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Replacing the rough shark model in the hero shot

From: CINEMA 4D: Designing a Promo

Video: Replacing the rough shark model in the hero shot

In this video we are going to be animating the hero shot that reveals the name of the program block Shark Zone. Now I call this the hero shot, because it's really the first time our viewers are going to see the word Shark Zone, which is the whole point for the promo. The hero shots would always be the most iconic and visually stimulating of the piece, because you really want to draw your viewers in at that point. So what I am going to do is I am going to open up the start off point for this file, which is the shot-003 that we created during the cameramatic Process. Let's go to the File > Open, navigate to the Chapter 8 files and open up shot-003.

Replacing the rough shark model in the hero shot

In this video we are going to be animating the hero shot that reveals the name of the program block Shark Zone. Now I call this the hero shot, because it's really the first time our viewers are going to see the word Shark Zone, which is the whole point for the promo. The hero shots would always be the most iconic and visually stimulating of the piece, because you really want to draw your viewers in at that point. So what I am going to do is I am going to open up the start off point for this file, which is the shot-003 that we created during the cameramatic Process. Let's go to the File > Open, navigate to the Chapter 8 files and open up shot-003.

Now I want to make sure that I protect myself, in case I need to get back to shot 3 I will be okay. So let's go to the File menu and do a Save As and in the Chapter 8 folder, let's call it the shot-003-finanim. Now that I have got that file saved, I am protected in case I need to go backwards. Let's go and get our hero shot from the final shark file. I have this open already, but this is the same shark file that you have in your Chapter 8 files folder. I am going to copy and paste the HyperNURBS object from this document into the other one. So I will select the HyperNURBS, hit Command+C or Ctrl+C, and then go to shot-003-finanim and past it down, Command+V. Now let's uncheck the Look Through Camera option and zoom in on this area.

I want to turn off the actual Spline Wrap object and I am going to twirl open the Shark Uber hierarchy and turnoff the Spline Wrap by clicking its active checkmark. Now I can rename the old dummy hierarchy and let's call it old. We are going to be deleting that soon, so we don't need to pay attention to the name. But we want to make sure we can tell these guys apart. I am going to drag this HyperNURBS down into the shark hierarchy. Now I need to move it back so that it lines up with the dummy shark. So I will drag it on the X-axis only until it lines up with the dummy shark. Now let's zoom in and double-check.

I will get really close to the snout here and navigate-- there we go. So that's lined up really nice. I can delete the old shark and turn the Spline Wrap back on, and then let's look through the camera and see how it is looking. Now that we are looking through the camera, I will scrub through the animation. Our shark comes out from behind the logo just fine and swims toward the camera. Now I don't want the mouth to be open for the entire time. So I am just going to go to about frame 109 or so, and I want to have his mouth closed up until this point. So let's open up the shark hierarchy. Select the Morph tag that's on the shark body object, and drag that slider closed.

When, I drag that slider to 0 that closes his mouth up. So I want have his mouth closed up until that point. So let's set a keyframe for this slider at 0% a time 109. Now when I navigate forward in time, I want to have his mouth open right about here, just before it hits the camera. So I am going to drag the slider open most of the way and then hold down the Ctrl key and add a keyframe for the open slider at that point in time. Now I did mine to 92%, but you can adjust yours to your taste.

Now as I scrub through the animation, you can that he comes out from behind the logo with his mouth closed and then opens it up as he swims towards the camera. There's our cut point right there. So now I think we have got the animation done. Let's take a preview movie of it and see what looks like. I am going to go to the middle clapboard and do a Make Preview and double-check the Preview Range, which is All Frames and the Image Size. Now the Image Size, make sure it is 640x360. My Frame Rate is 30 and I'll hit OK. I will get my blue progress bar. It's calculating the preview for me. Now remember, the speed of this preview will be depended on your processor speed.

So for example, on iMac, will go a lot slower than an 8 Core Mac. A single core PC will go a lot slower than an 8 Core PC. So it really depends on how fast your computer is. Once this pops up, I am going to hit the Play button. You can see my camera drops down, and it is caching those frames to memory. And the second time is plays through, it is going to be playing back at the correct speed. So there is my shark animation and it's looking great. I am going to stop playback and go to the File menu and do a Save As.

I want to save it as an animation and the format is a Photoshop Sequence. So I will hit OK, and navigate now to my Chapter 8 files folder. In the Chapter 8 files, I am going to make a new subfolder and call this shot003-finanim-preview, and I will call the file shot003-finanim-preview, and I get the blue progress bar and now it's file saved out. So our hero piece is looking great. The animation is all done and we are ready to move on to the next shot.

Show transcript

This video is part of

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

70 video lessons · 13917 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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