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Lighting shot 1: Copying and pasting a lighting setup from another project

From: CINEMA 4D: Designing a Promo

Video: Lighting shot 1: Copying and pasting a lighting setup from another project

Now that we have a working light setup that we created in previous movies, we can use that light setup as the foundation for all of our other shots. And it's really important when you're working in a production environment to try to minimize your workload. It saves you time and saves you money. And this is one of those cases. It's really not you being lazy. It's all about being efficient. Rather than do things twice it's always better to use what you have if you can. Let's start off by opening the final project file that was created in the previous four movies. Let me go to the File menu and do a Open.

Lighting shot 1: Copying and pasting a lighting setup from another project

Now that we have a working light setup that we created in previous movies, we can use that light setup as the foundation for all of our other shots. And it's really important when you're working in a production environment to try to minimize your workload. It saves you time and saves you money. And this is one of those cases. It's really not you being lazy. It's all about being efficient. Rather than do things twice it's always better to use what you have if you can. Let's start off by opening the final project file that was created in the previous four movies. Let me go to the File menu and do a Open.

And I'll navigate to my Desktop, to my Exercise Files, and then Chapter 9. And let's start off by opening the shot-003-lighting_END file. Now remember this is the file that was created in the previous four movies. So this is the starting point and this will be the foundation for all of our other shots. Now let's open up the shot 1 file. File > Open and shot-001 final animation. There we go. It takes a moment to redraw the screen because there are so many sharks in here. All I really need from the other file are a few elements.

I need the environment sphere. I need the shark light and I need the environment object. So I am going to go back to the Window menu. And in this scene I am going to copy the shark light, hold on the Ctrl key, select the Light Target, the Environment object and the envirosphere. And now I'll go Command+C, Ctrl+C on the PC and go to the Window menu and go to shot-001 finished animation. And then wait for it to redraw and paste down those objects. Command+V. Now you can see that immediately the Environment object has an effect on the scene.

Let's do a quick render to see what things look like. And you can see that our scene isn't very interesting yet. The element that we are missing is the Global Illumination. Our envirosphere is not really having an impact on the lighting is this shot. So let's go to the Render Settings here. Click on the Render Settings icon, which is that white clapboard there. And we are going to delete that Sketch and Toon object that's in your scene. That was left over from my template file that we started this project with. So I'll delete that effect and go to the Effects menu and do Global Illumination.

And with the Global Illumination in the scene now, don't forget to change your Diffuse Depth to 2. That's going to give us a little more bounce in the scene. And then close up the Render Settings. Oops, sorry. One more thing to double check on the Render Settings. Let's go back there. Make sure that you do IR + QMC (Still Image). That's very important and I shouldn't have forgotten that. The IR + QMC (Still Image) will give us a good clean render with all of this motion. So now I'll do a rather render test and you see that sharks will look very different.

It's going to analyze the scene. And now we can start to see our sharks. We've got two issues. One is that the Environment object is too strong. We need to push the fog back a little bit so we can see more of our sharks. The other issue that we have going on is that the shark light is not really affecting any of the sharks in the scene. And the reason for that is the Scene option. And remember the Scene option was set to Include in the other file and when we copied and pasted in here it remember that mode. So we need to change that mode from Include to Exclude.

And now it's going to start hitting these sharks. But the falloff region for the light is probably too small. So let's double check that. I am going to switch to the 4-way view. And you can see that in the Top view in fact the light is only hitting some of our sharks. So let's take the Light Target object and move it back into the middle of that school of sharks. And then let's take the light itself. I'll back out just a bit. Select the shark light object and on its z-axis.

And you know as I am doing this in the Top view. I am going to drag this straight back on its z-axis. That's going to make sure that this is hitting all of our sharks. Now when I go back you can see that my sharks have in fact gotten brighter. Now let's push that Environment Fog back. The Distance is set to 6000 and that's 6000 units is based on the camera position. So if I add about, let's try 2000 units. Sorry, don't change the Distance to 2000. Add 2000 to 6000 which of course makes 8000. You could also if you wanted to do a little bit of math here.

I'll go 6000 units, which was the amount that it was before, plus 2000 and hit Enter. That gives me 8000 units. And you can see immediately my sharks became more focused. And the environment pushed way back. Remember you should never trust what's going on in the editor window here. You should always do a render. So I am going to go Command+R and see how many sharks I can actually see in the scene. And you can see I can't really see any of the ones in the distance. The ones close to the camera are looking pretty good.

Let's push this fog back a little bit more. So we'll do 8000 plus another 1500. And then there we go. Do another test render. And here we go. It's starting to open up a little bit. Now you can see I am right about the middle of the shot. Let's check the end of the shot and make sure that as we move through the scene we can still see all of our sharks. And it looks we can. Let's do another test render here closer to the end.

Excellent! So I now know I can see all my sharks. The light on them looks really nice. I think the shot looks great. Let's go ahead and do a File, Save As and call this one shot-001-lighting. Excellent! The lighting and shading for our shot-001 is now complete.

Show transcript

This video is part of

Image for CINEMA 4D: Designing a Promo
CINEMA 4D: Designing a Promo

70 video lessons · 13815 viewers

Rob Garrott
Author

 
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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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