Animating Blood Flow in a Vessel with C4D | Travis Vermilye | Skillshare

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Animating Blood Flow in a Vessel with C4D

teacher avatar Travis Vermilye, Digital Media Artist

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

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Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

14 Lessons (1h 34m)
    • 1. 1

      0:48
    • 2. Modeling the Environment

      5:55
    • 3. Creating the Cell Field

      6:00
    • 4. Modeling the Vessels

      8:14
    • 5. Modeling the Red Blood Cells

      12:30
    • 6. Animating the RBCs Part 1

      9:46
    • 7. Animating the RBCs Part 2

      5:30
    • 8. Lighting the Scene with ProRender Preview

      11:09
    • 9. Creating Textures / Materials

      8:32
    • 10. Making Some Refinements

      8:31
    • 11. Rendering the Scenes

      4:38
    • 12. Compositing in After Effects

      11:29
    • 13. 13

      0:40
    • 14. 14

      0:20
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About This Class

In this class, we'll walk step-by-step through creating a short 5-second clip of blood cells flowing down a blood vessel in a cellular environment using Cinema 4D, the built-in ProRender, and some compositing in Adobe After Effects.

We'll cover modeling, texturing, lighting, animating, rendering, and compositing.

This class is designed for intermediate users, but If you're new to Cinema 4D, you should still be able to follow along. I'll describe how some features work, such as the ProRender and MoGraph, as I go.

Take a look at what you'll be making!

Meet Your Teacher

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Travis Vermilye

Digital Media Artist

Teacher

Hello! I’m a digital media artist, professor of design and illustration, biomedical illustrator and animator, coffee enthusiast, fly fisherman, hiker, biker, and a bunch of other things - but I digress.

I’ve gone through some different phases on Skillshare to try and figure out just what kind of classes I want to make for y’all. I focused on biomedical animation (3D Motion BioLab), beginner classes in Cinema 4D (ABC4D) and now I’m creating more general motion design and art-related classes. This may seem a little fractured to some, but I’ve decided it fits me perfectly. I’m always trying something new, growing tired of it after a bit, and learning new techniques to get me energized again.

I am a Gemini after all. 

:)<... See full profile

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Transcripts

1. 1: Welcome back to the three D motion by a lamb. My name is Travis Familia. I'm a medical illustrator and animator and visual artist. Today we're going to be animating blood cells down a blood vessel within a cellular environment. Well, do this using Cinema four D, and we'll be using McGrath extensively. We'll also be using physically based materials and lights and taking advantage of the relatively new pro render within Cinema 40. This class is designed for intermediate users of Cinema four D, but I think new users, if you follow along carefully, should be able to do just fine see you in the lab. 2. Modeling the Environment: Okay, so here we are in cinema four D, and let's get started building our environment for our blood flow scene. So to start off by creating a landscape object landscape object allows you to create a landscape, and you can change the scale of things. The taller it is in the white to mention them or sort of peaks you're going to have. And I want to find something that's a little bit softer in this. So I'm gonna change the seed value that's gonna change the way it's generating the landscape. I want something. Just has a couple of bends in it, Maybe something like this. So I like the way that that is looking, uh, I think what I'm gonna do now is decide which angle I want to work in. And I was kind of like to keep my Vieux port in the X y dimension with Z going backwards. And so what I think I'm gonna do is rotate this, um, 180 degrees eso by rotating that 180 degrees. I've got this little bump over here that I wanted to have in my scene I met. Allow me to create the environment that I want to create. One of the thing to keep in mind is how maney subdivisions you have, right? So with segments right now set to 100 you want to see what that really means? You can hit N B or go up to your display and hit Gerard shading with lines. And that will tell me how maney polygons this is being made from right now. I think I'm just gonna leave it where it is. I'm gonna go ahead and hit an A and go back to where we were again. Let's go ahead and bend this a little bit So I'm gonna use a bend modifier. I'm gonna make the child of one of landscape object Now Bend modifier works in the wide to mention so things are always arranged in the X y Z coordinate system. Um, and what I want to do is make sure that the UAE dimension is facing backwards or in the Z instead. So just to show you what I mean, if I modify, the strength here is going to do this right, So it's bending it along the y axis, and that's not what I want. I want it to bend along the Z axis. For me to be able to do that, I need to rotate my bend modifier, hold down, shift minus 90 degrees, and now I can rotate it. All right. I can rotate it along that excess. I'm gonna have to rotate it to the left as well. And that's what I'm looking for. So I want to just be able to rotate that curve up. I could have also just adjusted the angle so this angle controls which dimension it's bending in. One of the thing that's really nice with this object is that you can hit this fit to parent , if it's apparent, automatically scales it to whatever object you're having is a child of. So I could increase this value if I decrease the um why dimension that will make the curve sharper. I'm getting more like a photography studio sort of set up right now. That's kind of what I wanted when you go ahead and click on this, keep y axis as well, and that will keep it from distorting things. And so I'm just going to move the bend modifier backwards a little bit more. I think I want to make it a little more subtle, so I just make that a little bit bigger in the Why. So it's a subtle, more subtle curve upwards. So what this is doing is it's giving us a way to frame are shot. So now if I zoom in and place a camera, I'm gonna be able to place that camera in such a way that allows me to see the scene in the background without cutting anything off. I might want to curve up the edges as well, and so I'll show you a quick way to t to do that. I could actually just place a couple of more Ben modifiers in there, and I think that's what the way I'll do it, some of the control drag one down as well. We'll call this back curved. I think it's very important to always think about labeling things as you make them. It'll keep your seems making more sense as you're working. And so I'm gonna rotate this one in 90 degrees, and I'm just gonna pull it out a little bit about halfway I'm gonna control drag this one again. I'm gonna rotate it 90 degrees the other direction for 180 degrees, the other direction. And then I'm going to it. The opposite directions that those two Ben thought meant bend modifier sort of meat in the middle. So if I turn off this top one, just uncheck it briefly. These two together are creating this sort of half pipe sort of look, and in this top one is creating the back curve. Now, I can use these to selected at the same time and sort of rotate them down. If I wanted to straighten out that shape a little more, which I kind of do not given myself sort of a valley to work within, so that when I'm forming my shot, I can stick within that valley, and I've gotta It almost feels like we're on the moon or something like that. But now I can easily zoom into an area right here. I know nothing is going to get exposed in the background. So that's the basic, um, arrangement for the environment. The next thing I'm gonna do is is in the next video, we'll create the cellular surface. It's gonna fit on top of that environment 3. Creating the Cell Field: number. We've got our environment, at least the base for environment in the scene. Let's go ahead and put in a cellular component so we want to make. But we're basically going to do is use McGrath to populate cell on the surface of this landscape object. And I'm going to try to keep everything Parametric as we go, meaning will always be able to come back and modify and edit things. So we're gonna use monograph while I'm working. I don't like looking at all these modifier surfaces, so I'm just gonna hide them in the render or in the editor by double clicking this top little dot And now we've got a little bit cleaner of a view port to work in. Um, so let's go ahead and make our mo graph Kloner and I'm going to clone a sphere, and I'm gonna go ahead, put that sphere in the cloner, let me turn this sphere properties down a lot. So right now the radius is huge. I'm just gonna go ahead and make it 20 to start with. That's gonna be way too breaks on making 10 on the segments. I'm gonna turn down to eight and So we're going to get these sort of odd looking shapes that will smooth them out later on. And by keeping them small like this, low polygons are low. Number of polygons will be ableto function more quickly in our render editor. So I'm gonna tell my cloner objects to be an object. Kloner, maybe that the objects tab and I'm going to tell it to clone things to my landscape object . But right now it's set up to do distribution. On the surface, I mean, a change that I'm gonna say distribution on the Vertex. So for every vertex on this landscape object, it's going to create a sphere and that you can see it's creating a lot right now. And so what that tells me is I needed to make a decision. I can either make smaller spheres. I'm gonna have a really difficult time manipulating things in Cinema four D, because it's gonna get kind of chunky and slow. So what I'm actually going to do instead is come to my landscape object and do less segments. It's gonna reduce each of these 2 51st and see how that looks, so you can see that's already sped things up for me, and it's reduced that number of objects in my scene. So I'm just gonna get an idea for what my framing is gonna look like in my seen how these spheres will render as cells. I think they're a little large something. They go ahead and come into my sphere and move them down in size just a bit. Let's try eight. And that feels a little better to me. They're overlapping a little bit, but that's it's going to be okay for us. I think so. The next thing I want to do is give them just a little bit of a random ization so they don't feel so uniform and sort of man made. I'm gonna go into gonna make sure I've selected my cloner going, um, a graph defector choose a random effect, and that's gonna throw them all over the place. So the next thing we need to do now is come into the parameter of the random effect. Er, and just modify that. I'm gonna start off just hitting them all down to zero. I want to show you quickly just what they do so in the X dimension. If I change this. You see, they start to jiggle around a little bit in the X left and right. And if I do the same thing in the why they're going to go back and forth and Z is going to go up and down for whatever reason, I've never really quite figured this out in Mo graph the dimensions air swapped after you put a cloner object in there where Z and wire actually do the opposite thing. That that I feel like they should. So I'm gonna use why an X to control that movement. I think it's a little much if I do too much, I'm gonna have to make the spheres bigger again so that they overlap this trend. Nine. I'm trying to make sure that none of the landscape object is actually showing through. And just so we can get a better sense of what's actually happening here, what our final output is gonna be like, I'm gonna put this cloner object in a subdivision surface. It was gonna hold down, option or alter my keyboard and click that while it's selected, that's going to convert all of those junkies fears in the nice, smooth spheres. And so, in the subdivision surface, we've gotta render setting and an editor setting. I'm just going to turn my editor setting down to one. I can still manipulate my scene pretty easily and move things around without too much trouble. Um, I think that that is going to work for us. So I've got one ridge I can come over, zoom in and I could draw my vessels in, which is what we will do in the next scene. Actually, before we do that, I think I'm going to increase just slightly. My landscape objects segments to 60. It's gonna give me a few mawr and they'll be closer together. Let's try 50 and one, dimension 60 and the other. Now that's giving me a much more satisfying dimension, our appearance. So I feel like this feels a little bit less mechanical, more something that feels more organic and grown. So in the next segment next video, we're going to start working on our vessels 4. Modeling the Vessels: All right, let's work on adding in those vessels. And so I want to go back a couple steps to put the vessels in. So actually wanna turn off or hide my cells, Then I want to draw the vessels into this view. So I'm just gonna rotate around a little bit, Zoom out and I'm thinking about how do I want the vessels to be arranged on this scene? I want something to come up here and over this ridge and then after it comes into the Rose , um, and I have branches shoot off in different directions. Let's go back and look at our, uh, line view so we can see all the lines and we're gonna use pads to draw. I'm just gonna use the sketch mode. And while I'm doing this sketch mode, I want to use three d snap, come into my three d snap and make sure I enable that. And then I'm gonna select what I wanted to snap to. I don't want to snap. Vertex is I do want it to snap to spines. And I wanted to snap to Polyana. So what that's going to do is allow me to draw right on top of the surface and it's gonna click are basically it's going to connect itself to the surface as I'm drawing. So I've got a couple different views up here, so you should be able to see what's happening. Basically, just gonna do a free form draw of a path across the surface. This is where you get to practice your mousing skills using a tablet that might be really helpful. And as I let go, you can see that that spine is essentially following that path or that surface really closely. I'm gonna label this spine as main branch remain artery. I'm going to make a new spline object, and that one is going to be the branches. So after looking at this, maybe I'll zoom in a little bit so I can get a feeling for where that spines going through in space system coming through here, dipping behind that curve, going back up, kind of. I'm digging that, and so I'm going to come back out a little bit and start adding some more branches in little feed into my layout. Here, something's going to click. Drover, undo that one because I wanted to start right at that surface and come over. So I've spent some time looking at vessels. It's important to understand the nature of what you're creating and have some reference materials. So I'm just creating these branches that shoot off in different directions, keeping them on the placement of my landscape object and in connection with my spine's not just an important thing to understand about vessels. A lot of people try to make them taper, and they don't actually taper. All right, so what happens is every time they branch, the branches get smaller. But dimension, in terms of the circumference of the artery doesn't really change. You just have smaller and smaller branches. And so I'm just gonna have a main set of branches here, so we're gonna have ah, thick one, and these smaller ones will be a smaller size. That should give us a good base. What we're gonna do is create some tubes and those tubes they're gonna be wrapped around these supplies. So I turn off my three d snap now disabled a snap so that when I'm selecting things and living them around, they're not gonna act crazy. Um, but let's look at our spines here. We'll call this one branches. Then I'm gonna create a tube. I'm gonna make that tube move in the Z direction. We're going to make it a lot smaller. So I'm thinking about how big around do I want this to? To be the vessels to be? Yes. I'm gonna make the outer radius about 10. That feels appropriate. And I'm gonna make the inner radius nine, maybe eight. And so do I feel like this feels appropriate for the larger vessel in my scene. And I feel like it does right now. I can always change it in a moment. So what we're gonna do is use the splaying rap. So we're gonna go to our modifiers and find supplying rap. We're gonna make spline wrap a child of our tube, and we're going to tell this blind ramp to use the main artery spine. We're gonna tell it to use the Z direction because that's the direction we created our Tuvan. But his amount now you can see it's trying to wrap it around there, But there's a problem. And the problem is that this tube only has one division in the height. And so I have to go back into my tube settings and in height segments. I have to increase this. So if I increase it just by a couple, you can see it starts toe wrap around that tube now, so I won t increase it to a number that makes sense for what I'm trying to do. So to 50 seems to be a good number. And so now this tube is being bent. It'll along this, um spine. And it feels very much like an artery on the surface. I won't do that again. After labeled, this one was being artery tube. Go ahead and just hold down control and duplicate this one. I'm gonna call this branches to You're naming conventions unless you're working in an environment where you're not studio and have a lot of people that you're working with are really up to you. And for this one, all I really need to do is make a couple adjustments. I'm going to tell this blind rap to use my branches spine instead of that one. So already we've got our branches coming off and I want these to be a little bit smaller, so I'm going to come in and reduce this size down. Let's make our inner radius Six and our outer radius eight. And so these will be smaller branches. We may need to do some editing to some of those blinds here, but we'll see how it goes. So I just want to get a feel for how this is gonna look. I'm gonna zoom in a little bit and see what kind of a scene I might be developing what my shop might look like. Essentially, what we're going to do is just animate down this one larger branch, and the rest of these will be just kind of there and blurry in the background. So I think what I'm gonna do for my shot is gonna zoom into this area, sort of frame it like this little sea vessels coming in this thirds area of the of the frame. So in the next video, we'll go ahead and set the vessel up on the surface of the cells, and then we'll create a blood vessel or a blood cell that we will didn't start animating along that sporting 5. Modeling the Red Blood Cells: now, before we get too much further ahead into modeling the red blood cells, I just want to do a little bit of housekeeping. So I'm gonna continue labeling some of these things, but I know what they are. Call this Blanche Spring explained Rap, and I'll call this main explain ramp. Um labeled This says Sell field SD for subdivision. We'll call our cloner object the cell Kloner and we'll label this so going to go ahead and turn ourselves field on. Why? I'm checking both of the, um, disclosure buttons right there. And I want to get a sense for how this is looking. So let's raise the spines up in the air. So since the tube is tied to the spine, if I raise the spine up, it's gonna move the tubas. Well, I was gonna reposition that spine vertically so that now the vessels were kind of on the surface, a little more and a little bit of overlaps, OK, but I don't want them to overlap a ton. What's nice is because thes our spines, I can go back and edit them still. So if I feel like I don't like the way this is happening away. This is resting. I can change that. Um, now we're gonna be animating things along these spines, and it's important that the spines air set up in the correct way. Um, I know just from during some animation along explains in the past that busy is not a good option for how these air constructed. So I'm gonna change this to CUBIC. And I'm also gonna change from adaptive to natural. And I go ahead and change the natural interpolation to have more points and, like, 20 the uniform now and so after I've done that, I'm gonna have to make some adjustments to mine supply and son using the selection tool here wide selection to locate some of these this blind points And I'm just gonna move them a little bit in space on that will get rid of some of those kinks we were seeing. So I'm just grabbing that and using them moving in selection tools, reposition them slightly. This is also setting things up better for my animation later on, so that when I zoom into this area right here, I'm gonna be able to see mawr of the vessel. We're just gonna zoom out double check and see if I have any more of those kinks. I think the rest of them are looking OK, This isn't gonna be in our view, so I don't really care about that. Might want to move this one just down slightly. So it's not overlapping the way that it is. Those intersections really aren't gonna matter so much because they're gonna be in the background there, going to be blurry. Let's grab this one moving up and I think that will work. So it's nice that you can always come back and sort of modify things a little bit and adjust the look that you're getting. So now we've got our seen cleaned up, got things, label to make sure I'm saving things. And next thing I want to do is model are blood cell and I want to keep in mind the scale of the cells and the scale of the vessel. I want to make a red blood cell that makes sense. So let's say that these were end of Khelil cells or something like that, Um, of let's that will be considerably smaller than one of these eso. We need to model that cell that it so that it is like, I'm gonna start with a cube, just scale it down to about 10 by 10 by 10 and see how that feels. Move it over here. Um, and then instead of 10 by 10 by 10 minutes a 10 by three by 10. So I like the way that that cube feels in terms of the size. And instead of trying to model in this scene, I'm gonna actually cut this cube out of the scene. Command X, make a new file command and paste it and then option s like zoom in on this cell are on this cube on. I'm going to hit N b. So I'm seeing the lines, and I want to do some polygon editing. So if I want to edit the polygons, it needs to be inevitable objects. So we need to make it inedible, object or hit. See, on the keyboard. Now I can select these. So what I wanna do is select the top win moved to the bottom and shift click on the bottom one. I'm gonna do in inner bubbles, like, right, click and say, uh, it's inner extrude, so I'm not gonna click right on. I'm just gonna click over in space and try again, and it's just gonna create a new polygon on both sides. Let's rotate this one up so we see what's happening, the bottom at the same time that's going to create a new polling on on both sides. And then I'm going to use the extra tool, which is d or right click and extreme. So just click down to the left, clicking an open space, and I don't want them to overlap. It's gonna be close together, so this looks not like a cell at all. But as soon as I take this hold on option and put it in a subdivision surface Now we've got what really looks like. Uh, my red blood. So so you can continue to modify this if you like. I think overall, I would make the whole thing just a little less tall. Something hit command a select all these tea scale down slightly, making them a little bit more like that. So these will be in my red blood cells. I think it be nice to have a little bit of variations of the not all identical and So what I'm gonna do is I'm duplicate these something. I'm just making, like, five copies, and then I'm going to take all of these. I wanna I wanna modify the way they feel. Bend them around a little bit. So I'm just gonna put them all in a group had option G. And while they're in this group, I'm actually gonna put them in another group. No. Explain why in a moment. So I've got a group within a group and that contains all of my subdivision surfaces. Come in here to the, uh, just through the modifiers group. Sorry. And then she's my display, sir. Put that display, sir, of the child of this group that this displaces gonna affect everything in this group that is a child, right? So everything that's underneath this No, this display, sir, will be affecting. So that's why I set it up the way that I did. Um, for one thing I want to do is hold down command, and I'm just going to click all of these. I want to set these up to beef. Both identical. So right now it's subdividing too. And the editor and two in the granite er, renderers. And the reason I'm changing this is I'm gonna make thes edible in a moment. And when I do that, it uses the render or setting all the time. So just a zone example. I'll just do one. Let's move this one over to here. If I were to keep the render setting at three and hit, See, right now, it's gonna add polygons, right? Doesn't look like this one anymore. If I keep this at two and hit see, it makes it look exactly the way it does on the screen. So that's my reasoning for that. Well, I'm at this. I'm just gonna go ahead and reposition all of these a little bit so that there not touching each other. Great. So we get five of these not touching each other, and now I can use this displaced or tool to modify them. So 10 is gonna be a lot, but we'll work with that in a moment. Going to come into the shading section on our display, sir, and I'm going to choose noise and right off the bat, you can see that that is really deforming these guys way too much so that tells me. I probably need to work with my scale, and I need to make it bigger. So the more I'd change this, the more it's gonna modify these. Let's do something like this and come back to our objects tab and let's reduce this down on time. So it's just displacing them a lot. And that's why it was looking so awful and so shading back to that again. I want to change this from space from texture in the space Section two World, but that's going to do is it's gonna apply a display, sir, that is changing each of them individually, Innocenti based on their positions. So if I move these around, you'll see that they're moving through that texture and changing shape slightly. All right, so I can use this as a visual way to make some displacement, uh, and get the effect that I'm looking for. So if I'm looking to be more or less displaced, I could change the scale around. I can change the position and the amount of displacement. Maybe it was just 2.5. Trying to do is make red blood cells that are not all exactly the same. Let's just move you to these around a little bit more. Making sure I'm happy with the way they look. Cost 2.7 equals. Look pretty nice. I think so. From here, I'm going to just make all of these edible. And I'm gonna apply this display, sir, to them as well. So quickly. To do that is just say, right, click Current states object. And so what that's doing is making a duplicate one of the duplicate has all of the things applied to it. And then this. This is our original with the display, sir. And they're just going to delete the original, the drag, all these guys out of their containers. Now, I have five unique, um, red blood cells so you can see that this one actually didn't change to the correct subdivision setting. So we're just gonna have four. I'm gonna delete. I'm also noticing I've got potentially a little overlap. When I zoom in. It feels OK. We'll see how it looks in the render. We can always modify this later on. So what's copy? All these go back to our original scene and well paced those end. And then we're getting a feeling for how big these are in relation to other objects. And that feels about right. Um so our next step is going to be animating these red blood cells along the spine that recreated in That's Mobile due in the next segment. 6. Animating the RBCs Part 1: All right, Now, let's work on getting our red blood cells animated along our spine. Before we do that, we need to get our spine ready to be cut in half. And so what I want to do is make a duplicate of our main artery and is going to click and drag that up. And I'll re label this one as main artery cut. And I want to hide the original. So just gonna double click on both of these little buttons So that there hidden in the render and the editor and in this cut version, I want to activate the slice option. I'm just gonna activate slice. And the way that works is it has, ah, angle for starting an angle for ending. We just need to rotate those angles around and manipulate them to be suit our needs. So let's just move this one down to about there. So I'm thinking about where my camera angles we're gonna be, and I want a kind of make this one with the flat side facing us, and then we'll drag this one around as well on same situation. I kind of wanna have that flat side facing us. Now you can see we have a problem here a little bit. Our spine is overlapping the cells, and so I'm gonna just make some adjustments so that we don't have that happening. Go back to our main artery spine. I'll use the Vertex edit and move tools, and I can kind of see where the spines are right now. We'll just talk those up here and there. Go back to the next one. I see one right here. Well, that went up and pull this one up. So there's they're just laying right on top of the cells without going underneath them. And in other areas, If they're overlapping, that's fine. So while we're at this point, I think I'm gonna frame go ahead and put my camera in and I'm in a frame. My first shot. So let's go ahead at a camera to our scene, Look through that camera and I'm just gonna loosely frame my first, uh, shot. So I want to go from here, maybe zoom in to this level, something like that. I kind of like the way the ark is showing. So we're always thinking about something that feels cinematic and interesting and so that might be where I ended at all. Start with more of a pullback version may be right here. Yeah, I think I like that. And so, while with my camera selected, I'll just come down here and a key frame, so I gotta keep him on the first frame. That's all I'm gonna do for right now. No way. I can continually come back to that shot and that will allow Stossel to set up our render view over here. Okay, so we've got blood cells pasted in here 12 through four of them. And let's go ahead and relabel these, actually. So it's called RBC Red Blood Cell One. Dumps. Yes, Someone who stopped that. All right. Hit something wrong. Wonderful. And so what I want to do is clone these objects and clone them to this spine. So we're gonna go to photograph. We're gonna make a cloner. That cloner is going to clone all four of these objects and the cloner in the object tab I went to select as an object. Kloner. Then I'm gonna dragon the main artery as what it's cloning to. And you can already see that it's now cloning the cells along that spoiling. No, I just want to make some adjustments to the way it's cloning them. So let's, um, make the count even. And we'll just increase the number two hundreds, probably too many to fifties, a little too many. When 25 feels pretty good now, they're perfectly even right now. And that's not exactly obviously what we wanna have in our final scene. But that will get us to a point where we can get started. And so right now the cloners set to reiterate. So it's doing RBC four, then three, then two, then one, and repeating that, change it to random so that it's just randomly picking one of them in placing that in order . And that way that little bit of modification we did to those cells will be more apparent. All right, so let's get these guys moving along. And to do that, we're going to modify the offset. So the first thing I'm gonna do is modify the offset, make them move along the spine, and I'm just going a key frame. The first little section here when I move forward a little bit and I mean offset them so you can see that this is making them move down the cell or down the artery. Let's just make it go to 10 at frame 10 and key frame that. Now. If we look, look, it's what's happening. You can see that they're moving pretty quickly, maybe a little too quickly. So there's always a little bit of adjustment. So I'm gonna go and change that 2% and see how that looks key. Frame it. That feels a little better to me, Okay? And they can always adjust this later on. So a couple things I want to do with this, I'm gonna open up the cloner. And just incidentally, if you don't see your timeline right now, you can change to the animation tab or you can go toe window and pull up your timeline dope sheet. And if you want to drag it in, you can drag it in right here. So I'm looking at the dope sheet and I want to open up the offset and see what it's doing it right now it's set on, uh, it's using it on a curved interpolations. I'm gonna select both of these points. It's using a spine and I'm gonna make it. Um I'm gonna go ahead and leave it on supply, and I think that's gonna work for us, actually. But what I want to do is I want to say no. I think I'm gonna put on linear, so linear is gonna make it all the same throughout. So if we go back in our play head and play, it's gonna move in a linear fashion and then I want to select the actual word offset here, and that's going to bring up our track properties. And I want to repeat so after, I wouldn't do an offset. Repeat. So a regular repeat repeat would give you this saw teeth action. Where would it go up And it would go back to zero and go up and go back to zero. We want offset. Repeat offset repeats going to continue on for as many times as we tell it to you. In those repetition, we look at our curves and let's assume just drag down. You can see it's actually stopping now after one repetition. So I'm gonna give it enough repetitions that it continues for the rest of the timeline. I'm just gonna put in 20 and then all zoomed in down and see if that's gonna make it. It is. And you can see that if I zoom out, it's actually stopping about 105. Um, I want to create a five second clip, so that's going to 150 frames. So I'm gonna need even more repetitions. Most do a couple things. Let's manipulate this so that it's 150. Drag it out. We're ending right there at the end. So we just need one more repetition and it's gonna make it out to the end. Let's just 25 I think I just need to move down. Here we go. Okay, so it's continuing on past our timeline, and that's great. So let's look and see what that's doing. So now you get just got the steady movement of blood cells down the scene. That will be fine for the five second clip that we want to create. Now let's break things up a little bit. This is a little bit too mechanical for me, so I wanna I wouldn't allow these cells to bump into each other. I won't allow them to bump into the walls of the artery, and I want to sort of randomize them a little bit more, so the next segment is going to be about random izing and creating more of a believable animation of these cells. 7. Animating the RBCs Part 2: Okay, let's get these red blood cells to feel more realistic and bounce around against each other and, uh, have a little bit more random nature as they're moving through this blood vessel. And so the first thing I want to do is select my cloner, which I'm going to now name RBC Corner and then select a random defector under the McGrath tab. Of course, that's going to make it go everywhere and much like before. We want to make sure that we change that parameter will just go back down to zero. That way we can nudge things around and see what effect we might have. And one thing we also want to do is do rotation. So you can do all three of these. Actually, let's do scale and let's do a rotation. So we're gonna uniforms scale, and I'm just gonna change this a little bit. So just by want some of them to be a little bit bigger or some of them to be a little bit smaller, So just a little bit. And in this one, I'm going to actually say 3 60 in all dimensions that's gonna rotate them and sort of really wacky dimension in all directions, which is really what we wanna have. And so right off the bat, you can see that there looking a lot better, accept their overlapping each other, and we don't want that to happen. There also still in a straight line. So let's go ahead and nudge them around a little bit with this offset. So they're not know exactly the same position. And we might just do three in each of these and see how that works. Maybe four. Maybe I'll go minus four. Do you go either direction? So I kind of like the way those air looking and changing my mind again. I'm gonna go back toe just four. So I like the way those were looking just to see what's happening. We'll go ahead and play these along, and already I feel like this is a vast improvement over what we had before. But I just want to add that extra little bit and put inside some dynamics so that they actually bump into each other. And so to do that, go ahead and save because I like what I've done so far. We're going to add in some dynamic tags on these red blood cells. So I'm gonna shift, click all of them and go into tags simulation. I'm gonna put a rigid body on them. Now, the rigid body is automatically just gonna make these fall. So they're just gonna fall through space because they don't have anything to collide into. So I need something for them to collide into, and I'm gonna use the main artery tube. Reason I'm using that one is it's a It's a complete tube, right? I wouldn't want to use the cut one now when he's gonna have these bouncing off the surface even when it's not visible. So we're going to say simulation tag, collider body, and it's going to explode if they play it right now. What we need to do is look at the way that this collision is happening. So one of the collision tab on the collider body, we need to change it from automatic to static mesh. And now it's going to actually look at the mesh shape of this tube, and it's going to use that as a collider. So now they're collapsing and rolling inside of this tube. Still not what we want unless we want to do a blooper reel or something like that. But let's change something on the rigid body tag Someone a shift click on all of these. Go down to this force tab right here. And I'm just gonna put in five for a follow position and five for follow rotation so that the higher this number is, the more completely it's gonna follow the animation that it's trying Teoh creates. Right now, they're gonna sag, but they're still going to be pulled along and they're gonna feel like they're running along this conveyor belt that's being pulled up, which can be a really cool effect if that's what you're going for, but not the best effect if you want to produce blood flow. So what I want to do now is turn off gravity and by turning off gravity, it's going to keep these where they are, and that allowed them to to expand, and they'll feel more like their flowing in a liquid. So in order to turn off gravity, we need to go to view our projects settings. So we go to edit project studies, we go over to the dynamics tab and we just turn gravity to zero, So gravity is set to zero. Once we do that, we should be moving right along the tube. The cells are bumping into each other. They're rotating nicely through that vessel and the blood flow speed feels pretty good. And I think I'm pretty happy with this. So this is what we're gonna use for our blood flow? Um, animation after this, when you to start thinking about lighting are seen adding materials rendering and compositing. 8. Lighting the Scene with ProRender Preview: for this project. I'm going to be using the pro render to do the rendering. Ah, so it, rather than go into my rhetoric, render settings rather than using the standard or the physical I'm going to use the pro render. This is a built in render engine. If you haven't played with it, it gives you a really nice results. I warn you in advance. It is a little bit glitchy at this point, but it gives you results that are similar to what you're seeing nowadays in octane or red shift or something along those lines. And it's built in a cinema four D. So all right, it produces really nice global elimination results faster than you can get them with the physical render, especially if you have a decent graphics card. And so I'm using an I Mac pro right now with the Vega 56 gig card. We're having a 56. Let's look at it because I'm for getting exactly what it is we're using the right on pro Vega 56. Yeah, okay, so the first thing I want to do is just check my settings out. I'm going to go into the pro render And I mean to make sure that in the offline, which is the final render, that I've got depth of field turned on mostly going to scroll down here. And I'm gonna look at this iteration count. But because I've done some testing, I know that I can get away with a smaller iteration count. We'll talk more about what the separation count is actually doing when we start doing surrendering. But I'm just gonna turn this down to 50. And in the previous section, I'm going to turn depth of field on as well in the general section, I'm going to turn off the default light, and that's pretty much all there is to it. Um, I've gotta save turned on right now, but I don't have a file name in there, so I'm just gonna and check that for the time being. And my output is set to 12. 80 by 7 20 just for the purpose of doing faster renders for this class, we'll do the smaller resolution of HD. And the way the probe rendered works is it basically gives you a real time render, and it does that by using ah preview panel and So I'm gonna go into my deport options and this panel and go to the rent per render section and say use as per interview and that automatically is going to give me a start programmed her option. And I can change my set inequality, which is on preview right now. So let's go ahead and click. Start for Orender and you'll see it takes a little bit toe sort of ramp up, but it's not actually doing anything. So reason being is, we don't have a light on your scene. And I turned off the default light. So the first thing I'm gonna do is add a sky object. And if you've done in the global elimination incentive a 40 you know, But the sky object is is what you used to create HDR led environment. So we're using global elimination. Next thing I want to dio, I'm gonna make sure that this view is using my camera. So when I have my cameras selected, my main view is using it. But nothing's happening here. Something that go in and say use camera camera. So now I'm gonna get the same view in this window as I'm getting that window, but this one is giving me my real time render preview. So if you have a slower graphics card, do you may not want to turn this off and then just turn it on every once in a while for a frame just to see what it's gonna look like? But you can see already we've got really nice sort of effect happening with the red blood cells. Onda lighting feels very soft and subtle. It feels like we're in a sort of ah lit environment. That's because when you put a sky object on here, it automatically applies a default texture map, and you can see that up there with the trees so we'll go ahead and just use that default texture map, and I'm not make any changes. But I do want you to be aware that you can put your own HDR objects or hdr I lighting on this sky object. Another thing the pro render likes a lot is it likes to use the physically based render objects. So, for example, there's a PBR light, and when you're making materials down here, there's a PBR material, so I'm gonna be using those in this scene then we're gonna get started with lighting. So let's go ahead and make a PPR light. Now when I'm applying lights to my scene on, just do a couple little demonstrations and talk about the weight lights working here. So a PBR light comes in the scene as kind of a more realistic of light. It feels more like a soft box. So if I rotate this around in my view, it's feeling a little chunky because it's trying to update real time. But you'll see this light produces a card, and that card is, uh, actually, you know, acting like a front facing light. So let's not going everywhere. It's only coming out from that face. We're going to use that to our advantage. I'm gonna turn off the pro around her for a moment. So I used to start positioning those lights before that. I want to kind of I'm not a sand of the way the rectangular light looks in reflections. So because you can actually see it in your scene is gonna show up in a reflection. So I'm gonna come in here first off and see disk the middle. Change that to a round disk instead of a rectangle. No, I mean it turned off are programmed her for a moment. And in this view port, I'm gonna say a camera set active object as camera, and that's making me look straight through my light. And so, while I'm looking through my light, I'll be able to see kind of where my camera is, and I can also see areas that I might want to light up. So I'm gonna I want to zoom this in so it's coming down like this, and then this view, you're gonna get a good feeling for how the lights being set up A. Well, I'm gonna rotate it up like this. I really want to kind of focus in on this area that I'm rendering out with ease. I'm getting this light pretty close right now, and that's for a specific reason. I want Teoh have this sort of fall off happening back there. It just takes him playing around. So maybe I'll pull it back a little bit more. But you can see what's happening in the updates over here when I rotate this light around, right, So the depending on that rotation it affects the way it's, uh, displayed, and so let's leave it there. I'll just turn around real quick. It's gonna wig out for a second, then will give us an update. So what I was trying to achieve by placing it there is getting this back section that doesn't have any light in this front section That does right. So the closer I'm getting it to it, to my object, that's my object of importance. The brighter I'm getting right here in less bright. I'm getting in that background. I also know that I can see a little bit of that light right there. So I'm just going toe, push it back and Zied dimension a tiny bit. So I don't want to be able to see it back there at all, But I'm still getting that dark, shadowy area back there. That's what I wanted. Let's put another light in the front, so we have a little bit of cast shadow coming up on our vessels and some more light lighting up this front area, so it'll pull it closer to us. So I'm just going to duplicate this light. We'll call this one back and whatever. If you want to use your three point lighting conventions. We could call this key, and I'm going to again see set. Active object is camera. Nothing's changed right here because it's just duplicated that white. What? I'm gonna rotate around right now. Pull back again. I'm gonna turn off in a probe, render for a moment so that I can adjust without that lag time. And I'm just gonna pull this light in pretty close to the horizon and have it opposed the other one. And I want the shadows to be pushed back away from my seeing a little bit. I might get a little closer to this and I'll just the position in color in a moment. So one thing that's interesting about the way the lights function in here is it? They're kind of dependent on their scale. So I come into this details and turn this light down to 30 centimeters. It's gonna light my scene up less than it does at 50. But you're not gonna really notice that unless you're looking through your program review. So here's 30 centimeters and here's 50 so you can see it's really lighting the scene up brightly in the front. Now, where it wasn't before, so I think that's kind of a good start. I feel like the front slit up. Well, I like the way the shadows air being cast here. Um, I might rotate this one just slightly in the shadows, are falling back a little more inside and maybe down just a touch down, just a touch, irritated in the wrong view and accidentally undid that. So 50 I think fifties a little. Montana's at 40. I like it kind of softer with his little brighter area in the back. Um, we'll play around flighting just giving it some final touches before we do our render. But I think that's going to get us where we need to be for now and the next segment, we will talk about adding some materials to these objects. 9. Creating Textures / Materials: let's get some materials on these objects. And as I mentioned in previous segments, were going to use physically based to render material. So I'm just going to create one of those. I'm gonna go ahead and create three, actually, and then I will label them each individually for what they're going to be applied to. So we'll call this cells will call this one vessels. We're going to do some really simple materials for this and it'll look really nice, But just realize you can continue playing with ease and really push it. If you want to continue adding more textures and things like that to your scenes, we'll call that one RBC. Now I know I want my red blast blood vessels to be read and the way the physically based around her materials work is you don't apply color in the color channel. You look at the reflect INTS channel and there will be a diffuse layer in here. And so we're gonna come down to this diffuse layer and I'm going Teoh put it texture in here and I'm gonna use a friend. L so for now has, like, if you wanted to do a, uh like electron Micrografx. Sort of a look. You could use it for Nell to give you that white edge. Right. But I'm going to use it just to give a little bit of variation in the color. So I'm gonna invert the knots by right clicking. I'm gonna make this one a dark red. I'll keep it over here. It read. I'm gonna turn my saturation pretty high, but I'm gonna bring it down. So it's pretty dark, like a burgundy ish color. And in the middle, we're gonna be a lot brighter red, and they don't hit the uptown right there. The up arrow and look at the speculator strength and speculator or bumps Strengthen. Speculate strength, reflection, strength So we can turn these down. We're gonna get that sort of an appearance. I'm gonna turn it up a little bit, speculator strength all the way up or all the way down. It's going to do that. I'm gonna leave it up. We're gonna look at the default reflection. Default reflection is a beckman, and there are different types. Beckman's the 1st 1 up here. I'm just going to leave it on that one. And money I might increase the roughness a little bit, and that's gonna make it a little bit more fuzzy. Eso the way these this reflect INTS group works is you can continue adding materials until you get the look that you're trying to achieve. It might turn to reflect in strength down here. So you kind of get this buildup that feels like car paint or, you know, it has a depth to it. Gonna add another Beckman to this layer, and it's gonna be really shiny right off the bat. I'm just gonna go ahead and turn this down to about 5% maybe 2%. So we see a reflection and we see shiny highlight with a rough sort of speculating underneath that and then the diffuse layer underneath that and I will apply that to my cloner object, which will apply it to all of my RBC's. And then you can see them lit up nicely in the preview window. And next, let's take a look at our vessel itself and let me manipulate that material. So I want the vessel to be kind of red, so it's referencing artery. But I don't want to be a red like the blood vessels, But blood cells are wanted to be less red than that. I'm gonna use the same sort of process I'm gonna go through. Put it for now. On here. I just like the way that it looks. And so I'm going to still use kind of a red slightly towards the orange hue, less saturation, a little bit dark, but not too dark. And then somewhere around here, just playing around with roughness and the qualities of that material, I do want it to be kind of shiny. But I wanted to also be a little bit more rough from this. So I'm gonna make this one like thirties. I wanted to feel a little bit softer for the vessel, and I'll drag that on each of our tubes so you can see the sort of bright appearance that we're getting from that inside with. The vessels were seeing this reflection, but it still feels it feels nice and bright and happy in this little environment that we're in and last but not leads. Least let's do our cells. And so one more time we're gonna do it for now and sells. I want to be more like towards the yellowy orange or sort of hue. So they feel like they're it's gonna bring these down a little bit more, turn up saturation down. Maybe I'll make them a little bit more orangey and then kind of a beige, tan ish sort of feel. And that will be our cell restart starting point for ourselves, and we'll add that on our cell field cloner object, or you could add it to your cell directly. So what I'm seeing after adding those reflective objects in here right now is that first of all, I feel like the tan is way too tanned. I'm gonna change that so that it's a little bit more towards the red. Look back at that diffuse layer. This first one's pullback more this direction put some more red back into it. I already like that more, and they will make these a little bit more red and more saturated. Okay, so we feel like we're in this environment that does have, um, a lot of red and, um, you know, it feels like healthy, healthy tissue, and from here, it continue manipulating, maybe darken up the diffuse color of our vessel. There may be increased the saturation around the edges. Just a tad. Okay, I'm gonna leave it there for now. And now adjust some of this lighting so you can see that this is really blown out. I feel like I wanna pull this light up away from it just a little bit. So I want to keep that cutting area where it's that I'm just gonna pull the light away. So it's a softer division right there. And now we're getting this hotter spot up front, and then this is more pulled away and softer. So I'm still getting things like bright layer, less bright and then even less Brian, back here, we're getting that sort of build up in space, which I like a lot. And this key light I'm actually going toe pull forward just a tiny bit. I'm gonna make sure I'm looking through my camera. So the next segments going to be about just adding some final refinements before we render . I'm getting things tweaked so that they look exactly the way we want 10. Making Some Refinements: So from here, let's do some final refinements to our seen. And then we'll set up our camera motion. One thing I wanted to run after battles, I'm I'm noticing some of these gray areas coming through, and that's the landscape object underneath. So just a quick trick is you can actually I could tweak the cell so that they're not coming through it all where I could just drag the same shader onto this landscape object, and that's going to hide that appearance. It'll just feel like darker holes or shadows in between cells, which is it feels natural and normal. Um, I feel like these cells are too shiny. I don't want them to be quite have such such highlights. So I'm gonna come in and look at that top Beckman layer again. Turn up the roughness and I'm gonna turn the layer down itself to just like 1%. And so now they're much softer and the vessel has a little bit more shiny nous, and the RBC's have even more shining this so they're coming out more on top of this display . Now let's play with some coloration for the lights. The key light. I think I will make a little bit like a reflected light. So I'm gonna try try two different versions. Let's see, the 1st 1 is gonna be slightly blue Just a little blue And then I'll make this back one, actually, orange a little brighter orange. So we've got this back sort of coolness and on a medium sort of bright, orangey nous gonna softer sort of coolness in the front. Let's see if we if we make that coolness a little bit more towards purple area, I think that's gonna be too much. Maybe just too much saturation with orange. I feel like we're getting just too much. Um, let's try reversing. That was, Let's make the back one more blue. So making those sort of subtle changes, you can get a little bit of variation and add some complexity to your scene. I think I'm going to move this front key light in again just slightly. I want to brighten it up a little more. Oh, little too much. We don't want in front of our camera, so we'll see how that looks. And then the next thing I want to do is brighten up this, uh, these RBC's a little bit as well. So I think like the others, I don't want as much reflection on there. Or at least I want it to be softer, something to soften them out a little bit more. And I'm going Teoh brighten up the color on the diffuse layer just slightly. So I'm increasing the brightness, but decreasing the saturation and then even on the darker areas, I'm gonna do that same thing, decrease the saturation, increased the brightness. Just bring him up a little bit more. One of the things I think that really cells that you're inside this microscopic environment is a nice, shallow depth of field. Yes, I'm gonna set that up right now. And to do that, I want an object to focus on. So we're gonna make it now a null object. This is gonna be our focal point. So I'm being careful to use these other view ports that I have or this other deport. I have this null object that I just placed in is gonna be Where are folks? Focus center is so everything away from this towards and away from the camera from this point will be fuzzy. And we turned on up the field in our render settings already, So we look at our pro grander under preview. It's checked and under offline. It's checked. And so what we have to do now is manipulator camera. So when the camera object tab, there's a section here for focus object. I'm gonna name this something clever, like focus and the No select my camera object and drag that focus object in it and just to keep things sort of arranged in the same area and have on my scene. Lighting and focus stuff happening up here and everything else is down here, and so you don't see much of a change right now. But if I go into my physical tab, I change the depth F stop down to something really small like you would on a real camera like one. You'll see that it's going to become more fuzzy in the background and in the foreground. And because of the scale of this seeing in relationship to the camera, I might have to use a smaller numbers. Let's try 0.5 if you want it even softer. You could try 0.1. I think that might be a little too much. Let's try 0.3. So I like the way that we get this fuzziness back here and its brightness in the foreground . Just It's only really sharp right here. And so we're gonna now set up, are seen so that we start back here and then we're gonna slowly push in as these cells come whizzing by to this central area. So I'm gonna use my left screen. I want to make sure I'm looking through my camera and I'm gonna set up that push in so that I have a nice framing. Maybe we just want to rotate around a little bit so that this is cutting off from the corner and we're seeing this fade off into the distance. Maybe you want to pan up a little bit to take down a little more. I'm gonna make sure I give myself a key frame on my camera there. Look at our dope sheet. Now, this is the point where I really want to take advantage of this preview and the pro render and like and decide how fuzzy do I want this to be. And the closer you get, the more apparent the blurriness is going to be. So I'm gonna put this back 2.5. You can't animate it if you want to. So I could say F stop at this point. Should be 0.0.5. And then when we're back here at the beginning, well, maybe I'll make it 0.3. Which one were somewhere in the middle? We'll keep us feeling about the same throughout the entire thing. I'm pretty happy with the way the scene looks right now. I'm pretty happy with the way the lighting fields when the textures feel. The next thing I'm going to do is set up our renders. So we'll be doing some compositing with this project. So we're gonna render out two layers not very complicated, but a little more complicated than just rendering one. So the next segment will be about setting up that scene for multiple renders, and we'll have two different files that will save and render out 11. Rendering the Scenes: we're gonna get our scenes ready to render now. And the way I like to work when I'm getting things ready is to save out multiple files, especially if I'm going to be doing some compositing so you don't want typically do transparencies unless you're trying to render out something like glass appearance You don't want to. Transparency is in cinema four D directly. Do you take a long time to render? And it's not gonna look as good as it could if you just render out. Ah, a couple of passes. And so I want to set up three different files. One is my first file. I'm just going to save. And that's the working file. So we'll just say file safe. Now I'm gonna make a duplicate of that file on this save as one vessel cut Brender and then I'll start up my file saving conventions in here. So under output, I want to make sure I'm doing all frames under save. I'm just gonna go ahead and say about J peg sequences, make sure my saves checked. Then I'll set up a folder for these on. They should be in the same place as your main Cinema four d file except going to make a new folder called Frames. This is only 150 frames shot. So I'm not gonna worry about setting up a complicated, folded file structure or folder structure. I'm just gonna call this vessel cut. Save J. Paige all frames. We're gonna do this size, Let him and save this file. Now, I'm gonna change some things. I'm going. Teoh, call this one vessel. We'll just call it Vessel Hole. I have to change anything else there. But I do have to turn on my turn off my cut vessel and turn on my uncut one. And in this scene, I can actually just delete the red blood cell corner altogether. And I can now save this has Oh, the reason I do that is if there's a file crash or something like that, it's easy for many. Open up either of these files and just start the render over where it left off. I have tried using the render queue with the pro render, and it has given me quite a few issues. So, uh, and has crashed my machine. So what I'm going to do is just do these three old fashioned way and hit, render and walk away until they're done. So I'm gonna start with this one. Here's a trick. Uh, for whatever reason, it tries to calculate all of this stuff inside a cloner objects all of the time. So if you're not gonna have anything else affecting these, you can actually just hit see on the cloner. It was gonna make a bunch of spheres in here and they're gonna render faster. I'll do that and the other file a swell and say that. So go ahead and render both of these out. I'll start the 1st 1 and then we'll talk again once that's finished. So what the it orations air doing and you can see them counting out down here and then you see it update and tells you it's gonna update again after a 98765 foreign orations keep through going through considerations and it fills in the noise. These will be slightly noisy. They have a grainy sort of look with the pro render that I like. But the more iterations you have in your file, the longer it's gonna take with the sharper it's gonna get I didn't see a ton of difference between 50 and 100 so I just kept it at 50. Maybe 60 would be slightly better. But this is where we'll just wait for these to render out, and then I'll, uh, we'll pick back up there. 12. Compositing in After Effects: it's time to do the compositing and aftereffects. And just for a quick um, recap. We've got about an hour and 1/2 rendering on the whole vessels, and the vessel cut version was about an hour 45 minutes. So let's just play through those real quick and we can see each one. So that one. And here's the vessel cut version with blood cells flowing through it. Lovely. So we'll take both of these into after effects and we'll do our compositing there, so we will just go ahead and start off by importing both of these. And those will be in, uh, on my desktop. Here's the first sequence, So I'm just going to select the 1st 1 Make sure my J peg sequence importer is selected. That will import that is footage. And I could just drag that down here into the composition from footage, object or item there creating your composition from footage. And then I will import. The other footage will scroll down here until we get to the next version. We'll drag that on top. Now I'm just gonna hit zero here and let it play through. And so the pro render gives this sort of, you know, Phil, mix or grain, which I actually like quite a bit. If you don't like the grain, you can always render extra federations and do up to 100. Or you could apply some sort of noise reduction like red, red, giant noise reduction or the built in after effects noise reduction. I'm just gonna go ahead and leave it alone because I actually like that look. And what I want to do here is have it zoom in a little bit and as it gets closer and closer , it will become more and more transparent till maybe about three seconds in. It's at the maximum transparency until it gets to this zoom in level at this point right here and first that we're going to create a mask. And so I'm just going to use the pencil, make sure I've got my vessel hole version on top, and I will create a path that sort of goes around the areas that I want to select, and that's doing kind of the opposite of what I wanted. So the thing I want to do now is to invert that, and that's pretty simple to do I'm just going to scroll down these disclosure arrows here. It's like it's a masks and mask and make sure click this inverted button that's going to expose the, um, layer below. Next thing I want to do is animate that mask path. So here it is. At the beginning, it looks really nice. We'll add a little bit of a feather later on. I'm gonna go ahead and key frame that mask path. I'm gonna go out down here to the end, and I'm going to move around these points. Click off of it. Oops. Click on the mask path, click on my selection tool, click off of it and then click on one of the arrows and we'll just relocate, thes and adjust them as needed. Takes a little bit of time, but not too bad. I just want to kind of expose that cut heads a little bit and some of the area in here as it's fading away. We may need to add a tweak in the middle here as it's going between, so I wonder, just kind of pay attention to where things were moving a lot. Maybe grab one, move it down. You don't want to add to many in between frames here because we're in between key frames because it will make it feel a little bit odd and that it's moving, so we want to make it feel as seamless as possible. I was feeling pretty good. I feel like maybe just this one point here. Sometimes it can be really hard to grab one of the nodes. I feel like this point right here could be modified so we'll just go from here to here to here. And I think that feels pretty good. What I want to do now is just add a little bit of feather. So it's a little soft. And so we see this shade in with the exposure as we get closer. Now I'm gonna look at the opacity. Actually, I'm gonna open this up and I'm gonna look at the mask capacity. No, I feel like I have made a mistake here. Actually, when I have the cut version on top, exposing are exposed. So let's swap to you. I'm gonna take this mask and I'm just gonna move it down, or I'm gonna command X and community and reposition these and I'm going to say not inverted . So we've got here is the bottom layer. Is the vessel hold? Seems a little counterintuitive and I often get confused as I just did, and the top layer is actually the vessel that's cut, but it's being exposed over the top of it, so it feels like it's transparent. But what's actually happening is this little section being shown on top of it. And when we do it this way, it allows us the opportunity to change the opacity so that I can fade this in. So we're gonna start off zooming in a little bit, maybe toe one second, activate the key framing. This should be a zero at that point. Maybe a two, maybe a five seconds. It's 100% opaque, so the closer it's getting them more opaque, it's getting That's kind of the effect that I was looking for. So I'm gonna hit zero here on the slide. Zoom in and you start to see those those blood cells being exposed as they come in as the camera gets closer. So this could be imagine Is this a scene in an overall animation were resuming in closer to the blood vessels showing the blood vessel Bud cells moving through those blood vessels from here. The only thing I might do is, ah, little bit of an adjustment. So let's say new adjustment layer and I'll dio color correction levels. We're curves. Just give it a bit more enhancement. I don't want to use the red. I want to use our GP just a tiny bit more enhancement. So it's a little brighter, maybe a little too much, unless you might try to add something like a vignette. So we'll just make a new solid layers. A layer new, solid layer, maybe shoes, sort of a brownish color set that later to multiply so it makes it darker. And then we'll add a elliptical mask to that layer, and we will invert that and feathered out and expand the mask a little. And then we will change the opacity, so it's just affecting in a little bit what's hit zero and I don't play through. It just gives a little bit of a vignette, which adds a little bit something nice to it that is pretty much it. From here. You'll render it out with whatever method you like to render your footage out. I tend to like to use the adobe media encoder so well hadn't launched that. Well, that's launching Weevil. Save this. Just stop skill share. You remain needed blood? No, just to make sure we can get back and redo things. If we need to go ahead and go over to after, I mean media encoder, and we're gonna put it in that same location. I say just top skills share. Give it that same file name, save and played. I should just take a moment to connect and then render out pretty quickly. There we are. Go into our desktop to skill share to this project, and we'll find that video right here. You hear it, ISS? 13. 13: Well, now that we've gone through all of the techniques involved in creating this short animation , I'd like each of you to spend some time creating your own project. Now, so create 5 to 12th piece that and incorporates some of these techniques that we've learned in this project. So animate your own cells going down a blood vessel and the cellular environment, or mix it up a little bit and do something creative and clever. If you have any questions, please leave comments and I'll get back to you as soon as I can. Otherwise, thanks for watching. And I hope you've had a nice time and I hope you make some wonderful projects. I can't wait to see them. 14. 14: Thanks for watching and participating in this class. I'll be posting new classes in, so please follow me on skill share so you'll get notifications when those come available. Until then, keep experimenting and keep having fun. See you.