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CINEMA 4D: Designing a Promo

The hero shot: Using stock video footage to add character


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CINEMA 4D: Designing a Promo

with Rob Garrott

Video: The hero shot: Using stock video footage to add character

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.
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  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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CINEMA 4D: Designing a Promo
7h 0m Intermediate Jun 30, 2010

Viewers: in countries Watching now:

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.

Topics include:
  • Project planning, covering the scripting and initial drawings
  • Using hand-drawn artwork in After Effects to time the animation
  • Creating text and logo elements
  • Animating the camera
  • Organic modeling techniques
  • Rigging models for animating
  • Fine-tuning animation timing
  • Adding realistic textures
  • Lighting and shading techniques
  • Rendering and compositing a finished animation
Subjects:
3D + Animation Video Compositing Projects Visual Effects
Software:
CINEMA 4D
Author:
Rob Garrott

The hero shot: Using stock video footage to add character

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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