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Preparing shot 1 for rendering to After Effects

From: CINEMA 4D: Designing a Promo

Video: Preparing shot 1 for rendering to After Effects

In the previous chapters, we've modeled, lit, and animated the elements for the Shark Zone promo. But it won't mean anything unless we can get them out of C4D in a way that makes it easy for us to put them together in After Effects. It's extremely rare that the rendering that you get out of C4D is the final image. There's so much more you can do to enhance your images in After Effects that will take your animation to the next level and beyond. In this movie, we'll be setting up our setting up our C4D project file to use Multi-Pass so we can control the makeup and intensity of the image without having to go back to C4D. We'll also be setting up Object Buffers so we can color-correct different elements stuck together in the same shot.

Preparing shot 1 for rendering to After Effects

In the previous chapters, we've modeled, lit, and animated the elements for the Shark Zone promo. But it won't mean anything unless we can get them out of C4D in a way that makes it easy for us to put them together in After Effects. It's extremely rare that the rendering that you get out of C4D is the final image. There's so much more you can do to enhance your images in After Effects that will take your animation to the next level and beyond. In this movie, we'll be setting up our setting up our C4D project file to use Multi-Pass so we can control the makeup and intensity of the image without having to go back to C4D. We'll also be setting up Object Buffers so we can color-correct different elements stuck together in the same shot.

I'm going to start off by opening up the shot-001 project file. File > Open, I'm going to navigate to the Chapter 10 Exercise Files. And in those Exercise Files is the shot-001-lighting_END.c4d file. This is the project file as it was left off in the previous chapter. What I'd like to do is to start off the render setup process by establishing Object Buffers for my sharks. An Object Buffer is an alpha channel for an individual object within the scene. It allows you to isolate that object inside of After Effects and apply effects without affecting the rest of the image.

It's a really important tool for compositing. So I'm going to right-click on the shark 001 object and go to CINEMA 4D Tags and then do a Tag. And a Compositing tag is where we establish the Object Buffer for the file. I'm going to select Object Buffer and do Enable Object Buffer 1. Now the number that you have here can be any number in the world. The important thing is that this number matches the Object Buffer setting that we're going to be placing in our Render Settings. And that's really what's going to matter. It could be 1. It could be 10,000. As long as there is a 1 or a 10,000 in the Render Settings, you're good to go.

Now the next step is to apply this Compositing tag to all the other sharks. I have shark 001 already set with a Compositing Tag. I want to have Compositing Tags on all my other sharks. So the easiest way to do that is to hold down the Ctrl key and drag copies of this Compositing tag down to each of the sharks. There we go. So now I have the same Compositing tag on each of the sharks. And so they'll all show up in the same Object Buffer which is Object Buffer 1. With the Object Buffers set up, I can now move on to the Render Settings.

I'm going to click on the Render Settings icon here. The General setting shows us a basic summary of the type of render we're going to be doing, in this case a full render. The Output option shows us how large our rendering is going to be, what Aspect Ratio it's going to be, and then what Frame Rate we're going to do. Now we set up all this information in an earlier chapter when we were creating the file animation. So we don't have to worry about this right now. Next up is the Save option. The Save option is where you control where your files are going to go. We're not going to be needing Alpha Channel or Straight Alpha.

Normally these are unchecked. They were turned on in the starter file that was used as the starting point for creating these shots. We don't need to worry about the Save here because we're going to be turning on Multi-Pass rendering. So we can leave this File Save field blank. We do want to, though, twirl open the Compositing Project File and check all three of these options. It's very important we turn Save on, Relative, and Include 3D Data. That way you make sure we get a properly formatted After Effects compositing file when we finish our rendering. The next thing we need to add is the Multi- Pass and the Multi-Pass is off by default.

I'm going to turn it on and click on the Multi-Pass option now. There's a lot of options here. We don't need all of them, but what we are going to add is we're going to start off by adding all of the image layers and then we're going to delete the ones we don't need. I know which ones to delete based on the types of materials that I have in my scene. I know that I'm not going to need Refraction because I don't have any transparency in my scene. So I can delete that. I know I'm not going to need Ambient Occlusion because I don't have Ambient Occlusion turned on. So I can delete that. I also don't have Caustics. I can delete that, and I'm not really running any Post Effects.

So I can delete that as well. In this particular file, I don't have Shadows so I can delete that pass as well. Now with the Multi-Pass option set, I need to add one more channel. I'm going to click on the Multi-Pass and go to RGBA Image. Now RGBA Image is the actual finished render. All of these layers are the different image components that make up the final image. So what I'm going to have is the finished image plus all of the sub channels that will allow me to manipulate the finished image if I don't like certain aspects of it. So it's sort of like the best of both worlds.

Next I need to add in the Object Buffer. I'm going to click on Multi-Pass one more time and go to Object Buffer. And the Object Buffer shows up with the Group ID of 1. And if you'll remember from our Compositing tag over here, the Compositing Tag uses an ID of 1 as well. So as long as these two numbers match, my Object Buffer will be generated properly. Now that I have the Multi-Pass set up, I need to go back to the Save option. And when I activated Multi-Pass, I now have a Multi-Pass Image Save option. And now I can tell it where to put the Multi-Pass images it's going to save. I can also tell it what format to put those images in.

I generally render Photoshop PSD files. It's very important if this Multi-Layer File is ever turned on. You always want to make sure and turn that off when you're going to be working with After Effects because After Effects will not read that image sequence correctly. So make sure Multi-Layer File is turned off. Now I need to tell it where to put those files. So I'm going to click on the Save Image button here and navigate out to the Finder to my Desktop to my Exercise Files to Chapter 10. In this Chapter 10 folder, I need to make up a new folder to put my rendered images into. Now we're rendering an image sequence which is going to be a numbered sequence of Photoshop files, and it's always a good idea to put those in their own subfolders.

So I'll make a new folder here and call it shot001. Then I'll go up to Save As in the Save field and call it shot001. So now when I hit Save, I can see the directory path right here. It's going to go out to my Desktop folder, Exercise Files and into the shot001 folder. That's pretty much it for the Render Settings. The next thing I need to do is save this file. I'm going to go to the File menu and do a Save As. And in the Save As field, I'm going to call this render, meaning that it's ready to render.

And then I'll hit the Save button. I'm not actually going to render the file at this time. We're going to be using a process called batch rendering to render all of our files together. So it's very important when you're doing a batch rendering to make sure that your file renders correctly so you have to get all your Render Settings set up ahead of time and then you'll launch each of the files together at the same time and then it will render them down one after the other. So that's it for shot001. Now we can move onto the next shot.

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This video is part of

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

70 video lessons · 13908 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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