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By Rob Garrott | Wednesday, April 04, 2012

After Effects and CINEMA 4D: Styling animation to communicate emotion

Animation has a way of connecting with a viewer that is very different than a still image. The power of a still image or illustration lies in its composition and content. Animation on the other hand, adds timing and movement into the mix, and these elements are an important tool you can use to communicate with your audience.

The speed and direction that your graphic elements move in tell your viewer information that adds to the overall content and composition of your piece. If your object moves quickly and comes to a sudden stop, then, that could be combined with a dark, intense composition to communicate a sense of drama and action. Smooth, fluid movements could work well for romance, or even a somber mood. Sharp, punchy moves are great for comedy.

This kind of subtle animation is all about control. Both After Effects and CINEMA 4D have excellent graph editors that will allow you to really express emotion through your animation. If you’re interested in learning more about this topic, check out this week’s Design in Motion tutorial titled Styling animation to communicate emotion (embedded up top), then check out my CINEMA 4D R12 Essential Training course, or After Effects Apprentice 03 by Chris and Trish Meyer. Both courses have chapters that go into detail about controlling your animation with curves.

Interested in more? • The complete Design in Motion weekly series on lynda.com • All video courses on lynda.com • All courses on After Effects and CINEMA 4D on lynda.com • Courses by Rob Garrott on lynda.com

Suggested courses to watch next:After Effects Apprentice 12: Tracking and KeyingAfter Effects CS5.5 New FeaturesAfter Effects CS5 Essential TrainingCINEMA 4D: Rendering Motion Graphics for After Effects

By Rob Garrott | Wednesday, March 21, 2012

After Effects 2D tracking basics

The tracking tools in After Effects allow you to select a spot in a video clip, lock onto it, and then use that movement for effects and compositing. This week on Design in Motion, we’re going to take a look at 2D tracking, a tool that gives you position information for elements moving on X and Y—or left right (X), up down (Y).

Tracking this kind of movement in clips is often the first step in the effects process, and the information it generates can be used to place elements into the footage to match camera movement. 2D tracking information could also be used to drive a particle effect that adds “magic” to the end of a magic wand. Today we are going to specifically work on selecting a spot in a video clip, inserting a piece of type into a piece of video footage, and having the inserted type stick to the motion of the spot we selected to track.

When you’re ready to do a 2D track you need to ask a few questions: What do I want to accomplish with the track? Is the object or spot I’m trying to track moving or is it moving and rotating? Another important question is whether or not your feature is moving in Z space as well. If your feature is moving in Z space, then you’re going to need a different type of tracking and tracking tool that we’ll dive into in a future edition of Design in Motion.

2D tracking is an important part of many visual effects and compositing workflows. If you’re interested in learning more about the tracking tools in After Effects, watch After Effects Apprentice 12: Tracking and Keying, from Chris and Trish Meyer. If you’re specifically interested in learning more about how to stabilize jerky handheld video footage, check out After Effects CS5.5 New Creative Techniques, also from Chris and Trish Meyer, to learn more about a great new tool called the Warp Stabilizer. Chris and Trish Meyer will help you become a tracking master!

Design in Motion is a weekly series of creative techniques featuring short projects using After Effects and CINEMA 4D. Taught by motion graphics expert Rob Garrott, the course covers how color correction, expressions, rendering type, lighting, and animation are used in each program, and the topics are updated weekly. Using these tips and tricks, motion graphics designers will find designing to be a more efficient process. Exercise files are included with the course.

Interested in more? • The complete Design in Motion weekly series on lynda.com • All video courses on lynda.com • All courses on After Effects • Courses by Rob Garrott on lynda.com

Suggested courses to watch next:After Effects Apprentice 12: Tracking and KeyingAfter Effects CS5.5 New FeaturesAfter Effects CS5 Essential TrainingCINEMA 4D: Rendering Motion Graphics for After Effects

By Rob Garrott | Wednesday, March 07, 2012

Using After Effects blend modes to stencil text and create color effects

Blending modes in Photoshop and After Effects are often taken for granted, but neither application started out with these features. When blend modes were introduced into After Effects around Version 3, they literally blew my mind. The idea that you could mix still images together had been long established in Photoshop, and the thought of being able to do that with animation and video was incredible.

Flash forward to the present and blend modes are incredibly well documented, but even with all this documentation, I’m often asked “what can I do with them?” In this week’s edition of Design in Motion, I’ll show you some of my favorite blend modes and how you can use them for type effects and color correction.

After watching this, if you’re ready to learn a lot more, After Effects Apprentice 04: Layer Control from Chris and Trish Meyer is filled with tips and ideas on how to get the most out of blend modes in After Effects.

Don’t forget that you can also watch Photoshop courses on lynda.com, and the blend mode information there directly translates to After Effects.

Interested in more? • The full Design in Motion series on lynda.com • All video courses on lynda.com • All courses on After Effects • Courses by Chris Meyer on lynda.com

Suggested courses to watch next:After Effects CS5.5 New FeaturesAfter Effects Apprentice 04: Layer ControlAfter Effects CS5 Essential TrainingCINEMA 4D: Rendering Motion Graphics for After Effects

By Rob Garrott | Wednesday, February 22, 2012

Shading type with gradients in CINEMA 4D

Often times creating type is the bread and butter for motion graphics artists. But like plain old bread and butter, it can get a bit stale. When that happens, gradients are a great way to freshen up your stale type.

A gradient is simply a transition from one value to another. This can be from one color to another, or from light to dark. When used properly, gradients can be used to pump up the legibility of your type, and to make the text really leap off the screen.

Using gradients on text in CINEMA 4D boils down to understanding how textures are applied to objects. This can be a difficult concept to understand, but it’s crucial to getting control of the look and feel of your objects in 3-D. There are three main tools that help you manage the projection of textures on to the surfaces of 3-D objects: The Texture Tag, the Texture Tool, and an often overlooked command in the object manager called Fit To Object. These three elements will give you tremendous control over how your objects appear to the viewer.

For more on this, check out CINEMA 4D R12 Essential training. Chapter six has some great movies on creating and manipulating textures.

Interested in more? • The fullDesign in Motion series on lynda.com • All 3D + animation courses on lynda.com • All by Rob Garrott on lynda.com

Suggested courses to watch next:CINEMA 4D R12 Essential TrainingCINEMA 4D: Rendering Motion Graphics for After EffectsAfter Effects CS5 Essential TrainingCINEMA 4D and After Effects Integration

By Rob Garrott | Wednesday, February 08, 2012

Using dynamic simulations to create animated type in CINEMA 4D

The idea of dynamic simulations has gotten a lot of attention lately. Dynamics allow an animator to create very realistic motion and collisions with objects without using key frames. Nearly every 3-D software package has some kind of module dedicated to this. That being said, dynamics can be somewhat unpredictable by nature, so they’re not entirely flawless. Similar to setting up a stack of dominoes or a Rube Goldberg machine, dynamic simulations just don’t always give you what you expected. This can make them very challenging to use in production, and it often has designers and animators asking themselves what exactly it is they can do with dynamics. With so much unpredictability, what problems can they solve?

The answer is, really, quite a lot! Dynamics can be great addition to your tool kit if you’re willing to accept a bit of unpredictability in your animations. In this short project I’ll show you how to use dynamics to animate some text being knocked over. Using key frames, this kind of animation would be very time consuming, and it would be even harder to make it look convincing. Luckily, CINEMA 4D’s dynamics engine is really easy to use, and allows you to apply these techniques to a variety of different projects.

For more on the important basics of using the CINEMA 4D dynamics engine, check out chapter 14 of my CINEMA 4D R12 Essential Training course.

Interested in more? • The fullDesign in Motion series on lynda.com • All 3D + animation courses on lynda.com • All by Rob Garrott on lynda.com

Suggested courses to watch next:CINEMA 4D R12 Essential TrainingCINEMA 4D: Rendering Motion Graphics for After EffectsAfter Effects CS5 Essential TrainingCINEMA 4D and After Effects Integration

By Rob Garrott | Wednesday, January 25, 2012

CINEMA 4D logo lighting and texturing basics

A lot of folks get started in motion graphics creating 3D logos and logo animations. It’s how I got started all those years ago. When I look back on that animation now, I cringe. The clients loved it, but the lighting was terrible. Luckily, I’ve learned a lot since then, and in this week’s Design in Motion, I’ll share some key logo-lighting tips with you.

First and foremost is the idea of lighting through the camera. The 3D world is based entirely on the idea of perspective, and the only valid perspective is the angle that your artwork will be viewed from. That view is your render camera. Positioning your lights from the angle of the render camera ensures that you are only adding information that your viewers will actually see. This will take all the guesswork out of the process, and make it faster and more efficient.

The second step is to create an environment for your reflective logos to help give them a textured, dynamic look that can make them feel like they’re moving even when they’re not. Remember, the standard 3D space that surrounds your logo is just black, so even if you turn the reflection up past 100 percent, if there isn’t anything there to reflect, your logos will look dull and lifeless. Use the Material Manager and the Luminance channel to start creating an environment sphere for your logo, then you can apply and edit gradients to tweak your environment to your liking. Once you have your environment surrounding your object and texturing your logo just how you want it, it’s important to remember to apply a Compositing tag, which allows you to show only the transparency, reflection, and refraction of your environment sphere to the render camera—not the environment sphere itself.

Lastly, the color of your reflections has a big impact on the look and feel of your surfaces. The default color values for reflections in CINEMA 4D are white, and that’s just fine if you’re creating something like white enamel or tiles. But, if you’re making a gold surface, then a white reflection will make your logo feel washed out. By coloring your reflections to match your surface color, your logos will have a richness and saturation that really makes them pop off the screen.

For more on how CINEMA 4D works with lights and textures, I recommend checking out chapters six and seven of myCINEMA 4D R12 Essential Training course next.

Interested in more? • The fullDesign in Motion series on lynda.com • All 3D + animation courses on lynda.com • All by Rob Garrott on lynda.com

Suggested courses to watch next:CINEMA 4D R12 Essential TrainingCINEMA 4D: Rendering Motion Graphics for After EffectsAfter Effects CS5 Essential TrainingCINEMA 4D and After Effects Integration

By Rob Garrott | Wednesday, January 11, 2012

Polygon modeling a simple object in CINEMA 4D

It’s easy for motion graphics artists to neglect their modeling skills. Websites like Turbosquid, and the wide availability of amazing model libraries mean that a lot of artists can go for a long time without ever modeling anything from scratch. But what happens when a job or client comes along that requires a specific model that you can’t find? Don’t panic! The polygon modeling tools in CINEMA 4D are helpful and easy to use.

Points, Edges, and Polygons are the basic building blocks of all objects in the 3D world. Everything from a simple sphere to a photo-realistic model of a T-Rex are made of these elemental parts. This week on Design in Motion, I’ll show you how to build and animate a simple model of a paper airplane to use as a prop in a logo animation.

For those more advanced modelers who have mastered the CINEMA 4D Essential Training course, I recommend taking your animation skills to the next level with CINEMA 4D: Designing a Promo to learn how to take a 15-second promotional video from concept to on-screen animation, and into final rendering and compositing.

Interested in more? • The full Design in Motion series on lynda.com • The full CINEMA 4D: Designing a Promo course on lynda.com • All 3D + animation courses on lynda.com • All by Rob Garrott on lynda.com

Suggested courses to watch next:CINEMA 4D R12 Essential TrainingCINEMA 4D: Rendering Motion Graphics for After EffectsAfter Effects CS5 Essential TrainingCINEMA 4D and After Effects Integration

By Rob Garrott | Tuesday, December 27, 2011

Using After Effects as a titler for Adobe Premiere Pro

Adobe Premiere Pro has a robust titler built in, including the ability to create title rolls and crawls. However, Adobe After Effects has even more advanced tools, including hundreds of Animation Presets for type, Shape Layers (to build additional graphic elements such as lower third bars), and a combination of Layer Styles and Effects to further enhance the final look. If you have either the Production Premium or Master Collection suites, Premiere Pro and After Effects can talk to each other using Adobe Dynamic Link, which makes this process more fluid. In this course instructor Chris Meyer explains the general process of using After Effects to create refined lower thirds for Premiere Pro, including sharing some After Effects design ideas. Although this course is aimed at intermediate Premiere Pro users who have some After Effects experience, beginning After Effects users will also find this course to be full of useful tips, exposing them to numerous areas of the program.

Interested in more? • The full Premiere Pro and After Effects: Creating Title Graphics course • All 3D + animation courses on lynda.com • All courses on After Effects • Courses by Chris Meyer on lynda.com

Suggested courses to watch next:After Effects CS5.5 New FeaturesAfter Effects Apprentice 04: Layer ControlAfter Effects CS5 Essential TrainingCINEMA 4D: Rendering Motion Graphics for After Effects

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