will be just press next and it goes to this control point now so now I could actually change the rotation of this one to be out here somewhere so you can see that you've got a lot of control I can even turn it back in on itself I think I think I might have to go all the way around there you go and then we'll get some interesting particle interactions there : maybe I need to turn it in on itself a little bit more there we go so interesting collisions just but I think you add enough time let's give it a bit more time on the clock got pause it 10 seconds there we go so yeah you can see the Sun particle particle going on this okay so that's that's generally how you do it and if I want it to add you can even delete them so if I selected so this control point here let's go back and select it and then hit delete it will get rid of that control point I'm going to undo that if I go to say the last control point and then say add it all Oh actually yeah added one between the between these two control points I could say add another one and it will put one bail it looks like it's doing it uniformly oh it's whatever one you've got selected so if I've got this one selected and say add and it'll add one there if I've got this control point selected and press and it should add it here I think yeah okay so yeah you can add more control points for finer control point control and so yeah that's pretty much sums up that one again let's go to the emitter and lastly are pretty straightforward we've got a square for this one so as you can imagine that's exciting in it it's almost identical to the circle one but apart from being a circle is a square same options volume speed vertical random horizontal random and side emission so you can omit from the sides of the square and I think it's pretty much the same for the last one which is triangle which is exactly the same thing all the same options and so Domitian so that kind of covers the emitters themselves - they're sort of like the main crux of the location of point emission and it's the fluid that as he holds the information about the particles themselves so we'll be getting a lot more into the fluid and a lot more into these demons and the Nesher in upcoming tutorials so I hope that was a helpful for you guys you know as a sort of introduction and a first part really don't forget check out digital meet UK and you can vote on the next tutorials there which is good so I'll be putting a new poll up Singh also don't forget to support vigil me if you've got a couple of shekels in your pocket that you can get rid of go to the donation page and digital media UK that helps keep keep the light on lights on for me and I can it just means that I can make tutorials faster and spend more time doing it and also if you want to see something for you for your money you can always support us by buying a digital meet t-shirt from the merch store I just let you guys know I've updated the t-shirts now so if you want to buy the updated digital me now get a t-shirt that can be done now alright guys thanks for listening and I'll see you next time bye [Music] [Music]

Channel: DIGITAL MEAT

Views: 73,519

Keywords: Digital Meat, Digitalmeat.uk, Cinema 4D, C4D, Cinema4D, Digitalmeat, Greyscale Gorilla, GreyscaleGorilla, 3D, Workflow, Cinema 4D Workflow, C4D Workflow, Plugin, Plugins, Next Limit Realflow, Next Limit, Realflow, Real Flow, Realflow for Cinema 4D, Real Flow For Cinema 4D, Realflow Cinema 4D, Emitter, Emitters, Tutorial, Tutorials, Cinema 4D Tutorial, Cinema 4d Tutorials, C4D Tutorial, C4D Tutorials

Id: Kxf_HrIOeW0

Length: 50min 50sec (3050 seconds)

Published: Fri Jun 09 2017