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Watching:

Creating a reflective floor for the underwater scene


From:

CINEMA 4D: Designing a Promo

with Rob Garrott

Video: Creating a reflective floor for the underwater scene

I'm starting off with the shot-003- lighting file that was created in the previous three movies. If you are following along at home and would like to get to this point, you will need to complete the first three movies, in order to have his progress so far. Right now, our scene looks pretty good. But the type and shark feel like they are floating somewhere. This shot really needs to feel more grounded, as if we were at the bottom of the ocean. But it should still feel like a graphical environment, and not a real ocean floor. In this video, we'll add a reflective floor element to the scene to add a visual foundation for the type and the shark. In order to create a floor object, I'm going to go to the Scene Elements and add a floor to the scene.
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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
      21s

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Watch the Online Video Course 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
Software:
CINEMA 4D
Author:
Rob Garrott

Creating a reflective floor for the underwater scene

I'm starting off with the shot-003- lighting file that was created in the previous three movies. If you are following along at home and would like to get to this point, you will need to complete the first three movies, in order to have his progress so far. Right now, our scene looks pretty good. But the type and shark feel like they are floating somewhere. This shot really needs to feel more grounded, as if we were at the bottom of the ocean. But it should still feel like a graphical environment, and not a real ocean floor. In this video, we'll add a reflective floor element to the scene to add a visual foundation for the type and the shark. In order to create a floor object, I'm going to go to the Scene Elements and add a floor to the scene.

The Floor object is a special type of primitive. It looks like a very small plane, but it actually extends out to infinity in all directions. It only does that at the time of render. So when I render this now, Command+R, you're going to see I now have a natural floor in my scene, and my shark is casting a shadow on to it. So is my type element. That really adds a foundation to our scene that missing before. The shark and the type no longer feel like they're just floating in space. I want to add a little bit of spice to this by adding a reflection to the floor. That's going to add a quite a bit of style to the scene that isn't there yet.

Let's create a new material for the Floor object. I'm going to go to the Material Manager. Do New Material. Let's call this material floor by double- clicking on the word Mat and typing in floor. This floor only needs one thing on it. It needs reflection. I'm going to a turn off the Color, turn off the Specular, and turn on Reflection. With Reflection channel in the floor material turned on, now I need to apply it to the Floor object. So I'm going to drag that material from the Material Manager over to the Floor object.

Then when I render, Command+R, you're going to see a very different scene than we had before. You can see our shark is reflected, and the Shark Zone type is reflected in the scene. It really changes the character of the entire shot. I don't really want to see the Shark Zone shark and the reflection at 100% intensity. I'm going to be dialing that up and down inside of After Effects in order to control that. It's a much better to do that sort of thing inside of After Effects. One thing I do want to do here in CINEMA 4D though is to add a little bit of blurriness to the reflection, so that it isn't as sharp.

That's going to also add a nice style to the image that would be a little more difficult to get in After Effects. So in order to do that, I'm going to go the floor material. Under the Reflection property is a feature called Blurriness. Blurriness will blur the reflection that shows up in the surface of the object. So if I adjust that Blurriness, I'm going to change it to about 10%. Now you have to be very careful with this Blurriness option. The reason is that it adds a lot of render time to your scene. So I'm going to go to 10%. The higher the Blurriness factor, the higher the render time.

So when I render, Command+R, you're going to see my render is going to take quite a bit longer than it did before. But when it finishes rendering, my shark and Shark Zone are very, very diffused in the reflection. Now that's probably a little too diffused. So let's dial that back down again. That's actually going to save some render time. So let's go back to the Blurriness option, and change that from 10% to 5%. I'll do another test render, and see how that looks. There we go.

So now, we have a nice foundation for our scene. Our shark is showing up in the reflection. Our Shark Zone type is showing up in the reflection. But they're very diffused. You can see that the diffusion extends downward into the scene. So here next to the Shark Zone type it actually is pretty crisp. Then it gets more diffused the farther the objects are away from the reflection source. So it's a great way to add some visual style to your scene. But be very careful, because it does add render time. The lighting for the scene and the shading for scene is now complete. The great part is we don't need to do all that over again for the other shots.

We can use this shot as the foundation for the starting point of each of our other shots.

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