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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.
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