TUTORIAL | The Ultimate Depth Of Field Guide for C4D Redshift

hey it's Nick here with grayscale gorilla and in today's tutorial you're going to learn how to set up a shallow depth of field scene using Cinema 4D and redshift you're going to learn how to set up beautiful out of focus areas and learn how to control it for the perfect look and don't forget if you're looking to learn even more about redshift we have some amazing free training over at grayscalegorilla.com redshift just sign up for a free grayscale gorilla account and get instant access to over 16 hours of redshift training today alright with that let's get started alright here we are in cinema 40 and let's get started the first thing we need to do is set up a ton of little details so that when we set up our camera in the depth of field it catches all of the nice little details so let's get started with a spline let's go up to the spline menu and pick the Helix now this is my favorite way to make a straight spline there's probably a ton of other ways but I just grab a helix and I set my start radius to zero my n radius to zero and then you have control over the height and you have a straight uh spline now I want this to aim up in the air so I'm going to click this until it aims up always forget which one XZ looks like the right one now we have a spline aiming up next let's clone this spline I'm going to hit shift C on my keyboard and search for clone and I'm gonna grab the cloner you can either double click it here or just hit enter and I'm going to drag the Helix into the Clone and we're going to set up a bunch of these splines here so let's go to our cloner let's go to object and let's do seven by seven and we need this to be much closer it's a good time to start talking about scale to make things look small and have that really micro macro depth of field look you want your scene to also be small it will help when we set up our camera so instead of the spaced apart 200 centimeters I'm going to space them apart four centimeters and now we have this tight little cluster of splines and I don't need it to be this tall so I'm going to grab the height and shrink it down okay so what do we do now well now I want to clone spheres on each of these splines here so let's go grab a sphere and man oh man is that big let's make a teeny one let's go point seven that's a little baby Spear and we're going to add another cloner here and we're going to clone the sphere so put the sphere in the cloner and in your new cloner let's call this sphere cloner in your new cloner come down here instead of uh cloning on a grid you want to clone on an object and we're going to clone directly in this new uh set of splines here so right here under object come down to cloner and just drag it in and now you see that we're cloning spheres directly on these splines and uh what it's doing right now if we look at the settings is counting to 10 on each spline 1 2 3 4 5 6 79 10. and you can turn this up or down if you want to add more um spheres to to this uh object here um but the next thing we want to do is make this less of a grid so what can we do well let's grab our sphere cloner and let let's hit shift C and type in random there we go I'm going to hit enter and if you have that sphere cloner selected a random effector will automatically be added and we get random movement here we don't want this random movement all over the place so let's go into our parameter and let's turn this uh down I think all we want is z that is correct okay so Z randomizing the Z Position will move it up and down the spline and give us this more like a random look that we're going for so that we have these little dots all over the place now's a good time to add a little bit of extra geometry to this sphere and while we're in our cloner let's also set this to multi-instance this will allow us to add a ton of spheres without um slowing down our viewport as much okay so what do we do now when we have these spheres that are touching well here is where we're going to add a push apart effector so grab your sphere cloner hit shift C and let's type in push and push part is selected right there I'm going to hit enter on my keyboard and boom all the Spheres are gone well what happened well the push part effector says hey if any sphere is within 100 centimeters of another one move it away until it's at least 100 centimeters apart so if we start moving out you're going to see all these spheres are here they're just randomly scattered you know way way away from where we want them way way okay all right anyway let's take this radius and set it to one and let's move in and realize that what it's doing now is moving uh some of these spheres we don't want them to move we actually want them to scale so go into this push part menu and click on scale apart and now you're going to see some of these spheres are being scaled down so that they are not touching that's a good example right there okay uh what else can we do well let's go into our random and also add a little bit of random scale I'm going to turn on scale I'm going to turn on uniform scale and I'm going to set this to 0.5 and that way we get this random stuff okay next we need to add some geometry to our splines if we open up redshift let's go ahead and do that now I'm going to use my startup layout my main layout has redshift built in here also built one for octane too when I'm using octane and if you haven't followed along with our uh how to make a custom interface tutorial we have one of those on YouTube uh we're going to try to link it up here in a card or down in the description and uh just search for how to make a custom Cinema 4D interface and you'll see how to set this up and lay it out okay now if I hit render here I'm gonna hit play in my redshift we have the Spheres but we don't have the lines so let's create these splines and recreate them in the scene now there's different ways to do this as well you could use a redshift tag and do that I'm just going to do it the good old-fashioned way with a sweep so the first thing I'm going to need is an inside and the next thing I'm going to need is a sweep so I'm going to hit shift C and type in sweep hit enter And The Sweep is going to sweep our inside which is a kind of round spline and we're gonna sweep that along this cloner right here so if we put that in here uh all we have to do now is take this inside and make it much smaller by default the radius is 200 centimeters and whenever you're working with small details like this it's often that the defaults are just giant um so you just need to knock this way down I'm going to set this to 0.4 and you can see the problem we have right away we have this um we have the spline here but it's not cloning onto each of these splines the way that I want so how do we do that well in this case it's connect object to the rescue connect object just solves so many problems like this when you want something to behave uh differently or as a single object instead of multiple objects always try a connect object so I'm going to go ahead and hit shift C I'm going to type in Connect and this is the one this one right here with the Green Arrow and now I'm going to drag my cloner in the connect object I'm going to drag my connect object under the sweep and now we have a line for each of the splines so let's set this up do a couple little things and then we'll move on first thing is I want to add more segments to my inside so it's not as jagged and I also want to make this much smaller I want this to feel like little beads on a real thin piece of string or something like that right now it's way too big so let's go to the inside and set this to point O seven let's start there lucky 0.07 that should be fine for now and again we could always adjust this later okay so we have all this going uh what do we have to do next well let's start to set up some of the basic depth of field settings and then we uh then we'll tweak it add little stuff as we go so let's first set up some basic materials so that we can add lights and cameras and really build in all of the reflections so that the depth of field works the way we want because it's not going to look good with just all this gray in the screen here so first thing we need to do is make a new material I'm just going to use just a basic black material go ahead to materials or I'm sorry we do not have redshift turned on let's go into render settings let's turn on redshift and after you do that you should get the redshift menu and then when you go into the create materials you'll see the redshift tab right here so go to your materials go to standard and let's just take this basic material drag it onto the sphere and let's go in and just make this black all right so now we're going to catch some nice Reflections and we have our basic black sphere well we have no lights in our scene and we need to have some nice little Reflections and nice little pops of light and that's going to give us those nice little depth of field bokeh balls and all the fun stuff that we're gonna get so how do we set that up well we need something for these objects to reflect the easiest way to do this is to grab a light and go to dome light and in your Dome Light Select an hdri now if you have an hdri that you love go ahead and click this button here go to your hard drive select it and bring it in if you're an hdri plus member you have access to all of our hdris and you could do this as well you could just drag in an hdri from the library or if you are not sure which hdri you're going to use you could drag this texture node right here drag it into drop zone and it'll automatically make an hdri link tag and allow you to then just click anything here in the library and it'll automatically change right here in your scene so for this one I'm going to start with modern industrial 2. I really love this window in the scene and I want to rotate it so go into your dome light and rotate around so it's just aiming off to the left there and you get these nice little Reflections I do not want to see it in my scene so go ahead and select the object tab right here scroll down and click on background and it will remove it from the background however I do want control over this black background so I'm going to grab a redshift dome light another one and this one I only want to use for the background so I'm going to go into my details and zero out all this stuff so that now all it's doing is adding a background to my scene I'm going to go to my object and darken this down I don't want it fully black but I do want a little bit of color here okay so we have some nice reflection we have these strings we have our our spheres here now let's set up the basic depth of field look and really understand what is behind it and for that we need a camera camera is the ticket to all of this depth of field and bokeh and all this so go to your redshift tab click on camera and then click on standard camera now if you've done Photography in the past and you've used any macro lenses or done any close-up photography you know that those types of lenses have a high focal length they're often 80 or 100 or 150 or higher to really zoom in and get all of this detail and that's really what this effect is all about it's about zooming way in and setting your depth of field uh f-stop very low and getting all of this nice light bokeh and everything so Step One is cranking up your focal length I've gone as high as 300 with this let's start with two and now we have all of our spheres here but we still have none of that depth of field well go into your Optical tab come down here to your aperture actually we're going to mess with aperture in a second come down here to Boca and click that button and just like that you get all these nice little pokeballs here now there everything's blurry because this lens right now is out of focus in our whole scene remember this is very teeny in Cinema 4D we made this whole scene very small and we made it small for a reason things that are small when you zoom in on them and you use the correct aperture and the correct lenses in Cinema 4D you naturally get realistic bokeh and all the fun stuff that we're doing this is harder and harder to get the larger your scene is because that's just not how lenses in the real world works if you take a photo of something large like a building you rarely have these big out of focus objects in the background Okay so what do we do now well how do we get some things in focus and some things in this bokeh world um and that is to grab a focus null so let's grab on null and I'm gonna call this Focus just by double clicking on it and in our redshift camera under Optical we're gonna drag this into the focus object and now with our Focus null selected we can go make sure we grab our model mode here go over to our place tool and then select any sphere here and just click and drag and that specific sphere will be in focus and remain in Focus throughout uh any movement of your camera okay so while we do have something in Focus now what happened to all of our beautiful out of focus well you can see there's some things that are out of focus but in the camera itself if you come down to aperture this is now our dial to turn up and down that blurry effect and again if you're familiar with photography you know that a lower number means the aperture is larger and it lets in more light and gives more of that blurry effect so a common number to start with is 1.5 there's a lot of lenses out there in the world that are 1.2 maybe let's try 1.2 and now we're getting that effect okay now we have out of focus objects that are behind our Focus plane we have objects that are in front of the focus plane and they're starting to give us this lovely bokeh effect okay and you can control it if you want it larger you can go lower you could even cheat it and go to something like 0.5 or if you want it a little bit more subtle you can crank it up to something like four and you're essentially dialing in the amount of things that are in focus in your scene okay so what can we do from here well another thing to keep in mind when you're working in this kind of macro shallow depth of field look is that a lot of detail really helps sell this scene anytime you've put something under a microscope or really zoomed in on something like your your fingerprint or anything like that you know that there's all this hidden detail in here that you really can't see until you get close up so the more little details we pack in here the more of that depth of field and and that feeling we will get like we're really zoomed in on something now this isn't so bad so far but what else can we do well let's add a little object in here and add a ton of little detail just so we have something else uh to kind of look at the focus so for that you can use any one of these Primitives and scale it down I'm going to use some of our new doodads here if you're a graceful girl plus member you have access to all of this stuff here and you can scroll down and pick any one of these uh I like this little Tetra right here and I'm just going to move it up in our scene until it shows up kind of roughly where we are there we go okay so we basically have this little object now I'm going to scale it down a little bit and it's right in the middle of all of this madness and if we put it in Focus now we're going to surround it with all of this nice little detail I do want to shrink down my sphere I don't need it that big so let's go to 0.5 and let's also add a little bit of material and uh all a bunch of clones on top of this thing to add even more detail so first thing I'll do is grab um let's try the leather I think this might have a ton of little detail we could use I'm going to use the leather black and I'm going to drag it onto our object here let's just see how the light plays off of that that's pretty good I'm going to focus now on that object so grab my focus tool grab my place tool and I'm going to drag it right there on this top corner and now when we get close up on this this Edge is in focus and everything else starts to become out of focus you're starting to see the power of this now we got very simple shapes very simple objects and we get all this nice little blurry detail here okay so what else can we do on this object well let's clone a ton of other objects on top of this to to find little uh details here so let's quickly do this since we already did this once let's grab a cloner let's grab a sphere let's make it super teeny let's go to 0.5 and let's clone that sphere and in the cloner let's go to object go to grid and switch it to object mode and then it'll ask you what object you want to clone onto let's clone onto this new doodad or if you pulled in any one of these Primitives just drag it in there and now we need to tell the cloner that instead of 20 clones we really want to clone thousands of these spheres around and before you crank this up make sure you turn on Multi instance this is going to again allow you to add tons of clones without the render hit so now I could crank this up 5000 sure why not okay there may be a couple too many Spears now on this object but we can solve that first of all we could shrink this down just a little bit let's go to point three lovely and then remember we have the power of that um push apart effector so with this cloner selected let's first randomize the size of these clones so I'm going to turn up the segments on our sphere just so we have a little bit more round sphere with your cloner selected hit shift C hit random and go to your position and turn that off and instead let's go to scale turn on uniform scale and let's go 0.5 so now we have different size spheres so that's a good start next thing we need to do is shrink some of them down based on how close they are so again we'll use that push effector shift C push and right here push apart hit enter remember that by default it just moves them apart you want them to scale apart instead and you want this radius to be way smaller something like 0.5 okay there we go now we have all of these tons of little details here um and adding a little bit of re of of detail for this camera to bounce light off of we can even add this same black reflective material to it just to add a little bit of detail and because we're using the multi instance we could really crank this up ten thousand why not once it's ready it'll populate the scene here boom and we have all this nice little detail all around our object you can see all these little things out of focus right over here and as we zoom out you're going to see it's catching all this nice little light here and here and here okay so where do we go from here well let's instead of having this one black sphere being cloned let's go ahead and copy and paste this sphere and instead let's add a different material for this one let's grab something with a little bit of texture but still kind of white or black this concrete might work let's grab one of the concretes here if you don't have plus just make a new redshift material up here and you can adjust all the settings just to make a same color it just won't have all this concrete detail on top of it okay so now with this cloner let's Zoom back in and now you can see we have different cloners doing different things based on uh the randomness here of our object and you can also see as we Zoom way in that this depth of field is so shallow it's just this one line that we could see and if you ever want again more focus in your scene just go to your camera and now it might be good time to organize your scene it's starting to get a little messy you just go to your camera and you go to your Optical tab go down to aperture and turn it up if you want things to be more in focus and turn it down if you want it to be less in focus and you want more of this blurry effect okay so now that we're setting up some of the basics here we're starting to get in the composition of the scene now the first thing I'll notice is that we have this nice reflection here from our hdri but the rest of this is very black um and it all the detail goes away anywhere else but right up here so let's add another light this case let's go to redshift lights area light and let's go ahead in the area light click on this triangle right here and select add Target Target and null what this is going to do is allow us to tell this area light where we want it to always Focus towards and in this case we want it to be right on this object so let's grab this light Target let's grab our model mode grab our place tool and literally just click right on our object here and now we want to grab this area light and move it over to maybe the side maybe the bottom is not the worst place because we fill in all this nice detail but it is way too bright by default so let's tone this down and all we're trying to do is capture a little bit more detail here on the edges and the sides and if I go to another view by clicking this button clicking this button here we're now looking at this from the top view and I actually want to look at this through a perspective view so go to your view I'm sorry go to your cameras go to perspective and now you essentially have a different view here that allows you to position this light without messing with this render if your camera moves go ahead up here and just grab whatever your camera is named my camera is named RS camera so just select this if anything changes okay so let's grab our area light and let's move it off to the side and I just want to add a little bit of fill light essentially to the front of this object and this is looking okay and we may just need to brighten it up just a little bit and now we're getting a little bit of detail here and this thing is still the standout piece okay so what else can we do here well let's grab our camera and let's play around a little bit with canting our camera in this case we can go to our coordinates and go to our rotation right here you can see this is set to zero and this will always be set to zero no matter where you move your camera because by default your camera is going to try to stay upright with the top of the camera pointing up and sometimes especially if you're zooming in or you're you know creating a camera around to really get a specific look your camera might be a little bit crooked this is where you can control that so you can just grab it and rotate it you can see it here in the viewport if we move around that our camera is Shifting left and right and there may be a key command for this as well if you know the key command to do this for your camera let me know I always grab this right here and just rotate it now we get this nice angled camera we get all this nice little depth of field from our ropes in fact our ropes are a little too thick still this is the moment when I start tweaking all the little elements because all of these things come into play at different levels depending on your lighting depending on how close your camera is and if anything's bugging you in your scene it's a good time to go fix it you don't have to only do lighting and only do models and then only do materials all at once um if you're like me you could jump around all the time so in this case I'm going to grab our inside and set this even lower 0.04 let's make these strings really teeny tiny like little ropes perfect so now this allows me to set up um a composition for my scene so what can we do well if we're wide screen we have some options let's drag let's go back to our camera and of course you could just set this up in the center and you know have all these lines kind of out and about you could also zoom in and make this kind of the focus of your render and maybe a little bit less angle on your camera and uh that might maybe angle it this way more and now you have this kind of close-up of all this detail and all these other spheres are around um let's see what else we could do there's also if you're working in square let's go to 1280 and in this case let's try a couple looks number one is centered let's get those angles going again and I also want to look down instead of from the side of those strings if you're looking down on the strings then these parts of these strings will come into focus and then out of focus and this is a really cool look here and this angle actually I really am starting to like what I might do is just angle this object down a little bit just gonna grab this rotation here and there's a lot cloning onto it so you may want to turn your clones off before you rotate it but that that's looking better I'm going to split the difference I'm going to undo that and go back a little bit because I do like that bright Edge I'm just going to move it just a little bit there it goes okay now we're talking okay so that's kind of a nice setup we have a little bit of detail here it's still very bright there I might even add a little bit more brightness to this dome light let's go into our object and crank up the exposure on our dome light that's going to add a little bit there and this is starting to look good okay so if you if you're coming to this tutorial to understand the basics of the camera and how to set all this up uh you know we basically um have done all of the parts with the camera that we could except for one thing I wanted to show you and for that let's go into our redshift camera let's go to Optical and let's scroll down to this bokeh remember early on this button did it all here's without all the nice effects and here's with all the effects now these little spheres here the bokeh these are the out of focus elements and we can control these inside of redshift to give them more realism and to really add a lot more beautiful detail to this render Now by default this looks pretty good we got these nice circles but if we open up this bokeh tab here by clicking this triangle you can see we have a bunch more settings we have the aspect ratio of the bokeh we could turn up and down if I turn this to something like 0.5 we now get these nice tall uh like anamorphic lenses you may have to go a little bit less than that maybe 0.7 you start to get these ovals and then of course if you go the other way they're going to stretch out to the side but there's even more control we have if we keep scrolling down here and we look at this tab right here that says image if you click on image it now allows you to drag in a bokeh image to add more realistic shapes to this bokeh and if you're a plus member we have a whole tab dedicated to this you may have not used in the past and if you haven't used it it's called bokeh it's right here and we have realistic lenses inside of this tab that allow you to just drag it in all the way from very simple shapes to these fresnel shapes that you may have seen let's start with one of these fresnel shapes just so I could show you a real drastic example right now these spheres are just purely white circles if I drag this in one of these fresnel shapes you now are going to see that it has a hollow inside and different lenses react to light in different ways and that's what these bokeh objects represent and this allows you now to dial in not just what your camera looks like but even the out of focus areas and how it affects it you could even grab some of these that have this chromatic aberration and have the different colors separated and again this is common in a lot of lenses especially cheap lenses will have separation depending on the brightness or depending on the Hue of the color and you now have control over this now my favorites are these simulated ones these are based on real lenses and real detail that hits the the lens and eventually hits your sensor so if you grab something like one of these simulated and and you uh use one of these that has a little bit of chromatic aberration you get a little bit of color uh detail and you get a much more realistic bokeh so uh I highly recommend you play around with these especially if you're cranking this number low you start to get these beautiful out of focus areas and you can play around with the quality of that out of focus area as you play with this now as we get to our final render let's go ahead and add a little bit of a Lut I'm going to go to our gear here and in the Lut I'm going to grab I'm just going to first of all turn on our Luts and I'm gonna go in and pick this Advantix 200. I've been using this a ton you could experiment with all of these we even have Luts in grayscale girl plus you could download um but I'm going to use this and use it just a little bit a little bit goes a long way here especially since everything is so dark to begin with okay let's close all this up let's turn that off and let's find a beautiful frame to render now now I'm just positioning my scene I really love all the detail here on the upper side of this object I may even add a little bit more um detail to these spheres just by going up to the cloner going to object and again we could just double this number just by selecting it and let's go uh to 20 000. you can see you can crank this up really high especially if you're using multi instance you may want to turn down uh the resolution of your spheres I may have went a little crazy on those so you can see all the little details there but let's go ahead and grab our two spheres and we for them being that small we definitely don't need all of this geometry so let's go ahead and just crank this down just a little bit and let's go to our push part effector and scale this down so that some of these larger spheres can still stay on the object without them all being shrunken down to little microscopic little bits you can see at twenty thousand clones we're starting to push uh the capabilities here of the cloner but that is totally okay um it's not that long and in fact we're already done here and so let's go ahead and find a final frame that we're happy with and then let's quickly talk about render settings because you do need to crank some of your render settings for this type of look okay so this is pretty good um I do like how much of that is in Focus I'm going to move my focus back a little bit maybe just back here just so it's not right on the corner maybe right back here there we go and you can see that it is a little bit grainy wherever things are out of focus and unfortunately this is just Brute Force you have to just give um the renderer a ton of time to calculate this now it's not super crazy like sometimes when you're working with glass and everything like that but I do want to warn you that you may have to crank things up maybe even just to this high setting to really clear up some of the grain here if you want to test it all you have to do is turn on your little wireframe mode here it gives you a little bit of a segment to render and you also want to turn on your bucket mode and it will essentially do a mini version of the render right here in your viewport or right here in your IPR okay and with these settings you see that was pretty fast but we still have some grain so let's go into our render settings and let's just click this to high for now and you can see it's going to take a little bit longer to calculate but it's already much cleaner and if you're doing animation this may be fine and if you're doing a large still you may want to crank it up even more especially if you're just doing this for Stills let's see if this cleans up this area over here oh yeah look at all that look at all that nice little detail here we got our nice little bokeh weird chromatic aberration happening and I'm still seeing a little bit of grain but I think we'll be okay for this let's go back to our regular mode and let me show you one more little trick while I'm remembering inside of your render settings under redshift click on Advanced and go into your system tab now bucket rendering right here um I have found that for my setup I have uh 230 90s and I find that for graphics cards that have more RAM and have more space that bigger bucket sizes speed up the rendering quite a lot sometimes 512 is too much so I just always default to this 256 and I'm going to do more testing and try to learn a little bit more about what's going on and if you guys know any details too put them in the comments but I found that this 256 setting really helps speed it up I get like 20 faster renters okay so with high setup um I like our composition we're ready to go I'm gonna hit shift R and we're going to render this puppy all right and we're all set we're all done rendering that took about one minute and the cleaned up really well so again depending on what you're trying to do you may want to turn that stuff up and down and this is a really powerful technique so if you made it this far I highly encourage you to experiment remember to keep these fundamentals in mind small objects work better than large objects lower aperture works better than high aperture and really picking a zoomed in lens and getting really close in and adding a ton of detail to your scene really accentuates this type of really shallow depth of field look all right here's one more tip to take this effect even further and what we're going to do is add luminant materials to some of these spheres to really accentuate these big bokeh balls we're making here so let's get started all we really need to do is take these spheres on the lines and make multiple different versions of them right now we just have these black spheres and I'm just going to hit command C command V to copy and paste this sphere and on this second one we're going to make a new material let's go head on up to create redshift materials standard and I'm going to drag this one on top of this new sphere and we're gonna go in we don't have to open up the nodes we just select the material scroll down go to a mission and this is where the magic happens crank this puppy up 20 we got some bright spheres here now that's too big and too bright so let's first of all make these much smaller so we could do something like 0.1 and now they're going to capture the there we go now they're capturing the lane adding these really bright areas and we can also change the color on this um and this is going to help get that really like twinkle light bulb look so we can go in here and just crank some really saturated colors to add a different mood to this scene so I love this really really saturated red let's also duplicate the sphere one more time and it also duplicated our material which is nice because we're going to make this second one a different color so open up this new material scroll down and let's change this from red to I don't know greeny blue or something like that a little bit opposite and now we're getting a little bit of both there we go um it's kind of teal color look looks pretty good we could also mess around with maybe some gold and yellow kind of vibes yeah we can mess around with the colors all day but this is the I'd like this teal better this is the effect I wanted to show you before we leave because this could be very powerful um and really accentuating this look and if you're trying to go for that Christmas bulb kind of feel really make these bright areas this is a good way to do it and remember if you want more or less of these lit up you can add more in the cloner so just turn up this number to add more spheres to your clones um or you can uh change the ratio between the different spheres so right now we have a uh kind of a one three to one ratio right we have two bright ones and one black one so there'll be more bright ones in our scene and if we just want to change that make it more even we can add another black sphere and this will just reduce the number of these really bright areas so you still have control even if it's random in your sphere cloner all right that's it I just wanted to share one more quick tip to push this look to the next level hopefully this helps in your next render if you have any questions or anything didn't work in this tutorial please let me know down below I love hearing from you guys and I always appreciate when you leave a comment thanks again for watching everybody and don't forget we have a ton of other videos here on YouTube all about how to use redshift so consider subscribing if you're new to our YouTube channel and with that I hope to see you in another tutorial really soon bye everyone foreign [Music]

Channel: Greyscalegorilla

Views: 32,730

Keywords: Cinema 4D, c4d, tuts, tutorials, motion graphics, greyscalegorilla, c4d tutorials, cinema 4d tutorials, greyscalegorilla plus, gsg, gsg plus, Redshift tutorial, cinema 4d tutorial, c4d tutorial, redshift depth of field, redshift dof, redshift camera, redshift bokeh, redshift shallow depth of field, redshift bokeh effect, redshift dof tutorial, redshift blur, redshift render, redshift c4d tutorial, cinema 4d redshift dof, dof redshift, redshift camera depth of field

Id: 0eRPpgJk4rI

Length: 40min 10sec (2410 seconds)

Published: Tue Mar 07 2023