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CINEMA 4D: Rendering Motion Graphics for After Effects demonstrates how to take a simple logo animation in CINEMA 4D and transform it into a compelling motion graphic with After Effects, incorporating two distinct visual styles. Starting with a prebuilt animation rendered from CINEMA 4D, author Rob Garrott employs industry-standard techniques, utilizing materials, lights, and the library of effects in After Effects, to enhance the project's look and feel. Exercise files accompany the course.
Our Type Pass is going to be very simple to set up. The great thing about having it as a separate pass is that if we decide later on we need it to say something different, then it's really simple to change the type out. We'll only need to render that type pass out and not the whole stadium, and that's really what this is about is creating versatility in your composition inside of After Effects. Very often, you'll get an assignment and the title for the job will change halfway through. And by building your piece in a modular way like this, it makes it really easy to change that type out. You can say, hey, no problem, I'll change the type out, and you can do it really quickly without having to go all the way back to CINEMA 4D and rendering out every single piece of your project again.
You can only render the type, and you'll be good to go. I am going to start off in this file by going into the Video folder and in the CINEMA 4D Imports, I'm going into the Type Pass. I've got this composition here called the ch01-08-Start Type pass.c4d. I am going to duplicate this and move it into my Pre-COMP's folder. So I'll hit Command+D or Ctrl+D on the keyboard, and I'm going to scrub down, move that into the Pre-COMP's folder. Let's twirl that open now. And I'm going to change the name on this and call it Type Pass Pre.
And in the Type Pass pre-comp, I've got the same issue that I had with my phone in that my video is showing up over black. And that's because the compositing layers inside of After Effects don't have the alpha channel built into them. And so once again, we've actually rendered that alpha channel out in the form of the RGBA pass. So if I go back into my type subfolder here, I can look in the Special Passes, and there is my Type_rgba. So I'm going to drag that into the composition and put it at the very top, and I'm going to change the blending mode to Stencil Alpha. So way down here at the bottom is Stencil Alpha.
And when I do that, you can see that with my Transparency Preview I can now see the transparency. I'm cutting out that type. I can composite together with the phone and put them on top of the stadium in my main composition. Now, the nice thing about this arrangement, aside from being able to change out at will without affecting the rest of the stadium, is that I can also affect the intensity of different elements within the type. Let's say, for example, I wanted to have my type be more reflective. I can actually take this Reflection Pass and just duplicate it. I hit Command+D or Ctrl+D, and my type just got more reflective.
We can see I'd see more reflections in there. Let me scrub down, and I'll make this just a little bit larger. We're zoomed in pretty close. That's why the edges are a little bit fuzzy, but if I turn this Type_reflection off and on, you can see, just by duplicating that, I've made my type more reflective, and I've done that without having to go back to CINEMA 4D. And that's really an illustration, a very simple illustration, of the awesome power of this compositing process. Keeping our type as a separate pass inside its own pre-comp makes all this work in After Effects very flexible.
This simple step will save you if your client ever comes back with a last-minute change.
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