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In this installment of Mograph Techniques, Ian Robinson shows you how to model and animate a stylized 3D flower that grows and blooms over time, using the combined power of CINEMA 4D and Adobe After Effects. You'll start by creating a single flower petal with traditional polygonal modeling techniques. Then you'll load the petal into a cloner object, and nest that cloner inside another, resulting in a complete flower with multiple levels of control for animation. The second phase is animating the cloners and refining the animation with the Step Effector. In the third and final phase, you'll bring the project into After Effects to add animated color effects, transitions, text, and shadows.
Now we all know a project isn't finished until it's rendered, but this is also the perfect time to do a little bit of housekeeping. That way if you ever need to come back to this project after you've been away for a little while, you can easily find where everything is. So first thing I want to look in the Project panel here and I'm just going to extend my names, and you'll notice I have a Pedal Move and a Pedal Animation. Well this Pedal Animation is the Pre-composition that we created earlier and I forgot to name it as a Pre-composition.
So the first thing I'm going to do is rename this, press return and save Pre-comp, and I'll drag this down into a folder here and just call it the Pre-comps Folder. Now, any-time I'm working on a project that only has one final composition, I just leave that outside of the project folder. You can drag this into a new folder and call it, you know, finished Output-Comp or what have you, but since this is relatively simple I'll leave it where it is. Now if you're following along from the previous video, you should note that I've gone ahead and recreated the Shadow Technique that I'd used to create the flower for the text as well.
So if we scrub through here we can see that I have the text fading on. The way that I achieve that effect in my effect controls, I just went ahead and made sure that my drop shadow was black instead of white. And then I adjusted my scale down and for the opacity I had it only fade up to about 53%. And since the Blend mode was set to multiply, that's what's causing the darker areas in this shadow. Again, this isn't meant to be photo real, it's just meant to give that kind of dimensionality to our graphic.
Now we're actually set to load up our first render. Now if this were going to broadcast, the thing that I would want to pay special attention to is the brightness of the white background. Now, whether or not this is going, I'm going to show you what I do for a typical broadcast delivery. I'm going to select Layer 7, my white solid layer, and go up and open my Solid Settings. Under my solid settings, I'll look at the color, and sure enough it's 100% bright. So I'll just go ahead and change this down to about 90%, just that little bit will help us a legality when you go to Broadcast. Now, let's go ahead and render.
Since I have my Timeline selected here, I can just go up under the Composition and say, Add to Render Queue. Now the render queue inside of After Effects is designed to render at full resolution. If you're just trying to create some preview, res files or H264, things like that. You'll want to actually go ahead and add your render not to the render queue but to the Adobe Media Encoder Queue. Because in the media encoder queue, you'll have a bunch of different presets for different devices, like iPads and iPhones etcetera.
Now I'm just going to focus on rendering this in full resolution, under the Render settings, I'll just click on the words Best Settings. For here I'll make sure everything is set best quality, full resolution, it's full size. We don't have to worry about any Frame Blending or Field Render so, we're good to go with that. We'll just make sure that Comps Frame Rate set to 24, and it's going to render the entire eight seconds, so we're good there, you can click OK. Under my Output Module, After Effects will default to Lossless.
Now, if you're on the Mac, it'll default to a Lossless QuickTime Compression. If you're on Windows, it may default to a Lossless Windows Media file. Now, if we go ahead and click on Lossless here, it's going to open up our Output Module Settings, and in here, we could choose a different Codec if we were on the Mac, or we could choose a different format entirely if you wanted to render, say, a Photoshop sequence or something like that. Now, for this case, I'm just going to leave it set to the Lossless Default Settings. One of nice other things, is the fact that the Audio Output is set to Auto.
Now we don't have any audio, so it's not going to include any audio, that's the Setting of Auto, alright. So I'll click Cancel since we can just leave that alone, and that our Output to, I'll specify where we're going to render this. So, in my Exercise Files Folder, I'm just going to create a new folder called Full Res Renders, and click Create. And instead of calling this Pedal move, which is the name of the composition, I'll call this, Grow Bloom, there we go, and click Save.
And now to render all we have to do is to click Render. Now notice when it is rendering, I am getting a Preview bar. So when we open the current render, you can see exactly what layers or effects are rendering. I really love that sound Well, anyway, this project was relatively fast to render. Now, we've all definitely had those projects that take a longer time to render, and that's yet another reason to actually load them into Adobe Media Encoder.
That will allow you to actually have Media Encoder Render separately from After Effects. So, as long as your computer has enough Ram, you could keep working on other projects or the same project in After Effects.
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