Watercolor Toon Shading with Redshift?! | In-Depth Tut

okay let's talk tune systems it's been a long time coming red shift finally has an answer to non-photo realistic rendering tune shading rendering it's pretty impressive it's fast it's pretty fully featured and it's fairly easy to get some really interesting looks I'm going to break down how it's able to get this watercolor sketchy look using grayscale Gorilla plus materials and the new red shift tune system let's jump in okay so here we are in cinema 40 we've got our robot here full disclosure I'm going to using quite a bit of grayscale gorilla stuff so if you're not a member what are you doing go get a membership get access to all this amazing stuff that's going to be part of this video if not hey I understand you know you might be able to follow along with whatever uh assets you're going to use but we're going to be using a lot of gray scale gorilla stuff so obviously we have red shift as our renderer and I went ahead and turned off uh Global illumination because we're not going to need it for this I also went ahead and did a couple other little things that's worth noting uh I actually brought my samples down to like my bucket quality down to low just to speed this whole thing up turned off Hardware R chasing which is going to speed things up initially too uh there's no glue GI I limited my combined depths I limited my Reflections I'm not using that um I limited a few other things here just to make it go a little bit faster and the other thing that I did if I jump into advance and go under sampling I am using a triangle filter but again you could just you don't have to touch this I just wanted it to look extra sharp so I'm using a triangle filter with a filter size of 2.5 but you could obviously just leave this as default if you wanted to it's up to you all right so the other kind of housekeeping thing that's worth noting is the uh the use of uh some of these post effects here so if I twirl over my little gear here in the IPR I'm going to go over down to color control and I'm going to enable this little S curve that I've built here now the S curve is also lifting the blacks a little bit so we're not getting anything that's like truly black and then it's a pretty aggressive curve kind of Towing up or uh you know the shoulders kind of going off into the highlights here which again you don't have to do it's just something that I did in the scene that make it made made it look a little cooler all right so let's collapse that down uh what else is worth noting here oh let's set up our background so the way I'm going to do that is grab my camera and I'm going to use the background tab right here which is relatively new uh and we're going to change this to override and you can see it's already got my image loaded in which is just coming off of one of the uh graceco gorilla uh craft papers which is the natural lotka paper O2 and I'm not going to show you how to pull that in it's pretty easily uh pretty easy you can just figure out where that file is and then just dump it in here and it gives us this nice paper background that we need to get our our illustrative look going and I think I dropped the saturation way down to 85% again you could throw any T texture back here that you want I just using a paper to make it kind of sell that that illusion that this was actually painted and and drawn on actual paper all right so next up let's start building the material okay so the first thing we're going to tackle is going to be the contour lines the lines that kind of make the whole thing look like it's drawn right so let's jump over to our little material area here grab materials we're going to go down to Red shift and grab a new tune material and we're going to dump this right on top of our robot Mech and immediately we are we're given all these amazing tune lines uh so for us to visualize this properly and really understand what it's doing we need to change the tone map so you can see the I'm not going to get into the you know complete tour of this material but it works off of tone mapping uh Contours and reflection toe mapping we're not going to be doing anything with reflection so I'm just going to go ahead and unplug that and delete it we're not doing any sort of tune Reflections on this guy but we are going to be doing a lot with the Contour and a lot with the the tone mapping so let's go ahead for the sake of this and just disconnect our tone mapper actually we're going to actually reconnect that cuz that's not what I want to do we're just going to limit this so if we jump into the Basse tone map you can see we've got this like Steppy uh gradient that we can use to basically uh you know show off what's what's shaded and what's lit but we can limit this down just by basically deleting all these knots and you can see we we're really limiting now we've got like two tones right now we've got light and we've got dark and if we make this dark kind of go all the way down here it'll make our robot look more in light which is already looking kind of cool but for right now just to visualize this we're going to go ahead and just get rid of that we'll add that back in later but right now we just want to see what our lines are doing and how to get the cool looking illustrative rough kind of grungy lines so that's all going to happen in the Contour node so let's just zoom in here to our Contour node grab the Contour you can see we have internal and external and if I turn off the uh internal you can see we're just kind of left with this external so you're going to be able to control both the internal and the external separately which is great you've got control over the thickness the modifier the opacity you can get creative with this which is why I really enjoy it so let's go ahead and right off the bat let's just bring our thickness down to maybe like five uh just so we can see a little bit more of the detail that's going on in this model and that's looking pretty good but right off the bat I'm going to turn off the internal just so we can focus a little bit more on these external silhouette type of lines so if we bring that thickness back up to like 10 all right here we go now now we're getting somewhere we have something to start with so the way that you're going to do this is you have to kind of imagine that you're going to be driving parameters with other parameters going be driving things with noise right so let's just go ahead and bring in a Maxon noise I'm just hitting C here let's type in noise we'll gra Maxon noise and grab it and we're going to call it we're going to use the Luca which is just one of my favorites let's solo it so we can kind of see what we're dealing with and I'm not sure if it's going to come through but it's very very fine right now so under input let's go ahead and change the scale of this to maybe like I don't know 100 that's going to be too much let's try 50 somewhere in there maybe even less than that maybe 30 and let's clamp it a little bit we're going to go under the output and we're going to clamp it a little bit we're just going to clamp the low and clamp the high just to get a little bit more contrast in here so this noise is what's going to be used to drive the width of this contour line to make it look handrawn so now that we've got the noise built we need to control the amount so let's put this into a range we're going to do a color change range or actually we're going to do a float change range so let's go range and type in change range Perfect all right well we're going to drive that color is going to drive the out the input of our range and now we kind of are going to be able to sort of like see what we have here so we're going to take this entire range and we're going to drive this into our Contour uh internal actually external I believe is what we left on yep external and we're going to put this into our external thickness modifier and let's go ahead and unsolo this so we can see what it looks like and already right off the bat we have something that looks relatively uh illustrative and if we just bring our Contour up a little bit more maybe to like 15 our base kind of thickness for this Contour we can now kind of see what we're dealing with here and it might be a little bit too fine so let's just grab our noise again and let's bring that overall scale down to maybe like 15 actually that's going to make it worse we need to go the other way we need to go to 60 to make it bigger okay okay this is looking better all right so now we've got some areas that are thin some areas that are thick and it kind of looks sketchy it kind of looks like a sketch which is exactly what we want in the situation the other thing that we could do too is we could drive that that width with a fall-off like a Fel for instance so if we wanted to grab a Fel and the Fel is just going to be like a a facing ratio type of of Shader so if we just like look at this you know as it is you can see we've got like it's white on the angle of incidence and it's pretty dark on the facing angle and you can kind of control this a couple different ways you could either use the index of refraction and sort of play around with these numbers to get you know what what you need uh I'm going to kind of do it that way just cuz it's going to be a little bit easier to kind of see in this demo let's make it like a little bit Yeah somewhere there in there and what we're going to do is we're going to use this as a value to drive the width of that line too just so you can see what that's going to look like so we're going to do the same thing here we're going to dump this into we'll just use the same change range because we haven't really played with that we haven't adjusted this one yet at all so we're kind of in a good place to see what that looks like so let's unsolo this so you can see now uh on the angles facing away from the camera we've got pretty big you know lines and then the ones that are sort of like coming towards camera are going to be a lot thinner and almost too thin because it's actually going to zero right now so if we want to just not get rid of any lines we can use our change range and maybe bring this up to like point 2 so that's going to bring some of those lines that were were completely gone before back into uh where we want it so this is kind of a good technique if you're trying to do like a marker look where somebody's adding thicker lines to the uh you know to angles that are that are facing away from camera and thinner lines that are coming towards us in the future I would like to see a sha a light Shadow material a light Shadow uh node that will allow us to control the thickness of the line based on the angle of light but we can't do that right now uh I mean you we I could technically but it would be a lot of crazy nodes that we're not going to get into today okay so this is looking pretty good uh I think I want to actually use this um but we're going to we're going to manipulate this a little bit with our with our noise so the way that I'm going to do that is I'm just going to multiply uh our noise on top of this Fel so we can do that a couple different ways the simplest way is just to grab a multiply node mu and we're just going to drop this into input one and then we're going to put our noise into input two and then we'll put that whole thing into our change range and now we're getting a little bit of that illustrative look but we're it's being mixed on top of our of our Fel falloff so let's bring our Contour our main thickness up to maybe like 18 so we can kind of see that a little bit better and might this might be a little bit too heavy it might be a little too much on the uh on the Fel so let's go ahead and uh make this a little bit easier to control the way I'm going to do that is I'm going to grab a layer color layer and this way I'm going to be able to sort of mix this in a little bit better uh first thing I'm going to try uh I have not tried this before so if this doesn't work it's completely on me I'm going to use the Maxon noise as our base and we're going to bring our Fel into color uh one on layer one and we're going to set this to Overlay and we're just going to see if this works and if this works then great if it doesn't then I'm an idiot but it worked and that's kind of what I was going for here so what's nice about this method is now that we have this in here we can kind of control the Fel contribution uh and bring that down to zero so we have absolutely no no kind of like uh thickness on based on the angle of incidence but then we can bring that all the way up and now we do so maybe I want to bring this to like 7 somewhere in there and I'm going to bring my contour line down a little bit because it's a little too thick all right this is looking pretty good we might want to make it a little bit more ratty uh in which case uh I might just bring this down a little bit even more just to see and bring that thickness right about in there that's looking pretty good okay so now we have kind of this illustrative line that's kind of messy and gets thinner on the angle or on the facing ratio and a little thicker away from camera which is kind of what I'm liking uh and we could actually now turn on our internal as well to get even more lines into this but honestly like we might be able to just get away with the external lines there's quite quite a bit of detail just in that that alone but let's go ahead and turn this on anyway and we're just going to use the exact same change range into that internal thickness modifier so let's go ahead and drag that in we're going to go internal thickness modifier cool and let's go ahead and make sure that we are making this a little bit thicker probably don't want to go quite as thick as the other one and then I also want to play with my angle threshold so if I do a really low angle threshold it means that it's going to try to draw a tune line on something uh basically it's going to try to like it's like a threshold like if it falls within you know I don't know the math exactly the angle maybe it's 1 degree I don't know what the conversion is if you know in the comments let me know but essentially the the larger this is the less likely it is to draw a tun line because it doesn't see that as an actual Edge or an actual you know tune line worthy Edge okay I'm just getting all out of control here okay so let's bring this down and I'm just doing this to taste I'm not really there's no there's no real um Rhyme or Reason to my adjustment of that uh but that's feeling pretty good um I might want to make the entire uh external a little bit thicker maybe like 14 just to kind of like um Oops I did not mean to type that let's go 14 uh 14 what's wrong with my keyboard there we go yeah that's looking good okay okay so now we've got this like illustrative look and it's looking it's looking good um trying to think of what else I might do here I might adjust the size of this noise a little bit more and make it a little bit a little bit smaller so maybe like 40 let's try 30 again I'm just soloing that noise and let's just jump back out H I feel like maybe that might be a little too far let's bring some of that fernel back into it and let's bring this whole thickness up a little bit maybe to like 16 there we go I was just trying to get a little bit more grit into it and make it look a little bit more messy and obviously we can kind of take it even further we could like make this line maybe not so thin and kind of thicken it up to make it look more like a marker but I'm just again adjusting to taste there's really nothing scientific about this it's just creative and that's really what this is all about like whenever I'm doing tune stuff I'm literally just playing around trying to break it trying to make it do something that looks interesting that looks illustrative and sometimes it works and sometimes it doesn't you just got to play around with it okay so the basis of my tune line is looking pretty good I'm kind of digging it uh I've got signal driving the rotation of this Mech so if I like go back to uh the first frame here we can just kind of see what it's looking like and you can see how fast it is it's really pretty incredible okay we've got a line that I think is pretty good it might be a little bit busy um so I'm going to do one last adjustment which is I'm just going to adjust this angle threshold again just to try to like kill some of those internal lines uh I don't want to have that much detail in there cuz that's going to muddy up the watercolor look okay that looks pretty good okay so I think we' got our tune line the way I want it so next up we're going to dive into the water color texture and then we're going to add some half tone to make it really really s okay so I cleaned up the nodes a little bit to make it a little bit easier to see so let's start adding our watercolor texture to this so to visualize this uh a little bit easier I am going to unplug the Contour just so that we're looking at like only the the shading of this of this uh uh robot so the first thing I'm going to do is jump into my grayscale gorilla plus plus library and we're going to twirl down to the watercolor uh red shift materials they're tactile materials these are all scanned so they're really really pretty really really awesome I painted them myself so I'm a little bit biased okay so uh I'm going to use the uh watercolor Aqua small splotchy wash and we're just going to drag that into our material liser and we're going to open that up and we're going to steal the base color from this that's all we need I'm just going to contrl C copy that go into our uh tune material and paste it in now if we just drop this directly into our tune material uh color you're going to notice that the whole thing gets wonky because our robot doesn't have good UVS and it's defaulting I think to um you know like a you know a spherical UV space or something I don't know these are not uvd at all but that's not a big deal because what we actually want to do is Project this through the camera we want this to be completely flat projected through the camera and yes it's going to swim and that's kind of the point because we want it to kind of feel like it's been drawn on there in the same sort of like space as our background here so I'm going to grab the material tag and we're going to come over to projection and we're going to say camera and we're going to choose the camera that we're looking through right now boom there we go we do need to change the film aspect from standard 43 to 1: one and once we've got that now you can kind of see our splotchy watercolor right okay so if we plug our cont tours back in on top of this you'll kind of start to see this come to life a little bit all right so now we have just a very sort of generic looking uh splotchy robot which is kind of you know cool I'm digging it but maybe we want to adjust some things maybe we want to slightly adjust uh maybe the the Hue based on the objects that we have our robot pieces right so there's this really cool node I'm not going to get too deep into this one cuz I could do a whole video on this the Jitter node so the Jitter node is basically a way to randomize uh values randomize color float integer all kinds of stuff and in this case we're going to use it to uh basically randomize the color of our watercolor so if we drag our base color of our watercolor texture into the Jitter and we're going to pipe this into the color of the color Jitter and if we just go ahead and solo this you can see right here if I jump on the controls of this guy we can change a lot of different stuff the Hue saturation and value so I do want to change maybe the Hue a little bit and maybe we want to shift off maybe like 10° of the Hue and let's change the seeds so we can kind of see what it's doing here maybe we want to go even further so let's try 45 uh so let's go 45 on the Hue and we're getting just slightly different values and maybe I don't want to adjust the saturation so much there we go and the value I'm just going to say 0 0 we don't want to adjust the value at all cool all right and maybe we want to go even further may go 90 degrees on that to make it even crazier that's probably too much actually let's just let's relax a little bit that's a bit too heavy so let's do 20 somewhere in there just to vary it up a little bit and maybe we will do a little bit of variation on the on the value and just kind of bring this in a little bit just to create a little bit of more visual interest to this okay so that's feeling pretty good let's change the seed one more time see we can get something kind of interesting there okay cool all right so let's P this into our color of our tune and let's just go ahead and unsolo so we can kind of see what this looks like and I'm just doing this to to create a little bit more visual interest uh so it's just a way for me to like layer up some of these different these different looks okay so the next thing I'm going to do is is uh maybe tweak the Hue of our base color I'm going to do that before it goes into the Jitter cuz I don't feel like adjusting the Hue offset sort of like you know at the same interval or same rate because it'll be hard to control that way so I'm going to grab a correction a color correction node and drop that right in here put that right on that guy and there and now I'm just going to hu shift this just ever so slightly maybe I'll go kind of aggressive into these like pinks I kind of like and that looks pretty cool all right it's already looking really good but we can take it a step further uh let's go ahead and grab our Jitter again and I am going to bring the potential of those dark areas to get even darker maybe not that quite dark and change our seed till I see something that I like that feels pretty good okay all right so we've got kind of the base color of our pink splotchy watercolor robot and now I want to start to add some of that tone mapping some of the shading that's going to go into making this robot look like it's lit cuz right now it's very flat there's really no light or Shadow happening on it at all and I want to show you a couple different ways that we can do that so let's do that next okay I made some room for myself so that we can start to play around with some of the shading now on our bot so we're going to grab a half tone I think they call it tone map pattern so the tone map pattern is really cool you can just pipe this directly into the tone map of your tune material and you can see it already gives us like this half tone kind of comic strip Vibe we're going to do some things to mess this up so it doesn't look so perfect so the first thing I'm going to do is rotate it 45° to make it look a little bit more like a uh you know like a true sort of comic strip half tone pattern and then we're going to adjust the scale but we're going to do that with a noise so that we have a little bit more control over you know making it not so perfect the color I am going to make it not quite black I'm going to make it like a 50% gray or somewhere in there just so that it's not so contrasty all right so let's grab another noise grab a Maxon noise and we're going to use again we're going to use the uh the Luca which I love and we'll go ahead and isolate that so we can see what that looks like and we'll use a scale of like uh let's use a scale of like 30 and we're going to clamp this similarly to our other noise but me not so heavy and I might want to make this one a little bit bigger somewhere like in there all right so again we're going to use another change range to be able to control the output of this noise all right that looks good so we're going to use this change range to drive the size of our of our little half tone pattern so the way that we're going to do that is push this directly into the scale of our tone map pattern and let's unsolo that so we can see what that looks like and immediately it's kind of broken because we're using a lot of uh we're using a pretty big range here it's like 0 to one so we make this one and one we'll be able to kind of see where our scale is so maybe we want to bring this down to maybe 8 I'm thinking might be the right size let's bring our new Range Min and Max both down to 08 because this is about the size that I wanted so we're just going to now make this one a little bit bigger to mess it up so you can see it just kind of added just a little bit of that imperfection to it which I like and it might be that it's a bit heavy still um in terms of like the the color so maybe I'll just bring this up a little bit to make it not so dark all right that feels pretty good so the next thing I want to do is maybe add a different style and maybe change it up a little bit so let's grab a color layer and this is going to allow us to sort of layer some of these looks together we'll put that into the base and we'll push this right into our tone map and now I'm just going to split this off into a new tone map pattern and again I'm just holding down control and dragging and we're going to use the sine waves the sine waves are kind of interesting in fact let's just push this directly into our material here we set it to 45 as well and this time though I'm going to put some colors in here just to make it a little bit more interesting and I'm just picking some colors arbitrarily a little bit just to kind of like see what this does and maybe we want to adjust the scale we're going to actually use that change range to drive the scale of this one too so we'll do that and now we're getting some interesting looks there now let's blend the sine wave look into our original and we'll put that into our color layer color one and let's change our blend mode to lighten and let's unsolo that so we can see what that looks like or push this into our material rather and you can kind of see it's like breaking it up a little bit more kind of creating a little bit more uh schuts on there but maybe we want to try uh just a different transfer mode or blend mode maybe we want to try like a darken that's going to be too much maybe we do add that's interesting but not what we want I'm going to go back to the lien and then just sort of adjust it down and again you're only kind of seeing it in certain areas and it's just kind of like breaking up that half T te a little bit more to make it look even more kind of messed up so the last thing I did uh when I was messing around with this was I changed the opacity of the bot now this has a pretty big effect on it just to make it look a little bit more interesting so if I jump down into the tune material settings and I go to opacity I'm just going to knock the opacity down on our model a little bit like maybe like in this range and all this is doing is allowing you to get that like look through the model and this is really kind of what sells a lot of that like really detailed painterly Vibe is like I'm literally just like looking through it and there's like lots of detail in this geometry so it kind of helps us out and again like you know this is all adjust to taste you know there's no right or wrong answers here it's just like whatever you think is looking good I am going to adjust my Hue shift and like bring it into oh I like that I'm going to maybe now I'm going to bring my level scale up to like maybe 1.2 and maybe a little bit higher and maybe a little bit more saturation too much 1.1 ought to do it and I'm liking how these Reds are coming in and maybe I might H shift it a little bit more to get more of those yellows and oranges in there yeah I'm vibing this this is looking pretty pretty good okay so I feel like it's looking pretty good and obviously you could use the Jitter to kind of like take it even further if we wanted to have some of the objects be like extremely dark versus light you could do that with a Jitter and then just like hit random seed until you find an area that you think looks good like that's not bad but it's probably a bit too dark if I'm being honest and maybe we want to brighten up parts of it instead and again I'm just hitting random seed until I see something that I like and maybe we want to take this a little further yeah that's I'm vibing this so again that that sine wave isn't like doing a ton for us but it is breaking up the half tone a little bit and making it look a little bit more interesting which is really what I'm after so right off the bat we're looking pretty pretty good um I would say that we're close to being done and if you wanted to end it right here that's totally fine but this next part here is really interesting and kind of you know helps sell the look and it's a bit Advanced and not crazy Advanced I have faith in you you can figure it out you'll be all right but we're going to walk through it and that's going to be to create kind of this this wash that you see in my original render all right so let's do that next and then I think we're almost done all right so here is the the the fun part right so one of the things I wanted to do when I when I made this was try to find a way to make it look like the watercolor is sort of washed in areas that are sort of beyond the boundary edge of our of our model here to kind of make it look like it's been painted right this is watercolor it's kind of messy might you know bleed out areas so this I had this idea of essentially creating a uh little like dummy version of our robot and this is kind of hilarious looking it sort of looks like a Michelin man or something but all I did for that was take our original piece of Geo drop it into a volume Builder and then into a volume mesher and then I'm just displacing it right just to create a generic sort of silhouette of our robot and then I just drag it behind the original robot so that it sits behind it and not in front of it not through it although that might look kind of interesting if it did in fact we can try that in a minute but from there I've got a pretty simple material I'm using another um actually this time I'm not even using a tune material I'm just using a standard material and I'm taking that same watercolor material pushing it through a color correct and then into the both the base color and the emission color and that's so that I can adjust sort of the intensity of of the look but the most important part is going to be this frel which is basically taking the edges of our of our bulbous like duded here and making the edges fall off to be transparent so that the only part that is actually somewhat opaque are the angles facing the camera so this kind of gives us that gradient vibe that kind of washes into the paper which is exactly what you see here and we can kind of make this a little bit um a little bit easier to see if I were to take this white color which isn't quite white and we make it pretty opaque and now you can see it a little bit more and you can obviously you know tweak this around if you want to in fact for this purpose I will sort of like make this a little bit look a little bit more heavy-handed but I wouldn't go this far with it in fact like this probably kind of breaks you can see some weird edges here so you kind of have to be careful in fact if I had to go back and do this again I would probably make this a much smoother piece of geometry because any any of these overlapping edges are going to kind of give you weird artifacts that you can see like right in here but for this demo it's totally fine in fact let's go ahead and bring that back to where it was there we go and you can get kind of creative with it you can take this this particular model and you can like move it maybe into like actually have it sort of penetrate our our robot which kind of gives this interesting effect you can see on the back of the head where it's like uh penetrating it's giving us a slightly different look cuz it's kind of uding uh some of the shading that's happening on our robot so if we bring this even further forward you can see it really starts to affect it in interesting and weird ways there's a bit too harsh of a line here it kind of looks weird but it is an interesting look and it may be something that you're after I don't know who am might have judge you know like you're out there doing your own thing I'm not going to tell you what what's right and what's not right you know it's like it's art okay so that's that's pretty much how I did that that watercolor wash and then I just made sure that I put the same signal tag uh to do the rotation on that guy as I did the other model as well and by the way uh Grays skill girl a plus you get all these wonderful assets the paper that I use in the background the watercolors all kinds of watercolors and also you get our plugins which make looping and doing things like these spins a lot lot easier a lot faster not that that's like super hard but it is a nice tool okay so I think we're there guys I think we did it I think I gave you a pretty good rundown of the scene and you know what's great about this entire setup is that it's so responsive like I'm just like going through the timeline here and we can find like a cool part it just looks good it's just like I don't know it's fast I mean there's some of that artifacting that I was talking about before I would probably make this geometry a lot smoother if I was going to try to get this look to look right and again if we wanted to try a different watercolor wash we can just jump into the plus library and maybe we want to try a different watercolor maybe we want to try something that is a bit more subtle and has some like you know know kind of weird little patterns can grab that one drag it in here steal the base color now you can do it just by grabbing that whole node which is what I'm going to do or you could just grab the path it's up to you but let's jump into that material I don't remember what we called it I think it's right here and let's paste that in and we're just going to see what this one looks like in place of that one this one's a different color so it's going to it's going to look a lot different when we do that color correct on it but yeah I kind of like the splattery one better splattery one looks better for this guy more interesting all right thanks for sticking around for so long this video was much longer than I anticipated but I think it was important because I needed to show a lot of these little tips and tricks to get that really interesting kind of look uh if you like the video give us a thumbs up be sure to subscribe if you haven't already and if you don't know about gra Gale gorilla plus please check it out we have thousands of assets for 3D artists who make your life a lot easier so until next time moose says bye-bye [Music] a [Music]

Channel: Greyscalegorilla

Views: 13,195

Keywords: Cinema 4D, c4d, tuts, tutorials, motion graphics, greyscalegorilla, c4d tutorials, cinema 4d tutorials, greyscalegorilla plus, gsg, gsg plus, Greyscalegorilla, Grayscalegorilla, Chad Ashley, Redshift, Maxon Redshift, Toon shader, redshift toon shader, redshift toon render, toon system redshift, how to use redshift, toon shaders c4d, c4d toon shader, c4d toon effect, cel shading c4d, cel shading redshift, greyscale gorilla redshift, gsg tutorial, gsg redshift

Id: u6j9yrpgRhU

Length: 33min 38sec (2018 seconds)

Published: Wed May 08 2024