Viewers: in countries Watching now:
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.
All right, here we are at the final assembly. This is where we really get to see all of our shots put together in their completed form. Now we have some steps we have to follow in order to get there, but it's going to be a lot of fun. I'm going to go to the Project window, and I'm going to make another new folder. Let's call this one +++Render. Now I put the pluses in there to force it alphabetically just jump to the top of the frame. We're going to put our final render composition in here. This is going to be the comp that actually gets rendered out for the finished product. The way we're going to create that finished product is by going to the Working comps folder, and grabbing the cameramatic, and using that as our starting point.
I'm going to duplicate that file Command+D. Let's rename this one sz as in shark zone finrender. I'm going to move that into the Renders folder. Now I can open that up. This has all of our cameramatic layers. Now we're not going to need the timecode anymore. So let's just delete that out of the composition. Delete and we're going to need these other files as guides. The great part is we can just drag and replace these footage elements to rebuild this sequence with the final images.
So the way I'll do that is I'm going to enlarge this so I can see the final names here. So I need shot-001. So let's go to the Working comps folder. I'm going to hold down the Option key, and drag shot-001 into this file. When I do that, it replaces with the shot-001 composition. I'm going to repeat that process for each of the other shots. So I select shot002-A and then drag in shot-002-A. Do the same thing for shot002-B, shot002-C. Then this is shot003. There it is.
And here is 002-A, B and C again. shot-002-B, shot002-C, and then shot004. Now you can see all of our shots are together. It's really looking pretty darn cool. Next what we want to do is create a little bit more of a transition between the first shot and the shark transition.
So what I'm going to do is create something called an adjustment layer. I'm going to go into a Layer > New and new Adjustable Layer. That adjustment layer comes in at the top of the scene. An adjustment layer affects everything that happens below it. So I'm going to put a filter on that adjustment layer and have it affect all the layers below it. The effect that I'm going to use is Glow. So I'm going to go to the Effect menu, and go to Stylize, and then grab Glow. You can see the Glow effect blooms out the footage based on the light and dark values. Lighter stuff gets bloomed more, darker stuff gets bloomed less.
Now I only want this Glow affect to happen in a very small window where the shark transition is. So let's drag the In point and Out point of this layer so that it's just before and just after the shark transition. Let's zoom in a little bit on the transition region. Let's drag this closed just a bit. Give ourselves a little bit more to work. I'm going to hide the Parent column. Right-click, and go Hide This. That's going to give us even more room to work. We're not going to be parenting anything up right now. So we don't need to see that. Now I want to have the Glow transition happen about five to ten frames before the transition.
Then five to ten frames after the transition. So I'll use the Page Up command to backup five frames from the out point of this layer. So I'll go one, two, three, four, five, six, seven, eight, nine, and ten. There we go. Now I'm ten frames before the transition cut point. I'm going to hold down the Shift key, and drag that layer in point to where my Timeline marker is. Now I'll do the same thing at the end, and go one, two, three, four, five, six, seven, eight, nine, ten. I'll just hold down the Option key and Right bracket to make the out point happen right there.
So now that effect only happens over this area. The first thing I'd like to do with this is to set a keyframe for the Glow Intensity at the midpoint. This is the midpoint of the transition. That midpoint of the transition actually is right on the cut point. This is going to obscure the cut so that it feels like a more seamless transition. I'm going to go to the Glow effect, and adjust the Glow Intensity. Let's bring the Glow Intensity up to about 2 or so. Then I'm going to go to the Glow Threshold and expand the threshold outward.
The Glow Threshold controls how much of the image gets glowed. The lower this Threshold value gets, the more of the image gets glowed. So let's bring this down to about here. Then I'll adjust the Glow Radius. There we go so that it expands outward, and that really helps to bloom our image a lot more. So that's going to be the midpoint of the transition. That's really going to help to hide the cut. I'm going to set keyframes for the Glow Threshold, Radius, and Intensity at that point in time.
So I'll turn on all these stopwatches. So that's going to be the midpoint of our transition. Now I'm going to backup in time to the starting point. I want to have this Glow sort of ramp up over those 10 frames. I'm going to adjust the Glow Threshold to the right. That's going to make the Glow happen in a smaller area. Then I'll adjust the Glow Radius down to 0. Then I'll adjust the Glow Intensity down to 0 as well. That's going to have the effect of killing the glow.
So now our glow ramps up over time, bloom to the cut point. Then we want to have it ramp down again. So let's go forward a little bit. Then have those effects keyframe back down to 0. Actually, we don't even need to do that. We can just copy and paste those keyframes. Let's go U on the keyboard, and copy these keyframes, Command+C, and paste them down right at this point in time, Command+ V. So now our effect ramps up and then, we're into the shark transition. Now we can get out again by grabbing these keyframes, Command+C, and pasting them down right here at the midpoint of the transition.
That's where it's the most intense. Then we can copy and paste the zero keyframes all over again. So we can take these guys, copy them, paste them down right here. So now during this section, our Glow effect has no effect. Then it ramps up really quick. Then it should ramp out a little bit slower. Copy these intro frames, and paste them down here so that they are outgoing, Command+V. So now our transition goes out. Let's do a little quick RAM Preview just to make sure that looks okay.
I'm going to isolate this region. mMove to a little bit before, and hit the letter B on the keyboard to move the work area. Then I'm going to go to the Out point and just hit the letter N on the keyboard to move the area. Now I'm going to hit the RAM Preview button. I'm about to do a RAM Preview. So I should probably save first. So I'm going to go to the File menu and do a Save As. I call this 11_10_working. Now I can hit the RAM Preview button, and see what that looks like. (Male speaker: They're still the scariest thing in the ocean.) (Male speaker: Get a little closer? still the scariest thing in the ocean.) (Male speaker: Get a little closer? still the scariest thing in the ocean.) (Male speaker: Get a little closer? still the scariest thing in the ocean.) So that transition looks fantastic.
Now we can duplicate this adjustment layer, and move it to the second transition. So let's do that right now. Go to the adjustment layer. Hit Command+D to duplicate the whole thing. Let's back out just a bit so we can see where it needs to go. I'm going to take this transition effect and move it right down in time. Let's zoom in on this area. I've got my Caps Lock key. I'm going to remove that, and scrub to the midpoint of the transition, which is right where the cut happens. Let's zoom in. I'll drag this over so that the keyframe lines up.
Then what I need to do is check the outgoing and just scrub over with the Hand tool and check the outgoing. So that's pretty good. Now one thing I would like to do. My shot A, B and C files are in the exact same order as they are at the first transition. I like to reverse that a little bit just to change it up for some variety. So all I need to do is to hit V on the keyboard to get out of the Hand tool, and select shot B. I'm just going to reverse them. So I want to take shot B, and move it here. Shot C, move it there, and shot A. Actually, just take shot A and go C, B, A.
Basically, just reversing the order. Now double-check the In points to make sure that they all line up. We have a slightly different transition with no trouble at all. We've got all the elements of our promo in position. We're ready to move on to final touches and rendering.
There are currently no FAQs about CINEMA 4D: Designing a Promo.
Access exercise files from a button right under the course name.
Search within course videos and transcripts, and jump right to the results.
Remove icons showing you already watched videos if you want to start over.
Make the video wide, narrow, full-screen, or pop the player out of the page into its own window.
Click on text in the transcript to jump to that spot in the video. As the video plays, the relevant spot in the transcript will be highlighted.