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Animating nontraditional elements

From: MODO 501 Essential Training

Video: Animating nontraditional elements

One of the things I've been doing in 3D for many, many years is animating things that normally you wouldn't think to animate, and in this case, I'm going to animate a texture in modo. Obviously, we can animate cameras, and we can animate motions. I've showed you earlier how we can animate the camera zoom alone just to create a little bit more interest. But there is a lot of time you might not think about actually animating the texture. Why would you do that? Well, I've done it for animated cells as a background image. You can do it as an element that you're going to drop back in over a video edit and you're going to put graphics on top of it just for design elements--all kinds of things like that.

Animating nontraditional elements

One of the things I've been doing in 3D for many, many years is animating things that normally you wouldn't think to animate, and in this case, I'm going to animate a texture in modo. Obviously, we can animate cameras, and we can animate motions. I've showed you earlier how we can animate the camera zoom alone just to create a little bit more interest. But there is a lot of time you might not think about actually animating the texture. Why would you do that? Well, I've done it for animated cells as a background image. You can do it as an element that you're going to drop back in over a video edit and you're going to put graphics on top of it just for design elements--all kinds of things like that.

So what I have set up here, very simply, is a flat board and on that board is a base color, which doesn't really matter, because we're overriding it with a Marble Noise. This is added as a Enhance modo Texture from the Noise category. And what we're going to do with this is simply just animate this value. And how do you do that? Well, again, anytime you see these little dots that means one of those values can be animated. So I'm going to pull all this up so you can see everything. What we have here is just this base color of brown and the top color as beige.

Now if you just simply click on some of these and drag, you can actually see that preview render start to change. And I'm going to put the Ray GL, might be able to see it a little better in here. What's happening is that I'm actually just animating this value. Here I'm just of course clipping it away. So that's kind of a neat thing. I've used this. I had a project for The American Dental Association a number of years ago, and we had to animate plaque building on. So in combination with some other techniques, just adding on this value looked like the plaque was appearing on the teeth, so kind of keep that in mind--and you would just set a keyframe for that.

But in this case what I want to do is play with some of the frequency, and what I'm going to do is just bring this Frequency down to about 1. And we're going to be at frame 0 like this, and we're going to hit the little button right here and that's creates a keyframe for this value, sets it to 1 at frame 0. And then at frame 120, we're just going to drag our Timeline over to 120, and then we're going to drag the Frequency up, and then over time that value is now animated.

Now you can do all kinds of things with this. You can change the Noise Seed if you want. And what the Noise Seed will do, it will just push that around, just move it all around, almost like it's swimming. Now you take that to the next level by taking the camera, and let's open this up. Let's take the camera itself right here, and that's at frame 0, and we're going to press the Y command for the camera. Notice when I do that that the timelines blanks out, because that's suddenly activated the Position and Rotation channels. And then if I'll hit Shift+Y, I incidentally create a keyframe for all of that.

Then I'm just going to push the camera in just a little bit up here in the Perspective view, okay, and that's going to adjust those keyframes. And then at 120 I want this to actually just kind of come out a little bit, and we're just going to rotate it on the bank, just a little bit. So my final animation will actually see these textures just kind of swimming around, and then the camera's pulling out as you see that, almost very scientific like. So we'll come back and we'll render this out, so you can actually see, #1, how to set up a render, but #2, how that final render looks.

So this scene is called non-traditional, and you can call that up and take a look and adjust it yourself. One last thing I'm going to do for this Marble Noise is adjust the Noise Seed. I'm going to animate that as well. So again at 0, the Noise Seed I'm going to set to 250, like this, and I'm also going to adjust my Frequency to about 3, just like that, just so it's not so streaky. And then we're going to go back to 120, and I'm going to adjust the Frequency back to 6, and the Noise, we're going to double to 500.

And that way it still looks the same at our first frame and our last frame. We don't want to adjust it so much that the texture actually looks different; we just want to move it around--and that's all we did by changing the Noise and the Frequency. So when it comes to animating in modo, don't just think of actual motions; think of values, think of lights, think of textures, think of colors that you can keyframe every one of those and make a much more dynamic animation.

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This video is part of

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MODO 501 Essential Training

80 video lessons · 4615 viewers

Dan Ablan
Author

 
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  1. 2m 21s
    1. Welcome
      55s
    2. Using the exercise files
      1m 26s
  2. 42m 37s
    1. Understanding the interface
      4m 30s
    2. Understanding the workplane
      5m 7s
    3. Understanding Action Centers
      4m 12s
    4. Working with the modeling tools
      5m 10s
    5. Understanding surfaces
      7m 12s
    6. Selecting elements
      7m 33s
    7. Understanding the elements of a 3D model
      4m 3s
    8. Understanding symmetry
      4m 50s
  3. 1h 2m
    1. Building a model
      8m 56s
    2. Editing geometry
      10m 39s
    3. Controlling geometry
      10m 31s
    4. Bending geometry
      6m 42s
    5. Adding detail with edges
      5m 37s
    6. Editing polygons
      10m 27s
    7. Extending polygons
      9m 34s
  4. 42m 53s
    1. Understanding subdivisions
      3m 49s
    2. Understanding Pixar-based subdivisions
      2m 48s
    3. Creating a basic model
      7m 51s
    4. Beveling with subdivisions
      6m 6s
    5. Adding detail to models
      8m 54s
    6. Deforming and shaping objects
      7m 48s
    7. Cloning
      5m 37s
  5. 49m 32s
    1. Creating with Radial Sweep
      4m 44s
    2. Working with text
      8m 40s
    3. Understanding replicators
      7m 22s
    4. Instancing objects
      7m 0s
    5. Working with Curve Clone
      4m 36s
    6. Working with Curve Extrude
      2m 25s
    7. Modeling with Array
      8m 50s
    8. Understanding Mesh Paint
      5m 55s
  6. 1h 4m
    1. Introducing the Shader Tree
      4m 32s
    2. Exploring layer-based shading
      4m 29s
    3. Creating surfaces for polygons
      7m 41s
    4. Editing surfaces
      7m 4s
    5. Applying procedural textures
      7m 38s
    6. Applying image-mapped textures
      6m 2s
    7. Working with transparent images
      5m 48s
    8. Adding bump maps for realism
      8m 49s
    9. Enhancing surfaces with specularity and glossiness maps
      3m 25s
    10. Creating a reflective surface
      3m 27s
    11. Working in glass
      5m 28s
  7. 39m 9s
    1. Building 3D scenes
      2m 49s
    2. Working with different light types
      8m 26s
    3. Lighting a 3D scene
      12m 51s
    4. Reflecting light
      5m 23s
    5. Lighting environments for realism
      4m 18s
    6. Blending light sources
      5m 22s
  8. 21m 1s
    1. Understanding the MODO 501 camera
      5m 39s
    2. Setting up a camera
      5m 42s
    3. Placing multiple cameras
      7m 11s
    4. Animating cameras
      2m 29s
  9. 29m 58s
    1. Understanding the timeline
      7m 16s
    2. Adding and controlling keyframes
      3m 22s
    3. Fine-tuning keyframes in the Graph Editor
      6m 17s
    4. Animating nontraditional elements
      4m 31s
    5. Animating colors
      4m 39s
    6. Animating displacement maps
      3m 53s
  10. 13m 57s
    1. Working with Hair Guides
      3m 18s
    2. Creating human hair
      4m 7s
    3. Creating the hair's surface
      1m 30s
    4. Generating animal hair
      1m 48s
    5. Building enhanced hair textures
      3m 14s
  11. 26m 21s
    1. Working with the painting tools
      6m 14s
    2. Painting on multiple layers
      9m 37s
    3. Sculpting models
      5m 45s
    4. Tweaking and finishing with the sculpting tools
      4m 45s
  12. 25m 56s
    1. Working with the Schematic interface
      1m 20s
    2. Understanding channels
      4m 9s
    3. Building a channel-based animation
      5m 51s
    4. Creating a schematic network
      6m 26s
    5. Setting up inverse kinematics
      4m 29s
    6. Adding the finishing touches on schematic rigs
      3m 41s
  13. 26m 47s
    1. Understanding resolutions and rendering
      12m 43s
    2. Setting up a render project
      4m 51s
    3. Rendering to movie files vs. image sequences
      9m 13s
  14. 3m 23s
    1. Exporting an object
      1m 2s
    2. Exporting a full scene for backup
      2m 21s
  15. 2m 2s
    1. Next steps
      2m 2s

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