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The intro shot: Compositing in stock video footage to add character

From: CINEMA 4D: Designing a Promo

Video: The intro shot: Compositing in stock video footage to add character

Shot 1 is looking pretty cool but we still have a little bit more character to add to this. Let's start by adding some bubble movement. The Fractal Noise gives a very large sort of movement to the water. But we want to add a little more subtle detail. Ocean water has a lot of like plankton and all kinds of particular matter that is moving through the water and a really nice bubble image would give us that movement that we are looking for. We happen to have one provided by iStockphoto. We're going to go into the Audio- Video folder, and drag into the composition. Twirl that closed.

The intro shot: Compositing in stock video footage to add character

Shot 1 is looking pretty cool but we still have a little bit more character to add to this. Let's start by adding some bubble movement. The Fractal Noise gives a very large sort of movement to the water. But we want to add a little more subtle detail. Ocean water has a lot of like plankton and all kinds of particular matter that is moving through the water and a really nice bubble image would give us that movement that we are looking for. We happen to have one provided by iStockphoto. We're going to go into the Audio- Video folder, and drag into the composition. Twirl that closed.

Let's actually give ourselves a little bit more room to work here. In the WATER FOOTAGE folder we are going to use the tiny_bubbles. I am going to drag tiny_bubbles into my composition and place it right below the grain. Actually, I'll place it below the Fractal Noise and above the RGB shot. You can see tiny_bubbles is moving through the scene. Let's double-click on that so we can see what that actually looks like and tiny_bubbles is really just a sort of general watery movement. You can see it has a beautiful flowing pattern to it that is really difficult to duplicate with a Particle Emitter.

So we are going to use this to our advantage. I think the worst part of this movie looks the best and so we can leave-- in Composition: shot-001, let's move to the beginning here. You can see that it's moving through the frame really nice. Now, it's covering everything up. So let's now change the blending mode for it. I am going to change the blending mode to Overlay, and there it is. You can see now it's sitting on top of the footage and interacting with that footage. Now, it's a little too heavy.

So let's adjust the Opacity down. I'll hit T on the keyboard to bring up the Opacity for that layer, and let's bring this down to about 10%. See how that looks. There we go. You can see now when I scrub through the shot, there is just a general sense of tiny movement sitting on top of the frame, and it really adds a lot of character and personality to this water and makes it feel a lot more realistic. Now, the next thing we like to do is draw a little bit of more attention to the center of the frame and a technique I like to use is called a darkening layer.

The eye tends to wander around this frame, because there isn't really a solid thing to look at. We are going to be adding type to the very center of the frame and so I want people to focus on the center of the frame. So we'll add a solid layer with a soft edged mask that will kind of darken out the outer edges of the image and draw our eye towards the center of the frame. Let's go to the Layer menu, and do a new solid and this time we'll make the solid black. Let's call it More Darker which I know isn't grammatically correct, but it works for this purpose.

So I'll add that layer, and it's going to sit on top of everything. So now it's completely covering everything up. So let's add a mask to this. I am going to hit G on the keyboard, which brings up my Pen tool, and I am going to change it to RotoBezier mode. That's going to allow me to draw a very smooth flowing mask on this layer. Let's start drawing. I am just going to loosely trace out a mask and you don't have to be real precise with this because we can always go back and tweak it later on. So I'll just close that one up right there.

You can see the RotoBezier makes very smooth flowing shapes and it's very easy to create a sort of amoeba like outline here that will work well for our purpose. Now, we don't want the black to be on the inside, we want the black to be on the outside. So we are going to invert this mask. So on the More Darker layer, I'll hit the letter M which brings up the Mask properties, and I am going to check the Inverted box. That's going to invert my mask. Now, I can adjust the Feathering. If I twirl the mask open and closed, I can see all the options for the mask and the Feather options, if I scrub those to the right, let's bring those to about...

I don't know. 200 or so. Maybe about 150 actually I think will work well. You can see that edge got really soft. Now, we can adjust the Opacity of the whole layer, and because I don't want the outer edges to be completely black. I just want them to be a little bit darker and to have it be a little more subtle so that our eye is just drawn to the center of the frame without noticing that darkness on the side. So if I hit the letter T on the keyboard to bring up the Opacity and let's dial it down a bit. There we go. About in the 30% range or so. Maybe a little bit darker, 40%.

Let's set the blending mode from Normal to Multiply which will help it interact with the footage a little bit better. Excellent! Now, when I scrub through, you can see-- Let's turn that off and on, so you can see the effect that it had. That's without the More Darker layer, and that's with the More Darker layer. You can see that it really helps to draw your eye towards the center of the screen and that's really the whole purpose. With the darkening and the character added to our frame now, we're ready to move on to the type elements that are going to go along with the voiceover.

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This video is part of

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

70 video lessons · 13545 viewers

Rob Garrott
Author

 
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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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