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Intimidated by 3D modeling packages? Dip a toe in the water with CINEMA 4D (C4D) Lite, a slimmed down version of CINEMA 4D included with After Effects CC. Motion graphics designer Angie Taylor shows you how to build a complete sequence in C4D Lite, progressing from initial object modeling, to animation, lighting, camera rigging, texturing, and final render. Plus, learn to animate text, create random movement with wiggle expressions, track cameras in live-action footage to add new 3D elements, and light your scene. Angie also round-trips the project files to After Effects for visual effects and color correction. With over 100 videos, this course allows you to explore almost every aspect of 3D motion graphics creation, within this accessible introductory tool.
There are all sorts of ways of using Multipass, but I'm going to go through a few that I like to use with you now. If we have a look within chart.12start .AP. I'm going to go up to 100% so that we can see our image a little bit more clearly. It will take a minute or two just to re-render it at full resolution, and we'll just drag this over. And you'll notice that I have this reflection and shadow layer here, which I don't really want to be a solid layer.
I want to kind of composite the reflections and the shadows with the footage underneath, and multipass allows me to do that. So what I'm going to do is, I am going to create two copies of my robots. So I'll duplicate them. I'm going to switch off of the top copy at the moment, and open up CINEWARE for the bottom copy. And what I'm going to do is just choose a layer, so I'm going to first of all select the layer that I want to work with, which is the Floor layer.
And then, I'm going to work with my multiple passes for that layer So I'm going to go into Multipass and just choose to see the reflections to start with. And basically, what that will do is it will isolate my Floor layer and just show me the deflections that are on the Floor layer. Now my robot is also part of that layer, so we'll just ignore him for a second. But basically that's allowing me now to see just the reflections. And if I then use the Blending modes, like maybe add or screen.
Let's try screen. You'll see that I get quite a nice result, so either Screen mode or Add mode would probably work really well here. Either, doesn't really matter. And you'll see I get much better result by compositing the relfections on top of the existing footage. Then one my top layer, I can go into my Layer settings in CINEWARE. So, just go in, switch on layers, and just say, everything but the floor layer. So Robot layer, Text layer, and then switch that on.
And we now have a composite where one layer is showing us the reflections on the floor, the other is the actual robot and little dancing characters. Now you could do the same with the shadows, you could Multiply mode to multiply the shadows. So if we zoom out, you can see that looks a lot better now with just the deflections composited onto the building. Really, fits in a lot better with the scene than it did just plunked on top of there. Now you can do similar things with other elements.
You can do similar things with the text, for example. You may want to composite that a little bit with the background, maybe have a little bit of the background showing through the text. So have a little play with using the different passes, just to blend them in with the background a little bit more.
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