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Working with CINEWARE

From: After Effects CC Essential Training

Video: Working with CINEWARE

Cineware controls the pipeline of data between Cinema 4D Lite and After Effects. Now there are a number of settings within Cineware that you can adjust to control just how much data or how little data you'd like to bring back and forth. Let's select layer one and go to our effects controls and look at some of these different options. The first thing you should not are the render settings. Notice there's a renderer. By default, it's set to software. This is the lowest resolution representation as to what's going on in the scene within cinema, so if you scrub through your timeline, notice we do have some animation.

Working with CINEWARE

Cineware controls the pipeline of data between Cinema 4D Lite and After Effects. Now there are a number of settings within Cineware that you can adjust to control just how much data or how little data you'd like to bring back and forth. Let's select layer one and go to our effects controls and look at some of these different options. The first thing you should not are the render settings. Notice there's a renderer. By default, it's set to software. This is the lowest resolution representation as to what's going on in the scene within cinema, so if you scrub through your timeline, notice we do have some animation.

And, that animation is being represented by a software rendering of the actual model. If we want to go ahead and render this, this wouldn't be very high quality at all. So, there are two other options, there's standard draft and then there's standard final. Let's choose standard final. Standard Final is going to give me my final high-resolution output quality. Now, I'm still not quite seeing the full resolution because I'm at 50% magnification, so let's change that up to 100. Now you can see the edges and everything that is going to be output for my model. This renderer does tie directly to the render settings inside of Cinema. So, these are the default settings from a typical Cinema 4D project. To speed up your workflow you can turn on keep textures in RAM. Just understand when you do that, any textures that you had added in Cinema are going to get processed, and then added into your cache. So every once in a while, if things aren't refreshing the way that you're expecting You may need to go up under the Edit menu and go to Purge and just purge your image cache memory or sometimes all memory in this cache. Now let's go ahead and skip down all the way to the bottom of our Cineware options. Notice there's a button called Extract.

If we click on that button, it's automatically going to extract any of the data that we have from our Cinema project. So notice it's brought a camera over and multiple lights. These lights are lights that we can edit if I double click the light notice it has a color and I can definitely change that color. As a matter of fact let's go ahead and change that color from white to red. When I click OK notice it's not going to change anything in my 3D render. That's because these lights, now that they're in After Effects, are just designed to light other After Effects elements. If you want to make changes to the lighting of your 3D object, you need to go back into Cineware.

So I'll just press Cmd + Z to undo that latest light color change. Now go down and select layer five. Then press the U key on your keyboard. This'll open up a bunch of position datas. The U key opens up any animated parameters. On this camera, I've only got key frames in one place, but that's in the position. Now, if I wanted to fly some video boxes, say in front of our logo and behind our logo, I couldn't do that based on the way the camera is set up in the scene right now.

See I can't move this camera anywhere else. If I do, it's not going to match what's actually got rendered out of Cinema. To give a better example as to what I'm talking about, let's actually go back into this Cinema, but before we jump into cinema I'm going to select layer five and then shift click to select layer one and press delete on my keyboard. We can always re-extract any new data out of our Cinema file. This way if I make any changes in Cinema, I'll make sure to update them in my After Effects project. So with layer one selected, press Cmd+E or Ctrl+E to open the original file. Now that we're inside of Cinema, I of course could change the position of this camera, and it would change how the 3D model moved through the scene. But how do I handle those flying boxes? Well, there are things called tags in Cinema.

And those tags will allow certain information to move back and forth between Cinema and After Effects. But in order to add a tag to a specific place, I need to have something placed in that area of the scene. Now since I only want to see the logo, I don't want to place anything that can actually render. So of course this is a prime job for a null object. If you go up to the Cube Primitive button and click and hold, the first option we have is a null object. So let's go ahead and select that. This will function just like null objects inside After Effects. If we rendered this scene you wouldn't see anything. Now this null I'm going to use to position behind our logo. This'll be where we fly our different video boxes behind the logo. Now, since I'm in perspective view, I'm just going to middle Mouse click to open up all four views.

This way, i can get a more accurate representation of where my null object's going to live in the 3D environment. Now that we've positioned our first null, we can go ahead and add a tag to get our position data for this null Out of Cinema 4D and into After Effects. With the null selected, go up to the tags area and go to Cinema 4D Tags, and you want to apply the External Compositing tag. This tag can actually generate a layer solid, so I want to go ahead and enable that by Enabling Solid and we'll just leave the size set to 200 pixels by 100 pixels.

I generally like to leave the solid red. Just so I know exactly where it is when I bring this back into After Effects. Now let's create a second solid. I'm going to hold Cmd on my keyboard and click and drag on the null, making sure that I still have a left arrow pointing when I let go. Now, I'll call this 2nd null front position. And we can call the original null behind. Okay, so let's click on our front position null, and position it in front of our logo. Now I want it kind of off to the side so I'm going to click and drag and make sure it's positioned off to the side. Now since I already had a tag applied to my original null, when I copied the new null, I didn't have to create a second tag. Now we're ready to go ahead an save the project. I'll press Cmd + S to save.

And if we jump back into After Effects, then the project should update. Well, sort of. See the project'll update, yes. But the extra data that we want to pull from Cinema, we need to actually tell Cineware to generate it again. So let's scroll down to the bottom of the Cineware plugin, and press the Extract button. Now you can see we have two null objects, our front position null and are behind null, and we also have our different lights in the scene. Now I'm going to click and drag the behind null so it's literally behind our object in our 3D space. Now it's important once you extract the camera from cinema, that you don't try and move it around.

Again, if we select Layer 5 and press U, it already has a bunch of position keyframes. Now if we scrub through the scenes so you can see how this actually looks, you'll notice that our layer solid is actually indeed behind our 3D object. And even though the 3D object has transparency, it is allowing our null object to show through. So if you want to swap your own footage into the scene, you most definitely can. I'm going to press the space bar, and just click up to re-frame so we can see the edges of our null objects. Let's go to the Project panel, and open the Still-frames folder. And there will open the still frame layers. Now select the front position null object.

I'm going to click on the Stair Run layer. If you hold down Alt on Windows, Option on the Mac, and then click and drag the picture from the project panel down to the timeline It'll swap our layer with a null object. Now it looks like the screen went black and that's just because our frame was huge, so let's press s to open up the scale and we'll change the scale down to 20% of it's size. Now I can barely see what's going on with the runner if we move through the scene, notice the lights are actually a little too far forwards to illuminate our stair still.

Now there are two ways to fix this. I could turn off the materials settings for layer six or I could just go ahead and position it a little further back in Z space. Since the camera is actually a 3D camera in After Effects, when I reposition my null object here, it is definitely respecting the 3-D space. Created for my cinema project. If I click and drag on the z axis, notice I can never truly pass through the 3D object. I can just kind of move it back in the scene a little bit. The 3D object lives in its own little world here in the Cineware plugin. Now let's change the scale of that image down to around 10%. Just so it's not so dominant.

And let's scroll down and select Layer8, and we can use the same Option drag technique or Alt-drag on Windows. Let's go ahead and click and drag our throw still and swap it out with the behind layer. Now let's select our layer and press S to open up the Scale and we can scale our background layer down to around 20%. Now as we scroll through the scene you can see that it's actually updating and respecting the true 3D nature of everything in the scene. So, if you're trying to extract data from a 3D scene, using cinema 4D light, just remember all the power lies in the effects controls with the Cineware plug in

Show transcript

This video is part of

Image for After Effects CC Essential Training
After Effects CC Essential Training

135 video lessons · 60340 viewers

Ian Robinson
Author

 
Expand all | Collapse all
  1. 1m 8s
    1. What is After Effects?
      1m 8s
  2. 1h 5m
    1. Welcome
      1m 11s
    2. Using the exercise files (CC 2014.1) NEW
      1m 57s
    3. Using the exercise files
      1m 19s
    4. Understanding and managing applications with Creative Cloud (CC 2014.1) NEW
      2m 32s
    5. Which versions of After Effects CC does this course cover? (CC 2014.1) NEW
      1m 40s
    6. Relinking missing footage
      1m 54s
    7. Working with keyboard shortcuts
      1m 23s
    8. Different ways to use After Effects
      59s
    9. Exploring the interface of After Effects (CC 2014.1) NEW
      13m 22s
    10. Exploring the interface of After Effects
      12m 0s
    11. Exploring important preferences, and setting up the cache (CC 2014.1) NEW
      8m 44s
    12. Exploring important preferences and setting up the cache
      6m 20s
    13. Video terminology (CC 2014.1) NEW
      6m 19s
    14. Video terminology
      4m 24s
    15. Updating After Effects with Creative Cloud
      1m 25s
  3. 1h 0m
    1. The six foundations of After Effects
      11m 5s
    2. Understanding compositions
      10m 35s
    3. Creating and manipulating layers
      9m 49s
    4. Building animation
      6m 29s
    5. Working with effects
      7m 5s
    6. Introduction to 3D
      8m 45s
    7. Understanding how to render
      6m 48s
  4. 38m 54s
    1. Importing elements
      5m 53s
    2. Organizing projects
      3m 51s
    3. Building compositions with layers
      6m 17s
    4. Animating with keyframes
      10m 0s
    5. Adding effects and graphics
      8m 7s
    6. Output techniques
      4m 46s
  5. 44m 49s
    1. Exploring composition and project settings
      6m 48s
    2. Importing Photoshop files as compositions
      8m 39s
    3. Importing Illustrator files as compositions
      7m 41s
    4. Viewing files in the comp panel
      4m 42s
    5. Understanding Pre-compose
      4m 21s
    6. Positioning layers with snapping
      4m 55s
    7. Interpreting footage
      4m 0s
    8. Keyboard shortcuts for compositions
      3m 43s
  6. 1h 5m
    1. Defining layers
      5m 4s
    2. Creating type layers
      7m 38s
    3. Precise typesetting techniques
      5m 42s
    4. Creating layer solids and shapes with masks
      9m 6s
    5. Creating design elements with shape layers
      6m 10s
    6. Layer compositing: Masks, switches, and blend modes
      7m 35s
    7. Using track mattes
      4m 49s
    8. Precise compositing with variable-width feathered masks
      9m 24s
    9. Working smarter by swapping layers
      7m 6s
    10. Keyboard shortcuts for layers
      2m 35s
  7. 1h 35m
    1. Understanding animation
      6m 20s
    2. Adding and adjusting keyframes
      9m 52s
    3. Understanding keyframe interpolation (CC 2014.1) NEW
      8m 52s
    4. Understanding keyframe interpolation
      6m 20s
    5. Adjusting keyframes in the Graph Editor
      8m 26s
    6. The power of parenting
      5m 26s
    7. Using null objects
      6m 46s
    8. Creating expressions with the pick whip
      6m 25s
    9. Creating and adjusting motion paths
      9m 56s
    10. Building complex graphics with Pre-compose
      4m 54s
    11. Preparing audio for animation
      8m 57s
    12. Generating graphics with audio
      9m 13s
    13. Working smarter: Navigating the Timeline
      4m 32s
  8. 58m 59s
    1. Understanding the order of effects
      5m 58s
    2. Generating backgrounds with effects
      5m 33s
    3. Generating a scribble effect
      8m 12s
    4. Animating strokes with effects
      6m 37s
    5. Using adjustment layers
      5m 52s
    6. Adding gradients and glows
      4m 30s
    7. Saving pan and scan presets
      5m 20s
    8. Fixing exposure with Levels
      3m 5s
    9. Fixing color casts with Color Finesse 3
      9m 57s
    10. Masking individual effects
      3m 55s
  9. 1h 17m
    1. Understanding 3D in After Effects
      9m 2s
    2. Intro to cameras (CC 2014.1) NEW
      10m 50s
    3. Intro to cameras
      7m 51s
    4. Intro to lights and material options
      8m 56s
    5. Animating cameras (CC 2014.1) NEW
      11m 11s
    6. Animating cameras
      12m 39s
    7. Creating depth of field
      6m 48s
    8. Exploring the ray-traced 3D renderer
      10m 8s
  10. 3h 40m
    1. Understanding CINEMA 4D Lite and After Effects (CC 2014.1) NEW
      1m 53s
    2. Understanding CINEMA 4D Lite and After Effects
      1m 32s
    3. 3D foundations (CC 2014.1) NEW
      9m 49s
    4. 3D foundations
      10m 43s
    5. Matching CINEMA 4D Lite and After Effects projects (CC 2014.1) NEW
      7m 14s
    6. Matching CINEMA 4D Lite and After Effects projects
      8m 9s
    7. Understanding the CINEMA 4D Lite interface (CC 2014.1) NEW
      9m 49s
    8. Understanding the CINEMA 4D Lite interface
      7m 31s
    9. Creating 3D projects from Illustrator files (CC 2014.1) NEW
      7m 20s
    10. Creating 3D projects from Illustrator files
      7m 28s
    11. Exploring modeling in CINEMA 4D Lite (CC 2014.1) NEW
      11m 7s
    12. Exploring modeling in CINEMA 4D Lite
      8m 8s
    13. Applying deformers (CC 2014.1) NEW
      4m 50s
    14. Applying deformers
      5m 59s
    15. Understanding materials (CC 2014.1) NEW
      10m 29s
    16. Understanding materials
      7m 32s
    17. Lighting your scene (CC 2014.1) NEW
      11m 20s
    18. Lighting your scene
      8m 14s
    19. Looking at detailed materials
      7m 51s
    20. Working with presets (materials and lights) (CC 2014.1) NEW
      7m 44s
    21. Animating in CINEMA 4D Lite (CC 2014.1) NEW
      5m 52s
    22. Animating in CINEMA 4D Lite
      6m 51s
    23. Adjusting keyframes in CINEMA 4D Lite (CC 2014.1) NEW
      7m 42s
    24. Animating cameras in CINEMA 4D Lite (CC 2014.1) NEW
      5m 49s
    25. Animating cameras in CINEMA 4D Lite
      5m 45s
    26. Working with CINEWARE (CC 2014.1) NEW
      8m 11s
    27. Working with CINEWARE
      9m 38s
    28. Render settings and the multipass workflow (CC 2014.1) NEW
      7m 28s
    29. Render settings and the multipass workflow
      8m 38s
  11. 23m 35s
    1. Rendering with Adobe Media Encoder
      4m 45s
    2. Recommended settings for rendering graphics
      10m 21s
    3. Creating presets in the Render Queue
      4m 0s
    4. Prerendering with Import and Replace Usage
      3m 18s
    5. Working smarter: One render, multiple outputs
      1m 11s
  12. 36m 53s
    1. Creating type animators
      8m 52s
    2. Creating and animating type on a path
      5m 32s
    3. Animating shape layers
      8m 45s
    4. Animating brushstrokes with Paint
      5m 54s
    5. Animating text and prepairing templates for use in Premiere Pro (CC 2014.1) NEW
      7m 50s
  13. 23m 31s
    1. Retiming with Time Remapping
      8m 56s
    2. Retiming footage with Timewarp
      9m 10s
    3. Smoothing shaky camera footage with Warp Stabilizer VFX
      5m 25s
  14. 16m 6s
    1. Getting started with Keylight
      8m 43s
    2. Refining your key with Keylight
      3m 42s
    3. Cleaning up keys with masks
      3m 41s
  15. 26m 47s
    1. Rotoscoping with paths
      6m 47s
    2. Introducing the Roto Brush
      5m 58s
    3. Refining the Roto Brush
      6m 12s
    4. Using the Refine Edge tool
      7m 50s
  16. 27m 13s
    1. Creating a single point track
      7m 38s
    2. Applying motion with Warp Stabilizer VFX
      4m 29s
    3. Warp Stabilizer VFX: Reversible Stabilization workflow
      7m 47s
    4. Solving cameras
      7m 19s
  17. 6m 30s
    1. Archiving your projects
      3m 50s
    2. Removing unused footage
      1m 25s
    3. Moving compositions between projects in After Effects
      1m 15s
  18. 2m 24s
    1. What's next?
      2m 24s

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