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Assembling the cameramatic


CINEMA 4D: Designing a Promo

with Rob Garrott

Video: Assembling the cameramatic

Assembling the cameramatic provides you with in-depth training on 3D + Animation. Taught by Rob Garrott as part of the CINEMA 4D: Designing a Promo
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  1. 5m 8s
    1. Welcome
      1m 7s
    2. Using the exercise files
      1m 24s
    3. Overview of the project template
      2m 37s
  2. 11m 12s
    1. Creative brief
      1m 57s
    2. Sketches and script
      3m 8s
    3. Understanding the graphic animation process
      6m 7s
  3. 25m 5s
    1. Understanding the animatic process
      2m 15s
    2. Importing sketches into After Effects
      6m 20s
    3. Timing out the animation
      10m 4s
    4. Adding onscreen timecode for reference
      6m 26s
  4. 40m 2s
    1. Creating text and logo elements in Adobe Illustrator
      6m 44s
    2. Importing Illustrator elements into Cinema 4D
      8m 24s
    3. Creating guide planes for modeling a rough shark
      6m 13s
    4. Creating a rough shark model
      12m 14s
    5. Preparing a dummy rig using a Spline Wrap object
      6m 27s
  5. 53m 17s
    1. Setting up a project file for the cameramatic
      6m 15s
    2. Animating the rough shark using the Spline Wrap object
      5m 14s
    3. Animating the camera
      6m 8s
    4. Duplicating an animated rough model to create a school of sharks
      11m 4s
    5. Creating a preview movie and importing it into After Effects
      5m 45s
    6. Assembling the cameramatic
      8m 34s
    7. Fine-tuning the cameramatic timing
      10m 17s
  6. 1h 9m
    1. Preparing for the modeling process
      6m 7s
    2. Outlining the shapes using the Knife tool
      9m 50s
    3. Creating the mouth using the Extrude tool
      10m 40s
    4. Adding eyes using the Symmetry object
      9m 57s
    5. Creating fins using the Extrude tool
      7m 11s
    6. Creating the tail and dorsal fins using the Extrude tool
      10m 38s
    7. Creating gums using the Symmetry object
      6m 45s
    8. Creating teeth and finalizing the model
      8m 6s
  7. 15m 5s
    1. Understanding the rigging process
      2m 0s
    2. Opening the shark mouth using the Morph tag
      5m 9s
    3. Using XPresso to link the jaw to the Morph animation
      7m 56s
  8. 33m 25s
    1. Using BodyPaint to prepare the model for texturing
      8m 22s
    2. Applying color to the shark using BodyPaint
      6m 45s
    3. Giving the shark character by painting in the diffusion channel
      5m 29s
    4. Roughing the surface using the bump channel
      4m 34s
    5. Texturing the eyes
      3m 51s
    6. Texturing the teeth and gums
      4m 24s
  9. 21m 24s
    1. Replacing the rough shark model in the intro shot with the finished model
      6m 47s
    2. Replacing the rough shark model in the transition shot
      3m 43s
    3. Replacing the rough shark model in the hero shot
      4m 28s
    4. Replacing the rough shark model in the end page shot
      3m 42s
    5. Updating the cameramatic with the final animation
      2m 44s
  10. 50m 27s
    1. Creating an underwater look using Global Illumination and atmosphere
      9m 47s
    2. Lighting the objects and creating shadows
      6m 54s
    3. Shading the text using materials
      6m 28s
    4. Creating a reflective floor for the underwater scene
      3m 58s
    5. Lighting shot 1: Copying and pasting a lighting setup from another project
      5m 49s
    6. Lighting shot 2: Pasting a lighting setup and making adjustments
      3m 57s
    7. Lighting shot 4: Separate elements in a shot (the shark)
      3m 13s
    8. Lighting shot 4: Separate elements in a shot (the text)
      10m 21s
  11. 22m 7s
    1. Preparing shot 1 for rendering to After Effects
      6m 20s
    2. Preparing shot 2 for rendering by saving and using render presets
      4m 45s
    3. Preparing shot 3 for rendering
      2m 37s
    4. Setting up shot 4 to render in two passes
      4m 4s
    5. Performing a preflight check to ensure clips are ready to render
      2m 9s
    6. Batch-rendering
      2m 12s
  12. 1h 15m
    1. Importing assets and setting up the After Effects project for final compositing
      7m 58s
    2. The intro shot: Using Photoshop elements and noise effects to add atmosphere
      8m 38s
    3. The intro shot: Compositing in stock video footage to add character
      4m 51s
    4. The intro shot: Adding text elements to the composite
      8m 32s
    5. The hero shot: Controlling the look using precomps
      7m 59s
    6. The hero shot: Using stock video footage to add character
      7m 19s
    7. The end page shot: Combining multiple passes to form a final composite shot
      2m 41s
    8. The end page shot: Adding text elements to the composite
      7m 44s
    9. Compositing the transition shots
      3m 47s
    10. Assembling the final composition
      9m 2s
    11. Adding the final audio to the composition and rendering
      7m 10s
  13. 21s
    1. Goodbye

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Assembling the cameramatic
Video Duration: 8m 34s7h 0m Intermediate Jun 30, 2010

Viewers: in countries Watching now:

Assembling the cameramatic provides you with in-depth training on 3D + Animation. Taught by Rob Garrott as part of the CINEMA 4D: Designing a Promo

View Course Description

Join Rob Garrott in CINEMA 4D: Designing a Promo as he demonstrates how to create a 15-second promotional video that looks and feels like a professional advertisement. Learn how to use a combination of CINEMA 4D, After Effects, Photoshop and Illustrator to go from concept to script to screen, creating sketches, adding animation, and rendering the final promo. This course focuses on real-world techniques, culminating in a finished, usable product. Exercise files accompany the course.

Topics include:
  • Project planning, covering the scripting and initial drawings
  • Using hand-drawn artwork in After Effects to time the animation
  • Creating text and logo elements
  • Animating the camera
  • Organic modeling techniques
  • Rigging models for animating
  • Fine-tuning animation timing
  • Adding realistic textures
  • Lighting and shading techniques
  • Rendering and compositing a finished animation
3D + Animation Video
Rob Garrott

Assembling the cameramatic

Our cameramatic process is almost complete. We prepared the shot one preview movie and place it into After Effects and behind the scenes I have gone through and completed all the other shots and you can see them here in the project files. shot001 is the one we did previously and then shot002 A, B and C are the shot transition. Shot003 is the hero shot with the logo that says Shark Zone, and shot four is the Adventure Channel logo with the shark swimming by. Now all of these shots were completed using the exact same techniques that we used in shot one, just a different application of those.

The folders that you see beneath the project files here are all of the exported animation sequences. So if you see shot001 preview, that's an image sequence of PSD files for the shot001 and shot002 A, B and C. All of these are just image sequences and I always nest those inside their own folders. That way I wouldn't end up with one single folder with all of the preview images jumbled up together. Let's move back to After Effects and start importing those files. So I'll select my Audio Video folder, and go to the File menu and do an Import file and navigate to my Chapter 4. Now shot001, we've already imported.

Let's switch the view here to Name and navigate down. Let's import shot002-A first and the shot002 A, B and C files are just the shark hitting the screen for the shark thrashing transition. So I'll import that one and then let's import all the other files, and we are going to change some settings on these imported files. So we have imported shot002-A and we'll import shot002-B and then we'll import shot002-C. Navigate up.

Now always make sure that your Photoshop Sequence button is checked. Otherwise we'll only get a single image. We want to have the entire image sequence imported. File > Import and this is going to be 003. File > Import and the very last file will be shot004. There we go. Now that I have all those shots imported, you'll notice the settings on my shot001 file, I have a 29.97, but all these others came in at 30 frames per second.

So I need to change them all. So I am going to select this first movie and right-click on it and go to Interpret Footage > Remember Interpretation and that's going to tell After Effects to take the settings from this file and store them in memory. And then I want to apply those settings to all these other movies. So if I click on the first movie and then hold down the Shift key and click on the last movie and I right-click one more time and go to Interpret Footage > Apply Interpretation, that's going to apply the same settings to all these movies at once. And save me a lot of time.

Now when I click through them you could see that they all are 29.97 all the way through. Now I can begin the process of placing these into my After Effects timeline. I am going to raise this window up just a little bit and make sure that I can actually see all of my files here. So I will start off by placing in the transition and the way the shot transition is done, it's actually three shots all stuck together in rapid succession. You could see in the animatic, we did a thrash 1, thrash1, thrash 2.

You can see it goes there is the first thrash, here is the second thrash, here is the third thrash, all in rapid succession. Now I made separate movies for those, so I can drag those movies in and put them in line in the timeline here. So I am going to drag those in right below my preview shot and then I'll do A, B and C. Now the order of these shots isn't so important right now, because I am going to tweak that in the final animation. The important is that they are there, taking up the space in the timeline. So if I hold the Shift key down, that's going to allow me to snap my movies to end to end and then highlight that one.

It's a little bit tough sometimes when the movies are really short. So sometimes I'll zoom in on the timeline to make sure I am looking at things and I'll zoom in using the Plus key on the keyboard and then I'll butt all these guys up end to end and they should exactly fill the space that I have, which was 30 frames. Hence you can see now there is my transition thrashing, good. Now I can add in the shot003 file, so let's bring shot003 and we drop it right below the transition.

And let's drag that layer all the way over to the right and then butt it up with that previous shot. You can see there it is, the camera drops down into frame and as it does so, the shark swims out from behind it. Whoops. That happen sometimes when you have a really short preview window here and I accidentally jump ahead a little bit. There we go. So the shark swims out from behind it and swims right to camera. Now you notice it looks like the shark is holding a cylinder here. I actually wanted to be able to tell where my dummy shark's mouth was and so I added a cylinder here to indicate the approximate position on the shark's body where the teeth was. So no, my shark is not playing fetch.

It's actually a dummy object that's there on purpose. Now let's get shot004 placed in. Once we play shot004, we're going to then duplicate the thrashing transition and get it into position as well. So let's take shot four and drag that into the sequence down here and I use the Left Bracket key to get my shark to jump to the end there and really what I want it to do, this last shot should butt up with the end of the sequence. If I hold down the Option key and press the End key on the keyboard, that forces my movie to jump right to the end of the timeline.

Now I have another gap here that I need to fill in with this short transition. So I am going to select all three of these shark transition movies and see I have those three layers selected and I am going to duplicate them, Command+D, and then I'll drag them down below that layer, and you saw that black line form there. And I can take these now and move them in time to that opening and as I zoom in with the Plus key, I want to make sure that my movies are all lined up and they don't have any black spaces there, and the things are looking good.

Now in the final animation, I am going to be reversing this sequence so that I don't have the exact same transition. All I am going to do is just simply switch those shark animations around, so that instead of going A, B and C, it's going to go C, B A. I am not going to worry about that here for the cameramatic. I am just going to do that in the final animation. So let's do a quick RAM Preview of our piece and see how everything is fitting together. So I am going to back out the timeline here, click the RAM Preview option, and let that cache all the frames.

And it's going to swim the camera and there's the thrashing transition and the Adventure Channel logo with the shark swimming by. (Male speaker: After 400 million years, they're still the scariest thing in the ocean.) (Male speaker: Get a little closer, if you dare. Shark Zone, all week long on the Adventure Channel.) (Male speaker: If it's out there, it's on here.) (Male speaker: After 400 million years, they're still?) So during this RAM Preview I noticed an issue with the movie and the issue is that at the end of the promo the Adventures channel logo comes up and the shark swims by, but we don't have enough time in the sequence to actually read the tagline that's going to be coming underneath the Adventure Channel logo, and that's going to say "if it's out there it's on here," and that's a very important tagline from a branding standpoint.

So we want to give it plenty of time to be read in the animation. So what I need to do is to adjust some timing and the shots that I am going to need to change, I am going to need to make a change to shot003 and a change to shot004. The cameramatic process is really about flexibility and this is a great example of that. One of the reasons you do the cameramatic is so that you can discover issues like this, and this is a case where I have discovered an issue that's very important from a branding standpoint and I need to go back and fix it.

So in the next movie, we are going to make some adjustments to shot003 and shot004 and then redo our cameramatic with those new shot previews.

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