Cinema 4D - Create a looping T-Rex animation in C4D | Hazem Abulwafa | Skillshare

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Cinema 4D - Create a looping T-Rex animation in C4D

teacher avatar Hazem Abulwafa, 3D Animator - Motion Designer

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

18 Lessons (1h 40m)
    • 1. Introduction

      1:29
    • 2. Preparing references for tracing

      4:21
    • 3. Modelling the cacti

      9:41
    • 4. Modelling the clouds

      5:56
    • 5. Modelling the dinosaur

      11:24
    • 6. Walk cycle animation

      6:22
    • 7. Seamless loop technique

      2:10
    • 8. Creating the environment

      6:22
    • 9. Creating the projectiles

      8:43
    • 10. Dinosaur animation

      5:26
    • 11. Refining the scene

      5:06
    • 12. Dynamic simulations

      10:52
    • 13. Mastering the loop

      5:33
    • 14. Simple light setup

      2:54
    • 15. Materials editing

      6:12
    • 16. Rendering the animation

      2:30
    • 17. After Effects final touches

      3:53
    • 18. Share your project !

      0:51
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About This Class

In this class, you will learn the technical process of creating seamless loop animations in Cinema 4D.
I have made sure I show you each step and why I did it this way, rather than giving you exact values and parameters to copy.

At the end of this course you should be able to:

  • Create a seamless loop animation in Cinema 4D.
  • Create and animate in an 8-bit style.
  • Work with dynamic simulations "rigid bodies and collider bodies".
  • Create a simple lighting setup, materials, and basic render settings for animation in Cinema 4D.
  • Import and render out final animations in After effects.
  • We will also learn a lot of tips and tricks along the way that can enhance and accelerate your workflow in Cinema 4D.

You should be able to follow along if you are a new Cinema 4D user. If you are an intermediate or an advanced C4D user and want to learn how to create a looping video with a similar style then this class is also for you.

If you have any questions please let me know in the discussions section and I will try to get back to you as soon as I can.

*This class requires Cinema 4D installed on your computer (A free trial version is sufficient). After effects is optional, if you don't have it installed that's fine, you will still be able to follow along and render a final video. but I personally always do the post-production with it and I suggest you use it too if you plan to produce professional-looking animations.


Meet Your Teacher

Teacher Profile Image

Hazem Abulwafa

3D Animator - Motion Designer

Teacher

I'm an Architect, and a 3D Animator/Motion designer, I have been in the field of 3D Animation for around 12 years now creating Architectural walk-through videos and 3D animated videos for various projects around the globe. I also like creating looping 3D animations in my spare time.

3D animation has always been my favorite thing to do, so I learned it myself through trial and error and searching the internet, that's why I have decided to share my knowledge so people can cut through the learning process and learn what really matters and create their own art.

I have been an Instructor for 10 years now and I believe the technical knowledge is the tool you can use to express your creativity.

I work with Cinema 4D, 3Ds Max, Lumion, and After effects.

See full profile

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Transcripts

1. Introduction: Hello, My name is hasn't I must be animated and motion designers of being in the field of three D animation for 12 years now. And today we learn how to create this type of a T. Rex and nation Land Cinema Foodie. This video is inspired by the famous Golden chrome game. You know, the one that comes up when you're having Internet connection issues. I have originally created this video for my four or four upside page. This page comes up when someone opens around or misspelled link. On the upside. I thought this would be relevant because this is my Animation Studios website where people can see our portfolio and contact us regarding animated videos. In this class, you learn the technical process off, creating seamless loop animations in cinema 40. And of course, you can apply this technique and your own products to. We're also going to learn some dynamic simulation on lots of different tricks. We will begin by searching for references and prepare them. Then we will start building are seen step by step in cinema four d. This class should be suitable for users off. All levels have also made sure that I mentioned most of the known pitfalls you might run into on how to solve each one of them. And if you ever got stuck at any point, feel free to ask any question in the discussion section, and I'll get back to you as soon as I can. So without further ado, let's start our first lesson. 2. Preparing references for tracing: hello again before you start working in Same a four D. Let's take another look on our video. As you can see here, we will need some references for our video. We have a dinosaur cactus and some clothes, so let's open our Web browser here and search for chrome. Die no game and select images. We will use these images interesting, insane before D, so it's better if we have high resolution images. Let's filter out search to only show us high resolution images. Let's select tools, then select the size large. Okay, we have some references here. Let's take a look at this one. It has a dinosaur characters and a cloud, so this one is good. Let's save it in our project folder here. I strongly recommend that you create a new folder for this project so that you can save images, materials, cinema, fully files or render sequence in it so that you can have everything in one place. Let's open our folder here, and this is our image. We have to crop each one of the references so that we can use it in cinema 40. You can do the cropping in any software can use for a shop or any other software. It does matter. We will do it here in our windows. Picture. Viewed So like this Aiken select the aspect ratio to be squared. It is size the corrupt area. Select the cactus Toby in the middle and click Save a copy its name it cactus and click save. Let's open the original photo here. This time we've dropped this cloud. Let's go to the cropping Aiken again. Select the expectation to be squared. Center our cloud on click Save its name It cloud. Let's open the photo again. We will have to crop the dinosaur. This time our dinosaur would be animated and it has to pose for the work cycle. So this is one of the poses. Let's close it again. Hey, size the cropped area. Center the dinosaur kick safe. Let's name it Dino. 01 Since it's one of the poses and click save Great, let's open Order a brochure again. As you can see in our downloaded photo, this is the dinosaurs pose. His right leg is touching the ground. The left leg is off the ground, so we need the other polls with the right leg is off the ground on the left leg is on the ground. As you can see, this one is what we're looking for. It is the opposite post off the other image. Let's save it again. This is our project folder. Let's make the pictures large so that we can better see them. This is our new image. We can also crop it in the picture of your luck before. Or if you have Photoshopped, we can go there. And here's how to do it in for the shop. If that's something you'd like, it's open photo shop. Select the cropping tool. So, like the ratio to be square 1 to 1 and like before, center the dinosaur in the middle. Nick these Martin and save it. Okay, this is our fruits folders. We have a reference for characters, a cloud and the two poses for our dinosaur here. As you can see, let's delete the main references just to clean of the folder 3. Modelling the cacti: Now that we have our references ready, let's jump into cinema four D. Let's start by creating a simple plain. Simply click on this modern for a while and choose plane. Let's Street ate it 90 degrees. So, like there they told and irritated like that hold shift for incremental values. We needed to be nine degrees, so that's fine. Let's create a new default material. Another kick on it. Choose the texture to be. These characters click open, then, yes, kill of the material edited drag and drop the material on the plane. And here we go. The navigation in Cinema four D is quite simple. You can zoom in and out using the most scroll ban, using cult on the Maidan most bottom and orbiting using old and the left click. We're also knowing the prospective you. If you want to minimize this, Newport and Goto other view ports Just click on the middle mouse button, and here we have the top view front view that I do, and we're back through the perspective just by using the middle mouse button. Now let's create a simple cube. Just click on it. It's pretty big. Let's make it five by five by five. I don't mean to see it better choose. Fill it, make it open five centimeters. This will be our building block on. This cube will act like a picture in three D. Let's get to the front. You click and then be to being governor textures. Let's put the cube in a cloner object by pressing gold and selecting this cloner object. This would make the Cube child off the cloner object. Let's select the cloner object. Select the mode to be agreed today and make sure the mold is set to appear. Step then change the size to 55 by five. Increase account in the x X is and the why. As you can see on our reference here, this is a size for pixel, so I'm going to have to scale the plane, click on it, select the scale told and scale it this way. We would have to see through this cloner object. So let's click on the climate object basic and shoes X ray so we can have a better look. I think we can make it a little bit smaller on a we Go index. The clone, the object, the object AB the craze account toe maybe 15 maybe a little less. We just wanted to fit the reference in the background. Maybe you can move it Me to the left. Um, it in the y axis. I think it's perfect. Let's see what it looks like in the perspective. You so get back perspective. You. It's amount. Okay, it's one big block off smaller cubes. Maybe you can make the count in the Z excess to so that the cactus is not so thick on the way to go to go. That's good. Back to the front view. We will need to remove the extra cues or extra pixels in the current object so we can make it this way. So, like the cloner object tags. No graft eggs Margraff selection. Take this enables us to select in the video cubes or pixels. In our case with the cloner selected, select McGrath selection. Take choose Margraff affected on Make a Plane Defector. Let's rename the plane effect er remover because we will need it to remove the cubes that we will select Miss Click on Parameters on check position, Click on skilled and click on uniforms. Scale. Make the skill. Negative one in back to the affected. Make sure the selection is set toe McGrath selection. If it's not, just click and drag the tag here. All right, that's number. Click on the tag. Here. It brings up the more graph selection tool. Then we select the cloner, and, as you can see, it removes what we select instantly. That's click shift to add more to this election. If we did not use shift, we just select the new cubes. So let's get back control and said, Click shift on the move latest. Let's get back to the perspective. You see what we have you. I just need to remove this one, too. The corners off this practice. He doesn't have to be exactly like the reference press control to get back this so cute. I think that looks good. Let's select the cloner and the move tool. Let's move it in the direction to see it. Better select the clone it again. I'm check the X ray to see what it looks like. If you need to tweak it again, you just have to double click again on the McGrath selection tag. Then select the cloners and repeat the process again. I think that's better. Let's see it into perspective. You I think it looks fine. That's great. Adult material for the characters create 24th material. Click on it. Just change the color a dark one and drag and drop on the cactus so that we can see it better. Great. Let's click on the cloners and the remover and press Alton G to put them in a new group and rename it characters. 01 We would have to make some more versions of the characters so that you do not look the same press, control and drug to make a copy for alternatively, you can click control C Control V Create a new one. Let's rename it Characters go to it's expanded, move it to the left, get to the front view, double click on the McGrath selection tag. Then the co owners and we can start to make some variations. Maybe you need this one's remember control to add and shift to the elite. That looks different. All right, do another one control and drag you name it, practice for three, then move it away and repeat the same process. All right, if you want to know more, it's totally fine 4. Modelling the clouds: in the previous lesson. We have created three variations from one character's in this lesson with Mother the clouds . First, make sure you select the life selection told Click on the reference plane on this. Move it upwards. Let's double click on its material. Change the texture to the cloud. Let's see, what do you have? You. So the contrast is a bit low in this image, but we can fix this easily select color and expand the minyan off texture. And this increase the black point toe. Maybe my date That's closing, the material added, Let's create a cube. This time we needed to be two by two by two gates out of screen. Let's get it up. Click on fill. It changes the plane to, and it used the fillets subdivision to to on the same way espresso old and kick on the cloning object. Change the mood degree today and make sure the mold is set to per step. Change it toe by toe. My two change account in the Z axis toe one. We don't want this cloud, Toby. Think and increase the count. Maybe toe. Let's try 50. Maybe a little more. That's 60. That's fine. And in the y axis that strike 20 that's okay. Let's apply the same material that we use on the characters. Click on the cloners. Basic enabled. Extra so that we can trace better. Let's move. It's glowing. Object up here and back to the cloners. The object tip. Maybe you can make this 18. I think this good. Same as before. Click on the cloner tags, Margraff tags, Margraff selection tag. Then click again on the cloner, Margraff effective and a plane affected. Change the parameters of the play infected on check position check scaled uniforms scaled. Change it to need of one, and we're good to go. Never click on the McGrath selection tag. Then select the cloners. We can do the same as we've done before. It's much easier if you go but the tag clear than invert and only select. Only select the cube that you want control and select all the cues that we want. Well, it doesn't have to be perfect. We can almost week it. Okay, let's remove the pictures that we don't want and the ones we want so that it looks nice. Let's check it out in the perspective, you risotto. Bring the object to view. Maybe we can the save of the X ray to see in better. I think it looks cool. Maybe you can remove some of these big sins so it doesn't look like it's to think. Never click on the McGrath selection tag. Then the cloners click shift on. Remove these pictures much better. Can even disabled the plane. It looks nice, the same as before. We select the closer the plane Click Alton G on Name it. Cloud No. One. We can make some other versions for the cloud easily. Maybe you can rotate this one 180 degrees or we can type it here. Press control and Jack too. You name it to clo three. You can make another one, same as we've done before. 5. Modelling the dinosaur: Now that we have created some variations off the CAC Ty and the clouds, let's go ahead and model our dinosaur. We can either do it from scratch or use one of the CAC Ty the model our dinosaur. Let's go ahead and on hide or plain. Maybe we can hide all other objects so that we can focus on our dinosaurs and speed up off report to To do that, we would have to the traffic flights within Samer, 40. These two circles next to every object are called the traffic lights. The upper circle affect the visibility off the object in the view port, and the lower one affects the visibility off the object in the render. For example, it's right on cactus one. It's click one click. It turns green. That means it's visible in the report. If we click again, it turns red and it disappears from all report. Click again, and it returns to the default color, which is grey. And that means it's visible again. The same thing in the other circle green means it's visible, intended read. It means it's invisible in gender, and it does not affect the visibility Interview Port. Let's go ahead and turn it back on. If you click out and press on any off the traffic lights this way, we can affect both in grander and deport. Let's kick again and then disappears in both render and people. Let's click one more time to bring it back. Okay, let's hide everything except cactus one, because we'll make a copy of it and create our dinosaur. Let's click out, click and drag to make all the traffic lights green, click, cult and drag again so we can hide everything in our seen here except cactus one. We only have the reference plane and kicked us one. You know Vieux Port now, As you can see, the navigation is a bit faster and we can focus on our dinosaur. Let's make a copy off this cactus by pressing control and drag. Let's rename it and I know and present. Let's move the lineup and hide the cactus from our scene. Let's expand his drop, go to the McGrath selection tag and then click on Cleared. This way we can use this block to create our dinosaur. Let's first tweak it a bit. Let's see it in the prospective you press so to bring it in focus. Okay, we'll need to increase the thickness. Let's go to cloners. It's increased the count in the Z direction 23 so that the dinosaurs have some depth. It's enabled the extra mode go back to the front view. We would then have to bring our reference for the dinosaur. Let's have a flick on this material. Change the texture. 29 or one. This is our first post in our work cycle. Thank Click Open. Yes, we have to eat the previous material off the cloud if you remember and increase the contrast. Let's bring it back that spring. The black 0.20 again and close it okay has to get back to the kronish. Increase the count in the X X is let's try 21 looks nice and in the Y direction. Let's try to decrease it, maybe toe 23. Move the plane like this and we're good to go. That's beginning. Moving the unnecessary cubes. Double click on the McGrath tag, then the cloning, and let's delete this cubes by pressing shift and selecting the cubes. Let's check it in the perspective. You that's disabled. The X ray for a moment. It looks good, but we'll have to tweak it a bit. You have to create a gap between this two hands the same way we can kick, shift and elite and select this cubes. Okay, we have the hands we need to improve the legs, too. By the way, you can increase the brush size or decrease it using the middle mouse bottom. Click and drag to the left to decrease it to the right to increase the size. But take care. If it's too small, you can't select anything. This is a common pitfall, so let's increases again. Let's make this leg close to us and this one a bit for okay, this Check it out. The legs looks fine. The hands looks fine. Actually, that is one extra cube. I must have chosen it by mistake. Let's delete these two cubes to make the tail of it pointed, and I think the first poses done. Let's create the other polls, but first it's changed the name of this selection. Let's click on the tag, then basic, then change the name to pose No. One and click enter. As you can see. As soon as I click enter. It brings back all the cube that I have selected. The reason behind that is that the remover, which is the plane affected, affects this selection. The more graph selection, and we have renamed it to Pozo one. So there is no tag here named McGrath selection. That's why this affected does not do anything this quickly fixed that by clicking and dragging on the tag toe the selection. And now we're back. Okay, that's supposed 01 Let's create the other post. It's very simple. Let's make a copy of this selection by clicking control on drug and naming this selection pose. Oh too. Okay, let's select the removal again and drag pose photo in this election. This way we can change the selection in Pozzato and it updates automatically. Never click on the material and choose and I know auto. Then open Click. Yes, let's get back to the cloners and enable X ray. Get to the front view and positions Airplane. Select the skate tool on the pain. Scale it a bit to fit what we already have here. Maybe move it. I met up. I think it's good. Now let's get back. So the more graph selection tag off Pozo, too. Double click on it. Click on the cloners. Let's tweak our new pose. Let's check the perspective. You disabled X ray and see what we have. You okay? Some cubes are missing. Let's check them again. The lead, the ones in the back. And I think it looks OK. Now Let's get back to the remover, click on the effective tab and switch between Post one and postal and see what we have here . It is supposed one, and he's supposed to own good. Before we finish our lesson, we'll have to add one more thing. Let's create and I hear, because from this view, the is not visible. Let's create a cube. Let's make it five. My five, My five. Let's get to the front view. Grab the move, told doing the cube up. Add a fill it to it like the rest of the cubes. Make it open. Five. Get back to the perspective. You move it in the Z direction. Not all the way. I think that's fine. Let's just move the cube inside. The group here renamed the Cube. All right, decanters. This way we can move the dinosaur with the eyes and everything stays in place 6. Walk cycle animation: in this lesson will be creating a walk cycle for our dinosaur before we start animating. Let's set up our frames per second control and D to bring up the project settings that the full value in cinema four D for the FPs or the frame per second he 30. Let's make it 24 for this project. That's it. Is it here in the render settings? Change the frame rate here 24 to match the project settings and closed the window. As you can see, we have only 72 frames in our timeline. Here. We want the video duration to be 15 seconds, so 15 seconds multiplied by 24 frames per second gives us 360 frames. Let's write 360 here. And if you zoom out through the timeline, we will see that the last frame is 360. Let's go to our first frame, zooming through the time line to see the individual prey numbers. Then go toe the remover object, which is actually our play, a factor that we have created before on the selection parameter for so toe tag is selected and we have two tags here pose a one and Pozo to let's click, oppose a one and drag it to the selection. As you can see the legs updated instantly. Make sure we are on frame zero and selection is set. Oppose a one and make a new key frame. Move the needle, afraid for select bozo to drag a two selection and make a key frame. Move to frame eight and select Pozo one again. Or you can easily select the first key frame. Okay, control, so make a copy off it and drag it to frame eight. If that's easier for you, it's plate go to start on plate. As you can see, it plays only ones, and we wanted to be playing through the whole timeline. Of course, it's very difficult to create key frames every four frames through the whole time line, which is 360 frames. Luckily, in Cinema four D, there is an easy way to repeat the animation. Let's suppose it get back to the remover, right click on selection animation. Show trek being the window here, select the remover. This brings the track properties. As you can see, that is before and after, and to grow placed beside them before indicates the animation behavior before the first key frame on We don't Need that after indicates the animation behavior after the last key frame . Let's change it from Constant. To repeat, you will see another parameter. Here it's set to zero. This indicates the number of repetitions. Zero means it will be repeated indefinitely, and that's what we want. If you change it toe one, for example, the animation will be repeated for one extra time. Let's get back to zero because we wanted to look indefinitely. Unfortunately, you can do that. In older versions. I'm working with cinema four D or 21 for example, if you're working with are 20 the least number you can go is one, but you can put a high number like 500 or example. The length of the video is only 15 seconds, and there is no way the lake animations can be repeated for more than that. Since you were working on our 21 set it back to zero and let's see what we have here. Let's even zoom out through the timeline, okay? It looks fine. Let's even make it more interesting by any meeting the dinosaur up and down while he walks . It's suppose the animation go to start. Select the Diner group, go to the Gordon, it stab, said the Y Position 20 You can press over to bring the dinosaur in position on Let's zoom in again home from zero. Let's make a key frame. Let's go to frame to and move it up by five centimeters, which is the size off one cube or one pixel. This creates a key frame, no to frame for Make it zero again and create a key frame. We can also repeat this animation using the same setting right click animation short track . So let the diner choose the animation after. To repeat. Remember again. If you're looking on previous versions, you can type 500 or 1000 to make its repeat indefinitely. Let's close the window. Go to start maybe some out through the timeline again. I'm press plate. Okay, it's a bit better, but we have a problem here. Up and down animation does not fit the orbit style. As you can see, it blends between these two key frames on the up and down. Animation looks smooth on that does not fit the orbit. Look that we're looking for. See the leg animation. You can see the in between poses. The light is either touching the ground or off the ground. Let's quickly fix it. Click on the dyno, right click on the way. Animation. Sure, if curve, as you can see, the animation looks like a sine wave, and it's very smooth. Let's select all those key frames and click on the step old. It looks like an on off graph, and the value is either zero or five. Let's close it and see what we have here. Much better, as you can see when it moves up, it moves up exactly by value of form pixel on. The overall look is good. 7. Seamless loop technique: Here's a quick tip on how to achieve a perfect loop animation in your projects every time, with the basic concept off looping it that the first stream is exactly like the last one. So you'll not notice the difference when the video ends because it starts with the exact frame where it ends. Let's take a look in our dino animation here at Select the Leg animation. Zoom in a bit. As you can see here, the animation is repeated. Every eight frames, my doing simple math, dividing the whole number of frames, which is 368 which is the number of looked frames. We get 45 so we exactly have 45 loops off the dinosaur legs. So this one we look perfectly with. Imagine if we somehow have a looped animation at frame seven. Let's do the math again. We have 360 frames divided by seven. The result is not a whole number. That means that we have 51 loops and a fraction that way. The first frame is not exactly as the last one. We can easily fix this. We have previously chosen the animation length Toby 15 seconds, which is exactly 360 frames, so we can try to multiply 51 by seven or 52 by seven. By doing that, we can have a slightly less or slightly more duration by fractions of a second. But we're sure this time that the video will be perfectly livable because we were manually choose the number of troops. In our case, it's 51 or 52. Let's try multiplying 51 by seven. We get 357 frames, which is not much less. It's only three frames less, but it will fix the roping problem. And as I said before, you can choose 52 by seven, which would be a little bit more than 360 frames. But it will also know perfectly. Let's try to do that by copying the number of frames we have here, which is 357 on. Put it here. If he maximized, we'll see. The first frame is exactly like the last one, and it would look perfectly 8. Creating the environment: in this lesson will assemble our asses together and create our environment. Let's on hide the cactus and the clouds. Simply click ult left, click on drug. Let's move the dinosaur a bit to the right, and here we have all our assets. That's hard. The plane. Let's do some simple tweaks. First, to improve performance off the report and speed things up a little bit. Expand clothing. One. Select the cloners. Change the instance mode to render instance, and they're peed the same on cloud or two and or three. All right, let's build the platform for the dino to run on. Let's jump to the right. You here is our dinosaur and kicked I in the right view. No, it's enabled. Snap click again for a while to enable warplanes snapped. Then choose the splint. Ben, you will notice, is that this plan? Pen snaps to the working red. I think it one Click here, another one and the last one here. Click Escape, Disabled Snap. So, like the life selection tool at this point shift. Select this one too, right Click Truth champion. Let's change the radios 2 40 click enter and it will automatically around the corners for us. Let's put this flying in an extrude object. From this I can hear. Click out, then click on this Ike. In some versions, you'll find it. If you click a little more and you'll find it one of those icons, let's get back to the respective you and see what we have. Okay, the spine has been extruded, but in the wrong direction that's selected. Get it back to zero. Want extruded in the X direction? Let's put a value off 5000 and click entered. All right. Looks good. Let's get back and select the model instead of the points. To be able to select any of the three D objects here that's click on the life selection tool and see what we have, you looks good. Let's put our assets on this platform. Let's start by the clouds. Select all the clouds, move them forward and move them and there's either direction. Round them to be just above the world. Okay, let's move. Cloud or two. Maybe here Clo three. Maybe there. If you want to add another clouds, we make a copy of this one Click control so that it makes another copy. If you want to put it there, then arrange them so that everything looks neat and fine. Okay, this this cloud or one. Claudio too. This is supposed to be cloud or three. Let's turn in this one toe cloud. 04 All right, let's move. The CAC ty on the platform. Select cactus 02 moving to the middle cactus 03 Bring it close to the end. Of course, if you wanna make another copy of this press control, but it just before the last one. Okay, let's arrange them. This one is number three, and this one is number four. Okay, so one, 23 and four We may want to move both of them a little bit here, and we're good. Next thing. We want them to be irritated so that they are facing the dinosaurs. Let's select cactus or four click shift and selected cactus 01 to select all of them. Goto coordinates changed the heading by 90 degrees. And we're good. Let's go. The ideo. So I mean, we need to move the plane a little bit up in the Y direction and move it from here. One centimeter, maybe three centimeters. Good move the cock tie up a bit. The all look good. Let's rename this from extraordinary toe platform. Let's click on spine Select points at this point. Move it up. Select this point. Move it. Don't. 9. Creating the projectiles: in this lesson would create the projectiles, which are these little bullets dinosaur fires to destroy the cactus. Let's go ahead and create a simple cube to create the projectile. Let's make it 10 my five by five, which is actually the same size as our bending block, but the length is doubled. Let's click on. Fill it, make it open. Five. Like the others, let's apply the same material to see it better, and it looks fine. Let's create an emitter from simulate particles and select the emitter. As you can see, it's pretty big, and if we collect play, you will see that it emits in the wrong direction. That's irritated in the right direction. Makeshift on rotated Find two degrees. That's right now. Okay, it emits in the right direction. Let's make the cube a child off the meter. Click and drag the cube until you see the down arrow. All right, let's click on the emitter, then the particle Stop on Let's select show object. You can now see the projectiles. Let's click. Play one more time, okay. As you can see, the size of the emitted is very big. We only need the particles, Toby emitted from a single point that's select that matter again. Click on the emitter tab. Let's make the X and Y size opening five centimeters and click. Enter. Let's play again. Okay, particles are emitted in a straight line. Let's move the emitter at the dinosaurs hand, maybe up a little bit and we're good. Let's rename the emitted Project Oil and let's put it in the diner group. We want the projectile to be a child of the dining group, so that when we moved that I know the emitters moves with it. We also don't want the projectiles to be emitted indefinitely. We only want them to be emitted when there is an obstacle in the way. In our case, it's the characters. Let's select the projectile click on Particle. This section might look a little bit different for you. If you're using previous versions off Cinema four D, you will not be able to make it frames for both birthrate editor and birthrate render this key frame. Aikens will be missing. Don't worry, though. Just make those values one on one. And at the end of this lesson, I'll teach you a quick way to achieve the same result back to our settings. Let's make the birth editor zero both in the editor and the Render and it zoom in through the time line. Let's make a key frame for both the editor and the render monkey from zero. Move to Key Frame one. Let's make it 24. We want to make sure that every frame there is a new particle to be admitted. Let's change it in the editor and the rendered and make a key frame for both. Then move again to frame to make it zero and zero on Make a key frame. So basically this means no particles will be emitted in frame zero. Then one particle will be emitted in frame one. Then again, no particles would be emitted on frame to Let's play the animation. As you can see, one particle is being admitted. Let's suppose it go to start on. Change the speed to 500. That's plate okay, Much better, by the way, the playback in the view port is not playing in real time. If we taken OK, it click for a while. It's set toe all frames. It has to show us every frame and when you have many objects and defectors in your seen things started so that let's uncheck old frames this way it will skip some frames, but we can see the actual speed. That's his amount of it. Play the animation. If you played, it would play every time. But as I told you it was. Keep some frames, and in our case, it's kept the frame off the projectile. A quick way to check the speed in real time is to do a quick hardware under click under under settings. Select hardware Open GL, Select the frame range to be our preview range, and we can even scale it just to see a few seconds click shift and are. You don't have to save it. It will quickly render the view port, and you can play it from here in real time. By the way, if you can still play, it's mostly in the picture viewed and you have some friends that are not highlighted. You can easily fix that. Go to edit references, selective memory and on the picture viewers. You will find the memory used by the picture viewers by the forced It's 10 24 megabytes, which is one gigabyte. If you have enough RAM, you can increase it to City 1000 for example, or even more. If you have enough ram, close it. Select cache, maximum number of frames. Wait for a while and here you go is now playing in real time. All right. We now have three key frames where the middle key frame in the frame where the project oil is emitted. We can easily select the three key frames press controlled on drag it anywhere on the timeline to produce another projectile. This way, when we move the dinosaur, we can make it emit a projectile just before the characters. Let's bring or frames option back. Actually play. Okay, Perfect. Let's delete those key frames on. We can always come back and copy the main key frames anywhere we want. Now if you're working on previous visions off Cinema four D, you cannot set key frames for these two parameters, and you can't even said the birth rate to zero. There is a quick walk around for this issue. Let's delete those three key frames. Let's make the birth rate 24 in the editor and they render and, for example, if you want a particle to be emitted on frame one. Let's simply set the start emission at one and stop emission to this way. One particle will be emitted on frame one, and nothing will be emitted starting from toe. And if we need another projectile, Toby emitted, for example, on Frame 100 we would make a copy off this projectile control and drug. Let's rename it Project Oil, too. And let's make the stop emission at frame 101 and start a mission at Frame 100. This way, a project title will be emitted on Frame 100 nothing would be admitted before or after it. Let's check it. Okay, One particle has being emitted on frame one on. Let's wait for frame 100. Okay, Another particle is emitted and you can repeat this For every perfecter, you can use this trick instead of creating the three key frames and copying them 10. Dinosaur animation: Let's go ahead and make our dinosaurs run on the platform. Let's select the diner group, Select the coordinates, and that's make the exposition zero so that the dinosaur starts at the same place where the platform starts. Let's create a camera. Select a nice position. First, we can always tweak it further. Afterwards, this position looks fine. Let's click on the camera Aiken. It creates a camera from our current view. If you select this small Aiken beside the camera, it means you're currently looking through the camera. And if you zoom out and zoom in or orbit the scene, the camera movement and rotation will change. If you want to go out of the camera, you can't like this Aiken on work on the scene. And as you can see, we have a camera here. If you want to get in the camera view again, select this Aiken and you're in the camera view. We will actually go in and out of the camera view frequently. We will need to fix the camera position so that we don't accidentally move it or irritated . Let's select the camera, select tags than digging tags and select a protection tag. This way we can't rotate or zoom out resuming off the camera. If you're using older versions, you can find the same tag understanding of four D tax inversion 21 which is the one I'm working with right now. There is no city before the tags. Here's a quick tip for you if you don't know how to find something in cinema. Four D Attack, for example, on an object you can click, shift and see, and you can search for tags, objects and literally anything. Let's select the camera, click shift and C on your keyboard, the right protection. And here you go. You can find anything within savor food here. No. One flick and we're done. This might help you to better follow any cinema. Four D tutorial. If your version is different, all right, let's not great on all object from here. Oh, using shift in C. Let's name this no object, and I know plus camera because you want the camera to follow our dinosaur here. Let's put the dino in the null object and the camera, wait for the down arrow to show and release. This way we can move both the diner and the camera. Let's click on the group. Make sure the position coordinates are old zeros, and let's zoom out through the timeline, get to the first game and make a key frame on the exposition. Go to the last one Type 5000 which is exactly the rents off the platform and make another key frame. Let's get out of the camera for of it. Let's go to the first key frame and play the animation. As you can see, the camera follows our dinosaurs, but we have a problem. The dinosaur is very slow at the beginning. This is actually very easy to fix. I suppose it. What is the first frame? That's right. Click on the exposition. Select animation. Sure of curve. This is because the default occurs are set to Easy's. We can select both key frames, go to the linear Aiken and press on it. This way. The speed would be consistent at any given time. Let's close this window and played again. Okay, the speed is actually consistent, and you can see here the dentist e off. These points are consistent toe before we change the tellinya. The points were very dense at the beginning and at the end to and as I told you before, the actual speed off the report is not real time. If you want to check it in real time without any frames skipping, you can always do a quick hardware open. GL renders. Let's do a small portion off our timeline here to check the speed click shift and are to render Let's then played Okay, looking nice. This speed is OK and everything looks fine. Let's make another one with our camera view. Let's go to the camera stick shift and are and let's plate. I think the speed looks fine. 11. Refining the scene: Let's go ahead and make some further enhancements toe are seen. Let's start by the leading this plane. This was our reference plain, and we're not gonna need it anymore and spread the lead. Next. Let's change how the dinosaur looks. It's now made off identical cubes with the same material on the actors pixels. Let's add a little bit of randomness in the picture colors. Under Design a group. Let's go to the cloner and select the Cube, which is the smallest building block off the dinosaurs. Let's make a copy off this cube press control on drug. So there is Cuba and Cuban on. Let's make a copy of this material. Let's just name it Matt, too. Not a click on it. Increase the brightness just a little bit. Then the dragon Drop on Cube one on. Let's see what we have here. Let's increase the brightness of it to see clearer. Okay, looks like we have something like a checkerboard here. There are two different colors to the pixels, but the arrangements look systematic. This is easy to fix. Let's get back to Kloner and change the clones from my trait to random. Okay, that's much better that's decrees rightness, so that there's just that it's indifference to endorse pixels. It doesn't have to be perfect. We will tweak these materials later on. If you wish, you can do the same on the cactus, but I leave that you. Let's create some debris on the ground. Let's first get out of its camera. Could get a cube. Make it then, by five by five you need to fill it open. Five centimeter on. Let's make a copy off it that's controlled on drag. Don't make a copy this time. Just changed the exercise to 15. Then let's create a cloner object. Select the two cues and put them in the cloner object. Select the cloner object. Change the mode from linear degree today, change the mood toe endpoint and change the clones from my trait to random to create some randomness and it will scatter. Both cuse randomly. Let's zoom out to see what we have. All right, let's move this cloner object by 2500 in the X X is which is exactly in the middle of the platform. Let's get back to object. It's changed the count in the Z direction. The to change the size to 14. All right, then move it down. Put it on the ground. Looks fine. It's increase the count in the X direction. Let's try 12 and increase the size in the X direction to 4500 which is just a little smaller than our platform. Okay, that's good, but we need to add some randomness to the position of these items. It has nothing to do with the randomness off the clones here. The randomness off the clones here effects the arrangement off the items along the grid on not their position to randomize their position, select the cloners Claycomo graph affected and just add a random effective select the parameters on by the folder they can see. It already made some randomness in the position in the X, Y and Z. We don't want the randomness in the white position because it would be lifted up from the ground. As you can see on this one here and this one, let's get it 20 So they rolled on the ground. Maybe increase the randomness in the exposition, make it 100 and add some randomness in the rotation. Select the rotation change the heading parameter and make it 45 on. I think we're good. Let's just check the end of the platform. All right? Looks fine. Let's add the sea material. So the cloner object. Select the clone it and the random effective and put them in a group all tinggi and call it liberty. 12. Dynamic simulations: in this lesson would create some dynamic simulations and make or dinosaur wreck those obstacles down. Let's minimize everything. Go to the first frame, select cactus, so one then tags. Simulation tags. Trajan Body. Let's first go to the collision tab. Make sure the inherent tag is set to apply it. Actor, Children and individual elements said Toe old. This is the default settings for cinema four D or 21. However, if you're using previous versions, you may find that they four settings a little bit different must go ahead, then play and see what happens. Okay, the cactus collapses as soon as we click play. Let's try that again. This is because it did not detect the platform as a collider body. Select the platform. Select tags, simulation tags and select I could Lie there, buddy. On the collision tab. Make sure the shape is said to static mash. Let's go to start Dick play again, All right, much better. The cactus now collapses and interacts with the ground underneath. But again, this is not exactly what we want. We want the characters to collapse as soon as the project I hits it. So like the dynamics tag of the cactus. Then the dynamic step. You'll notice that triggers is set to immediately. This means that the dynamics is triggered as soon as you click play. Let's change it. Two. On collision This way, the cactus will only collapse when it's hit by the projectile. Let's apply a rigid body tag on the emitted, so exit Dino and the camera group get to the projectile. Select tags. Simulation tags, rigid body. We have actually selected rigid body note collider body because we want the projectile toe , hit the cactus and then fall down. If it's a collider body, it will not be affected by gravity. It will hit the characters record down, and we'll keep moving in the same direction. And we'll use the same settings we've used on the cactus on the collision tub. Make sure apply attack two Children and old, then the dynamic step. Let's make the dynamics triggered on collision, because if it would be triggered immediately, it will be affected by gravity from the start so it would get emitted and fall to the ground before it even touches the cactus. Let's go to the first frame, play and see what we have all right, we have two problems here. One is that the projectile is very slow, and we can easily fix that by increasing its speed. Let's change the speed to 800. Let's go back. Press play. Okay, Much method. The projectile is now much festive on. Let's takes the other problem, which is the upper part off the cactus being stuck in place. This is because we have chosen the dynamics to be triggered on collision on this op report was not hit by anything. The lower cubes collapses in each other, but the upper port was not affected. So let's go ahead and select the tag on the cactus. On the dynamic step. Let's give it custom initial velocity on. Let's put a positive value on the white position. This means the cubes that will be hit will move up a bit to hit the cubes above them. Let's put a value of 100 presented on replay. Perfect, by the way, we only have to tweak one tag for the cactus thing copy and paste it on the other cracked I . Let's just tweak it further, select the dynamic staghorn cactus 01 then collision on. Let's increase the bouncing of it to make it look more interesting and decrease the friction so that they will not pile up above each other. Let's make it 20 and let's replay all right, much better. As you can see, many of the cubes have fallen off the platform. You can also tweet this numbers the way you like, but I think it looks nice now. One more thing we need to do. We need to add a collider body on our dinosaur so that when he moves through these cubes, he can move them around a bit. Let's select the cloner object under the diner group. On that, select tags simulation tags and add a collider body. Make sure the shape is set to static mash. Let's go back and press play all right, much better. We can even zoom out through the timeline and do a quick hardware rendered to see what we have here. Make sure hardware open, jealous, selected, and the frame range is set toe preview range and click shifting dart. Let's go ahead and play. It looks nice. It's close. This window closed this again, and now let's make the dinosaur emit one projectile before it hits the rest of the CAC Ty. That's click play. Okay, The admits one project right here. It should emit another one here, So let's select projectile. Select the three key frames controlled and drag them around here. You don't have to be precise. It's scrub through again. It's just zoom out a bit and make him emit another one right about here. Control and drug again and we're done. Let's get into the camera view. Get to the first key frame. Makes him eyes old frames. Let's copy the tag to the rest of the kicked I selected Hold controlled. Based it years. Another one and another one click play. Okay, limits one project idea. It falls in the ground perfectly, then sort of moves those cubes around. It hits the other one. Okay, did not emit any projectile here, So let's get back. So the project type and we see here the start emission is set to zero, and the stop emission is set 220. That's why it does not emit anything on this frame because it's beyond 120. Let's increase it to 360. Get back here. Press play Okay as you can see as soon as this particle has been emitted, it falls to the ground. This might be due to two things. The first thing the projectile might collide with the dinosaur hands, and this triggers the particle dynamics. And so it falls down due to gravity, so we can move it forward a bit. On the other reason that emitted is not 100% consistent in emitting particles, it might sometimes emit two particles close to each other. And this triggers their dynamics, too. We can fix it by moving these key frames just a little bit forward or backward and try again. All right, now looks fine. This one. It's both the dinosaurs most through and then reaches the end. Okay, everything looks good. Let's do a final hardware render for the whole time line. Make sure frames are from 0 to 3 60 and click shift and art. Okay, let's play it to see it in real time. All right? Okay. Everything looks good. 13. Mastering the loop: in this lesson will make our animation loop seamlessly. As you can see, this was our previous rendered. And you just have to make sure there is no the brief from the last two practices or any other object in this frame so that it can look perfectly. If you happen to have any degree, you can just move. Those last two kicked I a bit back in the exposition. All right, let's collapse old groups. That's put that I know and the camera on the top and everything else we need them. Let's create a new in all object. Put it minute. The diner on the camera and not inside the group of force. Select everything except that I know and the camera and put them in this null object. Let's rename this no object section and collapse it. We will make two extra copies of this section one before and one after toe. Make it loop seamlessly. Let's click control and see then Control and V Control and V again that's arranged them on the rename this one section before this one section asked. Okay, we have three copies in the exact same position. Let's go. The section before and make its exposition negative. 5000 which is the length off the platform and go to section after makes the X Position 5000 . Let's first get out of this camera. Let's see what we have you. This is our main section No. One in the middle. This is the one before it. It's amount of it to see it. It sorts just before the dinosaur and this is the one after it. Okay, lets just remove the dynamics in section before and section after, because we'll just need the still object. If you go to the camera again, go to the last position. We just need this frame to be still and the 1st 1 As you can see, it's exactly the same. It only adds this sport off the platform. If you hide it, you get what I mean. That's on hided back. This is section before let's delete all the dynamic tags this section after. Let's delete all those tax too, and we're done to check the loop, go to the first frame, then the last one. You're not notice any difference? I'll just go ahead and make a quick hardware render for you. Okay, Let's see it, Okay, and we have the perfect took. At this point, you can go ahead and weak the camera a bit. Let's just move the tag on any other object for a while to be able to tweak the camera. We can even make a copy of the camera. Look through it, and here we have another camera with another position that will move also with the dinosaurs, and you can switch back and forth between those cameras. Let's get the tag on the camera here again and on the other camera, too. If you want to make changes in the section, it's OK, but you will have to make the same change in the other sections, especially section after. For example, if you want to move all the clouds down, let's expand this section and section after select all the clouds, my clicking control and on the cows here. When you can change the white position for all of them, you want to make it 60 or even 50. You can also speed things up, expand section before and decide everything except the platform. And if the debris is visible in your scene, you can have it onto all right, you will find everything here is removed except the debris and the platform 14. Simple light setup: in this lesson will create a simple light set up for our scene. Let's first take another look on the reference video. Have you read shift render in lighting, texture ring and rendering this project? It's his third party plug in for Cinema four D, and I just prefer to use it as it delivers creek present and a very short render time. Don't worry, though. I want you old to be able to follow up without having to use any dragons. And as you have probably guessed, the lighting and materials are very simple in this portrait as the primary focus. What the animation dynamics and or floated. Please. We'll use the built in physical render in Cinema four D to create a similar look, and I'll make sure you can get a nice render and there isn't a render time. Let's go ahead and open our under settings. Choose our under Toby, physical right Click and True's Global Elimination, and you can just leave everything with the fourth value. The easiest way to create decent lighting is to use an HDR image. It's like a 3 60 photo, the traps around your scene and setting a foodie can use it to light the scene accordingly . Let's start by creating a sky from here, then create a new default material. Never click on it. You can use any free. Actually, our file off a studio from the Internet, or you can don't know. Then use the exact file that there be using. You can find it in the project resources. Let's choose our HDR filed and click open drag and drop the material that we have just created on the sky. Just open it under settings, choose output, change the frame, range to current frame. And let's just try a quick draft rendered press shift and are okay. That was quick. When the lighting looks good, soft chatters look nice. You may notice, some under even lighting on flat surfaces. This can easily be fixed by increasing the samples, but it will also increase our under time. This is just a draft, and we'll tweak it later. We can easily increase the lighting intensity now click on that day, our material click on elimination. You can just increase the strength of the G. I. The one besides General G I. Let's try 120 and make another quick renders. This is before, and this is after 15. Materials editing: Let's edit autumn Athenians. We have only used for materials in our scene. This one is the HDR file, and it's applied on the sky. This one is the material applied on the cactus, the clouds, the debris and our dinosaur. This one is only applied on our dinosaur, and it makes the variation off the materials off the dinosaur, and the last one is the reference material, and we can go ahead and delete it. Press delete. Okay, lets it this material that would click on it, select the colors. These three values are the huge saturation and value. Let's change the value 27 on this makes it a little darker. Go to reflect INTs. Change the type to Beckman, change the toughness to zero and the reflection. Strength. 23 We want this second material to be almost like the 1st 1 So so, like this material, hold control and ult and drag it until you see the rectangle around material to and release . This way material to is exactly like material one. Let's double click on it on change the settings of it click on color. Let's make the value nine, which is a little bit brighter go to reflect its change, the reflection strength to five. This way, it's more reflective than the 1st 1 And lastly, let's change some. Render settings open there under settings, choose globally elimination. Let's change the primary method from a radiance. Cash to question Montecarlo or Q M C. Let's do a quick render to see the results press shift and, uh, all right. It took 35 seconds, and it looks nice, but you'll notice that the cube surface look a bit curvy in the reflections. They're supposed to be completely flat. This is a result off the default phone tag that is applied on the cubes. Let's remove it up in the dining group under the cloners. Those are the two basic cubes, and you notice that there is a phone tag on each of them. Let's read them like the tag on delete and let's try quickly under again. All right, it looks much better. This is before, and this is after. You can also see the variation off the reflective. It's on the dinosaurs. Okay, if you want to achieve the exact same, look off the reference video and make the cubes a little bit transparent. We can easily do that, but keep in mind it will drastically increase the render time. Since we're using the physical rendered, the physical render is actually capable of achieving greet results, but it's also very slow compared to GPU renders, especially if you're rendering and animation. That's why I've mentioned before that I like to work with Red Shift and it's much faster anyway. Let's any with the transparency, and I'll try to optimize the render settings as much as they can to lower the render time. That's double kick this material. Click on this box next to transparency. Choose the Value, Toby 60 and change it here, too. Click on this box and change the value to 70 just to make it a little different. Let's just week. One more thing. Let's select the cloner off the dinosaurs on the object of Let's change the size from 5 to 5.1 Home X, Y and Z. This will actually prevent the cubes off the dinosaur from touching each other, and this will prevent any possible flickering during our animation because we will be able to see inside the cubes if you're under the scene with the Ford render settings. It will take so much time. So it's first week it just a little bit that's open. Render settings select options and change the value off the radar from 15 to 7. This will decrease our render time, especially that we're now have transparency enabled. That's also open our materials. Just uncheck color in both materials on Let's make a quick renders. Okay, it has finished rendering. As you can see, it now takes a minute and 22 seconds, which is actually not bad for the physical render, and the transparent cubes looked much better. And if you're working on setting before they are 21 you have added a nice features which can help us decrease under time even more. Let's go to render settings right, click here and add that the noises. You can leave it with the default settings, then go to the global elimination right click on this Adam, change the accuracy to 10%. This can produce a very noisy image, but don't worry that the noise of that we have added will take care of that. That's right. Now, all right, has finished rendered, and as you can see that the noise er has magically removed all the noise and they render time is much lower too. This took 50 seconds on this one. Took a minute and 22 seconds. If you wish, you can also change other materials like the platform. You can make it a bit reflective if it like, maybe change the material off the dinosaurs. I But I leave that you. 16. Rendering the animation: Now that we're finished creating our materials on lighting, we are now ready to render our animation go to render settings, you can change the output resolution from here. It's now said to 12 80 by 7 20 If you wish, you can change it to full. HD, which is 1920 by 10. 80 already can leave it as it waas. If you intend to use it on Instagram, you might want to make it 10 80 by 10 80. This will change our frame in the report. So let's create a copy of this camera and make some edits to the frame to fit well with this aspect issue. Let's remove the protection tag. Click on it. Then let's zoom in a bit from here. Then just make sure it would look nice on other frames. All right, you can also make sure all the objects are contained within this frame. These two great parts are out of frame. Just keep that in mind. You can proceed with this camera if you'd like, but for this tutorial, let's proceed with our original camera. It's really this one. Get back with this camera open. Render settings on. Let's change it back to 12 80 by 7 20 That's also changed the frame range from current frame door frames and select save. We will render the animation as image sequence and compose it in after effects. But if you would like you can't render it as an end before directly from cinema four D. I personally don't prefer that. I prefer to render it as image sequence so that I can have more control on it in post production. And keep in mind it's more safe to render sequence images. Because if for some reason Cinema four D has crashed, you'll just have to render the rest of the images no, the whole sequence. Again, let's choose PNG as our four months click on this button and give the name, then click Save. We're now ready to render our sequence image. That's press shift in dark and leave it to finish gender. I personally prefer to leave it render overnight 17. After Effects final touches: and the render is now finished. Let's maximize it and click Play. All right. Looks good, and I like the fact that the dinosaur can move the cubes around when you walk through. Let's import the sequence in after effects, and it's open after effects. Let's select Project Right Click Import, then filed. This is our render folder. The files are numbered from zero through 360. Let's select the first image. Make sure PNG sequence is selected, then click on import. The sequence is now important. Let's drag it on this Aiken, then press zero on the ramp. Bad to preview it. All right. Looks good, and it's sloping well on. Let's do some basic color correction. Select this layer Notre effects, other correction, then curves. Let's make it a little bit brighter. I think it looks good before we render the video. Let's make one last step that zooming through the timeline, let's remove this last frame and this ice the composition. The reason I've done that is that the last frame is exactly like the 1st 1 so any groups, it looks like the video is stopped for a fraction of a second. You may not even notice it. But this way the video loop seamlessly and smoothly that zoom out and preview it again. Here we go. Okay, it looks perfect. You can even delete the last rendered train from the Render folder before importing the sequence into after effects. And if you wish, you can add a music track or some sound effects like the reference video we are now such fight with the result. Let's go ahead and render the video from composition. Select. Add to adobe Media Encoder que click on the format. I like the edge to 64 format. It delivers a recent quality video and the reasonable size go to a video scroll a bit down . You may want to target betrayed to be around 10 and you may also the select export audio. If you haven't added any audio tracks in after effects, click OK. Click here to select where you want to find to be saved. You can tie a file name here, then click Save. You cannot press enter or click on this button. It takes a few seconds, and the video is rendered. Click here to open the folder on this plate 18. Share your project !: all right, and that's it. I hope you guys were able to learn something new and apply the tips and techniques in this class on your own projects. If you run into any problems, please let me know in the discussion section, and I'll try to get back to you as soon as I can. Lastly, I strongly recommend you share your projects in discussion section and get creative with it . You can completely change the look off your own project by changing some simple parameters . For example, you can choose a different camera angles. Change the looks of the dinosaurs or the cactus by changing their materials, add additional obstacles or even replace the dinosaur with your favorite character. I encourage you to be creative on this one, and I believe you now know the basic concept off this eight bit style. The walk cycle enveloping technicality. Thanks for watching and see you in the next one