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Harness the power of the CINEMA 4D MoGraph module to create complex animations with only a couple of keyframes. By stacking multiple MoGraph effectors, you can achieve nice-looking animations quickly and easily, saving you time spent keyframing moves manually. Discover how to change your text on the fly or create iterations of it, while keeping the animation intact. Author EJ Hassenfratz introduces a real-world postproduction workflow, by creating a network bumper promo. This project covers creating 3D text in CINEMA 4D, compositing, and adding final polish to the footage inside of Adobe After Effects.
So you're done, or are you? The client makes an 11th hour change, but no sweat. Since you set up your scene's animation with stacked effectors, making changes is going to be a breeze. So your client loves the animation, but they need another version that uses a different word and they also want the entire animation to be 20 frames longer. So we can jump back into our CINEMA 4D file. So, the client wants you to make a second version, but instead of NEXT, they want the word COMING UP. So the first thing we're going to do is disable our Delay effectors because if you can see, as I move around in the viewport, the Delay effectors are just affecting the viewport kind of weirdly, so we're just going to disable those.
Then we're going to scrub to where we have our word NEXT, and we're going to have to jump back into our cube grid here and make some more holes to replace with more Cube Text objects. So, I'm going to hide the cube text right now, so you can the holes in our cube grid. And I'm going to reselect our MoGraph selection tag and I'm just going to add a few more cubes to this selection. So I'm going to need to add an extra cube up here and two down here for COMING and then UP, U-P. So I'm going to MoGraph > MoGraph Selection, and all I'm going to do is hold Shift and add another cube to the selection here by clicking and then holding Shift and clicking these bottom two here.
Now we have enough holes to put in our new letters to create our new version. So let's re-enable our cube text visibility. Now let's start filling in these holes with new cube text objects. I'm going to close these down, and I'm just going to take this first cube and duplicate it. I'm just going to move it over 150 centimeters. Remember, our cubes are 150 centimeters wide.
And I'm also going to get rid of this Cube Text MoGraph effector. This is the one that just has our information stored for our first four letters. Since we're using a different letter, we no longer need it. So that'll pop those two cubes back into place. We're going to get rid of this fifth cube, because it has a blank side to it. We'll need to fill that up with a word, so we'll just go ahead and duplicate this Cube.4 and move it over 150 centimeters. We have our Cube.5 down here.
Last two cubes, duplicate them, and just move them both down 150 centimeters to fill in that last gap. I'm going to come out of my Morph Camera view so I have free movement in my viewport, make sure everything is lined up okay. It looks good. So now I'm going to go and change all these letters to have our new words COMING UP applied. So let's go into our first cube. Now, we know that our bottom letter is going to be the letters we need to change.
The top letters are the letters that spell out PIXEL on that second word. Let's go into our Text object and change the N to C, change it in our Object Manager here as well, and this T to a P. So now we have our new word COMING UP all spelled out, so let's go ahead and scrub down our timeline and see that we kind of messed up our PIXEL word being spelled out when the third wave of effectors come through.
So the first thing we need to do is delete the extra letters that we don't need. So we don't need this E here. Our top letters here are the ones that are on these faces of the cubes, so delete that extra E, and we'll delete this off the first cube, this extra P. And then, since we duplicated cubes, we actually need to change this E to an L on this fifth cube. So let's select that and make an L to spell out our word PIXEL again.
So now we still have these blank cubes there being pushed forward. And they're being pushed forward by our Text.Pos.Wave3 effector that's moving the position forward 150 centimeters in the Z. So we need to exclude these cubes from that effector. So how we're going to do this is using a MoGraph selection tag again, and we're going to select our cube text. We're just going to select these cubes that we want to still be affected by that Text.Pos.Wave3 effector.
Let's go to MoGraph > MoGraph Selection, and I'm going to select those five cubes with the P-I-X-E-L on them, and then I'm just going to use this MoGraph selection and under the Text.Pos.Wave3, drag this into our selection field. And you will see that those get rid of those blank cubes, and that's exactly what we want. So finally, we need to make this entire animation 20 frames longer.
So what we have to do is make our timeline 20 frames longer. Go to our Timeline. And since we're only using a few keyframes for this, we can easily just grab this last keyframe and just pull it to the right. Now we have the extra animation 120 frames longer. So let's scrub through this, go back to our Morph Camera view, and see how this looks.
So that looks good, but you can see that when we have our bigger word here, the framing is a little off. So this will be cut off when we actually render this and air this on broadcast. So we need to change our camera views, and we can do this using the Morph Camera. There are two modes to the Camera Morph tag: Simple Morph, which is just two cameras, or Multi Morph, which is as many cameras as you want. So you can see this is the whole entire list view. So all we're going to do is create a third camera and frame this word up properly.
So let's just take one of these cameras and duplicate it. And let's rename because this will be our second camera view, and our camera two will be our last camera view. So let's go into the view of our second new camera, and let's just frame this word properly here. Now what we have to do is go to our Morph Camera tag, select this arrow, and this is going to start selecting and adding our cameras to the camera list. So I just added these three cameras.
So if I go back to our Morph Camera view, go to frame 0, and hit Play, you can see that it took into account that new camera angle from Camera 2. So now everything is framed nice and properly, and we didn't have to add any new keyframes since we're using the Morph Camera tag. So now all we have to do is reenable our Delay effectors, re-render, reimport in After Effects, and you're done. So in situations like this where you need to make iterations or make changes at the last minute, that utilizing the power of using multiple effectors to handle your animation, pays off in the long run.
Since you're working with only a few keyframes, retiming the entire animation is a breeze.
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