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CINEMA 4D: Designing a Promo

Importing sketches into After Effects


From:

CINEMA 4D: Designing a Promo

with Rob Garrott

Video: Importing sketches into After Effects

In this video, we are going to take the raw scans of the storyboard sketches and cut them up into individual images using Photoshop. We'll then import these images into our After Effects project along with the audio file and we'll have all the pieces necessary to begin the animatic process. Let's open up the first page of Animatic-Sketches inside of Photoshop. Let me drag that on to the Photoshop icon. What this is is an 8 1/2 by 11 page that I drew on with blue pencil. I scanned it into a Photoshop at 300 dpi. Now, I've got enough resolution to create the individual images that I need.
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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

Importing sketches into After Effects

In this video, we are going to take the raw scans of the storyboard sketches and cut them up into individual images using Photoshop. We'll then import these images into our After Effects project along with the audio file and we'll have all the pieces necessary to begin the animatic process. Let's open up the first page of Animatic-Sketches inside of Photoshop. Let me drag that on to the Photoshop icon. What this is is an 8 1/2 by 11 page that I drew on with blue pencil. I scanned it into a Photoshop at 300 dpi. Now, I've got enough resolution to create the individual images that I need.

What I want to do is crop each one of these guys down using the Crop tool. I want to set the Crop tool to make them specifically the size that I want. In this case, we are going to be doing 640 x 360. So, if I click in the Width window, I go 640 px for pixels and 360 px for pixels and then 72 dpi. Now, that I've got the resolution set, I can use the Crop tool to crop these images. Now, the first image here we can ignore. That was a mis-start on my part.

I started to sketch something out and realized that was going in the wrong direction and just Xed it out. So, the very first image that we want to crop is this one right here. You can see it has the "after 400 million years" which goes right along with the first line of the script. If I click with the Crop tool now and drag a rectangle around that and I can resize that a little bit to get it to fit a little tighter, and when I hit the Return key that gives me a cropped image. Don't worry about the size here. That's just how it resizes the image. You can see it's showing at 16.67% of the original size.

So, now I can save this and let's go to File menu and do a Save As. In the Chapter 2 folder, I am going to make a new subfolder and call it animatic scans cropped. Now, with the animatic scans cropped folder if I go to the Save As field and save this as 001.jpg. Hit Save and you can leave the Quality settings at Maximum and then hit OK. So, that's the first scan. Now, I want to go and do the next scan. I could open up the original file right here but an easier thing to do is just to use the History palette to restore this file back to its original state.

So, I'll go over here to the History palette and hit the Open and that restores the file back to its original state. You can see I've got my full-size image here. Now, I can go to the very next file and number 2 is this guy right here in the upper right-hand corner. You can say "they're still the scariest thing in the ocean." That's the second line of the script. Use my Crop tool again and then hit Return on the keyboard. Then do File > Save As. In the animatic scans cropped folder, I am going to call this 002.

Now, that's the process for creating a scans and I want to repeat that for each of the images on the page here. What I've done is save those out for you. If you go to the Chapter 2 folder you can see there is an animatic scans cropped folder. That's what we were just saving in. There's a animatic sketches cropped and that's got the original files that I created for you. Now, I used a much longer file name and that gives you an indication of exactly what we're looking at here. sharzone-animatic-001, 002, 003 and so forth. The important thing is that you've numbered the file so that they are easy to tell apart when we bring them in the After Effects.

So, now let's move over to After Effects and to start importing our elements. Now, when I am working inside of After Effects I like to work with a very specific folder template. We've provided that in the project files and I'll open that up and review it, but I am going to rebuild it from scratch. But I just want to show you guys what the end result looks like. So, if we open up the Master Project file. Now, this project file was created in an earlier version of After Effects and I'm working in CS5 here. So, when you get this message or if you this message, you can just ignore it.

Nothing inside your project file will change and hit OK here. You could see I now have folder hierarchy here in the Project window. This folder hierarchy is what I like to use when I am working on a project. There is basically a place for every single kind of element that you might be working with. It's very easy to keep track of things inside of After Effects project. After Effects projects can get very complicated in a hurry. So, I like to keep things in very specific folders. So, what we are going to do is start off by creating a blank project and re-creating this folder hierarchy here from scratch.

I'll go ahead and close up the file here and hit Don't Save. Now that I've got a blank project open, let's start by creating a new folder and I am going to call that folder animatic jpgs. Into that animatic JPEGs folder I'm going to import my JPEG images. So, with that highlighted I am going to go to File menu and then on to Import > File and navigate to my animatic sketches cropped folder.

In the animatic sketches cropped folder I'm going to go to the first file and then hold down the Shift key and highlight all of them and then hit Open. That's going to import all of the images at one time into the animatic jpgs folder. Now, I want to have some subfolders in here so I can keep things really organized. I am going to create a new folder in here and call this 1-Production Elements. In the Production Elements folder I'll drag the animatic jpgs folder into there so you can see it's stored in there.

Now, we want to have the next element of the piece, which is the scratch voice recording that I've done that helps us timeout the script. So, I am going to import that. But before I import it let's make a folder for to go into. So, I'll go to the create a new folder and go to 2 - and call this one Video and then I'll add a dash and call it Audio as well. So, I know there is audio in that folder too. Let's go ahead and go to the File > Import > File and navigate to the Chapter 2 folder and grab the Sharkzone.

I'll open that up so you can see the full name: Sharkzone-ScrVO-cut001. This is just a voice reading of me no sound effects, no music, no nothing. But it is done to time and so we'll use this as the basis for our animatic. Now that we've got all the pieces imported, we are ready for the next step in the animatic process.

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