Surface Advection - Content Repository Tutorials 2019

[Music] hi I'm Bob Worsley from in Cydia and in this tutorial we're going to look at recreating this surface advection scene from our FMX trailer so here's some surface advection going on this is marios scene and it looks stunning doesn't it so what we've got here is basically some particles that are stuck to a surface and they're rotating and that's pretty much it but we're getting this really nice organic fluid like motion and this is all using explosion X to add vector khals not their position but their rotation so let's jump into cinema 4d and we'll get started so let's build our scene first of all what we need to do is create a shockwave in explosion FX and that we're going to use that to add vector particles so we'll go to X particles menu let's bring in a new system and we need to go to the dynamics tab and the dynamic object is an explosion effects object which brings in this kind of domain alright so we don't need it to be this tall as the shockwave is going to be blasting outwards not upwards sewing just reduce the size of that a wee bit I'm just going to get rid of the X particles logo in our system objects go to icon and view porn just delete that right so because we're not gonna be rendering this explosion we're just using it to add vet particles it doesn't actually have to be that detailed and as a result we can increase this voxel size which means that the simulation is going to be less detailed and will be quicker to simulate so let's just try it on say 5 centimeters okay so there we go we've got our explosion effect source and we've got this default emitter that the system brings in and it's spitting out particles on the z axis direction so we need to change the orientation of that so let's go to the emitter we'll go to the object tab and we'll change the emitter shape from rectangle to circle and we're going to change the emitter plane from plus Z 2 plus y so now we have this circle emitter fire in the particles upwards what we can do is we can select ring only and other particles are only coming from the circumference over that emitter and now we want the particles to be jutting out as if they were coming from kind of the normal direction of this spline so to do that we need to change the cone angle so if I just hit this 3d button it gives you this visual representation of the direction of travel of those particles and if I change the Col angle you can see the cone widens out and now the particles are going in that direction so if we put that at 90 degrees it will be flat and we get the particles coming out in this flat plane which is what we want okay so at the moment they're coming out using rate so they're just continually being spat out we just want a shot of particles on the first frame so let's go to the emitter emission tab and we'll change the emission mode from rate to shot and now this is going to spit out a thousand particles on the first frame we don't need a thousands let's put that down to say I don't know I put 150 for now we can make adjustments later should we need to so we've got a shot of those particles I'm just going to reduce the radius of that a little bit there's our particles now I know our speed isn't gonna want to be 150 let's just lower this to say a hundred and put a tiny bit of variation oops maybe like seven there we go I mean leave them at full life okay so let's just make these particles a bit easier to see if we go to the display tab we can change the default editor display from dots to circles now circles is a really good display type because what it does it accurately displays the particle radius which if we go to the emission tab the radius is set to be three centimeters and so is seeing how big through a three centimeter radius particle is not seen so that's useful now what we want to do I'll just leave it at that for now because this will demonstrate something I'm in a couple of minutes so let's leave it at three centimeters so now what we need to do is we need to tell our Explo F X domain that our emitter is the thing carrying fuel which is what we want to ignite so to do that we give it a tag to enable it to communicate with the exposure effects object so let's go to tags X particles tags and an explosion effects source which goes on to our emitter now if I hit play still nothing will happen and that's because the emitter is able to communicate with the exposure effects now but the emitter isn't carrying any fuel data so there's nothing to burn so what we need to do is go to the extended dated tab of that emitter and we need to go to the physical data sub tab and we will give it let's just give it say three fuel and now if we hit play still nothing is happening why not well the particle radius at the default three is too small to be recognized by the domain when we have this voxel size of 5 centimeters so if we just increase the particle radius let's put it up to say 12 we should get some results and there we go so there we have got our shock wave starting now the display mode and explosion effects if we go to the exposure effects object and display by default it's set to this slices and if we want it to look more detailed we can increase the amount of the imagine it being cross-section slices making up this this graphic and this 32 so if we change that to 64 it's much more detailed and if we increase our resolution say 120 now we're seeing a lot more detail in this explosion but this is going to run much more slowly because the displays having to work out a far more detailed visual so instead of doing that I'm going to put the resolution back down to say 64 put the slices down to 32 and you'll see we've got much better feedback so display mode that I like to use instead of slices grid and what you get let me just make that emitter invisible what you'd get is this kind of grid of small spheres and if we increase the voxel level of detail we start to get more and more detail in that grid and we can go above hundred percent if I go to two hundred percent now we've got a really detailed grid of these spheres this will probably not run particularly smoothly so let's put it on 150 okay so now we've got a pretty well fast running scene with our level of detail and we'll get a good representation of what the explosion is and it's running really smoothly in the viewport without caching so that's working nicely so we've got a basic shockwave one of the problems here with our shockwave is that we're getting this initial burst of fire the smokes kind of stand remaining static and then it's lifting upwards so what do we need to do what we want is the fuel that has been ignited by the particles to respect this initial speed and velocity of these particles and we do that by going to the explosion effects tag and we have this velocity value set to 100% we can go above 100% so I'm gonna put it up to say 300 and now we're gonna see this fuel carry on its journey outwards and some of its struggling behind but that is much more the kind of shockwave that we're looking for and that's how you make a basic shockwave if you wanted to render this that is the basic setup now there's a couple of things that we can do to make this more interesting in the emitter let's randomize some of these values so we'll give a bit more speed variation let's give some radius variation as well and that's just going to make it a little bit more well a little less uniform and what else can we do with the shockwave we could in the explosion effects simulation tabal gonna leave all of these default for now don't to confuse things by changing that but one thing that we could change is we can add a little bit for tissa which is going to is a bit bit think of what to see a little bit like curly turbulence it's just going to give us a little bit more detail in the shockwave and if we were wanting to render this shockwave in a scene as a fire shockwave we might want those particles moving a bit more quickly we could put it up closer to 160 and then pull it's going to fire out a little bit more quickly so there we go that's a very very basic shockwave but we're not rendering this shockwave we're just using it to add vex and particles so let's just put that speed down to I don't know let's say 80 okay so what is going to happen is we're gonna have some particles and in fact instead of me talking about it let's just build it so I'm going to just make in fact I'll deactivate the explosion effects so now what we want to do is create our particles which are going to that their orientation is going to be unaffected by that shockwave so we want them to be static and we're gonna make them static by sticking them to a bit of geometry so let's bring in a plane that's going to be our geometry and I'm gonna hit nd to display those lines and we want a new emitter so let's go to the emitters sub-tab in our system and we'll create a new emitter and in the object tab we want the emitter shape to be an object and we're going to drag in our plane we want to emit from the polygon center and we want to stick particle to source object and we want one particle per source element we're going to get one particle per polygon and they're going to be stuck they're not going to move so if I hit play you can see we now have those particles let's let me just change those to from dots to arrows okay hit play so what's happened is it is spawned a particle which is an arrow on from the center of every polygon and the arrow is pointing in the Z direction which is the default orientation okay so in the emission mode what I'm going to do instead of this being rate I'm just going to turn it to shot so now we have this now even though that particles have a speed value because they are stuck to the source element they aren't able to move so this speed value has become irrelevant I'm just gonna put the radius value up to say seven so those arrows are a little bit bigger right so what we want is we want these particles to be pointing in the kind of normal direction in the direction of travel so the way in which we're going to rotate them in that way is we're going to use particle rotation so let's go to the extended data tab of our emitter and we're going to go to use rotation and put that on and we're going to set the rotation mode to tangential which means that they'll always be facing in the direction of travel so if I hit go now they're pointing upwards perfect so there we go and have a hit play nothing happens they just stay static now if I get a modifier and let's just go to the modifiers and we'll go to the motion modify so let's say we get a turbulence now we would hope that if we add turbulence at work our strength right hook we've got turbulence happening we hit play and that modifier is having absolutely no effect on these particles whatsoever and that is because in our emitter we have the particles being stuck to the source object so even though we've got this force trying to move those particles around it's been overridden by the fact that they are stuck so that doesn't work but what we are able to do is use dynamic objects to move these particles or to change the orientation of these particles which is really useful so we are going to use our explosion effects object as this dynamic object but we could use a different one let's just do an example before we use our shockwave let's go to dynamic objects and bring in a flow field there we go so by default the flow field has got this this directional force field going in the plus set direction so if I hit play let's see what happens the particles are moved from their initial position to the direction of the flow field so we're able to change the particle orientation using a dynamic object and this flow field is just set to default which is in one direction if I change it to random we can see that they move into that random direction which is interesting so we can change to particles orientations using dynamic objects so let's just delete that flow field instead what we want to do is use our explosion FX shockwave if I hit play nothing happens our shockwave is calculating but it's not doing anything to these particles so what do we have to do well we need to tell explosion effects to add vector particles so the way we do that is we go to exposure effects we go to advection and we click on add vector articles so now if I hit play two things have happened the particles are moving around the place and they have turned black why well they've moved around the place because we in the advection settings were advective the particles using velocity so basically these particles are inheriting the velocity from the explosion effects but we're also passing on all this other data that we don't need we're passing on smoke data let's get rid of that we don't need any smoke data don't you only burn data and the temperature data we do you need velocity it's also passing on caller data now because we aren't solving for color in the exposure effects look I haven't got color checked so there isn't any color information so it's just turning them black so let's just take away that color so now it's only the velocity that is changing our particles it's not looking quite right yet but it's it's beginning to work so let's do a couple of things first of all I think that the explosion is happening a little bit too quickly so in our emitter source let's change the speed down to say 60 and what I want to do is I want full randomization of that speed so some of the some of the particles will be will be going at zero centimeters per second and some of these are going faster and this will change that and it'll it'll mean that we'll continue to get movement near the middle of our shock wave okay so we're getting there it's still not right yet but we're kind of getting there so instead of our shock wave a shock wave starting from the center of this plane we wanted to start from this edge and spread outwards so all we need to do to affect that is we need to move the shockwave emitter from here and we need to move it to the edge and now it's going to spread this way okay now an interesting thing is happening here which is messing up our shock wave if we have a look at our shock wave particles they're flying all over the place these are the ones creating the shock wave and that's because these particles are being advocated by the shock wave they're creating and it's messing up the simulation so what we need to do is tell our shock wave particles not to be advective only our arrows we want to be advective so to do that we go to the shock wave emitter we go to the modifiers and we'll drag in to exclude explosion effects so now that's better now we're getting this spreading out shock wave and that is going to mean that our shock wave is going to remain as it should I'll make those particles invisible now we've got a shock spreading across this plane good so now if we disable the vision of the shockwave and look at our arrows once more so now we're getting something that is beginning to look like a spreading out but you can see a very strange things happening we're getting this this very defined square edge where our particles are going from pointing straight upwards as their default position and orientation to being laid flat now why is this happening well if I reveal my explosion effects domain you're gonna get an idea and it's all to do with this bounding box which is the bounding box of the simulation calculation now what is happening is outside of this bounding box there isn't any different velocity information because it's not the explosion effect isn't solving this area it's only solving what's inside of this bounding box which means that when this jumps outwards we're getting this very rigid line which obviously isn't what we want so if we want to add vector calls in this way with orientations took particles what we have to do is switch off this adaptive bounding box solving of exposure effects which means that unfortunately it will be a bit slower to solve but because we're doing it at such a big voxel size anyway it's not going to make that much of an impact so I'm gonna switch off adaptive bounds which means it's going to solve the entire thing and now we have got something that's working much better so let's just make that explosion invisible so let's see we've got the explosion and then we've got this spread of our shockwave okay so let's just try and make this look a bit more visually appealing so we can see what's going on a bit better what I'm gonna do is I'm going to make the arrows smaller by going to the emitter and let's put the radius back down to four so now we've got smaller arrows and I want them to be far more arrows at the moment is there's not densely populated enough so because this is all procedural and I'm able to just go to the plane add some more segments that's put it up to 80 so it's way more subdivided but now we're gonna get way more particles and we hit play and now you can see we're getting this really nice organic spread as these particles are making their way being orientated by this shockwave advection so that is looking really nice and that's the basic principle of how this works so obviously Mario rendered his scene in cycles 4d and we'll move on on to do that a little bit and I'll show you how we set up his render but just in case you haven't got cycles you can of course just use the standard or physical render to to render out a very similar look so the way we'll do that is we will do it using a next particle generator and we'll just generate some clones so let's just make the clone first so we'll bring in a cube and let's just reduce that down so we want we want the cube to be along a long thin stick effectively so let's just change this I'm just gonna eyeball it okay it's probably still a little bit too wide let's put it down to say 3 3 and like 20 hi so this is what we're going to clone so now what we're going to go let's in the emitter I'm just going to let's just hide the visibility of those of those arrows so now we're going to go to generators and I'm going to go to the generator menu and we're going to pick an XP generator and this XP generator asks for which emitter do you want to generate geometry to so let's go to it's this one drag it in and now if I make my cube a child of the generator and we go forward 1 now we have generated all of these cubes very nice now they're not orientated correctly because what it always does it Orient's them in the plus Z direction so what we need to do with Mikey let's just pull that out and so we want it orientated in this way so the the quickest way of doing that we want the pointy bit going that way so we want it in the Zed and this will become the height so let's put that at what was it twenty three and three let's put that back in my generator hit go and there that's better so now they're orientated in the right way and what I'll do is that's got a generator and let's make these render instances and you should move much more quickly and there we go now we're getting this spread nice looking good and what we could do is obviously make adjustments to this you can make these fatter so there there isn't as much of the planes make the plane invisible so you could you could have more you can maybe maybe you would want to increase that's get this plane still parametric so let's have more clones this is gonna be load now but we're generating these on the fly we're still getting fairly decent feedback seeing as our exposure effects and sim isn't cached it's not doing too badly and there we go so then of course what you can do is make a material apply the material to your generator and this can be rendered using standard or physical and that is going to work as desired so that's how you do it the old-fashioned way I'm just going to get rid of that generator make the emitter visible again so I'm back to my arrows you see with arrows obviously we've got much faster playback so we're going to be using cycles 4d so what I'm gonna do is I'm just going to jump into my cycles 4d layout and we'll go through setting up this scene lighting it getting the materials on and how would set up our render settings so here's my cycles layout and we've got the object manager here in the top right attribute manager as normal below in the bottom right and then this is where it's slightly different here's my viewport which is smaller and I've got my cycles 4d real-time preview above it at the moment it's just rendering black because we have no lights in the scene and I've got a larger area here for my my material node editor so let's get going with this then if we go forward one frame what we want to do is we want to sort out a camera angle and put some lights in the scene and we just gonna do this as if it was a still you obviously couldn't render this as an animation and do with it what you like so what we want to do is get a decent camera angle now it's quite difficult to see how our simulation is working at the moment because we've got these this display mode these arrows that are only outlines and they all kind of merge into one big blob when we can't see any individual kind of patterns developing as they rotate so what we can do a really quick trick to be able to sort that out we just go to the viewport options let's go to the opengl options and just activate the ambient occlusion we'll get this fake shadowing and now we can see the moving a little bit better it's not perfect but you can get the idea this really nice kind of organic spread and this I mean it it looks like a very organic kind of growth system doesn't it but all it is is particles rotating but it looks really nice so what we need to do is get a camera angle that we like so we want to kind of get up close and see some of the kind of patterns moving maybe some of retain some of the flatter areas so maybe something I mean something like this obviously you spend an awful lot longer getting the angle that you would like so that's looking pretty good so let's just fix that down we'll go to the cycles 4d menu we'll bring in a cycles camera and let's just put a cinema 4d protection tag on there so we can't move it so now that cameras set excellent right now now that we've got our ambient occlusion on we can see something that odd happens on frame 1 there might go forward on a frame 1 you can see that look every single arrow is Orion is orientated it's looking upwards so it's kind of on the on the normal of the plane apart from this square in the middle of arrows which are pointing in the Z direction which is an error mean that shouldn't be there why are we guessing that well this is a bit of a quirk of explosion FEX and there's a very very quick and easy way to get around this if I make my explosion visible again what you'll see is if we go back to frame 0 we suddenly get a small adaptive bounds box now this is despite the fact that in explosion in the solver tab we switched off the adaptive bounds but for some reason kind of a quirk on on frame zero we're guessing this adaptive bounds and the result of that is if we just make that invisible again on the following frame particles that were were within it are being advective in their rotation and we're getting this cube of advective particles which is wrong then we move for the next frame and it kind of it goes correct again and the simulation begins so it's really easy to get around that actually what we need to do is go to the exposure effects object let's go to the advection tab and on frame zero let's deselect add vet particles and put a keyframe then on frame one we will select add vet particles with a keyframe and now there we go so that's sorted great ok let's go back to our camera so this is where we're going to be rendering this from so we're not seeing anything in our real-time preview that's because we haven't got any lights so let's bring some lights into the scene and we're gonna use some geometry instead of light so we're going to give that geometry and emissive material which means that the geometry will be casting the light so I'm gonna go to my objects menu appear and take a plane and we'll just rotate that and I'm just going to eyeball this as I said I'm not gonna spend an awful lot of time getting this absolutely perfect something like that it's gonna work I'm gonna have it quite low down because this is going to be providing light in the scene but mostly we're going to be using this to reflect off our shiny surfaces which will be replacing our particles so that's what we want so there's our geometry let's go to create cycles 4d surface and we'll make an emission shader and I'll just drag this and drop it onto the plane let's set our real-time preview rendering and there is our plane with the emission material on it but at the moment we can't see the particles why not well that is because the particles have no material so cycles isn't able to recognize them so let's go to create cycles 4d surface and what we'll use is the principled shader which is a fantastic shader because it allows you to do diffuse objects with specular should you wish you can use this to make metal materials you can use it to make glass and you've got fantastic subsurface scattering in there as well so it's a real kind of can do material and very versatile so let's put that principle shade that first of all we'll stick it on our emitter and now we can see that we're getting something rendering here so let's just get that light and we'll change the color to full right actually that's just slightly off-white and increase the strength a little bit so now we're seeing if I dolly in here we're seeing something being rendered and what is being rendered is every single particle but not getting the arrows every single particle cycles is instancing a sphere on those particles so that's what we're seeing that's not quite what we want we want to instance some geometry at every particle position so to do that we need to go to the emitter in question and go to tags cycles for D tags and give it an instance tag okay nothing's changed because by default the instance tag creates spheres but now if you look in the tag attributes we could drag in any geometry into this and it will instance it into onto the particle position so let's get that sorted we will create that's just it with cube so we've got a cube and let's make it thin and we want it to be tall on the z-axis I forget this every time I do it I'm pretty sure the z axis will be instance pointing upwards so let's just go into this cube and we'll put it down to say 2 centimeters on the X and the y and then maybe 15 centimeters on the Z so quite a small object and then we'll go to the emitter instance tag drag in the cube ah so there we go we can see that this is starting to work and here are our cubes being instance by this tag so at the moment they're just this kind of clay material because you have to actually texture the object for which you are instancing so if we drag this material off our particles because we don't render those surveys anymore and pop it on the cube now we're getting this object and just just to demonstrate that in that principled shader let's just change the color blue so there we go we're getting this blue material on here and we're getting a bit of reflection off this light and that's because we have a specular value return the specular off we're not getting that turn that back up so there we go and let's just put that back down to the white right so that's good and I think that's a look through our camera so I think these cubes are still a little bit too big aren't they they're intersecting too much and we're not getting that nice kind of wave pattern that we got in Mario's render so let's go to our instance tag instead of changing the dimensions of the actual object we're referencing we can just do this size multiplier when this will just scale it down so there we go scaling that down and now we're getting these what we could do I suppose we could have a little bit of variation as well just so it's less uniform and now we've got this now the disadvantage of doing the size variation is that we're not getting particularly flat values anywhere in our plane and it would be quite nice to have some flat values because we'll get really bright reflections of those sections so that's I mean it's looking quite stylized for an abstract piece let's leave it like that for now so instead of this being a diffused material what I'd like is for this to be a metallic material so all we do with the principal shader to get metallic is to go from metallic zero put it all the way to one and now this is a metallic object but because there is no roughness at all the only place where we're able to see this metallic surface is where it's catching the reflections from our lighting plane but if we just increase this roughness it'll make it slightly more diffuse and now we're starting to see other areas of this of this metal so that's looking pretty nice what we could do is in our emission material we can change this color let's just add a bit of a color value and be quite subtle with this goes a long way and now get this really nice kind of brass curl gold looking tint from here if we were to increase the strength we can kind of blow these areas out a little bit he's really harsh highlights okay so that's looking alright another thing that we're able to do if we move the plane let me just obtain this camera if we move this plane down we're gonna get a much more contrasted look but we're still gonna get a very bright hot spot reflection here so the result if we come back to our camera we're getting these really bright areas but we're getting lots more contrast here which is which is quite an interesting look I could also perhaps move this plane over here again so now we're getting this really bright area and so much more contrast so that's working okay for now let's just duplicate that light source so I'm just gonna hit ctrl drag it here now I've got another one and what I'll do is I'll just let's rotate that kind of this way and this is gonna add a little bit of reflections on this side and fill the shadowing area ever so slightly I'm just going to lift it up a bit as well now what I'm gonna want is a different material for my second light here so what I'll do is I'll control drag this emission material which makes new one put the new one on to our plane - which is our second light and then with this material let's put the strength down we can give it a different color so we could go to blue so we gain this nice blue sheen now on this side which is nice and I think work was slightly too over overblown here I think if we had a slightly different camera angle it might work okay if we have this camera angle so it's not pointing down as much it's something like that may kind of work okay but let's just stick with our original for now right so what we'll do let's just take this original material reduce that strength down somewhat to bring back some of that nice color and now let's just saturate it slightly more sorry inside it it's always a good idea to adjust colors from this pulldown menu because you can actually do it in real time and it'll update in front of your eyes whereas if you click on this you can still adjust them but you won't see the results of that until you press ok so it's always a good idea to instead of clicking in here to pick your color press the down arrow and then you can do it in real time and see those changes happen in front of your eyes my magic right so I think we could perhaps have a little bit more roughness we make a bit slightly more diffuse material there we go so the last thing to make this look stylized is we can go to the camera and we'll go to the cycles 40 tag the camera tag and in the depth of field settings we can increase the size of this radius so it's immediately blurring this image out so it's made a very shallow depth of field so what we need to do now is tell it which area of the scene we want to be in focus so to do that you click on the camera go to the object tag and you've got this focus distance so click that button and you can point anywhere you like in your scene to get to pull into focus the area which you'd like so let's do this third down here increase that radius so it's pushing it all out of focus and obviously you can pick whichever bit you want this little section alright that's working okay so just finally what we're able to do here and would mention this in another tutorial if you're using the early access cycles we have a new bevel node which is a rendering bevel node which means that it does it at render time so instead of if you want your cubes to have a nice smooth edge you could do it in the actual geometry that's being instant's by putting this fill it on but the problem with that is is actually making more geometry and then it's instancing that geometry thousands of times and it's going to children's slow you down so what you're able to do with the bevel node is to make that bevel at render time which is much quicker so the way we do it is we right-click in our editor let's go to input and we've got this new bevel node and what you do is you drag your normal output into the normal input of your principal shader and the key here is the radius is gonna have to be really tiny especially in a small scene like this probably point zero zero one maybe and it's just a subtle change but what's that that's done is it's added a smooth beveled edge to to these cubes which make it slightly less uniform and just make it it's more pleasing on the eye because really in the real world no matter how beautifully and detailed a machining of metal is you're never gonna get a perfectly right angled edge so always putting a bit of babylons nice and then bevel node means that you're able to do that at render time which is very quick compared to actually producing and creating the geometry in your in your source object so there we go and obviously this isn't samples aren't high enough here we've got areas of noise so let's just stick this up to say 30 and it's gradually chugging away cleaning that up and you'll see that these areas will get get nice and clean the more it goes you can also use denoising should you wish to try and speed up your renders denoising means that you can have fewer samples and it kind of blurs out the noisier areas gonna be big careful with it because it can make renders look a bit blurred and a bit blobby but it can be very very useful technique but we'll have more on rendering and more specific rendering and detailed tutorials on that later so that's pretty much it we've taken our explosion effects shockwave we've used that to add vector particles which means only their rotation as advective making this really nice wave pattern and then we've rendered that using cycles 4d instancing very simple geometry beveling that at render time which saves time as well and the result is this really nice abstract scene and as you could say if you in in Mario's in Mario's example if you spent a long time animating the camera getting your lighting spot-on you can get some pretty stunning effects so as you can see a relatively simple technique there which gives some fantastic organic looking results don't forget to subscribe to our YouTube channel to get alerts whenever we've got new content published and also you can find out information about how to get hold of ex particles cycles 4d and how our maintenance system works all that plus loads of free scene files on the insidious I so do check it out ok that's it for me I'll see you next time you [Music]

Channel: INSYDIUM LTD

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Keywords: MAXON, Cinema, 4D, C4D, X-Particles, xparticles, particles, simulation, cgi, vfx, mograph, motion graphics, motion design, design, cycles, cycles 4d, computer fx, fx, INSYDIUM, digital art, motion, motiongraphics, 3d, 4d, effex, visual fx, software, tutorials, tutorial, tip, hint, help, quicktip, trick, hints, content repository, 2019, Cinema 4D, advection, surface advection, full

Id: amjgSU-1uE8

Length: 43min 57sec (2637 seconds)

Published: Fri Mar 01 2019