IntroductionWelcome| 00:00 |
(MUSIC).
Hello, I'm Ian Robinson and welcome to
| | 00:06 |
Mograph Techniques, Animating to Music.
In this course, we'll build two different
| | 00:11 |
kinds of graphics, a quick bumper element
and an identity spot.
| | 00:15 |
(MUSIC) First, we'll start in After
Effects, and use a plug-in from Red Giant
| | 00:20 |
called Trap Code Sound Keys.
With that tool, we'll be able to isolate
| | 00:26 |
different frequencies of our music track,
and create key frames that we can use to
| | 00:29 |
drive any key frameable parameter in our
project.
| | 00:34 |
For example, the position and/or rotation
of an object, or even effect controls like
| | 00:38 |
the hue of a color effect.
We'll cover some of the most fundamental
| | 00:43 |
aspects of animating music like
traditional editing techniques to change a
| | 00:47 |
simple 3D animation into multiple key
pieces for our graphic bumper.
| | 00:53 |
Then of course we'll explore how to use
the sound effector in Cinema 4D, to form
| | 00:56 |
our logo resolve for our final brand
identity spot.
| | 01:00 |
So, let's get started with Mograph
Techniques, Animating to Music.
| | 01:05 |
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| Using the exercise files| 00:00 |
If you are a premium member of the
lynda.com library you have access to the
| | 00:04 |
exercise files used throughout this
course.
| | 00:08 |
Once downloaded you should see an exercise
files folder on your computer.
| | 00:12 |
Let's open the exercise files, you can see
we have four different folders and a
| | 00:16 |
footage folder.
In this course you'll find After Effects
| | 00:21 |
projects as well as Cinema 4D projects.
Now most of the project files will start
| | 00:27 |
with the chapter number, and then another
number which corresponds to the video.
| | 00:31 |
In chapter three I have two different
projects I'll be referencing for the
| | 00:35 |
second video in that chapter so just be
aware most of the time there'll only be on
| | 00:39 |
project file.
Now in certain instances there may not be
| | 00:45 |
a project file.
For example, chapter one, video one.
| | 00:49 |
For those, I'll just be talking about
overarching concepts or starting from scratch.
| | 00:54 |
Now the footage folder is kind of
important.
| | 00:57 |
Anytime you move your exercise files
around to different drives.
| | 01:01 |
You want to make sure to copy the entire
exercise files folder.
| | 01:04 |
That way, any project files that might be
referencing any footage from our footage
| | 01:08 |
folder won't lose the link to that
footage.
| | 01:12 |
If you separate this footage folder from
the different exercise files you may have
| | 01:16 |
to re-link different files.
If you don't have access to the exercise
| | 01:21 |
files you can follow along from scratch or
with your own assets.
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So let's get started.
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| Overview of the project| 00:00 |
In this course, we're going to create two
separate graphics.
| | 00:03 |
They're going to be the same brand, but
they'll be two different purposes.
| | 00:07 |
The first one is going to be a bumper.
It's going to be primarily an aftereffects
| | 00:11 |
project where we use the Track Code Sound
Keys plug-in to isolate different
| | 00:14 |
frequencies to drive our animation.
(MUSIC) In addition to using sound keys
| | 00:21 |
we'll also explore some old school editing
techniques so we can better cut our
| | 00:28 |
graphics together to the beat of our
music.
| | 00:35 |
In ID Spot we'll jump into Cinema 4D and
learn how to use sound keys to import
| | 00:39 |
audio into cinema and drive three
dimensional objects around our scene.
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(MUSIC)
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|
|
1. Getting StartedAnalyzing music for inspiration| 00:00 |
Whenever I'm asked to create graphics
based on an audio track, of course I like
| | 00:03 |
to take the time to consider what the
audio track makes me think of.
| | 00:08 |
So, lets listen to the track we will be
working with today.
| | 00:11 |
(MUSIC) When I first heard that track, I
thought, loud and bombastic, and honestly,
| | 00:19 |
at the end, there was a little bit of
noise in there, so, a little noisy.
| | 00:28 |
Notice the graphic that we built is made
of bright colors, and it has this particle
| | 00:32 |
system in it.
That's kind of my ode to the noise.
| | 00:37 |
So whenever you're asked to create
graphics that match a specific audio
| | 00:40 |
style, take the time to listen to that
audio, and really think about what
| | 00:43 |
inspires you.
For me, when I heard loud and bombastic, I
| | 00:48 |
thought, bright colors.
For you, it may be something completely different.
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| Adding markers for the animatic| 00:00 |
One of the best surefire ways to make sure
you can lock up your graphics to the beat
| | 00:04 |
of the music, is by previewing that audio
and adding markers.
| | 00:09 |
Usually once I have an audio clip in my
project I like to immediately add markers
| | 00:12 |
on that clip.
So that's what we'll do right now.
| | 00:15 |
If you look at our current project we have
three graphic layers which eventually will
| | 00:19 |
animate to the beat of the music.
For now, I want to select layer four and
| | 00:24 |
add markers just to that layer.
Now, if you tap l twice on your keyboard
| | 00:28 |
it'll automatically open up the wave form.
This way you'll see what your audio looks
| | 00:33 |
like as you're previewing it.
Now there are two different ways to
| | 00:37 |
preview audio in After Effects.
The first way is if you have a full size keyboard.
| | 00:42 |
On the right hand side there's a keypad.
You can go ahead and type the period key
| | 00:45 |
on the keypad, and that'll load up audio
to play only.
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On a standard size keyboard, you can press
Ctrl+Period.
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That will give you an audio only preview.
Usually when you're listening to your
| | 00:57 |
audio, you'll probably want to tap
outmarkers in real time.
| | 01:00 |
To do that, again, there are two ways.
With the full size keyboard.
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In the upper right corner of your key pad
is an asterisk key.
| | 01:08 |
Go ahead and tap that as the audio is
playing black.
| | 01:10 |
That'll add markers to whatever layer is
selected.
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On a standard size keyboard, it's Ctrl+8.
And if you look just above the number
| | 01:17 |
eight, you'll see an asterisk key there.
Just remember to hold down Control as
| | 01:21 |
you're tapping it.
So what we'll do for this exercise is go
| | 01:25 |
ahead and load up an audio preview, and
listen to the clip all the way through once.
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And then the second time through, I want
you to tap the marker key to go ahead and
| | 01:33 |
add markers to layer four.
Just make sure that you have layer four
| | 01:38 |
selected first, that way we'll add the
markers directly to our audio layer.
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Don't worry if you think you've missed the
time, you can go ahead and adjust the
| | 01:45 |
markers later.
I'll show you that in a moment.
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Right now, let's preview (MUSIC).
Now I can tell you already that these two
| | 01:59 |
markers at the end, were extemporaneous
markers.
| | 02:03 |
I was expecting the kick drum to come in,
and it didn't happen.
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So if you need to delete a marker, go
ahead and just Ctrl+click, or right click
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directly on the marker, and make sure to
choose delete this marker If you want to
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delete everything and start all over, you
can choose delete all markers.
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For now I'll just delete this marker.
Then we can go ahead and delete this marker.
| | 02:23 |
Now once you have your marks set up, you
might want to preview your audio just to
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make sure that everything lined up
properly.
| | 02:29 |
If you grab your current time indicator
and scrub through the timeline, notice
| | 02:32 |
it's not going to preview the audio.
Well, if you hold down the Command key on
| | 02:36 |
the Mac, or Control on Windows and click
and drag, you'll get a preview.
| | 02:40 |
(MUSIC) Actually, you'll get scrub.
This'll scrub over the track.
| | 02:46 |
Now, if you hold down Command or Control
and just click it and hold on the play
| | 02:50 |
hit, it'll load one second of that click.
So let's go ahead and try that.
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(NOISE)
All right.
| | 03:01 |
So if you find that you need to slide your
markers, all you have to do is just click
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on the marker and slide it.
Now, once you've added markers to your
| | 03:11 |
timeline, if you move your current time
indicator notice, it won't snap to the markers.
| | 03:16 |
If you want to snap to the markers, just
hold down Shift after you start dragging.
| | 03:21 |
Now the last thing you'll want to do is
actually name your markers.
| | 03:24 |
So I'll go ahead and just double click on
this one to open up my layer marker menu
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and here, I can go ahead and name this
kick.
| | 03:31 |
Once you click OK that marker has been
labeled.
| | 03:34 |
Now if I want to make sure this marker
never slides anywhere on this layer, I
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could right click and choose Lock Markers.
This will lock all the markers.
| | 03:43 |
Now when I go and try and click on them or
move them, I can't do that.
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So, go ahead and slide your markers and
make sure they're in the right place to
| | 03:50 |
line up with the kick drum, and then,
we'll continue on and learn how to
| | 03:53 |
actually animate these cymbals to the beat
of our music.
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| Animating graphics with Sound Keys| 00:00 |
One of the best third party effects for
animating graphics to audio is Soundkeys.
| | 00:05 |
It's made by Red Giant and it's a part of
the trap code suite.
| | 00:09 |
That's what we're going to use to animate
the appearance of these different shape
| | 00:12 |
layers in our project.
So let's get started by creating a New
| | 00:16 |
Layer Solid make sure the cell in this are
column sized, and then click OK.
| | 00:21 |
Now we can apply an audio effect.
If we go to Effect, we can go to Trapcode,
| | 00:26 |
and in here we'll go to Sounds Keys.
Now in order to tie audio to the sound
| | 00:33 |
keys, let's go to the Audio Layer and
change the pull-down from None to our
| | 00:36 |
Sting wave, layer five.
Now just so we're not distracted with
| | 00:42 |
whats going on in the scene let's enable
Solo for our Sound Keys Layer.
| | 00:47 |
Here you can see we have a very
interesting chart.
| | 00:50 |
In order to see whats going on in that
chart lets move our current time indicator
| | 00:53 |
down the timeline.
And notice now we're actually getting a
| | 00:57 |
graphic representation of our sound file.
To better understand how this works, let's
| | 01:06 |
load up a Ram preview.
(SOUND).
| | 01:13 |
So when you have Sound Keys applied, It
creates this graph.
| | 01:18 |
And the graph gives you the ability to
draw selections from the different sound
| | 01:23 |
frequencies of the file.
So for example, I have this box over here,
| | 01:29 |
this box is actually a range selector.
And if you look in the upper left corner
| | 01:34 |
and the lower right corner we have targets
so we can click on.
| | 01:39 |
So we draw selections around specific
areas of our frequencies.
| | 01:45 |
So let's go ahead and draw a selection
around these dark orange bars.
| | 01:48 |
This is where the majority of our
kick-drum is actually happening.
| | 01:53 |
Now if you open up the spectrum adjustment
settings inside of Sound Keys, you'll see
| | 01:57 |
a bunch of different options.
The first two options that we need to
| | 02:02 |
really understand are scale and cue
smoothness.
| | 02:05 |
If you increase the scale you're going to
increase the frequency response of our
| | 02:11 |
sound keys effect, let's Undo that.
If you increase the smoothness you're
| | 02:17 |
going to wrap more frequencies up into
each one of these individual bars.
| | 02:22 |
Which in essence smooths out the frequency
response.
| | 02:25 |
If we drag back to the left it's going to
isolate more individual frequencies and
| | 02:29 |
give you a more jagged response.
Now the rest of the options here just
| | 02:34 |
allow you to control the response within
specific sections of audio.
| | 02:39 |
For example if we wanted to increase the
responsiveness to the treble, we could
| | 02:43 |
just Click and Drag on the treble and
notice now that's increasing here in the bar.
| | 02:48 |
So, the base is on the left side, treble's
on the right and then everything else is
| | 02:52 |
kind of in between.
Sub-base all the way to the left, so,
| | 02:55 |
let's make sure we have our selection
drawn around this orange area.
| | 03:00 |
This is our kick drum.
Now, this box is a range and it's range
| | 03:03 |
one, so let's open up the options for the
range one.
| | 03:08 |
Notice here we have our targets, which are
these control handles we've been dragging on.
| | 03:14 |
Now the fall off allows you to adjust the
fall off from each key frame that gets recorded.
| | 03:19 |
Key frames are recorded when you click the
Apply button.
| | 03:23 |
But before we click apply, we need to pay
attention to some of the other options for
| | 03:27 |
our range here.
If we look at Output Minimum/Maximum,
| | 03:32 |
let's click on the pull down.
Notice we could specify whether an outputs
| | 03:36 |
values between 0 and 100 or 0 and 1 or 0
and 360.
| | 03:40 |
So for example if we were driving the
rotation of an object, we would want to
| | 03:44 |
choose 0 to 360.
Since we're going to drive the Opacity of
| | 03:48 |
an object let's just make sure we have 0
to 100 chosen.
| | 03:52 |
Now if we go down to the Apply button and
just click Apply, it's automatically going
| | 03:56 |
to generate key frames from our selection.
Press U on your keyboard to open up the
| | 04:01 |
key frames that have been created.
If you click on the word Output you can
| | 04:06 |
open your key frame editor and hear and
actually see what's been created.
| | 04:12 |
Now in order to drive animation what you
need to do is tie this key frame to
| | 04:17 |
another parameter.
So let's disable Solo, and select our Top
| | 04:22 |
Shapes Layer.
If you press T on your keyboard it'll open Opacity.
| | 04:26 |
And let's close our Graph Editor for now,
and hold down the Option key on the Mac,
| | 04:31 |
Alt on Windows.
And then click on the stop watch.
| | 04:35 |
That'll enable an expression where we can
click on the Pick Whip for that expression.
| | 04:39 |
Imported directly at our output one value,
that way when we let go our expressions written.
| | 04:45 |
So we can just click anywhere outside of
that expression and now notice the opacity
| | 04:50 |
value is driven by the key frame value of
our black solid.
| | 04:55 |
Let's turn off the visibility for our
Sound Keys later and preview that
| | 05:00 |
animation that we've created.
(MUSIC).
| | 05:10 |
Now I'll stop playback.
As you can see, the brightness of the
| | 05:14 |
layer wasn't very bright.
So we may want to go back to our sound
| | 05:17 |
keys and make an adjustment to the scale
so these can pop a little bit more.
| | 05:22 |
But now that you understand how Sound Keys
works.
| | 05:25 |
Go ahead and make your own adjustments, so
you can create the animation to your liking.
| | 05:29 |
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| Sending Sound Keys data to CINEMA 4D| 00:00 |
Now that we've checked out how to use
sound keys, I'm going to show you a work
| | 00:03 |
flow where we can use sound keys in After
Effects to then export a C4D file.
| | 00:08 |
See then in cinema, you could go ahead and
animate using the same data that we got
| | 00:13 |
out of after effects.
Those of you with older versions of after
| | 00:18 |
effects should go to the Maxon website,
I'm going to go ahead and open up Safari
| | 00:22 |
here and show you where the plug ins are
located on their site.
| | 00:27 |
If you go to Maxon under the support
section, under updates are plug ins.
| | 00:31 |
And then you can look for your specific
version of After Effects and the version
| | 00:34 |
of Cinema that you're currently running.
Now, to isolate sound key data, I
| | 00:40 |
recommend applying the data as keyframes
to another solid in, say, position data.
| | 00:47 |
This way, the position data is easy to
find inside of Cinema.
| | 00:52 |
Let's start by creating a new layer solid.
You can make it any size you prefer.
| | 00:57 |
I'm just going to make sure that I choose
a nice bright color.
| | 01:00 |
Now when I click OK we have a new layer
solid.
| | 01:04 |
Just for the sake of showing you the data
that comes across, I'll enable 3D for this
| | 01:08 |
layer and go ahead and just rotate it a
little bit on its axis.
| | 01:15 |
Now we can go to our sound keys layer.
If you press u, notice we already an
| | 01:19 |
output that's been created.
Let's just click on the word, output one,
| | 01:23 |
and press Cmd+c to copy, or Ctrl+c on
Windows to copy.
| | 01:28 |
Now if you select your layer cell and
press p to open the position data, I'll
| | 01:32 |
recommend splitting the parameters apart.
So let's go ahead and Control click, or
| | 01:37 |
right click directly on the word Position,
and choose Separate Dimensions.
| | 01:41 |
This way we can quickly de-select our
different position options, and select one
| | 01:46 |
of the parameters.
I'll choose position x.
| | 01:50 |
Now if we press Home we can move our
current time indicator to the start of the timeline.
| | 01:55 |
And press Cmd+V or Ctrl+ V on Windows to
paste.
| | 01:58 |
If you scrub through, now you can see, our
layer is moving on its position data.
| | 02:04 |
Now, just to show you some of the other
things that come across, I'm going to go
| | 02:07 |
up under layer, and just add a new camera
to our After Effects project.
| | 02:12 |
I'll add a one node camera.
Now to send this to Cinema all we need to
| | 02:17 |
is go up under file, and choose export.
Then you'll see the Maxon Cinema 4D Exporter.
| | 02:25 |
I'll go ahead and navigate in my exercise
files to the root and just save the
| | 02:29 |
project there.
I'll name my files Sound Keys.
| | 02:34 |
And then click Save.
And then to see what we've created all we
| | 02:39 |
need to is open Cinema 4D.
Go up under file and choose open.
| | 02:46 |
Navigate to your exercise files and open
your C4D project.
| | 02:50 |
Once it's open you'll see the layer solid.
It's contained inside of a null.
| | 02:55 |
So let's open the null and select our
yellow layer solid.
| | 03:00 |
Notice we have key frames applied to x
perimeter, and you can see those key
| | 03:03 |
frames in the timeline.
If I scrub through you can see
| | 03:06 |
everything's moving quite nicely.
The camera was brought across as well.
| | 03:11 |
Now I want to apply this x movement to
another layer or another object.
| | 03:16 |
It's just like Aftereffects.
You can apply it to just about any
| | 03:20 |
animatable parameter.
I'll go ahead and just right click on the
| | 03:24 |
x parameter for our layer salad.
In here we can go to Expressions, and
| | 03:29 |
choose Set Driver.
This is very much like applying an expression.
| | 03:33 |
So, this is the layer that's going to
drive the animation.
| | 03:37 |
Let's go ahead and create a new cube, with
our cube on the scene we can reposition
| | 03:43 |
here, and navigate in the coordinates
options.
| | 03:49 |
To the rotation.
I'm going to click right on the letter h
| | 03:52 |
here for the heading, and right click
under there you want to go to expressions
| | 03:55 |
and choose set driven relative.
Now if we scroll through the project you
| | 04:02 |
can see that the cube is rotating just
like the solid's moving.
| | 04:06 |
Now like I said you can set driver and set
driven for many different perimeters
| | 04:10 |
inside a cinema.
So I encourage you to go out there and
| | 04:14 |
have fun and try something on your own.
| | 04:17 |
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|
|
2. Creating a Graphic BumperUsing music to drive particle animation| 00:00 |
Before I talk about what we're going to
create, let's scrub through the project
| | 00:03 |
and look at what is already here.
Notice we have a particle animation that's
| | 00:07 |
sort of moving towards the center of the
screen, and we have animated hexagons
| | 00:11 |
that'll pulse back and forth to the beat
of the music.
| | 00:16 |
Now all this was created using the Sound
Keys effect.
| | 00:20 |
And that's what we're going to use to
actually change the size of our particles.
| | 00:24 |
This way, our particles will bounce around
the screen to the beat of the music.
| | 00:29 |
In order to check out our sound keys,
let's select layer 6 and turn on it's visibility.
| | 00:33 |
Just so we can isolate sound keys, let's
solo layer 6.
| | 00:38 |
Now in the effects control panel, let's
open the options for range 1.
| | 00:42 |
I want to click on this target for range
1, corner 1.
| | 00:46 |
And let's just specify a range right
around this orange area here.
| | 00:50 |
I am going to change my second target area
by clicking and dragging it down and just
| | 00:54 |
isolating a little less of the spectrum.
So as we scrub through the timeline, you
| | 01:02 |
can see this green line that's bouncing up
and down.
| | 01:05 |
That's letting us know our output that's
been created based on our selection of the
| | 01:08 |
different frequencies in the wave form.
Before we actually apply any output
| | 01:14 |
values, we should pay attention to the
output minimum-maximum settings.
| | 01:18 |
If we click on this pull down, we can
change the setting from, say, 0 to 100, to
| | 01:23 |
a custom setting.
Or, if we wanted to rotate things, we
| | 01:28 |
could say 0 to 360.
I want to choose Custom.
| | 01:32 |
Let's choose a maximum of 40.
And let's change the minimum to .2.
| | 01:41 |
Now we can click the apply button.
Once we click apply, let's press the u key
| | 01:45 |
to open up our sound keys key frames.
We can now turn off the visibility for
| | 01:51 |
layer 6 and go down to our particles
layer.
| | 01:55 |
Here, in order to affect the position or
the size of our particles, we need to
| | 01:58 |
actually go to the physics engine.
Under physics, we need to go to air, in an
| | 02:04 |
air section, there's a section for
turbulence fields.
| | 02:09 |
We're going to generate turbulence for our
particles with this audio file.
| | 02:13 |
It will have it change the size, so hold
down alt on Windows, option on the Mac,
| | 02:16 |
and click on the stopwatch next to effect
size.
| | 02:21 |
Now, on our timeline we can click on the
pick whip and just point up towards our
| | 02:25 |
previous layer and make sure that we point
it right to the output 1 setting.
| | 02:30 |
You can double-check their expression just
by making sure it says output 1 and then
| | 02:34 |
click off of the expression to make sure
that it's set.
| | 02:39 |
Now when we scrub through the timeline,
notice that the size is going to change
| | 02:42 |
for our particles.
But they'll never go down to a setting of 0.
| | 02:47 |
Let's load up our RAM preview and see what
we've created.
| | 02:55 |
After a few seconds you can go ahead and
hit the space bar to check things out (MUSIC).
| | 03:06 |
So, I'm going to stop playback here for a
second.
| | 03:09 |
Notice, these didn't change very much in
terms of size.
| | 03:12 |
So maybe it would make more sense to have
a larger setting.
| | 03:17 |
Once you've set up this expression, you
can easily go back and just delete the key
| | 03:21 |
frames off of your sound key's output.
So I'm just going to click on the
| | 03:25 |
stopwatch, and that'll delete the key
frames.
| | 03:28 |
Since we still have an output for the
layer, that hasn't broken our expression.
| | 03:33 |
All we need to do is go back to our
maximum setting for our output, and
| | 03:36 |
increase that number.
Lets choose a maximum of 150.
| | 03:41 |
Now when we click apply, we'll generate
new key frames, and notice it's
| | 03:45 |
automatically updated our expression.
Let's load up one more RAM preview, and
| | 03:52 |
check out what we've done.
(MUSIC) Well, that's much more like what I
| | 04:02 |
was thinking.
The key thing to remember whenever you're
| | 04:07 |
trying to apply expressions to your
particle systems, you want to make sure
| | 04:11 |
they're applied in the turbulence area of
the physics engine.
| | 04:16 |
| | Collapse this transcript |
| Generating animated colors| 00:00 |
Since I'm generally inspired by colors and
when I hear sounds I tend to see colors, I
| | 00:04 |
figured we might as well do an exercise
where we use audio to generate colors.
| | 00:10 |
So to do that, let's go up under our
layers and create a new adjustment layer.
| | 00:16 |
I'm using adjustment layer because I just
want to change the colors that we already
| | 00:19 |
have in our composition.
So, in order to change our colors we need
| | 00:23 |
to apply another effect.
So, let's go under Effect and go to Color
| | 00:27 |
Correction and this time chose Color
Balance, Hue Levels Saturations.
| | 00:33 |
If you click and drag on the hue
parameter, notice this is drastically
| | 00:36 |
changing the colors of our project.
I'll just Cmd+Z to undo, Ctrl+Z on Windows.
| | 00:43 |
Now that we have our adjustment layer set
up, let's go down to our sound keys, layer seven.
| | 00:48 |
And turn on the visibility, so we can see
our sound keys actually being generated.
| | 00:53 |
Notice we already have a range selected
here, range one.
| | 00:57 |
And if you press U on your keyboard you
can see we already have one output.
| | 01:01 |
This is the output that's controlling the
size of the particles in the scene.
| | 01:05 |
So we don't want to use this range.
There are multiple ranges and sound keys,
| | 01:09 |
in fact three.
So let's choose range two.
| | 01:13 |
Select active and just so we're not
confused as to which targets we're dealing
| | 01:17 |
with, let's click on the range two corner
one button.
| | 01:21 |
And just redefine that target a little
higher above our other previously said selection.
| | 01:27 |
Now, I don't necessarily want a finite
selection of our different sounds.
| | 01:32 |
I want to have a pretty broad range.
So, let's just go ahead and click on this
| | 01:36 |
second target in the lower right area here
and make sure we select the majority of
| | 01:40 |
the green lines as well.
Now, when we scrub through you can see
| | 01:44 |
it's giving us a different story than our
first range selection.
| | 01:49 |
Since we've selected more frequencies this
isn't going to be quite as responsive,
| | 01:52 |
which is going to be nice because we don't
want it to be quite as jarring.
| | 01:57 |
Now we're almost at a point where can tie
this to our hue effect, but in order to do
| | 02:01 |
that we need to pay attention to our
output minimum maximum values.
| | 02:07 |
Since hue works in a range of zero to 360
degrees.
| | 02:11 |
Let's go ahead and click on this pull down
and choose zero to 360.
| | 02:16 |
Now when we click the apply button, we'll
get a second output.
| | 02:20 |
So if you press U on your keyboard twice
you'll see now we not only have output one
| | 02:25 |
but we have output two.
Notice the values for output two are much higher.
| | 02:30 |
Again, this is because this output is
going through 360 degrees.
| | 02:35 |
So let's tie our hue to that output.
I'm just going to maximize the timeline by
| | 02:40 |
selecting it and pressing the Tilde key.
Let's select layer one and press E to open
| | 02:48 |
up our effects.
And open up our color balance.
| | 02:51 |
For the hue, let's hold down Option on the
Mac, Alt on Windows, and click on the stopwatch.
| | 02:57 |
Now we can use the Pick Whip to specify
output two.
| | 03:00 |
Now that we successfully applied the
expression, let's go ahead and click
| | 03:05 |
outside of the expression, and press the
Tilde key again.
| | 03:11 |
Notice now when we scrub through the
scene, we've got all kinds of colors being
| | 03:14 |
generated by our sound keys.
Now I want to tone this back a little bit
| | 03:18 |
so what I'll do is collapse layer one,
turn off the visibility for my sound keys,
| | 03:22 |
and just apply a mask to our adjustment
layer.
| | 03:26 |
So, I'll go up under my shape tools, and
make sure I have my Rounded Rectangle tool
| | 03:30 |
selected, and I'll just start drawing from
the center.
| | 03:35 |
As I click and drag, I'll hold down the
Cmd key, and drag out to the right.
| | 03:43 |
Once the mask has been selected, we can go
ahead and change the blend mode for the
| | 03:47 |
mask, to subtract and open up those mask
options and let's increase the feather for
| | 03:51 |
the mask.
Now we have a lot of colors being
| | 03:56 |
generated on the outside edge of our
graphic, and this was all made possible by
| | 04:00 |
sound keys.
| | 04:02 |
| | Collapse this transcript |
| Editing to music| 00:00 |
Up until this point we focused rather
closely on how to drive graphics with
| | 00:04 |
actual audio wave forms or other
data-generated key frames, but sometimes
| | 00:08 |
the most important way of editing to audio
is literally just that.
| | 00:14 |
editing.
So, I've imported 2 different graphic
| | 00:16 |
elements that we'll edit into our piece to
kind of give things a little bit of pop.
| | 00:21 |
If you double-click on the QuickTime file
in our Pre-Renders 3D folder, you can see
| | 00:25 |
I just have a pre-rendered title that I
created in Cinema 4D.
| | 00:30 |
Now obviously, After Effects supports
Cinema 4D, so you could just import the
| | 00:34 |
cinema file directly.
Now in the graphics folder.
| | 00:38 |
I've imported, an illustrator file.
Now the illustrator file, is the original
| | 00:44 |
file I used to create this 3d graphic.
This will just give us the ability to
| | 00:49 |
isolate inividual words like hop, or the
entertainment news line.
| | 00:53 |
So I'll just undo that latest import.
So let's get to editing.
| | 00:57 |
I'm going to start by focusing on this
close area here where we've marked 2 kick
| | 01:01 |
drums going back to back.
I'll increase the magnification of my
| | 01:05 |
timeline, just so we can see things a
little more clearly.
| | 01:10 |
Now make sure to position your current
time indicator over the first marker, and
| | 01:13 |
then let's select our title and just press
the left bracket key, just to the right of
| | 01:16 |
the P key.
That'll slide the end point down to start
| | 01:21 |
at that marker.
Now, at the second kick, I want to have
| | 01:25 |
something else start to happen.
So I'll press Shift, Command, D, to
| | 01:29 |
duplicate the layer and split it at the
playhead.
| | 01:32 |
Now, I just want to be able to choose a
different section of our title, so I'm
| | 01:36 |
going to go ahead and slide down a couple
frames to where it's starting to rotate
| | 01:40 |
here, and then I'll press Option Left
Bracket to trim that in-point.
| | 01:45 |
So as we watch, you'll see the title will
go from the title like this, and then
| | 01:49 |
it'll start to spin.
And then let's go ahead and just edit the
| | 01:54 |
out-point for that right about here.
When it's almost pointed directly at the camera.
| | 01:59 |
Let's just press option Right Bracket this
time.
| | 02:05 |
Now to preview what we've done, let's move
our current time indicator back and I'll
| | 02:08 |
just make sure my preview settings are
from current time.
| | 02:11 |
(MUSIC) So that's pretty cool.
I like that little jump cut that sort of
| | 02:17 |
happened there, but at the next kick,
let's go ahead and just create a different
| | 02:23 |
version of the title.
Alt drag the word hop into our timeline,
| | 02:30 |
and since this is an illustrator file
let's go ahead and press s to scale it up.
| | 02:36 |
And we can scale this way, way up.
And since it's black I'm going to use a
| | 02:40 |
tint effect to change the color.
So I'll go to effect Color correction, and
| | 02:46 |
choose tint.
This way I can map black to any color.
| | 02:49 |
So I'll click on my eyedropper and choose
this orange color.
| | 02:53 |
Now, since that blends so well with the
background, let's scrub through and see
| | 02:57 |
what's going to happen.
I kind of dig that.
| | 03:01 |
So let’s make sure our current time
indicator is right over top of our next
| | 03:05 |
kick marker.
I’ll hold shift as I’m dragging to snap it.
| | 03:09 |
And again, we can press option, left
bracket.
| | 03:13 |
And let’s move just a couple frames down,
option right bracket.
| | 03:17 |
Now we can preview what we’ve done here.
(MUSIC).
| | 03:25 |
So, notice the audio kind of starts
kicking again after this last kick.
| | 03:29 |
So I'm going to scrub through and listen
for that next kick.
| | 03:32 |
(SOUND) Notice there's a loud rim hit that
happens towards the end of that graphic.
| | 03:44 |
Let's use that as an out point.
I'm going to scrub through the timeline
| | 03:47 |
holding the Cmd key down as I move my
current time indicator.
| | 03:51 |
It's CTRL on Windows.
Now once we figure that point, let's go
| | 03:55 |
ahead and drag the out point just before
our current time indicator.
| | 04:00 |
Now we can preview this again and see if
this lines up a little better.
| | 04:03 |
(MUSIC) So I think that's pretty cool.
Now these are the essential editing techniques.
| | 04:12 |
I encourage you to continue using these
techniques and layer in some more graphics
| | 04:15 |
of your own.
| | 04:17 |
| | Collapse this transcript |
| Advanced editing techniques| 00:00 |
I've added a couple extra elements to our
scene.
| | 00:02 |
So, let's go ahead and load up a RAM
preview to check things out.
| | 00:08 |
(MUSIC).
I'll press the space bar to stop playback.
| | 00:19 |
Move your current time indicator to around
22 frames in.
| | 00:22 |
This graphic is too busy.
What it's doing is clouding up the
| | 00:27 |
transition of our other graphics in the
back of our scene.
| | 00:30 |
See one of the most important things about
advanced editing Is literally knowing when
| | 00:34 |
to edit, especially when your animating to
music, you want to make sure that you
| | 00:37 |
don't muddy up the scene and detract from
other elements that are already animating
| | 00:41 |
to the music.
So let's select layer 6 and press delete,
| | 00:47 |
now let's scrub through the screen and
continue the editorial process.
| | 00:52 |
Notice we have the words the hop pop up
and then we have our animated title, which
| | 00:56 |
is fine.
But then the word hop pops up again, and
| | 01:00 |
we still haven't see entertainment news by
itself.
| | 01:04 |
So let's add entertainment news right over
top of the word hop.
| | 01:08 |
I'll just drag it and drop it right into
the middle of my timeline.
| | 01:10 |
And if you hold Shift while moving your
current time indicator, you can snap to
| | 01:14 |
the start of the layer below.
Let's trim the in and out of layer 1.
| | 01:19 |
I'm going to press Option, left bracket,
it's just Alt, left bracket on Windows,
| | 01:23 |
and we can do the same key command holding
down Shift as we move to the outpoint of
| | 01:27 |
layer 2.
So again, Alt, right bracket, or Option,
| | 01:32 |
right bracket.
Let's go ahead and scale up our layer, and
| | 01:37 |
since it's an illustrator layer, let's go
ahead and enable Continuously Rasterize.
| | 01:42 |
Under the Effect setting, let's add a
color correction Tint effect.
| | 01:47 |
This way we can change the text from black
to white.
| | 01:51 |
Now, just to better blend the hop into the
background, I want to go ahead and blur
| | 01:54 |
this out a little bit.
So go up under Effects, and Add a Fast Blur.
| | 02:00 |
Let's choose a setting of around 4.
I still want to be able to read the word,
| | 02:04 |
just kind of have it blend a little
better.
| | 02:06 |
Let's not forget about Blend modes, that's
a fundamental way to blend layers together.
| | 02:11 |
So let's go to our blend mode and change
this to color burn.
| | 02:17 |
Now we're getting a really cool kind of
deep effect out of the scene.
| | 02:20 |
Let's keep moving down the timeline.
Right here at the end, let's load up an
| | 02:25 |
audio only preview.
I'll press period on my keypad.
| | 02:29 |
(NOISE) That music is giving me this kind
of cool resonating out, but as you scrub
| | 02:33 |
through, notice the graphic just sort of
sits there, then disappears.
| | 02:39 |
So let's play with this graphic a little
bit.
| | 02:42 |
Even though it's pretty rendered, we can
still have fun with it.
| | 02:45 |
We can have it spin one way, then spin
back the other way, and maybe scale it and
| | 02:48 |
spin it completely out of the scene.
Let's scroll down so we can see our sting
| | 02:54 |
layer with our audio markers.
I'm going to re-position my current time
| | 02:58 |
indicator onto our last kick marker.
Again, just holding shift as I drag.
| | 03:03 |
Let's have our logo spin so we can
actually read it.
| | 03:06 |
Now this is where I want it to spin to and
then start to bounce back the other direction.
| | 03:11 |
So let's choose where we're going to
actually edit from.
| | 03:14 |
So I'm going to start here.
Right about this point.
| | 03:18 |
So let's turn the in point.
I'm just going to click on the left side
| | 03:21 |
and drag down.
Now move the current time indicator down
| | 03:25 |
to where we want our layer to stop for a
second and then flip back the other way.
| | 03:31 |
We can add a marker just by pressing the
asterisk key on the keypad or CTRL+8 on
| | 03:34 |
your keyboard.
This marker is going to let us know
| | 03:38 |
exactly what frame we're going to use to
transition from playing forwards to
| | 03:41 |
playing backwards.
With layer 7 selected, press Cmd D on your
| | 03:46 |
Mac or Ctrl D on Windows to duplicate the
layer.
| | 03:51 |
Now we can go to Layer, Time, and just
choose Time Reverse Layer, to make this
| | 03:55 |
play backwards.
Now we want to line up our markers.
| | 03:59 |
Just go ahead and drag on layer 7 and drag
it until the 2 markers overlap each other.
| | 04:05 |
Since we're going to spin backwards, we
can trim the outpoint of layer 8.
| | 04:10 |
So, select layer 8 and just press Option
Right Bracket or Alt Right Bracket on Windows.
| | 04:16 |
I'm going to move down 1 frame by pressing
Page Down, and then I'll trim the end
| | 04:20 |
point of layer 7 and press Option Left
Bracket or Alt Left Bracket on Windows.
| | 04:27 |
Now if we scrub through, you can see our
graphic's going to spin into the scene,
| | 04:29 |
and then start spinning backwards.
Let's go ahead and increase the outpoint
| | 04:34 |
of our layer.
Now I want this layer to scale down as
| | 04:39 |
it's disappearing.
And I want it to start spinning more quickly.
| | 04:44 |
So let's go ahead and move our current
time indicator back a little bit and then
| | 04:47 |
press the audio only preview button, so we
can mark where we want the change to happen.
| | 04:53 |
(MUSIC) So right at the start of that
vibrating outpoint.
| | 05:01 |
(MUSIC) So at frame 5:04, we'll go ahead
and speed this up, and have it start to
| | 05:09 |
scale out.
Now since I don't want it to affect the
| | 05:14 |
other part of the layer, lets go ahead and
split this layer.
| | 05:17 |
I'll press shift command d to split, and
now we can go up under layer.
| | 05:21 |
Time.
And let's use time stretch.
| | 05:25 |
Notice the stretch factor is minus 100
since we've reversed the layer.
| | 05:30 |
Now let's speed this up, by just changing
the duration to minus 113.
| | 05:38 |
As long as you have Layer In Point
selected, this won't make any change to
| | 05:41 |
actually which frame is going to be the
first frame on this clip.
| | 05:47 |
Now when we scrub through, you can see
it'll actually start to speed up at this point.
| | 05:51 |
So let's add our scale key frames, and
preview our animation.
| | 05:55 |
I'm going to press I to move to the in
point of the layer.
| | 05:57 |
And Option S or Alt S on Windows to add a
scale key frame.
| | 06:03 |
Let's press O to move to the out point of
the layer, and just change our scale
| | 06:06 |
parameter down to 0.
Now let's preview this last little section here.
| | 06:12 |
I'll move back to around 3 seconds, make
sure current time is enabled on preview.
| | 06:17 |
And load up a RAM preview.
(MUSIC) Now, of course, we could continue
| | 06:29 |
tweaking this by making adjustments to the
scale in our editor window.
| | 06:39 |
But I think you understand the process for
editing pre-rendered graphics.
| | 06:43 |
Overall you can create a pretty
interesting animation, just by making out
| | 06:47 |
your audio hits, and then going through
traditional editing process.
| | 06:51 |
| | Collapse this transcript |
|
|
3. Creating an Identity SpotDriving 3D graphics with sound| 00:00 |
Earlier in the course, we explored how you
export after effects project files to
| | 00:04 |
import key frame data and then drive
animation inside of cinema.
| | 00:09 |
In this video I'm going to show you how we
can load audio natively inside of cinema,
| | 00:13 |
using the sound effector.
So to start, let's add a sound effector to
| | 00:18 |
our project.
Go up under Mograph, choose effector and
| | 00:22 |
choose sound.
With the sound effector loaded, go down to
| | 00:26 |
the attributes panel, I'm just going to
make it a little bit larger so you can
| | 00:30 |
check out what it looks like.
In the effector section, we want to go to
| | 00:35 |
the sound file area and click on this
button with the ellipses.
| | 00:38 |
Navigate to your audio folder in your
exercise files and choose the Sting wav file.
| | 00:44 |
When we click open, it’ll ask if you
want to copy the Sting into the document path.
| | 00:48 |
Cinema likes to save external files, like
material textures and audio files like
| | 00:53 |
this, right next to the project file.
Now since I already have a folder
| | 00:58 |
structure set up that’s organized, I’m
going to say no.
| | 01:03 |
Now that the sound's actually been loaded,
we can preview the audio by going to the
| | 01:07 |
bottom of the effector panel, and clicking
the play button.
| | 01:11 |
(MUSIC) If you click it again, it'll stop
playback.
| | 01:18 |
Now, if you go to the timeline and press
Play, you'll not only hear the audio, but
| | 01:21 |
it'll load up in the frequency graph.
So let's do that.
| | 01:26 |
(MUSIC) Now if you stop, you can still see
some of the audio loaded in the frequency graph.
| | 01:33 |
I want this to be like this because I
want to show you lower cut off and compression.
| | 01:39 |
If you have really quiet audio and you
want to get higher frequency peaks, go
| | 01:42 |
ahead and increase the compression.
If you want to cut out some of the
| | 01:47 |
background noise you can go ahead and use
lower cut-off and then only the higher
| | 01:52 |
peaks will go ahead and propagate your
sound.
| | 01:56 |
Now in order to apply the Sound Effector
to effect an object, we need to make sure
| | 02:00 |
that's it's either to the child of an
object or in the same null object.
| | 02:05 |
So I'm going to go to my Sound Effector
and just make sure that it's in my Null,
| | 02:09 |
next to my Dancer.
Notice, I accidentally dragged it to be a
| | 02:15 |
child of the dancer, and it got rid of my
geometry.
| | 02:18 |
Just make sure you drag it up above the
dancer object and then everything will be fine.
| | 02:23 |
Now just because I like to have effectors
below the objects, I'll organize my dancer
| | 02:28 |
on top of my sound effector.
Select the sound effector in your objects
| | 02:33 |
panel and let's go ahead and preview our
animation.
| | 02:38 |
(MUSIC) And you'll see nothing's
happening.
| | 02:43 |
This is because even though it's applied,
we still need to go to the deformer channel.
| | 02:47 |
Under there, let's specify a deformation
of the object.
| | 02:52 |
Now when we press play, you should see our
hexagon bouncing up and down.
| | 02:56 |
(MUSIC) Now, I'll stop playback and jump
to the parameter section.
| | 03:04 |
Under Parameters, the default setting is
for Position.
| | 03:07 |
So let's disable Position, and enable
Rotation.
| | 03:11 |
I want our shape to spin around to the
beat of the music and in order to do that,
| | 03:15 |
I'll increase the heading.
The larger the number, the more the
| | 03:20 |
object's going to spin, so I'll just
choose a conservative number around 70 degrees.
| | 03:25 |
Lets' go ahead and preview this and see
what we've got.
| | 03:28 |
(MUSIC) I think that's kind of fun, but if
you notice, the movement's a little jagged.
| | 03:37 |
If you ever need to smooth out movements,
you can use another Mograph effector.
| | 03:41 |
So, let's go up under Mograph, Effector,
and this time I want you to choose Delay Effector.
| | 03:47 |
Let's make sure our Delay Effector is all
the way in the bottom of our group of
| | 03:51 |
nulls and then, make sure in the parameter
section, that we have rotation enabled.
| | 03:56 |
By default delay will apply to all three
of these different parameters.
| | 04:00 |
Now since we're only dealing with
rotation, I'll go ahead and disable
| | 04:03 |
position and scale.
Let's go back to our effector settings and
| | 04:07 |
increase the strength up to 100% and
preview our animation.
| | 04:11 |
(MUSIC) You shouldn't see too much of a
difference, but if you change the mode
| | 04:16 |
from Blend to Spring, it should make the
movement a little more bouncy and a little
| | 04:20 |
more slow.
(MUSIC) So if you want to bring back any
| | 04:27 |
of the original movement, just decrease
the strength.
| | 04:35 |
I'm going to leave mine set up at 100%
because I kind of like how it's moving
| | 04:38 |
around the scene.
Now since we're working with this
| | 04:42 |
animation to create a scene in our
finished story, I've already created a
| | 04:45 |
camera animation to sort of, set the
scene.
| | 04:49 |
Let's go to the Layers panel, and make
sure we turn on the visibility on, for our
| | 04:53 |
camera layer.
Under the visibility, and in our objects manager.
| | 04:59 |
Now let's choose this camera by enabling
its camera target and we can preview our animation.
| | 05:05 |
(MUSIC) I think that's kind of fun.
So I'm going to stop playback there.
| | 05:15 |
Now this is usually, where I would go
ahead and render out my scene.
| | 05:19 |
Now obviously After Effects imports cinema
projects, so we could leave it that way as well.
| | 05:25 |
But just to make things easier, I will end
up going ahead and rendering this scene.
| | 05:29 |
| | Collapse this transcript |
| Creating multiple scenes for an edit| 00:00 |
A big part of animating graphics to audio
has to do with the story telling, and as
| | 00:05 |
we're building our identity spot we're
going to be using multiple scenes to edit
| | 00:09 |
in the final piece.
Now, in this video I'm going to show you
| | 00:14 |
two of the other scenes that I've just
gone ahead and built since they are very
| | 00:18 |
similar to techniques we've already
covered.
| | 00:22 |
So the first one is this
03_02_MultiScene_02 file.
| | 00:28 |
In this scene we have our dancing hexagon
like we had from our previous scene.
| | 00:32 |
But if we go ahead and press the play
button you'll see we now have a partner
| | 00:36 |
for our shape.
So let's go ahead and play forwards.
| | 00:39 |
(MUSIC) So it's kind of a fun scene.
We have our shape dancing and then as we
| | 00:49 |
scrub through you can see our partner
kind of pops into the scene.
| | 00:54 |
Now, that leads of course to the next
scene, which is scene 03.
| | 01:01 |
In this scene, let's go to the beginning,
we have our two dancing shapes and then
| | 01:05 |
we're going to have lots and lots of
replications after that.
| | 01:09 |
So, let's check it out.
(MUSIC)
| | 01:13 |
So it's kind of fun.
Now, there is one thing that I wanted to
| | 01:20 |
show you in this scene.
Notice how all of the different elements
| | 01:24 |
are moving at a different rate.
Yet we only have one sound effector.
| | 01:29 |
The reason for this has to do with the
step setting.
| | 01:32 |
So, if we go to the effector properties.
Under apply mode, there's a pull-down,
| | 01:37 |
which by default is set to all.
When we have things set to all, if we
| | 01:41 |
scrub through our project, you'll see that
everything will move at the same rate.
| | 01:45 |
(MUSIC) So with the apply mode, you
want to make sure that it's set to step.
| | 01:53 |
Especially when you're trying to create a
sense of multiples all moving at slightly
| | 01:57 |
different rates.
So let's check it out.
| | 02:00 |
(MUSIC) So this gives a definite sense of
individuality to each one of our elements.
| | 02:09 |
Now of course, we're going to use this as
the transition into our final scene where
| | 02:13 |
all of these different hexagons are
going to fly around together to create our
| | 02:17 |
final logo resolve.
So again, animating to audio, you're
| | 02:22 |
trying to tell a story but if you're
trying to create individual movements,
| | 02:26 |
make sure when you're dealing with your
sound effector, that the apply mode is set
| | 02:29 |
to step.
| | 02:32 |
| | Collapse this transcript |
| Rigging the mograph build| 00:00 |
For our final resolve we're going to have
a bunch of these hexagon shapes end up
| | 00:04 |
forming our hop logo and to do that we
need to use the cloner effector.
| | 00:10 |
Now, since we just want to focus on
animating to audio, I've already prebuilt
| | 00:13 |
a bunch of this scene, but I'll definitely
take you through the steps that I went
| | 00:17 |
through to build things.
So, to get started, let's look at our
| | 00:21 |
hexagon shape in our objects panel.
You can see, it's an it's an extrudeners object.
| | 00:27 |
Now, in order to clone this, I just need
to make it the child of the cloner.
| | 00:31 |
So let's click on it and drag it down on
top of our cloner.
| | 00:35 |
Once we do that, you should notice that we
have a logo.
| | 00:40 |
Now, this logo was created because of this
model, up here at the top.
| | 00:44 |
If I turn its visibility on, you can see,
it's actually an extrudeners object, itself.
| | 00:51 |
Notice I have a spline that's been loaded
in here and this was created from
| | 00:54 |
outlining type inside of Illustrator.
You'll find that reference file inside
| | 01:00 |
your exercise files.
Now, I can go ahead and turn that back off again.
| | 01:05 |
And the way the cloner is set up, when we
select the cloner, it has the vectors applied.
| | 01:10 |
It already has a sound effecter and the
delay effector to smooth out the movements.
| | 01:16 |
Notice the sound is set at 100 and delay
is set at 59.
| | 01:19 |
Now, if we look under the objects section,
you can see it's filling our object, the
| | 01:24 |
hop object.
So if you were starting from scratch with
| | 01:28 |
the cloner, it would be set to object
mode, and then we went ahead and dragged
| | 01:32 |
the hop model in on top of it.
We set the distribution to volume, so it
| | 01:38 |
would build up all these hexagons inside
the model.
| | 01:42 |
Now let's look at our affectors.
If I go to my sound effector, notice the
| | 01:46 |
Apply mode is set to Step.
Let's preview our animation the way it is currently.
| | 01:50 |
(MUSIC) I'll stop playback but you can see
each individual object is shaking to the music.
| | 02:01 |
If I do a quick render of the scene.
You'll see, it just has a rather simple
| | 02:05 |
material applied to it.
Now it may take a second to render and
| | 02:08 |
that's just because it has ambient
inclusion on the material, and we have
| | 02:11 |
quite a lot of shapes replicated to build
this object.
| | 02:18 |
All right.
Now how do we get the random effect?
| | 02:21 |
Well, we need to add a random effector.
So, let's select or corner object and go
| | 02:25 |
up mograph.
Effector, and choose Random.
| | 02:30 |
By default, it'll automatically apply
since we had our cloner selected.
| | 02:34 |
Let's just move the random effector to the
bottom of our layer hierarchy.
| | 02:37 |
Now if we look at our options under the
Effector and Parameter settings, our
| | 02:41 |
Effector's set at 100% strength, and it's
set to automatically affect the position.
| | 02:47 |
So let's crank up the x.
The y, and the z values.
| | 02:54 |
When we do that, all our different objects
in the scene will move around the scene.
| | 02:58 |
Now let's go ahead and watch our scene and
see how it's animating.
| | 03:05 |
I'm just going to stop that right now
cause obviously that's not quite what we want.
| | 03:09 |
If we look at the transform mode, it's set
to relative and our transform space is set
| | 03:14 |
to node.
We need to change that from node to object.
| | 03:19 |
This way when we play, each object will
twist around like it was in the beginning
| | 03:23 |
of the comp.
(MUSIC) That's exactly what we want.
| | 03:31 |
Now in terms of the animation, all we're
going to do is animate one parameter.
| | 03:36 |
See if we select our cloner and go to the
effector setting, notice we have our sound
| | 03:40 |
effector, our delay effector and our
random effector.
| | 03:44 |
Now all we have to do is key-frame the
random effector.
| | 03:47 |
If I set that down to zero, we're going to
have our final resolution.
| | 03:52 |
If I set it up at 100 everything's going
to be spaced apart.
| | 03:56 |
Now like I said before, I have pre-built a
fair amount of this project.
| | 04:00 |
And of course if we go to our Layer
section, I can turn visibility on for my camera.
| | 04:07 |
Now with my camera active let's go ahead
and just select that camera view.
| | 04:11 |
If we scrub through the scene.
(MUSIC) Notice my camera's going to start
| | 04:16 |
from the side here, and then spin around
towards the middle.
| | 04:21 |
(MUSIC) So literally all we have to do is
key frame the random effector, and our
| | 04:26 |
animation is complete.
So when it comes to applying sound to
| | 04:30 |
cloner objects, yes you have your step
effector setting in the sound options, but
| | 04:34 |
also when you apply other effects you
should make sure that they're set to be
| | 04:38 |
applied to the object as well.
| | 04:41 |
| | Collapse this transcript |
| Building the scene transitions| 00:00 |
Now, we've finished all of our rendering
and we're ready for the fun part, editing.
| | 00:05 |
Now, in order to edit these different
pieces together, I've gone ahead and
| | 00:08 |
pre-composed our different graphics.
Now, if you open the prerenders folder,
| | 00:13 |
you can see all the pre-rendered 3D
graphics that I rendered, out of cinema.
| | 00:18 |
Now if we open the Pre-comps folder you
can see, I have a different pre-comp for
| | 00:22 |
each scene.
Let's open scene one pre-comp.
| | 00:27 |
In here, if we move our current time
indicator over our pre-comp you'll see, I
| | 00:29 |
have our rendered scene over a black solid
over the background.
| | 00:32 |
Now for each scene, the black solid's
going to get lighter as we move from scene
| | 00:39 |
to scene.
So the last scene is going to be
| | 00:43 |
extraordinarily bright.
Now I've also gone through the process of
| | 00:47 |
spreading these out because if we tried to
edit from one scene to the next, it may
| | 00:51 |
not necessarily make sense because we
didn't specifically line up each
| | 00:54 |
individual character within each scene.
But if we slide between scenes, kind of
| | 01:00 |
like using a camera to bounce between
different windows, the story will actually
| | 01:04 |
translate and make sense, plus we will
have added a little bit more interest to
| | 01:07 |
our animation.
So let's zoom out in the comp panel so you
| | 01:12 |
can see what I've done.
I have each one of my scenes laid out and
| | 01:17 |
offset on the X axis.
Now, I went ahead and did a parent
| | 01:22 |
structure, so if we have to make any
moves, we can just use the layer control
| | 01:26 |
null to reposition these layers.
And that's what we'll do, we're going to
| | 01:33 |
go ahead and slide these different layers
between the scenes, but we'll do so at the
| | 01:37 |
mercy of the music.
So, let's move our current time indicator
| | 01:42 |
to the third marker here and I'll hold
Shift as we start to drag.
| | 01:46 |
This is where we'll complete our first
slide.
| | 01:49 |
Now, I'm going to grab my null object and
just click and drag and I'll hold Shift
| | 01:52 |
after I start to drag.
Now if you press P to open up the
| | 02:02 |
position, you can see it's on a perfect
number, 25 60.
| | 02:06 |
You want to make sure you're on that nice
even number and let's go ahead and fit our
| | 02:10 |
scene back up to 100%.
Now in order to create the slide, I'll add
| | 02:14 |
a key frame for the position right here.
Let's go ahead and make this about a 12
| | 02:22 |
frame slide.
Now in order to slide this exactly the
| | 02:27 |
same length each individual time, let's
just think about this for a second.
| | 02:32 |
Our composition is 1280 pixels on the X,
so all we have to do, is a little math.
| | 02:38 |
I'll click on the x-axis and type plus
minus 1280.
| | 02:41 |
What that means is, we're going to create
an addition but we're actually subtracting
| | 02:46 |
that addition.
So when we press enter, its automatically
| | 02:51 |
going to re-position this scene, 1280
pixels further down.
| | 02:55 |
Now if you scrub through, you can see
we’ve transitioned from one scene to the
| | 02:59 |
next and it kind of makes sense.
We’re going from one character to two characters.
| | 03:06 |
Now, it’s important to pay attention to
where the scenes are, horizontally in your composition.
| | 03:11 |
So of course, we’re going to have to slide
these comps down.
| | 03:14 |
I’ll select scenes two through four and
then, just drag down the timeline.
| | 03:22 |
Now if I dragged it all the way to the
right like this, look what's going to happen.
| | 03:25 |
We'll have black and then the transition.
So when you re-position, you want to make
| | 03:30 |
sure that you slide your pre-coms to the
first key frame, that way, they're already
| | 03:33 |
visible when the move starts to happen.
You don't have to worry about the out
| | 03:39 |
point because they layer's going to be all
the way off the composition.
| | 03:46 |
So let's move down to this third kick
here.
| | 03:49 |
Again, to shift our scenes, let's click on
the X axis and type plus minus 1280.
| | 03:58 |
Now look what happened?
If I scrubbed through, notice it's just
| | 04:01 |
going to keep moving on the scene.
So what I need to do, is move about
| | 04:06 |
fifteen frames down and then slide my key
frame.
| | 04:13 |
Now if I go back to the marker, I can just
copy my previous key frame and paste it.
| | 04:19 |
This way the scene will stay static in
between and then we can slide to our next scene.
| | 04:24 |
An of course, in sliding through our next
scene, we didn't have our scene up, in the
| | 04:29 |
timeline, so let's go ahead and drag
things down here.
| | 04:34 |
And again, we'll drag it to the first key
fame and there we go, now we're in our
| | 04:38 |
next scene.
Notice, we've kind of run out of drum hits here.
| | 04:48 |
This would be an instance where we would
go ahead and edit the audio and we'll
| | 04:51 |
definitely do that in the future.
For right now, I just want to go ahead and
| | 04:55 |
frame out our last transition.
So let's just move down the timeline here
| | 05:00 |
a little bit and let's say, 504.
Now, we can go ahead and select scene four
| | 05:06 |
and slide it down and of course, create
our animation.
| | 05:11 |
This time, I want to go ahead and add a
key frame here and then we'll move 15
| | 05:17 |
frames down and of course, on the X axis,
plus minus 1280.
| | 05:24 |
Now, we're into our final scene.
So, if you scrub through, we have our
| | 05:29 |
first scene, transitioning to our second
scene, transitioning to our third scene,
| | 05:34 |
and into our final scene.
So all we have left, is some basic color
| | 05:40 |
correction, maybe tweak the moves, and
then of course, we need to extend our
| | 05:44 |
audio track.
| | 05:46 |
| | Collapse this transcript |
| Creating the final composition| 00:00 |
We've roughed out our transitions and
we've run into an instance where our audio
| | 00:04 |
no longer matches our graphic.
Just to show you where we are, lets go
| | 00:09 |
ahead and load up a RAM Preview.
(MUSIC).
| | 00:23 |
So the audio definitely needs to be
extended.
| | 00:26 |
And also, when I'm scrubbing through here,
I noticed, yep, there are a couple black
| | 00:30 |
frames in there.
So we need to speed up this one
| | 00:33 |
transition, so let's go ahead and make
sure that we're positioned at the end of
| | 00:38 |
scene 2.
And just speed up that transition just a
| | 00:45 |
few frames, let's preview that.
(MUSIC).
| | 00:53 |
And I think that lines up better with the
audio anyway, so we're good there.
| | 00:56 |
And then, we need to extend our audio
track.
| | 01:00 |
So let's go ahead and select Layer 2 and
press LL on our keyboards to open up the waveform.
| | 01:06 |
Now thankfully this track is rather
repetitive.
| | 01:08 |
And if you look at the wave form, you can
see repeating shapes and patterns.
| | 01:14 |
I'm thinking this first section here would
make the most sense to go ahead and repeat.
| | 01:18 |
So, let's just preview this audio only for
one second.
| | 01:22 |
(MUSIC).
So I am going to try and pick this up
| | 01:30 |
right here at our second drum kick.
So I'll move my current time indicator to
| | 01:35 |
that marker because I know that marker
corresponds to that kick drum.
| | 01:39 |
So, just to zoom in on the timeline, I'll
press the Plus key and you can see I am
| | 01:42 |
kind of cutting it right in the middle of
a wave form.
| | 01:46 |
But honestly I think this might work out
to our advantage.
| | 01:49 |
Let me show you what I mean.
Let's duplicate the layer and then trim
| | 01:53 |
the out point of our new layer.
So, let's go ahead and press Option, right
| | 01:58 |
bracket or Alt, right bracket on Windows.
We've trimmed our out point now, what I
| | 02:04 |
want to do is go ahead and just extend the
duration of our original clip.
| | 02:12 |
Now, just so that we can see the wave
forms, I'm going to select Layer 2 and
| | 02:15 |
press LL again.
And again we'll press the Plus button on
| | 02:19 |
our keyboard to kind of line up the
transitional area.
| | 02:23 |
I'll just zoom in on our timeline here a
little bit.
| | 02:26 |
And I want to line up our very first drum
kick with the out point of this other kick.
| | 02:33 |
So, I'll try and line that up like so, and
you can see the wave forms are almost overlapping.
| | 02:40 |
Let's see what that actually sounds like.
(MUSIC).
| | 02:51 |
I honestly think that's pretty darn close.
I think what we need to do is just add a
| | 02:55 |
slight fade out to Layer 2.
So I'll reposition my current time
| | 03:01 |
indicator just before the end there and
select Layer 2 and press L to open up our
| | 03:05 |
Audio Levels.
Then I can add a key frame, then just move
| | 03:10 |
down a couple of frames there and Ill just
dip the audio a tiny bit.
| | 03:16 |
I don't want it to go all the way down Ill
just dip it a little bit.
| | 03:19 |
Now lets go and preview this and see if we
can hear and dips.
| | 03:23 |
Sometimes when I preview audio I'll
actually close my eyes so I can listen.
| | 03:28 |
(MUSIC).
I don't know about you, but I'm pretty
| | 03:39 |
happy with that edit.
So I'll go ahead and collapse Layer 2 and
| | 03:42 |
collapse Layer 3 and let's look at our
project the way it exists currently.
| | 03:48 |
(MUSIC).
Now that last transition I think was a
| | 04:00 |
little bit slow.
So we can speed it up just by clicking on
| | 04:04 |
the second key frame and dragging it
forward.
| | 04:07 |
Let's go ahead and preview just this one
area and see how it looks.
| | 04:11 |
(MUSIC).
That's already tighter so, I think we're
| | 04:15 |
good to go with that transition.
The last thing I want to show you is how
| | 04:20 |
we can actually add color to these
different elements that are flying around
| | 04:23 |
to create our Hop logo.
To do that, let's open up the Scene 4 Precomp.
| | 04:29 |
In the Precomp, I've already created yet
another Precomp who have colors on it.
| | 04:36 |
Now, let's open that Precomp so I can show
you what I've done.
| | 04:39 |
Inside that Precomp, I have a black solid
and if we go ahead and open our Effect
| | 04:43 |
Controls panel for that solid, you can see
I've created a gradient ramp.
| | 04:50 |
Just to solo that layer, I'll enable solo
and turn off the track matte.
| | 04:56 |
That's all it is as a gradient ramp.
Now, let's turn off the Solo and re-enable
| | 05:00 |
our Alpha Matte.
The Alpha Matte is just our original
| | 05:05 |
graphic and I'm just using the alpha
transparency of that to cut out our colors.
| | 05:12 |
Now if we go to our scene for Precomp,
let's enable layer 1.
| | 05:18 |
That's automatically going to apply a
color wash to our graphics.
| | 05:22 |
Now, the color wash was applied using the
Multiply Blend mode.
| | 05:26 |
And I have a Hue, Levels, Saturation
effect.
| | 05:32 |
I added this effect, so we could go, and
scrub through the different hues, and see
| | 05:35 |
how we could possibly add animation.
If you wanted to, you could go ahead, and
| | 05:41 |
use sound keys to isolate the sound, and
then output in animation that we could tie
| | 05:45 |
to this rotation.
If you missed how to do that, you should
| | 05:48 |
definitely check it out, earlier in the
course.
| | 05:51 |
Now, there's one other thing about this.
Looking at the edge, you can see a slight
| | 05:56 |
white edge that's appeared.
And this happens sometimes when you apply
| | 06:00 |
colors directly on top of other layers.
This is easy enough to fix, all we have to
| | 06:06 |
do is select layer 1 and layer 2.
I am going to go ahead and pre-compose
| | 06:12 |
those layers yet again.
And I'll just call this the Colors Precomp.
| | 06:19 |
Now with our Colors Precomp, in order to
fix this slight halo, there's a filter
| | 06:23 |
called Minimax.
So if we go into our Effects and Presets
| | 06:28 |
and start to type Minimax we can drag that
right on to our Precomp.
| | 06:34 |
Now Minimax allows you to make adjustments
in very small increments to the colors, or
| | 06:39 |
the Alpha channel of a layer.
I want to go ahead and apply an adjustment
| | 06:43 |
to the Alpha channel.
And we'll do a radius of one, notice that
| | 06:47 |
extended the size of our Alpha channel.
I don't want to do that, so let's go ahead
| | 06:53 |
and change our Operation from Maximum to
Minimum.
| | 06:56 |
Now, it cut off that white halo and we
have a clean graphic.
| | 07:01 |
If I scroll out to 100% here you can see
we have our clean colors.
| | 07:06 |
And of course if I wanted to blend them
into the background here a little bit.
| | 07:10 |
I could go under the Perspective Effects
and add a slight Drop Shadow.
| | 07:15 |
I'll just add a slight softness to that
Drop Shadow and then we can come back to
| | 07:19 |
original ID spot.
In here, now we can go ahead and preview
| | 07:24 |
our animation.
(MUSIC).
| | 07:35 |
Now when watching that, I'm pretty sure
I'd want to fade in the color transition
| | 07:39 |
and then add that animation so the colors
flip all over our different shapes.
| | 07:44 |
But as you can see, we've already got the
basics of everything together to build
| | 07:48 |
your final composition.
So I encourage you, use some of the
| | 07:52 |
techniques that we've already learned and
apply that color wash or make some
| | 07:56 |
adjustments to the key frames.
Have fun and make it your own.
| | 08:00 |
| | Collapse this transcript |
|
|
ConclusionReviewing the finished projects| 00:00 |
Let's check out the mupper.
(MUSIC).
| | 00:09 |
You can see I've made some minor tweaks
just to polish it up a little bit, but
| | 00:12 |
these are all things we've gone over.
Now, let's check out our ID spot.
| | 00:18 |
(MUSIC).
Same sort of thing.
| | 00:28 |
You can see I've made some tweaks to add
polish.
| | 00:30 |
But again, these are all things that we've
gone over.
| | 00:33 |
| | Collapse this transcript |
| Next steps| 00:00 |
Of course I'd like to take this time to
say thank you for checking out my course.
| | 00:04 |
And definitely I have some recommendations
for some other courses you should check out.
| | 00:09 |
The first one, After Effects Artist in
Action: Eran Stern's Personal Transporter project.
| | 00:15 |
This is a great project for After Effects
and if you're into visual effects you'll
| | 00:18 |
definitely learn some neat things in there
as well.
| | 00:23 |
If you liked the Mograph section of our
course, you should check out Mograph
| | 00:26 |
Techniques: Animating with C4D Effectors.
And of course, along those same lines, you
| | 00:31 |
might want to check out CINEMA 4D
Essentials 7: MoGraph Modeling and
| | 00:35 |
Animation with Rob Garrett.
Now if you really like VFX, this is a
| | 00:42 |
great course with Lee Lanier, VFX
Techniques: Crowd Replication with After Effects.
| | 00:49 |
That being said, if you really like VFX,
you should check out a bunch of the other
| | 00:52 |
VFX techniques courses as well.
So again, thanks so much for checking out
| | 00:57 |
MoGraph Techniques: Animating to Music.
I'm Ian Robinson.
| | 01:01 |
| | Collapse this transcript |
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