Up and Running with CINEMA 4D Lite for After Effects
Illustration by John Hersey

Cutting between CINEMA 4D cameras with CINEWARE


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Up and Running with CINEMA 4D Lite for After Effects

with Angie Taylor

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Video: Cutting between CINEMA 4D cameras with CINEWARE

- Some people prefer to work in CINEMA 4D when they're setting up their cameras others prefer to work in After Effects it depends which system you're more comfortable with using. The great thing about the combination of CINEWARE and After Effects is you can do either and work really well either way. Now if you have a look here you'll see we've got two cameras in the CINEMA 4D file. I'm in Chapter05_5_R16.c4d and you'll see I've got this wide shot which is set at, at the moment and then I've got a closeup shot which is for the start frame.
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  1. 2m 22s
    1. Welcome
      2m 22s
  2. 54m 9s
    1. What is CINEMA 4D Lite?
      4m 23s
    2. What CINEMA 4D Lite can't do
      6m 54s
    3. Opening CINEMA 4D Lite in After Effects
      2m 38s
    4. Quick interface tour
      8m 46s
    5. Navigation tips for CINEMA 4D Lite
      8m 5s
    6. CINEMA 4D Lite preferences and settings
      7m 28s
    7. Checking out the new CINEWARE features with After Effects CC 2014.1
      15m 55s
  3. 22m 34s
    1. Importing CINEMA 4D files in After Effects
      1m 5s
    2. The CINEWARE plugin settings
      4m 42s
    3. CINEMA 4D Lite render settings
      6m 15s
    4. After Effects project settings
      1m 23s
    5. After Effects previewing tips
      3m 50s
    6. Using the Picture Viewer in CINEMA 4D
      5m 19s
  4. 1h 14m
    1. Editing primitive objects
      5m 18s
    2. The Move and Scale tools
      7m 18s
    3. The Rotate tool
      4m 24s
    4. Axis limitations
      1m 46s
    5. Working cylinders
      7m 15s
    6. Linking body parts using object hierarchy
      9m 49s
    7. Spline modeling with Sweep NURBS
      7m 22s
    8. Adjusting NURBS settings
      4m 6s
    9. Using nulls as controllers
      3m 33s
    10. Creating copies with the Instance array
      6m 44s
    11. Carving shapes with the Boole array
      10m 28s
    12. Reshaping objects with deformers
      3m 14s
    13. Adding surface detail with a Relief object
      2m 55s
  5. 55m 41s
    1. Understanding coordinates
      5m 0s
    2. Understanding rotation
      2m 39s
    3. Timeline shortcuts
      3m 1s
    4. Basic keyframing of properties
      4m 31s
    5. Copying keyframes
      2m 3s
    6. Keyframe interpolation
      5m 20s
    7. Adjusting F-Curves
      5m 45s
    8. Holding values
      5m 8s
    9. Using XPresso to link properties: Part one
      4m 17s
    10. Using XPresso to link properties: Part two
      2m 27s
    11. Importing existing animations into CINEMA 4D Lite
      6m 21s
    12. Animating cameras in CINEMA 4D Lite
      4m 37s
    13. Animating using presets
      4m 32s
  6. 46m 57s
    1. Importing music and soundtracks
      4m 12s
    2. Customizing commands and shortcuts
      6m 7s
    3. Adding markers
      4m 25s
    4. Creating multiple cameras in CINEMA 4D Lite
      8m 17s
    5. Cutting between CINEMA 4D cameras with CINEWARE
      5m 43s
    6. Creating cameras in After Effects
      4m 37s
    7. Merging 3D camera data into CINEMA 4D Lite
      3m 10s
    8. Animating cameras with Stage objects
      4m 27s
    9. Extracting cameras from CINEMA 4D files
      5m 59s
  7. 43m 49s
    1. Adding CINEMA 4D text to After Effects comps
      5m 4s
    2. Formatting text in CINEMA 4D
      5m 47s
    3. Creating CINEMA 4D text or logos in Illustrator
      6m 9s
    4. Importing Illustrator text into CINEMA 4D Lite
      4m 38s
    5. Applying material presets to text
      7m 51s
    6. Merging CINEMA 4D files
      5m 51s
    7. Registering CINEMA 4D Lite for MoGraph features
      1m 8s
    8. Using MoGraph Fracture on text
      3m 25s
    9. The MoGraph Random Effector
      3m 56s
  8. 12m 8s
    1. Creating a wiggle expression
      7m 49s
    2. The Reset Position script
      4m 19s
  9. 30m 56s
    1. Applying a custom material
      6m 32s
    2. Making a metallic material
      6m 15s
    3. Adding an environment channel
      2m 20s
    4. Adding texture with shaders
      4m 21s
    5. Built-in material presets
      3m 52s
    6. Combining materials
      2m 41s
    7. Using selection sets to isolate surfaces
      4m 55s
  10. 27m 42s
    1. 3D camera tracking in After Effects
      6m 3s
    2. Creating nulls from tracking points
      2m 40s
    3. Adjusting the Shadow Catcher for CINEMA 4D
      3m 31s
    4. Importing a CINEMA 4D file into a scene
      4m 21s
    5. Exporting CINEMA 4D files from After Effects comps
      3m 42s
    6. Merging objects from CINEMA 4D files
      3m 23s
    7. Manually adjusting scenes between apps
      4m 2s
  11. 24m 26s
    1. Setting up layers in CINEMA 4D
      5m 48s
    2. Compositing CINEMA 4D layers in After Effects
      6m 52s
    3. Casting shadows on layers in CINEWARE
      5m 18s
    4. Adding reflections in CINEMA 4D
      6m 28s
  12. 36m 10s
    1. Using preset lighting setups
      6m 24s
    2. Light types in CINEMA 4D Lite
      6m 38s
    3. Creating visible lights
      7m 56s
    4. Adding ambient occlusion effects
      6m 55s
    5. Optimizing your CINEMA 4D scenes
      8m 17s
  13. 38m 54s
    1. Multipass compositing explained
      2m 28s
    2. Adding passes to render settings
      2m 8s
    3. Viewing passes in the Picture Viewer
      2m 35s
    4. Adding object buffers
      4m 51s
    5. External compositing tags in CINEMA 4D Lite
      3m 8s
    6. Previewing and experimenting with passes
      4m 30s
    7. CINEWARE multipass options
      9m 2s
    8. Adjusting reflections
      5m 23s
    9. Isolating elements with object buffers
      4m 49s
  14. 53m 2s
    1. Extracting 3D scene data
      8m 11s
    2. Adding video elements to a CINEMA 4D scene
      5m 49s
    3. Working with proxies
      10m 2s
    4. Color correction of shadows
      4m 10s
    5. Layer styles
      3m 50s
    6. Adjustment layers
      4m 58s
    7. Setting up depth of field in CINEMA 4D Lite
      3m 10s
    8. Adding depth of field with camera lens blur
      4m 4s
    9. Speed ramps with time remapping
      4m 14s
    10. Motion blur with the Pixel Motion Blur effect
      4m 34s
  15. 13m 59s
    1. Rendering with the After Effects Render Queue
      5m 39s
    2. Background rendering with Adobe Media Encoder
      4m 6s
    3. The BG Renderer script
      4m 14s

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Watch the Online Video Course Up and Running with CINEMA 4D Lite for After Effects
8h 57m Beginner Aug 28, 2013 Updated Jan 15, 2015

Viewers: in countries Watching now:

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.

Topics include:
  • What is CINEMA 4D Lite?
  • Understanding the CINEMA 4D Lite and After Effects CC workflow
  • Editing primitive objects
  • Spline modeling with NURBS
  • Animating with keyframes
  • Using Xpresso to link properties
  • Importing music and soundtracks
  • Creating and animating cameras
  • Working with text
  • Scripting
  • Creating and applying materials and textures
  • 3D camera tracking
  • Compositing layers
  • Lighting with visible lights and ambient occlusion
  • Adding visual effects in After Effects
  • Rendering in After Effects and the Adobe Media Encoder
Subjects:
3D + Animation Video video2brain
Software:
After Effects CINEMA 4D
Author:
Angie Taylor

Cutting between CINEMA 4D cameras with CINEWARE

- Some people prefer to work in CINEMA 4D when they're setting up their cameras others prefer to work in After Effects it depends which system you're more comfortable with using. The great thing about the combination of CINEWARE and After Effects is you can do either and work really well either way. Now if you have a look here you'll see we've got two cameras in the CINEMA 4D file. I'm in Chapter05_5_R16.c4d and you'll see I've got this wide shot which is set at, at the moment and then I've got a closeup shot which is for the start frame.

You'll see that if we go back to the beginning here this is my closeup shot at the beginning and then what I want to do is switch to the wide shot later on. Now if we jump back to After Effects I've got a project in there, matching project Chapter05_5_R16 and in here you'll see that I've brought that CINEMA 4D file down to the timeline and we're defaulting to seeing that wider shot. Now, if we open up the Effect and double click the Effects open it in the Effect control panel you'll see that down here we have the CINEMA 4D camera section.

If I choose from here rather than just the default CINEMA 4D camera which is the one that's active in the project, Select CINEMA 4D Camera, it allows me to actually choose which camera we're looking through. And as I said it defaults to that wide shot that was set up in the original project. I can change that to select the closeup camera and you'll see that that updates. Now what we're going to do is we're going to animate the cameras but you'll notice that CINEMA 4D doesn't bring the audio into our project so what we're going to do is we're just going to import the audio that we need for this project and this is important if you've got audio in your CINEMA 4D project CINEWARE won't bring that in you need to bring it in separately.

So we're going to double click in this empty space here and just choose the file that we're using for audio which is in the Footage Folder, Instrumental_video_nine1280x720, click on Open, drag it down to the timeline, turn off the video, and if you remember in CINEMA 4D we trimmed it to start at frame 35 so we're going to do the same here. Click on this timecode or frame counter as it is and type in 35, it's measuring frames at the moment.

So we'll type in 35 to go to frame 35. We'll trim this layer, we can either do that by clicking and dragging and trimming or by holding alt and hitting the left bracket key that will trim that layer to that point where the current time marker is. We'll then hit the home key on the keyboard to move the time marker back to the beginning and the left bracket key on its own to pull that inpoint back to the time marker. So now we've got our audio in the right place and you'll see that if I preview the audio.

We've got the audio to start working with. Now I know that I want to cut the camera at frame 100 so I'm going to go to frame 100. So how can we cut from one camera to another that's what I want to do here. Well we can do that by duplicating the layer so I'm going to hit command d to duplicate the layer. What I'm going to do is just trim this one at this point so I want it to begin at frame 100. I can either move it or trim it. Usually I would recommend trimming it because if you have key frames on that camera you don't really want to move it.

It's better to trim it really so that you can make sure that the animation's right. We're also going to select this one and we're going to trim that one frame back so I'll hit page up key to go one frame back and then hold alt and right bracket this time to trim it there. Now at the moment they're both using the same camera. If I double click the effect here we go to Set Camera, Close Up Start Camera. If I select this one, hit E on the keyboards, double click the effect, go to Set Camera, it's also at Close Up Start Camera.

Now there's one thing you've got to be aware of if I change that to Wide Shot, that'll work and it switches to Wide Shot but something strange happens. If I jump to the next clip it's also changed to Wide Shot and that's because we've got Synchronized Layer on as a default. Again, this is another reason why I'd quite like to see separate options for synchronizing cameras and synchronizing layers from synchronizing multi-pass. It's quite often useful to have synchronized layer on for multi-pass not so useful but if you're animating between multiple cameras or you want to work on individual layers.

So what we'll do, is we'll change this one. So I'm going to select this one, double click it, take off Synchronized Layer and then set camera to Close Up Start Camera. And now we should have the closeup at the beginning and then jumping to that wide shot so you see there it goes from closeup to wide shot let's just move here one frame at a time. Okay, so there we have our closeup and then jumping to wide shot.

So just make sure when you're working with multiple cameras and cutting between different cameras on layers in After Effects, that you take off Synchronized Layer before you try cutting from one camera and go to another.

Find answers to the most frequently asked questions about Up and Running with CINEMA 4D Lite for After Effects .


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Q: This course was updated on 01/15/2015. What changed?
A: We updated movies in chapter 5, 10, and 12, and added a new set of exercise files to make the course compatible with the latest versions of After Effects CC (2014.1) and CINEWARE. Watch the "Checking out the new CINEWARE features with After Effects CC 2014.1" movie for an overview of the changes.
 
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