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Lighting shot 4: Separate elements in a shot (the text)

From: CINEMA 4D: Designing a Promo

Video: Lighting shot 4: Separate elements in a shot (the text)

The end page is going to use two different files composited together inside of After Effects. So we've created the first file for the shark lighting, and now we're going to do a similar process for the logo. Let's go to File > Open and select shot- 004-finanimation as our starting point. Now this has the animation of the shark going through the scene and the logo inside of it. We don't need the shark for this project file. So let's turn off the Shark parent. I'm going to make both its dots red by double clicking on the gray dot there in the Status column.

Lighting shot 4: Separate elements in a shot (the text)

The end page is going to use two different files composited together inside of After Effects. So we've created the first file for the shark lighting, and now we're going to do a similar process for the logo. Let's go to File > Open and select shot- 004-finanimation as our starting point. Now this has the animation of the shark going through the scene and the logo inside of it. We don't need the shark for this project file. So let's turn off the Shark parent. I'm going to make both its dots red by double clicking on the gray dot there in the Status column.

That makes the shark invisible in the editor and invisible in the render. First thing I'd like to do is to create a light setup for the logo and I'm going to add a Target Spot Light to the scene. Then I'll switch to the four-way view. In the four-way view, I'm going to drag the light on the Z-axis. And then I'm in Point mode right now. Let's move out of Point mode into Model mode. So I can see the handles for the cone of the spotlight. And I'm going to back out just a bit and then drag that center cone downward.

Now I want to make sure that my light travels through the cone of light for the object. As I scrub back through the animation where the logo starts off, you can see that at this top of the animation it starts here behind the camera. So I want to drag my logo up. I don't want the logo to be completely dark. I want to have it sort of pass into the light early on. So I'll drag my light cone back a couple of times to make sure that the logo is right at the edge of the cone. There we go.

So now, at the very start of my animation, my logo is just barely getting hit by the light, and then it travels right into the light field and hits its final mark. So let's rename this light and call it Key. The key light now becomes the main source light for our object. We want to have a little bit of fill detail. Let's bring the scene full-screen. If I render this, you can see that my logo looks kind of flat and what I'd really rather have is a little bit more falloff across the surface of it.

So let's do two things. We're going to duplicate the key light and switch back to the four-way view. And the other thing I'm going to do is I'm going to move the key light a little bit before I duplicate it. So let's move it over here just a bit. So it's coming more across the face of our logo. Then I'll hold down the Ctrl key and drag a copy of the key light. Let's rename it filllight. In the Top view, drag straight across to the other side. So now it's opposite our key light. But I'm also going to drag it down.

So in the Front view, let's back out a bit and drag straight down and that brings our light about even with the logo. Now the key light and the fill light should not be at the same intensity. So I'm going to drop the filllight down to about 25%. Under the General Properties, bring the Intensity down to about 25. There's no magic formula for this. We really are kind of eyeballing things. But now when I render with my logo, you can see that it looks a lot more interesting. I have some light hitting the edges of the logo and a little bit more fill across the face.

One more thing I need to do is make a back light. I want to get a little bit of kick off these edges here. So I'm going to take the key light now and duplicate it one more time and call this back light. The back light needs to be behind the logo. So I'm going to switch to the four-way view and drag this light right straight on back and then same thing again. I'm going to make it down and about even with it. So you can see now it's hitting the logo from the backside. As I render this, now you can see I'm getting a lot of kick on the back edges of my letters and it really helps to define the shape of the logo.

I don't want this quite as intense as it is. So I'm going to change the Intensity down to about 60% or so. Do another test render, Command+R. You see that it helps to define things a little bit better. Next thing I'd like to do is to give a nice metallic sheen to our logo. To do that, I'm going to use an anisotropic material. An anisotropic material is something that's very particular to a metallic surface. And it really makes a great looking stainless steel texture. There's a great preset we're going to use as our starting point. I'm going to go to the Content Browser, and when I click on the Content Browser, in that window, I'm going to go to the Material Presets and I'll show you how I got here.

I went to the Preset options and I went to CINEMA 4D and twirled that open and then I went to Materials, and then I went to Anisotropic. We're going to start with radial5 as our preset. When I double-click on radial5, it shows up in the scene. Now it's not applied to anything right now. So let's drag that radial5 to the Extrude NURBS object that is underneath our Logo parent. Now the default projection method for this type of material is a spherical map. So we want to change this to flat. If I render this right now, you'll see that my logo has this cool metallic texture on it.

It's not quite the look that I want. So I'm going to make some tweaks to that. The first tweak I'd like to make is in how the material is projected on the logo. Let's change the Projection method from Spherical to Flat and then do another test render. But it doesn't look that different because we're going to be making some tweaks to the material, but that's okay. The important thing is to change that Projection method to Flat. Let's go now to the Material options and adjust the Roughness. I don't want this squiggly pattern on the surface of my object. So I'm going to go to the Roughness setting and change the Function to None and notice that cleans things up there.

Then I want to go to the anisotropy, which is what's creating those beautiful radial patterns on there. And I'm going to adjust the Amplitude a little bit, which is going to change the scaling of that. Let's go to about 50%. Now when I do a test render, you can see I have this great line now that's across the surface of my object. I have this really cool kick highlight right here. And that's exactly how I want it to look. You have a nice bright transition in the middle of my logo and it's looking really good.

So now let's just double-check the light. Do a couple of tests in our scene here. I'm going to see what it looks like up close. And you can see that as it passes through the light field, the logo gets a little bit brighter as it goes through and that's exactly what I want it to do. So I'm just hitting Command +R each time to the scene. You can see this scene file renders very quickly. So the logo looks great. But I want to have a little bit of motion across the surface of it. So we're going to animate the lights here. Now the best way to do this, I want to have the key light and the back light and the filllight travel across the surface of this logo.

So the easiest way to do that is to take all three of these lights. I'm going to draw a rectangle around them and I'm going to parent them to the light target. The light target now is going to be used to animate the rotation of these lights. If I switch to my four-way view now and I use the Rotate tool, if I click and drag and then rotate, you can see that my lights now all rotate underneath that Null object. And the cool thing is it makes the key light travel right across the surface, and that's exactly what I want. I'm going to animate the rotation of this Null object over time so that the light travels across the surface of my logo.

So let's move to Time 0, and at Time 0, I'm going to select the light target here and go to the Coordinate properties. And I only want to keyframe the heading rotation. So I'll hold on the Ctrl key and click right next to the letter R on that black circle. And that sets a keyframe just for the heading rotation. Then I'm going to move to time 98 which is the end of the shot and then adjust that rotation. I don't want it to go all the way around. I just want to have it travel across the surface a little bit. So let's get about straight on or so. About 40 degrees roughly.

I have mine set to 42. And hold down the Ctrl key and set a keyframe for that parameter. So now over the course of the animation, you can see the light traveling across the surface of the logo. The only thing left to do is to fix the F-curves on that. I'm going to switch to the Animation layout. And in the Animation layout, I'm going to adjust the F-curves on the light target. Let's go to the F-curve Manager. I'll hit H on the keyboard to frame things up and then I'm going to click on this little F-curve icon here. And then I'll select the Rotation H keyframe. Hit H on the keyboard HGGto frame up my entire curve.

Draw a rectangle around the single keyframe, then hit Command+A or Ctrl+A to select all of the keyframes. I'm going to right-click in the Editor here and go to Spline Types > Zero Angle/Length. And then you can see now I have a nice linear move with no more ease-out and ease-in. So my light will travel smoothly over the length of the animation. The last thing we should do before we get out of this is to do a quick preview render just to make sure that things are moving right. So I'm to switch back to the Standard layout and I'm going to deselect my Light Target here. And let's double-check the motion by doing a preview.

I'll click on the middle clapboard here and go to Make Preview and All Frames is on. The Image Size is set correctly and then I'll hit OK. Watch the progress bar down here in the bottom left and remember that progress will be dependent on your CPU. And once that pops up, I can now do a little preview of my movie and I'll click the Play button. The first time it goes through it's going to cache the frames and then play back in real-time. Excellent! The thing I'm watching for here is I'm really watching for the speed of this light, as it's traveling across the surface.

Now I can't actually see the light traveling across the surface in the shaded view, but what I can see are these lines passing back here. Those lines are the cones of my spotlights that I have shining on the logo. I can tell that that light is going to be traveling in a nice speed as it moves across the surface of my logo. I'm going to close up the Picture Viewer here and do a File > Save As. And let's call this shot-004-logo and then lighting, using the same name format that we've been using in the other files.

I'm going to save that into the Chapter 09 folder. So that's it. The lighting for all of our shots now is complete. Everything is looking really great and we're ready to move onto the render setup so that we can get these out of CINEMA 4D and into After Effects.

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This video is part of

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

70 video lessons · 13577 viewers

Rob Garrott
Author

 
Expand all | Collapse all
  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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