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CINEMA 4D: Designing a Promo

Assembling the final composition


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CINEMA 4D: Designing a Promo

with Rob Garrott

Video: Assembling the final composition

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.
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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 13m
    1. Importing assets and setting up the After Effects project for final compositing
      6m 5s
    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
      21s

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CINEMA 4D: Designing a Promo
7h 0m Intermediate Jun 30, 2010

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.

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
Subjects:
3D + Animation Video Compositing Projects Visual Effects
Software:
CINEMA 4D
Author:
Rob Garrott

Assembling the final composition

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.

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