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Replacing the rough shark model in the intro shot with the finished model

From: CINEMA 4D: Designing a Promo

Video: Replacing the rough shark model in the intro shot with the finished model

Our star, the shark, is ready to be placed into the scene, so we can finalize the animation. We use the dummy shark to set up all the shots, so we might need to make some tweaks once we get the hero shark into place. In this video, we're going to load the shark into the scene file and then start swapping out the dummy sharks and replacing them with the hero. After that, we'll make a preview to check animation speed and make sure that any changes necessary to the shot are all looking great. I'm going to open up the shot-001 scene file. So, let's go to the File menu and do an Open, navigate to the Chapter 8 Exercise Files, and open up shot-001.c4d.

Replacing the rough shark model in the intro shot with the finished model

Our star, the shark, is ready to be placed into the scene, so we can finalize the animation. We use the dummy shark to set up all the shots, so we might need to make some tweaks once we get the hero shark into place. In this video, we're going to load the shark into the scene file and then start swapping out the dummy sharks and replacing them with the hero. After that, we'll make a preview to check animation speed and make sure that any changes necessary to the shot are all looking great. I'm going to open up the shot-001 scene file. So, let's go to the File menu and do an Open, navigate to the Chapter 8 Exercise Files, and open up shot-001.c4d.

Now, before I do anything else, I want to save this shot as a new name. I'm going to go to the File menu and do a File > Save as, and call this one shot-001-finanim as in final animation, and then hit Save. That way, in case I'm make any mistakes I'm covered. I can always get back to my original shot-001 file. Now I need to copy and paste the hero shark, the finished shark, into the scene file. So I'm going to go to the Window menu and go to my finalshark scene file which is open, select the HyperNURBS and copy it to the clipboard, Command+C or Ctrl+C. Go to the Window menu and do shot-001-finanim and then I'll paste down our hero shark, Command+V or Ctrl+V on the PC.

With our HyperNURBS selected, I'm looking through the camera. It'd be a lot easier to do this process if I wasn't looking through the camera file. So, I'm going to uncheck the Look Through Camera option so I can see my scene. Now, I'm going to start with the very first shark here. You should do this process with the Spline Wrap off. So I'm going to click on the active icon here, which is this green checkmark. If I click this green check mark off, my Spline Wrap disables and my shark for the shark 1, the dummy shark, jumps right back to the center of the world. So now I can twirl-open the hierarchy for the shark and drag my new HyperNURBS, and let's rename these and let's call this one dummy HyperNURBS.

I'm going to be deleting this one soon. I just want to be able to tear them apart when I get them into that hierarchy. Now let's take new HyperNURBS and drag it right down into the hierarchy. So now if I zoom in on this, zoom in just a little bit here, I can see that when I was modeling my shark and doing all the texture mapping and stuff, I was doing it around the center of the world, which is absolutely correct. But our dummy shark is lined up with the tip of its snout right at the center of the world. So I need to take my new shark and just drag it back on the x-axis so that the tip of the snout lines up with the old tip of the snout.

Let's zoom in in the right- hand view and double-check that. You can see if I move this shark out of the way, there is my dummy shark and I'll bring my old shark in. Let's check the position on that. The coordinates on the Y should be 0. That way it will line up nice and neat. I think we're ready to go. Now I can delete this dummy HyperNURBS, just delete it from the scene, and when I go back to the Perspective view and I turn the Spline Wrap back on for 001, my shark jumps right back to the spline just like it should. That's exactly the behavior that we want.

I don't really want the shark to swim with his mouth open. So let's go to the Final Shark hierarchy, select the Morph tag, and bring the shark mouth back to closed by moving the slider to 0. So that's really all there is to it for the shark replacement. Let's do it one more time on shark 002. This time, rather than copy and paste it from the other scene file, we can just Ctrl+Drag a copy of it into the other hierarchy. I don't even need the old shark hierarchy, because I know that I built all of the sharks exactly the same. So, all I have to do is delete this old one. You notice I deleted the HyperNURBS, not the actual shark Null object.

Now if I take this HyperNURBS from the previous shark hierarchy, shark-001, and hold down the Ctrl key and drag a copy into the shark-002 hierarchy and make it a child of the shark Null object there, look what happens. It drops right into position right where it needs to go. Let's look through the camera, and then I'm going to deselect that by clicking any place in the Object window over here. I'm just going to scrub through this animation and see that my sharks are moving just the way I want them to. So now I'm going to repeat this process for all the other sharks. Now, I've replaced all 13 sharks.

You can see that in my hierarchy I've got everything all twirled-open here. There is a great command in the Object Manager. I'm going to go to the View menu and go to Folding and do a Fold All. That's going to twirl everything back closed again. Now, the last step in the process is to make a preview movie. As I scrub through this animation, the geometry of the sharks is much, much, much heavier than the geometry of the dummy shark. So, that's one of the reasons you work with a dummy shark, is that having the high-res geometry in the scene file makes it very difficult to scrub through animation and preview it.

So you will notice as I scrub through this animation, it really chunks along. In fact, it takes a few moments for it to update the screen every time I move the cursor. So we're going to make a preview movie of this and drop it back into the cameramatic to check the animation speed. Before I make the preview, I want to clean up this view a little bit, because you can see I've got all my splines. I've got the grid in there. I'm going to go to Filter menu here in the Perspective view and turn off the Grid and then turn off Splines. These elements aren't deleted from the scene. They are simply made invisible.

Now that makes it a lot easier to see my shark swimming. Now I'm going to go to the middle Clapboard icon here and do a Make Preview. I'm going to double-check all my properties. The Frame Range is set for All Frames, which is 0 to 160, just the way it needs to be. I'm going to check my Image Size, 640x360. I need to make sure that my Frame Rate is going to be set to 30 frames per second. I'll set my Frame Rate to 30 here and then hit OK. This calculating preview process is very processor-intensive and the speed of it will depend widely based on the type of computer you have.

On a 8-core Mac, it will go much faster than it would on an iMac or an 8-core PC would go much faster than it would on a single-core PC. It really depends on the speed of your CPU. Once the Picture Viewer pops up, let's take a look at our animation and make sure it's all complete. I'll hit the Play button here. Remember the first time it goes through it's going to be caching. That's what this red 0 means. It's caching to memory. Then the next time it plays through, it's going to be real time. That's not too bad. I think it's looking pretty good! So I'll stop playback.

Let's go to the File menu > Save as, and we're going to save this as an animation. A Photoshop PSD sequence is just fine. So I'll hit OK and navigate to my Desktop to Exercise Files to Chapter 8. I'm going to make a new subfolder. These are the old preview movies that we made when we made the cameramatic. I'm going to make a new folder and let's call this one shot001_finanim. Then in the Save as field, I'll call this shot001-finanim-preview.

Hit Save, the blue bar caches across the bottom, and our file is saved. That's pretty much it for shot one for the animation. We've got our sharks in position, we've replaced everything, and the animation is looking great.

Show transcript

This video is part of

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

70 video lessons · 13364 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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