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Join Rob Garrott in CINEMA 4D: Designing a Promo as he demonstrates how to create a 15-second promotional video that looks and feels like a professional advertisement. Learn how to use a combination of CINEMA 4D, After Effects, Photoshop and Illustrator to go from concept to script to screen, creating sketches, adding animation, and rendering the final promo. This course focuses on real-world techniques, culminating in a finished, usable product. Exercise files accompany the course.
The hero shot is coming together. The next thing we'd like to do is to add some water elements that are going to get us out of the thrashing shark transition that leads into the shot. The bubbles that we're going to add on top of this shark are going to help blend the thrashing shark transition into this shot in a very seamless way, and also give the camera move the feeling that it was dropped into the water. So, I'm going to add in some water elements to start off with and let's go to the Project window and close-up these guys here, and in the Audio and Video folder I'm going to open up Water Footage.
And let's start off by adding in the tiny_bubbles_iStock. movie. And tiny_bubbles_iStock is going to sit on top of all of the elements, kind of just add that general sense of motion, just like we had in Shot 1. So, let's set that blending mode to Overlay, and then adjust the Opacity way down. Let's call it about 10%, there we go. And so that just sits on top of everything and gives us some general movement through the scene. Now we'd like to have a really intense bubble sensation that gives the camera the illusion that it was dropped into the water.
That's going to happen at the top of the shot and gradually fade out over the first 20 or 30 frames of the piece. So, let's start off by using the waves_iStock.mov. So, I'll go to the water footage and drag in waves_iStock and I'll put that on top of everything. And I'm going to once again set the blending mode to Overlay. But before I do, let's just look at this footage and see what it looks like. It's actually a camera shot from underneath the crashing wave at the beach, and it had some great bubbles that kind of dissolve out over time.
And let's double-click on it so we can look at the entire clip. You can see that it's pretty intense and then they fade away to nothing, over the course of shot. So we're going to use this intensity at the top and then have it fade out, but it takes nearly 3 seconds. And so, what we're going to do is time remap this so that it will happen a lot sooner. Let's go back to our composition and turn on Time Remapping. I'm going to go to the layer, and then go to Time and Enable Time Remapping. You can also use the keyboard shortcut, Command+Option+T. Now with Time Remapping on, it shows us the first keyframe here and I'll scrub through it a bit and find the Out point, somewhere about here, there we go.
And I'm going to set a keyframe for that Out point right there. And next I'd like to drag this keyframe to the left. But before I do, I want to make sure that I have all the keyframes that come after it, because there is a secondary keyframe that's at the very end of this layer. So, if I drag this to the right, I can see there is that second keyframe. So, let's bring that over to the left and then drag the layer back again so that it's lined up with the front of the comp. And drag both of these now way back to about 20 frames or so.
So now, what happens is the clip dissolves away very quickly. We're going to be adding some Opacity to this as well, but I think that's just to what we want. So now, let's set the blending mode to Overlay and it's going to interact with the footage below it and that's a little too intense, so let's adjust the Opacity down just a bit as our starting point. So, I hit T on the keyboard and adjust it down about maybe 80% or so, and then back up in time to time zero.
We're going to keyframe this Opacity over the first 20 frames or so of the shot. So, all I've to set a keyframe for Opacity at time zero and then drag it forward to about the one second mark and then have this dissolve away to nothing. So now, it's going to start off very intense and then disappear over the first 25 frames or so, leaving us with just sort of a general bubble motion. The next thing I'd like to do is to add some bubbles that give the camera the illusion that it's being dropped into the water.
So, it's going to rise up with the camera, these bubbles are. In the water footage, I have this great rising stock. These guys are traveling up and, they're just sort of rising up through the frame. Let's double-click on this rising_ iStock and bring it up in the Footage window. And these are going to give our camera a great sense of motion, so that it feels as if it's been dropped into the water. Let's go back to the composition and drag in the rising footage into the window and now, as we scrub through that, you can see the bubbles are just rising up to the frame.
We don't really need to time remap this or anything like that. We're just going to adjust the Opacity a little bit. But before we do that, let's set the blending mode and we're going to use Overlay once again. And with an Overlay, we really want these bubbles to be gone somewhere around the two second mark, just before the shark goes out. But they're a little too strong right now. If I let go, you can see how intense they are on top of the frames. Let's adjust the Opacity down a little bit so I hit T on the keyboard and bring the Opacity down to like maybe 20% or so. There we go, feels a lot better.
Now, we're going to keyframe that Opacity. So, at about frame 10 or so, let's set a keyframe for Opacity at 20%, and then about just before the shark comes out render around where the shark comes out, let's set the Opacity down to zero. So now, over the course of that frame, our bubbles, our rising bubbles disappear. You can see they're gone by that time. Now, I also want to set some keyframes for this, but before I do, let's scale that up. I'll hit S on the keyboard to bring up the Scale option and scale it up a little bit.
This gives me some room to move this around. Let's back that composition a little bit. I hit the Comma button on the keyboard and now I'm going to set a keyframe for the position. So, let's scale up just a little bit more, there we go. At time zero, let's set a keyframe for this, these bubbles, about here. Notice I dragged them down so the top edge was even with the top edge of the frame. And now I'll set up keyframe for position, P on the keyboard and click on the stopwatch. And then I'll move forward in time, and have these guys animate up into frame about here, and then I'll hold down the Shift key so they move straight up to the frame and animate them just to the edge of the frame, so they don't ever cross over again.
So now, they animate up along with the camera and it gives it a little more sense of motion. So, we've got all our bubble elements, we've got our shark, and our Shark Zone on our reflective floor. Let's do a RAM Preview, and see what it looks like. Before I do that, I'm going to do a File > Save As, and call this 11_06_working and then activate the RAM Preview by hitting zero on the numeric keypad. You can see our shark, our camera drops right into the frame, and the bubbles go away and we're left with those general sort of movement bubbles in the background.
Excellent! I think that looks great. With the composting our shark zone hero shot complete, now we can move on with the rest of the shots.
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