Easy-to-follow video tutorials help you learn software, creative, and business skills.Become a member

The hero shot: Controlling the look using precomps

From: CINEMA 4D: Designing a Promo

Video: The hero shot: Controlling the look using precomps

The next most challenging shot in our piece is shot-003. We are going to be utilizing some of the elements from shot-001 to make the shot look great. But before we do that we've have a few things we need to do. I am going to start off by closing up my Working comps folder and opening up my Audio-Video folder. Let's drag ourselves a little more room. We can close up the WATER FOOTAGE for now. In our CINEMA 4D Imports, I am going to open up the shot-003-render-END. Let's duplicate this composition, Command+D, and hit Enter on the keyboard and just delete everything off of that name so that it just call shot-003.

The hero shot: Controlling the look using precomps

The next most challenging shot in our piece is shot-003. We are going to be utilizing some of the elements from shot-001 to make the shot look great. But before we do that we've have a few things we need to do. I am going to start off by closing up my Working comps folder and opening up my Audio-Video folder. Let's drag ourselves a little more room. We can close up the WATER FOOTAGE for now. In our CINEMA 4D Imports, I am going to open up the shot-003-render-END. Let's duplicate this composition, Command+D, and hit Enter on the keyboard and just delete everything off of that name so that it just call shot-003.

Let's move this shot-003 into the Working comps folder. So, I'll drag that down and put it into Working comps and then I'll open that shot-003 up. Now, I can see my shot-003 here and in the composition, I've got all these multi-pass layers. We don't need them right now so I am going to turn them all off and then drag in the RGBA pass. The RGBA Pass is here in the Special Passes folder of the shot-003. I'll drag that in and put it right below the shadow lights. We are not going to be needing the shadow lights. I'll just turn those off.

Now, what I'd like to be able to do is to separate the shark from the reflective floor. So, I am going to be using Object Buffers to do that. I have an Object Buffer for the shark and I have an Object Buffer for the shark type. So, let's start off by isolating the shark. I am going to drag Object Buffer 1 into the shot and put it right above the rgb layer. Now, I am going to set the Object Buffer 1 to be a track matte by clicking on the Track Matte column and going to Luma Matte for Object Buffer one. My shark comes out from behind the type element over a black background, which is great.

Now, what I can do is let's raise this up just a bit. I'd like to be able to able to isolate the type and an easy way to do that is to simply duplicate these two layers by hitting Command or Ctrl+D on the keyboard. Now, I'll replace the object buffer one with Object Buffer 2. So, I'll select that Object Buffer below on the secondary layer. I got two sharks right now and they are both on top of one another. I'll drag an Object Buffer 2 by holding down the Option key. So, hold down the Option key and replace Object Buffer 1 with Object Buffer 2 and there is my SHARKZONE type.

So, now as I scrub through this scene I can see I have both elements and I can turn them off and on, at will. That's just what I want. I no longer have the floor. I am going to be adding some effects to these guys so I need to pre-compose them so I can treat them as one layer. So, I'll select the Object Buffer 2 and the rgb pass that it goes with. Then use the Pre-Compose command, Shift+ Command+C on the keyboard, and we'll call this shot003-sharkzone PRE as in pre-comp.

Now, when I hit Enter, that sharkzone pre-comp went some place. So, if we scrub down you can see that it went into our sharkzone PRE folder. So, let's close these guys up to give ourselves a little bit room to work here. I am going to deselect everything and create a new folder here and let's call this one 4-Pre Comps. The reason I put a 4 on there is I want all these things to show up in order and this relates back to the folder structure in the After Effects template that I showed you guys very early on in the chapters.

I am going to take that pre-comp and put it into the Pre Comps folder. Then I am going to do to the same thing for the Object Buffer 1 file. So, let's select these two guys. This is our shark, Shift+Command+C, and call it shot003-shark PRE and then move that one into the Pre Comps as well. Now that we have both of those pre-comps in there, we can turn them off and on at will and we can now add effects to the shark and Shark Zone type. I'd like to have the shark and the Shark Zone sitting on top of a gradient background that kind of looks like what they rendered on top of originally.

So, let's add a new solid to the scene. I'll go to Layer and do a New > Solid. We are going to call this solid BG gradient and the color doesn't matter because we are going to be adding a gradient effect to this. So, let's just leave it black and I'll hit OK and then it shows up on top of everything. Let's go to the Effects menu and add the effect gradient. So, we are going to go to Generate. In After Effects, they don't call it the gradient. They call it a ramp.

So, we are going to go to Generate > Ramp. The ramp has controls on it that allows to control the direction of that. I'll like to have the direction go from the top-left down towards the bottom-right. We'll adjust that a little bit. I want to change the colors so that they match our backgrounds. So, we are going to have it go from kind of a darker color on the left to darker blue color to a lighter blue color down here. In order to get that to match up, let's go and take the gradient layer and drag it down below everything so we can get a sample of blue from here.

So, I'll click on the eyedropper and grab a dark blue from inside the type. Then click on the end color and grab a lighter blue from the face of the type, there we go. I think that's not too bad. We can always tweak the position of the gradient with these two handles. Now that we have our gradients in place, we can add back in the reflective floor. The great thing about this is we'll be able to control the intensity of the reflective floor here in After Effects without having to go back to CINEMA 4-D.

So, that layer that we need is already here inside the composition and it's this shot003_reflection pass. I am going to drag that up above the gradient and then turn it on. You can see it's on an Add for its blending mode. So, if I take that now and adjust the intensity of it by changing the Opacity. Let's bring that down from 100% down to about 20 or so. There we go. You can see now we have a scene that looks very much like we had before but we have complete control over the elements in it.

Let's zoom in on that so you can get a better feel for it and I'll drag this down and open it up. So, you can see have our SHARK ZONE type. We have our shark. As we scrub through that we can see a little bit of reflection on the floor and that's just how we like it. Now, our shark has a little but of the halo on it and we are going to adjust that after we add in the character layers from the shot-001 comp. So, I am going to go back to shot-001 and let's raise the frame up a little bit. I'll select all and twirl it closed.

The layers that I'd like to get off of here are the More Darker, and I'll hold down the Command key and select grain, brighter, darker and fractal noise. I'll copy those to the clipboard and then go to shot003. Select the camera object and paste them down, Command+V, and look what happens to our scene. Looking good. It instantly changes the character of that scene. Now it has all the same elements as shot-001. When we go back and forth between the two, they blend together a lot better.

Now, I can tweak the halo on that shark a little bit by going to the shark layer, which is the shark PRE Comp here, and going to the Effects and adding a Color Correction > Levels. There is a lot of ways to do this. I can go to the Levels and in the Alpha Channel, I am going to grab the Input Black slider and drag that to the right just a little bit. Let's enlarge the Effects palette so we can see the other side of the histogram. I am going to drag the Input White slider to the left. As I tweak that, there we go.

Drag the mid-tones just to the right a bit. You can see that halo go away. If I turn the effect on and off again, you can see it just tweaks a little bit to get rid of it, excellent. That's the first part of creating our hero shot. Next, we can add the bubbles that will get us out of our thrashing shark transition.

Show transcript

This video is part of

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

70 video lessons · 13487 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

Start learning today

Get unlimited access to all courses for just $25/month.

Become a member
Sometimes @lynda teaches me how to use a program and sometimes Lynda.com changes my life forever. @JosefShutter
@lynda lynda.com is an absolute life saver when it comes to learning todays software. Definitely recommend it! #higherlearning @Michael_Caraway
@lynda The best thing online! Your database of courses is great! To the mark and very helpful. Thanks! @ru22more
Got to create something yesterday I never thought I could do. #thanks @lynda @Ngventurella
I really do love @lynda as a learning platform. Never stop learning and developing, it’s probably our greatest gift as a species! @soundslikedavid
@lynda just subscribed to lynda.com all I can say its brilliant join now trust me @ButchSamurai
@lynda is an awesome resource. The membership is priceless if you take advantage of it. @diabetic_techie
One of the best decision I made this year. Buy a 1yr subscription to @lynda @cybercaptive
guys lynda.com (@lynda) is the best. So far I’ve learned Java, principles of OO programming, and now learning about MS project @lucasmitchell
Signed back up to @lynda dot com. I’ve missed it!! Proper geeking out right now! #timetolearn #geek @JayGodbold
Share a link to this course

What are exercise files?

Exercise files are the same files the author uses in the course. Save time by downloading the author's files instead of setting up your own files, and learn by following along with the instructor.

Can I take this course without the exercise files?

Yes! If you decide you would like the exercise files later, you can upgrade to a premium account any time.

Become a member Download sample files See plans and pricing

Please wait... please wait ...
Upgrade to get access to exercise files.

Exercise files video

How to use exercise files.

Learn by watching, listening, and doing, Exercise files are the same files the author uses in the course, so you can download them and follow along Premium memberships include access to all exercise files in the library.


Exercise files

Exercise files video

How to use exercise files.

For additional information on downloading and using exercise files, watch our instructional video or read the instructions in the FAQ.

This course includes free exercise files, so you can practice while you watch the course. To access all the exercise files in our library, become a Premium Member.

Join now "Already a member? Log in

Are you sure you want to mark all the videos in this course as unwatched?

This will not affect your course history, your reports, or your certificates of completion for this course.


Mark all as unwatched Cancel

Congratulations

You have completed CINEMA 4D: Designing a Promo.

Return to your organization's learning portal to continue training, or close this page.


OK
Become a member to add this course to a playlist

Join today and get unlimited access to the entire library of video courses—and create as many playlists as you like.

Get started

Already a member?

Become a member to like this course.

Join today and get unlimited access to the entire library of video courses.

Get started

Already a member?

Exercise files

Learn by watching, listening, and doing! Exercise files are the same files the author uses in the course, so you can download them and follow along. Exercise files are available with all Premium memberships. Learn more

Get started

Already a Premium member?

Exercise files video

How to use exercise files.

Ask a question

Thanks for contacting us.
You’ll hear from our Customer Service team within 24 hours.

Please enter the text shown below:

The classic layout automatically defaults to the latest Flash Player.

To choose a different player, hold the cursor over your name at the top right of any lynda.com page and choose Site preferencesfrom the dropdown menu.

Continue to classic layout Stay on new layout
Exercise files

Access exercise files from a button right under the course name.

Mark videos as unwatched

Remove icons showing you already watched videos if you want to start over.

Control your viewing experience

Make the video wide, narrow, full-screen, or pop the player out of the page into its own window.

Interactive transcripts

Click on text in the transcript to jump to that spot in the video. As the video plays, the relevant spot in the transcript will be highlighted.

Are you sure you want to delete this note?

No

Your file was successfully uploaded.

Thanks for signing up.

We’ll send you a confirmation email shortly.


Sign up and receive emails about lynda.com and our online training library:

Here’s our privacy policy with more details about how we handle your information.

Keep up with news, tips, and latest courses with emails from lynda.com.

Sign up and receive emails about lynda.com and our online training library:

Here’s our privacy policy with more details about how we handle your information.

   
submit Lightbox submit clicked
Terms and conditions of use

We've updated our terms and conditions (now called terms of service).Go
Review and accept our updated terms of service.