IntroductionWelcome| 00:04 | Hi! I'm Rob Garrott and I'd like to
welcome you to CINEMA 4D: Creating a Promo.
| | 00:09 | In this course, I'm going to show you
how to create a 15-second network promo
| | 00:12 | that looks and feels like something
you'd see on the screen in your living room.
| | 00:15 | We'll be using CINEMA 4D along with
After Effects, Photoshop, and Illustrator
| | 00:19 | to put together an entire commercial for an
imaginary network called the Adventure Channel.
| | 00:24 | I'll show you the entire creative
process from concept, sketch and script, all
| | 00:27 | the way through the finished product.
| | 00:28 | We'll explore timing out animation
using rough sketches and timecode to
| | 00:32 | understand how long each of your shot should be.
| | 00:35 | Then we'll us the modeling, texturing
and animation tools inside of CINEMA 4D to
| | 00:39 | create a shark and bring it to life.
| | 00:41 | Using CINEMA 4D and After Effects,
I'll show you how to create and render a
| | 00:44 | convincing underwater scene.
| | 00:46 | This course is intended for artists
that have completed the Essential Training
| | 00:49 | series for After Effects and CINEMA 4D,
or are already experienced with these
| | 00:52 | two important applications.
| | 00:54 | I've been an art director, designer,
animator, and editor in the entertainment
| | 00:58 | industry for more than 15 years.
| | 00:59 | I'm really excited to be able to share
these unique storytelling techniques with you.
| | 01:03 | Now let's get started with
CINEMA 4D: Creating a Promo.
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| Using the exercise files| 00:00 | If you are a Premium member of the lynda
.com Online Training Library, or if you
| | 00:04 | are watching this tutorial on a DVD-ROM,
you have access to the Exercise Files
| | 00:08 | used throughout this title.
| | 00:09 | Now I've downloaded the
Exercise Files to my desktop.
| | 00:12 | Within that Exercise Files folders are
each of the chapters arranged by folder.
| | 00:16 | I'm going to Chapter 11 here.
| | 00:19 | Within each of the chapters, you'll
find project files that are referred to
| | 00:23 | throughout the exercises.
| | 00:24 | For the most part, these are After
Effects projects or CINEMA 4D projects.
| | 00:28 | But in some cases, there
are additional files as well.
| | 00:30 | For example, here in the water footage,
we have files that were provided to
| | 00:34 | us by istockphoto.com.
| | 00:36 | Now you're only licensed to use these for this
training course and not for any other project.
| | 00:41 | However, if you'd like to purchase these
files for use in your own projects,
| | 00:44 | you can go to istockphoto.com.
| | 00:47 | iStockphoto is a fantastic resource
for vector illustrations, video, and
| | 00:50 | audio of all kinds.
| | 00:52 | I have a lightbox here that shows each
of the file names and we've got the
| | 00:56 | boiling file, the wave file, the water
bubbles rising up, the diver file, and
| | 01:03 | the tiny bubbles.
| | 01:07 | Now there is an identifying number
under each of these shots and you can use
| | 01:11 | that in the search
engine to pull up these files.
| | 01:15 | If you are a monthly subscriber or
annual subscriber to lynda.com, you don't
| | 01:19 | have access to the Exercise Files,
but you can follow along from scratch
| | 01:22 | with your own assets.
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| Overview of the project template| 00:00 | The motion graphics process
can be very asset-intensive.
| | 00:03 | Keeping your projects organized is
a really important part of being a
| | 00:06 | motion graphics artist.
| | 00:07 | Now I've included a project_
template in the project files.
| | 00:11 | We're not using the project_template
in the course of the exercises for this
| | 00:13 | video series, but it's an incredible
asset for organizing your files in the
| | 00:17 | future, when you're working on other projects.
| | 00:19 | I'm going to open this up and
go through some of the elements.
| | 00:22 | Now the project_template folder has a
series of sub-folders in it that has a
| | 00:27 | place for every kind of asset that you
might use for a motion graphics project.
| | 00:31 | Concept art, this is where you
generate your storyboard elements in the initial
| | 00:35 | phases of the design process.
| | 00:38 | And then once you get into production,
there is a folder for Photoshop elements,
| | 00:41 | and Illustrator elements, and your C4D files.
| | 00:44 | There is also a template in there that
has a 16x9 camera with a 4x3 safe overlay
| | 00:49 | on it for use in your
broadcast-oriented projects.
| | 00:51 | There is also an After Effects folder
that has an After Effects starter file in it.
| | 00:55 | In this After Effects starter file, you
can double-click on-- depending on what
| | 00:59 | version of After Effects you're working with.
| | 01:01 | In CS5, you'll get this error
message, and that's because this file was
| | 01:04 | generated with an earlier version
of After Effects. So just hit OK.
| | 01:07 | Nothing will be harmed.
| | 01:10 | In that project file are folders that
are very similar to the layout of the
| | 01:14 | Finder, and these help to keep your
After Effects project really organized.
| | 01:17 | There is also folder for your pre-
renders that come out of both After
| | 01:22 | Effects and CINEMA 4D.
| | 01:24 | Also, anything you might
export from your editing software.
| | 01:27 | I use Final Cut Pro, but this could be
any editing software. Avid, or Premiere Pro.
| | 01:31 | It doesn't really matter.
| | 01:32 | It's just a place for things that
come out of that editing software.
| | 01:36 | In the QT's, QuickTime movies that
you might get from a client, or from a
| | 01:41 | downloaded off of web site,
those would go into this folder.
| | 01:46 | Folder 07 is for reference movies
that you might download off the Web.
| | 01:50 | Let's say you're modeling
a cell phone for example.
| | 01:52 | You might download reference images of
that cell phone off the Internet and you
| | 01:56 | can store those reference images in this folder.
| | 01:58 | The Client Art folder is for
anything you might receive from your client.
| | 02:02 | Audio is for audio files.
| | 02:04 | You can receive those from an audio
engineer, or there could be audio files that
| | 02:09 | you generate yourself.
| | 02:10 | They go in this folder.
| | 02:11 | Folder 10 is for edit project files.
| | 02:13 | Now I use Final Cut Pro, but once again,
it could be for any editing software
| | 02:17 | Avid or Premiere Pro.
| | 02:19 | It doesn't really matter.
| | 02:20 | It's just where you put your edit files.
| | 02:22 | I've also included a guide, in
case you forget where things are.
| | 02:25 | If you open up this JPEG, it shows
you how to use this project template.
| | 02:31 | Once again, we hope that you're using
this project template for this video
| | 02:33 | series, but it's a really great
resource for your future projects.
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1. Planning a ProjectCreative brief| 00:00 | The promo production process usually
starts with an idea and that idea has to be
| | 00:05 | based on a set of ground rules, and
those ground rules come from something
| | 00:08 | called a creative brief.
| | 00:09 | A creative brief is a document that
usually is generated by either the
| | 00:13 | corporate branding department, or an
outside agency that works as the agency of
| | 00:18 | record for their client.
| | 00:19 | It comes in either a verbal description.
| | 00:21 | They may tell you exactly what it
is that the creative direction is for
| | 00:24 | the entire company.
| | 00:26 | Sometimes it can be very sophisticated
in the form of PowerPoint presentation.
| | 00:30 | The whole idea is that it's a very
flexible process, but the one thing
| | 00:34 | that's crucial is that you understand your
client and understand the goals of the animation.
| | 00:39 | In this case, we are trying to
promote the program block called Shark Zone.
| | 00:43 | This Shark Zone is on an imaginary
network called the Adventure Channel.
| | 00:47 | The promo has to feature sharks and
it has to show those sharks in a really
| | 00:50 | intense dramatic way, and that intense
dramatic way has to be consistent with
| | 00:54 | the branding philosophy
of the Adventure Channel.
| | 00:57 | So that begs the question,
what is the Adventure Channel?
| | 01:00 | The Adventure Channel is a network that
is devoted to all things outside and epic.
| | 01:05 | The graphics and programming are
intended to appeal to a male audience, but that
| | 01:09 | male audience is really
oriented between the ages of 18 and 34.
| | 01:14 | They always like to travel to exotic
locations on the Adventure Channel.
| | 01:18 | Fiji, Bora Bora, the Great Barrier Reef,
any place that's outside and exciting.
| | 01:24 | The style of the programming and the
style of the promotions on the network are
| | 01:27 | very intense and are visually oriented.
| | 01:30 | Very stimulating for the
eyes, lots of eye candy.
| | 01:34 | The type of cutting and the type of
graphics they use are very dramatic, created
| | 01:38 | with quick cuts and edgy design.
| | 01:40 | So all of these ideas come
together to help drive the idea behind the
| | 01:45 | promotions for the network.
| | 01:46 | And they also help to drive the
idea for the promotion for Shark Zone.
| | 01:50 | Now that we have an idea of what the
creative direction is for the network, and
| | 01:54 | for the promo, we can
begin to plan out our project.
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| Sketches and script| 00:00 | A creative brief shows you the
guidelines for creating a project.
| | 00:04 | But once you have those guidelines,
the next step in the process is usually
| | 00:08 | having a meeting with the
something called a producer.
| | 00:10 | A producer in network world is the
person that's responsible for creating the
| | 00:16 | promotions that you'll be showing on air.
| | 00:18 | Typically, a producer will sit down
with an idea and say, "I have an idea for a
| | 00:22 | promo about Shark Week, and I'd really
like to see a school of sharks swimming
| | 00:25 | on screen, and have those
sharks attack the camera."
| | 00:28 | They'll describe all these sequence of events.
| | 00:30 | Then they'll say, "I have a script that
goes along with that," and then they'll
| | 00:33 | show you the script.
| | 00:35 | A script looks a lot like this.
| | 00:36 | It's a Microsoft Word document.
| | 00:38 | Let's back out a little bit.
| | 00:39 | I'm going to change it to Page Width,
so that I can see most of the page here.
| | 00:44 | This is a very typical format, but
every network will have a slightly different
| | 00:48 | style to it, but they all
have one thing in common.
| | 00:50 | There are two columns.
| | 00:52 | On the left side, there is a Video
column. On the right side, there is an Audio
| | 00:55 | column and that Video column shows you
very loose description of the kinds of
| | 00:59 | things that they'd like to see on the screen.
| | 01:01 | The right-hand side shows you what the
voiceover artist would be saying at that
| | 01:05 | moment in time on the screen.
| | 01:07 | Now your job as a designer is to take
this script and translate it into a visual.
| | 01:12 | Now that should almost always start on paper.
| | 01:14 | Pencil and paper is by far the best
way to begin the creative process.
| | 01:18 | It eliminates all the distractions of
software, and buttons, and file saving,
| | 01:22 | and everything else and it
really gets you back to square one.
| | 01:26 | So for this script, what I did was I
sat down and created a series of sketches.
| | 01:30 | I'm going to open those up in Preview.
| | 01:34 | Right here on the screen, I want to
bring these over to the right, so I can see
| | 01:38 | the sketch and the script side-by-side.
| | 01:41 | So what I did was I looked at the
script and worked my way through it.
| | 01:45 | So in the first scene of Slow push in
on a school of sharks swimming, and
| | 01:49 | "After 400 million years?" is what
the voiceover artist will be saying.
| | 01:54 | The sketches don't have to be good.
| | 01:56 | As you can see by my sketches, I'm
a terrible sketch artist, but they
| | 01:59 | communicate the idea.
| | 02:00 | So I have a few sharks swimming on screen.
| | 02:02 | I have the words "After 400 million
years?" scribbled out in the center.
| | 02:06 | So that gives me an indication that I'm
going to create a school of sharks and
| | 02:09 | I'm going to have type on the screen.
| | 02:11 | That's really all I care about.
| | 02:12 | What the type looks like
I haven't figured out yet.
| | 02:14 | I only know that I'm going to
have to have type on the screen.
| | 02:17 | And then I work my way through the script.
| | 02:18 | You can see I started off an image here,
and didn't like what I was going.
| | 02:21 | I just kind of crossed it out.
| | 02:22 | But then the next image is they're
still the scariest thing in the ocean.
| | 02:26 | So there is my sharks still swimming.
| | 02:28 | I'm just going to dissolve between this type.
| | 02:29 | Now I'm starting to formulate
what the format of the promo is.
| | 02:33 | And then there is going to be a
really quick cut thrashing transition.
| | 02:36 | So that's going to be a shark really
closer to the screen and that's what these
| | 02:39 | two sketches represent.
| | 02:40 | And then we're going to show the
Shark Zone type hero screen with shark
| | 02:44 | swimming towards the camera.
| | 02:45 | That's what this is.
| | 02:46 | I've created the series of three
sketches that show me the shark swimming
| | 02:50 | towards the camera with the
Shark Zone type in the background.
| | 02:52 | Then on the next page is
the branding for the network.
| | 02:55 | The Adventure Channel logo,
and a reveal on the type.
| | 02:58 | So you can see the Sketch process
really helps you to formulate the basic
| | 03:02 | ideas for your piece.
| | 03:04 | It's a crucial step in the animation process.
| | 03:06 | It's one you really should never skip over.
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| Understanding the graphic animation process| 00:00 | The graphic animation process is very complex.
| | 00:02 | The best way to approach this really difficult
task is to break the project down into stages.
| | 00:06 | The major stages are sketching and
concept development, style frames and design,
| | 00:11 | animatic, which gives you the
timing for the overall animation and the
| | 00:14 | cameramatic, which gives you the very
rough animation, and then the final piece.
| | 00:18 | Now, I've got all examples of all these
so I am going to go out to the Finder.
| | 00:21 | The animatic-Sketch.jpg
files here in the Chapter 1 folder.
| | 00:26 | These are covered in the previous movie
and I am just going to open them up with
| | 00:29 | preview and just go over them real quick again.
| | 00:31 | All these are 8 1/2 by 11 pages that
I scanned in to the computer and I've
| | 00:36 | sketched on them using blue pencil.
| | 00:38 | Really, the very formative stages of my
ideas about what the piece is going to look like.
| | 00:42 | Pencil and paper is absolutely the
best way to start your project out.
| | 00:46 | Now, once I've got an idea for how
things are going to look and really the
| | 00:50 | sketches are just about what kinds of
things I am going to have to create.
| | 00:53 | They really don't tell me what they are
going to look like but they are really
| | 00:56 | just about what I am going to have create.
| | 00:57 | I know I am going to have to create a
school of sharks, I know I am going to
| | 01:00 | have to create some Shark Zone type and a
shark, and have an end page in there as well.
| | 01:04 | Now that I know I have that stuff, I'm
going to create something called a style
| | 01:08 | frame or storyboard and that
style frame looks like this.
| | 01:14 | These storyboards are representative now of
what the final piece is going to look like.
| | 01:19 | Storyboards can be loose
or they can be very tight.
| | 01:22 | A lot of it depends on how much time
you have and what your skills are as an
| | 01:25 | artist but also what the
client expects to see too.
| | 01:28 | These storyboards are very tight, nearly
identical to what the finished piece looks like.
| | 01:32 | But they give me an excellent idea of
what my final animation is going to be.
| | 01:36 | So, I've got basically a frame for
all the major points in the animation.
| | 01:40 | So, I start off with the intro
type "After 400 million years."
| | 01:44 | "They're still the scariest thing in the ocean."
| | 01:46 | So, there is my school of sharks and
I know I am going to have those two
| | 01:49 | pieces a type on screen.
| | 01:50 | Then I have some frames representing
the thrashing shark transition and then we
| | 01:54 | are going to cut to the Shark Zone hero frame.
| | 01:57 | This is the Shark Zone type with the
shark swimming out from behind it.
| | 02:01 | That shark is going to come to
screen over the course of a few frames.
| | 02:05 | Then we get to our thrashing
shark transition number two.
| | 02:09 | That takes us to the end page where the
Adventure Channel logo animates on the screen.
| | 02:13 | Then a shark's going to swim
through the frame revealing the tagline
| | 02:18 | If it's out there, it's on here.
| | 02:20 | So, these are the style frames that tell
me what my piece is going to look like.
| | 02:23 | Once, I've done that I can
really begin to animate things.
| | 02:26 | But I don't animate anything until I
know how long things are going to take and
| | 02:31 | that's where the animatic comes in.
| | 02:33 | Now, the animatic looks like this.
| | 02:36 | What you do to create the animatic is
to take the sketches that you did by
| | 02:41 | analyzing the script and sketching on
paper and scanning them into the computer.
| | 02:45 | You line them up inside of After Effects
or Final Cut, any kind of editing program.
| | 02:50 | If your script has voiceover then you
read a scratch voiceover track and you
| | 02:53 | use that as your guide for
placing the images in the scene.
| | 02:57 | The purpose of the animatic is just
to show you when things are happening.
| | 03:00 | It's not intended to look good.
| | 03:02 | It really only shows you when things are
happening and it's a very basic part of the process.
| | 03:06 | But it's crucial for understanding
when things move in the animation and this
| | 03:10 | is what it looks like.
| | 03:13 | (Male speaker: After 400 million years,
they're still the scariest thing in the ocean.)
| | 03:18 | (Male speaker: Get a little closer, if you dare.
Shark Zone, all week long on the Adventure Channel.)
| | 03:24 | (Male speaker: If it's out there, it's on here.)
| | 03:26 | So, you can see that it's just the
sketches but they're timed out to the
| | 03:31 | voiceover and it really gives you an
idea for what the final piece is going to
| | 03:35 | feel like when it is finished.
| | 03:37 | It's nothing at all like what it's
going to look like but it's what it's
| | 03:40 | going to feel like.
| | 03:41 | That's very important differentiation to make.
| | 03:43 | You can see that my timing is pretty
consistent with the script and I can see
| | 03:47 | my transition links.
| | 03:48 | It really gives me a feel for
when things are going to happen.
| | 03:51 | I have timecode here in the frames.
| | 03:53 | On the right-hand side I have a
overall timecode and on the left-hand side I
| | 03:57 | have a shot timecode that
tells me how long my shots are.
| | 04:00 | That's a crucial step because
instead of focusing on trying to figure out
| | 04:03 | how long the shots are,
| | 04:04 | now I can focus on what happens
inside those shots one at a time.
| | 04:08 | So, once you've got the animatic done then
you move on to something called a cameramatic.
| | 04:12 | The cameramatic is the next step in the
process after you've created the animatic.
| | 04:16 | It's not at all rendered but
it does have animation in it.
| | 04:19 | Sometimes, the animation can be very
finalized and sometimes it can be very, very rough.
| | 04:23 | This cameramatic has a little
bit of closer to finished animation.
| | 04:27 | It's not quite done.
| | 04:29 | (Male speaker: After 400 million years
they're still the scariest thing in the ocean.)
| | 04:34 | (Male speaker: Get a little closer if you dare.
Shark Zone, all week long on the Adventure channel.)
| | 04:39 | (Male speaker: If it's out there, it's on here.)
| | 04:43 | So, you can see that it's
one step closer to the process.
| | 04:45 | I have sharks in the frame now
and those sharks are swimming.
| | 04:48 | I have rough type.
| | 04:49 | I have the transition in place.
| | 04:51 | So, I understand now when things are
happening but I also understand what's
| | 04:55 | happening within each shot.
| | 04:57 | That's really the purpose of the cameramatic.
| | 04:58 | Once, you have those shots timed out,
you have the animation done, then you can
| | 05:02 | move on to lighting and
rendering with confidence.
| | 05:04 | The last thing that you want have to do
is have created all this animation and
| | 05:08 | lid it and render it,
| | 05:09 | then have the client come back to you
with new drastic changes that make you go
| | 05:13 | all the way back to square one.
| | 05:14 | So, it's really crucial to work in
stages like this so that you don't get
| | 05:17 | sideswiped with a big change
or a request from the client.
| | 05:20 | So, now once I've got the cameramatic done,
| | 05:22 | I move on the final lighting and rendering
and I get a finished piece that looks like this.
| | 05:26 | What you are about to see has the
final voice-over and finished mix as well.
| | 05:30 | So it really sounds and looks like the
actual product that goes out on the air.
| | 05:36 | (Male speaker: After 400 million years
they're still the scariest thing in the ocean.)
| | 05:42 | (Male speaker: Get a little closer if you dare.)
| | 05:44 | (Male speaker: Shark Zone on the Adventure Channel.)
| | 05:47 | (Male speaker: If it's out there, it's on here.)
| | 05:51 | So, now you can see that the graphic
animation process can be very intimidating.
| | 05:55 | But if you break it down into those stages,
| | 05:58 | the concept development, the animatic,
the cameramatic, the file animation,
| | 06:02 | you really are able to take
something that's very complex and make it
| | 06:06 | very achievable.
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2. Animatics: Timing Out an AnimationUnderstanding the animatic process| 00:00 | All good promo starts with an
idea translated into words on paper.
| | 00:04 | It's the job of the designer to
translate these words into images.
| | 00:08 | So, in this chapter what we are
going to be creating is an animatic.
| | 00:11 | An animatic is simply a timed out
version of a series of sketches or boards that
| | 00:17 | show you all of the major
elements within the animation.
| | 00:21 | So, here in my Chapter 2 project files I've
got some sketches and I am going to open
| | 00:25 | those sketches up inside of Preview.
| | 00:27 | Let's just zoom out just a bit on the
first page here and all I've done is
| | 00:34 | sketched out a series of images and the
sketches aren't fancy and they coincide
| | 00:38 | with some elements in the script.
| | 00:39 | Let's open the script up in Microsoft Word.
| | 00:42 | Let's zoom out of the script just a
bit so we can see things going on here.
| | 00:46 | Now, this is a very typical script
format for the promo world and usually the
| | 00:51 | way the script works is you have two columns.
| | 00:53 | Now, on the left-hand side is a Video
column and on the right-hand side Audio column.
| | 00:57 | So, the Video column shows the
description of what the producer would like to
| | 01:00 | see during the promo.
| | 01:02 | The right-hand column shows you what
the announcer will be saying or if there's
| | 01:06 | any clips that come off of taped
elements from a show. They call them SOT's.
| | 01:11 | If those things are going to be
included in here they'll be included in the
| | 01:14 | Audio column as well.
| | 01:15 | So, the process that I went through for
creating these sketches was to look at
| | 01:20 | the left-hand side and look at the
right-hand side and sketch out images that
| | 01:24 | correspond to those things.
| | 01:26 | These sketches are not fancy, as you
can see. My sharks look like goldfish
| | 01:30 | crackers and my type doesn't
really look very good at all.
| | 01:33 | But the point of the animatic is not to look.
| | 01:36 | The point of the animatic is to communicate
the elements that are going to be in the promo.
| | 01:40 | You don't spend a lot of time on it.
| | 01:42 | Typically, the client doesn't
normally see this part of the process.
| | 01:45 | It's really for your purposes so you
understand when things are going to be
| | 01:49 | happening in the animation.
| | 01:51 | I'll take these sketches then
and bring them in to After Effects.
| | 01:54 | Inside of After Effects I'll time these
up in sequence along with a scratch read
| | 01:58 | that I've done of the
actual script elements here.
| | 02:01 | So, after 400 million years they're
still the scariest thing in the ocean.
| | 02:05 | Get a little closer if you dare.
| | 02:07 | So, I'll read the entire script down
and then bring the sketches in After
| | 02:10 | Effects and combine the audio and
video together to produce the animatic.
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| Importing sketches into After Effects| 00:00 | In this video, we are going to take the
raw scans of the storyboard sketches and
| | 00:04 | cut them up into
individual images using Photoshop.
| | 00:07 | We'll then import these images into
our After Effects project along with
| | 00:10 | the audio file and we'll have all the
pieces necessary to begin the animatic process.
| | 00:14 | Let's open up the first page of
Animatic-Sketches inside of Photoshop.
| | 00:18 | Let me drag that on to the Photoshop icon.
| | 00:20 | What this is is an 8 1/2 by 11
page that I drew on with blue pencil.
| | 00:25 | I scanned it into a Photoshop at 300 dpi.
| | 00:28 | Now, I've got enough resolution to
create the individual images that I need.
| | 00:32 | What I want to do is crop each one of
these guys down using the Crop tool.
| | 00:36 | I want to set the Crop tool to make
them specifically the size that I want.
| | 00:39 | In this case, we are
going to be doing 640 x 360.
| | 00:42 | So, if I click in the Width window,
I go 640 px for pixels and 360 px for
| | 00:51 | pixels and then 72 dpi.
| | 00:54 | Now, that I've got the resolution set,
| | 00:55 | I can use the Crop tool to crop these images.
| | 00:58 | Now, the first image here we can
ignore. That was a mis-start on my part.
| | 01:02 | I started to sketch something out and
realized that was going in the wrong
| | 01:05 | direction and just Xed it out.
| | 01:07 | So, the very first image that we
want to crop is this one right here.
| | 01:10 | You can see it has the "after 400
million years" which goes right along with the
| | 01:13 | first line of the script.
| | 01:15 | If I click with the Crop tool now and
drag a rectangle around that and I can
| | 01:19 | resize that a little bit to
get it to fit a little tighter,
| | 01:24 | and when I hit the Return key
that gives me a cropped image.
| | 01:26 | Don't worry about the size here.
That's just how it resizes the image.
| | 01:30 | You can see it's showing at
16.67% of the original size.
| | 01:33 | So, now I can save this and let's
go to File menu and do a Save As.
| | 01:37 | In the Chapter 2 folder, I am going
to make a new subfolder and call it
| | 01:41 | animatic scans cropped.
| | 01:48 | Now, with the animatic scans cropped
folder if I go to the Save As field and
| | 01:52 | save this as 001.jpg.
| | 01:57 | Hit Save and you can leave the
Quality settings at Maximum and then hit OK.
| | 02:03 | So, that's the first scan.
| | 02:04 | Now, I want to go and do the next scan.
| | 02:06 | I could open up the original file right
here but an easier thing to do is just
| | 02:09 | to use the History palette to restore
this file back to its original state.
| | 02:12 | So, I'll go over here to the History
palette and hit the Open and that restores
| | 02:16 | the file back to its original state.
| | 02:18 | You can see I've got my full-size image here.
| | 02:20 | Now, I can go to the very next file and
number 2 is this guy right here in the
| | 02:24 | upper right-hand corner.
| | 02:26 | You can say "they're still the
scariest thing in the ocean." That's the second
| | 02:28 | line of the script.
| | 02:30 | Use my Crop tool again and
then hit Return on the keyboard.
| | 02:34 | Then do File > Save As.
| | 02:39 | In the animatic scans cropped
folder, I am going to call this 002.
| | 02:45 | Now, that's the process for creating a
scans and I want to repeat that for each
| | 02:49 | of the images on the page here.
| | 02:51 | What I've done is save those out for you.
| | 02:53 | If you go to the Chapter 2 folder you can see
there is an animatic scans cropped folder.
| | 02:58 | That's what we were just saving in.
| | 03:00 | There's a animatic sketches cropped and that's
got the original files that I created for you.
| | 03:04 | Now, I used a much longer file name and
that gives you an indication of exactly
| | 03:08 | what we're looking at here.
| | 03:09 | sharzone-animatic-001, 002, 003 and so forth.
| | 03:14 | The important thing is that you've
numbered the file so that they are easy to tell
| | 03:18 | apart when we bring them in the After Effects.
| | 03:19 | So, now let's move over to After
Effects and to start importing our elements.
| | 03:27 | Now, when I am working inside of
After Effects I like to work with a very
| | 03:30 | specific folder template.
| | 03:32 | We've provided that in the project
files and I'll open that up and review it,
| | 03:36 | but I am going to rebuild it from scratch.
| | 03:37 | But I just want to show you guys
what the end result looks like.
| | 03:39 | So, if we open up the Master Project file.
| | 03:42 | Now, this project file was created in
an earlier version of After Effects and
| | 03:46 | I'm working in CS5 here.
| | 03:48 | So, when you get this message or if
you this message, you can just ignore it.
| | 03:51 | Nothing inside your project
file will change and hit OK here.
| | 03:55 | You could see I now have folder
hierarchy here in the Project window.
| | 03:58 | This folder hierarchy is what I like
to use when I am working on a project.
| | 04:02 | There is basically a place for every single
kind of element that you might be working with.
| | 04:06 | It's very easy to keep track of
things inside of After Effects project.
| | 04:09 | After Effects projects can get
very complicated in a hurry.
| | 04:12 | So, I like to keep things
in very specific folders.
| | 04:15 | So, what we are going to do is
start off by creating a blank project and
| | 04:18 | re-creating this folder
hierarchy here from scratch.
| | 04:22 | I'll go ahead and close up the
file here and hit Don't Save.
| | 04:27 | Now that I've got a blank project open,
| | 04:29 | let's start by creating a new folder and I
am going to call that folder animatic jpgs.
| | 04:35 | Into that animatic JPEGs folder
I'm going to import my JPEG images.
| | 04:43 | So, with that highlighted I am going to
go to File menu and then on to Import >
| | 04:47 | File and navigate to my
animatic sketches cropped folder.
| | 04:53 | In the animatic sketches cropped
folder I'm going to go to the first file and
| | 04:57 | then hold down the Shift key and
highlight all of them and then hit Open.
| | 05:01 | That's going to import all of the images
at one time into the animatic jpgs folder.
| | 05:06 | Now, I want to have some subfolders in
here so I can keep things really organized.
| | 05:11 | I am going to create a new folder in
here and call this 1-Production Elements.
| | 05:19 | In the Production Elements folder I'll
drag the animatic jpgs folder into there
| | 05:23 | so you can see it's stored in there.
| | 05:26 | Now, we want to have the next element
of the piece, which is the scratch voice
| | 05:30 | recording that I've done that
helps us timeout the script.
| | 05:33 | So, I am going to import that.
| | 05:34 | But before I import it let's
make a folder for to go into.
| | 05:38 | So, I'll go to the create a new folder
and go to 2 - and call this one Video and
| | 05:44 | then I'll add a dash and call it Audio as well.
| | 05:48 | So, I know there is audio in that folder too.
| | 05:50 | Let's go ahead and go to the File >
Import > File and navigate to the Chapter 2
| | 05:57 | folder and grab the Sharkzone.
| | 06:00 | I'll open that up so you can see the full name:
| | 06:02 | Sharkzone-ScrVO-cut001.
| | 06:05 | This is just a voice reading of me no
sound effects, no music, no nothing.
| | 06:10 | But it is done to time and so we'll
use this as the basis for our animatic.
| | 06:15 | Now that we've got all the pieces
imported, we are ready for the next step in
| | 06:18 | the animatic process.
| | Collapse this transcript |
| Timing out the animation| 00:00 | Now that we have all our elements here
inside of After Effects, the next in the
| | 00:03 | process is to time out our
shots using the audio as a guide.
| | 00:08 | We're going to create a copy here in
After Effects and add in our JPEG,
| | 00:11 | then adjust the In and Out points so that
they match up to key moments in the audio.
| | 00:15 | Our goal is going to be to understand
just how long each shot is going to take.
| | 00:19 | So, I have my project folders here.
| | 00:22 | Let's add in another new subfolder
here and call it 3-Working Comps.
| | 00:29 | And this is where I put compositions
that I'm going to be using throughout
| | 00:33 | the process, not necessarily final renders but
just where they go while I'm working on them.
| | 00:38 | In the Working Comps folder, I'm
going to create a new composition.
| | 00:41 | Now, there's a lot of templates here
and I think what I'd rather do is create
| | 00:45 | my own starting point and I'm going to
call this 640 and I'll leave the Aspect
| | 00:51 | Ratio at 16:9 which is just fine, and Square
Pixels is good, and then the Frame Rate 29.97.
| | 00:58 | Now for the Duration, I know my
finished piece is going to be 15 seconds long.
| | 01:02 | So, let's make this 1500 for 15
seconds and then we can call it sz for shark
| | 01:10 | zone and then animatic-001.
| | 01:15 | Now, I always like to put a version
number at the end of my compositions because
| | 01:20 | a lot of times during the production
process, you'll make multiple versions and
| | 01:23 | it's always good to be able to tell those apart.
| | 01:25 | So, with all those settings correct, I'll
hit OK and that opens this up in the Timeline.
| | 01:32 | Now, I can start adding my
JPEGs to the Timeline here.
| | 01:35 | Let's start off by adding in all of the
JPEGs for the main shots and let's drag
| | 01:41 | those in to the Timeline.
| | 01:42 | That gives us a stack of JPEGs here.
| | 01:47 | Now you'll notice that
they're all sized up perfectly.
| | 01:49 | That's why in Photoshop I made them
640 x 360, which was the same size as my
| | 01:53 | composition here and that makes it a
lot easier to work with the images.
| | 01:57 | Now, they're all of the same length.
They come in at 15 seconds which is the
| | 02:00 | total length of the comp.
| | 02:01 | Let's take these and make them all
about a second, so let's grab the endpoints
| | 02:07 | and with them all selected, I can bring
them bound to about two seconds or so.
| | 02:12 | Now, we'll be adjusting those end
points so that how long they are isn't
| | 02:15 | really important right now. I just want to
make sure they're all sure enough to work with.
| | 02:21 | There's also some JPEGs that I
did not import and these are the
| | 02:24 | sharkzone-animatic-thrash files.
| | 02:26 | And these are just the images that I
used for the thrash, just to represent the
| | 02:31 | thrash, and there's two of them there.
| | 02:33 | So, let's start by importing the
sharkzone audio and we'll put that at the very
| | 02:40 | bottom of the composition.
| | 02:42 | And you can see that the audio
file times out exactly to 15 seconds.
| | 02:47 | And now I can use that audio as a guide,
and there's a couple ways to do that.
| | 02:52 | I'm going to twirl open the audio and
then twirl open the waveform here, so that
| | 02:56 | I can see the actual waveform of the file.
| | 02:59 | And if I do a little audio preview by
pressing the Period key on the numeric keypad,
| | 03:04 | (Male speaker: After 400 million years,
they're still the scariest thing in the ocean.)
| | 03:08 | Now, that was me doing a scratch VO,
read for the script and using the script
| | 03:13 | I just read into a microphone inside of
FinalCut Pro and saved that as an audio file.
| | 03:17 | And so, you can see there's a little
scratch marks here and that's the actual
| | 03:20 | waveform for the audio.
| | 03:22 | And I'm going to use that as a guide
for where I'm going to start my elements.
| | 03:25 | Let's start with the sharkzone-animatic-
001 and we're going to take the rest of
| | 03:31 | the JPEGs and move them down in time,
so that they are out of the way.
| | 03:35 | So, I'll hold down the Shift key to grab
all those layers and move them out of the way.
| | 03:40 | So, let's see how long
our first shot needs to be.
| | 03:42 | If you hold down the Command key on a
Macintosh, Ctrl on the PC, I can scrub
| | 03:48 | through this audio and see
where my first shot needs to go.
| | 03:53 | So you can see this first sketch contains
the type element, "After 400 Million Years."
| | 03:58 | So, I know that I want this layer to
end where the next type element begins.
| | 04:03 | So let's find out where
the next typed element begins.
| | 04:06 | So, we scrub through.
| | 04:07 | (Male speaker: After 400 million years,
they're still the scariest thing?)
| | 04:12 | So there it is, right here, they are
still the scariest things in the ocean.
| | 04:15 | So, if I take this layer and extend it
outward a bit, there's a little bit overlap.
| | 04:20 | It's okay because we're
going to put a dissolve in there.
| | 04:22 | And then take the second JPEG and just
bring it back to the left here so they
| | 04:27 | overlap, and that gives me my In and Out points.
| | 04:29 | Now, I won't worry about the dissolve
right now. I'm just going to put things in
| | 04:33 | position and then add a dissolve
later on using the Opacity keyframes.
| | 04:38 | So, there's this second shot, which is
really a continuation of the first.
| | 04:42 | It's just a dissolve and the type.
| | 04:48 | And now, this is where my short
transition is going to come in and the short
| | 04:52 | transition is this thrashing element of
sharks attacking the camera, and so I've
| | 04:57 | got a little of time.
| | 04:58 | I'm going to leave a gap right there
and come back and add that after the fact.
| | 05:01 | So, let's get these quickly roughed in.
| | 05:05 | "Get a little closer if you dare" is
where the main type element, Shark Zone, is
| | 05:10 | first seen on camera, so that's
going to be in the shot three.
| | 05:13 | So, let's bring shot
three over to the left here.
| | 05:16 | You'll see there is the Shark Zone and
a shark swimming out from behind the logo.
| | 05:21 | Now, if we scrub through this...
| | 05:22 | (Male speaker: Get a little closer, if you dare.
Shark Zone, all week long on the Adventure Channel.)
| | 05:31 | Okay, cool.
| | 05:32 | That's what I call the hero shot,
which is the all of the Shark Zone type and
| | 05:36 | the shark swimming towards the camera.
| | 05:37 | So, what I want to do is time out...
| | 05:39 | I've got actually three JPEGs
here. Let's review those real quick.
| | 05:43 | I've got the shark swims
out from behind the logo.
| | 05:46 | He swims towards the camera, and then
for the third shot he swims right up
| | 05:51 | to the camera, and then that's where we're
going to have another thrashing shark transition.
| | 05:55 | So, let's timeout these shots so that
our shark has the appearance of swimming
| | 05:59 | toward the camera and then
we have a shark transition.
| | 06:03 | So let's find the Out point.
| | 06:06 | (Male speaker: Shark Zone,
all week long on the Adventure Channel.)
| | 06:09 | Boom! Right there is where that shot is going to end.
| | 06:12 | So, I'll leave that third shot and have
it end right about there and bring these
| | 06:15 | guys over so there's a little bit of overlap.
| | 06:16 | So now, when I scrub through this you
can see the repeat quickly and it gives
| | 06:20 | the illusion that the
sketch is la ittle bit animated.
| | 06:24 | Now, When I take the sixth shot, the
sixth shot is where we're going to see the
| | 06:29 | logo for the first time and the logo
is going to animate into position after
| | 06:34 | that shark transition.
| | 06:35 | So let's find out where that cut happens.
| | 06:39 | Boom!
| | 06:43 | So that's going to happen right about
there, after the thrashing shark transition.
| | 06:47 | And if I go to the number seven,
number seven is a continuation of that same
| | 06:54 | thought. So the Adventure Channel
animates on, the shark swims across the
| | 06:59 | screen and that reveals the last frame,
number eight, which gives us the tagline on screen.
| | 07:09 | So now I've got the basic frames
laid out. I want to quickly create
| | 07:13 | that short transition.
| | 07:15 | The short transition is just a
couple of JPEGs stuck together in rapid
| | 07:18 | succession, and so I've got
thrash one and thrash two.
| | 07:22 | Let's bring both of these elements into
the layer as you see at the end of the
| | 07:27 | composition and let's make them
very short, about 10 frames each.
| | 07:32 | I can check my info as I'm resizing
that layer and to see exactly how long they
| | 07:38 | are and in the duration field it
shows you about 10 frames. You can see it says
| | 07:42 | duration right there, 10 frames.
| | 07:44 | Now I could take both of these layers.
| | 07:46 | Let's zoom in on the Timeline and drag
both of these layers over to the thrash zone.
| | 07:54 | And so this is where the
thrashing transition is going to happen.
| | 07:57 | So if I take both of these layers and
alternate them in succession, from about a
| | 08:03 | couple about to the length of this gap here.
| | 08:06 | I'll take the second one. Let's go one
-two-one for there duration, so I have
| | 08:11 | thrash one, thrash two, and
now I'll repeat thrash one again.
| | 08:13 | So, I'll duplicate this layer, Command
or Ctrl+D, and that gives me a copy of
| | 08:18 | that layer and I'll just move that over a bit.
| | 08:20 | It goes one, two, three, like
that and then into the next shot.
| | 08:26 | And there's going to be a black gap there.
Let's fix that and clean it up a little bit.
| | 08:31 | Oops, there's another gap,
let's enlarge that. There we go.
| | 08:36 | Now we can take these same three layers
and duplicate all three of them and move
| | 08:41 | those down in time to where the next
thrashing transition is going to be.
| | 08:47 | And that's going to happen right about here.
| | 08:51 | And so now, I can take these three
layers and move them right in the position there
| | 08:55 | and now that I have all the
basic layers laid out, let's do a quick RAM
| | 09:00 | Preview and see how things are
shaping up with relation to the audio.
| | 09:05 | So, I'm going to click the RAM Preview button.
| | 09:07 | (Male speaker: After 400 million years,
they're still the scariest thing in the ocean.)
| | 09:14 | (Male speaker: Get a little closer, if you dare.
Shark Zone, all week long on the Adventure Channel.)
| | 09:20 | (Male speaker: If it's out there, it's on here.)
| | 09:23 | There we go. So I think
that's timing out pretty well.
| | 09:26 | A lot of times during the animatic
process you need to reshuffle things
| | 09:31 | around and, and move the layers forward and
backward in time to get them to fit just right.
| | 09:36 | But I think I've got a
pretty good starting point here.
| | 09:39 | Now that we've got our JPEGs all-timed
out to the audio, it really gives us a
| | 09:44 | good understanding of how long things
are going to take and this becomes the
| | 09:48 | foundation for the entire animation process.
| | 09:51 | From here on out, we're going to be
using this as a guide so that we can
| | 09:55 | timeout our animation for inside of
CINEMA 4D and also for timing out effects
| | 10:00 | here in After Effects.
| | 10:01 | So it's a really important step.
| | Collapse this transcript |
| Adding onscreen timecode for reference| 00:00 | We have our animatic pretty well timed down.
| | 00:02 | We know that the promo is
going to be 15 seconds long.
| | 00:05 | But in order to really understand
exactly how long each of our shots are we need
| | 00:09 | a running frame count for reference.
| | 00:11 | We are going to add two sets of timecode
using adjustment layers inside of After Effects.
| | 00:16 | One set of timecode is going to be a
running frame count for the entire piece.
| | 00:19 | And then a second timecode will be used
to tell us how long each of the shots are.
| | 00:24 | So let's start off in our animatic
composition here and add an adjustment layer.
| | 00:29 | So we go to the Layer menu >
New > and Adjustment Layer.
| | 00:33 | And an adjustment layer will
have an effect on anything below it.
| | 00:36 | But the effect that we are going to put
on here is a text effect and so it won't
| | 00:40 | really affect any of the images below
it. It's just going to sit on top of them.
| | 00:44 | So we go to the Effect menu and
we go to Text and to Timecode.
| | 00:48 | And in the Timecode field now we can
see it shows up as the Display Format.
| | 00:53 | And that Display Format is set to be SMPTE
and we want to show frame numbers instead.
| | 00:58 | So let's set this to be Frame numbers,
which gives us a running count for the
| | 01:02 | exact frames in our composition.
| | 01:04 | And I am going to move that down to the
bottom left and this is going to be the
| | 01:08 | actual frame count for this shot and
then on the right-hand side I would like to
| | 01:13 | have a frame count for the entire piece.
| | 01:16 | So let's duplicate this adjustment layer,
Command+D on the keyboard, or Ctrl+D on the PC.
| | 01:22 | This layer I am going to take the effect
for it and change the position for that.
| | 01:27 | And I am going to move that
over here to the right-hand side.
| | 01:31 | Now for the very first shot
they are going to match up.
| | 01:34 | But this is going to start at
the beginning of our second shot.
| | 01:39 | In this case the second
shot will be the transition.
| | 01:41 | So we want to have this shot
end when our first shot begins.
| | 01:45 | So this first adjustment layer, let's change
the name of that and call it full timecode.
| | 01:54 | And let's call this one shot timecode.
| | 02:00 | So for the shot timecode layer, let's
bring the shot timecode layer to the
| | 02:05 | end of the first shot.
| | 02:07 | So our first shot, even though it shows
us two JPEGs here it really is one long shot.
| | 02:13 | In my sketch process I had to
use two JPEGs to illustrate this.
| | 02:15 | But in reality we are going to be
just dissolving between these two type
| | 02:18 | elements within the same shot.
| | 02:20 | So this shot is actually going
to end at the transition point.
| | 02:24 | So here in the transition, I am going
to make sure that that shot ends at the
| | 02:29 | start of the transition.
| | 02:30 | Let's use up the Page Up
command to backup one frame.
| | 02:33 | And then let's zoom in a bit and bring this
timecode field right to the end of that shot.
| | 02:41 | For the shot timecode I want to find
that how long my transition is going to be.
| | 02:44 | And so if I take this shot
timecode and duplicate it,
| | 02:48 | let's drag that down in the hierarchy
and move it over to the right until the
| | 02:55 | beginning point is right at
the end of the previous shot.
| | 02:59 | And you can see the great thing about
this now is that the way that timecode
| | 03:02 | filter works is that it starts the timecode
all over again at the beginning of the shot.
| | 03:06 | So by moving my adjustment layer to the
in point of my starting shot, it changes
| | 03:11 | automatically back to zero again.
| | 03:12 | So I know that my first shot goes
from 0 to 160, meaning 161 frames total.
| | 03:19 | And then my second shot, which is the
transition, starts right here at the 000.
| | 03:24 | And now I can take this layer and
go to the end of the transition.
| | 03:29 | I am going to use a keyboard shortcut
here, the Option key or Alt on the PC, and
| | 03:35 | the right-hand bracket.
| | 03:36 | And that's going to change the Out point to
that moment in time where my time marker is.
| | 03:40 | Let's zoom in just a bit and
make sure that we got it right.
| | 03:44 | And so our transition ends right
there and the next shot comes into play.
| | 03:49 | So if I duplicate this shot to
timecode layer now it gives me shot 3.
| | 03:53 | Let's drag it down one more time.
| | 03:55 | I am going to use another keyboard shortcut.
| | 03:57 | And this time I will use the left
bracket, without holding down the Option key,
| | 04:01 | and that's going to snap my
in point to the current time.
| | 04:04 | And now you can see once again my
timecode jumps from 29, which my transition is
| | 04:09 | about 30 frames long.
| | 04:10 | And I go right to the next
shot, which starts again at 0.
| | 04:13 | So now this is hero shot I call it and
this is where we get to see the name of
| | 04:17 | the Shark Zone block and that's going to
last for all three of these JPEGs right here.
| | 04:24 | So let's back out just a bit and take
this timecode and drag it right to the
| | 04:30 | out point of this shot.
| | 04:32 | It's actually the
starting of the transition again.
| | 04:36 | And so if I drag that over,
let's zoom in right here.
| | 04:39 | And I can see that yeah, I've got it right.
| | 04:41 | The last frame of the previous shot is 155.
| | 04:43 | And so now we are ready to do the same process.
| | 04:46 | So I will take this timecode 3 and
duplicate it one more time, drag it down, and
| | 04:50 | I'll use that left bracket
tool again, drag it over.
| | 04:56 | And now we can time it out
for the second transition.
| | 05:00 | So use the Hand tool and pan over just
a bit and go right to the out point of
| | 05:06 | the transition and backup one frame.
| | 05:08 | And then I will use that Option+Right
Bracket command to adjust that point.
| | 05:14 | So let's duplicate this
timecode one more time again.
| | 05:18 | Command+D or Ctrl+D, drag that layer
down, and use the left bracket tool to
| | 05:25 | align the in point.
| | 05:26 | And now this one will go
right to the end of the piece.
| | 05:29 | And so now I've got timecode that
covers the entire piece from head to toe.
| | 05:36 | And the real value in this is now we
know exactly in frames how many frames each
| | 05:41 | shot is going to be.
| | 05:42 | So we have a running number count.
| | 05:44 | So when we move into CINEMA 4D it's
very easy to set up our project files
| | 05:47 | because for example, for shot 1 when
I start at time 0 and I end on an even
| | 05:53 | number like 160, hitting O on the keyboard,
that I'm going to have an odd number of frames.
| | 05:58 | So 0 to 160 makes 161 frames.
| | 06:02 | And so for the second shot if I hit I
on the keyboard by grabbing that layer
| | 06:06 | and I am going to hit O on the
keyboard to get to the out point I have 29
| | 06:09 | frames at the out point.
| | 06:11 | So 0 to 29 gives me 30 frames exactly.
| | 06:14 | So now I have a really great idea of exactly
how long my frames are here in After Effects.
| | 06:19 | It makes it really easy to move into
CINEMA 4D and it becomes the foundation
| | 06:23 | really for moving forward
with rest of our project.
| | Collapse this transcript |
|
|
3. Creating Cameramatic Elements for Rough PlacementCreating text and logo elements in Adobe Illustrator| 00:00 | We are now going to create the basic
elements that we will need for our cameramatic.
| | 00:04 | And the first of these elements is the
text that appears in shot 3, which is what
| | 00:08 | I call the hero shot.
| | 00:09 | And also the logo that appears in the end shot.
| | 00:12 | These are both just basic
extrusions of the Adobe Illustrator files.
| | 00:15 | And the process for creating Illustrator
files is really straightforward, as long
| | 00:19 | as you follow some simple rules.
| | 00:21 | The first step is that you can
only use Adobe Illustrator 8 files.
| | 00:25 | CINEMA 4D has to work with this older
file format in order to get the path
| | 00:30 | information into CINEMA 4D.
| | 00:32 | RGB files are good.
| | 00:34 | CMYK files are bad.
| | 00:35 | CINEMA 4D cannot open a CMYK file, so
you have to work in RGB color space.
| | 00:40 | You can only use open or closed paths.
No fill or stroke information or
| | 00:44 | gradients for that matter will
get translated into CINEMA 4D.
| | 00:48 | Only open or closed paths.
| | 00:49 | No fill, or stroke information, or styles.
| | 00:52 | The last rule is that CINEMA 4D uses
the Adobe Illustrator ruler for placement.
| | 00:56 | We want to make sure that our files
come in to CINEMA 4D at the center of the
| | 01:00 | world and the normal placement for the
Adobe Illustrator ruler is in one of the
| | 01:05 | corners. In the earlier versions of CS,
it was in the bottom left corner and in
| | 01:09 | CS5 it's in the upper left corner.
| | 01:11 | We want to make sure that our
Illustrator ruler is in the center of the page.
| | 01:14 | So as long as we follow these four
basic rules we will get a really consistent
| | 01:18 | result when we move between
CINEMA 4D and Illustrator.
| | 01:21 | Let's start this process by
creating the type elements for CINEMA 4D.
| | 01:25 | I am going to open the sharkzone_
Type Adobe Illustrator file inside of
| | 01:30 | Adobe Illustrator CS5.
| | 01:31 | And what I have is the words shark and zone
that I have typed out using the Impact font.
| | 01:38 | And I turn those fonts into outlines
and then shaped them up a little bit so
| | 01:41 | that the shark and zone create a nice
little block here that will really look
| | 01:45 | good when we place it on the
floor of our scene inside of CINEMA 4D.
| | 01:50 | If we go back to our rules we want to
make sure that CINEMA 4D uses the ruler.
| | 01:53 | I've already created this document in
a RGB color space, you can tell that.
| | 01:57 | And I've converted my fonts to outlines.
| | 01:58 | I want to have my Shark Zone at
the exact center of the page with a ruler
| | 02:04 | that's centered on their shapes.
| | 02:06 | So the easiest way to do that is
to copy this type to the clipboard.
| | 02:10 | I am going to use Command+C
to copy it to the clipboard.
| | 02:12 | And I am going to make a new document.
| | 02:14 | Now I always like to make my documents
the same size as the finished rendering
| | 02:18 | size inside of CINEMA 4D.
| | 02:20 | So I'll make this 640 points by 360 points.
| | 02:24 | And there is no reason for
that except for continuity.
| | 02:27 | I like to make sure all of my
Illustrator files come into the same size when I
| | 02:31 | bring them from Illustrator into CINEMA 4D.
| | 02:33 | And so by creating my type elements at
the same size as my finished rendering
| | 02:38 | it makes things consistently the same size.
| | 02:43 | I made a mistake and created this as a
CMYK so I need to go back and change that.
| | 02:47 | Let's go to the File menu and go to the
Document Color Mode and change that to RGB Color.
| | 02:54 | That's very important to do.
| | 02:55 | So always make sure that this is RGB
right here at the top of the window.
| | 02:59 | Now I'll paste down that element that I
copied from the other page and now it's
| | 03:03 | much larger than that screen.
| | 03:04 | So let's back out just a bit and then use
the transform handles to scale this down.
| | 03:10 | And then Command+0, which is under
the View menu, and it frames the entire
| | 03:17 | image into the window.
| | 03:19 | Now one of the great things about Illustrator
is that it's very consistent in its behavior.
| | 03:23 | And that I can use that
behavior to my advantage.
| | 03:25 | What I want to do is have the Shark
Zone centered exactly on the page and no
| | 03:29 | matter where I place this I always
want to make sure that it comes back to
| | 03:32 | the center of the page.
| | 03:33 | I'm going to enlarge this type a
little bit and then cut it to the clipboard,
| | 03:37 | Command+X, and then frame up the
window again using the Command+0.
| | 03:44 | Then when I paste this down, Illustrator
automatically pastes things down in the
| | 03:48 | center of the open view.
| | 03:49 | So if I go Command+V now I know that my
Shark Zone is centered up exactly in the
| | 03:53 | page because I centered my page in the view.
| | 03:56 | Now I can reveal the ruler, Command+R
on the keyboard or Ctrl+R, and I can drag
| | 04:02 | that Ruler Reset tool out and center
those crosshairs right on the type, using
| | 04:08 | the transform handles as a guide.
| | 04:10 | Now that I have the rulers centered up
and you can see that I have a 0 here and
| | 04:14 | a 0 here on the top and left sides,
| | 04:16 | I know my Shark Zone type will
come up correctly in the CINEMA 4D.
| | 04:21 | Let's go to the File menu now and
save this in the correct format.
| | 04:23 | I am going to go to File > Save As
and in my Chapter 3 folder I have
| | 04:30 | an AI-For-C4D folder.
| | 04:31 | Now that has my prepared files in it already.
| | 04:34 | Let's make a new subfolder in
here and call it lesson_ai_4c4d.
| | 04:45 | And let's call this one sharkzone.ai.
| | 04:51 | Remembers CINEMA 4D can only
use an Illustrator 8 file.
| | 04:53 | When I hit Save I am going to be
presented with the secondary window here that
| | 04:57 | asks me which version I
would like to save it as.
| | 04:59 | Now I am going to save it all the way
down as Illustrator 8 and then hit OK.
| | 05:05 | Now you get a message here warning
you about the older document type.
| | 05:09 | And you can go ahead and hit OK and
just ignore that, because this file format
| | 05:13 | has everything we need in it.
| | 05:14 | So that's it for the Shark Zone type.
| | 05:16 | I can close that up and
I close up the Shark Zone.
| | 05:19 | Now I can go to the
actual Adventure Channel logo.
| | 05:22 | And let's open the Adventure
Channel logo in Adobe Illustrator.
| | 05:26 | And it's a very simple shape and if I
copy that to the clipboard, Command+C.
| | 05:32 | Let's make another new document.
| | 05:34 | This time I'll twirl open the Advanced
and I make sure that I change the Color
| | 05:37 | Mode RGB right here.
| | 05:40 | And double check my size. 640 x 360,
which is just right, hit OK and then paste
| | 05:46 | that down, Command+V.
| | 05:47 | Now it's too big so we need to
do the same thing, scale it down.
| | 05:54 | And then center up the page. Command+
0. cut that to the clipboard. and paste
| | 06:00 | it down one more time.
| | 06:01 | Now I know it's exactly
in the center of the page.
| | 06:03 | And if I bring up the rulers. Command+R.
and then reset that crosshair so that
| | 06:09 | it's centered up right on the
transform handles. And I can let go.
| | 06:13 | Now I can save this, File > Save As, and in the
lesson_ai_4c4d I'll change that to be aclogo.ai.
| | 06:23 | And then make sure that it is in fact
an Illustrator 8 file. There we go.
| | 06:29 | And hit OK on that warning.
| | 06:31 | So that's it for the type and logo elements.
| | 06:33 | Let's move over to CINEMA 4D
and get those things imported.
| | 06:38 | Now that we have the properly prepared
Adobe Illustrator files, it's going to be
| | 06:41 | really easy to import these into CINEMA 4D.
| | Collapse this transcript |
| Importing Illustrator elements into Cinema 4D| 00:00 | We've created our elements in Adobe
Illustrator and now we need to bring
| | 00:04 | them into CINEMA 4D.
| | 00:05 | And the process is really very straightforward.
| | 00:07 | I am going to go to the Object Manager File
menu and do something called Merge Object.
| | 00:12 | And Merge Object allows us to load in
not just Adobe Illustrator files, but also
| | 00:17 | project files and other
CINEMA 4D generated elements too.
| | 00:21 | I'll navigate to the Exercise Files Chapter 3.
| | 00:24 | Remember there is two Adobe
Illustrator folders in here.
| | 00:27 | And the reason for that is we have
one AI-For-C4D file that was provided
| | 00:31 | along with the project files and this
lesson_ai_4c4d folder that I created in
| | 00:36 | the previous chapter.
| | 00:37 | There is no difference between the
files in here so I am going to work from the
| | 00:40 | lesson_ai_4c4d folder.
| | 00:42 | Let's start off with the Shark Zone type.
| | 00:43 | So I grab the Shark Zone type
Illustrator file and hit Open.
| | 00:47 | And I'm presented with a secondary screen.
| | 00:49 | And this secondary screen is asking two options.
| | 00:51 | Should I scale the Illustrator
files or should I connect the splines?
| | 00:55 | And in both cases I am going to say no, I want
to leave them as the default. And so I hit OK.
| | 01:00 | Now you'll notice that my Shark Zone type
did not jump to the center of the world
| | 01:05 | like it was supposed to.
| | 01:05 | We are working in a version of Adobe
CS5 Illustrator that is an early version.
| | 01:11 | And this is a behavior that is peculiar
to that version and we are hoping that
| | 01:16 | it will change with subsequent versions.
| | 01:18 | If you're working in Adobe
Illustrator CS4 or CS3 or any other version of
| | 01:21 | Illustrator the behavior will be correct,
and your Shark Zone type will jump to
| | 01:25 | center the world right here.
| | 01:27 | So if you're working in CS5 all you
need to do to fix this is just select the
| | 01:31 | Shark Zone type here in the Object
Manager and go to the Coordinate properties in
| | 01:35 | the Attribute Manager.
| | 01:36 | And then in the position fields let's
zero this out. So I highlight that text
| | 01:41 | and go zero and hit the Tab key
and zero and then Tab one more time.
| | 01:45 | And then you'll see my Shark Zone
type jump to center the world.
| | 01:48 | And now if I hit the letter H, I can
frame up my type and now I'm looking at
| | 01:52 | it much more closely.
| | 01:54 | Now splines in CINEMA 4D do not render, and
so we need to do something called an extrusion.
| | 01:59 | And there is a special object for
that and in the main toolbar here at the
| | 02:02 | top of the window I am going to click
on the Nurb Objects and add something
| | 02:06 | called an Extrude Nurb.
| | 02:07 | Now the Extrude Nurb has a green
icon that means it's a generator.
| | 02:10 | And a generator object needs to have
children in order to produce some sort of result.
| | 02:15 | So I'll take my Shark Zone type and
add it as a child of the Extrude Nurb.
| | 02:20 | Now when I do this initially nothing happens.
| | 02:22 | You see nothing changed in my screen here.
| | 02:24 | And that's because the Extrude Nurb
doesn't know that the sharkzone Null Object
| | 02:29 | here has all of these
different splines underneath it.
| | 02:31 | You can see that there is a separate
spline for each one of the letters of
| | 02:34 | the words Shark Zone.
| | 02:35 | So I have to tell the Extrude Nurb to look
pass this Null and extrude each of these splines.
| | 02:42 | And there is a very special button to do that.
| | 02:44 | Underneath the Extrude Nurb you go to
the Object properties and there is a field
| | 02:47 | called Hierarchical.
| | 02:49 | Hierarchical, when you click it, forces
the Extrude Nurb to look past that Null
| | 02:54 | object and see all of the individual splines.
| | 02:56 | You can see now my Shark Zone tpye is extruded.
| | 02:58 | And if I hit Command+R on the keyboard my
Shark Zone will be rendered in the scene.
| | 03:03 | When I create type in CINEMA 4D, even
though bevel type is going out of style
| | 03:08 | from a design standpoint, I still like to
add a little bit of a bevel to my type elements.
| | 03:12 | The reason for that is when you render
a 3-D extruded type you can see that the
| | 03:16 | edges on the type have a
very sharp line to them.
| | 03:19 | And that sharp line makes
them feel computer-generated.
| | 03:22 | If I go to the Extrude Nurb and
select it here in the Object Manager and it
| | 03:26 | redraws the frame for me automatically.
| | 03:28 | If I go to the Caps and under the
Caps options I am add something called
| | 03:31 | a Fillet and a Cap.
| | 03:32 | And the Fillet is a fancy word for a bevel.
| | 03:35 | And I add a Fillet on the front and
I'll add a Fillet on the back so that my
| | 03:39 | front and back of the type match up.
| | 03:41 | If I orbit around you can see
there is a bevel on the back.
| | 03:44 | That bevel is way too thick so I'm
going to adjust the Radius down and make it
| | 03:48 | approximately, let's make it 1
and then 1 on the back side as well.
| | 03:54 | Now you can see I have a
much more finely shaped bevel.
| | 03:58 | And let's add just one more Step to it.
| | 04:01 | Now the Step controls how many
polygons are on the edge of this.
| | 04:05 | If I zoom in very close on this type you can
see that, let's backup just a bit, there you go.
| | 04:09 | We have a very linear transition from the face
of the type here to the edge of the type here.
| | 04:14 | And when I adjust the Steps and I
change that to something like 3, you'll see that
| | 04:20 | it's a little bit round.
| | 04:21 | And that roundness translates into a
much more smooth transition from the side
| | 04:25 | of the type to the face of the type.
| | 04:27 | I hit the letter H on the
keyboard to frame up my Shark Zone type.
| | 04:30 | And I'll do another rendering, Command+R.
And you will be able to see a slight
| | 04:33 | difference between the type
elements in the previous frame.
| | 04:36 | And you can see a very
nice highlight on the edge.
| | 04:39 | And even though our type doesn't look
beveled in the traditional sense,
| | 04:43 | that beveling on the edge picks up light
and gives our type a much more organic
| | 04:48 | and interesting look.
| | 04:49 | Now our type is very thin and we want to
have a very thick element for our animation.
| | 04:54 | Under the Extrude Nurb, I'll go to the
Object properties and change the Z Movement.
| | 04:58 | The Z Movement controls how far
the type extrudes along the z-axis.
| | 05:03 | So I highlight this 20 units here.
| | 05:05 | Let's make this about 100 units.
| | 05:08 | And we may change that in the final file.
| | 05:11 | But it's easy to change.
| | 05:12 | This number remains live and
we can change it at any time.
| | 05:15 | Now my Shark Zone type is going to be
sitting flush on the ground plane in
| | 05:19 | the finished animation.
| | 05:20 | So I want to take this Extrude Nurb and
move it up on the y-axis so that it is
| | 05:25 | flush with the ground plane.
| | 05:27 | And I'll switch to the four-way view
and I'll click on the Layout button here
| | 05:31 | and switch to a four-way view.
| | 05:33 | So I can see my objects from both
the Perspective View and each of
| | 05:38 | the Orthographic views.
| | 05:39 | That makes it really easy to
identify where the bottom of the type is.
| | 05:44 | So I'll line this up with
the bottom of the ground plane.
| | 05:46 | Let's zoom in just a bit here in
the right-hand view and make sure.
| | 05:50 | Now I can bring this right-hand
view full-screen by clicking on that
| | 05:53 | button right there.
| | 05:54 | And that makes it much easier to center things
up and line things up with the ground plane.
| | 05:59 | So you can see right now the z-axis
here is actually the floor and my type
| | 06:03 | element is lined up with it.
| | 06:06 | So let's save this file, File > Save As.
| | 06:09 | And we will call this sharkzone.c4d.
| | 06:18 | Now we need to repeat this
process for the Adventure Channel logo.
| | 06:21 | I'll make a new document. File > New.
| | 06:24 | And go to Object Manager,
File menu, do a Merge Object.
| | 06:28 | And under the lesson_ai_4c4d I'll
grab the aclogo.ai file and hit Open.
| | 06:36 | Remember we can leave these
settings at the default and hit OK.
| | 06:40 | This file element was generated inside of
CS5 so I need to re-center this type up.
| | 06:44 | Go to Coordinate properties and
zero out the position again. 0, 0, 0.
| | 06:51 | I am just tabbing through those fields.
| | 06:54 | And now I need to extrude it.
| | 06:55 | So let's grab another Extrude Nurb.
So I click on the Nurb Objects and go to
| | 06:59 | Extrude Nurb, add the aclogo
as a child of the Extrude Nurb,
| | 07:03 | and then in the Extrude Nurb I have
to tell it to look down at all these
| | 07:06 | different paths that are under there.
| | 07:08 | So I go to the Object properties and
click the Hierarchical button and there
| | 07:12 | is my extruded type.
| | 07:14 | And now I can add another beveling to the edges.
| | 07:18 | So I go to the Caps property on the
Extrude Nurb and under the Caps property
| | 07:22 | I am going to select Fillet and Cap
for both the Start and End caps.
| | 07:26 | And that's way too thick. So I change
that Radius to 1, use the Tab key to get
| | 07:31 | through those fields and
click 1 for the second Radius.
| | 07:34 | And then let's add 3 Steps
just like we did on the type.
| | 07:37 | So 3 in this Steps field there and
tab through and 3 in the Steps field
| | 07:42 | there for the End Cap.
| | 07:44 | Now let's just zoom in real
quick and just double check things.
| | 07:49 | And that is looking pretty good.
| | 07:52 | So let's save this logo element and
the thickness I think on it is just fine.
| | 07:56 | And once again we may end up
adjusting this when we do finished animation
| | 07:59 | but for now it's fine.
| | 08:01 | And we can always go back to the Object
property and change the Z Movement if we need to.
| | 08:05 | So let's go File > Save As and
call this one aclogo.c4d and save it.
| | 08:16 | So now we've got our type elements all created.
| | 08:18 | And we are in really good shape for
the basic elements for cameramatic.
| | Collapse this transcript |
| Creating guide planes for modeling a rough shark| 00:00 | The shark is really the star of the
entire animation, but for this cameramatic,
| | 00:04 | we only need a very rough model of the
shark, just enough detail to give us the
| | 00:07 | impression of the shape.
| | 00:09 | We're going to use an outline of the
shark to create this rough shape using
| | 00:12 | polygonal modeling tools and
something called a HyperNURB object.
| | 00:15 | So, the first step in
modeling is to save the file.
| | 00:18 | Let's go to the File menu and do a Save as.
| | 00:20 | We're going to save this
in the Chapter 03 folder.
| | 00:23 | We'll call this one roughshark, and
then I like to put a version number in case
| | 00:28 | I save out an additional version.
| | 00:30 | I'll call this 001. I'll hit Save.
| | 00:33 | The first part of the modeling process
is to import images that we're going to
| | 00:38 | be using as references.
| | 00:39 | Let's go out to the Finder here and
explain something for just a moment.
| | 00:42 | Here in the Chapter 3 folder, I
have something called a tex folder.
| | 00:46 | This tex folder contains two PSD
files, a shark front and a shark side.
| | 00:52 | Now, these are just Illustrator
outlines that I converted into PSD files and I
| | 00:57 | traced the images that I found of
sharks online and used those as a basis for
| | 01:01 | creating the shark outline.
| | 01:02 | I want to be able to
import these into CINEMA 4D.
| | 01:04 | The way CINEMA 4D works is that it
looks in a very specific place for
| | 01:08 | these texture images.
| | 01:09 | The place it looks for the
images is in a folder called tex.
| | 01:14 | That folder has to be at the
same level as the project file.
| | 01:17 | So you can see, here's my roughshark-
001.c4d file and then here is the tex
| | 01:21 | folder and they are in
the same level of the folder.
| | 01:24 | That makes it really easy for
CINEMA 4D to find these images.
| | 01:28 | If you were to have these in a
different location, you'd get an error message
| | 01:32 | inside of C4D, prompting you to copy
those elements into the tex folder.
| | 01:37 | If you hadn't had a tex folder there
already, you would copy them into that
| | 01:39 | location just loose and
that would be kind of weird.
| | 01:42 | So, it's much better to be organized
ahead of time and have this tex folder with
| | 01:46 | the images setup for you already.
| | 01:49 | Now, here in C4D, I've got
my roughshark file opened.
| | 01:53 | We're going to make a new material.
| | 01:55 | I created that new material by double-
clicking here in the Material Manager.
| | 01:57 | You can also go to the File menu
and do a New Material that way.
| | 02:01 | But I like to double-
click, as it's a lot faster.
| | 02:04 | I'm going to double-click on the
word Mat and call this one front, as in
| | 02:08 | the front of the shark.
| | 02:10 | In the Basic properties for the
material, I'm going to turn off the Color
| | 02:14 | channel and turn off the Specular
channel and turn on the Luminance channel.
| | 02:17 | Now, the Luminance channel allows us to
place images into the material that will not
| | 02:23 | be affected by any light source in the scene.
| | 02:25 | So, if I click on the Add Texture
button right here, which has a series of
| | 02:29 | three dots on it, if I click on that,
that presents me with the Finder window,
| | 02:32 | and I can now navigate to my Desktop/Exercise
Files/Chapter 3, and then to the tex folder.
| | 02:38 | Let's add the shark front file, and hit Open.
| | 02:42 | That shows up in the Luminance
channel, just the way I wanted.
| | 02:45 | Now let's make another new material,
and let's change the name of this
| | 02:50 | material and call it side.
| | 02:52 | The side material, I'm going to do the
same thing. Go to the Color properties,
| | 02:56 | turn off Color, turn off
Specular, turn on Luminance.
| | 03:01 | Then in the Luminance channel, I'm
going to load in that image once again.
| | 03:04 | So I click on the Load Image button
and add the shark side.psd and hit Open.
| | 03:10 | Now, the materials are going to be
showing up here in the Editor window.
| | 03:15 | In order to do that, I
have to place them on a plane.
| | 03:18 | If I select the side material and look
at the dimensions of the actual image and
| | 03:24 | if I go to the Luminance channel, it
shows you the resolution of the actual
| | 03:28 | image that's being used in that channel.
| | 03:31 | I can see it's 982x389.
| | 03:33 | I'm going to create a plane here in
the Editor window and make it exactly
| | 03:37 | that resolution, 982x389.
| | 03:40 | So, if I go to the Primitive Objects
and add a plane to the scene, under the
| | 03:43 | Plane Properties, I'm going to
change the Orientation to be -Z.
| | 03:47 | The reason I do that is that it makes
the images that I drag onto that plane
| | 03:51 | show up right-reading, meaning
they'll show up with the top up here at the
| | 03:54 | top of the plane and the right-hand
side on the right-hand side of the plane,
| | 03:57 | just the way I wanted.
| | 03:58 | So now, I'm going to make
this plane the same width.
| | 04:00 | If I go to the side material
and look at it. See it's 982x389.
| | 04:04 | So if I select the plane and make the
Width 982, and the Height 389, and then
| | 04:15 | the Segments determine how
subdivided the polygon is.
| | 04:17 | How many polygons are making up this thing?
| | 04:19 | We only need one polygon.
| | 04:20 | So I'll change the Width
Segments and the Height Segments to 1x1.
| | 04:25 | Now when I drag my side material from
the Material Manager onto the plane in
| | 04:30 | the Object Manager, when I let go, my shark
shows up exactly on the plane, just the way I want it.
| | 04:37 | Let's make another plane.
| | 04:39 | And we're going to repeat
this process for the front.
| | 04:41 | If I add a plane to the scene-- and
let's name our plane so that they make sense.
| | 04:45 | I'll call this plane side, and
then I'll call this plane front.
| | 04:50 | On the front plane, I want to
change the Orientation once again to -Z.
| | 04:55 | They're in the same location right now.
| | 04:56 | Let's turn the side plane off for just
a moment and go to the front material
| | 05:03 | and take a look at the resolution.
| | 05:05 | You can see the
resolution of my front is 305x389.
| | 05:09 | So, let's take the front and make the
Width 305 and the Height 389 and then the
| | 05:16 | segments one-by-one just
like we did on the side plane.
| | 05:20 | Now, if we take the front material and
apply it to the front plane, you see our
| | 05:24 | shark shows up right there.
| | 05:26 | Now, I want to have the front of
the shark show up along the x-axis.
| | 05:29 | So if I just take the front plane
object and go to the Coordinate properties,
| | 05:33 | and the rotation value that I want to
change is the heading, and if I scrub that
| | 05:38 | value around to 90 degrees over here,
I've got to put 90 degrees in numerically,
| | 05:43 | then my shark is now facing down the x-axis.
| | 05:46 | If I turn on my side now, you can
see that they intersect perfectly.
| | 05:49 | Now I can use that to identify the
front of the shark and I can use the side
| | 05:54 | panel to identify the side of the shark.
| | 05:56 | This is going to make our
modeling process really easy.
| | 05:59 | The purpose of all this has been to
prep our cells for modeling and the image
| | 06:04 | planes that we have here in the scene
are going to be used as guidelines for
| | 06:07 | modeling our rough shark.
| | 06:08 | So, now that we have our planes,
we're ready to begin the process of
| | 06:11 | actually modeling.
| | Collapse this transcript |
| Creating a rough shark model| 00:00 | The process for modeling a
finished shark is pretty detailed.
| | 00:03 | But for our cameramatic, we only
need to model the basic outlines.
| | 00:07 | We have our actual outlines set up here in C4D.
| | 00:11 | Now we're going to use the HyperNURBS
modeling process to actually create a very
| | 00:15 | rough shape of the shark.
| | 00:18 | So, the first step I want to do is to
group these front and side plane objects
| | 00:23 | underneath a single Null, so that way I can
have just one parent that I can turn off and on.
| | 00:28 | So, I'm going to go to the Modeling
Objects and add a Null Object to the scene.
| | 00:32 | A Null object is simply an access
point with no geometry associated with it.
| | 00:37 | I can take both of these objects
and make them children of the Null.
| | 00:41 | The Null I'm going to call image planes.
I have the ability now with both of
| | 00:47 | these children under the
same Null to hide them both.
| | 00:49 | I can click on this center column here.
| | 00:50 | These two dots relate to the status of the
object in the render and also in the Editor view.
| | 00:55 | If I click the top dot red, the images
will be hidden from view in the Editor window.
| | 01:00 | But if I hit the Render button,
they still show up in the render.
| | 01:03 | I want to actually have the
reverse of that in this situation.
| | 01:05 | I don't want these planes to show up in
the Render view. I just want them to be
| | 01:08 | visible in the Editor.
| | 01:09 | So I'm going to make the top
dot gray and the bottom dot red.
| | 01:14 | Now when I hit the Render
button, I can see the planes here.
| | 01:17 | But when I render, they don't show up,
and that's just the way I want it.
| | 01:21 | So, by clicking on the image
planes, I can redraw the frame here.
| | 01:24 | The HyperNURBS process most
of the time starts with a cube.
| | 01:28 | So, let's add a cube to the scene underneath
the primitive objects and we'll add a cube.
| | 01:32 | That cube I want to make the
same size as my side view plane.
| | 01:38 | So, by going to the Object properties
for the cube, I can take the x-value and
| | 01:43 | I can just scrub it.
| | 01:44 | I don't need to be real precise with this.
I just want to eyeball it into position.
| | 01:47 | So, I make that cube about the same
size as the x-axis and about the same
| | 01:52 | size as the y-axis. That's good.
| | 01:57 | I'm not going to worry about the z-axis
for now, because we'll come back and fix
| | 02:00 | that in a little while.
| | 02:02 | The HyperNURBS is a NURB
object that's got a green icon.
| | 02:05 | That means it's a generator.
| | 02:07 | When I add it to the scene, in order
for it to have an effect, I have to add my
| | 02:12 | cube as a child of the HyperNURBS.
| | 02:14 | So I take the cube and drag it out of the
HyperNURBS and make it a child of the HyperNURBS.
| | 02:18 | Now I get this sphere-like object in the scene.
| | 02:21 | That is the result of the HyperNURBS.
| | 02:23 | I'm seeing the shape that's
being created by the HyperNURBS.
| | 02:26 | Now, I want to be able to see my
side view through the HyperNURBS.
| | 02:30 | I want to have this be sort of
grayed out, so that I can look at my shark
| | 02:34 | outline and make it really
easy to move the shapes around.
| | 02:37 | So, under the HyperNURBS, if I click
on the HyperNURBS and go to the Basic
| | 02:40 | properties of the HyperNURBS, I can
turn on something called X-Ray mode.
| | 02:45 | When I click on X-Ray, X-ray
makes the HyperNURBS translucent.
| | 02:49 | When it renders, if I click on the Render
button, it still renders in the correct way.
| | 02:54 | But when it's in the Editor
window, it shows up translucent.
| | 02:58 | It makes it a much easier to
work on from a modeling standpoint.
| | 03:01 | Now, my cube is still in its primitive state.
| | 03:06 | What I want to have access to is the
actual points and edges and polygons
| | 03:10 | that make up that cube.
| | 03:11 | So I have to make the cube editable.
| | 03:14 | The command for that, there's a
keyboard shortcut and there's an icon for it.
| | 03:17 | The icon for it is over here on
the left-side of the interface.
| | 03:21 | The keyboard shortcut is the letter C.
If I click on this icon or hit the letter
| | 03:25 | C on the keyboard, you
notice my cube changes in state.
| | 03:28 | It now has a triangle next to it.
| | 03:30 | You can see it's no longer a primitive cube.
| | 03:32 | Now I have access to the points, edges,
and polygons that make up that cube.
| | 03:36 | If I click on the Point mode here on
the left-hand side, I can now grab a point
| | 03:41 | on the surface of the cube and move it around.
| | 03:44 | By moving that point in space, I can
affect how that HyperNURBS is shaped.
| | 03:49 | Command+Z to get back to the original shape.
| | 03:53 | Now, the default mode for working in
HyperNURBS is something called Isoline Editing.
| | 03:58 | You can see that there is curved
blue line on the surface of this object.
| | 04:02 | I don't like to work like that.
| | 04:04 | I prefer to see the
original low-res cube in the scene.
| | 04:07 | So, underneath the Tools menu, I'm
going to turn off Isoline Editing.
| | 04:11 | You can see that there's a Use
Isoline Editing command here and
| | 04:14 | that's highlighted.
| | 04:15 | You can see that the box is shaded there.
| | 04:17 | So if I uncheck Use Isoline Editing,
I now see the original cube surrounding
| | 04:23 | my HyperNURBS object.
| | 04:24 | That makes it a lot easier to see the low-
res model that we're going to be creating.
| | 04:28 | Now that I'm in Point mode and I've got
my box visible, I can now start to make
| | 04:32 | some cuts on this to get
it roughly shark shaped.
| | 04:34 | I don't want to add a lot of detail.
| | 04:36 | The point of this is to get something
that looks basically like a shark, but it
| | 04:39 | doesn't take long to generate
and renders really fast too.
| | 04:41 | So I don't want to add a lot of detail to it.
| | 04:43 | Let's move into the Modeling layout.
| | 04:45 | In the Layout button, I'm going to
click on the Modeling layout, which is right
| | 04:50 | here fourth from the top.
| | 04:51 | That resets my palettes and
rearranges things, so I can see the modeling
| | 04:55 | tools in CINEMA 4D.
| | 04:56 | Still the same application. It's just a
different arrangement of icons on screen.
| | 05:00 | I'm going to be using something
called the Knife tool to make cuts.
| | 05:04 | Then I'll be moving points
around based on those cuts.
| | 05:07 | That's going to give me the shape
that looks roughly like a shark.
| | 05:10 | So, let's get the Knife tool out.
| | 05:12 | The icon for the Knife
tool is this icon right here.
| | 05:14 | I also like to right-click and get it sometimes.
| | 05:17 | So, if I right-click any place in the
Editor window, I can grab the Knife tool.
| | 05:22 | When I grab the Knife tool, its
attributes show up here in the Attribute Manager.
| | 05:27 | Knife tool has a Mode pull-down.
| | 05:29 | The default mode is not what I want to use.
| | 05:31 | I want to use something called Loop mode.
| | 05:32 | And the Loop mode allows me to make a cut all
the way around my object in a really easy way.
| | 05:37 | So, if I select Loop and I uncheck all
the options, I don't want to restrict a
| | 05:41 | selection and I don't want to create an N-gon.
| | 05:44 | Now when I hover the Knife tool over my
edges, you can see it creates this white
| | 05:48 | outline all the way around my object.
| | 05:49 | I can use that outline to
determine where my cut is going to happen.
| | 05:53 | So the first cut I want to make is
right here at the nose of the shark.
| | 06:00 | You want to be really
careful about where you're cutting.
| | 06:03 | It's always a good idea to highlight the
exact edge that you're going to be cutting.
| | 06:05 | So when I click that, my
HyperNURBS changes shape.
| | 06:09 | It adds a set of points
all the way around my object.
| | 06:13 | Let's do the same thing about here,
just before the dorsal fin, and then just
| | 06:19 | after the dorsal fin, and
then somewhere around the tail.
| | 06:23 | We'll add one more near the tail.
| | 06:27 | Now, the great thing about this process,
because we're doing it in a rough way,
| | 06:31 | that's probably all the points
that we'll need for the side view.
| | 06:34 | Let's start to shape those
guys into the shape of the shark.
| | 06:37 | I'm going to grab a new Selection
tool, the Rectangular Selection.
| | 06:42 | I'm going to uncheck Only
Select Visible Elements.
| | 06:45 | I want to be really careful when I'm
selecting objects that I select all the
| | 06:48 | way through my model
| | 06:49 | and only select the points
that are visible to the camera.
| | 06:53 | When I use this tool in this mode, I can
select points all the way through my object.
| | 06:57 | So now, let's switch to the side view,
because it's going to make it a lot easier.
| | 07:01 | If I click on the View button, and
then bring the Front view, in this case
| | 07:06 | the right-hand view shows us the front of
our shark, because we're working on the X-axis.
| | 07:10 | The Front view is going to show
us the actual side of our shark.
| | 07:13 | So I bring the Front view to the foreground.
| | 07:16 | It's showing me only outlines.
| | 07:18 | Let's change the display
mode to be Gouraud Shading.
| | 07:23 | With this shading mode, I can
see my outline of the shark.
| | 07:26 | I can see my points and edges and
I can see the HyperNURBS just fine.
| | 07:29 | So now we'll use the Rectangular
Selection tool and just start to push those
| | 07:33 | polygons into position.
| | 07:35 | Now, you don't have to
be real precise with this.
| | 07:40 | The important thing is to double-check
from time-to-time, and make sure that you
| | 07:44 | are selecting your points all the way through.
| | 07:46 | You can see that even though I was
drawing in the side view, it's selecting the
| | 07:50 | points that are not visible to the camera.
| | 07:52 | And that's very, very important.
| | 07:57 | Now, here in the side view,
let's reshape this shark.
| | 08:00 | I don't have to be real precise.
| | 08:02 | I'm going to just rough it in.
| | 08:04 | The important thing is that the points
be the same approximate size as the shark.
| | 08:10 | And that's all I really care about.
| | 08:11 | I'll grab the top points here.
| | 08:15 | Let's grab both of those at
the same time and move them down.
| | 08:19 | We get this sort of torpedo shape.
| | 08:21 | A shark is really a beautiful creature.
| | 08:26 | It has very smooth flowing lines.
| | 08:28 | We want to be kind of faithful to that as
we're creating our temp element. There we go!
| | 08:33 | We're going to end up at something
that looks kind of like a goldfish.
| | 08:38 | Let's do one more cut with the Knife tool and
make a cut right around the tail section here.
| | 08:44 | If I switch to the Perspective view,
full-screen, and make a cut right about there,
| | 08:51 | and switch back to the side view,
and get my Selection tool one more time
| | 09:01 | and grab some points and
move them around one more time...
| | 09:11 | I'm going to turn on a feature.
| | 09:15 | In C4D that's not on by default, but it
makes working in this view a lot easier.
| | 09:20 | Under the Filter menu is
something called Axis Bands.
| | 09:25 | If I turn Axis Bands on,
I now have this gray band here.
| | 09:30 | It makes a lot easier.
| | 09:31 | I can grab this gray band and move
those points around without having to
| | 09:36 | click on an actual axis.
| | 09:37 | And it just makes things a lot faster.
| | 09:41 | That's pretty good, I think
for the basic shark shape.
| | 09:44 | I don't need to worry about the fin at the top.
| | 09:46 | I don't need to really
worry about the pectoral fins.
| | 09:49 | The pectoral fins are the
fins that are on the side.
| | 09:51 | The dorsal fin is the
one that's on the top here.
| | 09:54 | But you know what, let's go
ahead and add one just to be safe.
| | 09:56 | Let's go back to the Perspective view.
| | 10:03 | In order to get this dorsal fin,
I'm going to go into Polygon mode.
| | 10:07 | Let's switch Selection tools one more time.
| | 10:09 | I'll grab this polygon
right here that's on the top.
| | 10:11 | I'm going to use something called an extrusion.
| | 10:14 | The Extrude tool looks like this right here.
| | 10:19 | If I click on that, and you want to be
really careful when you use the Extrude tool.
| | 10:22 | If I click on the arrows, all
I'm doing is moving that polygon.
| | 10:25 | But if I click any place in the gray
area and drag to the right, it extrudes up.
| | 10:30 | So I want to extrude that up just a bit.
| | 10:32 | Now I can use the Scale tool, letter T on
the keyboard or click on the Scale tool icon.
| | 10:38 | I can bring that right into the side.
| | 10:41 | Now, once again, I don't have
to be real precise about this.
| | 10:44 | Remember it's just a dummy shark.
| | 10:46 | Let's move this down and
add one more extrusion though.
| | 10:49 | Switch back to the Selection tool,
grab that Z handle and bring that down.
| | 10:53 | Let's use the Extrude tool again.
| | 10:55 | The keyboard shortcut for
it is D for the Extrude tool.
| | 10:58 | But I can also grab it by right-clicking
here in the interface and going to Extrude.
| | 11:04 | Now I click-and-drag.
| | 11:04 | And that gives me a shark fin right there.
| | 11:08 | Now, I can just push that back just a bit.
| | 11:10 | Notice I'm clicking on the arrow
handle instead of using the Extrude tool.
| | 11:14 | I think that's pretty good for now.
| | 11:16 | Let's switch back to Point mode, get
our Rectangular Selection tool, and I'm
| | 11:22 | using the Axis
Band here to shape that up.
| | 11:29 | There we go!
| | 11:32 | You want to always be careful when
you're working in the Perspective view to
| | 11:35 | make sure that you didn't
accidentally move points around in the wrong way.
| | 11:44 | Now, here on the front, I'd take
the nose and scale those points in.
| | 11:48 | Use T on the keyboard to bring up the
Scale tool and click on the blue handle
| | 11:51 | and drag those in and just
frame that shark out like that.
| | 11:57 | Now, I don't need to worry about the
pectoral fins, because I think our shark is
| | 12:01 | close enough for rough animation purposes.
| | 12:04 | It's going to be really easy to render this.
| | 12:06 | We'll get very good
performance in the Editor window.
| | 12:09 | It'll render very quickly for
us for making our cameramatic.
| | 12:12 | So, this is a good starting point.
| | Collapse this transcript |
| Preparing a dummy rig using a Spline Wrap object| 00:00 | Our dummy shark here is
just about ready for swimming.
| | 00:03 | We have a couple of extra steps we need
to take care of before we can actually
| | 00:07 | start making him move around though.
| | 00:08 | I'm going to switch my Layout
back to the Standard Layout.
| | 00:13 | In the Standard Layout, here in the Object
Manager, I'm going to do a little bit of cleanup.
| | 00:17 | I'm just going to close these image planes up.
| | 00:19 | We don't really need those anymore,
so I'm going to hide them from view.
| | 00:21 | You can see our shark here looks kind
of like an aggressive goldfish cookie.
| | 00:27 | With the image planes hidden from view,
I can now see the shark outline for what it is.
| | 00:32 | Let's do a little rendering here.
| | 00:33 | We have sort of a very aggressive swoopy
shape, and that's really all we need to
| | 00:37 | communicate our shark with.
| | 00:38 | It doesn't have to look fancy.
| | 00:40 | It just needs to be about
the same size as the shark.
| | 00:42 | Before we make it swim, we have to do a
little bit of cleanup work here in the hierarchy.
| | 00:46 | So I'm going to add a new
Null object to the scene.
| | 00:49 | This Null object I'm going to call shark.
| | 00:51 | I'm going to take that Null object.
| | 00:55 | The Null object is at the center of the world.
| | 00:57 | It comes there when you add
it to the scene, by default.
| | 01:00 | It shows up at the center of the world.
| | 01:01 | I want to take this HyperNURBS
now and parent it to the shark.
| | 01:05 | When I parent it, I want to move the
HyperNURBS back so that the nose of the
| | 01:10 | shark is exactly at the center of the world.
| | 01:12 | So, let's take it on the Z-axis only
and drag it so that the tip of the shark
| | 01:19 | is right at the center of the world.
| | 01:23 | That's about right for our purpose here.
| | 01:27 | Anytime I'm not sure, I'll always double-
check things in the Orthographic views.
| | 01:32 | You can see that I'm lined up
pretty well there, pretty well there.
| | 01:37 | So, let's go back to the Perspective view.
| | 01:40 | I've got my shark Null object here and
we're going to be making this shark swim
| | 01:43 | using something called a Spline Wrap object.
| | 01:45 | Now, the Spline Wrap object
is part of the MoGraph Module.
| | 01:49 | Its icon is purple.
| | 01:50 | That means it's an operator object and that
it will work on either its parent or its peer.
| | 01:56 | Now, I like to use the Spline Wrap
object in the peer position, meaning that it
| | 02:00 | has to be in the same level of the
hierarchy as the object it's going to deform.
| | 02:05 | So, let's add a Spline Wrap object to the scene.
| | 02:08 | Then we're going to add another Null
object, and this Null object we're going
| | 02:12 | to call shark wrap.
| | 02:14 | I'll take the Spline Wrap and
parent it to the shark wrap object.
| | 02:21 | Then parent the shark to the shark wrap object.
| | 02:24 | Now you can see that the shark and the
Spline Wrap are peers of one another.
| | 02:28 | They're at the same level of a hierarchy.
| | 02:29 | So, when I activate the Spline Wrap,
it's going to have an impact on the shark,
| | 02:34 | the thing that's at the same level as it.
| | 02:36 | The Spline Wrap needs something in
order to actually start working on the shark
| | 02:39 | and that's it needs a spline.
| | 02:41 | If you look at the Spline Wrap Object
properties, you can see that there's a
| | 02:44 | Spline field here, and
this Spline field is empty.
| | 02:46 | So, it's looking for a spline in order for
it to actually wrap this shark around it.
| | 02:51 | So, let's go to the Orthographic views.
| | 02:53 | I like to draw my splines in the
Orthographic view so that I get a
| | 02:57 | very predictable result.
| | 02:58 | Now, let's draw our spline
in the top view in this case.
| | 03:01 | Let's back out just a little bit.
| | 03:03 | I'm going to navigate out until my
shark is kind of small in the frame.
| | 03:09 | Let's add something called a B-spline.
| | 03:11 | The B-spline is an amazing spline type that
is not present in the normal Adobe products.
| | 03:17 | It's something that I didn't really
understand until I started using CINEMA 4D.
| | 03:21 | The B-spline creates a very
smooth path based on points.
| | 03:24 | It's actually really hard to
put a kink in the B-spline.
| | 03:26 | That's one of the reasons it's
great for making motion paths.
| | 03:29 | I'm going to start here at the top of
my top view and draw a series of points
| | 03:33 | by clicking the mouse.
| | 03:34 | I click once, click twice.
| | 03:37 | The second time I clicked,
I got a straight line.
| | 03:40 | The third time I click, I'm
going to get a nice, smooth arc.
| | 03:42 | The fourth time I click,
I get another smooth arc.
| | 03:45 | The B-spline creates a smooth
path based on three points or more.
| | 03:51 | So you can see that these
three points created this arc.
| | 03:54 | These next three points in
succession created this arc here.
| | 03:57 | So, I can keep on adding points.
| | 04:00 | That's enough for now.
| | 04:01 | We can always change the spline later,
but that's enough for our purposes for
| | 04:04 | the dummy shark model.
| | 04:06 | Let's call this shark spline.
| | 04:07 | Now, in the Spline Wrap, in the
Object properties, there's a Spline field.
| | 04:15 | If I take the shark spline and drag
it into the Spline field, something
| | 04:19 | strange is going to happen.
| | 04:21 | Now, let's go back to the
Perspective view to see what happened.
| | 04:25 | Here in the Perspective view, I'm
going to hit the letter H on the keyboard.
| | 04:28 | That's going to frame up my scene.
| | 04:30 | So, I can see the entire scene now.
| | 04:31 | My shark is looking a lot more
like an eel than it is a shark.
| | 04:35 | That's because the Spline Wrap, by default,
does something called fitting the spline.
| | 04:40 | It's taken that shark and it's stretched
it along the entire length of the spline.
| | 04:44 | I don't want that to happen.
| | 04:45 | I want my shark to stay its normal length.
| | 04:48 | So, if I go to the Fit Spline pull-
down and select Keep Length, then my shark
| | 04:53 | suddenly snaps right to the end of the spline.
| | 04:57 | Now, the thing you'll notice about it
is that, let's zoom in on that area right
| | 05:01 | there, the shark is upside down.
| | 05:04 | That's normal behavior
for the Spline Wrap object.
| | 05:07 | It doesn't really know which way is up.
| | 05:08 | So we have to tell it.
| | 05:10 | In the Object properties for the
Spline Wrap, I'm going to go to the Rotation
| | 05:12 | field and change the Banking option to be 180.
| | 05:17 | That's going to flip my shark over
exactly so that it's facing on the correct axis.
| | 05:24 | The Spline Wrap is a really powerful tool.
| | 05:26 | It allows us to animate objects along
the spline and the setting you used to do
| | 05:31 | that is something called the Offset.
| | 05:33 | By setting keyframes for the Offset
value, I can animate the shark and have it
| | 05:37 | appear as it's swimming across the spline.
| | 05:39 | So, I can input values numerically here.
| | 05:41 | It's a percentage based on the length of
the spline. Or I can just scrub this value.
| | 05:45 | As I scrub the value, you can see
my shark now swims through the scene.
| | 05:50 | Now, we don't really need to
set any keyframes right now.
| | 05:54 | Hit the letter H on the
keyboard again to frame my scene up.
| | 05:58 | All we really want to do is just
get the rig built, so that it is ready
| | 06:02 | for rough animation.
| | 06:04 | I think we've got that set here.
| | 06:05 | I just want to check the
animation along the spline.
| | 06:08 | The Spline Wrap is a really amazing
tool and it makes something like this
| | 06:11 | swimming shark incredibly easy.
| | 06:13 | Our dummy shark is now
ready for the cameramatic.
| | 06:15 | Because we'll be building the hero
shark in the same size as our dummy,
| | 06:19 | we'll be able to easily swap out the dummy for
the hero when we get to the final animation.
| | 06:23 | That's why it's very important to
keep your sizes consistent throughout
| | 06:26 | your workflow.
| | Collapse this transcript |
|
|
4. Cameramatics: Blocking in Rough AnimationSetting up a project file for the cameramatic| 00:01 | Our goal is to create a scene that is the
same length as our shot one from the animatic.
| | 00:05 | It should use a correctly formatted
camera and the dummy shark that we created
| | 00:08 | in a previous chapter.
| | 00:09 | We'll be creating about 10-15 copies of
this shark and then moving them around
| | 00:13 | in the scene, along with an animated camera.
| | 00:15 | Now, this process is a little bit time
consuming, so we're going to break this
| | 00:18 | into some smaller movies here to
make the process more manageable.
| | 00:22 | The first step is going to be to import
the camera file that we're going to be
| | 00:27 | using for that movie.
| | 00:28 | So, let's go to the File menu and do
an Open and load in the 16x9 camera
| | 00:35 | with 4x3 safe file.
| | 00:37 | What this is, is a project file with a
camera in it and that's the only thing in
| | 00:41 | the file, and that camera has a set of
splines on it and those splines represent
| | 00:46 | the 4x3 title action and frame safe regions.
| | 00:50 | Now, when you do HD, you normally
have to take into account the fact that
| | 00:53 | some people out there don't have HD televisions
and you need to frame up your shots accordingly.
| | 00:59 | When a person at home watches a movie
that is on an HD television, if they have
| | 01:03 | their HD set up correctly,
then they'll see the entire frame.
| | 01:06 | When a person watches that same movie
on 4x3 television, an old television,
| | 01:11 | that has a square picture area, then they'll see
an image that's framed up with this white line.
| | 01:16 | Now, you have to keep in mind the
bezel area on the TV, which is the little
| | 01:20 | frame that's on the TV.
| | 01:22 | Any title information that you put in
the frame has to stay within this region.
| | 01:26 | Any action that you have in the frame
has to stay inside this region here and
| | 01:30 | then this is the absolute edge of the frame.
| | 01:32 | So anything outside this region will
for sure get cut off and there's a good
| | 01:35 | chance it'll get cut off in here.
| | 01:36 | So you want to make sure that all of
your actions, in this case all of our
| | 01:40 | sharks, are going to be staying
swimming inside of this center region.
| | 01:44 | Now that we have our camera open,
let's save this file as shot 1, so we go to
| | 01:48 | File > Save As and let's
call this one shot-001.c4d.
| | 01:57 | Now that we have our camera and we have
this file saved, let's load in our shark
| | 02:00 | that we created in a previous chapter.
| | 02:02 | I'm going to just merge that
shark with the previous scene.
| | 02:05 | Let's go to the Object Manager File
menu and do a Merge Objects, and then go to
| | 02:14 | 04_01_start and load that in.
| | 02:19 | What that is, is the shark spline and
shark wrap and Spline Wrap that we created
| | 02:24 | in the previous chapter.
| | 02:25 | Right now we're looking through our camera file.
| | 02:27 | Let's uncheck the Look
through camera icon right here.
| | 02:30 | If I turn that off, I now can see my
camera body and as I zoom out in the
| | 02:36 | scene, I can orbit around and
see my spline and my camera file.
| | 02:40 | Now, when we create copies of the
shark, I want to make sure that the shark
| | 02:44 | spline and the shark Spline Wrap and all of
the other pieces stay together with the copies.
| | 02:48 | So I need to group this shark spline
and the shark wrap objects together.
| | 02:52 | I'm going to use a Null object to do that.
| | 02:54 | So, in the modeling objects, I'll add a
Null object to the scene and I'll call
| | 02:58 | this one, shark 001, and then I'll
take the shark spline and the shark wrap
| | 03:05 | objects and then parent them
to the shark 001 Null object.
| | 03:09 | Now when I grab the shark 001 Null
object, everything moves together and that
| | 03:13 | makes it really easy to
reposition the shark in frame.
| | 03:16 | Now, we have our scene file elements in
position, but we don't know how long our
| | 03:20 | shot is supposed to be.
| | 03:21 | So let's go back to the animatic that
we created in the previous chapter to
| | 03:25 | check how long shot 1 is supposed to be.
| | 03:27 | I'm going to move over to After
Effects and under the File menu, do an Open
| | 03:33 | Project and in the Chapter 4 folder,
I'm going to select the 04_01_AEstart file
| | 03:41 | and open that up and in here in the
animatic composition, I can see my shot
| | 03:47 | timecode for shot 1 is right here.
| | 03:50 | If I look at the shot 1 timecode, you
can see it starts at time 0 and if I hit
| | 03:55 | the letter O on the keyboard, the time
marker will jump to the end of that layer
| | 04:02 | and I can see that my shot ends at Frame 160.
| | 04:03 | So from 0 to 160 equals 161 frames.
| | 04:07 | So that's how long shot 1 needs to be.
| | 04:09 | So let's move back to CINEMA 4D and
here in CINEMA 4D, we need to change the
| | 04:13 | render settings for our file.
| | 04:15 | If I click on the Render Settings
icon right here, that brings up the
| | 04:18 | Render Settings options.
| | 04:20 | Under the Output options, that's where
I control what resolution my frame is
| | 04:25 | going to be, what aspect ratio my frame
is going to be, and also how many frames
| | 04:29 | I'm going to be rendering.
| | 04:30 | So, let's start off with the frame resolution.
| | 04:33 | Now our finished project is going to be
640x360 and I want to lock it to a 16x9
| | 04:38 | aspect ratio and right now I have a
setting in here for 1920x1080 and I know
| | 04:43 | that that's a 16x9 aspect ratio.
| | 04:45 | So I'm going to lock down that ratio
and change the Width to 640 and when I do
| | 04:52 | that and I hit the Tab key, that's going
to change that height automatically to 360.
| | 04:56 | You can see the Film Aspect is
1.778, which is the mathematical way
| | 05:02 | of expressing 16x9.
| | 05:04 | Now, the Frame Range needs to match our
shot in the animatic, so we know that's
| | 05:09 | going to be from 0 to Frame 160 and
CINEMA 4D automatically calculates the
| | 05:15 | number of frames for you as 161.
| | 05:18 | The only other thing we need
to change is the frame rate.
| | 05:21 | Normally, when you're working in video,
you use a 29.97 frame rate and CINEMA 4D
| | 05:25 | can actually work at that frame rate, as
long as you're working in version 11.5.
| | 05:30 | If you have an earlier version, you're
going to need to leave this frame rate at 30,
| | 05:33 | but since I'm working in CINEMA 4D
11.5, I'm going to change that to 29.97
| | 05:40 | and hit the Tab key to get out of there.
| | 05:42 | Now, the last thing we need to do for
our project file is set the preview range
| | 05:46 | and the preview range needs to match
our shot as well and if I change the start
| | 05:51 | frame is going to 0, the end
frame should be 160. Hit the Tab key.
| | 05:56 | Now, this little slider bar here
controls how many frames we see in the
| | 06:00 | actual time slider.
| | 06:01 | We want to see all our
frames and now we're ready to go.
| | 06:04 | So now that we have all of our
elements in position, we've got our shark,
| | 06:08 | we have our render settings done
correctly, we're ready to start the
| | 06:11 | animation process for shot 1.
| | Collapse this transcript |
| Animating the rough shark using the Spline Wrap object| 00:00 | Our scene file for shot 1 for the
cameramatic is ready to animate and the
| | 00:06 | process for animating the
shark is really straightforward.
| | 00:08 | The Spline Wrap object has a wonderful
feature called the Offset and the Offset
| | 00:12 | option allows us to animate the
shark along the length of the spline.
| | 00:17 | In the Spline Wrap Object properties,
there is an Offset field and right
| | 00:22 | now it's showing 88%.
| | 00:23 | That percentage is expressed as
100% over the length of the spline.
| | 00:27 | So, when the field shows 0%, the shark
will be at the start of the spline and
| | 00:32 | when the field is at 100%, the
shark is at the end of the spline.
| | 00:35 | I can tell the direction of the spline
using Point mode and selecting my spline
| | 00:40 | and looking at the color.
| | 00:41 | The white color shows the start of the spline;
the blue color shows the end of the spline.
| | 00:45 | So that makes it really easy to tell
which direction the shark is going to
| | 00:48 | travel when I'd animate that Offset property.
| | 00:51 | Let's get out of Point mode for now and
in the Spline Wrap, I'm going to set a
| | 00:56 | keyframe at Time 0.
| | 00:57 | So first, I'll make sure my
Time slider's at Time 0 and it is.
| | 01:01 | I'll drag the Percentage slider to 0%
and next to the word offset is a black
| | 01:06 | circle and that black circle
indicates that this parameter can keyframe.
| | 01:10 | So if I hold down the Ctrl key and
click on that that sets a keyframe for the
| | 01:14 | Offset function at 0% at Time 0.
| | 01:19 | Now I can move my time slider to the end
of the shot and move my slider to 100%.
| | 01:25 | Then you'll see that the red
dot has changed to yellow circle.
| | 01:29 | That indicates that I have animation
on this track but I'm not parked on the
| | 01:32 | keyframe and I just change the value.
| | 01:34 | So, if I Ctrl+click, again
that changes the value to 100%.
| | 01:38 | Now my shark animates over the length
of the shot, and let's hit Play here for
| | 01:43 | just a moment, so we could
see that animation happening.
| | 01:51 | Now the problem with this animation
is that my shark starts off at the
| | 01:53 | beginning moving very slowly and then
comes to a very slow stop at the end,and
| | 01:58 | that's something called
an ease-out and an ease-in.
| | 02:01 | It eases out of the first keyframe
and eases into the second keyframe.
| | 02:04 | So I need to fix that behavior.
| | 02:06 | That's actually a normal behavior for CINEMA 4D.
| | 02:08 | CINEMA 4D always try to create a smooth
animation for you and in a lot of cases
| | 02:13 | that's appropriate but this is one where
we want to have a very linear movement.
| | 02:16 | So I need to change that behavior
using something called the F-Curve Manager.
| | 02:20 | I'm going to switch my layout from the
Standard layout to the Animation layout
| | 02:25 | and it's still the same application.
| | 02:26 | All I've done is rearranged the palettes,
so that I can see the timeline and all
| | 02:31 | of the keyframes that I've been setting.
| | 02:33 | Now here in the timeline,
I don't see all of my keyframes.
| | 02:35 | I only see the first one and
it's cutting off the end here.
| | 02:38 | So I can hit the letter H on the
keyboard to frame up all of my keyframes.
| | 02:43 | The next thing I'd like to do is to
clean up this left-hand view over here.
| | 02:46 | CINEMA 4D by default shows you
everything in the scene over here in the
| | 02:50 | left-hand view of the timeline, but
I'll really only care about things that
| | 02:53 | have keyframes on them.
| | 02:54 | So if I go to the View menu and do a
Show > Animated, when I let go, it cleans
| | 03:00 | up this left-hand side of the timeline and shows
me only the things that have keyframes on them.
| | 03:04 | And so you can see that my Spline
Wrap now has a track on it for Offset.
| | 03:09 | Now this Offset property's animating
over the length of the entire shot.
| | 03:13 | I want to see what happens in
between the keyframes and that's where the
| | 03:15 | F-Curve Manager comes in.
| | 03:17 | If I hit the spacebar while I'm
inside the F-Curve Manager or if I click on
| | 03:21 | this little icon that has an EKG symbol on it,
that will take me over to the F-Curve Manager.
| | 03:28 | The Spline Wrap function now if I
select the word Offset, that will show me
| | 03:31 | the partial curve here.
| | 03:33 | I want to be able to see the whole curve.
| | 03:34 | So I'll hit the letter H again on the
keyboard and that will frame up the entire curve.
| | 03:39 | Now you can see that ease, there is
the ease-out of the first keyframe and
| | 03:43 | there's the ease-in of the end
keyframe and that's happening because of
| | 03:46 | these Bezier handles.
| | 03:48 | CINEMA 4D always trys to make a smooth curve.
| | 03:50 | Now, the easy way to get rid of these
guys is to simply select one keyframe, so
| | 03:55 | I've done that right over here and I
can hit Command+A or Ctrl+A on the PC to
| | 03:59 | select all of the keyframes in my curve.
| | 04:03 | In this case, I only have two keyframes,
| | 04:04 | one at the start and one at the end.
| | 04:06 | If I right-click any place inside the F-
Curve Manager, I get a contextual menu
| | 04:10 | and I can go to Spline Types and do
Zero Angle/Length and that's going to
| | 04:16 | eliminate these curves.
| | 04:18 | Now you can see I have a nice linear
move for my animation and when I hit the
| | 04:23 | Play icon here, you can see that my
shark now animates smoothly over the
| | 04:29 | length of the shot.
| | 04:31 | Now, we've got the shark animating.
You notice that we didn't worry about where
| | 04:36 | the camera was or where the shark was
moving in relationship to the camera and
| | 04:39 | that's because the next step in the
process will be to animate the camera
| | 04:43 | movement and reframe the entire scene.
| | 04:45 | But I wanted to get my shark moving first,
so that I could easily use the spline
| | 04:50 | in Point mode to reposition the shark.
| | 04:53 | Any place I move that shark spline, my
shark is going to follow and it's always
| | 04:56 | going to animate along
the length of that spline.
| | 04:58 | So if I hit Play, I don't
even need to stop playback.
| | 05:02 | I can grab a single point and move it
around and have my shark travel along the spline.
| | 05:08 | So this technique makes it
really easy to set up the scene file.
| | Collapse this transcript |
| Animating the camera| 00:00 | Our shark has been animated and the
next step in the process is going to be to
| | 00:05 | animate the camera over the length of the shot.
| | 00:07 | Now, I'm going to be using a camera
parenting technique in this scene and
| | 00:11 | that's going to make it a lot easier to set
up the type of camera move that I'd like to do.
| | 00:15 | Basically what I want to have happen is
I'd to have the camera move through the
| | 00:19 | scene while it's looking up at the sharks.
| | 00:21 | The shark school that we're going to
create is going to look a lot more
| | 00:24 | intimidating if we see it from the
underside as opposed to seeing it from above.
| | 00:28 | When you look at a shark from above,
the profile is kind of scary, but we don't
| | 00:31 | get to see the mouth and the teeth in the shark.
| | 00:34 | So when you're looking at a shark above,
you really get to see those teeth and
| | 00:36 | it looks a lot more intimidating.
| | 00:39 | The first thing I need to
do is to position my camera.
| | 00:41 | Now we haven't been looking through
our camera up until this point and let's
| | 00:45 | switch the layout back to Standard to
give ourselves a little more room to work.
| | 00:49 | So, let's look through the camera and
then switch our layout to a four-way view
| | 00:55 | and now I can zoom out in each of the
views a little bit so I can see my shark
| | 01:01 | easily in each of the views.
| | 01:04 | Now that I have my camera
selected, I can reposition it easily.
| | 01:09 | I'll do this in the right-hand view.
I'm going to move it back on the Z-axis and
| | 01:14 | then down on the Y-axis, and you see
the ground plane come into view there.
| | 01:18 | I was actually flush with the ground plane.
| | 01:20 | That's why it wasn't visible before.
| | 01:21 | Then I use the Rotate tool, R on the
keyboard or click the Rotate tool icon up here.
| | 01:27 | I'm going to click and drag.
| | 01:28 | If you click and drag outside this
yellow circle, it will rotate the camera on a
| | 01:32 | plane that's perpendicular to the viewport.
| | 01:35 | If I click and drag right outside here,
you notice I'm not clicking on the
| | 01:38 | yellow line. I'm clicking outside.
| | 01:40 | That makes it really easy to
rotate that camera in this view.
| | 01:44 | Now I'm looking up at the shark
and I can reposition the camera.
| | 01:47 | I'll hit E on the keyboard to get the
Move tool and then I'm going to grab
| | 01:50 | just the axis band and drag it down
just a bit, and I think that's a good
| | 01:53 | position for our camera.
| | 01:55 | Now, you notice I haven't really
worried about where the shark is.
| | 01:58 | We're going to be
repositioning the shark later on.
| | 02:01 | So all I really care about is kind of
getting a general position for the camera.
| | 02:04 | Now that I've got my camera
positioned, I want to animate that camera
| | 02:08 | moving slowly through the scene, but I
really don't want it to change its angle of view.
| | 02:12 | So, the easiest way to do
that is using a Null object.
| | 02:15 | I'm going to add a new Null
object to the scene and call this Null
| | 02:18 | object camera Parent.
| | 02:22 | I'll take that camera and
parent it to the camera Parent Null.
| | 02:25 | Now, the camera Parent and the
camera are not in the same location.
| | 02:29 | If I select the camera Parent, you
can see that the Null for it is at 0,0,0,
| | 02:33 | but the camera is way down here, in this case,
on the bottom-left in the right-hand view.
| | 02:38 | Now, the great thing about this
relationship is if I animate the camera Parent
| | 02:42 | along the Z-axis, look what happens to
my camera. If you watch the view here as
| | 02:46 | I slide this Z-axis, my camera moves
nicely through the scene and it doesn't
| | 02:55 | change its angle of view.
| | 02:56 | So by simply animating the Z position
of this camera Parent, it makes it really
| | 03:00 | easy to move the camera through the scene.
| | 03:02 | So I'm going to undo that for a second,
Command+Z or Ctrl+Z on the PC, and
| | 03:07 | I'm going to set a keyframe from the
coordinate's position of my camera Parent at Time 0.
| | 03:12 | So I move my time slider to Time 0 and
I move to the Coordinate properties of
| | 03:17 | the camera Parent and
Ctrl+click on the P column.
| | 03:21 | You notice that I selected the entire
column of Ps and then Ctrl+click on the
| | 03:26 | first dot and that sets
keyframes for all of the Ps.
| | 03:28 | Let's do the same thing for rotation as well.
| | 03:32 | If I hit the entire R column by
selecting the R column and then I hold down the
| | 03:36 | Ctrl key, that sets
keyframes for the entire R column.
| | 03:39 | So I've set a keyframe for my camera at Time 0.
| | 03:41 | Now I can move it to the end of the
shot at 160 and set keyframes again.
| | 03:47 | So, all I need to do is grab the camera
Parent and in the right-hand view I'll
| | 03:52 | grab the Z handle and just drag it to the scene.
| | 03:55 | It doesn't have to move very far.
I want my movement to be kind of slow.
| | 03:58 | So I'll move it about 2000 units or so,
and you can see in the Z property of my
| | 04:05 | coordinates for the camera Parent I've
moved it in this case 2286 units, but
| | 04:10 | this is one of those
"your mileage may vary" situations.
| | 04:12 | It really doesn't matter exactly how far.
| | 04:14 | It's more about the feel of the animation.
| | 04:17 | So I'm going to set a keyframe for that.
You see that all these dots turn to
| | 04:20 | circles and this one's yellow.
| | 04:22 | That means I changed that value.
| | 04:23 | So let's set a keyframe for that and
then let's set a keyframe for the R as well,
| | 04:28 | Ctrl+clicking on that dot again.
| | 04:31 | And that gives us the
ability now to play the animation.
| | 04:34 | So I'm going to just preview that.
Let's bring the Perspective view full-screen.
| | 04:37 | I'll hit Play here in the interface.
| | 04:40 | Now we can see the shark is moving
through the scene and it's not doing exactly
| | 04:44 | what I want, but that's okay.
| | 04:45 | I'm going to pause this animation here.
| | 04:47 | All I really care about is the camera movement.
| | 04:48 | The camera's moving smoothly, but it
still does that same ease animation that
| | 04:53 | the shark was doing, and so I need
to fix that using the F-Curve Manager.
| | 04:56 | So if I switch over to the Animation
layout, now you'll notice here in the
| | 05:01 | timeline, because I changed my view
to Show Animated, it only shows me the
| | 05:07 | left-hand side of the F-Curve
Manager that I have keyframes on them.
| | 05:11 | So if I twirl open my camera Parent,
you can see there is my F-Curves for
| | 05:14 | Position and Rotation.
| | 05:15 | So if I select the Position track
and if you twirl it open, you can see
| | 05:19 | the individual curves.
| | 05:21 | But I don't really care about that.
I only care about the whole track.
| | 05:23 | I can see part of my curve here.
If I hit the letter H on the keyboard, that
| | 05:26 | frames up the entire curve
and there is that ease again.
| | 05:29 | So it eases out of this
keyframe and eases into that keyframe.
| | 05:32 | So if I select all, just hitting
Command+A on the keyboard, that selects all
| | 05:36 | of the keyframes and I can right-click
now in the interface and go to Spline
| | 05:40 | Types > Zero Angle/Length and what that's
going to do is eliminate those Bezier handles.
| | 05:45 | And you can see now I have a nice
linear move and if I scrub through my
| | 05:50 | animation, as I scrub through, you can
see that my camera does not slow down as
| | 05:56 | it reaches the end and it also
didn't take off to a slow start.
| | 06:00 | In this video, we animated the camera
using the camera Parent and that gave us the
| | 06:03 | ability to make a very smooth
animation in a very short amount of time.
| | Collapse this transcript |
| Duplicating an animated rough model to create a school of sharks| 00:01 | Now that we have our camera moving and
we have out shark swimming through the scene,
| | 00:04 | we need to create
an entire school of sharks.
| | 00:07 | That process is really easy.
| | 00:08 | It's going to consistent of duplicating
the original shark that we created, shark
| | 00:11 | 001, and making copies of it and
repositioning those copies in this frame so that
| | 00:17 | it appears there is a school of
shark swimming through the scene.
| | 00:19 | First thing I would like to do is
to grab shark 001 and duplicate it.
| | 00:25 | But before I do that, let's switch to
a four-way view so we can see what's
| | 00:27 | happening in our scene.
| | 00:29 | Now we are going to be watching our
layout here in this view and moving things
| | 00:34 | in the Orthographic views to
get a better position on them.
| | 00:37 | So the first thing I would like to do
is to position this for shark as I scrub
| | 00:41 | through the animation, my shark
swims through the frame you can see that.
| | 00:44 | At the start of the animation,
it's not out of frame and that's okay.
| | 00:50 | The important thing is that it
doesn't do an ease on its motions.
| | 00:53 | So it's already swimming
when we cut to this shot.
| | 00:56 | I don't care about the fact that it's
not out of frame. Instead of towards the
| | 00:58 | camera I would like to
have it swim across the shot.
| | 01:01 | So if I take this sharks spline and make
sure that I am in Point mode, so I can see
| | 01:05 | the points that make up this spline, I
can now grab the points and you can see
| | 01:10 | that the points travel in sort of a
little snake pattern towards the camera.
| | 01:15 | As I scrub through it, if you watch the
Top view, you can see that the camera is
| | 01:18 | moving towards the shark.
| | 01:20 | If I reposition these points, it's going
to be really easy to reposition the shark.
| | 01:25 | I'm going to select a single point by
grabbing the Selection tool and clicking
| | 01:30 | on a single point of the spline and
then hitting Command or Ctrl+A and that
| | 01:33 | selects all the points in the spline.
| | 01:35 | Now if I use the Rotate tool, here in
the Top view and this is really important,
| | 01:39 | only do this in the Top
view. Do not click inside.
| | 01:42 | If I click inside, I can rotate that
spline freely and I don't want my shark to
| | 01:46 | move crazy like that.
| | 01:47 | I am just going to undo this by
hitting Command+Z or Ctrl+Z on the PC.
| | 01:51 | What I really want to have is I only
this shark to be swimming along a single
| | 01:55 | plane, and that plane is the ground
plane in this case, but I wanted to stay
| | 01:59 | parallel with the ground
plane for the whole animation.
| | 02:01 | So as along as I click-and-drag
outside of this yellow circle, it makes it
| | 02:06 | really easy to reposition that shark.
| | 02:08 | So I can just rotate this just a bit
and now when I scrub the animation,
| | 02:17 | my shark swims right through.
| | 02:20 | Now it still comes too close to the
camera, so let's reposition the points on
| | 02:23 | the spline a little bit.
| | 02:24 | I am going to grab this first point
here and I'll just drag it and the great
| | 02:29 | point about this process and the great
thing about the Spline Wrap is that it
| | 02:33 | leaves everything live for the whole animation.
| | 02:36 | So anytime I don't like something,
all I have to do is reposition the points on
| | 02:39 | the spline and I can quickly tweak my animation.
| | 02:44 | And you notice I haven't adjusted or
changed any keyframes. All I've done is
| | 02:48 | move their points in the spline
and my shark animation changes.
| | 02:56 | Now let's scrub that one.
| | 02:57 | So now I could see my shark starts
near the edge of the frame, does a little
| | 03:03 | back-and-forth movement, and then swims
out nicely at the side of the frame and I
| | 03:08 | think that's a really nice animation.
| | 03:09 | So that's the first shark.
| | 03:10 | I am going to need a lot more to
make this school really impressive.
| | 03:13 | So I need to make a copy of this.
| | 03:16 | Over here in the Object Manager I am
going to Ctrl+Click and drag a copy of the
| | 03:22 | shark 001 file and that gives me shark 001.1.
| | 03:26 | Let's change the name of
that and call it shark 002.
| | 03:32 | Now shark 001 and shark 002 are in
exactly the same position right now.
| | 03:37 | If I twirl open the hierarchy here,
I can see I have a new shark spline and
| | 03:40 | if I take the points on the shark's
spline and rotate them around, I am going to
| | 03:44 | select all the points again, and this
time when I use the Rotate tool, R on the
| | 03:48 | keyboard, I am going to rotate
them exactly the other direction.
| | 03:52 | And then just move them over a little
bit. I used the E keyboard shortcut to
| | 03:56 | bring up the Move tool.
| | 03:57 | I am just going to move
those points around a bit.
| | 03:59 | So now when I scrub through the
animation, you can see I have two sharks
| | 04:05 | swimming through the scene and I want
to make sure that they don't cross paths.
| | 04:09 | It would be kind of weird to have
two sharks swim through each other.
| | 04:13 | I think that's okay.
| | 04:14 | Now I am going to be adjusting
the keyframes for the Spline Wrap.
| | 04:19 | In the Timeline it's really
important to have distinct names.
| | 04:22 | Right now this Spline Wrap and this
Spline Wrap have exactly the same name and
| | 04:27 | so I want to change the name on these.
| | 04:29 | I am going to change the first one and
call it 001 Spline Wrap, and I'll change
| | 04:33 | the name on the second one
and call it 002 Spline Wrap.
| | 04:36 | And I'll repeat this process over and over
again to make the entire school of sharks.
| | 04:42 | Now this is a time-consuming process and
so we are going to skip ahead in time a
| | 04:46 | little bit to where we've
got entire school of sharks.
| | 04:48 | It's going to be about 12 to 13 or 14
sharks by the time it's all said and done.
| | 04:54 | Now that I have got an entire school
of sharks swimming through the scene,
| | 04:57 | and you can see them moving all through
the scene here, I want to preview the motion.
| | 05:02 | But before I do a preview of the
motion, I need to clear out some of the
| | 05:06 | elements in the frame.
| | 05:07 | It's a little bit confusing having the grid
here, and so I would like to turn the grid off.
| | 05:11 | Underneath the Filter option in the
Perspective view, I'm going to uncheck Grid
| | 05:18 | and now I want to get rid
of the splines in the scene.
| | 05:21 | I don't want to delete them. I just
simply want to hide them from view.
| | 05:23 | So under the Filter menu
also is a Spline option.
| | 05:26 | When I do that, that gets
rid of my splines in the scene.
| | 05:28 | You notice my green boundaries are
gone as well and I don't really care
| | 05:31 | about that right now.
| | 05:32 | That's okay because they
were made up of splines.
| | 05:34 | I'm going to deselect by clicking
over here in the right-hand of the Object
| | 05:40 | Manager and get rid of everything.
| | 05:42 | And now I am going to go to the Make
Preview option and as a general rule you
| | 05:45 | should never trust the Editor view for
a judging animation speed and you always
| | 05:50 | want to make a preview movie.
| | 05:51 | In the preview movie, when you do it,
it will be defaulted to Full Render, so
| | 05:55 | you want to change that to Software
Preview and Software Preview will show you
| | 06:00 | exactly what you're seeing
here in the Perspective view.
| | 06:02 | So the Preview Range or Manual option
would be checked if you were working at a
| | 06:08 | different Preview Range then you're
down here. Because we have our range set to
| | 06:11 | be 0 to 160, the same as our shot
length, we can just use All Frames.
| | 06:15 | I am going to change the Image
Size to be 640. The default is 320.
| | 06:18 | And you will notice that it keeps in
mind the aspect ratio. So I hit OK and I
| | 06:21 | get a blue line down here
at the bottom of the frame.
| | 06:25 | That blue line shows me that
the preview is calculating.
| | 06:27 | So now when I hit Play, the image
will cache and while it's caching,
| | 06:33 | it will start to play.
| | 06:35 | And in the second time through
it will play at the correct speed.
| | 06:39 | The first time through it caches the memory.
| | 06:41 | So I can see now that my sharks are
moving through the frame but you'll notice
| | 06:45 | that as I scrub through this animation,
the sharks are kind of all hitting the
| | 06:48 | center at about the same point.
| | 06:50 | So I'd really like to have them at
varying speed so that they are not all swimming
| | 06:55 | at exactly the same
speed throughout their frame.
| | 06:57 | So the best way to do that is by
moving the keyframes around in the Timeline.
| | 07:01 | So let's close the Picture Viewer up
and I am going to switch my layout to the
| | 07:06 | Animation Layout, so I can
see my keyframes and curves.
| | 07:09 | And let's bring the Perspective
view to full and then raise this up.
| | 07:14 | I am going to make the
Perspective view very small here.
| | 07:17 | Now I'm going to switch over to
Keyframe mode by clicking on the key icon
| | 07:20 | here in the Timeline and then I now can see all
of my elements here that have keyframes on them.
| | 07:26 | Let's twirl closed all of the Spline Wraps.
| | 07:28 | You can see that I have the Offset
Animation track visible for all these guys.
| | 07:33 | I know that the Offset function I'm
adjusting, so I don't need to see that.
| | 07:37 | So I am going to twirl all of these close
and that's going to make it easier to see
| | 07:41 | each of the shark animation tracks.
| | 07:44 | So I'll twirl each of those closed.
| | 07:47 | Scrub down here and twirl that last one closed.
| | 07:51 | Now I can see all 13 tracks without having
to adjust my view up or down, like that.
| | 07:57 | So you can see that all of the keyframes
are exactly the same speed, from 0 to 160.
| | 08:02 | So what I want to do is I am going to
navigate out here and you can adjust these
| | 08:06 | range of keyframes that you are seeing
here in the timeline by clicking on this
| | 08:10 | icon right here and dragging left or
right, and that allows you to do a pan
| | 08:15 | here and the next icon over allows you,
when you drag left and right, that will
| | 08:19 | zoom the range of frames.
| | 08:21 | So if I zoom out just a bit, I can
now take these keys one at a time and
| | 08:25 | just slide them over.
| | 08:26 | So I'll quickly just move them. And you
notice I am moving them beyond 0 and beyond 160.
| | 08:31 | And the important thing is that I want
my sharks to swim a little bit slower and
| | 08:35 | I don't want them all to be exactly the same.
| | 08:37 | So the important thing is that
the keyframes don't line up.
| | 08:39 | So by just dragging a keyframe to one
side or the other, I can easily adjust
| | 08:45 | the timing on those.
| | 08:46 | So I can just drag them.
| | 08:48 | You can see I am going about 30 frames
on either side of the animation and I
| | 08:54 | just work my way down here.
| | 08:56 | The important thing is that the
keyframes don't need to be the same.
| | 09:01 | So you don't have to be
real precise about what you do.
| | 09:03 | This is really a "flying by the
seat of your pants" sort of moment.
| | 09:06 | You can just quickly move the keyframes around.
| | 09:11 | I would like to make sure that I
don't actually touch the camera keyframes.
| | 09:14 | So don't touch this keyframe track or
this keyframe track. Just the keyframes
| | 09:19 | for the Spline Wraps.
| | 09:21 | So now as I scrub through the
animation, you can see that the sharks are no
| | 09:24 | longer swimming at exactly the same
speed and they're not hitting their marks at
| | 09:28 | the same time either.
| | 09:29 | Let's make a couple more adjustments
and we'll do another preview movie.
| | 09:33 | Make one that swim really slow,
there we go, so that will--
| | 09:39 | There we go. It's going to look great.
| | 09:42 | Let's do another preview movie to make sure.
| | 09:44 | So I have got all my filter elements
turned off, so I can go to the Make Preview
| | 09:49 | option, select Make Preview, and leave
all the settings as they were before and I
| | 09:53 | hit OK and that blue line is going to
come up and show us that it's calculating
| | 09:58 | a preview, and now here in the
Picture Viewer, remember the first time you hit Play,
| | 10:01 | it's going to cache the frames.
| | 10:03 | When it gets to the end of that caching
processes, it's going to play it back in real-time.
| | 10:07 | So I hit Play. You could see that 0
flashing on the left-hand side and that
| | 10:12 | indicates that it's caching, and
then when it gets to then end, boom,
| | 10:15 | it starts to play back smooth.
| | 10:16 | You can see that my sharks are no
longer all at exactly the same speed and it
| | 10:20 | actually feels pretty good.
| | 10:21 | Let me pause playback for a moment here.
| | 10:24 | I wanted to make sure as I was doing
this animation that I kept at the center
| | 10:28 | of the screen kind of empty and you can
see that none of the sharks are really
| | 10:32 | concentrated in this area here.
| | 10:34 | There are sharks in the background
in that area, but they're not in the
| | 10:37 | foreground of this area, because
that's where my type element is going to go.
| | 10:40 | So I wanted to keep this
area clear for the type.
| | 10:43 | So now we've got our animation, we're
ready to create the preview movie that we
| | 10:47 | are going to be using in After Effects.
| | 10:49 | The process for creating these
sharks was straightforward, but a little
| | 10:52 | bit time-consuming.
| | 10:53 | But it's a really important step
for getting the animation just right.
| | 10:56 | And the beauty of working with dummy
sharks is that you get very near real-time
| | 10:59 | performance and you can create the
animation in a very short amount of time.
| | Collapse this transcript |
| Creating a preview movie and importing it into After Effects| 00:00 | Now that we've got our animation all
timed out and looking pretty cool,
| | 00:03 | we need to get this animation into After Effects
so that it can become part of our cameramatic.
| | 00:08 | And the way we are going to do that is
by making a preview movie and then saving
| | 00:10 | that preview movie out for After Effects.
| | 00:13 | So we are going to go to
the Make Preview option.
| | 00:15 | So if I select the middle clapboard
here and go down to Make Preview, when you
| | 00:19 | first pull up the Make Preview option,
it's defaulted to Full Render, which kind
| | 00:23 | of defeats the purpose
of making a preview movie.
| | 00:25 | What I really want to see is just the same
thing I am seeing here in the Editor window.
| | 00:29 | That's going to give me a real fast
render and it's going to be easy to get
| | 00:33 | that into After Effects.
| | 00:34 | So I'll change the Preview Mode to
Software Preview and I'll leave the Frame
| | 00:38 | Count to be All Frames and that's
because I've set my Preview Range to be 0 to
| | 00:42 | 160, just the way I want.
| | 00:44 | Image Size is going to be
set to 640x360 and I'll hit OK.
| | 00:48 | I get that blue bar at the bottom
left of the interface and then the
| | 00:53 | Picture Viewer pops up.
| | 00:54 | So I don't need to worry about
caching or playing back the animation again,
| | 00:57 | because I know my animation is good to go.
| | 01:00 | So all I need to do is save it out.
| | 01:01 | Let's go to the File menu here in the
picture viewer and do a Save As and we are
| | 01:06 | going to save this as an Animation and
we'll change the format from QuickTime
| | 01:11 | Movie to an Image Sequence.
| | 01:13 | And I like to use image sequences
rather the QuickTimemovie because it makes
| | 01:17 | the process in After Effects really foolproof.
| | 01:21 | Let's say that you're rendering out a
movie from CINEMA 4D and about halfway
| | 01:24 | through the render process, your
computer somehow shut down or the application
| | 01:28 | accidentally quit or something happened.
| | 01:30 | If you're saving to a QuickTime movie
that image is no longer valid. You have to
| | 01:35 | start the render process all over again.
| | 01:36 | When use image sequences you can just
pick up from what were you left off.
| | 01:40 | So wherever the last frame was in the
folder, you can just pick up from that
| | 01:43 | frame and continue on with your rendering.
| | 01:45 | So it makes rendering much more safe.
| | 01:47 | So I am going to save this out as
a Photoshop sequence and hit OK.
| | 01:53 | And that's presented with the Finder
window and I am going to navigate to my
| | 01:57 | Chapter 4 folder and I am going to make
a subfolder in here and call it shot001
| | 02:03 | and this is preview.
| | 02:06 | And then let's change the name
structure to be shot001 - preview.
| | 02:11 | When I hit Save, that's going to give me a
blue progress bar here tell me it's saving out.
| | 02:17 | So that's almost done and
there it is. It's done.
| | 02:20 | Let's move over to After Effects now
and here in After Effects I want to import
| | 02:25 | that image sequence.
| | 02:26 | So let's import it into the Audio-Video folder.
| | 02:29 | So I click on that folder and go to
File and do an Import file and I have
| | 02:34 | navigated to my shot001 preview folder,
inside of my Chapter 4 files and the
| | 02:39 | beauty of importing an image sequence
in After Effects is I don't have to
| | 02:43 | select the very first movie. I can
select any of the images here and as long as
| | 02:47 | I make sure that the
Photoshop Sequence option is checked,
| | 02:50 | I don't have to worry
about Force alphabetical order,
| | 02:53 | when I hit Open, it's going to import
that sequence as in entire animation.
| | 02:58 | So let's move this. I didn't
have my video folder selected.
| | 03:01 | So I can move that into the video
folder. Let's put that right there, so
| | 03:05 | everything is nice and neat.
| | 03:07 | Now I need to change the Frame Rate. I can see
that it's 00:05:11 here, but my comp is 29.97.
| | 03:13 | If I bring up the Composition Settings,
Command+K, you can see that I am working
| | 03:17 | at 29.97 and my preview
movie is at 30 frames a second.
| | 03:21 | The important thing is that
it's the exact same duration.
| | 03:25 | That's the other advantage of working
with the preview movie as I can change
| | 03:27 | this Frame Rate here and it won't
change the duration on such a short sequence.
| | 03:32 | I am going to go to the File > Interpret
Footage > Main menu and I'll change the
| | 03:40 | Frame Rate from 30 to 29.97.
| | 03:45 | Now, I want to have a cameramatic comp
that's based on the animatic comp, so all
| | 03:49 | I need to do is duplicate this animatic
comp here in the working comps window.
| | 03:53 | So I'll select it here and duplicate
Command+D or Ctrl+D on a PC and change
| | 03:59 | the name of this file, hitting Return
on the keyboard, and I'll change that to
| | 04:04 | sz-cameramatic-001.
| | 04:11 | So now let's open that composition
up and close up the old animatic.
| | 04:15 | We won't need that again.
| | 04:16 | It looks exactly the same as it did
before but now what I want to do is bring in
| | 04:20 | my first preview movie and I'll drag
it right below the timecode elements and
| | 04:25 | above all the JPEGs.
| | 04:26 | And you can see when I do that,
it comes in exactly in frame and it ends
| | 04:33 | exactly when the shot does.
| | 04:34 | And that's exactly what I want to have happen.
| | 04:36 | So now I can do a quick RAM Preview
of this by clicking on the RAM Preview
| | 04:40 | option and I can see my animation
caching. It will take a moment to cache this
| | 04:46 | image sequence and then it will
zip through everything else.
| | 04:51 | That's enough. I don't need to see
the whole animation. I only really
| | 04:53 | care about shot one.
| | 04:54 | (Male speaker: After 400 million years,
they're still the scariest thing in the ocean.)
| | 04:58 | (Male speaker: Get a little closer, if you dare.)
| | 05:01 | (Male speaker: Shark Zone.)
| | 05:02 | So that's feeling pretty good.
| | 05:06 | I'm going to stop playback and just
scrub through this one more time, verifying
| | 05:12 | the timecode to make sure
that everything is okay.
| | 05:14 | I have my shot1 preview layer selected.
| | 05:16 | If I hit O on the keyboard, it takes
me to the out of that particular layer.
| | 05:21 | If I use the plus key on the keyboard,
I can zoom in on the Timeline here
| | 05:25 | and see that my shot1 preview movie ends at
exactly the same time as my shot1 timecode.
| | 05:31 | So that process of creating
the files for the cameramatic is
| | 05:35 | really straightforward.
| | 05:36 | It's essential though that you do this
with dummy files and that will make your
| | 05:40 | process much more quick and get
you to the end result a lot faster.
| | Collapse this transcript |
| Assembling the cameramatic| 00:00 | Our cameramatic process is almost complete.
| | 00:03 | We prepared the shot one preview
movie and place it into After Effects and
| | 00:08 | behind the scenes I have gone through
and completed all the other shots and you
| | 00:11 | can see them here in the project files.
shot001 is the one we did previously and
| | 00:15 | then shot002 A, B and C are the shot transition.
| | 00:19 | Shot003 is the hero shot with the logo
that says Shark Zone, and shot four is
| | 00:24 | the Adventure Channel logo
with the shark swimming by.
| | 00:26 | Now all of these shots were completed
using the exact same techniques that we
| | 00:31 | used in shot one, just a
different application of those.
| | 00:34 | The folders that you see beneath the
project files here are all of the exported
| | 00:38 | animation sequences.
| | 00:40 | So if you see shot001 preview, that's
an image sequence of PSD files for the
| | 00:44 | shot001 and shot002 A, B and C. All of
these are just image sequences and I
| | 00:49 | always nest those inside their own folders.
| | 00:51 | That way I wouldn't end up with one
single folder with all of the preview images
| | 00:55 | jumbled up together.
| | 00:57 | Let's move back to After Effects
and start importing those files.
| | 01:01 | So I'll select my Audio Video folder,
and go to the File menu and do an
| | 01:06 | Import file and navigate to my Chapter 4.
Now shot001, we've already imported.
| | 01:10 | Let's switch the view here
to Name and navigate down.
| | 01:15 | Let's import shot002-A first and the
shot002 A, B and C files are just the shark
| | 01:23 | hitting the screen for the
shark thrashing transition.
| | 01:25 | So I'll import that one and then let's
import all the other files, and we are
| | 01:29 | going to change some
settings on these imported files.
| | 01:31 | So we have imported shot002-A and we'll
import shot002-B and then we'll import
| | 01:41 | shot002-C. Navigate up.
| | 01:49 | Now always make sure that your
Photoshop Sequence button is checked.
| | 01:52 | Otherwise we'll only get a single image.
We want to have the entire image sequence
| | 01:56 | imported. File > Import and this is
going to be 003. File > Import and the very
| | 02:10 | last file will be shot004.
| | 02:19 | There we go. Now that I have all those shots
imported, you'll notice the settings on
| | 02:23 | my shot001 file, I have a 29.97, but all
these others came in at 30 frames per second.
| | 02:28 | So I need to change them all.
| | 02:30 | So I am going to select this first
movie and right-click on it and go to
| | 02:36 | Interpret Footage > Remember
Interpretation and that's going to tell After
| | 02:39 | Effects to take the settings from this
file and store them in memory. And then I
| | 02:44 | want to apply those
settings to all these other movies.
| | 02:46 | So if I click on the first movie and
then hold down the Shift key and click on
| | 02:49 | the last movie and I right-click one
more time and go to Interpret Footage >
| | 02:53 | Apply Interpretation,
| | 02:54 | that's going to apply the same settings to
all these movies at once. And save me a lot of time.
| | 03:00 | Now when I click through them you could see
that they all are 29.97 all the way through.
| | 03:07 | Now I can begin the process of placing
these into my After Effects timeline.
| | 03:11 | I am going to raise this window up
just a little bit and make sure that I can
| | 03:18 | actually see all of my files here.
| | 03:20 | So I will start off by placing in the
transition and the way the shot transition
| | 03:26 | is done, it's actually three shots
all stuck together in rapid succession.
| | 03:30 | You could see in the animatic,
we did a thrash 1, thrash1, thrash 2.
| | 03:35 | You can see it goes there is the first
thrash, here is the second thrash, here
| | 03:38 | is the third thrash, all in rapid succession.
| | 03:41 | Now I made separate movies for those, so
I can drag those movies in and put them
| | 03:45 | in line in the timeline here.
| | 03:46 | So I am going to drag those in right
below my preview shot and then I'll do A, B
| | 03:53 | and C. Now the order of these shots
isn't so important right now, because I am
| | 03:57 | going to tweak that in the final animation.
| | 03:59 | The important is that they are there,
taking up the space in the timeline.
| | 04:03 | So if I hold the Shift key down, that's
going to allow me to snap my movies to
| | 04:07 | end to end and then highlight that one.
| | 04:09 | It's a little bit tough sometimes
when the movies are really short.
| | 04:12 | So sometimes I'll zoom in on the
timeline to make sure I am looking at things
| | 04:17 | and I'll zoom in using the Plus key on
the keyboard and then I'll butt all these
| | 04:21 | guys up end to end and they should exactly
fill the space that I have, which was 30 frames.
| | 04:26 | Hence you can see now there is
my transition thrashing, good.
| | 04:33 | Now I can add in the shot003 file, so
let's bring shot003 and we drop it right
| | 04:38 | below the transition.
| | 04:40 | And let's drag that layer all the way
over to the right and then butt it up
| | 04:46 | with that previous shot.
| | 04:48 | You can see there it is, the camera
drops down into frame and as it does so,
| | 04:55 | the shark swims out from behind it. Whoops.
| | 04:58 | That happen sometimes when you have a
really short preview window here and I
| | 05:01 | accidentally jump ahead a
little bit. There we go.
| | 05:05 | So the shark swims out from
behind it and swims right to camera.
| | 05:09 | Now you notice it looks like the
shark is holding a cylinder here. I actually
| | 05:12 | wanted to be able to tell where my
dummy shark's mouth was and so I added a
| | 05:16 | cylinder here to indicate the
approximate position on the shark's body where the
| | 05:19 | teeth was. So no, my shark is not playing fetch.
| | 05:22 | It's actually a dummy
object that's there on purpose.
| | 05:25 | Now let's get shot004 placed in.
| | 05:27 | Once we play shot004, we're going to
then duplicate the thrashing transition and
| | 05:32 | get it into position as well.
| | 05:33 | So let's take shot four and drag that
into the sequence down here and I use the
| | 05:38 | Left Bracket key to get my shark to
jump to the end there and really what I
| | 05:43 | want it to do, this last shot should
butt up with the end of the sequence.
| | 05:46 | If I hold down the Option key and press
the End key on the keyboard, that forces
| | 05:50 | my movie to jump right to
the end of the timeline.
| | 05:53 | Now I have another gap here that I need
to fill in with this short transition.
| | 05:58 | So I am going to select all three of
these shark transition movies and see I
| | 06:01 | have those three layers selected and I
am going to duplicate them, Command+D,
| | 06:05 | and then I'll drag them down below that
layer, and you saw that black line form there.
| | 06:11 | And I can take these now and move them
in time to that opening and as I zoom in
| | 06:19 | with the Plus key, I want to make sure
that my movies are all lined up and they
| | 06:25 | don't have any black spaces there,
and the things are looking good.
| | 06:29 | Now in the final animation, I am going
to be reversing this sequence so that I
| | 06:33 | don't have the exact same transition.
| | 06:35 | All I am going to do is just simply
switch those shark animations around,
| | 06:40 | so that instead of going A, B and C,
it's going to go C, B A. I am not
| | 06:44 | going to worry about that here for
the cameramatic. I am just going to do
| | 06:47 | that in the final animation.
| | 06:48 | So let's do a quick RAM Preview of our piece
and see how everything is fitting together.
| | 06:53 | So I am going to back out the timeline
here, click the RAM Preview option, and
| | 06:57 | let that cache all the frames.
| | 07:07 | And it's going to swim the camera
and there's the thrashing transition and
| | 07:10 | the Adventure Channel
logo with the shark swimming by.
| | 07:13 | (Male speaker: After 400 million years,
they're still the scariest thing in the ocean.)
| | 07:17 | (Male speaker: Get a little closer, if you dare.
Shark Zone, all week long on the Adventure Channel.)
| | 07:23 | (Male speaker: If it's out there, it's on here.)
| | 07:27 | (Male speaker: After 400 million years, they're still?)
| | 07:31 | So during this RAM Preview I noticed
an issue with the movie and the issue is
| | 07:37 | that at the end of the promo the
Adventures channel logo comes up and the
| | 07:43 | shark swims by, but we don't have enough time
in the sequence to actually read the tagline
| | 07:47 | that's going to be coming underneath
the Adventure Channel logo, and that's
| | 07:50 | going to say "if it's out there it's on
here," and that's a very important tagline
| | 07:54 | from a branding standpoint.
| | 07:55 | So we want to give it plenty of
time to be read in the animation.
| | 07:59 | So what I need to do is to adjust
some timing and the shots that I am going
| | 08:05 | to need to change, I am going to need to make
a change to shot003 and a change to shot004.
| | 08:11 | The cameramatic process is really about
flexibility and this is a great example of that.
| | 08:16 | One of the reasons you do the
cameramatic is so that you can discover issues
| | 08:19 | like this, and this is a case where I
have discovered an issue that's very
| | 08:22 | important from a branding
standpoint and I need to go back and fix it.
| | 08:25 | So in the next movie, we are going to
make some adjustments to shot003 and
| | 08:28 | shot004 and then redo our
cameramatic with those new shot previews.
| | Collapse this transcript |
| Fine-tuning the cameramatic timing| 00:00 | The cameramatic process is a really
flexible and powerful tool for understanding
| | 00:05 | the timing of your animation.
| | 00:07 | When I did a RAM Preview of this
earlier, I discovered that I didn't leave
| | 00:11 | myself enough time at the end of the piece.
| | 00:14 | When this shark swims across, it's
going to be revealing the tagline,
| | 00:17 | "If it's out there, it's on here."
| | 00:20 | Now there is sort of a general rule in
the television and promo editing world
| | 00:24 | that anything less than about
15 frames is considered a flash.
| | 00:29 | The human eye needs about a second in order
to register or read something on the screen.
| | 00:35 | I can look at my shark timing and see
that as it swims out of frame, my type is
| | 00:39 | going to be readable about here.
| | 00:42 | "If it's out there, it's on here"
is going to be pretty much visible on frame.
| | 00:46 | So if I give myself another second at
the end of this shot, then that's going to
| | 00:51 | give the viewer time to
notice and read that copy.
| | 00:54 | Now this end tag is going to be
something called a see-and-say.
| | 00:57 | Meaning that the voiceover is going
to be saying the exact same thing that
| | 01:01 | people are seeing on screen.
| | 01:02 | That makes it much easier to
understand everything that's happening.
| | 01:05 | Now if this would just a read-only
tagline, where there was no announce,
| | 01:09 | then I'd need to leave a lot more time
so that the viewer can have time to read
| | 01:12 | the tag on their own.
| | 01:13 | But since it's a see-and-say that gives
me a little more flexibility in my timing.
| | 01:17 | So what I need to do is I need to take
time off of shot003, about a second, and
| | 01:22 | add time onto shot004, about a second,
and that's going to keep my overall length
| | 01:27 | of my promo the same, but just move
the end point of this movie and the
| | 01:30 | in-point of this movie.
| | 01:33 | So let's move over to CINEMA 4D and
open up our project file for shot003.
| | 01:39 | So I'll go to the File menu and do an Open.
| | 01:41 | I'll navigate to my Chapter 4 project files.
| | 01:46 | Let's switch the view to Name.
| | 01:48 | That will make it easy to find my shot-003 file.
| | 01:52 | There it is right there.
| | 01:53 | Let's open that file up and in this file,
I'm going to need to change the length of it.
| | 02:01 | So I want to change the length in two places.
| | 02:03 | In the Preview Range here, and
in the final Render Settings.
| | 02:08 | Now one of the great things about
CINEMA 4D is I don't have to figure the
| | 02:11 | math out for myself.
| | 02:12 | 0 to 155 is the current frame range,
but I want to take 26 frames off of that,
| | 02:17 | just under a second.
| | 02:18 | So if I take this 155 and go 155 minus 26,
that's going to leave me with 129.
| | 02:27 | And that is the exact
adjustment that I need to make.
| | 02:30 | So if I go back to my Render
Settings now, and change my Range From 0 To
| | 02:36 | 129, that fixes it.
| | 02:39 | Now I'm not quite done.
| | 02:41 | My shark animation is supposed
to go all the way to the end.
| | 02:44 | You can see by cutting off that 26 frame,
my shark doesn't quite get to the camera.
| | 02:48 | So I need to make an adjustment in the Timeline.
| | 02:50 | So let's make a switch to the Animation
Layout and I need to adjust the keyframes.
| | 02:56 | So I'll click on the keyframe icon here
and then hit H on the keyboard to make
| | 03:00 | all my keyframes visible.
| | 03:01 | Then all I need to do is grab these two
summary keyframes here and remember,
| | 03:05 | the summary keyframe selects all the
keyframes underneath it, making it really easy
| | 03:09 | to grab everything at once.
| | 03:10 | So I'll drag this back in,
put it in position right here.
| | 03:14 | Now I notice that when I scrub
through my animation, my shark still doesn't
| | 03:18 | quite reach to the end of the frames.
| | 03:20 | That's because I've got a little
overhang here and I noticed earlier that I
| | 03:23 | accidentally moved a keyframe out of alignment.
| | 03:25 | This happens from time to time.
| | 03:27 | If I scroll down here, I can see that
this one keyframe is sort of sticking out
| | 03:30 | on the end and that keyframe is
associated with the Spline Wrap, which is what's
| | 03:34 | animating my shark, and that's what's
causing the shark to not move all the way
| | 03:39 | to the end of the scene.
| | 03:40 | So if I take this keyframe and move it
right back to the end, I've changed the
| | 03:45 | position of these keyframes now and my
shark, as you can see, hits the camera and
| | 03:49 | actually passes through the camera.
| | 03:50 | That's not exactly what I want.
| | 03:52 | I want it to get really close, but
not actually pass through the camera.
| | 03:54 | So all I need to do is make a tweak to
the F-Curve down here and that's going to
| | 03:58 | allow me to adjust the position of
that shark in a really fine-tuned way.
| | 04:02 | I'll switchover here to the F-
Curve layout and scroll down here on
| | 04:07 | the left-hand side
to make sure I select my Offset curve.
| | 04:11 | Now if I grab this last keyframe, you
can see that the Value on the keyframe
| | 04:16 | when I select it is at 73%.
| | 04:18 | If I just drag this down 1% at a time,
in 1% increments, I can see where my
| | 04:25 | shark will come out of the camera.
| | 04:27 | That's about it right there.
| | 04:28 | I'm just clicking 1% at a time. I
want the shark to come right up into the
| | 04:32 | camera's face and that's
going to be our cut point.
| | 04:35 | So let's add one more percent
on there and that's pretty good.
| | 04:38 | So that's the tweak I needed to make.
| | 04:40 | Now I can do another preview movie,
and export that for After Effects.
| | 04:44 | So I'll go to the Make Preview option.
| | 04:49 | Make sure that your Image Size is set
for 640, and that you're set to Software
| | 04:53 | Preview for the Mode and then hit OK.
| | 04:58 | That's going to preview the animation,
and then pop up to the Picture Viewer.
| | 05:03 | Now I just scrub through real quick to make
sure that it does just what I want, and it does.
| | 05:08 | So now I can go to File > Save As.
| | 05:10 | Before I do this, when I hit OK here,
it's going to pop up the Finder and I need
| | 05:15 | to navigate to my Chapter 4 files,
and go to my shot003-preview folder.
| | 05:22 | Now that already has an image sequence in it.
| | 05:24 | This image sequence needs to get out
of the way, so that I can override it,
| | 05:28 | because the new sequence that I'm
going to put down is only 0 to 129 and this
| | 05:31 | sequence is 0 to 155.
| | 05:34 | That's going to be a little bit weird
for After Effects, because it's going to
| | 05:37 | end up with extra frames on
the end that I don't need.
| | 05:39 | So let's go back out here to the Finder.
| | 05:42 | Go into our shot003-preview folder.
| | 05:44 | Select a single one, hit Command+A,
and then move these guys to the Trash.
| | 05:49 | I'm going to put those right in the Trash Can.
| | 05:52 | Then go back to CINEMA 4D,
and then save these. And it was
| | 05:59 | called shot003-preview.
| | 06:03 | Then hit Save and there it goes.
| | 06:06 | Now I can do the same thing for shot004.
| | 06:08 | Let's open up the shot004 project file.
| | 06:10 | Close up the Picture Viewer.
| | 06:11 | File > Open and navigate
to the shot-004.c4d file.
| | 06:17 | Hit Open.
| | 06:18 | Now this shot needs to be 26 frames longer.
| | 06:20 | So we're going to go and do a kind of the
reverse process for what we did in shot003.
| | 06:25 | So first thing I need to do is add 26 frames onto
the end of the Preview Range. So I'll go 72+26.
| | 06:34 | That gives me 98.
| | 06:35 | Let's extend this slider range out as well.
| | 06:38 | Now we'll change the Render Settings.
| | 06:40 | Click on the Render Settings icon and add 72+26.
| | 06:47 | That gives us 99 frames total.
| | 06:50 | Now we can close Render
Settings up and check our keyframes.
| | 06:55 | Let's switch over to Keyframe view.
| | 06:57 | I'll hit H on the
keyboard to size everything up.
| | 06:59 | Let's make the Perspective view full,
and enlarge things so we can see
| | 07:04 | the Timeline down here.
| | 07:05 | I'll hit H on the keyboard to
make sure I'm seeing all my keyframes.
| | 07:08 | Then I can zoom out a bit so I
can see the entire range of frames.
| | 07:13 | And now all I do is take this last set of
keyframes and move them to the very end.
| | 07:18 | Then just scrub through my
animation to make sure that it's all there.
| | 07:22 | My shark does leave the frame. That's perfect.
| | 07:28 | It doesn't matter that the shark's
tail doesn't clear the frame, because the
| | 07:31 | animation is going to be fading to black
over the end of the sequence. So that's okay.
| | 07:35 | It's actually a little more dynamic
that the shark never clears the frame.
| | 07:38 | So that's it for the tweaks
that we need to make here.
| | 07:40 | Now we can make a preview movie.
| | 07:43 | So I'll go to the Make Preview option.
| | 07:46 | Make sure that it says 640x360 here,
Software Preview, and then hit OK.
| | 07:53 | When that preview movie comes up, I
need to do the exact same thing that I did
| | 07:56 | for the previous shots.
| | 07:57 | So I go to the Save As
and do Animation. Hit OK.
| | 08:02 | Then I'll navigate out to the Finder
again and get rid of these shots in the
| | 08:05 | shot004-preview folder.
| | 08:07 | So I select that, select all the
files, and move them to the Trash.
| | 08:11 | Now let's go back to c4d, and then
navigate to our Chapter 4, and then our
| | 08:18 | shot004-preview folder and then
call this one shot004-preview and that saves out.
| | 08:27 | While that's saving, we can
move back to After Effects.
| | 08:29 | In here, we can just simply reload the footage.
| | 08:32 | Watch what happens. When I reload this
footage, the new shots that are incoming
| | 08:35 | are going to be different
length than the original shots.
| | 08:38 | You'll see their in points
adjust here in the Timeline.
| | 08:42 | So I'm going to right-click on the Preview
movie for shot003 and do a Reload Footage.
| | 08:49 | You see that the endpoint
jumped over here. That's okay.
| | 08:52 | That's just what I wanted to do.
| | 08:53 | I'll right-click on shot004,
and do a Reload Footage.
| | 08:57 | You'll see that end point jumped as well.
| | 09:00 | It jumped off the Timeline.
| | 09:02 | That's okay as well, because
we're going to adjust that right now.
| | 09:05 | So now I'll grab all three of these layers.
| | 09:07 | Let's zoom in just a little bit to
give ourselves a little more room.
| | 09:09 | I'll make the Timeline active and
then use the Plus key on the keyboard.
| | 09:13 | Highlight all of these guys.
| | 09:15 | Then move that over to the
left, so that they butt up.
| | 09:18 | Then double check the end of my
animation and check my out point.
| | 09:21 | You can see there my out point lines up nicely.
| | 09:25 | Now we can do another ramp
preview and check our animation.
| | 09:37 | There comes the transition, there
is our hero shot, and our shark swims
| | 09:41 | to camera, and bam!
| | 09:44 | There is our short transition and the last shot.
| | 09:47 | The shark reveals the logo.
| | 09:50 | (Male speaker: After 400 million years,
they're still the scariest thing in the ocean.)
| | 09:55 | (Male speaker: Get a little closer, if you dare.
Shark Zone, all week long on the Adventure Channel.)
| | 10:01 | (Male speaker: If it's out there, it's on here.)
| | 10:04 | So this was a great example of the
flexibility of the cameramatic process and
| | 10:08 | how it gives you the ability to
tweak your animation timing on-the-fly.
| | 10:12 | It really is an important tool and
it's a step in the process that cannot be overlooked.
| | Collapse this transcript |
|
|
5. Modeling a SharkPreparing for the modeling process| 00:00 | The shark is a really
beautiful and terrifying creature.
| | 00:03 | The smooth flowing shapes haven't really
changed in hundreds of millions of years.
| | 00:07 | The process for creating these smooth
flowing shapes can be daunting at first.
| | 00:11 | It can also be kind of time consuming.
| | 00:13 | In this movie and in this series
of movies, we're going to be skipping
| | 00:16 | through the tedious part and showing you the
major elements of the shark modeling process.
| | 00:21 | Creating the basic outline of the
short body, extruding the fins out of the
| | 00:25 | body, creating the mouth shapes, the gills.
| | 00:27 | The goal for this, showing you the major
steps, is that you'll understand all of
| | 00:31 | the elements that are required for
making this shark and without having to go
| | 00:35 | through all the tedious process of
actually making the shark from scratch.
| | 00:39 | This is not really intended
to be a modeling tutorial as such.
| | 00:43 | It's really all about the
process of creating a promo.
| | 00:45 | So rather than I show you the entire
shark modeling process, we want to take you
| | 00:49 | through all of the major steps involved.
| | 00:52 | I have a rule when I'm modeling that
if it's an object that I can do within a
| | 00:56 | certain amount of time,
| | 00:57 | then I'll model it myself.
| | 00:59 | If it's going to be more than a certain
amount of time, then I'll buy it off of
| | 01:02 | a web site and save myself the
hassle of modeling it from scratch.
| | 01:06 | The way I justify that is basically
I assign my hourly rate to a modeling
| | 01:10 | process and I say okay, if it's going
to take me two hours to model something,
| | 01:13 | and I pay myself $50 an hour to model it,
can I find that same model for $100 or less?
| | 01:19 | If I can't find that model for $100
or less, then I'll model it myself.
| | 01:22 | If it's going to take me more than that
amount of money, then I'll go ahead and
| | 01:26 | buy it off the web site, as long as I
can find it for cheaper than what it would
| | 01:30 | cost me to make it from a time standpoint.
| | 01:32 | One of the great websites for
that is a website called TurboSquid.
| | 01:35 | There is quite a few of them out there.
| | 01:36 | TurboSquid is probably the most popular.
| | 01:38 | So for a project like this, I would go
to the homepage for TurboSquid and just
| | 01:42 | type in the Search field shark.
| | 01:43 | When I hit the Go button, it's going to
present me with a whole bunch of options here.
| | 01:48 | I'm only really concerned with the 3D models.
| | 01:50 | So if I click on the 3D Models filter
that will reset the page, so that I'm only
| | 01:55 | seeing 3D models of sharks.
| | 01:57 | I can also filter it even more.
| | 01:59 | Now CINEMA 4D can use a
lot of different model types.
| | 02:02 | If I only want to see models created in
CINEMA 4D, I can click on the CINEMA 4D
| | 02:06 | filter and that will filter the page
even more and I can see things that are
| | 02:11 | either done in CINEMA 4D, or
are compatible with CINEMA 4D.
| | 02:15 | All of these object types that
are listed here CINEMA 4D can open.
| | 02:18 | So it's a really great selection of sharks.
| | 02:20 | Everything from a crazy cartoon shark
to some very realistic looking shark
| | 02:23 | models. Any of these guys
would be a pretty viable candidate.
| | 02:27 | Although some of the geometry is a
little bit what I would call suspect in
| | 02:30 | cases and I don't want
to get into it right here.
| | 02:32 | But the most important thing to
remember when you're buying models off of a
| | 02:35 | web site like this is to take a look
at the geometry and make sure that it's
| | 02:38 | very smoothly flowing.
| | 02:40 | We're going to be creating a model
in CINEMA 4D that is made up of all
| | 02:43 | quadrangles, four-sided polygons.
| | 02:46 | Those four-sided polygons are really
crucial to making these sharks swim in a
| | 02:50 | very smooth fashion.
| | 02:51 | So if you buy a model off a TurboSquid
that has all triangles in it for example,
| | 02:55 | or triangles that are in a really
funky layout, then it's going to make this
| | 02:59 | shark look funny when it swims along the spline.
| | 03:01 | So you have to be very careful
about how you buy those models.
| | 03:04 | So let's switch back to CINEMA 4D
and get our project files going here.
| | 03:08 | The first thing I want to do is turn
back on the grid lines that we turned off
| | 03:12 | when we were making our preview movie.
| | 03:13 | So I'll go to the Filter menu and turn on All.
| | 03:16 | That gets me back to my
normal view that I'd see here.
| | 03:19 | So I can see the grid line and
the coordinate system in there.
| | 03:22 | I have a starting file
that I'm going to open up.
| | 03:24 | This is the starting point for this
movie, but really all it is, is just the
| | 03:27 | original dummy shark that we made.
| | 03:30 | That's what we want to start
with is just the shark itself.
| | 03:32 | So if I navigate out to the Finder,
| | 03:34 | I'm going to open up the C4Dstart file.
| | 03:37 | Then you can see I have my dummy shark.
| | 03:39 | I also have it already
animated with the Spline Wrap.
| | 03:41 | Now I don't need any of
this animation or the rigging.
| | 03:44 | All I care about is the dummy shark.
| | 03:45 | So I'm going to delete the
Spline Wrap object out of the scene.
| | 03:48 | Unparent the shark wrap object, delete
that now, and then delete the shark spline.
| | 03:54 | So now all I have is my basic
shark element and my HyperNURBS.
| | 03:57 | I can actually remove the hyperNURBS
from the hierarchy as well and delete
| | 04:02 | that shark Null object.
| | 04:04 | Now I want to get my shark
back to the center of the world.
| | 04:07 | So I'll zero out the
coordinates for the HyperNURBS.
| | 04:10 | You always want to model around the
center of the world. It keeps the things
| | 04:13 | lined up and makes the
modeling process much easier.
| | 04:16 | So I zero out the Position
and Rotation for the HyperNURBS.
| | 04:19 | I can turn my image plane back on.
| | 04:21 | You can see that everything lines up nicely.
| | 04:23 | So the whole goal for this project file
setup is to make sure that you have the
| | 04:28 | image planes in position and that when
you put those image planes around that
| | 04:32 | dummy shark that the dummy sharp lines up.
| | 04:35 | We're going to be building our
finished shark in exactly the same position as
| | 04:38 | the dummy shark and we want everything
to line up correctly so that when we
| | 04:42 | substitute the dummy shark for the
real shark, that all of over animation is
| | 04:45 | still viable and everything lines up correctly.
| | 04:48 | The last step for this project file prep
is I want to just move the image planes
| | 04:54 | around a little bit, so
that they are easily viewable.
| | 04:58 | Also, so our shark is easily viewable.
| | 05:01 | When I switch to the four-way view,
you'll notice that there is no
| | 05:04 | perspective in any of the
Orthographic views and that actually works very
| | 05:07 | well for the modeling process.
| | 05:09 | I want to have this image plane that I see here--
| | 05:12 | Right now it's exactly
in the middle of the shark.
| | 05:14 | I want it to just be back on the Z-axis.
| | 05:16 | So it's out of the way and I can see
my shark separate from the image plane.
| | 05:19 | In the Perspective view, if I grab
the side image plane and move it on its
| | 05:25 | Z-axis just out of the way,
| | 05:29 | it's now clear the shark model.
| | 05:31 | But you notice in the Front view here,
it really didn't changed position.
| | 05:34 | So I can still use that outline for
modeling in this view without having to look
| | 05:39 | at it in the Perspective view.
| | 05:40 | That's very important.
| | 05:41 | I'll do the same thing for the Front
and move it back on its Z-axis this time,
| | 05:46 | just so it's out of the way of the
model and there we can see it.
| | 05:50 | That also change the display on
the Front mode to Gouraud Shading.
| | 05:55 | Now I can see my shark model in position.
| | 05:57 | So that's all the basic steps for setting up
the project file for your modeling process.
| | 06:03 | It's really crucial to follow these,
because it sets you up for a success later on.
| | Collapse this transcript |
| Outlining the shapes using the Knife tool| 00:00 | The polygonal modeling
process is incredibly powerful.
| | 00:03 | Starting from a simple cube, you can create
just about any kind of shape you can imagine.
| | 00:07 | For a symmetrical object like the shark,
it's really important to look at your
| | 00:11 | object from all sides during the
modeling process and make sure that you
| | 00:14 | haven't gone off-track somewhere.
| | 00:16 | We're going to be roughing in the shape
of this shark from the side view mostly.
| | 00:20 | I have my dummy shark in there and
really it was there for position to make sure
| | 00:23 | that things lined up correctly.
| | 00:25 | I really don't need that anymore.
| | 00:26 | I'm going to start off from scratch again.
| | 00:28 | I'm going to leave my HyperNURBS in the
scene, but delete this original shark cube.
| | 00:33 | Let's add a new cube to the scene, and this is
going to become the first step in the process.
| | 00:38 | So I'll add that to the HyperNURBS and
you can see that makes it into a sphere.
| | 00:42 | This cube, I want to make the cube
the same size as the shark model.
| | 00:47 | So if I go to the Object properties for
the cube, and I go along the X-axis and
| | 00:51 | stretch it out, let's
check the side view real quick.
| | 00:53 | I'm going to make this cube the same
size on the X as the image plane behind it.
| | 01:02 | Don't worry that the gray outline of
the shark body is not touching everything.
| | 01:07 | We're going to be fixing that as we go.
| | 01:09 | Then the top of the object, I want to
make the tops and bottom of the cube,
| | 01:13 | I want to make them the same size as the body,
not the fins, but the body element itself.
| | 01:17 | So the bottom of the stomach here and
the top of the back here, so I can just
| | 01:22 | rough that in and I think
that's close enough for now.
| | 01:25 | CINEMA 4D does not have a construction
history, and I've sort of developed my
| | 01:29 | own construction history
over the years of modeling.
| | 01:32 | The way I do that is with
something called a hider object.
| | 01:35 | I'm going to add a Null object to
the scene, and I'm going to name this
| | 01:39 | Null object hider.
| | 01:41 | Now, I move the hider object down to
the very bottom of the scene, below
| | 01:45 | everything else in the hierarchy,
and I make both of its status dots red.
| | 01:50 | I held down the Option key to
make them both red at the same time.
| | 01:53 | What I do is anytime I'm about to make
a drastic change in an object, a major
| | 01:57 | cut or making something editable,
I will take a copy of that and put it
| | 02:01 | underneath the hider.
| | 02:02 | This gives me an out.
| | 02:03 | If I mess something up and don't like
the direction the model is heading, I can
| | 02:07 | always go back a step and reposition
that object by grabbing the old one out of
| | 02:12 | the hider and starting over from that last step.
| | 02:14 | So it's a really great way to sort of
cover yourself and make sure that you
| | 02:17 | don't actually get off-track and
can't go back to a better state.
| | 02:21 | I'm about to make a
drastic change in this cube.
| | 02:24 | So I'll take the cube down and drag
it underneath the hider object and
| | 02:28 | double-click on the name for that
and call it 001, as in step one.
| | 02:32 | Now, the drastic change I'm going to
make in this cube is to make it editable.
| | 02:36 | So let's go to our Perspective view
and I want to access the points that make
| | 02:41 | up this cube, and I will make that cube
editable and now I can see the points
| | 02:46 | that make up the cube.
| | 02:49 | Just in case, you guys may be seeing
something in here called Isoline Editing mode.
| | 02:53 | If you are seeing something on the
surface of your cube that looks like
| | 02:56 | this where you have curved lines
on there, go to the Tools menu and
| | 03:02 | uncheck Use Isoline Editing.
| | 03:04 | When you turn that off, that's going to
make those curved lines on the surface go
| | 03:08 | away and you'll just be left with the
blue outline of the low polygon mesh.
| | 03:12 | One more change I want to make is
under the Perspective view, Edit menu, I'm
| | 03:16 | going to go to Configure All,
and make the points larger.
| | 03:21 | You can see the point objects down here
in the Editor view, they're very small
| | 03:25 | and not easy to see.
| | 03:26 | I want to make those much
larger so I can see them.
| | 03:28 | I go to the View options and let's
raise that up just a bit, and I want to do
| | 03:32 | the Point Handle Size to be 9, and I
tab over and do the Select Point Handle
| | 03:37 | Size to be 9 as well.
| | 03:39 | You can see that when I did that,
my points got much, much larger.
| | 03:42 | That makes it a lot easier to see things
as you're moving around and editing points.
| | 03:46 | I've got my points visible and now I
can switch over to the side view and start
| | 03:51 | to make some cuts in the object.
| | 03:53 | The first step in this process is to
create a series of cuts along the length of
| | 03:57 | the shark that are going to allow us
to move these points around and reshape
| | 04:00 | this HyperNURBS object so that
it feels more like the shark body.
| | 04:04 | I'm in Point mode, by the way, so that I
can actually see and manipulate those points.
| | 04:07 | I'm going to right-click in the
Editor window and grab the Knife tool.
| | 04:12 | The Knife tool has a mode and yours
may be defaulted to Line mode, and that's the
| | 04:17 | default orientation for the Knife tool.
| | 04:19 | I want to make sure and set it to
Loop and then uncheck all the options.
| | 04:24 | That's going to allow me to make a
cut all the way around my object without
| | 04:27 | having to worry about
messing up one side or the other.
| | 04:30 | I want to keep my object symmetrical
all through the modeling process and this
| | 04:33 | will allow me to do it.
| | 04:35 | Now, I'm going to make a series of cuts.
| | 04:36 | I'm going to start with the nose and
make a cut right about here, and the
| | 04:41 | reason I make it there is that this cut
lines up with a major surface detail of
| | 04:45 | the shark where the nose
kind of dips in like that.
| | 04:48 | I'll make another cut right about here,
and then another cut right about here
| | 04:53 | at the peak of the back, and then
another cut just before the fin, and another
| | 04:58 | cut just after the fin.
| | 04:59 | So you can see I'm outlining the major
surface details, and make another cut here.
| | 05:04 | Any place I want to have extra
control, that's where I make those cuts.
| | 05:09 | And as I cut that object, it changes the
shape of the HyperNURBS and gives me a
| | 05:15 | little bit more control for modeling.
| | 05:17 | So now I've got a series of cuts
there. I might need more later on.
| | 05:21 | For now, this is a good start.
| | 05:23 | I'm about to make another drastic change
by pushing and pulling these points around.
| | 05:26 | So let's take this cube and Ctrl+Drag a copy
of it underneath the hider and call this 002.
| | 05:33 | Then I go back to the original cube
and start to push and pull those points.
| | 05:37 | Let's switch to the Rectangular
Selection tool and then this is very important,
| | 05:41 | make sure that Only Select
Visible Elements is unchecked.
| | 05:45 | That means that when I select this
point and I switch back to the Perspective
| | 05:50 | view, I can see that even though I
selected the point in the side view,
| | 05:56 | I actually selected two points there,
| | 05:58 | the one that was in front,
and the one that was in back.
| | 06:00 | That means that now when I move these
around, I'll be able to move both points
| | 06:04 | at once without having to worry about it.
| | 06:06 | Let's switch back to the right-hand
view which shows us the side of our shark.
| | 06:11 | Now, I can move these points around.
| | 06:13 | Now, this is a technique I like to use.
| | 06:15 | I'm going to select the points with
the Selection tool and then hit E on the
| | 06:19 | keyboard to grab the Move tool.
| | 06:21 | Now, when you're using the Move tool,
you don't have to click right on the actual points.
| | 06:25 | I can click-and-drag any place in the
Editor window and my points will move around.
| | 06:29 | Even if I click up here for example,
I can still move those points around easily.
| | 06:34 | Now, if I use the Spacebar,
the Spacebar takes me back-and-forth.
| | 06:37 | If you notice up here, I can Spacebar
back-and-forth between the Move tool,
| | 06:41 | and the Selection tool, and that
makes it really easy to move these points
| | 06:44 | around and quick too.
| | 06:45 | So I can work through my model.
| | 06:47 | I'm going zoom-in just on the head area
and quickly work down the length of my
| | 06:52 | shark, grab a point, switch to
the Move tool, put it in position.
| | 06:56 | Grab a point, switch to the Move tool,
put it in position, and repeat that
| | 07:01 | process over and over again, and just
work my way down the length of the model.
| | 07:05 | You notice I'm lining up not the
blue line, but the gray line with the
| | 07:08 | outline of my shark.
| | 07:16 | The most important thing to remember
about this process is that you're sort of
| | 07:20 | roughing in the shape.
| | 07:21 | It's a lot like sketching.
| | 07:22 | You start with a very loose outline of
your object, then gradually add detail to it.
| | 07:26 | So that's what I'm doing as I'm
modeling the shape. I'm roughing in the points.
| | 07:31 | I'll grab both of those at the same
time and I'm going to add detail to it.
| | 07:37 | So I've gotten the shark just about as
close in outline as I can, but I need to
| | 07:41 | make a few more cuts just to
get things a little more precise.
| | 07:45 | So let's zoom-in on the head area in
particular, and I need to have a little
| | 07:48 | more detail in here.
| | 07:49 | Every time I make a cut,
I'm adding detail to the model.
| | 07:52 | So I'll right-click and add the Knife tool
again and you can see it's still in Loop mode.
| | 07:56 | So I can make my cut here right about
where the end of the jaw is, and I'll make
| | 08:03 | another cut about here.
| | 08:05 | The reason I'm making a cut is that I
need more control on a particular area.
| | 08:09 | You can see that by making that cut,
it gives me the ability to flex this area a
| | 08:13 | little bit more, and tighten that
up just a bit to the mouth itself.
| | 08:22 | As I move that down, I want to avoid
straight lines, and I'll make one more cut
| | 08:27 | in this fin area here.
| | 08:30 | So I'll right-click and get the Knife
tool and make a cut right about there.
| | 08:36 | And then take these two points, move
them back just a bit, and then the sharks
| | 08:41 | always have this little gut down in this
area here, and I like to make sure, and
| | 08:47 | stay faithful to that shape by
adding that stomach in there.
| | 08:51 | Maybe they just got done eating a diver
or something like that, and so you want
| | 08:54 | to have that little bulge in their stomach.
| | 08:57 | As we move that down, I see a couple
more opportunities for cuts. We want to
| | 09:04 | try and avoid little pinch zones like
this where things come together and try
| | 09:08 | and space them out as evenly as possible.
| | 09:13 | I think that's pretty good.
Got one more there, and one there.
| | 09:19 | You can see I'm creating openings for
the major fin elements, and the tail as well.
| | 09:27 | I think that's pretty good.
| | 09:30 | So that's a great stopping point
for this part of the modeling process,
| | 09:34 | because the goal of the modeling
process is to break a really complex task
| | 09:38 | down into manageable chunks.
| | 09:40 | This part of the process was to
outline the actual shape of the shark without
| | 09:45 | getting too much detail in the fin
area, and I think we've been able to do
| | 09:48 | that really nicely.
| | Collapse this transcript |
| Creating the mouth using the Extrude tool| 00:00 | The next step in the process is going
to be to create the polygons that will
| | 00:03 | become the mouth of the shark.
| | 00:06 | If I select my cube object here,
I have one extra step that I did in between
| | 00:10 | these movies and I just
want to tell you about it.
| | 00:12 | It's really simple step, but it's
crucial to understand why I did it.
| | 00:16 | I added another cut using the Knife tool
right along the length of the shark and
| | 00:20 | then in the Front view, I expanded out
the sides of the shark to match the edges
| | 00:25 | of the outline in the front view and
the way I did that was by selecting a
| | 00:30 | point in the side view. In this case
it's the Front actual Orthographic view but
| | 00:35 | at the side of the shark.
| | 00:36 | And then using the Scale tool in the
Perspective view to scale those points out.
| | 00:41 | So I hit T on the keyboard or grab the
Scale tool up here in the toolbar and
| | 00:46 | then use just the Z-axis to move
those points out and you can see as I move
| | 00:52 | those points out, my shark
gets wider, but only in one spot.
| | 00:56 | And so I work my way down the shark
and gave it a nice, pleasing shape along
| | 01:02 | the length of the shark, making a little
tummy area and a nice rounded side to the shark.
| | 01:09 | So that's the only difference between
that and the previous version of the file.
| | 01:12 | Now, I can start to focus on the mouth area.
| | 01:15 | Let's switch back to the side view of
the shark, which is actually the front
| | 01:20 | view in Orthographic mode, and now the
technique for making the mouth is I want
| | 01:29 | to have a set of polygons that I can
extrude outward to make the mouth area.
| | 01:33 | So I need to move some points around.
I'm going to switch to my Selection tool
| | 01:36 | and grab this point here and move it up.
| | 01:39 | This is going to become sort of his
cheek region. And then take these points
| | 01:43 | and move them up here.
| | 01:46 | You'll notice what that does.
| | 01:47 | That gives me a curvature here and
opens up this area and this area is going to
| | 01:51 | become extruded out to make the
mouth, the lower jaw of the shark.
| | 01:56 | So, let's push this up just a little
bit more and bring these down just a
| | 02:01 | little more, and then we'll make
another cut right in this area to give us a
| | 02:06 | little bit more control.
| | 02:07 | So if I right-click and go to my
Knife tool and then I'll make a cut right
| | 02:11 | about here and you can see how that
tightens up this jaw area. And then if I
| | 02:17 | move these points around just to kind
of open them up, you never want to have
| | 02:24 | points pushing too close together,
unless they're actually in a region where
| | 02:29 | geometry needs to come together, and
I push these points around, to cleanup
| | 02:35 | that region and you can see how every
time I push and pull, I open up this
| | 02:40 | region just a little bit more.
| | 02:41 | So now I can do my first extrusion.
| | 02:44 | I'll switch to the Perspective view,
and now for this next move I want to be in Polygon mode.
| | 02:54 | I'm going to use something called the Extrude
tool and the Extrude tool works in Polygon mode.
| | 02:58 | It actually works in Edge mode also
but it does not work in Point mode.
| | 03:01 | So, I want to be in Polygon mode,
which allows me to select the individual
| | 03:05 | polygons of the object.
| | 03:07 | If I click and hold down my Selection
tool and get back to my Live Selection tool,
| | 03:10 | the arrow inside the circle,
| | 03:11 | it makes it much easier to
switch and select polygons.
| | 03:15 | I do that quite a bit. I switch between
Selection tools, depending on which mode
| | 03:19 | I'm working in. I use the Rectangle
Selection tool for points and I use the Live
| | 03:22 | Selection tool for polygons.
| | 03:24 | So now I can grab these polygons and
I can right-click in the interface and
| | 03:29 | do the Extrude tool.
| | 03:30 | The Extrude tool allows me to create
polygons in a particular direction, based
| | 03:36 | on the original direction
of the selected polygons.
| | 03:38 | So if I have these polygons selected
and I click and drag. And now it's very
| | 03:41 | important with the Extrude tool, do
not grab the arrows. I want to click away
| | 03:45 | from the arrows and drag to the right.
| | 03:47 | Look what happens.
I create geometry out to the side.
| | 03:49 | Now, I haven't let go off my mouse yet.
| | 03:52 | I just want to extrude out one time
and then do a second extrusion, about
| | 03:58 | halfway like this, and then I'm going
to switch back to my Selection tool by
| | 04:03 | hitting the spacebar, and I do that
because I don't want to accidentally make
| | 04:07 | any more extrusions.
| | 04:09 | Now I can grab the axis band for these
selected polygons to just move them up
| | 04:13 | into place and look what I have.
I have this little lip here for my shark, and
| | 04:16 | that allows me to position that around.
| | 04:24 | That makes it really easy to
position the mouth polygons.
| | 04:27 | Now, you'll notice that the
shark lip is kind of rounded.
| | 04:33 | it really doesn't look like a shark yet.
| | 04:35 | So we're going to use the Knife
tool one more time to make another cut.
| | 04:38 | So I hit K on the keyboard, which is
this shortcut for grabbing the Knife. I could
| | 04:41 | also have right-clicked
and gone to the Knife tool here.
| | 04:45 | This time we're going to make a
cut right around the mouth region.
| | 04:48 | Now, this may be hard to see because of
the X-ray on, so I'm going to turn off
| | 04:51 | my HyperNURB by clicking on the green checkmark.
| | 04:54 | You can also use the keyboard shortcut
letter Q and that will turn off the HyperNURB.
| | 04:58 | And now I can easily see this
mouth region without the X-ray mode on.
| | 05:05 | So I'm going to make a cut right about
here, and if I turn the hyperNURB back on,
| | 05:10 | the letter Q on the keyboard, you can
see that every time I make a cut there
| | 05:13 | my mouth gets a little bit tighter,
and that's just what I want.
| | 05:20 | I think I've got enough polygons to work with.
| | 05:22 | I want to go into Point mode and start
moving things around, so that my mouth
| | 05:26 | will flatten out a bit.
| | 05:29 | So let's go to Point mode and
then switch to our Selection tool.
| | 05:34 | That is rectangular shaped and that's
the one I like to use when I'm in Point mode,.
| | 05:37 | And I'm going to grab points
and now I'm going to do this in the
| | 05:42 | Perspective view and I'm going to be
very careful about which points I'm
| | 05:47 | selecting. I want to grab this one here
and this one here and that gives me the
| | 05:51 | ability to move this, oops!
| | 05:54 | If I actually deselect something,
I can undo that deselection by hitting
| | 05:57 | Command+Z or Ctrl+Z on the PC.
| | 05:59 | Now I want to grab the axis band and
move those points around just a bit, just
| | 06:04 | kind of tuck them up in here
and then scale them inward.
| | 06:08 | If I hit the letter T on the
keyboard or grab the Scale tool, I can use
| | 06:12 | that same technique I used for the
side and just scale the mouth in and
| | 06:14 | then look what happens.
| | 06:15 | It gets nice and tight right in that region.
| | 06:18 | Let's scale those points down just a bit on
the Y-axis and then flatten that region out.
| | 06:22 | Now I want to grab all of these
points along the bottom here and sort of
| | 06:29 | tuck his jaw up a bit.
| | 06:30 | So let's hit the spacebar to get back
to the Selection tool, grab these points,
| | 06:36 | and then move them up.
| | 06:38 | Now you notice I'm using the axis
band here. You want to always be careful
| | 06:41 | about what axis you're moving your points on.
It's a really crucial observation to make.
| | 06:47 | Now I hit T to get the Scale tool back
and scale these points in and take a look
| | 06:54 | at my mouth from several angles.
| | 06:58 | Now the mouth shape is kind of bulbous
in this region here and I want to get rid
| | 07:03 | of that sort of lump there in his lower
jaw. So, I take these points and let's
| | 07:07 | grab the Selection tool again, and I'm
going to grab just these points here.
| | 07:11 | You notice every time I select some
points, I always was orbit around to
| | 07:14 | double-check which points I have selected.
And move these guys up into position here.
| | 07:20 | See how when I do that it gets rid of
that sort of gullet that he had going on there.
| | 07:26 | Now I got one more section to cleanup,
which is this area here, and you see this
| | 07:30 | tight row of points here?
| | 07:31 | Remember you don't have points
coming together like that unless there's a
| | 07:34 | specific reason for it.
| | 07:36 | The bottom of his jaw really
is not a good place for that.
| | 07:40 | I want to deselect that point I
accidentally selected. I hold down the Control
| | 07:42 | key and deselect it right there.
| | 07:44 | Now I take these points just move
them back and see how that opens up his
| | 07:49 | lower jaw as I do that. Oops!
| | 07:52 | I accidentally deselected. I can
Control or Command+Z to reselect those polygons.
| | 07:58 | Let's move those down and see how I moved
that down to smooth things out right in there?
| | 08:02 | And the mouth starts to
get a little more shapely.
| | 08:09 | And now I can grab this region here
and the points that are on the other side
| | 08:17 | and I'll switch to the side view and
that's going to make it a little bit easier
| | 08:19 | to grab those points, and I'll grab all
those guys right there. And you can see
| | 08:24 | that I have the right points
selected by orbiting around this way.
| | 08:28 | Let's turn the HyperNURB off for a
second and see what I'm about to do here.
| | 08:33 | I want to expand these points outward
and I think actually what I want to do is
| | 08:37 | grab all these points in this region
and expand them outward to kind of open up
| | 08:43 | his mouth a little bit more.
| | 08:45 | So I hit T on the keyboard to bring up
the Scale tool and now I'll scale these
| | 08:48 | guys outward and I'm probably going to
need to make another cut in his upper jaw
| | 08:53 | as well to give myself a little more control.
| | 08:55 | So hit Q on the keyboard to turn the
HyperNURB back on and you can see that,
| | 08:59 | if I render this, Command+R, Ctrl+R in the
PC, that his mouth is looking not too bad.
| | 09:05 | It needs to be tighter in this
region here, but it's got the basic jaw
| | 09:09 | shape pretty good.
| | 09:13 | So now let's go back to the side
view and move a few more points around.
| | 09:20 | Grab my Selection tool and just move
these guys and open up this region. I want
| | 09:24 | to make sure I don't have a lot
of tight points coming together.
| | 09:27 | Let's now move that down there,
move that down here, and I think
| | 09:35 | it's starting to look really good.
| | 09:38 | It's going to take some time to
refine this mouth region a little bit.
| | 09:41 | We'll be using the same techniques
that we've done all along, but we'll skip
| | 09:46 | ahead in time a little bit
so we can get to the end.
| | 09:49 | Now you can see that we've done
quite a bit of refinement on the mouth
| | 09:52 | region and we've got it to a pretty
good state using all the same techniques
| | 09:56 | that we had done before.
| | 09:57 | So I'm finished about as much refinement on
the mouth as I really want to do right now.
| | 10:02 | I'm going to turn the X-ray mode off
on the HyperNURB so that I can see the
| | 10:06 | actual geometry that makes up the
HyperNURB and you can see it has a nice flow
| | 10:10 | to the polygons as they travel along
the length of the object and everything is
| | 10:14 | still quadrangles, which is really
important. It makes that model animate much more
| | 10:18 | smoothly inside the Spline Wrap object.
| | 10:20 | So, if I select my low res mesh, you
can see I've refined the mouth area and
| | 10:25 | done my extrusion for the jaw and
just about got the shape right on here.
| | 10:31 | There's still a little bit of tweaking
left to do but we're going to do that at
| | 10:34 | a later stage in the process.
| | 10:36 | So there's still more work to be done
but I think the mouth is at a pretty good stage.
| | Collapse this transcript |
| Adding eyes using the Symmetry object| 00:00 | Now that we've got the shark mouth
pretty well roughed in, we need to
| | 00:04 | start adding the eyes.
| | 00:06 | A shark is symmetrical from left to
right, meaning that there is an eye on each
| | 00:10 | side of its head and there's also
a nostril on each side of its head.
| | 00:13 | Same thing for the gills and some of the fins.
| | 00:16 | There's a great tool in CINEMA 4D
called the Symmetry object that allows you to
| | 00:19 | work on one side of your model and
automatically duplicate the geometry onto the other side.
| | 00:25 | I'm going to add a Symmetry object to the scene.
| | 00:28 | It's underneath the modeling objects
and it looks like an egg split in half.
| | 00:33 | The Symmetry object is a generator,
but it's very important to put it in the
| | 00:36 | hierarchy in the right way.
| | 00:37 | Before I do add it to the hierarchy
though, I need to delete half of my model.
| | 00:40 | So if I go to my cube object here, I'm
going to delete all the points that are
| | 00:47 | on this side of the shark.
| | 00:49 | So let's go to our Selection tool and
get into the Front view and I'm going
| | 00:55 | to draw rectangle around all these points, all
the way up right up until the edge of the axis.
| | 01:02 | Now, you noticed I didn't select the
points that are right along this axis here.
| | 01:05 | I only grabbed the ones to
the right-hand side of it.
| | 01:08 | Let's double-check and make sure that we
have all those points selected and if I
| | 01:10 | look down the shark model, I can see at
the tail especially that I don't have
| | 01:15 | anything selected that I don't want
and that's very important to do first.
| | 01:19 | So, now that I've got those
selected, I'll simply hit the Delete key.
| | 01:22 | Now this is a drastic change I'm about to make.
| | 01:24 | So before I do that, let's make a copy
down here in the hider and call that 004,
| | 01:30 | and now I'll go back to this model and
then delete those points. And the reason I
| | 01:35 | can still see my shark is that I
accidentally left on the green status dots.
| | 01:39 | That makes it show up even
though the parent is still invisible.
| | 01:43 | So let's make those both back to gray
and now I'll see just half a fish here.
| | 01:48 | Now this is where the Symmetry object comes in.
| | 01:51 | I'm going to take the Symmetry object
and place it into the hierarchy underneath
| | 01:54 | the HyperNURBS and that's going to kill
the effect of the HyperNURBS, because it
| | 01:57 | tries to only smooth the first thing it finds.
| | 02:00 | Then I'll take the cube and drag
it underneath the Symmetry object.
| | 02:03 | Now, the Symmetry object by
default mirrors across the ZY plane.
| | 02:09 | Now of course that it flops our shark over, so
we have two mouth and that's not what we want.
| | 02:12 | We really want to have a
flop on this side of the axis.
| | 02:14 | So let's go to the Symmetry and go to
the Object Properties and change the
| | 02:18 | Mirror Plane to be the XY plane and
that's going to flip our shark over on
| | 02:24 | one side of the axis.
| | 02:26 | Now, the Symmetry object makes it very
easy to work only on one side of the axis.
| | 02:29 | So if I select my cube, you can see that
I have all my points on one side of the
| | 02:34 | shark and if I grab a point here and I
move it out, look what happens on the
| | 02:37 | other side of the model, which is great.
| | 02:40 | It means I only have to do one eye and
I'll automatically get the other eye on
| | 02:44 | the other side of the shark.
| | 02:45 | So let's take a look at
where the eyes are going to go.
| | 02:47 | Let's switch the X-ray mode back on
on the HyperNURB and then switch to the
| | 02:53 | Front view so we can see
our shark from the side.
| | 02:55 | Now I'm just using the middle mouse
button just now to move back and forth
| | 02:58 | between these views here.
| | 02:59 | It's lot easier than clicking up
and clicking on the view icon in the
| | 03:03 | upper right-hand corner.
| | 03:04 | So now we can zoom in on our
model here in just the head area.
| | 03:08 | Select the cube and take a look
at where the eyes are going to go.
| | 03:11 | I want to make the eye in the same
location as the drawing, but I want to make
| | 03:15 | sure that it's right in
the center of the polygon.
| | 03:17 | I already have one here
that will work out nicely.
| | 03:20 | So I'll take these points and I'm
going to move them back just a bit.
| | 03:24 | Now, it's very important that you not
move things with the Symmetry object.
| | 03:28 | If I accidentally move these guys this way,
you see I get a hole that opens up in my model.
| | 03:33 | Let's undo that by hitting Command+Z
or Ctrl+Z on the PC and I want to be
| | 03:37 | careful not to do that.
| | 03:38 | So, I'm always going to
double-check my movement.
| | 03:41 | So I'll move these points back a bit
so that my eye is now more centrally
| | 03:46 | located inside that polygon.
| | 03:48 | I can do the same thing for these
points and just move this back a little bit
| | 03:52 | and get my eye right into
the center there. There we go.
| | 03:58 | And as I move these points around, I am
keeping an eye on where that eye is going to be.
| | 04:03 | So now I've got that eye lined up and
now the process for making the eye is
| | 04:07 | really straightforward.
| | 04:08 | But we're going to use a new tool though.
| | 04:10 | something called the Extrude Inner to do that.
| | 04:13 | Now let's turn the HyperNURB X-Ray
mode off and then go back to our cube
| | 04:18 | and select Polygon mode and then switch my
Selection tool back to the Live Selection.
| | 04:24 | I'm going to grab this polygon here and
what the Extrude Inner tool does is it
| | 04:28 | creates an inset of the polygon that
you have selected and we want to use that
| | 04:32 | inset to make our eyeball.
| | 04:34 | So, I'll right-click and do an Extrude Inner
and then I'll extrude inward on this polygon.
| | 04:41 | You can see when I drag that to the
left it creates an inset version of the
| | 04:45 | polygon without actually changing
the shape of the polygons around it.
| | 04:48 | And that's very useful because now I
have the starting point for my eye.
| | 04:52 | Let's switch back to the side view and go
into point mode and reposition these objects.
| | 04:58 | I'm going to grab my Selection tool
and grab this point here and just move it
| | 05:01 | around a little bit, and grab this
point here and just move it around a bit and
| | 05:07 | see as I move those points around,
they start to form a little circle area.
| | 05:13 | Now let's turn our HyperNURB X-Ray back
on so that we can see where our eye is
| | 05:19 | and you can see as I move these points
around, I'm framing up the eye and the
| | 05:23 | drawing and I don't have to be real
super careful with it as long as it's
| | 05:30 | about in the right region.
| | 05:32 | Now I can go back to Perspective view
and you can see that my eye is not in
| | 05:36 | the right shape at all.
| | 05:37 | So let's grab these two points and just
move them straight out, so that they're
| | 05:42 | lined up with the side of the shark
and move these guys out just a bit more.
| | 05:48 | So now we're going to use a
combination of the Extrude and the Extrude Inner
| | 05:51 | tool to make the eye.
| | 05:55 | So let's start off by doing
a little extrusion inward.
| | 05:58 | I'm going to go to Polygon mode
first and then right-click and grab the
| | 06:03 | Extrude Inner tool.
| | 06:05 | With the Extrude Inner tool active,
I'm going to extrude in once just a bit
| | 06:12 | and then I'll right-click and do the
Extrude tool and the Extrude tool allows
| | 06:16 | me to extrude in and you see here
when I do that, if I drag that right it
| | 06:23 | extrudes outward. If I drag to the left, that
extrudes inward based on the normal direction.
| | 06:29 | As I move that in, I now
have a little indentation here.
| | 06:32 | Now if I use the Extrude Inner tool
one more time, I will create an inset
| | 06:37 | polygon and now when I use the Extrude
tool again and extrude back out again,
| | 06:42 | I have a nice round eyeball that
comes up right in this position.
| | 06:45 | You can see that it's on both sides of
the shark, right where it needs to be.
| | 06:51 | So now, we've got our eyeball done
and we can use the same technique to
| | 06:54 | create the nostril.
| | 06:55 | So let's go to the side view and the
nostril's going to go right about in this area here.
| | 07:00 | I need to add another cut so that I
have a little more detail to work with.
| | 07:04 | So let's go to our Knife tool and
switch back to Point mode, right-click and
| | 07:09 | grab the Knife tool, and I'm going
to make a cut right around here.
| | 07:12 | It's very important when you're working
in the Symmetry object to cut right on
| | 07:16 | this edge here so that you know you're
cutting all the way around your object
| | 07:19 | and so that gives me I think the
detail that I need for my nostril.
| | 07:24 | So if I switch back to the side view,
then I can grab just these points in
| | 07:31 | the center here and open them up just a bit to
give myself a little more room for the nostril.
| | 07:36 | And now I'm going to create the
nostril right in this region here using the
| | 07:39 | exact same technique I did for the eyeball.
| | 07:42 | So let's switch to Polygon mode and
grab these two polygons right here.
| | 07:50 | We're going to start off
by doing an Extrude Inner.
| | 07:53 | An Extrude Inner will create an inset
of those polygons and then let's move
| | 08:03 | these points around a bit.
| | 08:04 | I'm going to scale them using the Scale tool.
| | 08:07 | So hit T on the keyboard to grab the Scale tool.
| | 08:09 | I'm going to scale on just on the X-axis here.
| | 08:12 | That's going to squish them together
and then I'm going to scale them on the
| | 08:17 | Z-axis, which is going to
squish them together this way.
| | 08:19 | You can see that it makes the
polygons a lot more friendly for moving them
| | 08:24 | around and makes our nostril not quite so wide.
| | 08:28 | So let's squish them on Z-axis and
then I think that's not a bad place.
| | 08:32 | Let's move them out just a little
bit to smooth things out a little.
| | 08:36 | Now we can do an Extrude Inner.
| | 08:38 | So we go to Extrude Inner and extrude
inward by dragging to the left and then
| | 08:44 | we're going to simply move these
polygons in and that's going to create an
| | 08:50 | inset for our nostril and then we can
move those polygons forward just a bit,
| | 08:55 | but the nose on a shark is actually set so that
water doesn't come in as it's swimming forward.
| | 09:02 | It sort of gets gathered up
and pushed into this opening.
| | 09:05 | So now I can smooth that out a
little bit by just grabbing the points and
| | 09:12 | switching to the Selection tool
and just moving things around a bit.
| | 09:15 | I'm being very careful
about where I put my points at.
| | 09:20 | I think that's just about got it.
| | 09:23 | I just cleaned up that one little spot
right there and moved this point out a
| | 09:27 | little bit to get rid of that ridge.
| | 09:29 | What I like to do is always look at the
other side of the shark and you can see
| | 09:32 | from this side I've got a
nice little nostril going.
| | 09:35 | I want to do a little bit of refinement
here, but I think it's pretty darn close.
| | 09:39 | Now that I've got my nostril in
position and I've got my eyes in position,
| | 09:44 | I think we're just about done with the head.
| | 09:46 | We're in pretty good shape now
to move on with rest of our shark.
| | 09:48 | We're going to leave the Symmetry
object in place because it's going to make
| | 09:51 | things a lot easier in the modeling
process for creating other symmetrical
| | 09:54 | elements like the pectoral fins and the gills.
| | Collapse this transcript |
| Creating fins using the Extrude tool| 00:00 | A shark has a lot of fins.
| | 00:02 | We typically think of the one on a top
that sticks out of the water and scares
| | 00:05 | beachgoers, but they are really a lot more.
| | 00:07 | We want to create them in a
specific order so we can minimize how much
| | 00:10 | backtracking and fixing
we need to do on our model.
| | 00:13 | In this first part of the fins we are
going to create the pectoral and the
| | 00:16 | pelvic fins, which run along in the
size of that shark, and we are doing this
| | 00:19 | because we already have the Symmetry
object in place and that's going to make
| | 00:21 | making those sets of fins really easy.
| | 00:24 | Let's start off with the pectoral fin.
| | 00:26 | I've select my cube object.
| | 00:28 | Now, I'm about to make a drastic change.
| | 00:29 | So let's Ctrl+Drag a copy of that
down into the hider and call that 005.
| | 00:34 | And let's hide it from view and
let's fix that so we don't have to worry
| | 00:38 | about that anymore.
| | 00:39 | I'm going to make both dots gray.
| | 00:44 | On my original cube object here,
let's switch to the side view and you can
| | 00:48 | see that I already have a nice base. The
pectoral fins come right out of this polygon here.
| | 00:55 | So that's a perfect place to start.
| | 00:56 | So let's switch back to the Perspective view.
| | 00:58 | Move into polygon mode and then use
our Selection tool and grab this as
| | 01:03 | polygon right here.
| | 01:04 | And actually, I grabbed the wrong one.
| | 01:05 | Let's make sure that I
have the right one selected.
| | 01:07 | I will grab this polygon in the
Orthographic view and move back to
| | 01:11 | the Perspective view.
| | 01:13 | Now, we're going to use the same kind
of technique that we did for the eyes,
| | 01:15 | except this time instead of extruding
inward to create an indentation we're
| | 01:19 | going to extrude outward.
| | 01:20 | But first we need to create some
extra polygons for us to work with.
| | 01:23 | So we use the Extrude Inner tool to
drag and drag to the left here and then
| | 01:28 | create an inset of polygons.
| | 01:31 | Now, I can use the scale tool.
| | 01:34 | T on the keyboard, and squish that down,
because the fin is really thin on one axis.
| | 01:39 | Let's move that polygon around and
bring it down to right about there.
| | 01:45 | Now, I can use the Extrude tool.
| | 01:47 | D on the keyboard or you can right-
click and grab Extrude and drag to the
| | 01:54 | right to extrude outward.
| | 01:56 | Now I need a little more detail,
but this is going to for now.
| | 01:59 | I'm going to just drag it out here.
| | 02:01 | A lot of times what I do when I'm
extruding I'd like to do one long extrusion
| | 02:05 | and then use the Knife tool to make some
cuts to shape things up. So let's do that.
| | 02:09 | So I've got one long extrusion
and now I can use my Knife tool,
| | 02:13 | K on the keyboard, and make a cut up
here near the top and you see how it
| | 02:20 | tightens up the fin.
| | 02:22 | Then I'll make another cut down here in
that fin, as you can see from the drawing.
| | 02:26 | Let's switch to the side view.
| | 02:27 | It has sort of a leading edge and a
trailing edge that has a little bump in it up here.
| | 02:31 | So we want to make that bump.
| | 02:34 | So let's switch back to the point
mode and then grab just these two points.
| | 02:40 | I used the Spacebar to grab the
Selection tool and let's take these points here
| | 02:46 | and move them on the Z-axis.
| | 02:49 | That's going to shape that up.
| | 02:51 | Then we'll take these two points here
and move them this way on the Z-axis.
| | 02:55 | That's going to create a nice little
leading edge for us and take these guys and
| | 02:59 | move them on their X-axis.
| | 03:03 | Now that we've got those points moved around,
we can just refine it just a little bit.
| | 03:10 | There we go!
| | 03:11 | I want to create a pretty aggressive
shape to that fin, because it really is
| | 03:20 | intended to slice through the water.
| | 03:22 | So you want to create a very
sharp and aggressive shape.
| | 03:26 | Now, we don't want our fins
sticking out to the side like that.
| | 03:29 | It really kind of dangles down
and they use that for steering.
| | 03:32 | So if I grab these first groups of
points, I want to grab all the points that
| | 03:36 | are associated with the fin.
| | 03:38 | So I'll go to the Selection menu
and use the Grow Selection command.
| | 03:42 | When I execute that,
it grabs the next set of points up.
| | 03:45 | I'll do that a couple of more times
to get all the points for the fins.
| | 03:48 | Selection > Grow Selection, Selection >
Grow Selection, and now I have all those
| | 03:54 | points for the fin and I can
just move them out just a bit.
| | 03:58 | Then I can rotate them down into
position and then tuck that fin right
| | 04:05 | into this side.
| | 04:07 | You can see now I've got a nice pectoral fin.
| | 04:14 | That really looks pretty good.
| | 04:18 | So now we can move onto the
second set of pectoral fins.
| | 04:21 | And if I look at the side view of the
shark, in the side view its actually
| | 04:27 | looks like a single fin, but really
it's two fins that are in this region.
| | 04:30 | So I'm going to grab the
polygons associated with that.
| | 04:36 | So let's switch back to the
side view and go to Polygon mode.
| | 04:39 | Make sure you're using the Selection
tool and grab just that polygon right there.
| | 04:43 | That's the one I want to use as
the basis for my second pectoral fin.
| | 04:51 | If I right-click and do another Extrude
Inner, you can extrude in to make that fin
| | 04:58 | and then to another Extrude outward
by dragging it to the right to make that fin.
| | 05:03 | As you can see, it's
starts off as a little bump.
| | 05:06 | Then I can do another extrusion to get
the fin a little bit longer and then I
| | 05:11 | can just reshape it using the points.
| | 05:13 | So let's start off by scaling that polygon.
| | 05:16 | I will hit T on the keyboard to get the
Scale tool and just scale that polygon.
| | 05:20 | You know what, rather than use the
Scale tool, I think it might be easier
| | 05:25 | actually to just to move the points around.
| | 05:26 | So let's switch to Point mode, grab
a Selection tool, and then grab these
| | 05:31 | two points right here.
| | 05:32 | I'm going to move them on the Z-axis
to kind of make that fin a lot thinner.
| | 05:37 | Then move this one up like this.
| | 05:39 | You see that how the fin gets a
little bit thinner each time I do that.
| | 05:43 | I am going to move those guys together.
| | 05:45 | Now I want to just create that nice
little shark-like indentation here in the fins.
| | 05:51 | So I will grab these two points and I
am going to move them back a little bit.
| | 05:55 | I think I need to do one more extrusion.
| | 05:59 | Grab these guys and move them up just a bit.
| | 06:06 | I'm going to do one more extrusion.
| | 06:08 | Let's tighten this up and so I can get
that nice this little point right here
| | 06:13 | on the leading edge.
| | 06:14 | So I will switch back to Polygon mode
and then right-click and grab my Extrude
| | 06:17 | tool and do one more extrusion outward.
| | 06:21 | Then I'm going to scale this
polygon by switching to Point mode.
| | 06:25 | Remember, whenever you're moving
points you also moving the polygons.
| | 06:29 | So as I move these points around I can
switch up the shape of that polygon and
| | 06:34 | just make it nice and smooth.
| | 06:37 | So move those guys together there and
adjust the leading edge of this fin.
| | 06:46 | I think it's going to just about done.
| | 06:54 | There we go! Let's take a quick rendering,
Command+R, and we can see that we've got a great
| | 07:00 | looking second pectoral fin.
| | 07:02 | So the Symmetry object is a really
important tool for modeling and it makes
| | 07:05 | things like these fins and the
symmetrical elements on the shark object
| | 07:09 | really easy to create.
| | Collapse this transcript |
| Creating the tail and dorsal fins using the Extrude tool| 00:00 | With the symmetrical elements out of
the way we can now focus on the fins that
| | 00:03 | run right down the center of the shark.
| | 00:06 | So, the dorsal fin, which is the fin
that goes across to his back and it's the
| | 00:09 | most recognizable of all the shark
fins, is going to come right about of this
| | 00:14 | region of the shark.
| | 00:15 | But making an element in the center
line of the shark is really difficult with
| | 00:18 | the Symmetry object in place.
| | 00:20 | So, we need to make the Symmetry
object of one whole shark again.
| | 00:24 | So, that's a drastic change.
| | 00:25 | So, let's take the Symmetry object and
Ctrl+Drag a copy of it down into the hider.
| | 00:29 | Then we are going to come
back to the original symmetry.
| | 00:33 | With the Symmetry object selected I am
going to hit the Make Object Editable button.
| | 00:36 | I can also hit the letter C on the keyboard.
| | 00:39 | If I click on that, now I get a cube that
has all the points on both sides of the axis.
| | 00:48 | Now, it's going to be really
easy to make that dorsal fin.
| | 00:50 | So, let's go back to the side view and make
sure that I have the right polygon selected.
| | 00:55 | So, let's go into polygon mode and get
the Selection tool and I am going to
| | 00:59 | grab these two polygons here.
| | 01:01 | You can see they line up
very well with the dorsal fin.
| | 01:04 | Now, let's switch to the full-
screen of the Perspective view.
| | 01:08 | We are going to use the same kind of
technique that we did for the pectoral fins.
| | 01:12 | We are going to simply do an Extrude
Inner and then Extrude Upward and then
| | 01:16 | moving some points around
to make things look nice.
| | 01:18 | So, I'll right-click and
do an Extrude Inner tool.
| | 01:21 | Let's extrude inward and
we'll go quite a ways in.
| | 01:24 | We are going to be moving these points
around a bit. I want to make sure
| | 01:26 | they are well off the side of the shark.
| | 01:29 | Then I am going to use the Scale
tool to scale these guys together.
| | 01:32 | I can go on the Z-axis and then on the X-
axis let's make them really long this way.
| | 01:39 | There we go!
Using the Scale tool again.
| | 01:41 | Now, I have those guys selected already.
| | 01:45 | So now I am ready to do my first extrusion.
| | 01:47 | So, I'll right-click and do an Extrude.
| | 01:49 | I am going to extrude upward just
a bit and that gives me the first
| | 01:54 | indentation of that.
| | 01:56 | Now, I can extrude up one more time
and that's going to give me a control
| | 02:00 | point about halfway up.
| | 02:02 | Then I can extrude one more time after
that and that's going to be basically
| | 02:05 | the top of the fin.
| | 02:06 | I might need to make a cut with my Knife tool,
but that's going to be really easy to do.
| | 02:10 | So, now I don't want to have this wide.
| | 02:12 | It looks like a radar bulge or
something like that on top of the shark.
| | 02:14 | I want this to be really thin.
| | 02:16 | So, let's grab the Scale tool and scale it
on the Z-axis and bring these points together.
| | 02:23 | Then I'll flat them out a bit on the Y-axis.
| | 02:25 | It makes them nice and round.
| | 02:30 | I can scale them together even
more to have a nice cut to that.
| | 02:35 | Now, I want to do the same thing
along the length of the object.
| | 02:40 | So, I am going to grab my Selection
tool and I am going to grab all of these
| | 02:44 | polygons now and orbit around and grab the
polygons that are on the back side as well.
| | 02:52 | Then use my Scale tool once again.
| | 02:54 | The letter T on the keyboard
and just scale those guys in.
| | 02:59 | By doing that I'm making
my fin nice and slender.
| | 03:04 | Now, I can go in the Point mode and
grab this point right here and this point
| | 03:11 | on the front side.
| | 03:13 | I want those guys to line up.
| | 03:15 | I can just use the Move tool and move them
down so that everything lines up nice and neat.
| | 03:21 | Now, I can just grab these points
on the back here and adjust them.
| | 03:26 | Let's go in the side view to do that
so we get things to line up nicely.
| | 03:31 | I'll grab my Rectangular Selection tool
and make sure that Only Select Visible
| | 03:36 | Elements is unchecked.
| | 03:37 | Now, I can quickly line up this.
| | 03:40 | I am going to need to make
another cut I can already tell.
| | 03:42 | But I am going to grab and put these
points at the top. I put this point along
| | 03:47 | the leading edge. I put this point
along the trailing edge about halfway up.
| | 03:51 | Now, I need to make another cut so I
will get my Knife tool out and make sure
| | 03:56 | that it's set to Loop mode and
make a cut right about there.
| | 04:00 | Then grab the trailing edge
points and move them out here a bit.
| | 04:05 | Let's go back to the Perspective view
and see which points we are about to grab.
| | 04:09 | Actually, I think I need to make one more cut.
| | 04:14 | If I grab this point right here and
this point right here, Command+Z, and this
| | 04:22 | point right here, you can see I've
got just those two points selected.
| | 04:24 | I am going to move them up just a
bit so that they are right about there.
| | 04:28 | I need to have this
little indentation right here.
| | 04:31 | So, I am going to make one
more cut with a Knife tool.
| | 04:35 | Then that's going to give me
exactly what I need to make that little
| | 04:39 | extrusion right there.
| | 04:41 | So, I go back and enter the side
view and grab just those points.
| | 04:50 | I want to make sure I only
have those points selected.
| | 04:52 | I don't want this point right here so
I am going to Ctrl+Drag and deselect it.
| | 04:56 | Now, I can take these points
and move them back on the Z-axis.
| | 04:58 | You can see that gives me a nice
little extrusion there, a little dip.
| | 05:04 | I can just shape that down a little bit
and then grab all the points along the
| | 05:08 | back and move them down
into position. There we go!
| | 05:15 | Then I can grab all of these points and
then just tuck them right on in there.
| | 05:21 | You can see it makes
it really easy to line that up.
| | 05:25 | Now, there is two more fins that I have
to do along the dorsal line, which is the
| | 05:31 | second dorsal fin right here, and then the tail.
| | 05:42 | Now that I've got my dorsal fin done,
I can do the second dorsal fin, which is
| | 05:45 | right here in this area.
| | 05:47 | Let's switch back to Polygon mode and
this is going to be exactly the same
| | 05:49 | technique that I used before.
| | 05:51 | Except a little bit easier because I don't
have that little indentation to worry about.
| | 05:55 | So, I will grab both of these
polygons right here, do an Extrude Inner,
| | 06:04 | and then do an extrusion.
| | 06:09 | Drag it upward, then scale those in,
and move the points around to make it look pretty.
| | 06:19 | Let's do that in the side view.
| | 06:22 | I get my Rectangular Selection tool and
grab that one and move it up right here.
| | 06:30 | I will grab both of these points.
| | 06:33 | Actually, let's move these point up out
of the way a little bit and these points
| | 06:38 | here and move up to make
that nice sort of leading edge.
| | 06:43 | Everything on the shark there is a
leading edge and a trailing edge.
| | 06:45 | They are very hydrodynamic which
means they flow through the water nicely.
| | 06:51 | So, you want to make sure there
are no abrupt angles on your shark.
| | 06:55 | You want to scale this together.
| | 06:57 | It's kind of wide for a fin.
| | 06:59 | So if I grab this point and this
point and this one and this one,
| | 07:08 | I can now use my Scale tool on the Z-
axis only and squish those guys together.
| | 07:15 | Then I can grab all these points and
squish them altogether to make that nice and thin.
| | 07:24 | So, there is that point. Now I can do
the tail in exactly the same manner.
| | 07:28 | So, if I grab this point
here, this polygon here.
| | 07:33 | I am going to first do
an extrusion for the tail.
| | 07:37 | I'll do an actual extrusion.
| | 07:38 | Actually, let's do an Extrude Inner.
| | 07:40 | Extrude Inner. That gives us a little
more control and then do an extrusion.
| | 07:46 | I'll do one extrusion up.
| | 07:49 | Then in the side view just drag the polygon.
| | 07:51 | So, I am going to switch to my Move
tool and drag those polygons up a bit.
| | 07:55 | Let's go up to about here.
| | 07:57 | Then we'll take the Scale
tool and scale them down.
| | 07:59 | You can see I am scaling those
polygons so they are just about flat.
| | 08:03 | Now, I'm going to do another extrusion,
| | 08:05 | Before I do that extrusion I am
going to scale that tail very thin.
| | 08:13 | Now, I can do one more extrusion.
| | 08:14 | D on the keyboard, extrude upward,
and then more extrusion after that.
| | 08:21 | That's going to give me the ability
to put this little notch in the tail.
| | 08:25 | Every shark has a different type of
notch and this one is particular to
| | 08:29 | the great white shark.
| | 08:30 | In Point mode, I can start to
move things around really easy.
| | 08:33 | So, I am going to grab these points
here and move them up here and then up
| | 08:40 | here and take these and move them right
along here and create that leading edge again.
| | 08:46 | I grab those and move them around this way.
| | 08:52 | I'll need to make one more cut right
about there to create that trailing edge
| | 09:01 | to get this leading edge nice and smooth
and there is the top half of the shark tail.
| | 09:06 | The bottom half of the shark tail is
done in exactly the same way, which will
| | 09:09 | take a little bit less time, because
it doesn't have that little notch in it.
| | 09:14 | So, if I go to Polygon mode, switch to
the Live Selection tool, grab these two
| | 09:23 | polygons right there, do another
Extrude Inner, and then do an extrusion.
| | 09:30 | D on the keyboard and extrude downward.
| | 09:32 | Then use the Scale tool to scale the
polygons together and scale them flat.
| | 09:39 | Dragging to the left to do that and
then scale them together some more.
| | 09:44 | Now, I can go to the side view and
move these polygons in the position.
| | 09:50 | Then switch to Point mode and grab my
Rectangular Selection tool and move them
| | 09:57 | into position, make two cuts
with the Knife tool, one, two.
| | 10:03 | Grab the points and move them into
position, and my shark tail is done.
| | 10:11 | So, the most important thing to
remember about this process is that you want to
| | 10:17 | do everything in a particular order.
| | 10:19 | We waited until the last minute to
remove the Symmetry object from the scene,
| | 10:23 | because it made it easy for us to
create the symmetrical fins down the
| | 10:26 | length of our shark.
| | 10:27 | As soon we didn't need it, when we
needed to create single elements down the
| | 10:30 | center of line of the shark, we got
rid of that Symmetry object and that made
| | 10:34 | the modeling process a lot more
straightforward, a lot more easy to manage.
| | Collapse this transcript |
| Creating gums using the Symmetry object| 00:00 | Our shark buddy is just about done, but
now our shark needs the most important
| | 00:03 | and scariest part of all, the teeth.
| | 00:06 | But before we can create the teeth,
we need some gums for the teeth to sit in.
| | 00:09 | We are going to be using the Symmetry
object again to reduce our modeling and
| | 00:12 | make both sides of the gums at once.
| | 00:14 | So here in my shark, I don't really
need these profile images anymore.
| | 00:18 | So I am going to hide the image planes
from view, and that's going to make our
| | 00:21 | scene lot less confusing to look at.
| | 00:23 | So here in the mouth region, I want to
create a simple shape that the teeth can
| | 00:27 | sit in that's going to be lined up
with the bottom portion and the upper
| | 00:31 | portion of the jaw line.
| | 00:33 | So let's add a new cube to the scene,
and with that cube I am going to parent it
| | 00:38 | into this hierarchy here.
| | 00:40 | Now this Null object is called Symmetry,
but it really isn't a symmetry anymore.
| | 00:43 | So let's rename it and call it a shark.
| | 00:48 | Now this HyperNURBS is way here in the middle.
| | 00:51 | It looks kind of like as extra stomach here.
| | 00:53 | We are going to move that up to the
head region and then just start to
| | 00:57 | change the size on it.
| | 00:59 | Let's start with the Y and just squish
it down really far and then on the Z.
| | 01:04 | I basically want to make a little
tube that I am going to cut up.
| | 01:07 | So that tube is going to sit
right about at the start of the mouth.
| | 01:13 | Let's move it down into
position, right about there.
| | 01:18 | I can take this little tube object now
and make it editable. C on the keyboard.
| | 01:25 | In Point mode what I want to be able to
do is use a Symmetry object to only have
| | 01:31 | to model one half of the gums.
| | 01:33 | My shark is pretty well
identical from left to right.
| | 01:36 | So by using a Symmetry object that'll
give me the ability to only model one half
| | 01:40 | of the gums and have it
immediately flop over to the other side.
| | 01:43 | The way this Symmetry object works is
it's going to mirror everything across the
| | 01:47 | Z-axis in this case.
| | 01:48 | So I want to take these points that are
on this side of the object and I want to
| | 01:53 | get them to stick right to the
exact center line of my shark.
| | 01:59 | So if I take my cube here and select
these points and in the Coordinate Manager,
| | 02:05 | I can switch my mode to World mode.
| | 02:08 | I am going to use the Coordinate
Manager to move these points into position.
| | 02:11 | So I want to move them on the Z-axis.
| | 02:13 | So I'll select the Z position, make
sure that my mode is set to World mode, and
| | 02:18 | then change this value in this field to be 0.
| | 02:21 | You're going to see those points snap
immediately to the centerline of my shark.
| | 02:25 | Now I have a polygon here.
| | 02:28 | If I go in to Polygon mode, I can see
that I have a polygon here on the end and I
| | 02:31 | don't want that polygon there, because
that's going to be problems when I use
| | 02:34 | the Symmetry object.
| | 02:35 | So I'll delete that and
that opens up a little hole.
| | 02:38 | So now I can add a
Symmetry object to this scene.
| | 02:41 | Now this is a great little trick.
| | 02:42 | I am going to hold down the Option key
and click on my Modeling tools and add a
| | 02:47 | Symmetry object to the scene.
| | 02:48 | When I do that, holding down the
Option key, because I have my cube selected,
| | 02:52 | it automatically made the Symmetry
object a parent of the cube in the same
| | 02:55 | location as the cube.
| | 02:57 | Remember, the Symmetry object by default
creates symmetry across the Z and Y plane.
| | 03:04 | We want to switch that over to the X
and Y plane so that it will flop it across
| | 03:08 | this axis right here.
| | 03:09 | So we switch that to X and Y and now we
get a tube that's on both sides of the axis.
| | 03:16 | Now I can take this Cube object and so
I'd like to push and pull those points
| | 03:20 | around and I probably want
to do this in the Top view.
| | 03:23 | So let's go into the Top view
and zoom in on this region here.
| | 03:27 | You could see that this line of
polygons are the ones I want to keep track of.
| | 03:32 | I probably should just change the
display to Gouraud Shading and that will make
| | 03:36 | it a little bit easier to see my cube.
| | 03:38 | I lost that line, but I can always get it back.
| | 03:41 | So I am going to switch over to point
mode, right-click to get my Knife tool,
| | 03:46 | I make sure I am in Loop mode, always,
and just add a few extra cuts right here.
| | 03:52 | Now I can take these cuts and simply
move them around in space and I am going to
| | 03:58 | move these guys on the Z-axis and then
just rotate them in the Top view to make
| | 04:03 | that a little bit larger and
then just kind of move them out.
| | 04:05 | I will repeat that process, creating
sort of a horseshoe shape as I go.
| | 04:14 | Now I am just using the Spacebar to
get back and forth between the Selection
| | 04:20 | tool and the Move tool.
| | 04:23 | Now let's double-check our
work here in the Perspective view.
| | 04:28 | So now what we really need to do is
I am going to hit Command+A or Ctrl+A and
| | 04:33 | drag that down until it lines up and
then work my way along the jaw, moving
| | 04:38 | this up into position.
| | 04:39 | So I'll start at the back of the
jaw and move that up like that.
| | 04:45 | I am using the Y axis only to
move those up into position.
| | 04:54 | Then do the same thing
for this one. There we go.
| | 04:59 | And now they're sticking out a little bit far.
| | 05:03 | So let's select all the points and
move them on the X-axis only, right into
| | 05:07 | position, kind of tuck them in there.
| | 05:12 | All I really need is just the
gums to be sticking out just a bit.
| | 05:16 | So I am going to make them a little bit thinner.
| | 05:18 | So in the Top view, zoom in just a bit
here and grab this point and move that in.
| | 05:28 | Then grab this one and move it in.
| | 05:30 | You can see I am moving it in the Top
view, but looking at in the Perspective
| | 05:35 | view to see what the effect is, and
using that Spacebar command to move back and
| | 05:41 | forth between those.
| | 05:43 | Now on this last point, I want to be
really careful and only grab the X-axis and
| | 05:47 | move it into position.
| | 05:52 | Now I have got a gum object in position.
| | 05:55 | Let's grab these last points and move
them out a bit and then raise them up and
| | 06:02 | then tuck them in this way, there we go.
| | 06:05 | We want them to follow the line of the jaw.
| | 06:08 | You don't have to follow it exactly,
just enough to stick up a bit.
| | 06:15 | There we go! I think that's about it.
| | 06:19 | So now you can see if I hit Command+R and
render that, I have got a jaw element or
| | 06:23 | a gum element that is
sticking right to the jawline.
| | 06:27 | It's got a little bit more lip here than I want.
| | 06:28 | So let's grab these guys and move
them forward just a bit. There we go!
| | 06:34 | I think that's looking pretty good.
| | 06:36 | Our lower gums are complete and I am
going to be using the exact same process
| | 06:40 | to create the upper gums and you'll see
those show up if you continue on in the next movie.
| | Collapse this transcript |
| Creating teeth and finalizing the model| 00:00 | With our shark gums built,
we can now focus on the teeth.
| | 00:03 | We're going to create a master tooth
that we can then copy in a position
| | 00:06 | all along the gums.
| | 00:08 | When I'm working on a complex model
like this and I'm going to create a small
| | 00:11 | element for it, I usually like
to do that in an empty document.
| | 00:14 | That makes it lot easier to
focus on just that one small element.
| | 00:17 | So I'm going to make a new document,
Command or Ctrl+N, and the tooth is a
| | 00:21 | really simple object.
| | 00:22 | Its going to be made from the cube,
just like all the other parts.
| | 00:25 | So I will add a cube to this scene.
| | 00:26 | Now this cube needs to be kind of small
and thin and we're going to make a few
| | 00:32 | cuts on it, because we want to make it
kind of shark tooth shaped and I think
| | 00:37 | that's a good starting point.
| | 00:38 | So I'll make this cube editable.
| | 00:40 | Then using my Knife tool in Point mode,
I'll right-click in the interface and go to Knife.
| | 00:45 | Now because I'm in a new document, my
Knife tool reverts back to the defaults.
| | 00:49 | So I'll switch this to Loop mode and
then uncheck all of the elements just like
| | 00:53 | I did before and make a couple of cuts.
| | 00:57 | Make a cut down the center, make a
cut here near the bottom, and make in a
| | 01:02 | third cut right there.
| | 01:04 | That's pretty much all I need to do.
| | 01:05 | Let's switch to the Rectangular Selection
tool and uncheck Only Select Visible Elements.
| | 01:10 | In the Front view, we're going to
shape this into something that's kind of
| | 01:13 | shaped like a shark tooth, kind of a
diamond with a fat bottom on it, and we
| | 01:17 | don't have to be really precise
about it because it doesn't need to be
| | 01:22 | completely symmetrical.
| | 01:23 | It just needs to have
kind of a shark toothy shape.
| | 01:27 | Do it, so I can quickly move
these under position here.
| | 01:31 | And there we go and
it doesn't even have to be straight.
| | 01:42 | Great!
| | 01:43 | Now I'll select all of these points and
I want to get them flush with the ground
| | 01:46 | plane so that my axis for
the tooth is right at the base.
| | 01:49 | That's going to make it
really easy to rotate the tooth.
| | 01:52 | Now let's make them really thin by
using the Scale tool on the z-axis.
| | 01:56 | That's going to thin my tooth out.
| | 01:59 | Now I can grab just the points that
are in the center of the tooth and drag
| | 02:05 | them out just a bit.
| | 02:06 | That's going to give my tooth a
little bit of indentation, some curvature.
| | 02:10 | See that when I do that, that
makes the tooth curved on one side.
| | 02:14 | So this will be the back side of the tooth here.
| | 02:17 | This will be the front side of the tooth
here that you see out of the shark's mouth.
| | 02:21 | Let's make it just a little more pointy at
the top and I think we'll be in a good shape.
| | 02:24 | I will just use the Scale tool
there, and just bring those guys in.
| | 02:32 | I think that's a great
place to stop with the tooth.
| | 02:34 | So let's rename this and call it Tooth,
and copy it and move back to our shark
| | 02:43 | file and paste it down, Command+V. Now that
tooth is really big. Oviously it's too big.
| | 02:49 | So I'm going to switch to Model mode
and use the Scale tool to scale it down.
| | 02:55 | Scale that tooth way down and
let's move it in position, here inside
| | 03:01 | the shark mouth.
| | 03:04 | So I'll get it to about in position
here in the center of the shark mouth.
| | 03:10 | We're going to be using the symmetry
that we have built with the gums to only
| | 03:14 | have to build one-half of the shark mouth.
| | 03:16 | So let's rotate that into position
here and move it over just a bit.
| | 03:20 | Then scale it down. We're going to
start with the bottom row of teeth and
| | 03:29 | then move it into position.
| | 03:38 | Now I'm not going to worry about
whether or not the tooth overlaps. I'm just
| | 03:41 | going to move it up and kind of embed
it in the gum and just rotate it just a bit.
| | 03:50 | It's okay if it sticks out.
| | 03:53 | One of the cool things about a shark
mouth is the teeth are just everywhere and
| | 03:56 | that's what makes it so scary, is there
is so many teeth and they're pointing in
| | 03:59 | all directions, but generally kind of
arranged so that they can pull their prey
| | 04:04 | inward towards the back of the
throat and that's what makes it so scary.
| | 04:08 | So we can do our teeth in
kind of the same fashion.
| | 04:10 | So now I'll take this tooth and move it
into the lower gums hierarchy and make
| | 04:16 | it child of the Cube.
| | 04:17 | And because I put it in there, you
see that it becomes affected by the
| | 04:20 | HyperNURBS now and gets smooth and
it looks a lot more like a shark tooth
| | 04:23 | than it did before.
| | 04:25 | So I can take this and move it up.
| | 04:27 | Now, I can start making copies of this.
| | 04:29 | I'm going to Control+Drag a copy of
this tooth and move it over here and then
| | 04:34 | move it down this way in and
then just rotate it just a bit.
| | 04:37 | Now I can repeat that process over and
over again and I'm going to be filling up
| | 04:47 | his mouth with teeth.
| | 04:48 | I'm just going to do that a few times
here and kind of work my way around.
| | 04:58 | You can see that great thing about
having that symmetry object in position
| | 05:01 | is each time I do this I want to rotate
these guys so they are not all exactly lined up.
| | 05:05 | They're kind of generally lined up,
but they don't all have to match exactly.
| | 05:15 | Each time I Control+drag, I want to move
that tooth a little bit farther around the gum.
| | 05:22 | We'll come back and we can add
an extra tooth in there.
| | 05:35 | The letter S on the keyboard allows
me to focus on a single object or single
| | 05:40 | selected element, in this case just the tooth.
| | 05:42 | I can move that in position, rotate, and
let's do one more tooth here, there we go, great.
| | 05:53 | So the process of creating the teeth
is really time consuming and I think
| | 05:55 | you get the gist of it.
| | 05:57 | Well it's basically repeating the
same procedure over and over again.
| | 05:59 | You copy the tooth, move it into position,
copy the tooth, move it into position.
| | 06:02 | So in order to speed things up here,
I've created a final_shark model that has
| | 06:07 | all the teeth and gums placed in position.
| | 06:10 | And along with some extra touches. Let
me go ahead and open that file up so you
| | 06:13 | can see what it looks like.
| | 06:14 | I'm going to go open up the file
and go to the final_shark model.
| | 06:18 | Now here in the final_shark it's got
those extra touches I mentioned and you
| | 06:22 | could see I created gills among
other things and just kind off tweaked the
| | 06:26 | shape of the geometry a little bit, just to
smooth things out from our earlier modeling.
| | 06:31 | The way I created the gills was to
make a series of slices right here on the
| | 06:35 | neck just behind the head.
| | 06:37 | I made six slices in the
geometry using the Knife tool.
| | 06:41 | Then use that same extrude inner
technique that I used to create the eyes and
| | 06:46 | just about everything else on the model.
| | 06:48 | Instead of extruding outward,
I extruded inward and then scale the polygons in,
| | 06:52 | to create the gill shapes.
| | 06:53 | So the six cuts gave me five gills
by extruding their polygons that were
| | 06:58 | in between the cuts.
| | 07:00 | If you look around the other side,
you can see that the gills are looking pretty good.
| | 07:09 | I've zoomed in on the teeth area and
you can see that the teeth are in position
| | 07:14 | with the gums and if I twirl open the
hierarchy, you can see I've got a Lower
| | 07:17 | Teeth and I've parented those
lower teeth to a Null object.
| | 07:21 | And there underneath the symmetry
object you can see that the Symmetry object
| | 07:24 | is only creating one half the teeth.
| | 07:26 | You can see I turned off the symmetry
and now half of the gums are gone and half
| | 07:29 | of the teeth are gone. I can
turn that back on in anytime.
| | 07:32 | So that gives me a great-looking set of
teeth inside of a great-looking shark.
| | 07:37 | So this shark modeling
process is a really complex one.
| | 07:40 | But by breaking it down into manageable
chunks, we really were able to create a
| | 07:44 | great looking shark in
a relatively short amount of time.
| | 07:47 | Just remember one simple rule. If it's
going to take you more than a certain
| | 07:51 | amount of time to do it and you have
the budget to buy a model, sometimes
| | 07:54 | its okay to do that.
| | 07:55 | There's nothing wrong with that.
There's some great-looking shark models online
| | 07:58 | and you don't have to go through all
of hassle of building one from scratch.
| | 08:01 | But if you do, just make sure to
follow these simple steps and you'll be
| | 08:05 | in great shape.
| | Collapse this transcript |
|
|
6. Rigging the Model for AnimationUnderstanding the rigging process| 00:00 | In addition to swimming, our shark
will need to open and close his mouth.
| | 00:03 | Now to make this happen we're going to
need to create something called a rig.
| | 00:06 | Now anytime you hear the word rig in
relationship to an animation inside of 3D
| | 00:10 | applications like CINEMA 4D or any other
application, it really relates to a set
| | 00:14 | of controls that are used to make
your object do something specific.
| | 00:17 | Now those controls could be very
complicated or they can be very simple.
| | 00:20 | Now in the case of our shark
their controls are very simple.
| | 00:23 | What we need to do is to create a
relationship between the movement of the jaw
| | 00:28 | geometry for the actual shark
body and the rotation of the gums.
| | 00:32 | I've have done this ahead of time and I can
show you guys what I'm talking about here.
| | 00:35 | On the shark geometry, which is
this cube body right here, I have
| | 00:39 | something called a Morph tag.
| | 00:40 | The Morph tag allows us to create a
state of geometry that reacts to a slider.
| | 00:44 | I'm going to of a switch my Morph tag over to
Edit mode and click on the word Open here.
| | 00:48 | The Open is what's called a morph state,
and when I do that, you see that my
| | 00:51 | geometry actually pops open.
| | 00:53 | This morph state is a direct
manipulation of the original base morph state.
| | 00:57 | So what I did was I took the points of
the shark model and moved them around to
| | 01:01 | get his mouth to actually open.
| | 01:02 | Now when I switch to Animate mode, I have
now a slider that is linked to that state.
| | 01:08 | When I move that slider,
the shark mouth opens and closes.
| | 01:12 | Now you'll notice that the gums are
actually moving along with it and what I've
| | 01:16 | done for the gums is I've added
something called an XPresso tag and this
| | 01:20 | XPresso tag, when you double-click on
it, it brings up the XPresso Editor.
| | 01:23 | You can see that this node here
represents the Morph tag and I've linked the
| | 01:27 | open slider to something called a
Range Mapper, which translates the values
| | 01:31 | from the open slider into rotation values
that are linked to the lower jaw symmetry object.
| | 01:37 | So, by moving the slider on the Morph
tag, the values here from 0 to 100%
| | 01:42 | get translated into rotation parameters that
will move the shark's mouth open and closed.
| | 01:47 | That's really all there is to it.
The rig process can become very very
| | 01:50 | time-consuming and intensive, but for
our shark, this is really all we need.
| | 01:54 | Now I've prepared this shark ahead of
time, but in this chapter we're going to
| | 01:57 | go back a step and really
recreate this rig from scratch.
| | Collapse this transcript |
| Opening the shark mouth using the Morph tag| 00:00 | A morph is how an object
changes from one state to another.
| | 00:03 | Morphs are normally using character
animation to control facial expressions,
| | 00:07 | for example to make a character smile or look sad.
| | 00:09 | We're going to use that same
technique to open and close our shark's mouth.
| | 00:12 | This is just our shark, as it was left
off at the end of the modeling chapter,
| | 00:15 | and it's got the body here as
polygonal object and the gums for the upper and
| | 00:21 | lower parts of the mouth.
| | 00:23 | Now, what we want to do is create a
morph for this lower jaw that gives the
| | 00:28 | illusion that the shark's mouth is
opening and then closing back up again.
| | 00:32 | So in order to do that, I need
to add a Morph tag to my cube.
| | 00:35 | I'm going to right-click on the
cube and go to Character Tags > Morph.
| | 00:38 | When I do that, I see the properties
for the Morph tag and it already has
| | 00:43 | Morph Target highlighted.
| | 00:44 | Now this Morph Target is
what's called a morph state.
| | 00:46 | The Base Morph is how your object look
before you edit the Morph tag and the
| | 00:51 | Morph Target is the state that
you'd like your object to change to.
| | 00:54 | So let's rename this and call it Open.
| | 00:58 | We need to edit the polygons in the
geometry of this shark and make his actual
| | 01:03 | mouth open so that it will match
the word Open here on the state.
| | 01:07 | So, in order to do that we're going to,
in Point mode selection geometry for
| | 01:13 | just the lower part and then drag
the points down and open the mouth up.
| | 01:17 | So first thing I need to do is select all
the geometry that is on the lower jaw.
| | 01:21 | So I'm going to go into Polygon mode.
I think that's going to be little bit easier to do.
| | 01:25 | I'll select the first few points on the object.
| | 01:29 | Now double-check and make sure
that you have Only Select Visible
| | 01:32 | Elements selected for your
Selection tool and I will grab just these
| | 01:38 | polygons on the front of the shark.
| | 01:41 | Now I'm going to use a command under
the Selection menu called Grow Selection.
| | 01:45 | I'm going to tear off this menu, so I can
repeatedly hit the Grow Selection command.
| | 01:49 | I hit Grow Selection and look
what happens. My selection expands to
| | 01:53 | the adjoining polygons.
| | 01:54 | Now I'm going to hit Grow Selection one
more time, it expands one more time and
| | 01:58 | I'll hit it one more time after that.
| | 02:00 | Now I need to double-check and see
which polygons are actually selected.
| | 02:03 | I want to start to add in
any polygons that aren't there.
| | 02:06 | I want this little triangle right here and I
want this little guy right here on the other side.
| | 02:14 | I want to be very careful that only
select the polygons that I want, but more
| | 02:19 | importantly I have to make sure that I
have them on both sides of the object.
| | 02:22 | Now I've orbited inside the shark here.
I want to HyperNURBS off for just a second.
| | 02:26 | Now let's hide the selection palette
and I'm going to hold down the Shift key
| | 02:32 | and grab those polygons right there
underneath and grab these two polygons at
| | 02:38 | the back of the throat and I think
we've got just about everything we need.
| | 02:44 | So if I orbit around to the outside,
if I grabbed the axis handle for these
| | 02:49 | and on the y-axis and drag them down,
I should be able to see all of those polygons moving.
| | 02:56 | Now if I'd the missed a polygon, you'd
see one left behind there and it could
| | 03:00 | create a weird deformation in
my object. So I'll undo that.
| | 03:03 | Now I know I've got all the polygons
selected. So all I have to do next is rotate them.
| | 03:07 | So I'm going to some to rotate these
polygons down a little bit and then move
| | 03:11 | them just a bit so that my
shark looks like his mouth is open.
| | 03:17 | You can see that as I orbit
around, it looks pretty open.
| | 03:20 | It's a little bit jutted out though.
| | 03:23 | I really want to have it
pushed back a little bit.
| | 03:24 | So I'll switch to Point mode and make
some fine adjustments of these guys. I want
| | 03:30 | to add in Point mode, grab just these
points that are inside the mouth and just
| | 03:36 | drag them down so that the
gullet opens up a little bit.
| | 03:39 | Then grab the points that are in the front
part of the mouth and pull them back a little bit.
| | 03:44 | His jaw is extending too far forward as
it opens and so I want it to actually be
| | 03:48 | just a little bit tighter,
and closer in to the back of the throat.
| | 03:51 | So let's grab the Rectangular Selection
tool and in the side view, I'm going to
| | 03:56 | bring that to the foreground here and
grab just these points and then move them
| | 04:02 | back a little bit. There we go.
| | 04:03 | I think that's looking pretty good.
| | 04:05 | Now I'm going to get out of Point
mode and then go back to my Morph slider.
| | 04:09 | You can test your morph,= by
clicking on the Animate button.
| | 04:13 | When I click on that as I move this
slider, it leaves you in the 100% mode
| | 04:16 | which is the morph state, and as I move
this back to zero now, it goes back to
| | 04:20 | the original state.
| | 04:21 | So when 100% is open, 0% is closed.
| | 04:25 | Now I think that open is looking not too bad.
| | 04:28 | It's a very normal part of the process
to need to go back and forth between the
| | 04:32 | Edit and Animate state.
| | 04:33 | Sometimes you get lucky like I just did
and hit a pretty good morph on the first try
| | 04:37 | and then other times you
need to go back and tweak it.
| | 04:39 | All you need to do to do that
is to click on the Edit button,
| | 04:41 | select the Open state and then continue
moving your polygons around and your points.
| | 04:46 | Let's turn HyperNURBS back on and just
see how our shark looks as it's morphing
| | 04:50 | with the HyperNURBS on.
| | 04:52 | If I twitch my mode back to Animate,
I can adjust that slider and you see it gives a
| | 04:55 | very smooth transition from the open
state to the closed state and back again.
| | 05:01 | So a morph is a really powerful
tool for animation and it really makes
| | 05:05 | something that would seem complicated,
like opening a shark's mouth, very easy
| | 05:08 | to accomplish.
| | Collapse this transcript |
| Using XPresso to link the jaw to the Morph animation| 00:00 | In order to get our shark's jaws
and mouth to move together, we need to
| | 00:03 | establish a relationship between the Morph
slider and the rotation of the lower jaw.
| | 00:08 | The rotation of the lower jaw is
going to be driven by the Morph slider.
| | 00:10 | Now in order to do that we're
going to use something called XPresso.
| | 00:14 | XPresso is the node-based language for
creating expressions inside of CINEMA 4D.
| | 00:19 | An expression is really just a
relationship that's been established between
| | 00:22 | two or more parameters.
| | 00:24 | Now the shark file that we
have here has the Morph tag on it.
| | 00:26 | I'm going to click on the Morph tag and
just adjust this slider open and closed.
| | 00:31 | You can se that we already have
that morph working pretty well.
| | 00:34 | Now what I want to do is create
relationship between this open slider here and
| | 00:37 | the rotation of the lower gum object.
| | 00:40 | So let's move the Morph slider to
the open position and select the gum
| | 00:45 | object for the lower jaw.
| | 00:47 | Then I'm going to use the Rotate tool
and just rotate it around the z-axis.
| | 00:52 | As I rotate it open here, you can see
that it doesn't quite rotate into the
| | 00:55 | position that I'd like.
| | 00:56 | So I'm going to modify the rotation
axis for this gum symmetry object.
| | 01:01 | So in order to do that let's undo and
get our rotation back to the starting point.
| | 01:06 | Then I'm going to switch to Axis mode.
| | 01:08 | Let's move to the four way view and
then using the Move tool, I'm going to drag
| | 01:12 | this only on the x-axis here in the Front view.
| | 01:16 | As I move that back, I'm going to move
it back to a point where I think that the
| | 01:19 | jaw ought to rotate from and we'll
probably have to do this couple of times,
| | 01:23 | just to the see if we got it right.
| | 01:24 | So I'll move it back to about there,
then I'll switch out of Axis mode.
| | 01:27 | That's very important.
And grab the Rotation tool.
| | 01:29 | Now in that Front view, I'm going to click
outside the yellow band, just to rotate it down.
| | 01:33 | You can se that my jaw now
rotates from a very different position.
| | 01:36 | It rotates in a more natural way for
a shark, and then I can move it back and
| | 01:40 | forth here and it really looks
convincing from a directions standpoint.
| | 01:43 | Let's rotate it down and kind of
tuck it into the geometry here.
| | 01:46 | Now let's look at that
from the Perspective view.
| | 01:49 | And I think that's okay
from a rotation standpoint.
| | 01:54 | The next in the process is to
establish relationship between the Morph slider
| | 01:59 | and the rotation of that jaw.
| | 02:00 | So right-click on the gums lower Symmetry
object and add something called an XPresso tag.
| | 02:06 | And in the XPresso Editor here that
pops up when I add the XPresso tag, you can
| | 02:11 | see the XPresso tag looks
like kind of a flowchart here.
| | 02:14 | When you double-click on that it
brings you to the XPresso Editor.
| | 02:17 | Now the XPresso Editor wants to have
some nodes in it and so we're going to need
| | 02:20 | a node for the Morph tag.
| | 02:22 | So I'd grab the Morph tag drag
it right into the XPresso Editor.
| | 02:25 | Then we're going have to have a node
for the gums lower Symmetry object, so I
| | 02:29 | drag that object into the XPresso
Editors as well and I get another node.
| | 02:33 | Now the blue side represents the input side;
the red side represents the output side.
| | 02:37 | Now I want have the open slider for
the morph drive the rotation for the
| | 02:43 | lower Symmetry object.
| | 02:44 | So let's start by clicking on the red
side and going to tag Properties and
| | 02:48 | finding the word open.
| | 02:49 | This word open relates to that
open slider that we have in there.
| | 02:53 | The next thing we need to do is to
get the rotation parameter for the
| | 02:56 | lower Symmetry object.
| | 02:57 | So I'm going to click on the blue area here
and go to Coordinates > Rotation > Rotation Bank.
| | 03:04 | Now I know what's the bank, because
it's the blue band on my jaw object and you
| | 03:08 | can see its going to rotate around the
z-axis and I know that's rotation bank.
| | 03:11 | So now I've got these two parameters
here and what I'd like to do is to create a
| | 03:15 | relationship between this
slider and this rotation.
| | 03:18 | But the slider value is
expressed in percentages.
| | 03:21 | The rotation of the lower jaw object, the
gum Symmetry object, is expressed in degrees.
| | 03:27 | So what we have to do is create a
translator between the percentage values of
| | 03:31 | the slider and the rotation degree
values of the lower symmetry object.
| | 03:36 | So the node that you used to do
that is something called Range Mapper.
| | 03:39 | I'll right-click here in the XPresso
Editor and add a new node, XPresso, and then
| | 03:45 | under Calculate > Range Mapper.
| | 03:47 | In a Range Mapper when you click on
the node here, you see the parameters for
| | 03:51 | the Range Mapper show up
in the Attribute Manager.
| | 03:54 | Under the Node property, we're going to
specify what types of values we're going
| | 03:57 | to be using in this.
| | 03:58 | So the Input Range is the value that's
going to come in from the Morph tag and
| | 04:03 | so that's percentages.
| | 04:04 | So I move that, pull down to Percent.
| | 04:07 | The Output Range is the value we'd like
to send out to the lower symmetry object.
| | 04:11 | So I'm going to click on
that one and go Degrees.
| | 04:14 | So we're going to convert
percentages into degrees.
| | 04:17 | The Parameter option is the actual values
that are going to be contained in this node.
| | 04:22 | So the input value here is going to get
controlled by this relationship between
| | 04:26 | these two red and blue dots.
| | 04:28 | Now the Input Lower and Upper are the
ranges that you'd like the values to react to.
| | 04:33 | So this is the range of the
slider that's going to be coming in.
| | 04:37 | So our Morph tag slider, if I
click on that, it goes from 0 to 100%.
| | 04:41 | So on my Range Mapper node, I want to
have the Input Upper and Lower set to 0
| | 04:46 | and 100% and they already are by default.
| | 04:48 | Now the Rotation value that I would
like to have come out of this node are the
| | 04:53 | values that will affect the
gum lower symmetry object.
| | 04:55 | So the Output Lower is the state that
I'd like the rotation object to be when
| | 05:01 | the slider is at 0% and so when the
mouth is closed, I'd like my symmetry
| | 05:05 | object to be at 0 degrees.
| | 05:07 | If I move the slider to zero and rotate
my symmetry object bank to zero, you see
| | 05:13 | that the mouth looks closed.
| | 05:15 | So on my Range Mapper the Output
Lower at 0 degrees is just fine.
| | 05:19 | Now the Output Upper is what I'd like
the rotation of the gums lower Symmetry
| | 05:22 | object to be when the slider is at 100%.
| | 05:25 | So let's move the slider to 100%
and then rotate the bank on our gums
| | 05:30 | lower Symmetry object.
| | 05:31 | Now I'm just going to scrub that value,
I'm clicking and dragging up on the scrubber.
| | 05:35 | And rotate it down until it
just intersects the geometry.
| | 05:38 | I think that's pretty good.
| | 05:40 | That's about 40 degrees.
| | 05:41 | So now, I go back to my Range
Mapper and I put in the Output Upper 40.
| | 05:46 | Now I'm ready to establish my
relationship between these objects.
| | 05:50 | The relationship has not been
established yet and in order to do that I have to
| | 05:54 | drag a little line from
the red dot to the blue dot.
| | 05:58 | So you just click on the red dot and
drag across to the blue and you see a
| | 06:01 | little green line form. That
indicates it's okay to let go.
| | 06:04 | When I let go, I now have a red
line that connects these two nodes.
| | 06:07 | I'll click on the red dot from the
output of the Range Mapper to the input of
| | 06:12 | the Rotation _ B and now I have
a line that connects those nodes.
| | 06:15 | Now when I go to the slider on the
shark, when I drag that slider left and
| | 06:20 | right, you see the shark
mouth rotates open and closed.
| | 06:23 | Now the next step in this process is
going to be to tweak the morph a little bit.
| | 06:28 | Sometimes when you create this morph
relationship, you need to make some adjustments.
| | 06:33 | As I open the slider, open and closed,
you can see that my jaw and when it's open
| | 06:37 | is not quite lined up with
the lips on the shark morph.
| | 06:43 | And so rather than move the jaw
element I'm going to adjust the morph.
| | 06:47 | So if I go above from Morph tag and
click on Edit mode and select the open
| | 06:51 | slider, I can just take the
points that make up the geometry.
| | 06:55 | I click on the actual shark body object
and take these points and just move them
| | 07:00 | and tuck them in just little bit and here we go.
| | 07:05 | I'll take the other points on the
outside here and bring those in just a bit.
| | 07:09 | Let's say I go to the Side view, grab
those points there, and then I just use the
| | 07:16 | Scale tool, T on the keyboard, and just
scale those in just a bit and you can see
| | 07:21 | by making those scale adjustments,
you can easily tweak the morph.
| | 07:25 | Now when I go back to the slider and
switch on the Animate mode. That gives me a
| | 07:30 | much better relationship between the teeth.
| | 07:32 | Now those guys are
actually moving outside the morph.
| | 07:35 | That's a normal behavior.
| | 07:36 | The morph when it moves from position
to position does not rotate. It moves
| | 07:40 | in a straight line and so you have to
tweak your tag repeatedly just to make
| | 07:44 | sure that things aren't
passing in and out of one another.
| | 07:46 | So the process is really straightforward
and simple but it takes a little bit of
| | 07:49 | fine-tuning to get it right.
| | 07:51 | Our shark can now open and close its mouth.
| | 07:53 | The model is really looking
great and it's ready for animation.
| | Collapse this transcript |
|
|
7. Texturing the ModelUsing BodyPaint to prepare the model for texturing| 00:00 | Our shark model looks pretty darn good,
but to put it over the top and make it
| | 00:04 | really realistic, we need
to create a convincing skin.
| | 00:07 | C4D's BodyPaint tools will make this job a snap.
| | 00:09 | So our shark model has a set of geometry
associated with it and that's this cube object.
| | 00:16 | When you're going to create texture
maps for an organic shape like this,
| | 00:20 | you need to consider something called the UVs.
| | 00:22 | The UVs relate to how a texture is
wrapped around a model, and this information
| | 00:26 | is covered in the Essential Training.
| | 00:28 | So it's really important to go back and
watch those if you don't understand what
| | 00:30 | I'm talking about here.
| | 00:31 | But C4D has a module that's built
into the application called BodyPaint.
| | 00:36 | BodyPaint is used for manipulating the
UVs and then painting in real-time on the
| | 00:40 | surface of a 3D model.
| | 00:42 | To access those tools, I'm going
to switch my layout to BP UV Edit.
| | 00:47 | When I do that, it rearranges the interface.
| | 00:50 | Still the same application, but it has
changed some of the menus and icons and
| | 00:54 | so you can see that across the top I
now have a different set of menus that I
| | 00:57 | had before and a different
set of tools in the toolbar.
| | 01:00 | And also, my windows are laid out differently.
| | 01:02 | If I ever want to get back, I can
always go back to the Standard layout and
| | 01:05 | reset the interface to what
it was when I first started.
| | 01:08 | Now, on the right-hand side, I have my Texture
window. On the left-hand side, I see my model.
| | 01:12 | Because I have my model selected, it's
showing me the UV layout in the Editor window.
| | 01:16 | If I un-highlight Show UV Mesh, it'll be blank.
| | 01:19 | If I re-highlight Show UV Mesh,
it'll show me the UV Mesh.
| | 01:22 | Now, the UVs relate to how a
texture is wrapped around an object.
| | 01:26 | If I back out here just a little bit,
you can see that the UVs that are there in
| | 01:32 | the window are really not
very recognizable as a shark.
| | 01:35 | What we're going to be doing next is
using the Paint wizard to rearrange these UVs,
| | 01:39 | so that it will look a little bit
more recognizably as a shark and also
| | 01:43 | allow us to paint on this without
having sections overlap with one another.
| | 01:47 | So I'm going to click on the UV Paint
Setup wizard and when I do that, I get
| | 01:52 | this BodyPaint 3D Setup
Wizard window that opens up.
| | 01:56 | In there, it list objects and so I
can twirl open the HyperNURBS and this
| | 02:00 | represents all of the actual
elements that are in your Object Manager.
| | 02:04 | I'm going to deselect all and then select Cube.
| | 02:07 | I don't want to create materials for
anything except for the cube right now,
| | 02:10 | which is the actual shark body.
| | 02:13 | When I hit Next, I get the UV Setup
window and I'm going to leave all of the
| | 02:18 | options as default and hit Next again
and then I'm going to make sure that I
| | 02:23 | turn on Color, Diffusion, and Bump.
| | 02:26 | And these three channels are what
we're going to be using to actually texture
| | 02:31 | our shark and we want to add those.
| | 02:33 | Change the Maximum size to
2048, which is 2048 pixels.
| | 02:39 | That's going to give us plenty of
resolution so that our shark material have a
| | 02:43 | pretty good image quality
when it gets close to the camera.
| | 02:45 | Then I hit Finish and you'll see
that as I close up the Paint Setup Wizard window,
| | 02:52 | we now have over in the UV
window, a much more recognizable layout
| | 02:59 | of our shark parts.
| | 03:00 | Now, this layout is really not very
good from a true texturing standpoint, but
| | 03:05 | it'll be good enough for a model today.
If this were really a hero shark that I
| | 03:09 | was creating for a high-end special
effects project, I would do a much more
| | 03:12 | accurate UV unwrapping for the shark.
| | 03:14 | There's also some issues with the UV
unwrap that you'll see in the window here,
| | 03:18 | and there are some overlaps.
| | 03:19 | When BodyPaint unwraps the model,
it doesn't really know where the important
| | 03:23 | areas of the shark are, and so it
just rips it apart and rearranges the
| | 03:27 | polygons the best way it can figure.
| | 03:29 | Sometimes that works great and
sometimes there's some issues.
| | 03:32 | If I make a paint mark down here in
the Editor window, like that, and I
| | 03:36 | orbit around my shark,
| | 03:37 | let's zoom-in just a little bit and
orbit around, you can see that paint mark
| | 03:42 | represents a surface on the shark.
| | 03:44 | But there's areas where it cuts off.
| | 03:46 | You can see that there's a spot right
there where it cuts off on the bottom of shark.
| | 03:49 | Let me undo that. Command+Z or Ctrl+Z on the PC.
| | 03:52 | Also, if I orbit around to the side
of the shark, there's a spot right here
| | 03:59 | where polygons overlap,
and you can really see it well.
| | 04:01 | Let me zoom-in right on this fin,
and I have the Paintbrush tool selected.
| | 04:06 | When I move my mouse over, you can see
that it's trying to stretch that brush
| | 04:09 | over two different areas.
| | 04:11 | And I can tell that is an overlap in
the UV polygons and I can see that overlap
| | 04:16 | right here in the editor.
| | 04:18 | So if I zoom in on that area,
it's really easy to fix in this case.
| | 04:24 | And what I'm going to do is switch
from the Paintbrush to the UV Manipulation tool
| | 04:29 | and then I'll get the Selection
tool out and that's going to allow me to
| | 04:33 | click on UV polygons.
| | 04:34 | If I grab with these polygons right
here along with this polygon right here,
| | 04:39 | so I'm going to select more polygons than
I actually need and hold down the Ctrl key
| | 04:42 | to deselect these others, and then
I can switch to the Move tool, E on the
| | 04:46 | keyboard and just drag these out.
| | 04:48 | All I've done is moved these polygons to
a different place in the Editor window.
| | 04:53 | You can see they are still
connected here in the Perspective view.
| | 04:58 | But now when I use the Paintbrush tool,
if I switch back to Painting mode,
| | 05:01 | you can see that I no longer have that
overlap and that's a really important thing
| | 05:04 | that we'd be able to fix.
| | 05:05 | Now, there are some cut spots here
where polygons don't match up and that's
| | 05:10 | that ugliness that I was talking about
where the UV model is not unwrapped as
| | 05:14 | well as it should be, but for our
purposes today it's going to be great.
| | 05:19 | Now that we have an acceptable
arrangement for our UV polygons, the next step in
| | 05:23 | the process is to save our file.
| | 05:25 | BodyPaint does not save materials
until you actually save the files.
| | 05:29 | So it's very important to save
your work and then save it often.
| | 05:32 | The first time you save it, it's going
to name the materials, the texture that
| | 05:36 | it's created, based on your material names.
| | 05:38 | So if you go to the Material palette,
and you can see that there's a material
| | 05:41 | here and it's just called the Mat right now.
| | 05:43 | Let's rename this material,
and call it shark_skin.
| | 05:49 | Then we're going to go to the main
File menu and do a Save As and I'll call
| | 05:57 | this one 07_01_sharkUV.
| | 06:00 | That way I know the UVs have
been addressed in this file.
| | 06:03 | Then hit Save and it's going to ask
me, Do you want to save changes to the
| | 06:08 | textures of project 07_01_sharkUV.c4d?
| | 06:10 | I'll hit Yes and my file is now saved.
| | 06:14 | Now, let's check in the
Finder and show you what it did.
| | 06:17 | In the Finder is a tex folder and I had
already crated that tex folder and it
| | 06:23 | saves the bump color and
diffusion images as TIF files.
| | 06:29 | Now, you see that it's named Mat_Bump,
Mat_Color, Matt_Diffusion, and that
| | 06:34 | Mat is based on the original generic name
of my file, and I really want to change this.
| | 06:38 | I'm going to call this Shark_Bump,
Shark_Color, and Shark_Diffusion.
| | 06:42 | So let's just change
these file names real quick.
| | 06:47 | Once you've changed the file names
you're going to re-link those files back
| | 06:51 | inside of BodyPaint.
| | 06:52 | So if I go back to BodyPaint, it's
still open in the background here.
| | 06:56 | Here in my shark_skin, I'm going to go,
and raise the interface up a little bit.
| | 07:01 | So I can see what's going on here.
| | 07:02 | I have my material selected and
I'm looking at the Material attributes.
| | 07:05 | In the Color channel, you can see that the
texture is still pointing at that old Mat_Color.
| | 07:10 | So let's click on the Load Image
button. Navigate to our tex folder.
| | 07:14 | So we're going to go to Exercise Files
> Chapter 07 > tex and then this is the
| | 07:20 | Color channel, so we want
to link this to Shark_Color.
| | 07:22 | Nothing is going to change except that
name here. Now it's correctly linked.
| | 07:27 | I'll repeat that process for the
Diffusion channels and then repeat that
| | 07:33 | process again for the Bump channel.
| | 07:37 | I accidentally clicked inside the
Shader properties, so in the Shader
| | 07:40 | properties, I can easily click on the Load
Image button there as well and this is the Bump.
| | 07:48 | Now that I've re-linked the materials,
it's really important to save your work,
| | 07:51 | and it's crucial to save often
where you're using BodyPaint, not because
| | 07:56 | it's unstable, but you want to make
sure that your materials are updated with
| | 07:59 | the latest information.
| | 08:00 | So I'm going to go to the File menu,
and just do a save because I've already
| | 08:04 | saved my file one time. So I hit Save.
| | 08:06 | Every time you save now, it will save
changes that you've made to the materials
| | 08:09 | along with the file.
| | 08:11 | That way, next time you open the file
from the Finder, everything will be all
| | 08:15 | linked up correctly.
| | 08:16 | Our shark is now ready for 3D painting.
| | 08:18 | BodyPaint 3D has made the UV setup really easy.
| | Collapse this transcript |
| Applying color to the shark using BodyPaint| 00:01 | With our shark UV layout complete, now
we can move onto the process of painting
| | 00:05 | textures on the surface of the shark.
| | 00:07 | I am going to switch my layout to a BP 3D Paint.
| | 00:10 | And in the 3D Paint Layout, that gives
us a little more room to work and also
| | 00:14 | tucks the Texture panel right behind
the View panel so we can have a little
| | 00:17 | more room to see our shark.
| | 00:19 | Our shark has a camouflage pattern on it
| | 00:22 | that's evolved over millions of years
and it is a white underbelly with a gray
| | 00:29 | top and that makes it easy for
the shark to be hidden from view.
| | 00:32 | when a fish looks up, they see a white
underbelly which matches the light color
| | 00:36 | of the water. When a fish looks down
on it, they see a dark grey top that makes
| | 00:40 | the shark blend into the water below it.
| | 00:42 | So we want to be faithful to that layout.
| | 00:44 | So we are going to be painting in the Color
channel right now just white on the underbelly.
| | 00:48 | We will leave the top of the
shark essentially just flat grey.
| | 00:51 | Then we'll move on to the Diffusion
and Bump channels to give our shark skin
| | 00:56 | some personality and some wear
and tear like all sharks have.
| | 01:00 | So let's start off with the Color channel.
| | 01:01 | I am going to be activating 3D Paint
mode and then clicking on the Brush tool to
| | 01:07 | enable it and bring the attributes forward.
| | 01:10 | I don't want to really paint a very
soft airbrush pattern. I'd like to
| | 01:13 | have something that feels a little more
natural, and I'm going to select a brush preset.
| | 01:18 | I click on the Brushes palette, and go
down to the BodyPaint presets and go to
| | 01:23 | Brushes, and then scroll down to Long Weekend.
| | 01:26 | In Long Weekend, there is a Brushes
folder and I will select Brush 5 inch Big.
| | 01:32 | Brush 5 inch Big has a square edge to it
and you can see the shape of the brush there.
| | 01:36 | But it has a very nice sort of rough
edged texture, and you can see that here in
| | 01:40 | the attributes for the brush itself.
| | 01:42 | Some brushes are designed to paint in
multiple channels and you want to be very
| | 01:46 | careful about which channel you're painting in.
| | 01:47 | So I am going to deactivate the
Bump channel by clicking on the little
| | 01:51 | pencil mark and the white line
around the box shows me which channel I am
| | 01:56 | currently looking at.
| | 01:57 | The pencil shows me that I'm
actually painting in that channel.
| | 02:01 | So by making that pencil gray, that
deactivates the painting options for that channel.
| | 02:05 | So now I am going to activate the
Color channel by clicking on its pencil and
| | 02:10 | making the pencil active.
| | 02:12 | With the Color channel active now and
the other channels deactivated, I can move
| | 02:16 | on to painting the shark, and now
BodyPaint has a really amazing feature called
| | 02:20 | Projection Painting.
| | 02:22 | That enables us to paint on the shark
in the Perspective view and apply the
| | 02:26 | angle of view that we are painting in
directly to the shark. On an object that is
| | 02:30 | very complex surface like a shark, even
though it's smooth, the UV layout on it
| | 02:34 | is very complex and so it enables us to
get around the fact that our UV layout
| | 02:39 | has a lot of boundaries and chunks in it.
| | 02:42 | So it's going to make our shark
look smooth no matter what angle we are
| | 02:44 | painting on it from.
| | 02:45 | So I am going to enable Projection
Painting by clicking on the Projection
| | 02:50 | Painting icon right here, and
then I am going to orbit around.
| | 02:55 | Now, when you are projection painting,
you have to be very careful about
| | 02:57 | undos, because the Projection Painting
layer is stored in memory and when you
| | 03:05 | activate Projection Painting, anytime
you undo it's going to undo all your
| | 03:08 | brushstrokes at once.
| | 03:09 | So I want to be very careful about the
brush strokes that I do. If I do multiple
| | 03:13 | brushstrokes here, and then I
orbit my view, and then I undo,
| | 03:16 | Command+Z or Ctrl+Z on the PC, it's
going to undo all the strokes that I did.
| | 03:22 | So I have to be very careful about how I paint.
| | 03:24 | Another technique that's very
important is I want to use layers.
| | 03:27 | I am going to go to my Layers menu
and I'm going to disable Projection
| | 03:31 | Painting, and I'm here in the Color
channel and I know I am in the Color
| | 03:34 | channel because I have the Color
channel active here in the Channels palette.
| | 03:37 | So in the Layers, I am going to make
a new layer by going to Function > New
| | 03:41 | Layer, and I am going to paint.
| | 03:42 | This is just like painting in Photoshop.
| | 03:44 | So I am going to call this one white,
and with this layer active now I am gong
| | 03:50 | to re-enable Projection Painting.
| | 03:52 | So now when I enable Projection Painting,
you can see that layer goes away and
| | 03:55 | now I will be painting in the Projection layer.
| | 03:57 | But all my paint brushstrokes are going
to go into that layer that I had active
| | 04:02 | before I enabled Projection Painting.
| | 04:05 | So let's orbit around to a nice,
straight on underside view of our shark and
| | 04:08 | then just start painting down.
| | 04:10 | This is a very sort of artistic process,
and one of the beautiful things about
| | 04:15 | the shark, which makes it really easy
for us as artists, is that the colors on the
| | 04:20 | surface of the shark are not flat.
| | 04:22 | They're very uneven and naturally
occurring, and so that makes it really
| | 04:27 | simple for us to paint.
| | 04:28 | We don't have to be really precise about it.
| | 04:30 | All we need to do is make sure
that we get it all in the right areas.
| | 04:37 | Now, when you get really close to an
edge, you have to be extremely careful.
| | 04:40 | If I paint right up to the edge,
Projection Painting will smear our shark texture.
| | 04:44 | So I just painted
accidentally over the edge there.
| | 04:47 | As soon as I orbit around, the Projection
Painting layer is committed to the Paint layer.
| | 04:52 | So I orbit around.
| | 04:53 | If I were to undo that brushstroke, it
would undo all the strokes that I did.
| | 04:57 | So I want to be careful with that.
| | 04:58 | Instead of undoing, I am going to
erase that stroke using the Eraser.
| | 05:02 | So I am going to select the Eraser and
make sure that under the Brushes options
| | 05:08 | for the Erasers under the Standard
tools, I've got the Chalk one selected.
| | 05:12 | The Eraser tool does not
work in Projection Painting.
| | 05:14 | So you need to disable Projection
Painting, and then erase the edges of that
| | 05:21 | mistake, and this chalk will help it
blend into the sides a little bit better,
| | 05:24 | and help me get rid of all of those
little nasty bits that I mistakenly painted.
| | 05:30 | So that's essentially all the
techniques we are going to use.
| | 05:33 | I'm going to skip ahead to a finished
version of the Color channel and do all of
| | 05:36 | the grunt work of painting the white
all around our shark in the background.
| | 05:42 | So here we are with our finished Color
channel for the painting, and you can see
| | 05:46 | I've actually done quite a bit of work
while I was away, and it's all really
| | 05:51 | straightforward stuff.
| | 05:52 | just painting white where there needed
to be white, and then I added some extra
| | 05:56 | layers to my material.
| | 05:57 | Let's disable Projection Painting, so
I can see that I actually have a black
| | 06:01 | layer, and a red layer.
| | 06:02 | There is a little bit of
red inside the mouth here.
| | 06:04 | That's going to be where the
gums go, and I painted black inside.
| | 06:07 | You can see I just opened his mouth up
using the Morph tag slider which makes it
| | 06:10 | really easy to paint those textures in there.
| | 06:12 | It was all the same techniques that I
showed you earlier on, just being very
| | 06:16 | careful about the angles that I was
painting from, and using the Eraser tool to
| | 06:20 | clean up any smears and just
generally painting the shark.
| | 06:23 | So don't forget that while you're working
| | 06:26 | it's very important to save your work.
| | 06:28 | The BodyPaint when it saves the
textures will automatically ask you if you'd
| | 06:33 | like to save the texture changes along with it.
| | 06:35 | So always make sure to save your texture
changes along with the project file as you're working.
| | 06:39 | The Color channel is done.
| | 06:41 | Now, we can move on to the
Diffusion and Bump channels.
| | Collapse this transcript |
| Giving the shark character by painting in the diffusion channel| 00:00 | With the Color channel complete we
can move onto the Diffusion channel.
| | 00:03 | The Diffusion channel is often called
the dirt channel in a lot of 3D circles
| | 00:08 | and the reason for that is it's the
place where you give your objects character
| | 00:11 | and add dirt to your materials.
| | 00:14 | Now for our shark, we are going to be
adding things that basically just look like
| | 00:17 | modeling on the surface of the shark and
scratches and just general texture that
| | 00:22 | sort of breaks up the flatness of the
gray on the shark, so that it's not just a
| | 00:26 | perfect flat color all the way around.
| | 00:28 | So we are using the Diffusion channel for that.
| | 00:31 | So here in my layout, I'm going to
select a brush and I am going to be working
| | 00:37 | in Projection Painting just like I was
before, but I want to be careful about
| | 00:40 | which channel I am painting in.
| | 00:41 | So let's start off by selecting the right brush.
| | 00:44 | I will go to the Brush tab and scrub down.
| | 00:46 | I will close up Long Weekend and
scrub all the way down to the BodyPaint
| | 00:50 | 3-D Artist Brushes, and these are some
excellent presets that are included with CINEMA 4D.
| | 00:54 | We are going to go to the Dubtastic collection.
| | 00:58 | For the Diffusion channel we are going
to use Dumpster 05 and the Dumpster 05
| | 01:04 | is really just a grunge pattern and
that's going to be perfect for just adding a
| | 01:08 | sort of mottling to the surface of our shark.
| | 01:10 | Before we switch to Projection Painting
mode, we have to double check our layers
| | 01:14 | and go to the Colors option, and then
remember the Colors is where you determine
| | 01:17 | what channel you are painting in.
| | 01:19 | So I am going to turn off Color by
clicking on the pencil there and then click
| | 01:24 | on the Diffusion channel and
make sure that its pencil is active.
| | 01:27 | So now the D stands for Diffusion, so I
am painting in the Diffusion channel and
| | 01:32 | I am going to be painting a color.
| | 01:33 | Now I can go to the Layers palette and
let's add a new layer to our diffusion.
| | 01:38 | So I will go to the Function menu >
New Layer, and I don't need to name
| | 01:42 | this layer because it's really going
to be the only layer that we have in
| | 01:44 | the Diffusion channel.
| | 01:45 | So now, I can go back to Colors and
check what color I am painting and let's
| | 01:48 | paint a fairly dark gray pattern.
| | 01:50 | Now when you move your brush over the
surface of your object when you're not in
| | 01:54 | Projection Painting, you really get
to see that breakup of the UVs and so
| | 01:57 | Projection Painting fixes all that,
so it's always a good idea to paint in
| | 02:01 | Projection Painting.
| | 02:02 | So I am going to switch to Projection
Painting and now when I paint across the
| | 02:05 | surface of my shark, it's
going to paint a single pattern.
| | 02:07 | So let's switch to a more side-on view and
then just click one time with the brush, boom!
| | 02:16 | Now, our shark looks like it is a
crack sidewalk now, but that's okay because
| | 02:20 | we are going to be cleaning up this
material a little bit and really just
| | 02:23 | adjusting the Opacity on everything so
that it blends a little bit better with
| | 02:26 | our other channels.
| | 02:27 | So let's orbit around to the
other side and do the same thing.
| | 02:31 | I orbit to another kind of side-on
view, and then just click one time, boom!
| | 02:36 | And then just check the top. You can
see that there's a little bit of a seam
| | 02:41 | there on the top and this time
I'll need to add a new layer.
| | 02:44 | So I am going to disable Projection
Painting, go to my Layers palette, and then
| | 02:48 | let's add a new layer.
| | 02:51 | This one we are going to call Top.
| | 02:56 | Then we'll switchback to Projection
Painting mode and we are going to
| | 02:59 | just click one time.
| | 03:01 | I don't want to paint in here on the
tail. I am just going to click right in
| | 03:03 | this area, so you can see my brush is
not overlapping the tail area at all.
| | 03:07 | So I will click one time right on that, and
then we can do the same thing for the underside.
| | 03:12 | So let's disable Projection Painting
and then go to the Layers and let's go
| | 03:17 | Function > New Layer and
let's call this one Bottom.
| | 03:21 | Then go back to Projection Painting.
| | 03:26 | We will orbit around all the way to
the underside of our shark and then with
| | 03:32 | Projection Painting active,
I am going to click one time, bam!
| | 03:37 | Now I have got this sort of mottled
pattern all over the surface of my shark, but
| | 03:41 | it's overwhelming everything.
| | 03:43 | So I just need to adjust the
opacities of these layers now.
| | 03:46 | So let's get out of Projection
Painting mode so that we can see our layers.
| | 03:49 | Now we can adjust the opacities on them.
| | 03:52 | So on the bottom layer, by moving the
slider to the left, I can adjust that.
| | 03:57 | So let's switch around in orbit, so
we can see the underside of our shark.
| | 04:01 | And I'll just drag that down to about I
don't know. Let's call it to about 17% or so.
| | 04:08 | Let's do that for the top and the sides as well.
| | 04:11 | So I will click on the top, let's orbit
around so we can see the top, and bring
| | 04:17 | that down a little bit as well. There we go.
| | 04:20 | It's always a good idea--
| | 04:21 | You should never really trust
what's happening-in in the Editor view.
| | 04:23 | I always like to do a Command+
R, so I can see my material.
| | 04:28 | Now, we still haven't done the sides yet,
so let's go to the sides which are in
| | 04:32 | this layer here, and let's rename this
layer so we know what we are looking at,
| | 04:34 | and then call this Sides.
| | 04:36 | In the Sides layer, let's drag
this down to about 17% or so.
| | 04:41 | There we go, and actually a little bit less.
| | 04:45 | That's quite a bit of mottling on our shark.
| | 04:48 | So now when we orbit around, we can see that
these layers blend together quite a bit better.
| | 04:52 | Now, you know 17% when I render is still a
little bit heavy I think, but it's not too bad.
| | 04:59 | I am just going to dial them
down just a little bit more.
| | 05:01 | I am going to take them all to 10%.
| | 05:03 | So the Sides is already at 10, and
let's bring this down to 10, and this
| | 05:08 | one down to 10 as well.
| | 05:10 | Then just do another render in Command+
R. You can see that just smooth things
| | 05:14 | out a little bit better.
| | 05:15 | So the great thing about working in the
Diffusion channel is that it allows you
| | 05:18 | to keep these scratch marks and dirty
sort of modeling on the surface of your
| | 05:22 | shark separate from the Color channel,
and it really allows you to subdivide the
| | 05:25 | texturing process in some manageable chunks.
| | Collapse this transcript |
| Roughing the surface using the bump channel| 00:00 | Our Diffusion channel added a lot of
character to the surface of our shark, but
| | 00:04 | the skin still feels really smooth.
| | 00:06 | Now, shark skin from a distance
doesn't really have a bump or roughness to it,
| | 00:10 | but when you are up close you can
really see the rough pattern in the shark's skin.
| | 00:14 | It's made up of little tiny teeth.
| | 00:16 | Almost like a little serrated edge that
runs all along the length of the shark.
| | 00:19 | So we want to make sure that our shark
kind of catches light the same way that a
| | 00:23 | real shark skin would.
| | 00:24 | So we are going to add bump to the
material and that bump is going to break up
| | 00:28 | the light as it falls
across the surface of our shark.
| | 00:30 | I'm still in the BodyPaint 3-D Paint layout.
| | 00:33 | Let's select the Brush.
| | 00:36 | This time for the brushes, we are
going to go to the Brush, and we're still
| | 00:39 | going to use one of the Dubtastic brushes,
but we are going to use Dumpster 2 this time.
| | 00:43 | Let's click on Dumpster 2.
| | 00:44 | Dumpster 2 you can see has a finer
pattern to it and it's still going to give
| | 00:48 | us I think a really nice look for our object.
| | 00:51 | You can see as we move over, we are
not in Projection mode, but it has a very
| | 00:54 | fine pattern to it that is fairly random.
| | 00:57 | Before we switch to Projection
Painting, always double check your layers.
| | 01:00 | Let's switch to the Layers palette and
right now I am looking at the Diffusion.
| | 01:04 | So let's go to Colors, and make the
Diffusion layer inactive, and enable the
| | 01:09 | Bump channel by clicking on the pencil.
| | 01:12 | So now that we have got the Bump
channel active, we can go back to the Layers
| | 01:16 | option and in the Bump material,
we are going to add a new layer.
| | 01:20 | So we go to Function > New Layer, and
the same way that we did in the Diffusion
| | 01:25 | channel we will call one of the layer
Sides and we will make a Top and a Bottom
| | 01:30 | layer as well as we go along.
| | 01:32 | So now in the sides, let's orbit
around to a nice side view of the shark and
| | 01:37 | then enable Projection Painting.
| | 01:41 | Then in the Projection Painting mode,
I am just going to click one time, boom!
| | 01:44 | You can see that it added a very rough
surface and never believe what you see
| | 01:50 | in the Editor view.
Let's always do a render.
| | 01:52 | You can see the surface of the shark
| | 01:56 | it's now got a very tiny bump roughness to it.
| | 01:59 | It's not a super fine pattern.
| | 02:01 | It's just enough to give the shark
some character and some personality.
| | 02:04 | So it looks like the skin has been
aged and weathered over the years.
| | 02:08 | So let's switch now to the other side.
| | 02:10 | I will hit A on the keyboard to
redraw the screen and orbit around to the
| | 02:14 | other side of the shark.
| | 02:17 | Just get the side like that and then
click one time with the brush again and
| | 02:24 | now we can add our Top and Bottom layers.
| | 02:27 | So let's disable Projection Painting and
then in the Layers palette, let's go to
| | 02:33 | Function > New Layer.
| | 02:35 | Let's do a Top layer first, Top.
| | 02:38 | And then enable Projection
Painting and orbit around.
| | 02:47 | Just like we did for the Diffusion,
I am going to skip the tail and just get
| | 02:52 | the top of the shark. Pow.
| | 02:55 | Now, we can disable Projection Painting.
| | 02:58 | Let's add a new layer.
| | 02:59 | Function > New Layer and call this one
Bottom, and orbit around to the underside
| | 03:07 | of the shark and then enable
Projection Painting and then click one time to
| | 03:17 | skip the tail again, boom!
| | 03:20 | Now, let's just take a
quick tour around our shark.
| | 03:24 | We will disable Projection Painting
and let's switch to the Selection tool,
| | 03:29 | so that we don't get this crazy brush
overlay every time we orbit around our object.
| | 03:33 | So I am going to orbit around here and
let's just do a rendering from each of
| | 03:36 | the side to check our texture and
that looks very, very realistic.
| | 03:40 | You can see that the Bump pattern
really breaks up the surface of our shark and
| | 03:44 | just gives it a much more realistic look.
| | 03:46 | Now, there is some smearing
like right on the fin there.
| | 03:48 | But I am not going to be too concerned
about that because our shark isn't going
| | 03:51 | to be getting too close to the
camera with relation to its fin.
| | 03:55 | So I am not going to obsess
over subtle details like that.
| | 03:58 | A lot of times the goal in motion
graphics is to get the shark to look basically
| | 04:05 | just cool enough from one
angle, so that it can pass.
| | 04:08 | If this were a hero shark, if I were
doing a very budget-oriented special
| | 04:12 | effects movie, I would do a much more
accurate UV unwrap of the shark and be
| | 04:16 | much more particular about how I
painted the different channels.
| | 04:21 | Check the underside.
I think it looks pretty good.
| | 04:26 | So the texturing process for
the shark's skin is complete.
| | 04:29 | We still need to add a texture
for the eyes, teeth, and gums.
| | Collapse this transcript |
| Texturing the eyes| 00:01 | We've got the skin texture looking really good.
| | 00:03 | Now we can move on to the eyes.
| | 00:04 | Our eyes right now are a flat gray color.
| | 00:06 | They basically have the same skin
texture just kind of overlaid on top of them.
| | 00:10 | What we want to do is create a new
material that's going to be called Shark
| | 00:14 | Eyes, and that material will get
stuck on top of the skin texture but only
| | 00:18 | affect the polygons where the eyes are.
| | 00:21 | Let's switch our layout from the
BodyPaint 3-D layout back to a standard layout,
| | 00:26 | and in the Material Manager,
we are going to make a new material.
| | 00:29 | So I will go to File > New Material.
| | 00:32 | Let's double-click on the
word Mat and call this Eyes.
| | 00:38 | Now, with the Eyes material active,
I am going to make the color just black.
| | 00:47 | Now, our shark object is called Cube,
and that's the actual body of the shark
| | 00:55 | and what I want to do is create
something called a Selection tag.
| | 00:58 | Now, Selection tag is going to allow
me to limit how a material applies to an
| | 01:02 | object and it's only going to have
the black material show up on the eyes.
| | 01:06 | The process of creating a Selection tag
involves selecting the polygons in the
| | 01:11 | region that we need to limit the material to.
| | 01:13 | So let's switch to Polygon mode and I am
going to use my Selection tool and make
| | 01:18 | sure that Only Select
Visible Elements is turned on.
| | 01:21 | That's very important.
| | 01:22 | I don't want to select polygons
all the way through my object.
| | 01:25 | I only want to select this
one polygon right here, boom!
| | 01:29 | Now I am going to go around to the
other side and select just the polygon that
| | 01:34 | is on the other eye, boom!
| | 01:35 | So now I have two polygons selected.
| | 01:38 | Now I want to expand my selection out a
bit so that it adds the material to the
| | 01:43 | polygons that are on the
sides of the eyes as well.
| | 01:45 | So I am going to go to the Selection
menu and do a Grow Selection and the Grow
| | 01:50 | Selection command expands that
selection area out a little bit to the
| | 01:55 | surrounding polygons.
| | 01:57 | Now, with the polygon selected, I'm
going to go to the Selection menu and do
| | 02:03 | Set Selection way down here at the bottom.
| | 02:05 | When I activate this command, it's
going to add a red triangle here at the
| | 02:09 | end of the tag column.
| | 02:11 | That red triangle is called a Selection Tag.
| | 02:14 | Now, let's rename the Selection tag in
the basic properties and just call it Eyes.
| | 02:17 | Now you can see our shark skin
is this Material tag right here.
| | 02:24 | I'm going to click on the Eyes
material and drag it right onto the cube.
| | 02:28 | Then when I do, my entire shark turns black.
| | 02:32 | That's because CINEMA 4D evaluates
these materials from right to left.
| | 02:35 | So the black eye material is
currently covering up my shark skin.
| | 02:39 | So now what I can do is in the Eye
Material tag, the Texture tag that's applied
| | 02:44 | to my shark body, there is a field
called Selection under the tag properties.
| | 02:48 | If I drag this red triangle into that
field, it will limit the material to only
| | 02:54 | showing up in the location of that selection.
| | 02:57 | Let's get out of Polygon mode and
take a step back and you can see that our
| | 03:01 | shark looks like it's just a flat gray
with a black texture on the eyes, but our
| | 03:05 | shark skin is still there.
| | 03:06 | When we render, you can see our shark now
has black eyes and the regular shark skin.
| | 03:11 | You might be asking yourself, why did
we use a Selection tag when we could have
| | 03:14 | also painted the eyes inside of BodyPaint?
| | 03:16 | And that's because I really like to
have a separate material for the eyes so
| | 03:20 | that I can control how shiny the eyes are.
| | 03:22 | Right now you can see the eyes are a
little bit dull, and I can actually add a
| | 03:25 | little bit more specular highlight
to these guys independent of the skin.
| | 03:29 | So if I click on the eyes and I can
go to the Specular channel and turn the
| | 03:33 | Height up, and now when I do a little
test render, Command+R, you can see the
| | 03:38 | shark eyes now have a nice specular
highlight on them that's much more intense
| | 03:42 | than the surrounding skin.
| | 03:44 | So the Selection channel is a great way
for adding additional materials to your
| | 03:47 | objects without actually covering up
the materials that are already there.
| | Collapse this transcript |
| Texturing the teeth and gums| 00:00 | Our shark skin is great.
| | 00:01 | Now we can add some more
touches like the teeth and gums.
| | 00:04 | These are much more simple than the
body, so we can just use the default
| | 00:07 | texturing tools in C4D to get this
done, just like we did for the eyes.
| | 00:10 | So, let's in the Material Manager go
to the File menu and do a New Material.
| | 00:15 | Double-click on the word Mat
and let's call this one gums.
| | 00:20 | The gums are going to be kind of a
dark red material, and let's go to the
| | 00:24 | Color channel and click on the color
swatch and in the color picker we're
| | 00:29 | going to scroll over to a nice, dark sort of
red material, right about like that, and hit OK.
| | 00:37 | That's pretty much all we need to do to them.
| | 00:39 | Now we want to apply this to the gums geometry.
| | 00:44 | So, you notice in our shark hierarchy
here we have the gums symmetry object,
| | 00:48 | and then we have the gum
geometry right below it.
| | 00:50 | When I apply this to the Gums Lower, let's
zoom in on this area so we can see what happens.
| | 00:54 | Right now, our teeth are all
default gray and so are our gums.
| | 01:00 | So, if I select this gum material and
drag it right onto the gums symmetry,
| | 01:04 | everything below it turns red.
| | 01:06 | That's okay for now, because we're
going to add a new material for the teeth.
| | 01:09 | I don't really want this to sit
on the symmetry object though.
| | 01:11 | I'd really rather have it
sit on the actual gums object.
| | 01:14 | So, I'll move this tag down one level.
| | 01:17 | Then I can use the same
technique to apply it to the Gums Upper.
| | 01:21 | So, I'll hold down the Ctrl key.
| | 01:22 | There are two ways to do this.
| | 01:23 | I could take this gums material and
drag it from the Material Manager all the
| | 01:27 | way across to Gums Upper, or I could
just hold down the Ctrl key and drag a copy
| | 01:31 | of this material up onto the Gums Upper object.
| | 01:34 | You see that all the upper teeth
turn red too, actually kind o -- ugh!
| | 01:38 | Gets kind of gross looking!
| | 01:40 | So, let's make these teeth look white now.
| | 01:43 | So, let's make a new
material in the Material Manager.
| | 01:45 | I did that by double-clicking, by the way.
| | 01:47 | I could also go to the File
menu and choose New Material.
| | 01:49 | Now let's double-click on the
word Mat and call this TEETH.
| | 01:53 | Now with the TEETH material active,
let's go to the Color channel and it's
| | 01:57 | going to be a basic white, but let's add a
little bit of modeling in that Color channel.
| | 02:02 | I'm going to go to the
Texture and do a noise pattern.
| | 02:06 | You can see the noise pattern, by
default, kind of makes it almost look like a
| | 02:09 | speckled egg, and that's way
too intense in noise pattern.
| | 02:12 | So let's pick something different.
| | 02:14 | I'm going to click on the swatch down
here for the Noise and that takes me
| | 02:18 | into the Noise options.
| | 02:19 | Now, there is a really cool button.
I want to enlarge my layout here a little bit.
| | 02:22 | The Noise names
don't necessarily make sense.
| | 02:26 | They are named after a couple of
things, in some cases the person that
| | 02:30 | invented the noise pattern or something that
the noise pattern reminded the programmer of.
| | 02:34 | So, rather than do that,
there is a really great icon here.
| | 02:37 | If I click on this little triangle, that
shows me a picture of all the noise patterns.
| | 02:41 | So, if I click on-- let's use I
think VL Noise, and we click on that.
| | 02:47 | This pattern is still too dense.
| | 02:49 | So I want to make it really large and
call it, let's make it 500% for now.
| | 02:53 | That just enlarges our noise pattern.
| | 02:55 | It's almost like zooming in on it.
| | 02:56 | I'm going to click on the up level
arrow and that's going to take me up one
| | 02:59 | level to the Basic
properties for the Color channel.
| | 03:03 | Now, in the Color channel, I'm going
to just dial down the noise pattern.
| | 03:08 | Let's raise this up a bit,
so we can see it better.
| | 03:10 | By dialing down the Noise Mix Strength, I
can limit how intense that noise pattern is.
| | 03:17 | Now I can take this TEETH
material and apply it to the teeth.
| | 03:21 | So, here in the Object Manager, I'm
going to drag my TEETH material and I'm
| | 03:25 | going to put it right on to the
Null object that contains all my teeth.
| | 03:29 | Then I'll twirl-open the Gums Upper,
and then twirl-close that upper teeth and
| | 03:35 | hold down the Ctrl key and drag
a copy of that TEETH material up.
| | 03:38 | You can see now my teeth
turned back to more of a white gray.
| | 03:42 | You can see now when we render our
shark, we have red gums which blend nicely
| | 03:46 | into the jawline and then
white teeth, which stand out great.
| | 03:49 | One more tweak I'm going to make and
while we're here in the shark, when I
| | 03:53 | render this, I think my Bump
pattern is a little bit too strong.
| | 03:56 | So I'm going to go into the shark skin
and in the shark skin I'm going to change
| | 04:02 | the intensity of the Bump
from 20% down to about 10%.
| | 04:06 | Now, when I render, Command+R, you can
see the bump pattern is still there, but
| | 04:11 | it's just not quite as intense as it was before.
| | 04:13 | Our shark has really come together
and the skin is looking fantastic.
| | 04:17 | We've got texture for the eyes, teeth,
and gums now, and our shark is ready to animate.
| | Collapse this transcript |
|
|
8. Creating the Final AnimationReplacing the rough shark model in the intro shot with the finished model| 00:00 | Our star, the shark, is ready to
be placed into the scene, so we can
| | 00:03 | finalize the animation.
| | 00:04 | We use the dummy shark to set up all
the shots, so we might need to make some
| | 00:08 | tweaks once we get the hero shark into place.
| | 00:10 | In this video, we're going to load the
shark into the scene file and then start
| | 00:13 | swapping out the dummy sharks
and replacing them with the hero.
| | 00:15 | After that, we'll make a preview to
check animation speed and make sure that any
| | 00:18 | changes necessary to the
shot are all looking great.
| | 00:21 | I'm going to open up the shot-001 scene file.
| | 00:24 | So, let's go to the File menu and do
an Open, navigate to the Chapter 8
| | 00:30 | Exercise Files, and open up shot-001.c4d.
| | 00:33 | Now, before I do anything else,
I want to save this shot as a new name.
| | 00:39 | I'm going to go to the File menu and
do a File > Save as, and call this one
| | 00:43 | shot-001-finanim as in final
animation, and then hit Save.
| | 00:48 | That way, in case I'm make any mistakes
I'm covered. I can always get back to my
| | 00:52 | original shot-001 file.
| | 00:53 | Now I need to copy and paste the hero shark,
the finished shark, into the scene file.
| | 00:57 | So I'm going to go to the Window menu
and go to my finalshark scene file which
| | 01:02 | is open, select the HyperNURBS and
copy it to the clipboard, Command+C or
| | 01:05 | Ctrl+C. Go to the Window menu and do
shot-001-finanim and then I'll paste down
| | 01:10 | our hero shark, Command+V or Ctrl+V on the PC.
| | 01:13 | With our HyperNURBS selected,
I'm looking through the camera.
| | 01:17 | It'd be a lot easier to do this process if
I wasn't looking through the camera file.
| | 01:19 | So, I'm going to uncheck the Look
Through Camera option so I can see my scene.
| | 01:24 | Now, I'm going to start
with the very first shark here.
| | 01:28 | You should do this process
with the Spline Wrap off.
| | 01:30 | So I'm going to click on the active
icon here, which is this green checkmark.
| | 01:34 | If I click this green check mark off,
my Spline Wrap disables and my shark for
| | 01:39 | the shark 1, the dummy shark, jumps
right back to the center of the world.
| | 01:42 | So now I can twirl-open the hierarchy
for the shark and drag my new HyperNURBS,
| | 01:46 | and let's rename these and
let's call this one dummy HyperNURBS.
| | 01:51 | I'm going to be deleting this one soon.
| | 01:52 | I just want to be able to tear them
apart when I get them into that hierarchy.
| | 01:55 | Now let's take new HyperNURBS and
drag it right down into the hierarchy.
| | 02:00 | So now if I zoom in on this, zoom in
just a little bit here, I can see that when
| | 02:06 | I was modeling my shark and doing all
the texture mapping and stuff, I was doing
| | 02:09 | it around the center of the
world, which is absolutely correct.
| | 02:11 | But our dummy shark is lined up with the tip
of its snout right at the center of the world.
| | 02:16 | So I need to take my new shark and just
drag it back on the x-axis so that the
| | 02:22 | tip of the snout lines up
with the old tip of the snout.
| | 02:24 | Let's zoom in in the right-
hand view and double-check that.
| | 02:28 | You can see if I move this shark out
of the way, there is my dummy shark and
| | 02:31 | I'll bring my old shark in.
| | 02:33 | Let's check the position on that.
| | 02:34 | The coordinates on the Y should be 0.
| | 02:36 | That way it will line up nice and neat.
| | 02:39 | I think we're ready to go.
| | 02:40 | Now I can delete this dummy HyperNURBS,
just delete it from the scene, and when
| | 02:44 | I go back to the Perspective view and
I turn the Spline Wrap back on for 001,
| | 02:49 | my shark jumps right back to
the spline just like it should.
| | 02:53 | That's exactly the behavior that we want.
| | 02:55 | I don't really want the shark
to swim with his mouth open.
| | 02:57 | So let's go to the Final Shark
hierarchy, select the Morph tag, and bring the
| | 03:02 | shark mouth back to closed
by moving the slider to 0.
| | 03:06 | So that's really all there is to it for
the shark replacement. Let's do it one
| | 03:09 | more time on shark 002.
| | 03:11 | This time, rather than copy and paste
it from the other scene file, we can just
| | 03:14 | Ctrl+Drag a copy of it into the other hierarchy.
| | 03:17 | I don't even need the old shark
hierarchy, because I know that I built all of
| | 03:20 | the sharks exactly the same.
| | 03:22 | So, all I have to do is delete this old one.
| | 03:24 | You notice I deleted the HyperNURBS,
not the actual shark Null object.
| | 03:27 | Now if I take this HyperNURBS from the
previous shark hierarchy, shark-001, and
| | 03:32 | hold down the Ctrl key and drag a copy
into the shark-002 hierarchy and make it
| | 03:37 | a child of the shark Null
object there, look what happens.
| | 03:40 | It drops right into position
right where it needs to go.
| | 03:42 | Let's look through the camera, and then
I'm going to deselect that by clicking
| | 03:46 | any place in the Object window over here.
| | 03:48 | I'm just going to scrub through this
animation and see that my sharks are moving
| | 03:51 | just the way I want them to.
| | 03:53 | So now I'm going to repeat this
process for all the other sharks.
| | 03:56 | Now, I've replaced all 13 sharks.
| | 03:58 | You can see that in my hierarchy
I've got everything all twirled-open here.
| | 04:02 | There is a great command in the Object Manager.
| | 04:04 | I'm going to go to the View menu
and go to Folding and do a Fold All.
| | 04:07 | That's going to twirl
everything back closed again.
| | 04:09 | Now, the last step in the
process is to make a preview movie.
| | 04:13 | As I scrub through this animation, the
geometry of the sharks is much, much,
| | 04:17 | much heavier than the
geometry of the dummy shark.
| | 04:22 | So, that's one of the reasons you work
with a dummy shark, is that having the
| | 04:25 | high-res geometry in the scene file
makes it very difficult to scrub through
| | 04:28 | animation and preview it.
| | 04:29 | So you will notice as I scrub through
this animation, it really chunks along.
| | 04:33 | In fact, it takes a few moments for it to
update the screen every time I move the cursor.
| | 04:38 | So we're going to make a preview
movie of this and drop it back into the
| | 04:41 | cameramatic to check the animation speed.
| | 04:43 | Before I make the preview, I want to
clean up this view a little bit, because
| | 04:45 | you can see I've got all my
splines. I've got the grid in there.
| | 04:48 | I'm going to go to Filter menu here in
the Perspective view and turn off the
| | 04:53 | Grid and then turn off Splines.
| | 04:57 | These elements aren't deleted from the scene.
| | 04:59 | They are simply made invisible.
| | 05:00 | Now that makes it a lot
easier to see my shark swimming.
| | 05:03 | Now I'm going to go to the middle
Clapboard icon here and do a Make Preview.
| | 05:07 | I'm going to double-check all my properties.
| | 05:09 | The Frame Range is set for All Frames,
which is 0 to 160, just the way it needs to be.
| | 05:14 | I'm going to check my Image Size, 640x360.
| | 05:17 | I need to make sure that my Frame Rate is
going to be set to 30 frames per second.
| | 05:21 | I'll set my Frame Rate to
30 here and then hit OK.
| | 05:24 | This calculating preview process is very
processor-intensive and the speed of it
| | 05:29 | will depend widely based on
the type of computer you have.
| | 05:32 | On a 8-core Mac, it will go much faster
than it would on an iMac or an 8-core PC
| | 05:36 | would go much faster than
it would on a single-core PC.
| | 05:39 | It really depends on the speed of your CPU.
| | 05:42 | Once the Picture Viewer pops up, let's
take a look at our animation and make
| | 05:45 | sure it's all complete.
| | 05:46 | I'll hit the Play button here.
| | 05:47 | Remember the first time it goes
through it's going to be caching.
| | 05:50 | That's what this red 0 means.
| | 05:52 | It's caching to memory.
| | 05:53 | Then the next time it plays
through, it's going to be real time.
| | 06:01 | That's not too bad.
| | 06:02 | I think it's looking pretty good!
| | 06:03 | So I'll stop playback.
| | 06:05 | Let's go to the File menu > Save as, and
we're going to save this as an animation.
| | 06:09 | A Photoshop PSD sequence is just fine.
| | 06:12 | So I'll hit OK and navigate to my
Desktop to Exercise Files to Chapter 8.
| | 06:17 | I'm going to make a new subfolder.
| | 06:18 | These are the old preview movies that
we made when we made the cameramatic.
| | 06:22 | I'm going to make a new folder and
let's call this one shot001_finanim.
| | 06:31 | Then in the Save as field, I'll
call this shot001-finanim-preview.
| | 06:36 | Hit Save, the blue bar caches
across the bottom, and our file is saved.
| | 06:40 | That's pretty much it for
shot one for the animation.
| | 06:43 | We've got our sharks in position,
we've replaced everything, and the
| | 06:45 | animation is looking great.
| | Collapse this transcript |
| Replacing the rough shark model in the transition shot| 00:00 | Shot 02, which is the thrashing
shark transition, is actually three
| | 00:03 | separate shots that will be used in rapid
succession to make that thrashing shark transition.
| | 00:08 | We are going to need to replace the
shark, but we won't need any of the Spline
| | 00:11 | Wrap or hierarchy elements in these.
| | 00:12 | We'll also need to animate a little
bit of mouth movement for these shots.
| | 00:15 | I'm going to go to the File menu and
open up shot-002-A and scrub through
| | 00:22 | it just for a moment.
| | 00:23 | You can see that my shark is leaning
towards the camera and I want to have that
| | 00:27 | mouth open up as it leans towards the camera.
| | 00:30 | So, let's go to the finished shark file,
get our HyperNURBS, copy it, just like
| | 00:35 | we did before, and paste
it down into shot-002-A.
| | 00:38 | So I'll paste down.
| | 00:39 | Now, we don't have any of the Spline Wrap
elements in here. We do have the same shark Null.
| | 00:44 | So I'm going to drag my
HyperNURBS down into the shark-002 Null.
| | 00:49 | Let's name the one below it, we
can call it old, just so we can tell
| | 00:52 | the difference between them.
| | 00:53 | We're going to be deleting this one.
| | 00:54 | That's the dummy shark.
| | 00:55 | Before I make any other drastic
changes, let's do a File > Save as.
| | 00:58 | File > Save As, and we'll
call this one shot-002-A-finanim.
| | 01:04 | We can always get back to our original
shadow 002-A if we decide we don't like something.
| | 01:07 | So now, all I need to do is go to the
Coordinates properties and zero out the
| | 01:11 | position and rotation.
| | 01:12 | Don't change the scale.
Just the position and rotation.
| | 01:15 | 0, Tab, 0, Tab, 0, and tab all the way
across to the rotation fields 0, 0, 0.
| | 01:22 | Now, let me uncheck the Look Through Camera
option and show you what's happening here.
| | 01:27 | Our final shark was built at 0, 0, 0,
and our dummy shark has an offset to it,
| | 01:31 | just like it did with the previous shot.
| | 01:33 | So, all I need to do is take the X-axis
for the hero shark and move it into position.
| | 01:38 | So, the tip of the snout is
right where it needs to be.
| | 01:41 | Then I can delete the old shark and
we're left with just the new shark.
| | 01:45 | Then when we look back through the
camera, there is that mouth. Yikes!
| | 01:49 | Right at the camera!
| | 01:52 | That actually works out pretty well.
| | 01:53 | I want to have the mouth open up just a
bit over the course of the ten frames.
| | 01:57 | So, let's go back to time 0 and then
twirl-open our hierarchy and select the
| | 02:03 | Morph tag that's on the cube.
| | 02:05 | In the Morph tag, we're
going to animate the open slider.
| | 02:08 | I'm going to drag the slider down to 0,
maybe not quite 0, maybe about 13% or so.
| | 02:16 | Then if I hold down the Ctrl key and
click on that black circle, that adds a
| | 02:21 | keyframe for that at time 0.
| | 02:22 | I'll slide forward in time to the last
frame, and then drag the slider forward,
| | 02:28 | and there is the open mouth and
then I'll add another keyframe.
| | 02:32 | Then just scrub back through it.
| | 02:36 | There's our shark opening its mouth.
| | 02:38 | That's pretty much all it
needs to do in this shot.
| | 02:40 | Remember, because we have the final
geometry in here, we won't really be able to
| | 02:43 | hit the Play button. We should always
make a preview movie, plus we're going to
| | 02:46 | need to export that out.
| | 02:47 | So, I'll go ahead and go to the Make
Preview option and then check my Frame
| | 02:52 | Range, Image Size, and Frame Rate,
and that's all set correctly.
| | 02:55 | I'll hit OK and this one
I'll preview pretty quick.
| | 02:59 | Now, I can hit Play, and there is my shark
thrashing and biting the screen. That looks great!
| | 03:05 | That's just what I want to have happen.
| | 03:06 | Let's stop playback, go to the File
menu, do a Save as, Animation, and as a
| | 03:12 | Photoshop Sequence, and hit OK.
| | 03:14 | Then just like I did in the previous
movie, I'm going to go to the Chapter 8
| | 03:17 | folder, and make a new subfolder in
there and call it shot002-A-finanim, and
| | 03:25 | then hit Create, and then call
this one shot002-A-finanim-preview.
| | 03:31 | And that's it.
| | 03:33 | Now, shot002-A, shot002-B, and
shot002-C are nearly identical.
| | 03:37 | So, I'm going to use the same
techniques here that I used for shot A to finish
| | 03:41 | up shot B and C off-camera.
| | Collapse this transcript |
| Replacing the rough shark model in the hero shot| 00:00 | In this video we are going to be
animating the hero shot that reveals the name
| | 00:03 | of the program block Shark Zone.
| | 00:05 | Now I call this the hero shot, because
it's really the first time our viewers
| | 00:08 | are going to see the word Shark Zone,
which is the whole point for the promo.
| | 00:12 | The hero shots would always be the most
iconic and visually stimulating of the
| | 00:15 | piece, because you really want to
draw your viewers in at that point.
| | 00:18 | So what I am going to do is I am going
to open up the start off point for this
| | 00:21 | file, which is the shot-003 that we
created during the cameramatic Process.
| | 00:25 | Let's go to the File > Open, navigate to
the Chapter 8 files and open up shot-003.
| | 00:31 | Now I want to make sure that I protect
myself, in case I need to get back to
| | 00:34 | shot 3 I will be okay.
| | 00:35 | So let's go to the File menu and do a
Save As and in the Chapter 8 folder,
| | 00:39 | let's call it the shot-003-finanim.
| | 00:43 | Now that I have got that file saved, I am
protected in case I need to go backwards.
| | 00:47 | Let's go and get our hero
shot from the final shark file.
| | 00:50 | I have this open already, but this is
the same shark file that you have in your
| | 00:54 | Chapter 8 files folder.
| | 00:55 | I am going to copy and paste the HyperNURBS
object from this document into the other one.
| | 01:00 | So I will select the HyperNURBS,
hit Command+C or Ctrl+C, and then go to
| | 01:04 | shot-003-finanim and past it down,
Command+V. Now let's uncheck the Look Through
| | 01:09 | Camera option and zoom in on this area.
| | 01:12 | I want to turn off the actual Spline
Wrap object and I am going to twirl
| | 01:16 | open the Shark Uber hierarchy and turnoff the
Spline Wrap by clicking its active checkmark.
| | 01:20 | Now I can rename the old dummy
hierarchy and let's call it old.
| | 01:24 | We are going to be deleting that soon, so
we don't need to pay attention to the name.
| | 01:28 | But we want to make sure we
can tell these guys apart.
| | 01:30 | I am going to drag this
HyperNURBS down into the shark hierarchy.
| | 01:34 | Now I need to move it back so
that it lines up with the dummy shark.
| | 01:36 | So I will drag it on the X-axis only
until it lines up with the dummy shark.
| | 01:41 | Now let's zoom in and double-check.
| | 01:43 | I will get really close to the
snout here and navigate-- there we go.
| | 01:46 | So that's lined up really nice.
| | 01:48 | I can delete the old shark and turn the
Spline Wrap back on, and then let's look
| | 01:53 | through the camera and see how it is looking.
| | 01:55 | Now that we are looking through the
camera, I will scrub through the animation.
| | 01:58 | Our shark comes out from behind the
logo just fine and swims toward the camera.
| | 02:01 | Now I don't want the mouth to
be open for the entire time.
| | 02:04 | So I am just going to go to about frame
109 or so, and I want to have his mouth
| | 02:10 | closed up until this point.
| | 02:11 | So let's open up the shark hierarchy.
| | 02:13 | Select the Morph tag that's on the shark
body object, and drag that slider closed.
| | 02:20 | When, I drag that slider to
0 that closes his mouth up.
| | 02:22 | So I want have his mouth
closed up until that point.
| | 02:24 | So let's set a keyframe for
this slider at 0% a time 109.
| | 02:29 | Now when I navigate forward in time, I
want to have his mouth open right about
| | 02:36 | here, just before it hits the camera.
| | 02:38 | So I am going to drag the slider open
most of the way and then hold down the
| | 02:44 | Ctrl key and add a keyframe for the
open slider at that point in time.
| | 02:48 | Now I did mine to 92%, but you
can adjust yours to your taste.
| | 02:52 | Now as I scrub through the animation,
you can that he comes out from behind the
| | 02:54 | logo with his mouth closed and then
opens it up as he swims towards the camera.
| | 03:00 | There's our cut point right there.
| | 03:01 | So now I think we have got the animation done.
| | 03:03 | Let's take a preview movie
of it and see what looks like.
| | 03:06 | I am going to go to the middle
clapboard and do a Make Preview and double-check
| | 03:09 | the Preview Range, which is
All Frames and the Image Size.
| | 03:13 | Now the Image Size, make sure it is 640x360.
| | 03:16 | My Frame Rate is 30 and I'll hit OK.
| | 03:17 | I will get my blue progress bar.
| | 03:19 | It's calculating the preview for me.
| | 03:22 | Now remember, the speed of this preview
will be depended on your processor speed.
| | 03:25 | So for example, on iMac, will go
a lot slower than an 8 Core Mac.
| | 03:29 | A single core PC will go a
lot slower than an 8 Core PC.
| | 03:32 | So it really depends on
how fast your computer is.
| | 03:35 | Once this pops up, I am
going to hit the Play button.
| | 03:38 | You can see my camera drops down, and
it is caching those frames to memory.
| | 03:44 | And the second time is plays through,
| | 03:45 | it is going to be playing
back at the correct speed.
| | 03:47 | So there is my shark
animation and it's looking great.
| | 03:50 | I am going to stop playback and go
to the File menu and do a Save As.
| | 03:55 | I want to save it as an animation
and the format is a Photoshop Sequence.
| | 03:58 | So I will hit OK, and navigate
now to my Chapter 8 files folder.
| | 04:03 | In the Chapter 8 files, I am going
to make a new subfolder and call this
| | 04:07 | shot003-finanim-preview, and I will
call the file shot003-finanim-preview, and
| | 04:19 | I get the blue progress bar
and now it's file saved out.
| | 04:22 | So our hero piece is looking great.
| | 04:24 | The animation is all done and we
are ready to move on to the next shot.
| | Collapse this transcript |
| Replacing the rough shark model in the end page shot| 00:00 | The last shot of the piece, shot-004,
is called the end page in promo land.
| | 00:04 | It is the final shot of the entire
piece and it is used to brand the network.
| | 00:08 | Depending on the type of promo it is,
it can also be used show the viewer any
| | 00:12 | tune-in information.
| | 00:13 | That lets folks know when the show is coming on.
| | 00:15 | In this case we are just going to be
branding the network and then revealing
| | 00:18 | the tagline at the end.
| | 00:19 | So let's open up that
starter point for the file.
| | 00:21 | I am going to go to the File menu and
do an Open, navigate my Chapter 8 folder,
| | 00:27 | and open up shot-004.
| | 00:28 | So I am going to save this file as a new name.
| | 00:31 | So File > Save A, shot-004-finanim ,
and save it in the Chapter 8 folder.
| | 00:39 | Now I am protected in case I mess
something up. I can always get back to
| | 00:42 | my original shot-004.
| | 00:43 | In this piece, we have got our
sharks swimming through the frame.
| | 00:46 | But it is the dummy shark.
| | 00:47 | We need to replace that dummy shark.
| | 00:49 | Let's uncheck the Look Through Camera option,
and get to the Perspective view full screen.
| | 00:54 | I am going to first turnoff my Spline
Wrap object and get my shark back to 000.
| | 01:00 | Now let's get the hero shark and
copy and paste it into the scene.
| | 01:03 | I am going to go to the Window menu and
navigate to the 08_01_finalshark file,
| | 01:07 | and this is the same shark file that you
have in your Chapter 8 > Project Files folder.
| | 01:12 | So I am going to select the
HyperNURBS and copy it to the clipboard.
| | 01:16 | Command+C or Ctrl+C and then go to
shot-004-finanim and paste it down.
| | 01:22 | Command+V. Now my shark doesn't quite line up.
| | 01:25 | Before I move it into the hierarchy
though, let's rename this HyperNURBS,
| | 01:28 | and we'll call it old.
| | 01:29 | Then I am going to close this HyperNURBS up
and just drag it into the shark hierarchy.
| | 01:35 | They don't quite line up yet.
| | 01:36 | So I need to move my shark on the
Z-axis until their snouts line up.
| | 01:40 | Let's orbit around to the backside.
| | 01:42 | It will be a little bit
easier to see what's happening.
| | 01:44 | Our logo is in the way here.
| | 01:45 | So I will just drag it on the X-
axis until the snouts line up.
| | 01:49 | I think that's looking pretty good.
| | 01:50 | So now all I really need to
do is turn the Spline Wrap on.
| | 01:53 | But before I do that, let's delete the
old shark and then turn the Spline Wrap
| | 01:57 | back on and then look through our camera.
| | 02:00 | You can see now we have our sharks
swimming through the frame just right.
| | 02:04 | Except his mouth really should be closed.
| | 02:06 | Let's go ahead and go to the shark
hierarchy and twirl it open until we can see
| | 02:11 | the shark body object, which is this cube.
| | 02:13 | I am going to select the Morph
Tag and bring the slider back to 0.
| | 02:18 | Now I can deselect everything by
clicking on the gray area over here.
| | 02:21 | Now I when I scrub through the animation,
the shark swims into frame and reveals
| | 02:25 | the tagline exactly how it's supposed to.
| | 02:28 | So now we have got the final animation done.
| | 02:31 | Let's go and make a preview of it
so we can have it for After Effects.
| | 02:34 | I am going to go to the middle
clapboard and go to Make Preview option,
| | 02:38 | double-check the Frame Range, the Image
Size and the Frame Rate and hit OK, and
| | 02:44 | my preview is going to start calculating.
| | 02:47 | Once again, this preview speed is
going to be dependent on your processor.
| | 02:51 | When the preview window pops open, I
will be able to hit the Play button and
| | 02:56 | preview my animation.
| | 02:57 | It is caching it for the first time through
and when it plays back again, it is real speed.
| | 03:01 | I think that's looking pretty good.
| | 03:03 | So let's stop playback and go to the
File menu and do a Save As and we are
| | 03:07 | going it as an animation, a Photoshop sequence.
| | 03:09 | Then I'll hit the OK, navigate to my
Chapter 8 folder, and I am going to make a
| | 03:13 | new subfolder here and call
it shot-004-finanim-preview.
| | 03:22 | Call the project file, shot-004-
finanim-preview, and there we go.
| | 03:28 | That file is saved out.
| | 03:30 | Now we have got all of our shots done.
| | 03:31 | We have got finished animation in
every single piece and we have saved our
| | 03:34 | preview movies, and now we are ready to
redo the cameramatic with the finished
| | 03:38 | animation, so we can make sure that
everything fits together just right.
| | Collapse this transcript |
| Updating the cameramatic with the final animation| 00:00 | In this video we are going to be
updating the cameramatic with finished
| | 00:04 | animation files that we
created in the previous chapters.
| | 00:06 | The cameramatic is a really dynamic
document and the whole point of it is that
| | 00:10 | it progresses along with your animation.
| | 00:12 | So it starts off with the dummy
animation and then it gets gradually updated
| | 00:17 | with more-and-more detail as the shots progress.
| | 00:20 | So let's open up the cameramatic file.
| | 00:22 | I am going to go to the File menu, and
do an Open Project and navigate to my
| | 00:25 | Chapter 8 files folder and
open up the 08_05AEstart file.
| | 00:29 | This is all of the cameramatic
information that we had before.
| | 00:33 | You can see it's got all the same
shots in it with the dummy shark.
| | 00:36 | What we are going to be doing is
replacing this footage with the correct files
| | 00:40 | from the newly updated final animation.
| | 00:43 | Let's twirl closed the production
elements and then we are going to go to
| | 00:46 | the Audio-Video folder.
| | 00:48 | All we really need to do
is just replace these files.
| | 00:51 | All these files have exactly the same
frame count as our final animation files.
| | 00:55 | So if we just replace footage not only
will the file name change, but the shots
| | 00:59 | will change here in the cameramatic.
| | 01:02 | So let's start off with the first shot, shot001.
| | 01:05 | These are sorted
alphabetically so it's no big deal.
| | 01:07 | Honestly, it doesn't really matter
what sequence you do it in because we are
| | 01:10 | going to be replacing all the shots.
| | 01:11 | But I'd like to start with the first
one just because it helps me sort through
| | 01:14 | things a little bit be easier.
| | 01:15 | So I will select this and right-
click and go to Replace Footage.
| | 01:19 | I could have also used the
shortcut Command+H or Ctrl+H on the PC.
| | 01:23 | I will go to file and then I am
going to navigate to my Chapter 8 folder.
| | 01:28 | Here in Chapter 8, I am going to
navigate to my shot001_finanim_preview folder
| | 01:32 | and then select any one of the files.
| | 01:34 | Make sure that Photoshop Sequence is checked.
| | 01:36 | That's very, very important.
| | 01:38 | Hit Open and that file is changed.
| | 01:40 | Look, here in my open comp you can
see I now have the finished sharks in
| | 01:45 | position, swimming just like
they did in the cameramatic.
| | 01:48 | Now I am going to repeat that
process with the other shots.
| | 01:51 | Let's go to shot002-A and then do
Replace Footage and then go up one level to
| | 01:55 | shot002-A-finanim and then select any
of them, make sure Photoshop Sequence is
| | 02:00 | selected, and then repeat the process
for shot B. I am going to hit the keyboard
| | 02:04 | shortcut Command+H and navigate to the
002-B-finanim, and make sure that you
| | 02:10 | grab the right file here.
| | 02:13 | There is the finanim-preview for C, and
then I am going to go to shot003 to get
| | 02:19 | the finanim, and then do
the same thing for shot004.
| | 02:22 | There we go. So now we've got all the
shots replaced. Let's do a quick RAM
| | 02:27 | preview and see how it looks.
| | 02:29 | It's going to take a moment
to cache those frames to RAM.
| | 02:34 | Now that we've checked the RAM preview,
you can see that the animation for our
| | 02:37 | Shark Zone promo is looking fantastic.
| | 02:39 | So now we can move on to the next
step, which is lighting and creating a
| | 02:42 | convincing underwater scene.
| | Collapse this transcript |
|
|
9. Lighting and ShadingCreating an underwater look using Global Illumination and atmosphere| 00:00 | For setting up our lights we are going
to start with shot003, the hero shot.
| | 00:04 | We are doing this because since it's
the iconic shot that will really be
| | 00:07 | defining the viewer's
perception of the programming block,
| | 00:09 | we want this shot to drive the
look and feel of all the other shots.
| | 00:12 | We are going to be using
Global Illumination to render this.
| | 00:16 | Global Illumination combined with
Environment Fog is a great way to give us the
| | 00:19 | underwater look we need to make
the sharks look very realistic.
| | 00:22 | Let's move over to CINEMA 4D and I am
going to go to the File menu and do an
| | 00:26 | open and navigate to my
Chapter 9 Exercise Files.
| | 00:31 | Let's start off with shot003.
| | 00:32 | Now this is the final animation file
that we created in the previous chapter and
| | 00:37 | it has our shark moving through the
scene and our Shark Zone type at the center
| | 00:41 | of the world to kind of
flush with the ground plane.
| | 00:44 | This scene if I render it, Command+R,
really doesn't look very interesting.
| | 00:49 | So what we want to try and do is
create an underwater feel for it.
| | 00:53 | There is several techniques to do this.
| | 00:55 | But the one that I'd like to use in
this case is something called Global
| | 00:59 | Illumination and it's going to be
combined with Environment Fog to really give
| | 01:02 | us a lack of depth in the scene.
| | 01:04 | Typically when you are shooting
underwater with a camera, the particle matter in
| | 01:08 | the water, plankton and dirt and
all kinds of other stuff that's floating
| | 01:11 | around in the water, that obscures your
vision so that you don't see very far
| | 01:15 | back into the water.
| | 01:17 | So Environment Fog is a great way to
simulate that lack of vision in the water.
| | 01:21 | So let's start off by adding
Global Illumination to the scene.
| | 01:24 | I am going to go to the Render Settings,
click on the Render Settings option, and
| | 01:28 | under the Effects I am going
to add Global Illumination.
| | 01:32 | Global Illumination is a render
setting that's part of the Advanced Render
| | 01:35 | module in CINEMA 4D.
| | 01:37 | Now there are several different modes
and the mode I am going to be using is
| | 01:42 | IR+QMC combined with Still Image.
| | 01:45 | You might be thinking, well, why
won't you use full animation or camera
| | 01:48 | animation because we are moving the camera
and we have animated objects in the scene?
| | 01:51 | But this technique gives a much
faster render than those two options and
| | 01:55 | because we have very few objects
coming in close proximity between one
| | 01:58 | another, this will give us the look we need
without flicker and without the extra render time.
| | 02:02 | So it's a better way to work.
| | 02:04 | I am going to add IR+QMC into the image.
| | 02:07 | I am going to change the Diffuse Depth.
| | 02:09 | The Diffuse Depth controls how many times
the light calculation is bounced in the scene.
| | 02:14 | A calculation depth of 1 doesn't give
us enough bounce and when you set it to 2,
| | 02:18 | it's going to give us one more level
of bounce, which brightens up the shadow
| | 02:21 | areas in the scene a little bit more.
| | 02:23 | So I am going to change that to 2.
| | 02:27 | Let's close up the Render Settings
for now and take a look at what our
| | 02:29 | render looks like now.
| | 02:31 | When I hit Command+R, it's going to
go through this process of-- first it
| | 02:36 | analyzes the scene and then it renders it.
| | 02:38 | My scene is black and you are probably
thinking that really doesn't look very cool.
| | 02:43 | Why is that?
| | 02:44 | The reason that my scene is black is
that Global Illumination does not provide
| | 02:47 | any lights in the scene.
| | 02:48 | There is normally something
called an Auto Light that's on.
| | 02:50 | As soon as you activate Global
Illumination, the Auto Light turns off.
| | 02:54 | So what we need now is a
way to illuminate our scene.
| | 02:57 | So I am going to use something called
an HDRI image to light our scene with.
| | 03:02 | An HDRI image is a High Dynamic
Range image and that's created using a
| | 03:06 | combination of photography techniques.
| | 03:08 | I don't want to get into it too deep right now.
| | 03:10 | But there are some really great HDRI
image presets inside the Content Browser.
| | 03:14 | So I clicked on this icon,
it looks like a globe here.
| | 03:16 | This is the Content Browser.
| | 03:19 | Underneath the Presets, I'll twirl all
these close so you can see how I got here.
| | 03:22 | I opened up Presets and then CINEMA 4D,
and then I opened up Materials and in
| | 03:28 | the Materials is an HDRI folder.
| | 03:29 | When I click on this folder, I see the
contents of it over here on the right,
| | 03:33 | and I can make these icons larger if I want.
| | 03:36 | The HDRI we are going to use today is HDRI 002.
| | 03:40 | You can see that this is a cityscape
and it's got a bright sky above and
| | 03:44 | dark concrete down below, which is very
similar light layout to an underwater
| | 03:48 | scene where you have light coming in from
above the water but no light at all down below.
| | 03:52 | So this gives us a great starting point.
| | 03:54 | So I am going to double-click
on this to add it to the scene.
| | 03:58 | Global Illumination has the ability to
use the light information in an image to
| | 04:02 | illuminate your scene.
| | 04:03 | So what we need to do is get
this HDRI to surround our scene.
| | 04:07 | So I am going to add a new sphere to the scene.
| | 04:11 | I am going to call this envirosphere.
| | 04:20 | The envirosphere needs to surround our scene.
| | 04:22 | You can see it's very small at
the center of the world right now.
| | 04:24 | I want to make it enormous so that it
encompasses everything inside my scene.
| | 04:28 | So I am going to go to the
envirosphere and make the Radius 25000.
| | 04:34 | How large you make the environment
sphere really depends on the type of scene
| | 04:36 | that you are creating.
| | 04:37 | But in this case, 25000 should be just fine.
| | 04:40 | I might need to double-check it in some of
the other scenes to make it a little larger.
| | 04:43 | But for this scene it will work just fine.
| | 04:45 | So I am going to take the HDRI
object and add it to the envirosphere.
| | 04:50 | When I do you can see the HDRI image
now on the environmentsphere in the scene
| | 04:54 | and when I render, Command+R,
look what happens to my scene now.
| | 04:58 | It's going to use the light and dark
values of that image to light our scene.
| | 05:02 | It looks like our Shark Zone type
is now floating in a parking lot.
| | 05:05 | You can see that not only does it
light the scene, but it adds color to it as
| | 05:08 | well and that's another reason I chose
this image, because it has some subtle
| | 05:11 | blue values to it that really
give it a more water-like feel.
| | 05:15 | We don't to be able to see our image in
the background and also we don't really
| | 05:18 | want it to be quite so sharp and
focused either because the sharpness of this
| | 05:22 | image adds to the lighting effect.
| | 05:25 | We want to kind of soften this up, so the
lightning feels a little bit more diffused.
| | 05:29 | So the first thing I will do is in the
HDRI Material, I am going to adjust the
| | 05:35 | Blur Offset and change that to about 50%.
| | 05:39 | You can see that that blurs out the
image and when I render it again,
| | 05:46 | it really feels a lot softer.
| | 05:48 | The light has a much more diffused
look to it and you can see also in the
| | 05:51 | surrounding image it actually
looks really nice back there.
| | 05:54 | We are going to be hiding this from view next.
| | 05:56 | In order to hide this from view I am
going to use something called a Compositing Tag,
[00:05:5882]
and a Compositing tag is
accessed by right-clicking on the
| | 06:02 | environmentsphere and going to
CINEMA 4D tags and going Compositing.
| | 06:05 | When I add that to the scene I
want to turn off Seen by Camera.
| | 06:09 | That's going to make my
envirosphere still affect the object in the scene,
| | 06:13 | but now it won't show up in the render.
| | 06:14 | So when I do another render, you can
see I see my Shark Zone type and I see my
| | 06:20 | shark and they are lit very well.
| | 06:22 | But I now have a black background.
| | 06:24 | Now that we have our light looking
pretty good, I am going to add the fog effect
| | 06:27 | that I spoke about earlier.
| | 06:29 | So the way you do that is underneath
the Scene Objects is something called an
| | 06:32 | Environment and the Environment
object is used to generate the fog that's
| | 06:37 | seen by the camera.
| | 06:38 | If you select Environment object and
go to the Object properties, there is an
| | 06:41 | Environment Color and the Environment Fog.
| | 06:46 | When I enable Fog, turning
it on, look what happens.
| | 06:50 | Now my scene turns immediately white,
and when I render that it's going to
| | 06:53 | be blown out, because the Environment Fog
has an impact on the lighting in the scene.
| | 06:58 | What I want to do is change the color of
the fog to something a little more blue.
| | 07:02 | So I am going to click on the color
swatch here and move this over to the blue
| | 07:09 | range of the Color Spectrum and just
kind of eyeball in something that has a
| | 07:14 | more deep watery blue. Not too deep
blue because I still want it to be light.
| | 07:17 | So now when I render this, you will
see that the shark and the Shark Zone now
| | 07:23 | will take on the blue light of the
water and it feels a little more tropical.
| | 07:27 | I want to make this feel a more North Atlantic.
| | 07:28 | So I am going to darken that down just a bit.
| | 07:33 | Then I also want to adjust how
far the fog extends into the scene.
| | 07:38 | The Environment object has a distance
associated with it and that distance
| | 07:43 | controls how deep the fog is in the scene.
| | 07:45 | As I scrub this value, I am going to scrub
it down so the fog gets closer to the camera.
| | 07:50 | When I let go of this fog, you are
going to see the shark become obscured.
| | 07:56 | It becomes obscured in the Editor window.
| | 07:59 | The closer the fog gets to the scene,
and I'm going to dragging this down.
| | 08:02 | You can see it's a very subtle effect
here in the window, but you can see now my
| | 08:07 | shark is becoming more-and-more obscured.
| | 08:09 | I don't want to do it too much.
| | 08:10 | I just want to have a
little bit of fog in the scene.
| | 08:12 | So I am at 4900 roughly on the units for
the distance and I will do a test render.
| | 08:16 | that might be too much.
| | 08:17 | There we go and I think that
is just a little bit too much.
| | 08:22 | Let's back it up to about 6000,
and then do a test render.
| | 08:28 | You can see it evaluates the
lighting first and then it renders the fog
| | 08:31 | along with the lighting.
| | 08:33 | I think that's looking pretty nice.
| | 08:35 | My shark is back in the scene.
| | 08:37 | The scene feels a little bit brightly lit.
I am going to adjust the intensity of
| | 08:40 | the HDRI first before I call it done.
| | 08:44 | In the Luminance channel for the HDRI
material, I am going to dial down the Intensity.
| | 08:51 | I'll start by adjusting the Brightness
slider for the color to about 50% or so
| | 08:56 | and then the Mix Strength Brightness
I am going to adjust down to about 70%.
| | 09:01 | And that's going to darken up my material.
| | 09:03 | That has the effective dialing
down the exposure on the entire scene.
| | 09:06 | I will do another test render, Command+R.
Remember, Global Illumination, when it
| | 09:11 | uses the lighting, it evaluates the
intensity of the light from the image on the
| | 09:15 | environmentsphere and uses
that to illuminate your objects.
| | 09:18 | Our scene is looking pretty good.
| | 09:20 | I think we are done with the
Global Illumination part of it.
| | 09:22 | So before we move on, let's do a File
> Save as, and I am going to call this
| | 09:27 | shot-003-lighting, and I am saving
it into the Chapter 9 files folder.
| | 09:35 | There we go.
| | 09:36 | Global Illumination combined with Fog
really make our scene feel like it's underwater.
| | 09:41 | The next step in the process is going
to be to create some lights in the scene
| | 09:44 | that give our objects a
little bit of separation.
| | Collapse this transcript |
| Lighting the objects and creating shadows| 00:00 | I'm starting off with the shot-003-
lighting file that was created in
| | 00:03 | the previous movie.
| | 00:05 | Now this is not included in your project files.
| | 00:08 | If you'd like to get to this point,
you'll need to complete the previous movie.
| | 00:11 | Global Illumination and Fog
set the atmosphere of our shot.
| | 00:14 | But our text and shark are blending
together a little bit and needs some separation.
| | 00:18 | We're going to use lights to get
that separation using the scene lighting
| | 00:21 | options so that light for the shark doesn't
influence light for the type and vice-versa.
| | 00:25 | Now with the project file here, I'm going
to add something called a Target Spot Light.
| | 00:30 | I'll click on the Scene
Objects here, and go to Target Light.
| | 00:33 | This Target Light is simply a spotlight
that's being forced to always point at a
| | 00:37 | Null object called Light.Target.
| | 00:39 | This little tag right here is
called the Target Expression.
| | 00:42 | That Target Expression says always look
at Light.Target, so wherever I move that
| | 00:46 | Light.Target, the light has to follow.
| | 00:48 | Let's undo that by hitting
Command+Z or Ctrl+Z on the PC.
| | 00:52 | Now I'm going to leave that Light.Target at the
center of the world and move my light around.
| | 00:58 | Let's select the light,
and position in the scene.
| | 01:01 | I'm going to switch to the 4-way view.
| | 01:03 | Now my environment sphere is
getting in the way of things.
| | 01:06 | I wanted to still show up in the render
and the Compositing tag prevents it from
| | 01:10 | being seen by the camera so
that it still influences the scene.
| | 01:12 | But I don't need to really look at it anymore.
| | 01:14 | So let's go to the
envirosphere and turn its top dot red.
| | 01:18 | That makes it invisible in the Editor window,
and makes it visible still in the render.
| | 01:23 | You can see the bottom dot is gray.
| | 01:25 | So that means that it will
show up in the render still.
| | 01:28 | Now we can actually see
the elements in our scene.
| | 01:30 | So let's take the light here.
Let's move it on the Z-axis.
| | 01:34 | I'm going to back it way, way out.
| | 01:37 | I'll zoom in just a bit.
| | 01:40 | Now the field of view for the
spotlight is this cone that's surrounds it.
| | 01:46 | I'm going to drag the center dot,
and let's zoom in a little bit on this.
| | 01:49 | So you can see exactly what I'm grabbing.
| | 01:51 | In the Top view, if I grab
the center dot and drag it,
| | 01:56 | that extends the cone of light outward.
| | 01:58 | Now because I'm not using falloff
for that light, the cone really doesn't
| | 02:03 | mean anything, except that it allows me to see
where my light is falling much more accurately.
| | 02:08 | So I'm going to drag this light on
its Z-axis out a little bit more.
| | 02:13 | As I drag it out, I'm going to
repeatedly drag the cone down towards the center.
| | 02:19 | That makes it a lot easier to
understand what the light is hitting.
| | 02:22 | I want to make sure that
it's covering my entire scene.
| | 02:25 | So now that it is, let's do a little
quick test render here, Command+R. You can
| | 02:31 | see it analyzes the scene first.
| | 02:33 | Now it's blowing out all my elements.
| | 02:34 | So I'm going to that make
adjustments to the light.
| | 02:36 | But first, I want to have this
light only affect the Shark Zone type.
| | 02:39 | So let's go to Light.
| | 02:41 | First, let's change the
name and call it text light.
| | 02:44 | In the Scene option for the text light,
I'm going to change the Mode to Include.
| | 02:49 | Then drag my sharkzone parent, which is
the object that has my Shark Zone type it
| | 02:55 | into the Include field.
| | 02:56 | When I do that that means now this light is
only affecting the type and not the shark.
| | 03:02 | So when I render, you can see the
shark is actually not illuminated in the
| | 03:06 | scene and it will show up
darker than the sharkzone type.
| | 03:10 | So that's my text light.
| | 03:11 | We'll duplicate this light.
| | 03:16 | We'll call the new light shark light.
| | 03:20 | Let's take the shark light.
| | 03:22 | Underneath the Scene option,
we'll change the objects out.
| | 03:25 | So I'll delete this
object, the sharkzone parent.
| | 03:28 | Notice, I'm on the shark
light, not the text light.
| | 03:30 | Let's drag the Shark Uber
object into the Include field.
| | 03:34 | Now this light, the shark light, is
now only affecting the Shark Zone type.
| | 03:37 | That gives me a lot of control over the scene.
| | 03:39 | I can now light these objects independently.
| | 03:41 | So let's take the text light object
and dial that down to about 30% or so.
| | 03:46 | So I'll go to the General properties
for that and drag the Intensity down.
| | 03:50 | You can see the Shark Zone type getting
darker, but the shark does not get darker.
| | 03:54 | So let's drag that down to about 30%.
| | 03:56 | Then let's take our shark light and
dial its Intensity down to about 40% or so.
| | 04:04 | Now when I render the scene, you can
see that type is now starting to pop out a
| | 04:12 | little bit and my shark has
a lot better light on it.
| | 04:15 | The scene is still a little bit too bright.
| | 04:17 | So in order to dial it down, I'm
going to adjust the material on the HDRI.
| | 04:22 | That's more of like an Exposure setting.
| | 04:23 | The lighting affects individual
objects and brightens them up.
| | 04:26 | But for the entire scene to get lighter
and darker, I'm going to adjust the HDRI.
| | 04:30 | So if I click on the HDRI material in
the Material Manager, and under the Luminance,
| | 04:35 | I'm going to add black to the Color
channel. What that's going to do is,
| | 04:39 | the Mix Mode when it's set to 64%, means that
this object, means that this HDRI material
| | 04:45 | that we have in the Texture channel is
now mixing back into whatever you have
| | 04:49 | in the Color channel.
| | 04:50 | But in this case, it's mixing into white.
| | 04:52 | So let's make it mix into black.
| | 04:53 | So I'll drag that down.
| | 04:55 | I clicked on the swatch to get the
color picker up and made the color black.
| | 04:59 | You can see that the entire
material got darker and so did my scene.
| | 05:03 | Now when I render, you can see the
entire scene got darker, but our shark and
| | 05:10 | our text are now starting to pop a
little bit more off the background.
| | 05:14 | The next thing we're missing is a
little bit of shadow information.
| | 05:17 | You can see that the areas in
between the letters here are bright.
| | 05:20 | They really should be in the dark.
| | 05:22 | Also, the text should be casting a
shadow onto our shark as it passes by.
| | 05:26 | So let's duplicate this light one more time.
| | 05:29 | We're going to duplicate the
shark light and call it shadow light.
| | 05:37 | In the options for the shadow light,
we're going to go to the Scene property.
| | 05:41 | We're going to delete
the shark uber object out of there.
| | 05:44 | Then this is very important.
| | 05:45 | We're going to change the
Mode from Include to Exclude.
| | 05:49 | When you do that now, because it's
excluding nothing that means it's going to
| | 05:53 | affect all the objects in the scene.
| | 05:55 | Right now, our light is
casting light on our objects.
| | 05:58 | But we really only wanted to cast shadows.
| | 05:59 | That way we have two lights for light
and then one light for just shadows.
| | 06:03 | That gives us a lot of control over the scene.
| | 06:06 | So we have to tell this
light to be a shadow caster.
| | 06:09 | So let's go to the Details property,
and tell it to be a shadow caster by
| | 06:12 | turning on the Shadow Caster button.
| | 06:14 | This light is no longer affecting our
scene from an illumination standpoint, but
| | 06:18 | it's also not casting shadows yet.
| | 06:20 | So we have to turn shadows on.
| | 06:21 | We go to the Shadow page, and then
change the Shadow type from None to Area.
| | 06:28 | An Area shadow is the most accurate
type of shadow that's CINEMA 4D can draw.
| | 06:33 | When I render this now, you're going to see--
| | 06:35 | You can actually already
see it in the analysis pass.
| | 06:37 | But you can see now we have some nice
dark shadows in the in between on the
| | 06:42 | letters, and our shadow
being cast onto our shark.
| | 06:45 | So this Lighting setup gives a lot of
flexibility and control over how our
| | 06:49 | scene is illuminated.
| | 06:50 | Our underwater look is really coming together.
| | Collapse this transcript |
| Shading the text using materials| 00:00 | Now I'm starting off with the scene
file created in the previous movie.
| | 00:04 | Now if you are following along and you
haven't completed the first two movies,
| | 00:07 | this file is not included in the project files.
| | 00:10 | So you'll need to complete the first
two movies in order to get to this point.
| | 00:13 | Our underwater look is really coming
together, but our type can use a bit more help.
| | 00:17 | Let's do a quick rendering here
and talk about what's going on.
| | 00:21 | So when our scene renders,
the Shark Zone type here is very, very flat.
| | 00:28 | You can notice that especially here on
the Z and the S. The face of the Z blends
| | 00:32 | back into the sides.
| | 00:34 | That makes the type a lot less
legible than it really should be.
| | 00:38 | Promo and motion graphics in general
are really all about communication.
| | 00:41 | You want your viewer to be able to
absolutely read the type that's on screen.
| | 00:44 | That's the most important thing.
| | 00:46 | The shark is cool in all, but the promo
is really all about the Shark Zone block.
| | 00:50 | That's what this type represents.
| | 00:52 | So I want to make this type very, very legible.
| | 00:54 | What we're going to do is create a set
of materials that are going to lift the
| | 00:58 | face off the surface of the type and
darken down the sides so that the face of
| | 01:02 | the type really pops out of the scene.
| | 01:04 | I'm going to in the Material
Manager create a new material.
| | 01:07 | I'll do the File > New Material.
| | 01:10 | Let's call this one text face.
| | 01:14 | Now I don't need to add any color to this,
because all of the color in our image
| | 01:18 | is coming from the HDRI
material that's surrounding our scene.
| | 01:21 | So I can leave it flat gray.
| | 01:22 | I'm going to punch up the
Specular on it though just a bit.
| | 01:26 | So it has a little more sheen to it, about there.
| | 01:31 | I'm going to apply this to our Shark Zone type.
| | 01:35 | Now this is the face material.
| | 01:37 | The next thing I'd like to do is create
a material for the sides that is based
| | 01:43 | on the text face material.
| | 01:44 | So the easiest way to do that is to
hold down the Ctrl key and drag a copy of
| | 01:49 | text face right to the right here.
| | 01:51 | I'm going to click on the
Material and drag right to the right.
| | 01:53 | See that thick white line indicates I'm
dragging? And when I let go, I get a new
| | 01:58 | material right next to it.
| | 01:59 | I'm going to double-click and
call this material text side.
| | 02:05 | This text side material needs to be
darker than the face because I want the face
| | 02:08 | of my letters to really pop out of the scene.
| | 02:10 | So let's darken this down.
| | 02:12 | I'll go to the Color channel and bring the
Brightness slider way down in the 30% range.
| | 02:19 | Let's apply this to our Shark Zone type as well.
| | 02:22 | Drag across from the Material
Manager onto the sharkzone Extrude NURB.
| | 02:26 | The order of the tags here is very important.
| | 02:28 | CINEMA 4D evaluates the
materials here from right to left.
| | 02:32 | So whatever materials on the right-
hand side is what gets evaluated first.
| | 02:37 | Everything else is considered underneath it.
| | 02:39 | So right now, our side
material is covering up the face.
| | 02:42 | You can see our Shark Zone type got
much darker here in the Editor view.
| | 02:46 | Let's reverse this order.
| | 02:47 | When I do that, you see my
Shark Zone type brightened up.
| | 02:51 | But now if I render this, it still doesn't
have the pop that I'm really looking for.
| | 02:58 | The sides still blend into the faces.
| | 03:00 | What I need to do is limit this material to
only showing up on the face of the object.
| | 03:05 | So underneath the Texture tag that's applied
to the Shark Zone type, there is a tag property.
| | 03:10 | In that tag property is a Selection field.
| | 03:13 | Now on the text object
sharkzone, it's an Extrude NURB.
| | 03:17 | There is a built-in Selection tag.
| | 03:19 | The Selection tag allows you to limit how a
material shows up on the surface of an object.
| | 03:23 | There is a built-in one to the
sharkzone Extrude NURB object.
| | 03:26 | This is something that's
particular to the Extrude NURB.
| | 03:29 | If I type the letters C and the
number 1 in that field, suddenly now my
| | 03:35 | Shark Zone type will have a face that's
brighter than the sides. Let's render that.
| | 03:41 | You can see it really makes the
face pop out of the background.
| | 03:46 | The sides of the type now are much,
much darker than the background.
| | 03:50 | So now that I've got that type to
pop out a little bit, I want to add a
| | 03:53 | little bit of edging to the letters to help
them stand out a little bit more from the sides.
| | 03:57 | So let's create a new material
that's going to be called the bevels.
| | 04:00 | We're going to limit that to showing
up only in the bevels on the type,
| | 04:03 | the edges that connect the face to the sides.
| | 04:06 | So let's duplicate the text face material.
| | 04:08 | I'm going to hold down the
Ctrl key and drag a copy over.
| | 04:12 | Let's call this one text edge.
| | 04:16 | The text edge material now needs to
be quite a bit brighter than the face.
| | 04:20 | So let's go back to the Color
channel for that text edge material.
| | 04:24 | You can see that the Brightness is set at 100%.
| | 04:26 | There is really no way to get that
brighter than that, except by changing
| | 04:30 | the Color value here.
| | 04:31 | So if I change this color,
you'd see it's at 204x204x204.
| | 04:35 | If I bring this to all the way to
100% white, it's going to get brighter.
| | 04:41 | I want it to be even brighter still.
| | 04:43 | So another technique I like to use is
adding the Luminance channel to the mix here.
| | 04:47 | So I'll go to the Basic
properties and add Luminance.
| | 04:50 | My material goes
completely white. That's normal.
| | 04:53 | The Luminance channel in the situation
will usually override the Color channel.
| | 04:58 | When I select the word Color here in
the Properties and hold down the Shift
| | 05:00 | key and select Luminance,
| | 05:02 | I can see both channels together.
| | 05:04 | What I'd like to do is just dial down
the Brightness on the Luminance so that it
| | 05:09 | is much, much darker than the Color.
| | 05:12 | That will give me the benefit of
having a Luminance channel in there.
| | 05:15 | So my material gets brighter, but it still
has all the shading of the Color channel.
| | 05:20 | So let's bring this down to about 10%.
| | 05:24 | Now let's apply this to our Objects.
| | 05:28 | I'm going to drag the text
edge over to the sharkzone.
| | 05:30 | Remember now it's sitting on
top of all my other materials.
| | 05:34 | If I render this,
my type will be a lot brighter.
| | 05:38 | So what I like to do is use another one
of those built-in Selection tags and to
| | 05:43 | limit the material to only
showing up on the bevels.
| | 05:46 | That Selection tag that I'm going to use
is called R1, capital R and the number one.
| | 05:51 | They are case-sensitive.
| | 05:52 | So it has to be uppercase R and the number one.
| | 05:55 | When I hit Return now and then render
one more time, you'll see that my edges
| | 05:58 | are now going to pop off the edge of the type.
| | 06:00 | You can see that on the edge of the
letter Z that my edge really stands out now.
| | 06:08 | It makes the type much, much
more legible than it was before.
| | 06:11 | Even though the shark is really cool,
and the whole promo is called Shark Zone,
| | 06:14 | it's really not about the shark.
| | 06:15 | It's about the type.
| | 06:16 | It's about the message that
people should tune into the Shark Zone.
| | 06:19 | So it's really crucial to make sure
the viewer sees our number one priority.
| | 06:24 | Now with our shading in place, our
type element really jumps out at you.
| | Collapse this transcript |
| Creating a reflective floor for the underwater scene| 00:00 | I'm starting off with the shot-003-
lighting file that was created in the
| | 00:04 | previous three movies.
| | 00:05 | If you are following along at home
and would like to get to this point,
| | 00:08 | you will need to complete the first three
movies, in order to have his progress so far.
| | 00:12 | Right now, our scene looks pretty good.
| | 00:13 | But the type and shark feel
like they are floating somewhere.
| | 00:16 | This shot really needs to feel more grounded,
as if we were at the bottom of the ocean.
| | 00:20 | But it should still feel like a graphical
environment, and not a real ocean floor.
| | 00:24 | In this video, we'll add a reflective
floor element to the scene to add a visual
| | 00:27 | foundation for the type and the shark.
| | 00:29 | In order to create a floor object, I'm
going to go to the Scene Elements and
| | 00:33 | add a floor to the scene.
| | 00:35 | The Floor object is a special type of primitive.
| | 00:38 | It looks like a very small plane, but it
actually extends out to infinity in all directions.
| | 00:43 | It only does that at the time of render.
| | 00:45 | So when I render this now, Command+R,
you're going to see I now have a natural
| | 00:49 | floor in my scene, and my
shark is casting a shadow on to it.
| | 00:53 | So is my type element.
| | 00:55 | That really adds a foundation
to our scene that missing before.
| | 00:58 | The shark and the type no longer feel
like they're just floating in space.
| | 01:01 | I want to add a little bit of spice to
this by adding a reflection to the floor.
| | 01:05 | That's going to add a quite a bit of
style to the scene that isn't there yet.
| | 01:08 | Let's create a new
material for the Floor object.
| | 01:10 | I'm going to go to the
Material Manager. Do New Material.
| | 01:13 | Let's call this material floor by double-
clicking on the word Mat and typing in floor.
| | 01:19 | This floor only needs one thing on it.
| | 01:24 | It needs reflection.
| | 01:25 | I'm going to a turn off the Color, turn
off the Specular, and turn on Reflection.
| | 01:31 | With Reflection channel in the floor
material turned on, now I need to apply it
| | 01:35 | to the Floor object.
| | 01:36 | So I'm going to drag that material from the
Material Manager over to the Floor object.
| | 01:42 | Then when I render, Command+R,
you're going to see a very different scene
| | 01:46 | than we had before.
| | 01:47 | You can see our shark is reflected,
and the Shark Zone type is reflected in the scene.
| | 01:56 | It really changes the
character of the entire shot.
| | 01:59 | I don't really want to see the Shark Zone
shark and the reflection at 100% intensity.
| | 02:05 | I'm going to be dialing that up and down
inside of After Effects in order to control that.
| | 02:09 | It's a much better to do that sort
of thing inside of After Effects.
| | 02:11 | One thing I do want to do here in
CINEMA 4D though is to add a little bit of
| | 02:14 | blurriness to the reflection,
so that it isn't as sharp.
| | 02:17 | That's going to also add a nice style
to the image that would be a little more
| | 02:21 | difficult to get in After Effects.
| | 02:22 | So in order to do that, I'm
going to go the floor material.
| | 02:26 | Under the Reflection property
is a feature called Blurriness.
| | 02:30 | Blurriness will blur the reflection
that shows up in the surface of the object.
| | 02:34 | So if I adjust that Blurriness,
| | 02:36 | I'm going to change it to about 10%.
| | 02:38 | Now you have to be very
careful with this Blurriness option.
| | 02:41 | The reason is that it adds a
lot of render time to your scene.
| | 02:44 | So I'm going to go to 10%. The higher the
Blurriness factor, the higher the render time.
| | 02:49 | So when I render, Command+R, you're going
to see my render is going to take quite
| | 02:52 | a bit longer than it did before.
| | 02:55 | But when it finishes rendering, my
shark and Shark Zone are very, very
| | 03:05 | diffused in the reflection.
| | 03:06 | Now that's probably a little too diffused.
| | 03:08 | So let's dial that back down again.
| | 03:10 | That's actually going to save some render time.
| | 03:12 | So let's go back to the Blurriness
option, and change that from 10% to 5%.
| | 03:15 | I'll do another test render, and
see how that looks. There we go.
| | 03:21 | So now, we have a nice foundation for our scene.
| | 03:24 | Our shark is showing up in the reflection.
| | 03:26 | Our Shark Zone type is
showing up in the reflection.
| | 03:28 | But they're very diffused.
| | 03:29 | You can see that the diffusion
extends downward into the scene.
| | 03:33 | So here next to the Shark Zone
type it actually is pretty crisp.
| | 03:36 | Then it gets more diffused the farther the
objects are away from the reflection source.
| | 03:40 | So it's a great way to add
some visual style to your scene.
| | 03:43 | But be very careful,
because it does add render time.
| | 03:46 | The lighting for the scene and the
shading for scene is now complete.
| | 03:49 | The great part is we don't need to do
all that over again for the other shots.
| | 03:53 | We can use this shot as the
foundation for the starting point of each of
| | 03:57 | our other shots.
| | Collapse this transcript |
| Lighting shot 1: Copying and pasting a lighting setup from another project| 00:00 | Now that we have a working light setup
that we created in previous movies,
| | 00:03 | we can use that light setup as the
foundation for all of our other shots.
| | 00:07 | And it's really important when you're
working in a production environment to try
| | 00:11 | to minimize your workload.
| | 00:13 | It saves you time
and saves you money.
| | 00:14 | And this is one of those cases.
| | 00:16 | It's really not you being lazy.
| | 00:17 | It's all about being efficient.
| | 00:19 | Rather than do things twice it's always
better to use what you have if you can.
| | 00:23 | Let's start off by opening the final
project file that was created in the
| | 00:26 | previous four movies.
| | 00:27 | Let me go to the File menu and do a Open.
| | 00:31 | And I'll navigate to my Desktop, to
my Exercise Files, and then Chapter 9.
| | 00:35 | And let's start off by opening
the shot-003-lighting_END file.
| | 00:40 | Now remember this is the file that
was created in the previous four movies.
| | 00:44 | So this is the starting point and this will
be the foundation for all of our other shots.
| | 00:48 | Now let's open up the shot 1 file.
| | 00:51 | File > Open and shot-001 final animation.
| | 01:00 | There we go. It takes a moment to redraw the
screen because there are so many sharks in here.
| | 01:04 | All I really need from the
other file are a few elements.
| | 01:07 | I need the environment sphere.
| | 01:09 | I need the shark light and I
need the environment object.
| | 01:12 | So I am going to go back to the Window menu.
| | 01:15 | And in this scene I am going to copy
the shark light, hold on the Ctrl key,
| | 01:20 | select the Light Target, the
Environment object and the envirosphere.
| | 01:27 | And now I'll go Command+C, Ctrl+C on
the PC and go to the Window menu and go to
| | 01:32 | shot-001 finished animation.
| | 01:34 | And then wait for it to redraw and
paste down those objects. Command+V. Now you
| | 01:39 | can see that immediately the
Environment object has an effect on the scene.
| | 01:44 | Let's do a quick render to
see what things look like.
| | 01:49 | And you can see that our
scene isn't very interesting yet.
| | 01:52 | The element that we are
missing is the Global Illumination.
| | 01:54 | Our envirosphere is not really having
an impact on the lighting is this shot.
| | 01:58 | So let's go to the Render Settings here.
| | 01:59 | Click on the Render Settings icon,
which is that white clapboard there.
| | 02:03 | And we are going to delete that Sketch
and Toon object that's in your scene.
| | 02:07 | That was left over from my template
file that we started this project with.
| | 02:11 | So I'll delete that effect and
go to the Effects menu and do
| | 02:14 | Global Illumination.
| | 02:16 | And with the Global Illumination in
the scene now, don't forget to change
| | 02:20 | your Diffuse Depth to 2.
| | 02:22 | That's going to give us a
little more bounce in the scene.
| | 02:26 | And then close up the Render Settings.
Oops, sorry. One more thing to double check on
| | 02:29 | the Render Settings.
| | 02:31 | Let's go back there.
| | 02:32 | Make sure that you do IR + QMC
(Still Image). That's very important and I
| | 02:37 | shouldn't have forgotten that.
| | 02:38 | The IR + QMC (Still Image) will give us a
good clean render with all of this motion.
| | 02:44 | So now I'll do a rather render test and
you see that sharks will look very different.
| | 02:48 | It's going to analyze the scene.
| | 02:49 | And now we can start to see our sharks.
| | 02:52 | We've got two issues. One is that
the Environment object is too strong.
| | 02:56 | We need to push the fog back a little
bit so we can see more of our sharks.
| | 03:00 | The other issue that we have going on
is that the shark light is not really
| | 03:04 | affecting any of the sharks in the scene.
| | 03:06 | And the reason for that is the Scene option.
| | 03:09 | And remember the Scene option was set
to Include in the other file and when we
| | 03:12 | copied and pasted in here it remember that mode.
| | 03:14 | So we need to change that
mode from Include to Exclude.
| | 03:18 | And now it's going to
start hitting these sharks.
| | 03:21 | But the falloff region for
the light is probably too small.
| | 03:25 | So let's double check that.
| | 03:26 | I am going to switch to the 4-way view.
| | 03:27 | And you can see that in the Top view in fact
the light is only hitting some of our sharks.
| | 03:33 | So let's take the Light Target
object and move it back into the middle of
| | 03:38 | that school of sharks.
| | 03:41 | And then let's take the light itself.
| | 03:43 | I'll back out just a bit.
| | 03:46 | Select the shark light object and on its z-axis.
| | 03:49 | And you know as I am doing this in
the Top view. I am going to drag this
| | 03:52 | straight back on its z-axis.
| | 03:54 | That's going to make sure that
this is hitting all of our sharks.
| | 03:58 | Now when I go back you can see that
my sharks have in fact gotten brighter.
| | 04:01 | Now let's push that Environment Fog back.
| | 04:04 | The Distance is set to 6000 and that's
6000 units is based on the camera position.
| | 04:09 | So if I add about, let's try 2000 units.
| | 04:13 | Sorry, don't change the Distance to 2000.
Add 2000 to 6000 which of course makes 8000.
| | 04:19 | You could also if you wanted
to do a little bit of math here.
| | 04:21 | I'll go 6000 units, which was the amount
that it was before, plus 2000 and hit Enter.
| | 04:28 | That gives me 8000 units.
| | 04:30 | And you can see immediately
my sharks became more focused.
| | 04:35 | And the environment pushed way back.
| | 04:37 | Remember you should never trust what's
going on in the editor window here.
| | 04:40 | You should always do a render.
| | 04:41 | So I am going to go Command+R and see how
many sharks I can actually see in the scene.
| | 04:46 | And you can see I can't really
see any of the ones in the distance.
| | 04:50 | The ones close to the
camera are looking pretty good.
| | 04:52 | Let's push this fog back a little bit more.
| | 04:54 | So we'll do 8000 plus another 1500.
| | 05:00 | And then there we go. Do
another test render. And here we go.
| | 05:03 | It's starting to open up a little bit.
| | 05:08 | Now you can see I am right
about the middle of the shot.
| | 05:11 | Let's check the end of the shot and
make sure that as we move through the scene
| | 05:15 | we can still see all of our sharks.
| | 05:17 | And it looks we can.
| | 05:19 | Let's do another test
render here closer to the end.
| | 05:25 | Excellent!
| | 05:27 | So I now know I can see all my sharks.
| | 05:29 | The light on them looks really nice.
| | 05:31 | I think the shot looks great.
| | 05:33 | Let's go ahead and do a File, Save As
and call this one shot-001-lighting.
| | 05:44 | Excellent!
| | 05:45 | The lighting and shading for
our shot-001 is now complete.
| | Collapse this transcript |
| Lighting shot 2: Pasting a lighting setup and making adjustments| 00:00 | The thrashing light shots are going to
get the same lighting setup as shot 3.
| | 00:04 | We will copy and paste this setup into
shot A, make our tweaks, and then repeat
| | 00:08 | that process for shots B and C. Let's start
by opening up the starting point for shot 2A.
| | 00:13 | I'll go to File > Open.
| | 00:15 | In my Chapter 9 Exercise
Files folder, I'm going to go to
| | 00:19 | shot-002-2-A-finanim and open that up.
| | 00:23 | So that's got our shark attacking
the screen and it has just the regular
| | 00:27 | default render setup in it.
| | 00:29 | So let's open up the end
file for shot 3 lighting.
| | 00:31 | We go to the File menu > Open and
let's open up shot-003-lighting_END.
| | 00:38 | This file was the end result of the
first four movies of this chapter
| | 00:41 | and it's included in the project files.
| | 00:43 | Just like in the previous movie what
I'd like to do is copy and paste certain
| | 00:46 | elements from this file into shot 2A.
| | 00:48 | So the elements I am going to need are
the shark light, a Environment object,
| | 00:55 | holding down the Ctrl key, oh don't
forget the Light Target, the envirosphere,
| | 00:59 | and I think that's it.
| | 01:01 | So I am going to copy those to the
clipboard, Command+C. Open the Window menu and
| | 01:05 | move down to shot-002-2-A finanim.
| | 01:09 | And I am going to twirl close that
hierarchy and paste down those elements
| | 01:13 | Command+V. Remember the shark light in
the previous scene was set to Include and
| | 01:20 | it had an object in here.
| | 01:21 | So we need to change that to Exclude
so that it actually affects our shark.
| | 01:25 | Then we should double check
where it's actually shining.
| | 01:28 | If we back up just a bit and we can
look from all four angles just to see
| | 01:33 | where things are and looks like our
shark is falling pretty squarely inside
| | 01:38 | the range for the object.
| | 01:40 | But I am going to move
the Light Target just a bit.
| | 01:42 | So I am in the Top view and I am dragging
that Light Target to about where the shark is.
| | 01:48 | You see it's-- zoom in just a bit and
drag that right there to about the tip
| | 01:55 | of the shark.
| | 01:57 | Now I know my light is
hitting that shark square on.
| | 01:59 | So the next thing I'd like to do
is to turn on Global Illumination.
| | 02:02 | Let's go to Render Settings and go to
the Effects and add Global Illumination.
| | 02:09 | And in the Global Illumination field
I am going to change the GI Mode to
| | 02:13 | IR + QMC (Still Image).
| | 02:16 | The Diffuse Depth is going to go to 2.
| | 02:19 | And then we can close up the Render
Settings and then do a little render test.
| | 02:22 | So let's go Command+R. And you can see
it takes a little bit longer because the
| | 02:33 | shark is so big in frame.
| | 02:35 | And I think that's looking pretty good.
| | 02:37 | We've got our shark right in
frame up close to the camera.
| | 02:39 | Now these little elements, you can see
that for example his gums intersect with
| | 02:45 | the top of his mouth here.
| | 02:47 | And honestly that's not really crucial.
| | 02:49 | If this were going to be a really
long hero shot, I'd want to fix that.
| | 02:52 | But when we do our shark transition
this is going to be only 10 frames long.
| | 02:56 | But also it's going to have a lot of
bubbles and thrashing water on top of it,
| | 02:59 | so little details like that
aren't totally necessary to fix.
| | 03:02 | The lighting for our scene is looking great.
| | 03:04 | The next thing I'd like to do is to
go to the File menu and do a Save As.
| | 03:09 | And this is going to be
called shot-002-2-A-lighting.
| | 03:14 | And I save that in the
Chapter 9 project files folder.
| | 03:17 | So now I'm going to off camera
repeat that process for shots B and C.
| | 03:22 | So here I am in the
finished shot-002-B-lighting file.
| | 03:24 | And now you can see I've
saved that as shot-002-B-lighting.
| | 03:26 | So you can see I have the shark light
and the Environment and envirosphere all
| | 03:31 | setup as well as the Render
Settings for IR + QMC (Still Image).
| | 03:35 | And I repeated that
process for shot-003-C-lighting.
| | 03:38 | And here it is as well. Same lighting,
Environment elements along with the Render Settings.
| | 03:45 | And I am using this shortcut Command+B
to bring up those Render Setting windows.
| | 03:48 | By the way that the same as
clicking on the icon right here.
| | 03:52 | So that's it for shot-002.
| | 03:53 | The lighting is looking
fantastic and we are ready to move on.
| | Collapse this transcript |
| Lighting shot 4: Separate elements in a shot (the shark)| 00:00 | The lighting for the end page is a
bit different than the other shots.
| | 00:03 | It's going to get two completely
different lighting setups, one for the shark
| | 00:06 | using the Global Illumination options that
we've been using for the other shark scenes.
| | 00:10 | And then one lighting setup for the
logo that's a traditional render using a
| | 00:13 | three-point light setup.
| | 00:14 | Because of this we are going to split
up the shot into separate files, one for
| | 00:17 | the logo and one for the shark.
| | 00:19 | Let's start off with the shark.
| | 00:20 | I am going to open up the
final animation file for shot 4.
| | 00:24 | Let's go to the Open menu and negative
to the Chapter 9 Exercise Files and open
| | 00:29 | up shot-004 final animation.
| | 00:32 | You can see that our logo and
shark are existing in the same space.
| | 00:36 | And all I am going to do for the
shark scene is to turn off the logo.
| | 00:41 | And using the status dots here in the
middle column, I am going to make the top
| | 00:45 | dot red and the bottom dot red by
clicking twice on the gray dot each time.
| | 00:50 | And that makes the logo invisible.
| | 00:52 | I didn't delete it from the scene.
| | 00:53 | All I did was make it invisible.
| | 00:54 | Now when I render you can
see I only see shark.
| | 00:57 | And that's just how I want it.
| | 00:58 | Let's get the lighting setup that we used in
the other shark scenes and paste it into this shot.
| | 01:03 | I'm going to go to the File menu and do an Open.
| | 01:07 | And let's grab a shot-003-lighting_END
file, which is part of the project files.
| | 01:13 | This file was created in the
first four movies of this chapter.
| | 01:16 | So if you are following along at home
those first four movies led up to this file.
| | 01:21 | The elements that I need are the shark
light, the Light Target, the Environment
| | 01:27 | and the envirosphere.
| | 01:28 | And I am holding down the Ctrl key
to select all those individually.
| | 01:31 | Now I am going to copy those to the
clipboard, Command+C. Go to the Window menu
| | 01:35 | and move back to the shot-
004 final animation file.
| | 01:38 | And let's paste down those elements,
Command+V. Make sure that you are in the
| | 01:41 | Object Manager when you do that.
| | 01:43 | I clicked in the Object Manager then
hit Command+V. And now when I render
| | 01:47 | you can see that my scene renders but I
don't have any Global Illumination and also
| | 01:52 | my shark is not lit.
| | 01:53 | So I need to change two things.
| | 01:54 | I need to go to the shark light and
turn the Scene options from Include.
| | 01:59 | Remember in the previous file we had it set
for Includes so it would only affect the shark.
| | 02:03 | And we are going to change the Mode to Exclude.
| | 02:05 | And look, my shark now has light on it.
| | 02:08 | Then the next thing we need to do
is turn on the Global Illumination.
| | 02:11 | Go to the Render Settings by clicking on
this white clapboard and underneath the
| | 02:16 | Effects I am going to add Global Illumination.
| | 02:19 | Let's change the Global Illumination
Mode to IR + QMC (Still Image) and change
| | 02:25 | the Diffuse Depth to 2.
| | 02:27 | Now with that set, let's double check
our rendering, Command+R, and you can see
| | 02:32 | it renders really quick
and our shark looks great.
| | 02:34 | That's pretty much it for the
lighting for this shark on the end page.
| | 02:37 | I am going to do a File > Save As and
call this shot-004 and then shark and then lighting.
| | 02:48 | That way I know it's there out with the
shark and it's got the final lighting in it.
| | 02:53 | I'll save that to the Chapter
9 folder and we are all set.
| | 02:56 | That's it for the shading
of this shark for shot 4.
| | 02:59 | And you'll notice I haven't done
anything with the logo ye. That's because the
| | 03:03 | whole point of this process was to
separate those elements so that they can be
| | 03:06 | composited inside of After Effects.
| | 03:09 | Now the next thing we are going to do
is create the shading and lighting for the logo.
| | Collapse this transcript |
| Lighting shot 4: Separate elements in a shot (the text)| 00:00 | The end page is going to use two different
files composited together inside of After Effects.
| | 00:05 | So we've created the first file for the
shark lighting, and now we're going to
| | 00:08 | do a similar process for the logo.
| | 00:13 | Let's go to File > Open and select shot-
004-finanimation as our starting point.
| | 00:19 | Now this has the animation of the shark
going through the scene and the logo inside of it.
| | 00:25 | We don't need the shark for this project file.
| | 00:27 | So let's turn off the Shark parent.
| | 00:29 | I'm going to make both its dots red by
double clicking on the gray dot there
| | 00:33 | in the Status column.
| | 00:34 | That makes the shark invisible in
the editor and invisible in the render.
| | 00:38 | First thing I'd like to do is to create
a light setup for the logo and I'm going
| | 00:42 | to add a Target Spot Light to the scene.
| | 00:47 | Then I'll switch to the four-way view.
| | 00:49 | In the four-way view, I'm going
to drag the light on the Z-axis.
| | 00:55 | And then I'm in Point mode right now.
| | 00:57 | Let's move out of Point mode into Model mode.
| | 00:59 | So I can see the handles
for the cone of the spotlight.
| | 01:03 | And I'm going to back out just a bit
and then drag that center cone downward.
| | 01:10 | Now I want to make sure that my light
travels through the cone of light for the object.
| | 01:17 | As I scrub back through the animation
where the logo starts off, you can see
| | 01:21 | that at this top of the animation
it starts here behind the camera.
| | 01:25 | So I want to drag my logo up.
| | 01:27 | I don't want the logo to be completely dark.
| | 01:28 | I want to have it sort of
pass into the light early on.
| | 01:32 | So I'll drag my light cone back a
couple of times to make sure that the logo is
| | 01:37 | right at the edge of the cone. There we go.
| | 01:40 | So now, at the very start of my
animation, my logo is just barely getting hit
| | 01:49 | by the light, and then it travels right
into the light field and hits its final mark.
| | 01:55 | So let's rename this light and call it Key.
| | 02:01 | The key light now becomes the
main source light for our object.
| | 02:05 | We want to have a little bit of fill detail.
| | 02:07 | Let's bring the scene full-screen.
| | 02:10 | If I render this, you can see that my
logo looks kind of flat and what I'd really
| | 02:13 | rather have is a little bit more
falloff across the surface of it.
| | 02:17 | So let's do two things.
| | 02:18 | We're going to duplicate the key light
and switch back to the four-way view.
| | 02:21 | And the other thing I'm going to do is
I'm going to move the key light a little
| | 02:26 | bit before I duplicate it.
| | 02:27 | So let's move it over here just a bit.
| | 02:29 | So it's coming more across the face of our logo.
| | 02:32 | Then I'll hold down the Ctrl key
and drag a copy of the key light.
| | 02:35 | Let's rename it filllight.
| | 02:39 | In the Top view, drag
straight across to the other side.
| | 02:44 | So now it's opposite our key light.
| | 02:46 | But I'm also going to drag it down.
| | 02:47 | So in the Front view, let's back out
a bit and drag straight down and that
| | 02:52 | brings our light about even with the logo.
| | 02:56 | Now the key light and the fill light
should not be at the same intensity.
| | 02:59 | So I'm going to drop the
filllight down to about 25%.
| | 03:02 | Under the General Properties,
bring the Intensity down to about 25.
| | 03:08 | There's no magic formula for this.
| | 03:10 | We really are kind of eyeballing things.
| | 03:12 | But now when I render with my logo, you
can see that it looks a lot more interesting.
| | 03:15 | I have some light hitting the
edges of the logo and a little bit more
| | 03:19 | fill across the face.
| | 03:21 | One more thing I need to
do is make a back light.
| | 03:23 | I want to get a little bit
of kick off these edges here.
| | 03:25 | So I'm going to take the key light
now and duplicate it one more time and
| | 03:29 | call this back light.
| | 03:32 | The back light needs to be behind the logo.
| | 03:35 | So I'm going to switch to the four-way
view and drag this light right straight
| | 03:39 | on back and then same thing again.
| | 03:42 | I'm going to make it
down and about even with it.
| | 03:45 | So you can see now it's
hitting the logo from the backside.
| | 03:49 | As I render this, now you can see I'm
getting a lot of kick on the back edges of
| | 03:53 | my letters and it really helps
to define the shape of the logo.
| | 03:57 | I don't want this quite as intense as it is.
| | 03:59 | So I'm going to change the
Intensity down to about 60% or so.
| | 04:05 | Do another test render, Command+R.
You see that it helps to define things
| | 04:08 | a little bit better.
| | 04:09 | Next thing I'd like to do is to
give a nice metallic sheen to our logo.
| | 04:13 | To do that, I'm going to
use an anisotropic material.
| | 04:16 | An anisotropic material is something
that's very particular to a metallic surface.
| | 04:20 | And it really makes a great
looking stainless steel texture.
| | 04:22 | There's a great preset we're
going to use as our starting point.
| | 04:25 | I'm going to go to the Content
Browser, and when I click on the Content
| | 04:28 | Browser, in that window, I'm going to
go to the Material Presets and I'll show
| | 04:33 | you how I got here.
| | 04:33 | I went to the Preset options and I
went to CINEMA 4D and twirled that open and
| | 04:39 | then I went to Materials,
and then I went to Anisotropic.
| | 04:42 | We're going to start with radial5 as our preset.
| | 04:46 | When I double-click on
radial5, it shows up in the scene.
| | 04:49 | Now it's not applied to anything right now.
| | 04:51 | So let's drag that radial5 to the Extrude
NURBS object that is underneath our Logo parent.
| | 04:57 | Now the default projection method for
this type of material is a spherical map.
| | 05:01 | So we want to change this to flat.
| | 05:03 | If I render this right now,
you'll see that my logo has this cool
| | 05:06 | metallic texture on it.
| | 05:08 | It's not quite the look that I want.
| | 05:09 | So I'm going to make some tweaks to that.
| | 05:11 | The first tweak I'd like to make is in
how the material is projected on the logo.
| | 05:15 | Let's change the Projection method
from Spherical to Flat and then do
| | 05:19 | another test render.
| | 05:20 | But it doesn't look that different
because we're going to be making some tweaks
| | 05:23 | to the material, but that's okay.
| | 05:24 | The important thing is to change
that Projection method to Flat.
| | 05:27 | Let's go now to the Material
options and adjust the Roughness.
| | 05:32 | I don't want this squiggly
pattern on the surface of my object.
| | 05:35 | So I'm going to go to the Roughness
setting and change the Function to None and
| | 05:39 | notice that cleans things up there.
| | 05:42 | Then I want to go to the anisotropy,
which is what's creating those beautiful
| | 05:46 | radial patterns on there.
| | 05:47 | And I'm going to adjust the Amplitude
a little bit, which is going to change
| | 05:51 | the scaling of that.
| | 05:52 | Let's go to about 50%.
| | 05:56 | Now when I do a test render, you can
see I have this great line now that's
| | 06:01 | across the surface of my object.
| | 06:02 | I have this really cool
kick highlight right here.
| | 06:04 | And that's exactly how I want it to look.
| | 06:07 | You have a nice bright transition
in the middle of my logo and it's
| | 06:12 | looking really good.
| | 06:13 | So now let's just double-check the light.
| | 06:16 | Do a couple of tests in our scene here.
| | 06:18 | I'm going to see what it looks like up close.
| | 06:20 | And you can see that as it passes
through the light field, the logo gets a
| | 06:25 | little bit brighter as it goes through
and that's exactly what I want it to do.
| | 06:29 | So I'm just hitting Command
+R each time to the scene.
| | 06:32 | You can see this scene
file renders very quickly.
| | 06:34 | So the logo looks great.
| | 06:36 | But I want to have a little bit
of motion across the surface of it.
| | 06:38 | So we're going to animate the lights here.
| | 06:41 | Now the best way to do this, I want to
have the key light and the back light and
| | 06:44 | the filllight travel
across the surface of this logo.
| | 06:47 | So the easiest way to do that is
to take all three of these lights.
| | 06:50 | I'm going to draw a rectangle around them and
I'm going to parent them to the light target.
| | 06:54 | The light target now is going to be used
to animate the rotation of these lights.
| | 06:59 | If I switch to my four-way view now
and I use the Rotate tool, if I click and
| | 07:03 | drag and then rotate, you can see that my
lights now all rotate underneath that Null object.
| | 07:08 | And the cool thing is it makes the key
light travel right across the surface,
| | 07:12 | and that's exactly what I want.
| | 07:13 | I'm going to animate the rotation of
this Null object over time so that the
| | 07:18 | light travels across the surface of my logo.
| | 07:20 | So let's move to Time 0, and at Time 0,
I'm going to select the light target
| | 07:25 | here and go to the Coordinate properties.
| | 07:26 | And I only want to
keyframe the heading rotation.
| | 07:29 | So I'll hold on the Ctrl key and click
right next to the letter R on that black circle.
| | 07:34 | And that sets a keyframe
just for the heading rotation.
| | 07:36 | Then I'm going to move to time 98
which is the end of the shot and then
| | 07:42 | adjust that rotation.
| | 07:43 | I don't want it to go all the way around.
| | 07:44 | I just want to have it travel
across the surface a little bit.
| | 07:47 | So let's get about straight on
or so. About 40 degrees roughly.
| | 07:52 | I have mine set to 42.
| | 07:52 | And hold down the Ctrl key and
set a keyframe for that parameter.
| | 07:57 | So now over the course of the animation,
you can see the light traveling across
| | 08:00 | the surface of the logo.
| | 08:01 | The only thing left to do is
to fix the F-curves on that.
| | 08:05 | I'm going to switch to the Animation layout.
| | 08:06 | And in the Animation layout, I'm going to
adjust the F-curves on the light target.
| | 08:11 | Let's go to the F-curve Manager.
| | 08:13 | I'll hit H on the keyboard to frame
things up and then I'm going to click on
| | 08:16 | this little F-curve icon here.
| | 08:18 | And then I'll select the Rotation H keyframe.
| | 08:20 | Hit H on the keyboard
HGGto frame up my entire curve.
| | 08:23 | Draw a rectangle around the single
keyframe, then hit Command+A or Ctrl+A to
| | 08:27 | select all of the keyframes.
| | 08:29 | I'm going to right-click in the Editor here
and go to Spline Types > Zero Angle/Length.
| | 08:34 | And then you can see now I have a nice
linear move with no more ease-out and ease-in.
| | 08:39 | So my light will travel smoothly
over the length of the animation.
| | 08:42 | The last thing we should do before we
get out of this is to do a quick preview
| | 08:45 | render just to make sure
that things are moving right.
| | 08:47 | So I'm to switch back to the Standard layout
and I'm going to deselect my Light Target here.
| | 08:53 | And let's double-check the
motion by doing a preview.
| | 08:56 | I'll click on the middle clapboard here
and go to Make Preview and All Frames is on.
| | 09:03 | The Image Size is set
correctly and then I'll hit OK.
| | 09:07 | Watch the progress bar down here in the
bottom left and remember that progress
| | 09:11 | will be dependent on your CPU.
| | 09:13 | And once that pops up, I can now do
a little preview of my movie and I'll
| | 09:18 | click the Play button.
| | 09:19 | The first time it goes through it's going to
cache the frames and then play back in real-time.
| | 09:25 | Excellent!
| | 09:29 | The thing I'm watching for here is I'm
really watching for the speed of this
| | 09:32 | light, as it's traveling across the surface.
| | 09:34 | Now I can't actually see the light
traveling across the surface in the shaded view,
| | 09:37 | but what I can see are
these lines passing back here.
| | 09:40 | Those lines are the cones of my
spotlights that I have shining on the logo.
| | 09:45 | I can tell that that light is going to
be traveling in a nice speed as it moves
| | 09:49 | across the surface of my logo.
| | 09:53 | I'm going to close up the Picture
Viewer here and do a File > Save As.
| | 09:58 | And let's call this shot-004-logo and
then lighting, using the same name format
| | 10:05 | that we've been using in the other files.
| | 10:07 | I'm going to save that into the
Chapter 09 folder. So that's it.
| | 10:10 | The lighting for all of
our shots now is complete.
| | 10:13 | Everything is looking really great and
we're ready to move onto the render setup
| | 10:17 | so that we can get these out of
CINEMA 4D and into After Effects.
| | Collapse this transcript |
|
|
10. Rendering for After EffectsPreparing shot 1 for rendering to After Effects| 00:00 | In the previous chapters, we've
modeled, lit, and animated the elements for
| | 00:04 | the Shark Zone promo.
| | 00:05 | But it won't mean anything unless we can
get them out of C4D in a way that makes
| | 00:08 | it easy for us to put them
together in After Effects.
| | 00:11 | It's extremely rare that the rendering
that you get out of C4D is the final image.
| | 00:14 | There's so much more you can do to
enhance your images in After Effects that
| | 00:17 | will take your animation to
the next level and beyond.
| | 00:20 | In this movie, we'll be setting up our
setting up our C4D project file to use
| | 00:22 | Multi-Pass so we can control the
makeup and intensity of the image without
| | 00:26 | having to go back to C4D.
| | 00:27 | We'll also be setting up Object
Buffers so we can color-correct different
| | 00:30 | elements stuck together in the same shot.
| | 00:32 | I'm going to start off by
opening up the shot-001 project file.
| | 00:35 | File > Open, I'm going to navigate
to the Chapter 10 Exercise Files.
| | 00:41 | And in those Exercise Files is
the shot-001-lighting_END.c4d file.
| | 00:46 | This is the project file as it was
left off in the previous chapter.
| | 00:50 | What I'd like to do is to start off
the render setup process by establishing
| | 00:55 | Object Buffers for my sharks.
| | 00:56 | An Object Buffer is an alpha channel
for an individual object within the scene.
| | 01:00 | It allows you to isolate that object
inside of After Effects and apply effects
| | 01:05 | without affecting the rest of the image.
| | 01:06 | It's a really important tool for compositing.
| | 01:08 | So I'm going to right-click on the shark 001
object and go to CINEMA 4D Tags and then do a Tag.
| | 01:16 | And a Compositing tag is where we
establish the Object Buffer for the file.
| | 01:20 | I'm going to select Object
Buffer and do Enable Object Buffer 1.
| | 01:24 | Now the number that you have
here can be any number in the world.
| | 01:27 | The important thing is that this number
matches the Object Buffer setting that
| | 01:30 | we're going to be
placing in our Render Settings.
| | 01:33 | And that's really what's
going to matter. It could be 1.
| | 01:35 | It could be 10,000.
| | 01:36 | As long as there is a 1 or a 10,000 in
the Render Settings, you're good to go.
| | 01:40 | Now the next step is to apply this
Compositing tag to all the other sharks.
| | 01:44 | I have shark 001 already
set with a Compositing Tag.
| | 01:46 | I want to have Compositing
Tags on all my other sharks.
| | 01:49 | So the easiest way to do that is to
hold down the Ctrl key and drag copies of
| | 01:54 | this Compositing tag down to
each of the sharks. There we go.
| | 02:01 | So now I have the same
Compositing tag on each of the sharks.
| | 02:04 | And so they'll all show up in the same
Object Buffer which is Object Buffer 1.
| | 02:08 | With the Object Buffers set up, I
can now move on to the Render Settings.
| | 02:11 | I'm going to click on the
Render Settings icon here.
| | 02:13 | The General setting shows us a basic
summary of the type of render we're going
| | 02:16 | to be doing, in this case a full render.
| | 02:19 | The Output option shows us how large
our rendering is going to be, what Aspect
| | 02:23 | Ratio it's going to be, and then
what Frame Rate we're going to do.
| | 02:26 | Now we set up all this information
in an earlier chapter when we were
| | 02:30 | creating the file animation.
| | 02:31 | So we don't have to worry about this right now.
| | 02:33 | Next up is the Save option.
| | 02:35 | The Save option is where you
control where your files are going to go.
| | 02:39 | We're not going to be needing
Alpha Channel or Straight Alpha.
| | 02:41 | Normally these are unchecked.
| | 02:43 | They were turned on in the starter file
that was used as the starting point for
| | 02:46 | creating these shots.
| | 02:47 | We don't need to worry about the Save
here because we're going to be turning on
| | 02:50 | Multi-Pass rendering.
| | 02:51 | So we can leave this File Save field blank.
| | 02:54 | We do want to, though, twirl open the
Compositing Project File and check all
| | 02:58 | three of these options.
| | 03:00 | It's very important we turn Save
on, Relative, and Include 3D Data.
| | 03:03 | That way you make sure we get a
properly formatted After Effects compositing
| | 03:06 | file when we finish our rendering.
| | 03:08 | The next thing we need to add is the Multi-
Pass and the Multi-Pass is off by default.
| | 03:13 | I'm going to turn it on and
click on the Multi-Pass option now.
| | 03:17 | There's a lot of options here.
| | 03:18 | We don't need all of them, but what
we are going to add is we're going to
| | 03:21 | start off by adding all of the image
layers and then we're going to delete
| | 03:24 | the ones we don't need.
| | 03:25 | I know which ones to delete based on the
types of materials that I have in my scene.
| | 03:30 | I know that I'm not going to need
Refraction because I don't have any
| | 03:32 | transparency in my scene.
| | 03:33 | So I can delete that.
| | 03:35 | I know I'm not going to need Ambient
Occlusion because I don't have Ambient
| | 03:38 | Occlusion turned on.
| | 03:39 | So I can delete that.
| | 03:40 | I also don't have Caustics.
| | 03:41 | I can delete that, and I'm not
really running any Post Effects.
| | 03:45 | So I can delete that as well.
| | 03:47 | In this particular file, I don't have
Shadows so I can delete that pass as well.
| | 03:51 | Now with the Multi-Pass option set,
I need to add one more channel.
| | 03:54 | I'm going to click on the
Multi-Pass and go to RGBA Image.
| | 03:58 | Now RGBA Image is the actual finished render.
| | 04:01 | All of these layers are the different
image components that make up the final image.
| | 04:05 | So what I'm going to have is the
finished image plus all of the sub
| | 04:08 | channels that will allow me to
manipulate the finished image if I don't
| | 04:12 | like certain aspects of it.
| | 04:13 | So it's sort of like the best of both worlds.
| | 04:15 | Next I need to add in the Object Buffer.
| | 04:17 | I'm going to click on Multi-Pass
one more time and go to Object Buffer.
| | 04:20 | And the Object Buffer shows
up with the Group ID of 1.
| | 04:22 | And if you'll remember from our
Compositing tag over here, the Compositing Tag
| | 04:27 | uses an ID of 1 as well.
| | 04:28 | So as long as these two numbers
match, my Object Buffer will be
| | 04:31 | generated properly.
| | 04:33 | Now that I have the Multi-Pass set up,
I need to go back to the Save option.
| | 04:37 | And when I activated Multi-Pass,
I now have a Multi-Pass Image Save option.
| | 04:41 | And now I can tell it where to put the
Multi-Pass images it's going to save.
| | 04:45 | I can also tell it what
format to put those images in.
| | 04:47 | I generally render Photoshop PSD files.
| | 04:50 | It's very important if this
Multi-Layer File is ever turned on.
| | 04:53 | You always want to make sure and
turn that off when you're going to be
| | 04:55 | working with After Effects because
After Effects will not read that image
| | 04:58 | sequence correctly.
| | 04:59 | So make sure Multi-Layer File is turned off.
| | 05:02 | Now I need to tell it where to put those files.
| | 05:04 | So I'm going to click on the Save
Image button here and navigate out to the
| | 05:07 | Finder to my Desktop to my
Exercise Files to Chapter 10.
| | 05:11 | In this Chapter 10 folder, I need
to make up a new folder to put my
| | 05:16 | rendered images into.
| | 05:17 | Now we're rendering an image
sequence which is going to be a numbered
| | 05:20 | sequence of Photoshop files, and
it's always a good idea to put those in
| | 05:23 | their own subfolders.
| | 05:25 | So I'll make a new folder
here and call it shot001.
| | 05:30 | Then I'll go up to Save As in
the Save field and call it shot001.
| | 05:34 | So now when I hit Save, I can
see the directory path right here.
| | 05:40 | It's going to go out to my Desktop folder,
Exercise Files and into the shot001 folder.
| | 05:44 | That's pretty much it for the Render Settings.
| | 05:46 | The next thing I need to do is save this file.
| | 05:48 | I'm going to go to the
File menu and do a Save As.
| | 05:51 | And in the Save As field, I'm going to call
this render, meaning that it's ready to render.
| | 05:57 | And then I'll hit the Save button.
| | 05:58 | I'm not actually going to
render the file at this time.
| | 06:00 | We're going to be using a process
called batch rendering to render all of
| | 06:03 | our files together.
| | 06:04 | So it's very important when you're
doing a batch rendering to make sure that
| | 06:07 | your file renders correctly so you have
to get all your Render Settings set up
| | 06:10 | ahead of time and then you'll launch
each of the files together at the same time
| | 06:14 | and then it will render
them down one after the other.
| | 06:17 | So that's it for shot001.
| | 06:18 | Now we can move onto the next shot.
| | Collapse this transcript |
| Preparing shot 2 for rendering by saving and using render presets| 00:00 | The render setting process can be
really time-consuming, especially when you
| | 00:03 | have a lot of shots to do.
| | 00:05 | We're going to use a render setup
preset that we're going to create using the
| | 00:10 | shot-001 file that was created in the
previous movie and then apply that shot to
| | 00:14 | each of the successive movies.
| | 00:16 | Let's go ahead and open up File > Open and
navigate to our Chapter 10 Exercise Files.
| | 00:22 | And let's open up the shot
-001-render_END.c4d file.
| | 00:24 | And that was the end
result of the previous movie.
| | 00:27 | And in this file, we're going to go
to the Render Settings, clicking on the
| | 00:31 | Render Settings icon.
| | 00:32 | And down at the very bottom of the Render
Settings window is a Render Setting tab.
| | 00:37 | And when I click on that,
I'm going to go Save Preset.
| | 00:41 | And when I do Save Preset, it's going to say
what would I like that preset to be called.
| | 00:45 | And I'll call this one sharkzone.
| | 00:47 | And the sharkzone render preset now,
when I hit OK, is stored in memory.
| | 00:52 | And if I click on Render Setting, you
can see now there's a Load Preset option.
| | 00:55 | And there it is, sharkzone
which is a user render setting.
| | 00:59 | Now we can close up this file.
| | 01:00 | We don't need it open anymore and we
can go to the File menu and do an Open and
| | 01:04 | then open up shot-002-A-lighting_END file.
| | 01:08 | We open that up and here's
our shark attacking the screen.
| | 01:11 | Now we can bring up the Render Settings here.
| | 01:13 | Now this is a very important thing to remember.
| | 01:15 | We're going to apply this Render
Setting to the file, but before we do that,
| | 01:19 | we need to make a very special
note of how long our scene was.
| | 01:22 | This Render Setting is going to change
all of settings here in the window to
| | 01:25 | match the previous shot and we want
make sure we keep the shot length the same.
| | 01:30 | So let's go to the Output options here
and check and see that it's From 0 To 9.
| | 01:35 | Now that I know how long this shot
is, I can add in my Render Setting.
| | 01:39 | Click on the Render Setting option, go
to Load Preset, and watch what happens to
| | 01:42 | the From and To range when I click on sharkzone.
| | 01:45 | You see that it changed to
the same length as shot001.
| | 01:48 | And also in the Save field, it's
showing us that it's going to save shot001.
| | 01:52 | We're going to change both of these settings.
| | 01:54 | So let's go back to the Output
option and change that first.
| | 01:57 | Remember our shot was 0 to 9.
| | 01:59 | So I'm going to change this to be
0 to 9, which is 10 frames total.
| | 02:03 | And then I'm going to go
to back to the Save field.
| | 02:05 | I'm going to double-click on the Save
Image button and then navigate out to
| | 02:09 | my Chapter 10 files.
| | 02:11 | I'm going to create a new
subfolder and call this one shot002-A.
| | 02:16 | And then in that folder, I'm going
to call the actual filename shot002-A.
| | 02:22 | So now I know that my output option is 0
to 9, which is the correct for this file.
| | 02:27 | And I know that my Save option is
going to save the file as the right name.
| | 02:31 | And I'm pretty much done
with the Render Settings.
| | 02:32 | And that was a lot
faster than the existing shot.
| | 02:36 | The last step in the process before
you save this file is to delete the old
| | 02:40 | Render Setting that was there.
| | 02:42 | When we added our sharkzone
preset, it added a new render setting here,
| | 02:45 | and you can actually have
multiple render settings inside of C4D.
| | 02:48 | Sometimes that can get really confusing.
| | 02:49 | So it's best to delete the one you don't need.
| | 02:51 | So I'm going to click on this top one,
and then just right-click and then go to
| | 02:55 | Remove, and that removes it from the scene.
| | 02:57 | Now you can see that our sharkzone
render preset is all set there and it's
| | 03:01 | going to save it to shot002-A and it's also
going to be under the Output options 0 to 9.
| | 03:05 | So now let's go to the File menu
and do a Save As and we'll call this
| | 03:09 | one shot002-A-render.
| | 03:15 | And if I double-check my scene
file, I've got one more step to do.
| | 03:19 | And our shark does not have a Compositing tag.
| | 03:21 | Let's go to the Shark A mover, right-
click and go to CINEMA 4D Tags > Compositing.
| | 03:27 | And with our Shark Compositing tag on
the shark file, I need to turn on Object
| | 03:31 | Buffers and then Enable Object Buffer 1.
| | 03:33 | And you can see I have an Object
Buffer 1 here, and if I go back to my Render
| | 03:37 | Settings and go to the Object Buffer
field, I've got Object Buffer 1 here,
| | 03:42 | Object Buffer 1 here.
| | 03:43 | I know they'll render.
| | 03:44 | Now our Render Settings for shot002-A
are complete, we can apply these same
| | 03:48 | settings to shots B and C. I'm going
to do that off camera and come back and
| | 03:52 | review them with you.
| | 03:53 | So now I've got all three shot002 files
set up and I'll just review them with you.
| | 03:58 | You can see I'm in here
into shot-002-C-render.c4d.
| | 03:59 | And in my Render Settings, I've
got my file path saved correctly.
| | 04:05 | I also have under the Output the
same Frame Range as I had before.
| | 04:09 | So it's very important to check those.
| | 04:11 | I'm done with this file.
| | 04:12 | I can move on to shot002-B-render.
| | 04:15 | Verify it's 0 to 9, and then go to the
Save option and check that it's going to
| | 04:19 | render shot B into the shot B folder.
| | 04:22 | And that's it for shot B. Now we'll
go to the last one, shot A, and double
| | 04:26 | check that one more time.
| | 04:27 | We've got a place for our file when it
renders, and then we've got under the
| | 04:32 | Output options 10 frames total, 0 to 9.
| | 04:35 | So using the Render Settings can be a really
helpful tool for speeding up your workflow.
| | 04:40 | Now that we have shot002 all completed
and ready for rendering, we can now move
| | 04:43 | on to the other shots in the promo.
| | Collapse this transcript |
| Preparing shot 3 for rendering| 00:00 | Now shot-003 is a little bit
different than all of the previous shots and
| | 00:04 | the reason for that is that there are
two elements in there, the shark and
| | 00:08 | the Shark Zone text.
| | 00:10 | We are going to need to
have two Object Buffers here.
| | 00:12 | One for the shark, one for the Shark Zone text.
Otherwise the render settings are exactly same.
| | 00:16 | So let's start-off by
opening up the shot-003 file.
| | 00:19 | File > Open navigate to the Chapter 10
project files in that folder we going to go
| | 00:24 | to the shot-003-lighting_END file, open that up
and now we can start with the render settings.
| | 00:29 | And actually before we do the render
settings let's make sure and add our Object
| | 00:33 | Buffers first. That way we don't forget them.
| | 00:35 | I will right-click on the sharkzone
parent go to CINEMA 4D Tags and then
| | 00:40 | Compositing and then we'll set this to
be Object Buffer number 2. So it's a good
| | 00:44 | rule of thumb, when you are creating
Object Buffers across multiple shots to put
| | 00:47 | the same kinds of objects into
the same number Object Buffer.
| | 00:51 | That way when you're working in After
Effects, you know that Object Buffer 1
| | 00:53 | will always be related
to the sharks for example.
| | 00:56 | Object Buffer 2 is going to be the type element.
| | 00:58 | So now I'm going to add an object
buffer tag to the Shark Uber object so I'll
| | 01:02 | right-click on the Shark Uber > CINEMA
4 CD Tags and then go Compositing and
| | 01:07 | let's activate Object
Buffer 1 for the Shark Uber.
| | 01:10 | Now, we can load up our render settings.
| | 01:12 | I am going to go to the Render
Setting icon and then go to Render Settings
| | 01:18 | preset, Load Preset > sharkzone.
| | 01:20 | Now, before we delete the old render
setting we want to make sure and check
| | 01:24 | how long shot the shot was. This shot was
going to be from 0 to 129 F or 130 frames total.
| | 01:30 | So now I can go delete the render
setting here and under the sharkzone render
| | 01:34 | setting go to the Output option
and change at from 0 to 129 F.
| | 01:38 | Now, I know my shot is
going to be the same length.
| | 01:40 | Now we can go to the Save option and
navigate for our renders folder and go to
| | 01:44 | Chapter 10 and I need to create
a new subfolder for this file.
| | 01:47 | I am going to make a new folder and
call this one shot003 and in this shot003
| | 01:53 | folder, I will call this one shot003. Hit Save.
| | 01:56 | So now I know my save is set for their
correct name and my frame range is set
| | 02:01 | for the correct name.
| | 02:02 | Now all I need is to make sure
my Object Buffers are correct.
| | 02:05 | I already have an Object Buffer for
number 1 and that's going to cover my sharks.
| | 02:08 | I need a new Object Buffer for the text.
| | 02:11 | So I'm going to go to the Multi-Pass
option and select Object Buffer and in that
| | 02:16 | Object Buffer field, I'm going to Click
on Group ID 2 and now I have an Object
| | 02:21 | Buffer for number 1 and an Object
Buffer for number 2 and that's going to cover
| | 02:24 | both my shark and my type.
| | 02:26 | Now, I can go to the File menu and do as
Save As and I will save this as shot-003-render.
| | 02:34 | That's it for shot-003.
| | 02:35 | Now we can move on to the final shot.
| | Collapse this transcript |
| Setting up shot 4 to render in two passes| 00:00 | Shot004 we divided into
two separate project files.
| | 00:03 | So in this movie I am going to start
off with a shark, because that gets the
| | 00:07 | exact same render setting except for
the frame range and file save information
| | 00:11 | as the previous shots with sharks in them.
| | 00:13 | So let's open up our starting point
which is under the File menu > Open and
| | 00:17 | navigate to the shot-004-
shark-lighting_END file.
| | 00:21 | I'm going to first add an
Object Buffer to the Shark parent.
| | 00:24 | So I right-click on that and go to
CINEMA 4D Tags and then Compositing and
| | 00:29 | make sure and activate Object Buffer 1 under
the Compositing tag Object Buffer property.
| | 00:34 | Now I can load in the render settings.
| | 00:35 | So let's click on the Render Settings
button and navigate to the Render Settings
| | 00:39 | folder and Load the Preset.
| | 00:42 | You see I've two render settings here
sharkzone and the original Render Setting.
| | 00:45 | If I click on the original Render
Setting, you see it changes all the options.
| | 00:48 | So I'm going to go to the Output option and
double-check my Frame Range, which was 0 to 98.
| | 00:53 | So I'll change that here in sharkzone and
go 0 to 98 right here inside the sharkzone.
| | 00:59 | Now, I can delete this old Render
Setting and underneath the Output option I've
| | 01:03 | got my range correct, now I can go
to Save and change the file names.
| | 01:08 | I'll click on that and navigate to the
Chapter 10 folder and within this folder
| | 01:13 | I'm going to create a new subfolder.
| | 01:14 | I will call it shot004-shark and
then the file names here I'll call it
| | 01:20 | shot004-shark as well. There we go!
| | 01:24 | So now I've got my Output range set
correctly, I've got my Save set correctly,
| | 01:29 | and I've got an Object Buffer for my shark.
| | 01:32 | This file is ready to rock and roll.
| | 01:33 | So let's save it our as File > Save as,
and in the Chapter 10 folder let's call
| | 01:38 | it shot004-shark-render.
| | 01:42 | Now we can move on to the logo file for shot004.
| | 01:44 | So let's go ahead and open that up.
| | 01:46 | File > Open and then shot-004-logo-lighting_END.
| | 01:51 | In this file we have our logo, and
we don't have anything else in there.
| | 01:54 | Now, the logo doesn't need to be
rendered out with Global Illumination.
| | 01:57 | We've got a really good lighting
set up on it right now that makes the
| | 01:59 | logo looks fantastic.
| | 02:00 | So, all we really need to do is to set
up a new render setting that does not use
| | 02:05 | Global Illumination, and really
don't even need Multi-Pass for this.
| | 02:08 | All we need is just the logo with an
Alpha Channel as an image sequence.
| | 02:12 | So it's a really simple render setup.
| | 02:14 | Let's go to the Render Settings and
under the Output, so you can see our Frame
| | 02:18 | Range is 0 to 98.
| | 02:20 | I'm going to click on the Save option.
| | 02:22 | In this one we are going to
be using an Alpha Channel.
| | 02:24 | When I do render an Alpha Channel, I
always render a Straight Alpha which gives
| | 02:27 | me a little haloed edge around my
object that gets clipped off very nicely in
| | 02:31 | the compositing package without any
kind of ghosting around the edges.
| | 02:35 | Now, I'm going to go to the File Save
button, click on that, and navigate to my
| | 02:39 | Chapter 10 folder and go to New
Folder and call this shot004-logo.
| | 02:46 | Then in the Save As box I call it shot004-logo.
| | 02:50 | Now activate Compositing
Project File. Make sure that's all on.
| | 02:54 | So now we've got the Output option set
correctly. We've got the Save option set correctly.
| | 02:59 | Let's double-check the anti-
aliasing settings on this logo.
| | 03:02 | Because it has this anisotropic
material on there, we want to be really careful
| | 03:06 | about the anti-aliasing.
| | 03:07 | Anti-aliasing creates a smoothing effect
on the surfaces of your objects when it
| | 03:11 | renders so that you'll don't get
crunchy lines that make your animation look
| | 03:14 | like there are ants crawling
across the surface of it.
| | 03:16 | So anti-aliasing is very important.
| | 03:18 | In our shark animation the default
Anti-Aliasing setting should work just fine,
| | 03:21 | because of all the environment that's
in there and the smooth lines on this shark.
| | 03:25 | Anti-aliasing isn't nearly
as crucial as it is on a logo.
| | 03:27 | So let's go to the Anti-Aliasing
options and we are going to set this to be
| | 03:31 | Best and Animation.
| | 03:32 | Now I have it set here already.
| | 03:33 | The normal option is Geometry and Still Image.
| | 03:38 | And that will give you an edge on your
objects that's a little too crisp and crunchy.
| | 03:43 | So it really doesn't look good in animation.
| | 03:45 | So we are going to set this
to Best and then to Animation.
| | 03:48 | I will close up the Renders Settings now.
| | 03:51 | And let's do a File > Save as in the
Chapter 10 folder and call this one
| | 03:55 | shot-004-logo-render and Save.
| | 04:00 | I think that's it for all of our render setups.
| | 04:02 | Now we can move onto batch rendering.
| | Collapse this transcript |
| Performing a preflight check to ensure clips are ready to render| 00:00 | With our render files all set up and
ready to go, it's a really important thing
| | 00:04 | to preflight check your render files.
| | 00:07 | And when I say preflight check I mean
double-check all of your render settings
| | 00:10 | before you hit the Render button.
| | 00:12 | We're going to using the
technique called batch rendering.
| | 00:14 | In batch rendering typically you start
a whole series of render files and then
| | 00:18 | walk away from the machine.
| | 00:19 | The last thing you want to have
happened if you walk away for machine overnight
| | 00:22 | and comeback and find that only one of
the renders or maybe none of your renders
| | 00:26 | went off, because you'd
forgotten to set something correctly.
| | 00:28 | So what I like to do is I open each
one the files in my batch up and then hit
| | 00:33 | the Render command, activating the
render, and then let that thing render for
| | 00:36 | just a frame or two and then stop it.
| | 00:38 | I delete those test frames out of
the folder to make sure there's no
| | 00:41 | confusion and then as long as
everything went off correctly, I know my file
| | 00:44 | is ready to render.
| | 00:45 | So I'm going to do that for shot number 1.
| | 00:47 | I will go to the File menu and Open,
navigate to my Chapter 10 folder, and in
| | 00:52 | there I will open up shot-
001-render_END. Hit Open.
| | 00:56 | Now, here in the shot-001-render_END
file all I have to do is click on this
| | 01:00 | icon right here, the middle clapboard,
and go to Render to Picture Viewer and
| | 01:04 | that's the actual render command
that you use when you want of render
| | 01:07 | something out for the final.
| | 01:08 | Now, if I have all my Render Settings
set up, when I let go of this my render
| | 01:12 | should start with no error messages.
| | 01:13 | Now, some of the possible error
messages are missing texture for example or an
| | 01:17 | incorrectly set file path for your Save option.
| | 01:20 | As long as I don't have anything
set incorrectly, my rendering should go
| | 01:23 | off without a hitch.
| | 01:24 | There goes the very first frame. Excellent!
| | 01:27 | So now I know that my rendering is
working correctly, all I've to do now is stop
| | 01:31 | this rendering, and do you want
to stop the rendering? Yes, I do.
| | 01:35 | Excellent! Now I can go out to the Finder,
delete the files in this folder so that there's
| | 01:39 | no confusion about these test
renders there versus the finish ones.
| | 01:42 | Let's hide CINEMA 4D.
| | 01:43 | Command+H. I'm going to open up shot001
and all of the files that are in there,
| | 01:48 | these are the render files that it was creating.
| | 01:50 | You can see there is a different file for
each one of the render passes that I had.
| | 01:53 | I will select all those and right-
click and move them to the Trash.
| | 01:58 | Now I can go back to C4D, close this file up,
and repeat the process for the next file.
| | 02:03 | Now, I'm not going to do that in this
movie, but it's really important for you
| | 02:06 | to double-check all your
files prior to batch rendering.
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| Batch-rendering| 00:00 | Now that we have all our files
preflighted and the render settings were all
| | 00:03 | correct, we can set up
something called batch rendering.
| | 00:06 | A batch rendering is a way for CINEMA
4D to render several files without you
| | 00:11 | having to come back and
start each one individually.
| | 00:13 | It's really important to be able
to do that for efficiency's sake.
| | 00:16 | You want to be able to start something
at the end of the night and then walk
| | 00:19 | away with confidence that when you come
back in the morning it will be ready to go.
| | 00:22 | And batch rendering is a way to accomplish this.
| | 00:24 | Another way of rendering is using a
render farm is a CINEMA 4D's way of
| | 00:28 | distributing the render across
multiple machines, and that's a very different
| | 00:32 | from the batch rendering process.
| | 00:33 | In a batch render, the renders all
happen on a single machine and that's what
| | 00:36 | we're going to do here today.
| | 00:38 | I'm going to go the Render menu and go
to Batch Rendering and go to Job 1, and
| | 00:43 | this is the first job we are going to do.
| | 00:45 | So I'll just load up the shots
one at a time in the correct order.
| | 00:48 | So I'll start with shot-001-render_END
and then I'll go to shot-002-A-render_END
| | 00:53 | and then shot-002-B-render_END,
shot-002-C-render_END, and then
| | 01:02 | shot-003-render_END, and then for the
Job 6 it'ds shot-004-logo-render_END and for
| | 01:10 | Job 7, shot-004-shark-render_END.
| | 01:14 | Now, you'll notice that it
cuts off the filename here.
| | 01:17 | If you just click once and then drag
to the right you'll see the file names.
| | 01:20 | I like to this on each of the jobs
so that I can make sure that I have
| | 01:24 | all those render files in there, and I am
not accidentally rendering something twice.
| | 01:27 | So now I've got shot-001 render, shot-
002-A, shot-002-B, shot-002-C, shot-003,
| | 01:33 | the logo and the shark all ready to go.
| | 01:35 | So that's it. All we do is the hit the
OK button, and if we have everything set
| | 01:39 | up correctly when I hit OK the
Picture Viewer will pop-up and it will start
| | 01:42 | rendering the first shot.
| | 01:43 | You can see now it's preparing,
and there it goes on the first shot.
| | 01:47 | Now, usually I wait around for a few
minutes before I walk away to make sure
| | 01:50 | that everything is going correctly.
| | 01:51 | And as long as I know more than a
couple of frames have gotten off okay then
| | 01:54 | you are free to go.
| | 01:55 | So that's it for the batch rendering
process. This is going to take quite a few
| | 01:59 | hours to render depending on the speed
of your machine, and try to work your day
| | 02:02 | so that you set up renders
and have them go overnight.
| | 02:05 | That way you can go spend time with
your family or relax for a while and then
| | 02:08 | come back in the morning and collect
all your renders and bust out the project.
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|
|
11. Compositing in After EffectsImporting assets and setting up the After Effects project for final compositing| 00:00 | All right, we've got all our
renders done and we can finally begin the
| | 00:04 | compositing process.
| | 00:05 | Now I've organized the Chapter 11
project files a little bit to kind of clean up
| | 00:09 | the folder and let me
show you what I've done here.
| | 00:12 | In the water footage folder are all
of the QuickTime elements that were
| | 00:14 | provided for us by iStock.
| | 00:17 | In the psd elements folder I've got my
animatic sketches and the brighter.psd,
| | 00:23 | darker.psd and grain.psd files and we'll
be using these inside of After Effects.
| | 00:27 | In the c4d renders folder, I've got
both the finanim-preview movies and
| | 00:32 | the finished renders.
| | 00:33 | Now I move those here from the Chapter
10 folder and these are exactly the same
| | 00:37 | things that were generated
when we rendered out the batch.
| | 00:41 | So if I open up shot001, you can see
that I've got 1450 items here and if I
| | 00:45 | scroll down, the very last thing
in the file is the shot001.aec.
| | 00:49 | This is the file we're going to be
importing into After Effects and it contains
| | 00:53 | all of our camera and
multipass information inside of it.
| | 00:57 | Now, I'm going to go up one level, right-
click on the icon up here, and go to c4d
| | 01:03 | renders, and so I've got a separate
folder for the finished render for shot001
| | 01:09 | and then a folder for the finanim_
preview for shot001 and I've got that same
| | 01:13 | situation for all of the shots.
| | 01:15 | So, I have everything I need
inside the c4d renders folder.
| | 01:18 | Let's go up one level to the audio
folder and in the audio folder I have
| | 01:22 | both the scratch VO read that I had
done and that's what all of our timing
| | 01:26 | has been done to, plus the finished
Shark Zone mix, which we'll be adding in
| | 01:29 | at the very end of the process.
| | 01:31 | And at the top level, I've got the
11_01_AEstart file and this is where
| | 01:35 | we'll begin the process.
| | 01:40 | So here inside of After Effects,
I want to make a couple more folders in here
| | 01:43 | to organize things a little bit better
and I'm going to make a new folder and
| | 01:47 | call it CINEMA imports and I'm going
to put this CINEMA imports into the Video and Audio folder.
| | 01:57 | Now all of my CINEMA 4D renders are
going to go into this folder and let's
| | 02:03 | organize this a little bit better as well.
| | 02:04 | I'm going add another sub-folder and
call this one previews and take all my
| | 02:09 | preview renders and move them into this
folder and then put this preview folder
| | 02:13 | into the CINEMA imports folder.
| | 02:16 | And now I've got a separate folder for
previews and I'm going to end up with a
| | 02:20 | separate folder for each
of my shot renders as well.
| | 02:22 | So let's import the first shot render.
| | 02:27 | I double-clicked in the Project
window to bring up the File Import screen
| | 02:31 | and I'm going to navigate to my
Chapter 11 and go to c4d renders and to go
| | 02:37 | to shot001 and if I navigate all the way down
to the bottom, there is my shot001.aec file.
| | 02:42 | I'll hit Open and it's going
to import the selected item.
| | 02:47 | If you try to import this file and
it's grayed out, that's because you don't
| | 02:50 | have the correct plug-in
installed inside of Adobe After Effects.
| | 02:54 | Now, to get this plug-in, we're going
to first need to quit After Effects and
| | 02:58 | I'm going to go to Maxon's web site.
| | 03:00 | Now, this plug-in is free and ships
with CINEMA 4D, but to make sure that
| | 03:05 | you have the absolute latest version, we're
going to pull it down off of Maxons web site.
| | 03:08 | So I've gone to maxon.net and I'm
going to go to the Downloads and then I'm
| | 03:13 | going to go to Updates and then I'm
going to go to Plugins and then I'm going
| | 03:19 | to twirl open the After Effects plug-
in and I'm going to take the plug-in for
| | 03:23 | CS5 and download that.
| | 03:25 | Now, if you're working with
CS4 or CS3, then you can take the
| | 03:30 | appropriate plug-in.
| | 03:31 | It is gone down to my Downloads folder.
| | 03:33 | So I'll navigate out to my Downloads folder.
| | 03:36 | I've got a choice between OS X and Windows.
| | 03:39 | Now, the OS X file is zipped and I'm
going to unzip that and this is the file
| | 03:45 | that we're going to put into
the After Effects plug-ins folder.
| | 03:48 | So I'm going to open up a new Finder
window and go to the Applications folder.
| | 03:54 | In the Applications folder, I'm going
to go to Adobe After Effects CS5 and
| | 03:58 | Plug-ins and I'm going to
drag that file right in to here.
| | 04:02 | Now, I already have it installed, so
I'm not going to overwrite that file, but
| | 04:06 | that is the place that you put the plug-in.
| | 04:08 | When you relaunch After Effects and go to
import your file, you should be good to go.
| | 04:12 | Now on the PC, the pathway is you go
to Program Files > Adobe > Adobe After
| | 04:17 | Effects CS5 and then in the Support
files there is another Plug-ins folder and
| | 04:23 | that's where you put the AE plug-in and
the file that you're going to be putting
| | 04:27 | in that folder for Windows is this AEX file.
| | 04:30 | So first, download the plug-in, quit
After Effects, install the plug-in into the
| | 04:36 | appropriate folder, then re-launch After
Effects and begin the import process all
| | 04:40 | over again, and you should be good to go.
| | 04:42 | Now, the length of that import
process will depend entirely on how many
| | 04:45 | keyframes you have in your scene.
| | 04:47 | In a fairly long shot like this five
seconds with lot of camera movement in it,
| | 04:52 | will have quite a bit of keyframes and
will take a little bit of time to import.
| | 04:56 | Now, what's happened is it's imported
some folders for us and in the Special
| | 05:01 | Passes folder we've got our
Object Buffer and the rgb pass.
| | 05:05 | So let's double-click on this, and now
you notice that the blue background of
| | 05:09 | our water environment is missing.
| | 05:11 | That's because After Effects when
it imported the aec file is thinking
| | 05:15 | that this rgb movie has an alpha
channel, when in fact it doesn'tSo I'm
| | 05:19 | going to right-click on this movie
and go to Interpret Footage > Main and
| | 05:25 | tell it to Ignore the Alpha Channel
and when I hit OK, there is our file the
| | 05:29 | way it's supposed to look.
| | 05:30 | And we'll be using this file for most of
the shot001 footage, so we want to make
| | 05:34 | sure that it looks great and it does.
| | 05:36 | Now we can move the Special Passes
into the shot-001-render_End folder and
| | 05:40 | this has all of our multipass layers, plus
the actual comp for our After Effects project.
| | 05:47 | Let's move this folder now into our
CINEMA imports and we'll repeat this process
| | 05:52 | for the other files.
| | 05:54 | Now that I've got everything imported,
you can see I've organized things a
| | 05:57 | little bit more and I have all of my
shots inside the CINEMA imports folder.
| | 06:02 | Next thing I want to do is import the
finished audio. We'll be needing that
| | 06:05 | later on in the process.
| | 06:07 | So I'll double-click again to get the
import and I'll go to the Exercise Files
| | 06:12 | and go to Chapter 11 and import from
the audio folder the sharkzone finmix.
| | 06:17 | Let's move that into the Audio-
Video folder and close things up.
| | 06:22 | The next element we want to import
are the PSD files that we're going to be
| | 06:26 | using to kind of texture and
give some character to our screens.
| | 06:30 | So I'm going to double-click again to
Import and navigate out to my Chapter 11
| | 06:34 | folder and go to the psd elements
folder and in here I've got my brighter.psd,
| | 06:39 | darker.psd and grain.psd files.
| | 06:41 | Let's go ahead and hold down the Shift
key and select all three of those and
| | 06:44 | then just hit Open and those will
import as merged PSD files and I'm going
| | 06:48 | to drag those into the Production Elements
folder and we'll just leave them right there.
| | 06:53 | Normally I put these into another sub-
folder, but since these are only PSDs
| | 06:56 | we're going to be using I'll just
leave them loose in the Production Elements.
| | 06:59 | The last set of files I'd like to import
are the video elements that we're going
| | 07:04 | to be using and these were
provided for us by iStockphoto.com.
| | 07:07 | When I go to the Chapter 11
and import the water footage.
| | 07:13 | So if I'd click on this folder and
select all the elements and hit Open and it
| | 07:18 | imports them all in, I'm
going to drag all these.
| | 07:20 | You can see they're already selected.
I'll drag them onto the New Folder icon
| | 07:24 | and call this Water Footage, and put
this into the Audio-Video folder, there we go.
| | 07:35 | Now that we have all of our elements
imported, let's save this file as 11_01_working.
| | 07:40 | File > Save As and in the Chapter
11 folder, I'm going to call this one
| | 07:46 | 11_01_working. Save.
| | 07:52 | With all of our assets imported and our
project file organized, we're ready to
| | 07:55 | begin the compositing process.
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| The intro shot: Using Photoshop elements and noise effects to add atmosphere| 00:00 | All right, here we are, ready
to begin the compositing process.
| | 00:04 | We're going to start off with shot 1
because it's the longest shot and what
| | 00:07 | we're going to be doing in this
video is using Photoshop elements and a
| | 00:11 | little bit of Fractal Noise, which is
an effect, to give our shot a little
| | 00:14 | bit more character.
| | 00:16 | So let's start off by opening up the
composition for that and what I'm going to
| | 00:20 | do is go to the Video and Audio
folder CINEMA imports, and in the
| | 00:24 | shot-001-render_END folder, I'm
going to duplicate this composition.
| | 00:28 | And let's go Command+D to duplicate it
and let's call this one shot-001, just
| | 00:36 | delete all the extra stuff off it.
| | 00:37 | I like to always keep an extra copy of
my comp around just in case, and so I'm
| | 00:42 | going to call this shot-001 and we
want to move this into a new sub-folder.
| | 00:47 | And let's enlarge our window here a
little bit. And in the Working comps folder
| | 00:50 | is where we're going to store this and
let's go to shot-001 and drag it into the
| | 00:56 | Working comps folder.
| | 00:57 | Now we can double-click on this and
open that up and you can see we've got our
| | 01:01 | camera and we've got our
original shark light, which we used.
| | 01:04 | We're not going to be needing the shark
light in this shot, so we can just turn it off.
| | 01:07 | So now, what you see here in this
composition are all of the multipass layers.
| | 01:12 | Now, we're actually not going to be
using these in this shot, but I always
| | 01:15 | like to render out the multipass
layers just in case, and you never know
| | 01:19 | during compositing process what layers you
might need to work your magic on your composition.
| | 01:25 | So I always render those out anyway.
| | 01:27 | In this case, we're just
going to need the rgba pass.
| | 01:29 | So let's turn these all
off, leaving a black comp.
| | 01:32 | And then in our shot-001-render_END file, in
the Special Passes folder, is our rgb pass.
| | 01:38 | Let's go and drag that into the
composition and we can scrub through and there's
| | 01:44 | our sharks swimming through the scene.
| | 01:46 | It looks awesome, except that it really
doesn't have a lot of character to it.
| | 01:51 | It's very sort of flat, featureless landscape.
| | 01:54 | We want to have a little
bit more drama and intensity.
| | 01:56 | So we're going to use some
Photoshop elements to do that, along with
| | 01:58 | some Fractal Noise.
| | 01:59 | So let's go to the Production
Elements folder and drag in brighter, darker
| | 02:04 | and grain, and I'm going to drag those
right into the top of the composition
| | 02:08 | above our shot-001.
| | 02:10 | Now, those coming at full
Opacity and normal blending modes.
| | 02:13 | Now before I mess around with the
opacities on these, let's take a look at these
| | 02:16 | images one at a time.
| | 02:18 | The brighter image, if I double-click
on it, is simply a Photoshop file that
| | 02:22 | I've used a paint brush on and I've
brushed a little bit of a cyan color here,
| | 02:26 | just kind of randomly around and I gave
a little bit of brightness to the upper
| | 02:30 | right-hand corner of the frame, and I
actually generated these files during the
| | 02:34 | storyboarding process and then saved
them out as individual layers to be used
| | 02:38 | here in After Effects.
| | 02:39 | The darker element, when I double-
click on that, it looks like black but I'll
| | 02:42 | turn on the transparency grid and now
you can see that it's sort of the opposite
| | 02:47 | effect of the brighter.
| | 02:48 | It darkens up certain areas of the frame.
| | 02:50 | And the grain layer is simply just a
grain element that's going to sit on top
| | 02:56 | of everything to kind of give a
general noise pattern to the entire scene.
| | 03:00 | So now here in the composition, let's
go back to our Composition window, give
| | 03:04 | myself a little bit more room to work here.
| | 03:06 | We're going to make some changes to
these blending modes and opacities.
| | 03:09 | Now I'm going to be setting the
brighter layer to a Screen blending mode and
| | 03:14 | that's going to add a little bit of
brightness to our scene and the screen
| | 03:21 | can't really be seen right now because
of all the stuff that's underneath it,
| | 03:24 | but we're going to tweak these guys.
| | 03:26 | I'm going to turn off these other two
layers just so you can see what happens
| | 03:28 | when I adjust that brighter.
| | 03:30 | So you can see that when I changed the
blending mode from Normal to Screen, here
| | 03:34 | it is on Normal and it's kind of
sitting there, and when I change it to Screen,
| | 03:37 | it doesn't look that different, but I'm
going to adjust the scale on this just a bit,
| | 03:40 | because it needs to come down
to about 75% or so. I did mine at 69%.
| | 03:48 | The important thing is that it's just
outside the boundaries of the frame image
| | 03:51 | and you can see that it's now
blending in with the background.
| | 03:53 | It's kind of brightening up
this upper corner of our frame.
| | 03:57 | Now I'm going to take the grain layer
and add this to the mix, and in the grain layer,
| | 04:02 | we're going to leave it set on Normal.
| | 04:04 | When I turn it on, you can see that it
completely overwhelms the Screen, but
| | 04:08 | when I set the Opacity, hit T on
the keyboard to bring up the Opacity
| | 04:12 | settings, I'm going to set the Opacity to be
about 20%, and then adjust the Scale down a bit.
| | 04:17 | Hit S on the keyboard to bring up the Scale.
| | 04:19 | Let's bring the Scale to about 70% also.
| | 04:23 | Let's zoom in on the frame just a bit.
| | 04:24 | You can see I'm going to turn off the
grain layer and then turn it back on again.
| | 04:30 | Let's back out one more layer, so now
I've enlarged my window nice and big.
| | 04:33 | So I'll turn off the grain
layer and turn it back on again.
| | 04:36 | You can see it gives a very subtle
darkness overall to the image and adds a
| | 04:40 | little bit of noise to
everything and kind of takes away the
| | 04:43 | computer-generated feel.
| | 04:45 | We're going to save the darker layer
for just a moment and we're going to be
| | 04:49 | using that darker layer for another purpose.
| | 04:50 | So let's leave it off for now and
I'm going to create a new solid.
| | 04:54 | Under the Layer menu, New > Solid,
and the color doesn't really matter.
| | 04:58 | We are going to call it, though, fractal noise.
| | 05:03 | And we want to make sure that it's the
same size as the comp, so I'll hit OK.
| | 05:08 | I'm going to add the Fractal Noise
effect and it's here in the Noise &
| | 05:11 | Grain Effects under Fractal Noise
and when I add it to the frame, I get
| | 05:14 | this noise pattern that replaces the
gray that was my solid, and now I can
| | 05:19 | change some settings on here.
| | 05:20 | I'm going to change the Fractal
Type from Basic to Turbulent Smooth.
| | 05:25 | That's going to give a very
different type of pattern here.
| | 05:27 | That's got some light and dark values
that I really like, and then I'm going to
| | 05:30 | change the Noise Type
from Soft Linear to Spline.
| | 05:34 | That really softens things up a lot.
| | 05:36 | Next I'll adjust the Brightness up
to about 20% or so, maybe 22 roughly.
| | 05:44 | There we go, and that brightens up
the image overall and now I'd like to
| | 05:48 | change the Complexity.
| | 05:50 | The noise pattern is really kind of
dense right now and it has a lot of
| | 05:53 | detail that I don't want.
| | 05:54 | I'm going to set that Complexity down
to be about 1.5 or so, and that really
| | 05:59 | makes it a lot more simple and
takes away all the extra detail.
| | 06:03 | Now I can twirl open the Transform options
and I'm going to set the Scale to be about 300%.
| | 06:09 | That's going to zoom in on the noise,
so now it's just a very random sort of
| | 06:12 | light and dark pattern here, and
I think that's good for the settings.
| | 06:16 | Now what I like to do is have that noise
animate over the entire length of the shot.
| | 06:20 | So if I change the Evolution,
that has the effect of animating the noise
| | 06:24 | pattern and I'm scrubbing through,
just twirling this dial on the Evolution
| | 06:28 | setting, and you can see how it changes
the noise pattern over time and that's
| | 06:33 | just what I want to do.
| | 06:34 | So, I'm going to set this back to
zero and at time zero I'm going to set a
| | 06:38 | keyframe for Evolution.
| | 06:40 | So I click on the
stopwatch. That sets the keyframe.
| | 06:42 | Now I'm going to move to the end of
the shot and at the end of the shot I'm
| | 06:46 | going to set the
Evolution to be about 250 or so.
| | 06:51 | And over time, my noise pattern is now changing.
| | 06:55 | So now that I've got my noise animated,
I'm going to use the darker layer to
| | 06:59 | kind of limit where that
noise shows up on the screen.
| | 07:02 | Let's back out of the composition a
little bit and give ourselves some room to
| | 07:05 | work with the layers and I'll just
take the Fractal Noise pattern and move it
| | 07:08 | down below the darker.
| | 07:10 | I'm going to set the darker layer to be
the track matte for the Fractal Noise.
| | 07:14 | So I'll click on the Track Matte
options and do an Alpha Matte "darker.psd".
| | 07:18 | So now it's using that darker layer as
an Alpha Matte for the noise and you can
| | 07:21 | see when I scrub through the file, I
now have a light and dark pattern that's
| | 07:25 | kind of moving across the surface of
my scene, giving the water a murky feel.
| | 07:31 | Now this noise pattern, it's kind
of sitting on top and it's not really
| | 07:34 | interacting with the footage below it.
| | 07:36 | So I'd like to change the
blending mode on the Fractal Noise.
| | 07:38 | Let's change that to Overlay, which
emphasizes the midtone in the image, and I'm
| | 07:44 | going to go to Overlay and you can
see now the dark values went away and we
| | 07:52 | have midtones and a little bit of highlights
in the scene and that's just how we want it.
| | 07:59 | So my Fractal Noise pattern is mixing in
really well with the footage, but let's
| | 08:03 | scale the darker layer down just a bit.
| | 08:06 | I'm going to hit S on the keyboard,
for the darker layer and just adjust the
| | 08:10 | Scale down to about 70% again or so.
| | 08:12 | You can see what happened was it
scaled the PSD file down, so now we have a
| | 08:17 | little better pattern for our Fractal Noise.
| | 08:19 | These PSD files were
generated oversized on purpose.
| | 08:22 | so that I have a little bit of
resolution to play with in case I wanted to
| | 08:25 | scale them over time.
| | 08:26 | So now the first step in the
process for this shot is complete.
| | 08:30 | We've added a little bit of murkiness.
We're going to be adding a little more
| | 08:33 | character to the scene and creating
our type elements in later movies.
| | Collapse this transcript |
| The intro shot: Compositing in stock video footage to add character| 00:00 | Shot 1 is looking pretty cool but we still
have a little bit more character to add to this.
| | 00:04 | Let's start by adding some bubble movement.
| | 00:07 | The Fractal Noise gives a very
large sort of movement to the water.
| | 00:11 | But we want to add a little more subtle detail.
| | 00:13 | Ocean water has a lot of like plankton
and all kinds of particular matter that
| | 00:16 | is moving through the water and a
really nice bubble image would give us that
| | 00:20 | movement that we are looking for.
| | 00:22 | We happen to have one provided by iStockphoto.
| | 00:23 | We're going to go into the Audio-
Video folder, and drag into the
| | 00:28 | composition. Twirl that closed.
| | 00:31 | Let's actually give ourselves a
little bit more room to work here.
| | 00:35 | In the WATER FOOTAGE folder we
are going to use the tiny_bubbles.
| | 00:38 | I am going to drag tiny_bubbles into my
composition and place it right below the grain.
| | 00:44 | Actually, I'll place it below the
Fractal Noise and above the RGB shot.
| | 00:48 | You can see tiny_bubbles
is moving through the scene.
| | 00:53 | Let's double-click on that so we can
see what that actually looks like and
| | 00:56 | tiny_bubbles is really just a
sort of general watery movement.
| | 01:00 | You can see it has a beautiful flowing
pattern to it that is really difficult to
| | 01:04 | duplicate with a Particle Emitter.
| | 01:07 | So we are going to use this to our advantage.
| | 01:10 | I think the worst part of this movie looks
the best and so we can leave-- in Composition:
| | 01:18 | shot-001, let's move to the beginning here.
| | 01:20 | You can see that it's moving
through the frame really nice.
| | 01:23 | Now, it's covering everything up.
| | 01:25 | So let's now change the blending mode for it.
| | 01:27 | I am going to change the blending
mode to Overlay, and there it is.
| | 01:32 | You can see now it's sitting on top of the
footage and interacting with that footage.
| | 01:36 | Now, it's a little too heavy.
| | 01:38 | So let's adjust the Opacity down.
| | 01:39 | I'll hit T on the keyboard to bring up
the Opacity for that layer, and let's
| | 01:44 | bring this down to about 10%.
| | 01:46 | See how that looks. There we go.
| | 01:47 | You can see now when I scrub through
the shot, there is just a general sense of
| | 01:52 | tiny movement sitting on top of the frame,
and it really adds a lot of character
| | 01:56 | and personality to this water and
makes it feel a lot more realistic.
| | 02:00 | Now, the next thing we like to do is
draw a little bit of more attention to the
| | 02:03 | center of the frame and a technique I
like to use is called a darkening layer.
| | 02:08 | The eye tends to wander around this
frame, because there isn't really a
| | 02:12 | solid thing to look at.
| | 02:13 | We are going to be adding type to the
very center of the frame and so I want
| | 02:16 | people to focus on the center of the frame.
| | 02:18 | So we'll add a solid layer with a soft
edged mask that will kind of darken out
| | 02:24 | the outer edges of the image and draw
our eye towards the center of the frame.
| | 02:28 | Let's go to the Layer menu, and do a new
solid and this time we'll make the solid black.
| | 02:36 | Let's call it More Darker which I
know isn't grammatically correct, but it
| | 02:41 | works for this purpose.
| | 02:43 | So I'll add that layer, and it's
going to sit on top of everything.
| | 02:46 | So now it's completely covering everything up.
| | 02:48 | So let's add a mask to this.
| | 02:50 | I am going to hit G on the keyboard,
which brings up my Pen tool, and I am going
| | 02:53 | to change it to RotoBezier mode.
| | 02:55 | That's going to allow me to draw a
very smooth flowing mask on this layer.
| | 02:59 | Let's start drawing.
| | 03:00 | I am just going to loosely trace out
a mask and you don't have to be real
| | 03:09 | precise with this because we can
always go back and tweak it later on.
| | 03:13 | So I'll just close that one up right there.
| | 03:15 | You can see the RotoBezier makes very
smooth flowing shapes and it's very easy
| | 03:19 | to create a sort of amoeba like outline
here that will work well for our purpose.
| | 03:23 | Now, we don't want the black to be on the
inside, we want the black to be on the outside.
| | 03:26 | So we are going to invert this mask.
| | 03:28 | So on the More Darker layer, I'll hit
the letter M which brings up the Mask
| | 03:32 | properties, and I am going
to check the Inverted box.
| | 03:35 | That's going to invert my mask.
| | 03:36 | Now, I can adjust the Feathering.
| | 03:38 | If I twirl the mask open and closed, I
can see all the options for the mask and
| | 03:42 | the Feather options, if I scrub those to
the right, let's bring those to about...
| | 03:46 | I don't know. 200 or so.
| | 03:50 | Maybe about 150 actually I think will work well.
| | 03:53 | You can see that edge got really soft.
| | 03:56 | Now, we can adjust the Opacity of the
whole layer, and because I don't want the
| | 04:00 | outer edges to be completely black.
I just want them to be a little bit darker
| | 04:03 | and to have it be a little more
subtle so that our eye is just drawn to the
| | 04:06 | center of the frame without
noticing that darkness on the side.
| | 04:09 | So if I hit the letter T on the
keyboard to bring up the Opacity and let's
| | 04:12 | dial it down a bit. There we go.
| | 04:16 | About in the 30% range or so.
Maybe a little bit darker, 40%.
| | 04:21 | Let's set the blending mode from Normal
to Multiply which will help it interact
| | 04:25 | with the footage a little bit better. Excellent!
| | 04:28 | Now, when I scrub through, you can see--
| | 04:29 | Let's turn that off and on, so
you can see the effect that it had.
| | 04:33 | That's without the More Darker layer,
and that's with the More Darker layer.
| | 04:37 | You can see that it really helps to
draw your eye towards the center of the
| | 04:40 | screen and that's really the whole purpose.
| | 04:42 | With the darkening and the character
added to our frame now, we're ready to
| | 04:46 | move on to the type elements that are
going to go along with the voiceover.
| | Collapse this transcript |
| The intro shot: Adding text elements to the composite| 00:00 | The last step in the process for shot-
001 is to add the text elements that will
| | 00:04 | go along with the voiceover.
| | 00:06 | Now, this technique is called a see-and-say.
| | 00:08 | You're seeing the copy at the same
time the voiceover announcer is saying it
| | 00:12 | on-screen and it's a good
technique to reinforce the message.
| | 00:15 | Now, our type elements are going to be
very simple, just in the center of the
| | 00:19 | screen in a very simple font, and they are
going to cross-dissolve between each other.
| | 00:23 | So, I need to find out when that cross-
dissolve happens and so I am going to go
| | 00:26 | back to the cameramatic.
| | 00:28 | I have that open and that is inside
the Working comps folder by the way.
| | 00:31 | So, here in the Working comps you can
see there is the cameramatic-001 file.
| | 00:35 | So, I open that up, scrub through my animation.
| | 00:38 | If I hold down the Command key,
I can hear the scratch VO track.
| | 00:46 | So, what I am trying to do is find
out where the dissolve happens and so
| | 00:49 | let's scrub through this.
| | 00:54 | So, here is where the type has to come in. After.
| | 00:59 | So right there where the voice-over says "after."
| | 01:06 | Then the dissolve out happens.
| | 01:07 | Boom, right about there.
| | 01:10 | So, frame 95 for the dissolve and it
comes in about frame 40 or so. Maybe 35.
| | 01:16 | So, we'll call it 35 and 95 for the dissolve.
| | 01:22 | So, 35 for the in, 95 for the dissolve.
| | 01:24 | So, let's go back to shot-001 and add
a marker at frame 35, 1 second and 5
| | 01:30 | frames by the way, and we'll add a marker there.
| | 01:34 | Then 95 for the dissolve and I'll add a marker there.
| | 01:37 | That will help to remind us when
those two events are supposed to happen.
| | 01:40 | Now, I am going to add text to the scene.
| | 01:43 | I am going to grab the Text tool here and
just click any place in the Comp window.
| | 01:46 | I am going to type out in caps "After
400 million years" and then just hit Enter
| | 01:54 | on the numeric keypad to finish things off.
| | 01:57 | Now, this type is aligned left.
| | 01:58 | I want to align it center so I'll click on
the Paragraph options and center the text up.
| | 02:02 | Then let's get it into the center of the frame.
| | 02:04 | If I hit P on the keyboard I can go to the
Position frames and this is X and Y positions.
| | 02:09 | So, on the X-axis I'd like to have it at
640, which is my frame width, divided by 2.
| | 02:15 | And then there it is in the center of the frame.
| | 02:17 | Now, I can hold down the Shift key.
| | 02:19 | I don't want it to be exactly in
center of the frame vertically.
| | 02:21 | I want to just eyeball.
| | 02:22 | So I'll switch to the
Move tool, V on the keyboard.
| | 02:25 | Then just hold down the Shift key as I
am dragging this so that will constrain
| | 02:28 | the motion so it doesn't drift over.
| | 02:30 | So, I'll drag this down a bit.
| | 02:32 | Now, my text is really big in frame.
| | 02:33 | I need to make sure that it doesn't
extend beyond the boundaries of the 4x3 frame.
| | 02:38 | So, let's activate the Title/Action Safe
and then just scale things down a little bit.
| | 02:43 | I'm going to go to the font options
and then adjust my font size down.
| | 02:49 | Let's bring it down to about 22 pixels.
| | 02:53 | I think that's good.
| | 02:54 | Then let's move it up just a bit
more in frame by holding down the Shift
| | 02:57 | key, right about there.
| | 02:58 | So, now our type is going to
come in at that point in time.
| | 03:02 | So, we are going to set
a transparency keyframes.
| | 03:04 | So, I hit T on the keyboard, set an
Opacity keyframe for 100% at that time.
| | 03:10 | We want this dissolve in fairly slow.
| | 03:12 | So, I am going to backup about maybe 20
frames or so, from 105 to 15, about there
| | 03:20 | and drag that Opacity down to 0.
| | 03:22 | So, now our type will dissolve in,
After 400 million years, and then it's going
| | 03:27 | to have to dissolve out.
| | 03:28 | Now, I want these two text
elements to be exactly the same size.
| | 03:31 | So, the easiest thing to do is
to just duplicate this text layer.
| | 03:34 | But rather than duplicate it, I am
going to just split the layer off.
| | 03:37 | So, the Shift+Command+D is the keyboard
shortcut for that and that splits my layer up.
| | 03:42 | So, now I have the copy of it above it
and I have my main text down below it.
| | 03:46 | So, I am going to on the second layer,
change this to read "they're still the
| | 03:51 | scariest thing in the ocean."
| | 03:53 | Grab the Text tool.
| | 03:55 | Let's click inside the text layer.
| | 03:57 | Select all, Command+A, and then type
out in all caps "They're still the
| | 04:04 | scariest thing in the ocean."
| | 04:08 | That's too much to have on
one line so let's break it up.
| | 04:11 | I want to break it up
right at the word scariest.
| | 04:14 | There we go and that's a nice
arrangement for the type I think.
| | 04:16 | So, they're still the
scariest thing in the ocean.
| | 04:18 | Now, if I want to create a dissolve
between these two I am going to have to
| | 04:21 | get a little overlap.
| | 04:23 | So, the layers are not overlapping right now.
| | 04:25 | Let's deselect our type to commit
it and now I have my Caps Lock on.
| | 04:28 | So, let's release the Caps Lock
so we can see the frame drawn.
| | 04:31 | Right now our type just cuts.
| | 04:32 | So, if I zoom in using the Plus
key on the keyboard to this area,
| | 04:36 | I want to just create a little bit
overlap by dragging the In and Out points
| | 04:39 | to the right and left.
| | 04:40 | I already have keyframes for
Opacity on the outgoing layer, which is the
| | 04:43 | "After 400 million years."
| | 04:44 | So, let's set a keyframe for
Opacity at that point in time.
| | 04:47 | I'll just click on the Keyframe button
and then have it disappear about there
| | 04:52 | and drag that down to 0.
| | 04:53 | Now, on the incoming layer, I am going to
hit T on the keyboard to bring up the Opacity.
| | 04:58 | Set a keyframe for 100% there
and then 0% at the other end.
| | 05:02 | So, now we are going to have a
cross-dissolve between these two.
| | 05:06 | Now, that cross dissolve is kind of boring.
| | 05:07 | I'd like to add a little bit of
personality to this so we are going to add an effect.
| | 05:11 | The effect that I'll like to add is a
Blur and I am going to on my topmost layer
| | 05:16 | go to the Effect menu and then go to
Blur & Sharpen and add a Directional Blur.
| | 05:21 | The Directional Blur has a rotation
handle that allows me to set the direction.
| | 05:25 | I'll set this to 90 degrees numerically.
| | 05:27 | Now, you can see when I blur the
type out, it blurs horizontally.
| | 05:30 | So, what we want to do is
set keyframes for this Blur.
| | 05:33 | I'm going to have the type start
very blurry and then finish solid.
| | 05:37 | So, at thein point of the
frame let's blur it a whole bunch.
| | 05:41 | So, it's invisible right now but I am going
to blur this to about maybe 30 units or so.
| | 05:46 | Then set a keyframe for Blur Length and
then scrub forward to the outgoing point.
| | 05:50 | You can see that it's pretty blurry.
| | 05:52 | If I set a keyframe now for Blur
Length to be 0, our type resolves to sharp.
| | 05:57 | So, now it cross-dissolves to sharp.
| | 06:02 | So, next thing I want to do is take
these keyframes and put these keyframes on
| | 06:05 | the beginning of my 400 million years layer.
| | 06:08 | So, If I select this and hit U on
the keyboard that shows me all of the
| | 06:13 | keyframed elements.
| | 06:14 | I'll click Blur Length and
that selects the keyframes.
| | 06:16 | I'll just double-check by selecting
those two and hit Command+C to copy them.
| | 06:20 | Hit Home on the keyboard to
go the very start of the frame.
| | 06:23 | I want that where my type element
dissolves in to add that effect.
| | 06:27 | So, if I hit Command+V now to paste that
effect down, you can see my Directional
| | 06:30 | Blur is now on that layer.
| | 06:32 | I'll hit U on the keyboard just to
show that and let's back out just a bit.
| | 06:35 | Now, the length of that dissolve is much longer.
| | 06:38 | Let's drag just this keyframe over to the right.
| | 06:41 | So, now over the course of that
dissolve, it's going to blur in.
| | 06:46 | But you notice that it
blurs the wrong direction.
| | 06:48 | That's because when you copy and paste
the keyframes it resets the direction here.
| | 06:51 | So, let's change that Direction back to 90
degrees and now it should dissolve in nicely.
| | 06:57 | Then we want to set that
dissolve out on the other end.
| | 07:01 | So, I go to the outgoing keyframes.
| | 07:03 | I have a feeling that dissolve is not
going to be long enough but we'll do a
| | 07:05 | RAM Preview to check.
| | 07:06 | I'll set a keyframe for Blur Length at 0
there and have it blur out as it dissolves out.
| | 07:12 | So, let's set this back to 30.
| | 07:14 | We want that to go to 30 before it
dissolves out. Let's just adjust that
| | 07:17 | keyframe right there.
| | 07:18 | So, now we have our type element in place.
| | 07:20 | Let's do a RAM Preview and
see what the shots looks like.
| | 07:22 | I have a general rule.
| | 07:24 | I never ever do a RAM
Preview without saving first.
| | 07:27 | So, let's go to the File menu and do a Save
As and call this 11_04_working and there we go.
| | 07:35 | After Effects is pretty good about not
crashing but if it is going to crash,
| | 07:39 | a lot of times it will
happen during a RAM Preview.
| | 07:40 | So, you got to be really careful about that.
| | 07:42 | always before you RAM Preview.
| | 07:44 | So, now I am going to do zero on the
numeric keypad to do a RAM Preview and it
| | 07:48 | should go pretty quick.
| | 07:49 | (Voiceover: After 400 million years they're
still the scariest thing in the ocean.)
| | 07:53 | So, that dissolve is too quick.
| | 07:55 | So, let's make that dissolve really long.
| | 07:58 | I'm going to take the keyframe, let's
zoom in on the area, and let's make it
| | 08:01 | about twice as long.
| | 08:02 | So, the easiest way to that, I can grab
all these keyframes and hold down the
| | 08:05 | Option key and then scale
the keyframes to the right.
| | 08:08 | Then also scale them to the left just a bit and
I'll just drag this over just to another frame.
| | 08:13 | But we want to make sure the outgoing
layer and the incoming layer overlap their
| | 08:16 | keyframes just right.
| | 08:18 | Let's back out just a bit. Yeah, I
think that's going to feel a lot better.
| | 08:21 | Let's do another RAM Preview.
| | 08:22 | Zero on the numeric keypad, there it is.
| | 08:24 | After 400 million years they're still the
scariest thing in the ocean. Excellent.
| | 08:29 | Shot-001 is complete now
we can move on to the rest.
| | Collapse this transcript |
| The hero shot: Controlling the look using precomps| 00:00 | The next most challenging
shot in our piece is shot-003.
| | 00:05 | We are going to be utilizing some of the
elements from shot-001 to make the shot look great.
| | 00:10 | But before we do that we've
have a few things we need to do.
| | 00:12 | I am going to start off by closing up
my Working comps folder and opening up
| | 00:17 | my Audio-Video folder.
| | 00:19 | Let's drag ourselves a little more room.
| | 00:21 | We can close up the WATER FOOTAGE for now.
| | 00:22 | In our CINEMA 4D Imports, I am going
to open up the shot-003-render-END.
| | 00:28 | Let's duplicate this composition,
Command+D, and hit Enter on the keyboard and
| | 00:33 | just delete everything off of that
name so that it just call shot-003.
| | 00:37 | Let's move this shot-003
into the Working comps folder.
| | 00:40 | So, I'll drag that down and put it into
Working comps and then I'll open that shot-003 up.
| | 00:47 | Now, I can see my shot-003 here
and in the composition, I've got all
| | 00:52 | these multi-pass layers.
| | 00:54 | We don't need them right now so I am going to
turn them all off and then drag in the RGBA pass.
| | 00:59 | The RGBA Pass is here in the
Special Passes folder of the shot-003.
| | 01:02 | I'll drag that in and put it
right below the shadow lights.
| | 01:06 | We are not going to be needing the
shadow lights. I'll just turn those off.
| | 01:11 | Now, what I'd like to be able to
do is to separate the shark from
| | 01:14 | the reflective floor.
| | 01:16 | So, I am going to be using
Object Buffers to do that.
| | 01:18 | I have an Object Buffer for the shark and
I have an Object Buffer for the shark type.
| | 01:22 | So, let's start off by isolating the shark.
| | 01:25 | I am going to drag Object Buffer 1 into
the shot and put it right above the rgb layer.
| | 01:31 | Now, I am going to set the Object
Buffer 1 to be a track matte by clicking on
| | 01:34 | the Track Matte column and going
to Luma Matte for Object Buffer one.
| | 01:40 | My shark comes out from behind the type
element over a black background, which is great.
| | 01:45 | Now, what I can do is
let's raise this up just a bit.
| | 01:49 | I'd like to be able to able to isolate
the type and an easy way to do that is to
| | 01:52 | simply duplicate these two layers by
hitting Command or Ctrl+D on the keyboard.
| | 01:58 | Now, I'll replace the object
buffer one with Object Buffer 2.
| | 02:02 | So, I'll select that Object
Buffer below on the secondary layer.
| | 02:07 | I got two sharks right now and
they are both on top of one another.
| | 02:10 | I'll drag an Object Buffer 2
by holding down the Option key.
| | 02:13 | So, hold down the Option key and
replace Object Buffer 1 with Object Buffer 2
| | 02:18 | and there is my SHARKZONE type.
| | 02:19 | So, now as I scrub through this scene I
can see I have both elements and I can
| | 02:24 | turn them off and on, at will.
| | 02:26 | That's just what I want.
I no longer have the floor.
| | 02:28 | I am going to be adding some effects to
these guys so I need to pre-compose them
| | 02:31 | so I can treat them as one layer.
| | 02:32 | So, I'll select the Object Buffer
2 and the rgb pass that it goes with.
| | 02:37 | Then use the Pre-Compose command, Shift+
Command+C on the keyboard, and we'll call
| | 02:41 | this shot003-sharkzone PRE as in pre-comp.
| | 02:51 | Now, when I hit Enter, that
sharkzone pre-comp went some place.
| | 02:55 | So, if we scrub down you can see that
it went into our sharkzone PRE folder.
| | 02:59 | So, let's close these guys up to give
ourselves a little bit room to work here.
| | 03:03 | I am going to deselect everything and
create a new folder here and let's call
| | 03:08 | this one 4-Pre Comps.
| | 03:14 | The reason I put a 4 on there is I want all
these things to show up in order and this
| | 03:18 | relates back to the folder structure in
the After Effects template that I showed
| | 03:21 | you guys very early on in the chapters.
| | 03:23 | I am going to take that pre-comp
and put it into the Pre Comps folder.
| | 03:28 | Then I am going to do to the same
thing for the Object Buffer 1 file.
| | 03:31 | So, let's select these two guys.
| | 03:33 | This is our shark, Shift+Command+C, and
call it shot003-shark PRE and then move
| | 03:42 | that one into the Pre Comps as well.
| | 03:44 | Now that we have both of
those pre-comps in there,
| | 03:46 | we can turn them off and on at will
and we can now add effects to the shark
| | 03:49 | and Shark Zone type.
| | 03:50 | I'd like to have the shark and the
Shark Zone sitting on top of a gradient
| | 03:54 | background that kind of looks like
what they rendered on top of originally.
| | 03:57 | So, let's add a new solid to the scene.
| | 03:59 | I'll go to Layer and do a New > Solid.
| | 04:02 | We are going to call this solid BG
gradient and the color doesn't matter
| | 04:11 | because we are going to be
adding a gradient effect to this.
| | 04:13 | So, let's just leave it black and I'll hit
OK and then it shows up on top of everything.
| | 04:20 | Let's go to the Effects menu
and add the effect gradient.
| | 04:23 | So, we are going to go to Generate.
| | 04:25 | In After Effects, they don't call
it the gradient. They call it a ramp.
| | 04:28 | So, we are going to go to Generate > Ramp.
| | 04:31 | The ramp has controls on it that
allows to control the direction of that.
| | 04:36 | I'll like to have the direction go from
the top-left down towards the bottom-right.
| | 04:43 | We'll adjust that a little bit.
| | 04:45 | I want to change the colors so
that they match our backgrounds.
| | 04:49 | So, we are going to have it go from
kind of a darker color on the left to
| | 04:52 | darker blue color to a
lighter blue color down here.
| | 04:55 | In order to get that to match up, let's
go and take the gradient layer and drag
| | 04:59 | it down below everything so we
can get a sample of blue from here.
| | 05:03 | So, I'll click on the eyedropper and
grab a dark blue from inside the type.
| | 05:08 | Then click on the end color and grab a
lighter blue from the face of the type, there we go.
| | 05:16 | I think that's not too bad.
| | 05:18 | We can always tweak the position of
the gradient with these two handles.
| | 05:24 | Now that we have our gradients in place,
we can add back in the reflective floor.
| | 05:28 | The great thing about this is we'll
be able to control the intensity of the
| | 05:31 | reflective floor here in After Effects
without having to go back to CINEMA 4-D.
| | 05:35 | So, that layer that we need is
already here inside the composition and it's
| | 05:39 | this shot003_reflection pass.
| | 05:42 | I am going to drag that up above
the gradient and then turn it on.
| | 05:46 | You can see it's on an
Add for its blending mode.
| | 05:49 | So, if I take that now and adjust the
intensity of it by changing the Opacity.
| | 05:54 | Let's bring that down from 100%
down to about 20 or so. There we go.
| | 06:01 | You can see now we have a scene that
looks very much like we had before but we
| | 06:05 | have complete control over the elements in it.
| | 06:07 | Let's zoom in on that so you can get a
better feel for it and I'll drag this
| | 06:10 | down and open it up.
| | 06:11 | So, you can see have our
SHARK ZONE type. We have our shark.
| | 06:16 | As we scrub through that we can see a
little bit of reflection on the floor and
| | 06:20 | that's just how we like it.
| | 06:21 | Now, our shark has a little but of the
halo on it and we are going to adjust
| | 06:25 | that after we add in the
character layers from the shot-001 comp.
| | 06:29 | So, I am going to go back to shot-001
and let's raise the frame up a little bit.
| | 06:35 | I'll select all and twirl it closed.
| | 06:37 | The layers that I'd like to get off of
here are the More Darker, and I'll hold down
| | 06:43 | the Command key and select grain,
brighter, darker and fractal noise.
| | 06:48 | I'll copy those to the
clipboard and then go to shot003.
| | 06:53 | Select the camera object and paste them down,
Command+V, and look what happens to our scene.
| | 06:59 | Looking good.
| | 07:00 | It instantly changes the
character of that scene.
| | 07:03 | Now it has all the same elements as shot-001.
| | 07:05 | When we go back and forth between the
two, they blend together a lot better.
| | 07:09 | Now, I can tweak the halo on that shark
a little bit by going to the shark layer,
| | 07:14 | which is the shark PRE Comp here, and
going to the Effects and adding a Color
| | 07:19 | Correction > Levels.
| | 07:21 | There is a lot of ways to do this.
| | 07:22 | I can go to the Levels and in the
Alpha Channel, I am going to grab the Input
| | 07:27 | Black slider and drag that to
the right just a little bit.
| | 07:30 | Let's enlarge the Effects palette so we
can see the other side of the histogram.
| | 07:34 | I am going to drag the
Input White slider to the left.
| | 07:39 | As I tweak that, there we go.
| | 07:41 | Drag the mid-tones just to the right a bit.
| | 07:43 | You can see that halo go away.
| | 07:45 | If I turn the effect on and off again,
| | 07:47 | you can see it just tweaks a
little bit to get rid of it, excellent.
| | 07:52 | That's the first part of creating our hero shot.
| | 07:54 | Next, we can add the bubbles that
will get us out of our thrashing shark transition.
| | Collapse this transcript |
| The hero shot: Using stock video footage to add character| 00:00 | The hero shot is coming together.
| | 00:02 | The next thing we'd like to do is to
add some water elements that are going to
| | 00:05 | get us out of the thrashing shark
transition that leads into the shot.
| | 00:09 | The bubbles that we're going to add
on top of this shark are going to help
| | 00:12 | blend the thrashing shark transition
into this shot in a very seamless way, and
| | 00:17 | also give the camera move the
feeling that it was dropped into the water.
| | 00:20 | So, I'm going to add in some water
elements to start off with and let's go to
| | 00:24 | the Project window and close-up these
guys here, and in the Audio and Video
| | 00:29 | folder I'm going to open up Water Footage.
| | 00:32 | And let's start off by adding
in the tiny_bubbles_iStock. movie.
| | 00:34 | And tiny_bubbles_iStock is going to sit
on top of all of the elements, kind of
| | 00:39 | just add that general sense of
motion, just like we had in Shot 1.
| | 00:43 | So, let's set that blending mode to
Overlay, and then adjust the Opacity way down.
| | 00:51 | Let's call it about 10%, there we go.
| | 00:56 | And so that just sits on top of
everything and gives us some general
| | 01:00 | movement through the scene.
| | 01:01 | Now we'd like to have a really intense
bubble sensation that gives the camera
| | 01:06 | the illusion that it was dropped into the water.
| | 01:08 | That's going to happen at the top of
the shot and gradually fade out over the
| | 01:12 | first 20 or 30 frames of the piece.
| | 01:14 | So, let's start off by
using the waves_iStock.mov.
| | 01:17 | So, I'll go to the water footage and
drag in waves_iStock and I'll put that
| | 01:21 | on top of everything.
| | 01:22 | And I'm going to once again
set the blending mode to Overlay.
| | 01:25 | But before I do, let's just look at
this footage and see what it looks like.
| | 01:29 | It's actually a camera shot from
underneath the crashing wave at the beach, and
| | 01:34 | it had some great bubbles that
kind of dissolve out over time.
| | 01:40 | And let's double-click on it so
we can look at the entire clip.
| | 01:42 | You can see that it's pretty
intense and then they fade away to nothing,
| | 01:49 | over the course of shot.
| | 01:50 | So we're going to use this intensity at
the top and then have it fade out, but
| | 01:53 | it takes nearly 3 seconds.
| | 01:56 | And so, what we're going to do is time
remap this so that it will happen a lot sooner.
| | 02:01 | Let's go back to our
composition and turn on Time Remapping.
| | 02:04 | I'm going to go to the layer, and then
go to Time and Enable Time Remapping.
| | 02:09 | You can also use the keyboard
shortcut, Command+Option+T. Now with Time
| | 02:14 | Remapping on, it shows us the first
keyframe here and I'll scrub through it a
| | 02:18 | bit and find the Out point,
somewhere about here, there we go.
| | 02:25 | And I'm going to set a keyframe
for that Out point right there.
| | 02:29 | And next I'd like to drag
this keyframe to the left.
| | 02:33 | But before I do, I want to make sure
that I have all the keyframes that come
| | 02:37 | after it, because there is a secondary
keyframe that's at the very end of this layer.
| | 02:41 | So, if I drag this to the right,
I can see there is that second keyframe.
| | 02:44 | So, let's bring that over to the left
and then drag the layer back again so that
| | 02:51 | it's lined up with the front of the comp.
| | 02:53 | And drag both of these now way
back to about 20 frames or so.
| | 02:59 | So now, what happens is the
clip dissolves away very quickly.
| | 03:04 | We're going to be adding some
Opacity to this as well, but I think that's
| | 03:08 | just to what we want.
| | 03:09 | So now, let's set the blending mode to
Overlay and it's going to interact with
| | 03:14 | the footage below it and that's a
little too intense, so let's adjust the
| | 03:19 | Opacity down just a bit as our starting point.
| | 03:22 | So, I hit T on the keyboard and adjust
it down about maybe 80% or so, and
| | 03:28 | then back up in time to time zero.
| | 03:32 | We're going to keyframe this Opacity
over the first 20 frames or so of the shot.
| | 03:36 | So, all I've to set a keyframe for
Opacity at time zero and then drag it forward
| | 03:45 | to about the one second mark and
then have this dissolve away to nothing.
| | 03:48 | So now, it's going to start off very
intense and then disappear over the first
| | 03:56 | 25 frames or so, leaving us with
just sort of a general bubble motion.
| | 04:00 | The next thing I'd like to do is to add
some bubbles that give the camera the
| | 04:04 | illusion that it's being dropped into the water.
| | 04:07 | So, it's going to rise up with
the camera, these bubbles are.
| | 04:10 | In the water footage, I
have this great rising stock.
| | 04:14 | These guys are traveling up and,
they're just sort of rising up through the frame.
| | 04:20 | Let's double-click on this rising_
iStock and bring it up in the Footage window.
| | 04:23 | And these are going to give our camera
a great sense of motion, so that it
| | 04:27 | feels as if it's been dropped into the water.
| | 04:30 | Let's go back to the composition
and drag in the rising footage into the
| | 04:36 | window and now, as we scrub through
that, you can see the bubbles are just
| | 04:41 | rising up to the frame.
| | 04:42 | We don't really need to time remap this
or anything like that. We're just going
| | 04:44 | to adjust the Opacity a little bit.
| | 04:46 | But before we do that, let's set
the blending mode and we're going to
| | 04:49 | use Overlay once again.
| | 04:51 | And with an Overlay, we really want
these bubbles to be gone somewhere around
| | 04:57 | the two second mark, just
before the shark goes out.
| | 05:01 | But they're a little too strong right now.
| | 05:02 | If I let go, you can see how
intense they are on top of the frames.
| | 05:05 | Let's adjust the Opacity down a little
bit so I hit T on the keyboard and bring
| | 05:09 | the Opacity down to like maybe 20% or
so. There we go, feels a lot better.
| | 05:13 | Now, we're going to keyframe that Opacity.
| | 05:15 | So, at about frame 10 or so, let's set
a keyframe for Opacity at 20%, and then
| | 05:21 | about just before the shark comes out
render around where the shark comes out,
| | 05:24 | let's set the Opacity down to zero.
| | 05:28 | So now, over the course of that frame,
our bubbles, our rising bubbles disappear.
| | 05:34 | You can see they're gone by that time.
| | 05:35 | Now, I also want to set some keyframes for
this, but before I do, let's scale that up.
| | 05:40 | I'll hit S on the keyboard to bring up the
Scale option and scale it up a little bit.
| | 05:44 | This gives me some room to move this around.
| | 05:47 | Let's back that composition a little bit.
| | 05:49 | I hit the Comma button on the
keyboard and now I'm going to set a keyframe
| | 05:53 | for the position.
| | 05:54 | So, let's scale up just a
little bit more, there we go.
| | 05:58 | At time zero, let's set a keyframe
for this, these bubbles, about here.
| | 06:04 | Notice I dragged them down so the top
edge was even with the top edge of the frame.
| | 06:08 | And now I'll set up keyframe for position, P
on the keyboard and click on the stopwatch.
| | 06:12 | And then I'll move forward in time,
and have these guys animate up into frame
| | 06:19 | about here, and then I'll hold down
the Shift key so they move straight up
| | 06:24 | to the frame and animate them just to
the edge of the frame, so they don't
| | 06:29 | ever cross over again.
| | 06:30 | So now, they animate up along with
the camera and it gives it a little
| | 06:34 | more sense of motion.
| | 06:36 | So, we've got all our bubble elements,
we've got our shark, and our Shark Zone
| | 06:39 | on our reflective floor.
| | 06:40 | Let's do a RAM Preview,
and see what it looks like.
| | 06:43 | Before I do that, I'm going to do a
File > Save As, and call this 11_06_working
| | 06:52 | and then activate the RAM Preview
by hitting zero on the numeric keypad.
| | 07:01 | You can see our shark, our camera
drops right into the frame, and the bubbles
| | 07:05 | go away and we're left with those general
sort of movement bubbles in the background.
| | 07:11 | Excellent! I think that looks great.
| | 07:13 | With the composting our shark zone
hero shot complete, now we can move on
| | 07:16 | with the rest of the shots.
| | Collapse this transcript |
| The end page shot: Combining multiple passes to form a final composite shot| 00:00 | The rnd page is the next
shot we are going to work on.
| | 00:02 | So, let's go to the Audio-Video folder
and open up the CINEMA imports and get
| | 00:11 | shot-004-shark as our starting point.
| | 00:12 | I'll duplicate the composition, Command+
D on the keyboard, and hit Enter and get
| | 00:19 | rid of all that extra stuff, so it's
just shot-004, and let's move that to the
| | 00:23 | Working comps folder.
| | 00:27 | And then we can open up that
composition, shot-004, and in shot-004 we are going
| | 00:34 | to drag in the RGBA Pass from the
Special Passes, let's get that in here, and I
| | 00:41 | put it down on top of everything else.
| | 00:42 | We could turn those other layers off
just in case so there is no mistaking
| | 00:45 | that we don't need them.
| | 00:47 | And now if we scrub through this we can
see that there is our shark swimming through.
| | 00:50 | Next thing we need to have
is our logo on top of that.
| | 00:53 | And our logo is in a separate render
folder so let's drag in the logo-render and
| | 00:59 | that is just a single file, and we
don't need the composition for it. All we
| | 01:02 | need is the actual logo-render tif sequence.
| | 01:07 | If we drag that in here, we can see
there is our logo on top of everything, whoosh!
| | 01:12 | It animates right into position
and then there is a slow push.
| | 01:14 | I'd like this logo to blend into the
background, so let's adjust this Opacity downward.
| | 01:19 | I am going to hit T on the keyboard and
bring this down to about 40%. There we go.
| | 01:25 | That's a little too much. We should bring
that back to about 55 or 60%, there we go.
| | 01:30 | And now our logo comes in a frame and
it feels as if it's in the water as well,
| | 01:38 | and that's just how we need it.
| | 01:39 | Now we can get our murky and character
elements from the shot and copy and paste
| | 01:44 | them into this scene.
| | 01:45 | So I go back to shot-001 and I have
that open already, but just in case you don't,
| | 01:49 | it's going to be in the
Working comps folder, shot-001.
| | 01:51 | And I am going to take some layers from this.
| | 01:54 | So, I'll take the More Darker and
hold on the Command key and get grain,
| | 01:59 | brighter, darker,
fractal noise and tiny_bubbles.
| | 02:03 | Let's copy this, Command+C, and go to
shot-004 and paste it down, Command+V.
| | 02:11 | And now our shark looks really nice.
| | 02:15 | I've got the logo in there, we've got
our shark swimming through and it feels
| | 02:20 | really murky and has a lot of character
just like the first shot's. Our goal for this
| | 02:25 | movie was to get our shot-004 put
together, combining the shark element and the
| | 02:29 | logo element into the frame, and giving
a logo a little bit of transparency so
| | 02:34 | that it blend it into the scene, and
adding some character using the layers from
| | 02:38 | shot-001, and I think it's looking fantastic.
| | Collapse this transcript |
| The end page shot: Adding text elements to the composite| 00:00 | With our logo and shark in position for
shot 4 what we need to do next is add in
| | 00:04 | the type element which is forms the tagline,
| | 00:06 | "If it's out there, it's on here."
| | 00:08 | Now that tagline is going to be revealed
by the shark as it swims through the frame.
| | 00:12 | So let's go ahead and get
the tagline in position first.
| | 00:14 | Then we'll create a mask element
that will reveal the type, giving it the
| | 00:17 | illusion that it's being revealed by the shark.
| | 00:19 | I am going to go to the Type tool.
| | 00:21 | And here inside the shot-004
composition I am going to click and type out the
| | 00:27 | tagline with all caps,
"If it's out there, it's on here."
| | 00:36 | Hit Return on the keyboard.
| | 00:37 | Now that's a little bit big for the tagline.
I don't want that to fight with the logo.
| | 00:41 | So I am going to scale this down a bit and
scrub it down into position. That's about 14.
| | 00:46 | I think that's looking pretty good.
| | 00:48 | Now I'll go to the Move tool
and move this into position.
| | 00:52 | I want this to be
centered up right in the frame.
| | 00:54 | So I'll get the position
information and for the x-position I'll go 640
| | 00:59 | divided by 2, there we go.
| | 01:01 | And now I want it to line
up vertically with the shark.
| | 01:03 | So let's move to a point in the
animation where the shark is in frame.
| | 01:07 | And hold down the Shift key and set it
right there where the shark swims through.
| | 01:13 | Our types in position. Now we need to
create a matte layer that's going to give
| | 01:16 | the type the illusion that
it's being revealed by the shark.
| | 01:19 | I am going to make a new
solid Command+Y on the keyboard.
| | 01:22 | And we will call this, instead of Black
Solid ,let's call this one text reveal.
| | 01:27 | And I'll make it the same size as the
composition and just hit OK on the keyboard.
| | 01:31 | I want to be able to see the shark
underneath so I am going to temporarily
| | 01:34 | adjust the Opacity of this text reveal layer.
| | 01:37 | So hit T on the keyboard and set
the Opacity down to about 20% or so.
| | 01:42 | Now I am going to draw a mask on this layer.
| | 01:46 | Let's give ourselves a little room to work.
| | 01:50 | I'll use the Rectangle tool and
then draw a rectangle around the whole
| | 01:56 | layer, revealing it.
| | 01:58 | So it encompasses the entire layer text reveal.
| | 02:02 | Now we want to set keyframes for this
so that the leading edge of this, the
| | 02:05 | right hand side, travels along
with the fattest part of the shark.
| | 02:09 | So let's backup in time to about
here where the shark comes on to frame.
| | 02:16 | And let's start setting keyframes for the mask.
| | 02:18 | So I'll hit the letter M on the
keyboard and set the Mask Path keyframe.
| | 02:24 | And about here we are
going to transform this mask.
| | 02:27 | I'll hit Command+T on the keyboard.
| | 02:29 | That gives me the Transform tools for the mask.
| | 02:31 | And I am going to drag the right-hand
side all the way across until it's off
[00:02:39.36 the frame.
| | 02:41 | And then I am going to scrub forward to
a point a few frames away and then I'll
| | 02:46 | hit Command+T one more time again.
| | 02:48 | And then I am going to zoom in because
it's a little bit hard to grab that handle.
| | 02:52 | So if I zoom in and pan over using the
Hand tool, then I can reach in and grab that.
| | 02:58 | That moved the anchor point.
| | 02:59 | Let's zoom in one more time.
| | 03:00 | Sometimes you have to get kind of close.
| | 03:02 | And now you can grab that and move it over.
| | 03:05 | And let's back out one more
time, pan over here, there we go.
| | 03:09 | Now we can put that right
about the middle of the shark.
| | 03:12 | And then it's really easy to sort of
scrub through a few frames, Command+T,
| | 03:18 | drag that across, and just keep it lined up
about with the leading edge of the dorsal fin.
| | 03:24 | Command+T and move it across. Scrub forward.
| | 03:30 | Command+T, move it across, move time
forward, Command+T, move it across, and
| | 03:40 | then one more to get the shark out of the
frame. Command+T, move it all the way across.
| | 03:47 | So now let's just double
check and see how it sticks.
| | 03:49 | It sticks perfectly to the shark now.
| | 03:52 | And that's going to be great to reveal our type.
| | 03:54 | So next thing I want to do is bring the
Opacity for the layer back up to 100%.
| | 03:58 | So let's hit T on the keyboard
and change the Opacity to 100%.
| | 04:01 | And we are going to use this
as a travel matte for our text.
| | 04:06 | So let's go down to our text layer and
the text reveal layer is already above it,
| | 04:11 | so let's set the Track Matte
to be an Alpha Matte on text reveal.
| | 04:16 | And you can see now our type is
there and as we scrub through it gets
| | 04:21 | revealed by this mask.
| | 04:24 | Now we want our shark to sit on top of the type,
but our shark doesn't have an Alpha Channel.
| | 04:29 | So what we are going to use is an
Object Buffer for the shark to have it sit
| | 04:32 | on top of the type.
| | 04:34 | Let's go to the shot-004-shark folder and
grab the Object Buffer 1, which has our shark.
| | 04:40 | So we'll bring that into the file and
I just put it above the camera for now.
| | 04:45 | And you can see there is our shark layer.
| | 04:47 | And what I am going to do is
duplicate the shark RGB pass and use the shark
| | 04:55 | Object Buffer as a Track Matte for that.
| | 04:57 | Let's go back up and get that.
| | 04:59 | I'll drag that Object Buffer down
through the layers, oops there we go and put
| | 05:04 | that right above the RGB pass.
| | 05:08 | Now we can use the Object
Buffer to isolate the shark.
| | 05:11 | And I am going to go to the Track
Matte settings and do a Luma Matte on that.
| | 05:16 | And it looks like nothing is changing in
our file, but if I use the Solo button I
| | 05:20 | can solo out my shark.
| | 05:22 | And that looks just how I want it.
| | 05:24 | I am going to take this and
move it up above my type layer.
| | 05:28 | But more importantly I want to
move it up above my type reveal.
| | 05:33 | So let's twirl this closed so we
have a little more room to work.
| | 05:36 | And I'll take this Object Buffer and
the RGB pass and move them up all the way
| | 05:41 | above the text reveal.
| | 05:44 | I don't want my shark to pop out like
that so I am going to take all four of
| | 05:48 | these layers and drag them down below
all of the character elements that we have
| | 05:54 | in the scene, the More
Darker and the Fractal Noise.
| | 05:56 | Now my type blends into the
scene and my shark does too.
| | 06:00 | Let's go down, just give
ourselves a little more room here.
| | 06:03 | And as we scrub through now we can see
the type is being revealed by the shark.
| | 06:07 | The last step in the process for this
shot is to get the water elements that
| | 06:12 | are going to be the leading transition element
out of the shark transition that comes before this.
| | 06:16 | So let's go back to shot 3 and just
grab the bubble elements that are the
| | 06:21 | rising waves. Copy and paste
those into that scene file.
| | 06:25 | So let's go Command+C and go over
to shot-004 and paste them down above
| | 06:30 | the camera, Command+V.
| | 06:32 | Now we can see what's going on.
| | 06:39 | We don't really need the
keyframes on the rising layer.
| | 06:41 | So let's go to the rising_iStock
movie layer and hit U on the keyboard to
| | 06:46 | reveal the keyframes.
| | 06:47 | And we want to just kill the Position
keyframes and leave the Opacity keyframes.
| | 06:51 | So now our bubbles come into frame and
then leave. They are gone and plenty of
| | 07:01 | time for the shark to reveal the tag ine.
| | 07:02 | I am going to do a RAM Preview now.
| | 07:04 | But before I do I'll do a save,
File > Save As, call this 11_08_working.
| | 07:13 | And now with the 11_08_working
saved I can do a RAM Preview.
| | 07:16 | So hit 0 on the numeric keypad
and its going to preview that shot.
| | 07:21 | And there is our type element being
revealed. "If it's out there, it's on here."
| | 07:26 | Here comes in real time.
| | 07:35 | And we are out. Excellent!
| | 07:38 | The end page is really popping now.
| | 07:40 | And the shark revealing the tagline
supports the branding image and that
| | 07:42 | worked really well.
| | Collapse this transcript |
| Compositing the transition shots| 00:00 | The thrashing transition is the last
element that needs to be composited.
| | 00:04 | Let's go over to the Audio-Video folder
and into the CINEMA imports and open up
| | 00:10 | shot-002-A-render and duplicate the
composition file here and change the name to shot-002.
| | 00:17 | I'm going to drag that down now and
put it into the Working comps folder and
| | 00:24 | open that composition up.
| | 00:25 | Oh I'm sorry. Let's change that name
to shot-002-A, just so we can tell the
| | 00:31 | difference between those guys.
| | 00:33 | Let's open that up and we can see we
have our shark come into frame and it
| | 00:38 | looks pretty good, except that we need to
now replace the layers here with the RGBA pass.
| | 00:45 | So I'll turn those guys off and go back
to the folder and grab the rgb pass and
| | 00:49 | drag it in, there we go.
| | 00:51 | Now we can get the texturizing elements
that we used in the first shot and copy
| | 00:55 | and paste them into this.
| | 00:56 | And I'm going to go to the shot-001
file and grab the grain, the brighter,
| | 01:05 | the darker and the fractal noise.
Bring tiny_bubbles in as well.
| | 01:09 | Copy and go over to shot-002-A and
Paste it down, Command+V, and now our shot
| | 01:15 | looks quite a bit better.
| | 01:17 | But what's really missing is a
really strong sense of a thrashing water.
| | 01:21 | When the shark is in a feeding frenzy,
it's shaking its head around the water,
| | 01:25 | swirling around, and so we have a
couple other video elements that are going to
| | 01:28 | give us that feeling.
| | 01:29 | Let's bring those into the composition now.
| | 01:30 | Let's close up the CINEMA imports and
in the Water Footage folder, we're going
| | 01:37 | to add in diver and boiling and
let's start off with the diver.
| | 01:42 | Drag that into the top of the composition.
| | 01:45 | What this is, is a shot overhead of a
diver and he's releasing bubbles from his
| | 01:49 | air valve and those bubbles are coming
up towards the camera, and what those do
| | 01:53 | is give us really a lot of
bubble action, over this 10 frames.
| | 02:00 | You can see there is a little bit of
a diver. You can see the hoses from the
| | 02:03 | diver down there and those are going
to kind of disappear when we change the
| | 02:07 | blending mode on this.
| | 02:08 | So let's change the blending mode
now to Overlay, and then adjust the
| | 02:15 | Opacity down to about 35%.
| | 02:18 | So I'll hit T on the keyboard and go to
the Opacity and bring it down to about 35%.
| | 02:22 | Actually, let's bring that up a
little bit. Let's make it about 50%.
| | 02:26 | So now we have that sitting on top of
our frame and it gives a lot of motion to
| | 02:32 | the water and now we want to
have some more intensity to that.
| | 02:35 | So we're going to add the boiling movie in.
| | 02:37 | So let's bring the boiling movie in
and that is just water boiling in a
| | 02:43 | clear glass container.
| | 02:45 | And so I'll set that blending mode to
Overlay as well and then adjust the
| | 02:52 | Opacity a little bit.
| | 02:54 | Bring it down to about 50% or so again,
there we go, and scrub through that animation.
| | 03:01 | There we go. So now, you can see our shark is
thrashing the water and as he bites the screen,
| | 03:07 | we have a lot of movement in the
water, and I think that's looking great.
| | 03:11 | The next step in the process is going
to be to copy and paste these settings
| | 03:14 | into the other two transition shot files.
| | 03:16 | So now I've got the other two shots
composited, shot-002-B and shot-002-C.
| | 03:21 | Let's close this up.
| | 03:23 | And I went through the exact same
process of duplicating the composition file.
| | 03:26 | I ended up with two compositions, shot
-002-B and shot-002-C, and if I scrub
| | 03:33 | through these guys, you can see
there's shot-002-B. The shark is grabbing the
| | 03:38 | camera and shot-002-C, it's
charging right towards the lens there.
| | 03:42 | So now we've got those shots all done
and we're ready for the final assembling.
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| Assembling the final composition| 00:00 | All right, here we are at the final assembly.
| | 00:02 | This is where we really get to
see all of our shots put together in
| | 00:06 | their completed form.
| | 00:07 | Now we have some steps we have to
follow in order to get there, but it's
| | 00:10 | going to be a lot of fun.
| | 00:11 | I'm going to go to the Project window,
and I'm going to make another new folder.
| | 00:15 | Let's call this one +++Render.
| | 00:19 | Now I put the pluses in there to force it
alphabetically just jump to the top of the frame.
| | 00:25 | We're going to put our final
render composition in here.
| | 00:27 | This is going to be the comp that actually
gets rendered out for the finished product.
| | 00:30 | The way we're going to create that
finished product is by going to the
| | 00:34 | Working comps folder, and grabbing the
cameramatic, and using that as our starting point.
| | 00:38 | I'm going to duplicate that file
Command+D. Let's rename this one sz as in
| | 00:43 | shark zone finrender.
| | 00:46 | I'm going to move that into the Renders folder.
| | 00:49 | Now I can open that up.
| | 00:55 | This has all of our cameramatic layers.
| | 00:57 | Now we're not going to
need the timecode anymore.
| | 00:59 | So let's just delete
that out of the composition.
| | 01:04 | Delete and we're going to
need these other files as guides.
| | 01:08 | The great part is we can just drag and
replace these footage elements to rebuild
| | 01:12 | this sequence with the final images.
| | 01:14 | So the way I'll do that is I'm going to
enlarge this so I can see the final names here.
| | 01:19 | So I need shot-001.
| | 01:20 | So let's go to the Working comps folder.
| | 01:22 | I'm going to hold down the Option key,
and drag shot-001 into this file.
| | 01:26 | When I do that, it replaces
with the shot-001 composition.
| | 01:30 | I'm going to repeat that
process for each of the other shots.
| | 01:33 | So I select shot002-A and
then drag in shot-002-A.
| | 01:38 | Do the same thing for shot002-B, shot002-C.
| | 01:45 | Then this is shot003. There it is.
| | 01:49 | And here is 002-A, B and C again.
| | 01:55 | shot-002-B, shot002-C, and then shot004.
| | 02:12 | Now you can see all of our shots are together.
| | 02:14 | It's really looking pretty darn cool.
| | 02:19 | Next what we want to do is create a
little bit more of a transition between the
| | 02:25 | first shot and the shark transition.
| | 02:28 | So what I'm going to do is create
something called an adjustment layer.
| | 02:31 | I'm going to go into a Layer >
New and new Adjustable Layer.
| | 02:35 | That adjustment layer comes
in at the top of the scene.
| | 02:37 | An adjustment layer affects
everything that happens below it.
| | 02:40 | So I'm going to put a filter on that
adjustment layer and have it affect all
| | 02:43 | the layers below it.
| | 02:44 | The effect that I'm going to use is Glow.
| | 02:46 | So I'm going to go to the Effect menu,
and go to Stylize, and then grab Glow.
| | 02:52 | You can see the Glow effect blooms out the
footage based on the light and dark values.
| | 02:58 | Lighter stuff gets bloomed more,
darker stuff gets bloomed less.
| | 03:02 | Now I only want this Glow affect to
happen in a very small window where the
| | 03:05 | shark transition is.
| | 03:07 | So let's drag the In point and Out
point of this layer so that it's just before
| | 03:12 | and just after the shark transition.
| | 03:14 | Let's zoom in a little bit
on the transition region.
| | 03:17 | Let's drag this closed just a bit.
Give ourselves a little bit more to work.
| | 03:22 | I'm going to hide the Parent column.
| | 03:24 | Right-click, and go Hide This.
| | 03:26 | That's going to give us even more room to work.
| | 03:28 | We're not going to be
parenting anything up right now.
| | 03:30 | So we don't need to see that.
| | 03:30 | Now I want to have the Glow
transition happen about five to ten frames
| | 03:35 | before the transition.
| | 03:37 | Then five to ten frames after the transition.
| | 03:39 | So I'll use the Page Up command to backup
five frames from the out point of this layer.
| | 03:44 | So I'll go one, two, three, four, five, six,
seven, eight, nine, and ten. There we go.
| | 03:49 | Now I'm ten frames before
the transition cut point.
| | 03:52 | I'm going to hold down the Shift key,
and drag that layer in point to where
| | 03:57 | my Timeline marker is.
| | 03:58 | Now I'll do the same thing at the end,
and go one, two, three, four, five, six,
| | 04:03 | seven, eight, nine, ten.
| | 04:04 | I'll just hold down the Option key
and Right bracket to make the out
| | 04:07 | point happen right there.
| | 04:09 | So now that effect only happens over
this area. The first thing I'd like to do
| | 04:13 | with this is to set a keyframe for
the Glow Intensity at the midpoint.
| | 04:16 | This is the midpoint of the transition.
| | 04:19 | That midpoint of the transition
actually is right on the cut point.
| | 04:22 | This is going to obscure the
cut so that it feels like a more
| | 04:25 | seamless transition.
| | 04:27 | I'm going to go to the Glow effect,
and adjust the Glow Intensity.
| | 04:31 | Let's bring the Glow
Intensity up to about 2 or so.
| | 04:34 | Then I'm going to go to the Glow
Threshold and expand the threshold outward.
| | 04:39 | The Glow Threshold controls how
much of the image gets glowed.
| | 04:45 | The lower this Threshold value gets,
the more of the image gets glowed.
| | 04:49 | So let's bring this down to about here.
| | 04:52 | Then I'll adjust the Glow Radius.
| | 04:55 | There we go so that it expands outward,
and that really helps to bloom our image a lot more.
| | 05:04 | So that's going to be the
midpoint of the transition.
| | 05:06 | That's really going
to help to hide the cut.
| | 05:08 | I'm going to set keyframes for the
Glow Threshold, Radius, and Intensity at
| | 05:11 | that point in time.
| | 05:12 | So I'll turn on all these stopwatches.
| | 05:15 | So that's going to be the
midpoint of our transition.
| | 05:17 | Now I'm going to backup in
time to the starting point.
| | 05:19 | I want to have this Glow sort
of ramp up over those 10 frames.
| | 05:24 | I'm going to adjust the
Glow Threshold to the right.
| | 05:30 | That's going to make the
Glow happen in a smaller area.
| | 05:33 | Then I'll adjust the Glow Radius down to 0.
| | 05:38 | Then I'll adjust the Glow
Intensity down to 0 as well.
| | 05:41 | That's going to have the
effect of killing the glow.
| | 05:44 | So now our glow ramps up over
time, bloom to the cut point.
| | 05:49 | Then we want to have it ramp down again.
| | 05:50 | So let's go forward a little bit.
| | 05:54 | Then have those effects
keyframe back down to 0.
| | 05:56 | Actually, we don't even need to do that.
| | 05:58 | We can just copy and paste those keyframes.
| | 06:00 | Let's go U on the keyboard, and copy
these keyframes, Command+C, and paste them
| | 06:05 | down right at this point in time, Command+
V. So now our effect ramps up and then,
| | 06:12 | we're into the shark transition.
| | 06:13 | Now we can get out again by grabbing
these keyframes, Command+C, and pasting them
| | 06:18 | down right here at the
midpoint of the transition.
| | 06:21 | That's where it's the most intense.
| | 06:23 | Then we can copy and paste the
zero keyframes all over again.
| | 06:28 | So we can take these guys, copy
them, paste them down right here.
| | 06:31 | So now during this section,
our Glow effect has no effect.
| | 06:35 | Then it ramps up really quick.
| | 06:37 | Then it should ramp out a little bit slower.
| | 06:39 | Copy these intro frames, and paste
them down here so that they are outgoing,
| | 06:44 | Command+V. So now our transition goes out.
| | 06:49 | Let's do a little quick RAM Preview
just to make sure that looks okay.
| | 06:53 | I'm going to isolate this region.
mMove to a little bit before, and hit the
| | 06:56 | letter B on the keyboard to move the work area.
| | 06:59 | Then I'm going to go to the Out
point and just hit the letter N on the
| | 07:02 | keyboard to move the area.
| | 07:04 | Now I'm going to hit the RAM Preview button.
| | 07:07 | I'm about to do a RAM Preview.
| | 07:08 | So I should probably save first.
| | 07:10 | So I'm going to go to the
File menu and do a Save As.
| | 07:13 | I call this 11_10_working.
| | 07:18 | Now I can hit the RAM Preview button,
and see what that looks like.
| | 07:26 | (Male speaker: They're still
the scariest thing in the ocean.)
| | 07:28 | (Male speaker: Get a little closer?
still the scariest thing in the ocean.)
| | 07:32 | (Male speaker: Get a little closer?
still the scariest thing in the ocean.)
| | 07:35 | (Male speaker: Get a little closer?
still the scariest thing in the ocean.)
| | 07:37 | So that transition looks fantastic.
| | 07:39 | Now we can duplicate this adjustment
layer, and move it to the second transition.
| | 07:43 | So let's do that right now.
| | 07:45 | Go to the adjustment layer.
| | 07:48 | Hit Command+D to duplicate the whole thing.
| | 07:50 | Let's back out just a bit so
we can see where it needs to go.
| | 07:53 | I'm going to take this transition
effect and move it right down in time.
| | 07:58 | Let's zoom in on this area.
| | 07:59 | I've got my Caps Lock key.
| | 08:00 | I'm going to remove that, and scrub to
the midpoint of the transition, which is
| | 08:05 | right where the cut happens. Let's zoom in.
| | 08:07 | I'll drag this over so
that the keyframe lines up.
| | 08:11 | Then what I need to do is check the
outgoing and just scrub over with the Hand
| | 08:16 | tool and check the outgoing.
| | 08:18 | So that's pretty good.
| | 08:19 | Now one thing I would like to do.
| | 08:21 | My shot A, B and C files are in the exact
same order as they are at the first transition.
| | 08:26 | I like to reverse that a little bit
just to change it up for some variety.
| | 08:29 | So all I need to do is to hit V on the
keyboard to get out of the Hand tool, and
| | 08:34 | select shot B. I'm just going to reverse them.
| | 08:36 | So I want to take shot B, and move it here.
| | 08:38 | Shot C, move it there, and shot A.
Actually, just take shot A and go C, B, A.
| | 08:45 | Basically, just reversing the order.
| | 08:48 | Now double-check the In points to
make sure that they all line up.
| | 08:51 | We have a slightly different
transition with no trouble at all.
| | 08:56 | We've got all the elements
of our promo in position.
| | 08:59 | We're ready to move on to
final touches and rendering.
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| Adding the final audio to the composition and rendering| 00:00 | Everything that we've done so far
really leads up to this, the final render.
| | 00:03 | It's a really satisfying feeling to
hit that button at the end of the day,
| | 00:06 | knowing you've got something cool.
But we have a couple more steps to do before
| | 00:09 | we can hit that button.
| | 00:10 | I want to have a fade up from black
and a fade out to black at the top and
| | 00:13 | bottom of the spot respectively.
| | 00:15 | So, in order to do that, we're going
to create a black solid. Let's zoom out
| | 00:18 | just a bit and I'm going to double-
click on the work area to reset it back to
| | 00:23 | the full composition, and then I'm
going to go to the Layer menu and add a new
| | 00:27 | solid layer, and let's call this one,
Black and make it the same size of the
| | 00:33 | composition and hit OK.
| | 00:35 | This only needs to be 10 frames
long, so let's go to frame 10 of the
| | 00:39 | animation, hit Home and then Page Down
10 times, one, two, three, four, five
| | 00:43 | six, seven, eight, nine, ten.
| | 00:45 | I'm going to hold down the Option and
Right bracket to movie the end point of
| | 00:48 | that layer to the current time, and
then I'm going to zoom in on that area.
| | 00:52 | Now we want to have this fade up from
black, so at time zero I'll set the
| | 00:57 | Opacity for this layer at 100% and add
a keyframe and then I'll go to the out
| | 01:02 | point of the layer and
then set the Opacity to zero.
| | 01:07 | So now our promo fades up
from black over 10 frames.
| | 01:11 | Now I can duplicate this layer, Command
+D on the keyboard, and move it to the
| | 01:16 | end of the timeline.
| | 01:17 | I'll hold down the Option key
and hit End on the keyboard.
| | 01:19 | And let's zoom out a bit and see where
things are at, and there it is right there.
| | 01:24 | Now I just need to reverse these keyframes.
| | 01:27 | So I'm going to zoom in a little bit,
using the plus key on the keyboard and
| | 01:32 | just reverse these frames. There we are.
| | 01:40 | Now, it starts with nothing and
fades out to black at the end.
| | 01:44 | So I've got the fade up and
fade down. I've got my transitions.
| | 01:49 | The next thing I need to do is final audio.
| | 01:51 | We already have our final audio
imported into the project, so let's go and get
| | 01:55 | it from the Project window.
| | 01:56 | Let's enlarge this a bit, close up
the Working comps folder, and in the
| | 02:02 | Audio-Video folder, let's grab sharkzone
-finmix, and I'm going to drag this into
| | 02:06 | the composition and all the way to
the bottom, and then delete the scratch vocal,
| | 02:11 | and let's enlarge the Layer
Name column, so that we can make sure we
| | 02:15 | delete the right one.
| | 02:16 | Select the scratchVO and delete.
| | 02:18 | Now that I've got the audio in, I've
got my fade up and fade down. We're ready
| | 02:22 | to do a final RAM preview
before we do our final render.
| | 02:25 | Before I do a RAM preview,
I always like to save.
| | 02:27 | So let's go to the File menu, do a
Save As and call this one 11_11_working.
| | 02:36 | Now I can hit the RAM
Preview button and away we go.
| | 02:39 | Now the RAM preview process can
take quite a bit of time depending on
| | 02:44 | your computer speed and also what kinds of
effects and things you have in your compositions.
| | 02:48 | So we're going to fast forward through the
RAM preview and get right to the good stuff.
| | 02:51 | (Male speaker: After 400 million years,
they're still the scariest thing in the ocean.)
| | 02:58 | (Male speaker: Get a little closer, if you dare.
Shark Zone, all week long on the Adventure Channel.)
| | 03:04 | (Male speaker: If it's out there, it's on here.)
| | 03:07 | (Male speaker: After 400 million years,
they're still the scariest thing in the ocean.)
| | 03:13 | (Male speaker: Get a little closer, if you dare.
Shark Zone, all week long on the Adventure Channel.)
| | 03:19 | (Male speaker: If it's out there, it's on here.)
| | 03:23 | So our RAM preview looks pretty good
and we're ready to do the actual final
| | 03:26 | render and get it out to the hard
drive so that the world can see it.
| | 03:30 | So I'm going to go to the Project window
and close up all of the folders except
| | 03:35 | for the Render folder and select
this finrender composition and go to
| | 03:38 | Composition > Add to Render Queue, and
that brings up the render queue with my
| | 03:43 | movie already queued up there.
| | 03:45 | I have to specify where it's going to go.
| | 03:47 | So let's send this out to our Chapter 11 folder.
| | 03:50 | So I'm going to click on the Output option.
| | 03:51 | That brings up a Finder window. Go to
the Desktop to my Exercise Files and in
| | 03:56 | Chapter 11, I'm going to call this one
sz-finrender, just like it says right
| | 04:01 | there, hit Save, and now the default
Render Settings, it shows up as Best
| | 04:08 | Settings and Lossless and that's the
highest quality, and using the animation
| | 04:11 | codec which is an uncompressed codec that's
really good for working with motion graphics.
| | 04:15 | It gives you a very clean image quality.
| | 04:17 | The default Output Module does not have
the audio included, so we need to turn
| | 04:21 | that on. Otherwise we'd have a movie with
no audio and that wouldn't be cool at all.
| | 04:25 | So let's go to the Output Module,
click on the word Lossless, and here in the
| | 04:29 | Output Module settings we're going to
turn on Audio and make sure that it's set
| | 04:33 | to 48k, 16 Bit Stereo, just like
it is here, and then we can hit OK.
| | 04:38 | We're ready to render.
| | 04:39 | You should never hit the
Render button until you've saved.
| | 04:42 | The reason is that in case After
Effects crashes or something happens to
| | 04:45 | your computer, you'll still have your
Render Settings all set and ready to go,
| | 04:49 | when you re-launch your file.
| | 04:50 | So I'll do a File > Save As.
| | 04:54 | Instead of saving this as 11_11_working,
I'm going to save this as 11_11_final.
| | 04:59 | So I know it's the final render file. 11_11_
final, and in the Chapter 11 folder hit Save.
| | 05:05 | After Effects, when it does a rendering,
you should always close up all your
| | 05:08 | composition windows.
| | 05:10 | When After Effects tries to render a
composition, it will redraw the frames to
| | 05:14 | the comp window as it's rendering,
and that slows down the rendering.
| | 05:17 | So we want to close this up, so all
After Effects has to think about is
| | 05:21 | rendering the frames to the hard drive.
| | 05:22 | So I'm going to click on the first
composition here. I'm going to go to
| | 05:26 | Command+Opt+W on the Mac, Ctrl+Alt+W on
the PC, and that's going to close up all
| | 05:31 | of our open compositions,
leaving us with just the render queue.
| | 05:35 | Now, we can hit the Render button.
| | 05:38 | Now the rendering process can take a
lot of time, so we're going to fast
| | 05:41 | forward through this and get right to
the end and take a look at our finished
| | 05:44 | QuickTime Movie file.
| | 05:46 | Now let's go out to the finder and
take a look at our finished product.
| | 05:48 | I'm going to hide After Effects and
navigate to our Chapter 11 folder and there
| | 05:54 | is our sharkzone-finrender movie.
| | 05:56 | Let's double-click on it to open it up
in QuickTime Player and play it back.
| | 06:00 | I'm going to go to the View
menu and Enter Full Screen.
| | 06:04 | Now, I'll hit the Play button and
this will go away after just a moment.
| | 06:09 | (Male speaker: After 400 million years,
they're still the scariest thing in the ocean.)
| | 06:15 | (Male speaker: Get a little closer, if you dare.
Shark Zone, all week long on the Adventure Channel.)
| | 06:21 | (Male speaker: If it's out there, it's on here.)
| | 06:24 | That's a promo so nice
I'd like to play it twice.
| | 06:26 | Let's do that one more time,
just to see how cool it looks.
| | 06:29 | Go back to the beginning and hit Play.
| | 06:31 | (Male speaker: After 400 million years,
they're still the scariest thing in the ocean.)
| | 06:37 | (Male speaker: Get a little closer, if you dare.
Shark Zone, all week long on the Adventure Channel.)
| | 06:43 | (Male speaker: If it's out there, it's on here.)
| | 06:46 | That is it.
| | 06:47 | We finally got to see all of that hard
work come together in an amazing promo.
| | 06:51 | Now that were done, you can really see
that this spot has a huge wow factor and
| | 06:54 | it's really fun to watch and attention
getting, just what you want in a promo.
| | 06:58 | The primary goal of a promo is to keep
people captivated so they won't change
| | 07:02 | the channel, and the secondary goal is to
tell them about upcoming shows so they
| | 07:05 | want to watch the network even more.
| | 07:07 | I think this promo does both really well.
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ConclusionGoodbye| 00:00 | Thank you very much for joining
me for CINEMA 4D: Creating a Promo.
| | 00:04 | This series showed you the process
from start to finish for creating a promo.
| | 00:08 | And really the goal for it has been to
show you the tools necessary for you to
| | 00:12 | create your own work.
| | 00:13 | I really hope that by watching this,
you have the inspiration and also the
| | 00:17 | motivation to go out there and
create amazing works of your own.
| | Collapse this transcript |
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