Learn Cinema 4D - Create Abstract 3D Design Elements - Shape 3 | Jesper Sandell | Skillshare

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Learn Cinema 4D - Create Abstract 3D Design Elements - Shape 3

teacher avatar Jesper Sandell, 3D Designer - Velocitypeak

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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

10 Lessons (51m)
    • 1. Introduction

    • 2. 1 Deforming Splines and Adding a Landscape Object

    • 3. 2 Creating the Paint Stroke

    • 4. 3 Understanding Intermediate Points

    • 5. 4 Spline Smoothness and Cinema 4Ds Order of Operations

    • 6. 5 Framing the Shot

    • 7. 6 Lighting the Scene

    • 8. 7 Creating the Colors and Rendering the Scene

    • 9. 8 Color Grading in After Effects

    • 10. Thank you for watching

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About This Class

Jumpstart your Cinema 4D skills by learning how to make abstract 3D shapes

This is the third course, in a series of four, where you'll learn how to create abstract 3D design elements.  These types of shapes are excellent design elements for graphic designers and motion designers. You can use them for both 3D and 2D workflows.

 You'll need Maxon Cinema 4D(Prime, Broadcast, Visualize or Studio).

 We learn best by doing, so this is a hands-on, project-based course.

 We will use a procedural workflow that doesn't require modeling. That means that all settings remain editable, and we can change the entire look by just adjusting a few sliders. It makes the whole process of creating and experimenting fun, flexible, and powerful.

Here's a glimpse of what we'll cover

  • Adding Deformers to Splines
  • The landscape Object
  • Working with the Spline Wrap Deformer
  • Understanding Intermediate Points
  • Adding Turbulence to Gradients

You'll have access to all the project files, so it's easy to follow along. I hope you find it useful.


Meet Your Teacher

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Jesper Sandell

3D Designer - Velocitypeak


Hey, this is Jesper from Velocitypeak.

I'm a digital designer with over 15 years of experience in multiple disciplines of design. Cinema 4D has been my go-to application for some years now. I've also been teaching for the last ten years or so.

The best way to learn is to do. Seek out challenges and solve them. If you do this regularly, you'll improve faster than you think.


Jesper Sandell

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1. Introduction: Hi. I'm just personnel and I'm a three D designer in this course will create this paint stroke graphic in Cinema 40 will apply factors to drive the spline path and will use the landscape object as the base for the stroke. Well combined radiance with turbulence to cull arise to swirl and then we'll enhance it with some bump Finally will tie it all together and after effects with some color correction on these strokes are a lot of fun to make, so let's start. 2. 1 Deforming Splines and Adding a Landscape Object: in the next few lessons we're gonna work towards creating this type of a shape is kind of nice swirl. So let's see how we can do that. Let's go back to our starting file. And the first thing that I'm gonna do is add a circle Splain and to this circle splint, I'm gonna add a d former and I'm gonna add a twist to former. We haven't used to former on Spines before, only geometry, but they work on spines as well. So let's add a twist to former. And we have to make the twist to former a child off the circle. And I want to match up the twist cage here to the circle. So let's hit fit to parent. The twist of former is fairly straightforward. We have a size, and then we have the mode. Now, in our case, the modes not gonna make a difference because the cage is the same size as to circle, but the angle This is where all the magic happens. So as I increase this, we get more and more and more of a twist How this is a little too much. Um, I find that 323 or around it's gonna give me re is really, really nice Swirl Now. You can always draw your own spines, but it's really hard to get these perfect curves like this. So let's use this as a starting point. I don't need to see the spine anymore, so I'm gonna turn off the visibility for both the twist and the circle. So alter option on the stoplights. And let's add the geometry. I'm gonna go to the Primitives menu, and we could take different approaches with this. We could use, say, for instance, a sphere at a display, sir, and a noise. It would create a very similar look, but I'm going to use a landscape, and the landscape is It's essentially a plane with a noise added to it. And it's perfect for creating landscapes quickly and easily. So we have a size here, for we can make a taller if we want. We have with in depth segments, which controls how much geometry that the plane has. Then we have rough and fine furrows you can, which controls kind of the general shape off of the landscape, and then we can add how much detail we want to that. Then this scale is gonna control the scale of the noise, and then we have sea level. If he increased this, we're gonna start creating some sort of ocean. And then we have plateau, um, which we can kind of cap it on the top like this. We also have multi fractal enabled by default. And that's a different algorithm between multi fractal and just have it disabled. And in general, multi fractal looks a little bit better when you create landscapes, adds a little bit more detail, We can change the seed if we want. Let's set back back to zero. And we also have borders at sea levels. Um which we could enable or disable. Now, this morning, we're gonna use here. It's spherical. So when I enable this one mean zoom out here, we get this kind of a sphere like a noise sphere and just like with noises that with segments now and see that the depth segments are disabled when you enabled spherical. But there, with segments now controls how much geometry you have and the more geometry you have, the more details you're gonna get, just like with noises. So let's use this as a starting point. I'm gonna take this sphere and I'm gonna wrap it or are along the circle supplying that we created before. So let's add a Splain rap. Make that a child off the landscape and this plane right needs a spying. So let's take the circle spine and drag it into the spine field. And now we're making some progress. We're not there yet, but we're making progress. So in the next movie, let's tweak the settings for the landscape and this plane rap to get more of that paint strokes, world shape, and that's coming up next. 3. 2 Creating the Paint Stroke: Okay, so let's try to get to shape Mawr looking like this world that we're after. And the first thing I'm gonna do is too high display in rap cage. So I'm gonna hold down my option or Ault and click on the stoplights. And I'm temporarily also gonna disable this plane rap because I want to work on the landscape all by itself. So in the landscape, I wanted to I want to do two main things. I want to take down the size and I want to reduce the complexity. So in this size, I'm gonna set this down to, ah, 100 by 30 and by 100 and that makes it a lot smaller. And I'm gonna increased the segments. I want a lot of details here, so I'm gonna set it to 200. I mean, 400. Now, what's gonna reduce the complexity, though, is the scale. So if I set this down 2.5, you see that it lost a lot of those wrinkles. Um, I'm gonna set down to fine. First, just 10 Um, maybe increased this one, so that looks good. Um, I'm gonna set the sea level so we can see some of that as well on, and this is a good start. It almost looks like a rock at this point. So let's enable display in rap and as it zoom out so we can see. Yeah, I think that looks good. It's a little too thick, so under the coordinates tab for the landscape and we can sit down the size for Z, the Z scale, and that makes it flatter, which I think look better now if you find that it's too rough still, um, you can go on tweak the landscape, but you can also add a d former. So under the diff formers menu, we have something called a smoothing to former. Let's make that a child off the landscape under the Splain rap and you can see right away got a lot smoother. The smoothing the former is great for a lot of different things, and it smooths geometry. And under the object tab here, the two main settings we would use would be the iterations and the stiffness. So the lower the number of the stiffness, the smoother is gonna become, and the higher you take this, the more rigid is gonna become now the iterations, they have a great impact. So if I set this up to say fifties, gonna become really, really re smooth. Set this back to 10 now. I actually liked it before, but if you want to smooth your object further, this is a great solution. Um, let me delete the smoothing the former for now. And under this plain wrap, we have the offset. And the offset by itself could be a really cool kind of animation here. And remember, you can always go below zero and above 100 so you can have this rotate. But I'm gonna set this up to 75 which I think is a good number for us. Um, the from I'm gonna leave it zero to. I'm just gonna shortness ever so slightly to 93. And now I also want to rotate this one. We have a rotation section and the first spine here. The rotation spine. Just take this plane and drag it up, and now you can rotate the entire shape. But I want to set up a few individual points here, so I'm going to drag it up something like this and just drag this one down ever so slightly . But I'm gonna set a point here. I'm gonna add my control or command key and add a point here, and that's rotate this one this way, something like that. And I'm also gonna take this part, and I'm gonna drag this one down, and I think that's pretty good. Maybe a little more smooth. And that out a little bit on. I think I think that that's good. I'm gonna leave it at that. Now. We also have something here. You may notice that we have some stepping and this has to do with the spine and something called Intermediate points. Um, so let's see how we can fix that. That's coming up next. 4. 3 Understanding Intermediate Points: let me illustrate intermediate points in a separate file I drew a spine and it has 12345 points on it and it's a best your spine. So we have a rounded section here, so I'm gonna create geometry by creating something called a sweep object. And we're gonna look at that in the next project. But for now, let's enable it. So now you can see what the intermediate points are doing. We don't have any intermediate points here, but in the curved area here we have a lot of intermediate points, and this is controlled by the angle control here. So if I set this to a higher number, we're gonna have less intermediate points. So space on the angle, the lower the angle and the more intermediate points you're gonna get And adaptive is the default in cinema 40 and it makes total sense because it doesn't create excessive geometry where it's not needed on flat edges. You don't need a lot of extra polygons. Um, but we have a few more options here. None is gonna have has no intermediate points at all. And then we have a mode coal natural, which fairly evenly spaces, the intermediate points out. But it does put an emphasis on curved areas. And then we have uniform, which uniformly places the intermediate points along the spine, regardless off whether there's a curve or not. And then we have adaptive and we looked at subdivided is very similar to adaptive, but you have one more level of control. You have a maximum length or a maximum length between the intermediate points, so if you can set this down, then you are going to get more points. You don't allow the distance between the points to be greater than six centimeters. Now, if I don't use adaptive, I tend to use uniform, especially when I work with displacements, because with displacements you wanna have an even surface to displace eso. I tend to work with uniform most of the time that okay, so now that we know what intermediate points are, let's go ahead and fix our shape. That's up next 5. 4 Spline Smoothness and Cinema 4Ds Order of Operations: Okay, so we're ready to make our shape a little smoother. But before we do that, I wanna change the order in the Objects manager. I want to put the circle in the twist above the landscape, and I'm gonna show you why. If I go to my twist of former, if I disable it, nothing happened. It really should be disabled, but nothing happens. But if I enable it again, then something happens. But it's the opposite. What's supposed to happen now? It's actually disabled. And if I disabled it here, then all of a sudden it's enabled again. And why is that? Why is cinema 40 confused? Well, the reason is because of the orders of operation in cinema 40. The calculations happens from the top down. So in our spine wrapped, we're referencing the circle, which is supposed to be deformed by the twist. However, that deformation, the twist deformation of the circle happens after, is being fed to the Sline rap. So it's is illogical. It should be the circle should be on top so that the twist of the circle should happen before we feed it into the spine rap. So now Cinema 40 is still a little confused. We just need to refresh it. So if I enable it now and disable now you can see that it's doing what it's supposed to do because we have the right orders off operations. So it operates from the top down. It also operates from left to right. So if you have tags, the tax on the left side are going to be calculated before the attacks on the right side. Okay, so with that, let's go to the circle now and the intermediate points and I'm gonna set this to uniform. Now. That made it worse, but we're gonna up the number. So I said to 30 which is gonna be smooth enough. In certain cases you need you may need to go higher than 30 depending on how close you're gonna be. But this is This is good enough for this shape. And let's also put this in a subdivision surface but its ad ah, subdivision surface. And let's take the landscape and drag it into the subdivision surface. And while we're added, let's organize the scene as well. So let's bring in a few nails. Let me command control dragged out to make a copy, and then one more and this one is going to be seen. And then Kim or Ah, and the last one is lights. Let's take all the scene elements, dragged them into the scene, and we are ready to bring in a camera and get a good framing of this, and that's up next. 6. 5 Framing the Shot: Okay, so that's at a camera and frame this. And before we do that, let's set out the output. So the output is gonna be 2048 by 2048 and close this. That's at a camera and drag the camera into the camera folder and enabled it. Now I'm gonna leave this as a 36 millimeter lens. Let's get the frame and right, let's a tent. The borders options configure. And then let's set up the capacity to 90%. Now the grid is in the way up, so I'm gonna turn that off under filter. You can turn off the grid so we don't have to see it. And now let's see the frame. Say something. I think something like this is good. Yeah, let's do this. Um, in the camera can type in some nice round numbers of minus 15 and then 87 minus 700. And then this is minus two minus two. So that looks good. So the friending istan Next up, let's light to see 7. 6 Lighting the Scene: Let's light a scene. I want to make sure that I put a protection tag on my camera so I don't move it. So cinema 40 tags and then a protection tag. And let's enable our four windows so or four camera angles, and that's at the first light. So I'm gonna go up here and I'm gonna add a target light. And I am going to go up to this window as well. Make sure that this window is active and then enable interactive render region. And then let's make that a little bigger and let's go to the light and the light is gonna become a an area light that zoom out in the top here. So let's move the light over here. I'm gonna have this sitting pretty high, and I am going to make this a little bigger. So let's set the outer radius to 200 and then back in the general tap, I'm gonna make this light of warm. So a little orange, I think that is good. Let's increase the intensity 1 20 and the shadow I'm gonna set to area. So let's see, maybe pull this up a little bit and so this one is very front lit, but I think I think that's good. Um, let's leave it at that. And then let's duplicate this light. Let's call this one the key light, key, light and duplicate the key light command, control, drag. And this is gonna be the filth and they fill I'm gonna disable shadows and I'm gonna make it a blue light Then let's turn off the key light so we don't so we can look at the fill light all by itself May call it light as well light And I'm gonna make this a cool light. So let me bring this into the blue hue and I'm gonna drag this to the side and then down I wanna have this light lighting it from underneath something like that. I'm gonna make it even bigger. So in the details tab, let me set this up to 300 centimeters and back in the general tab. I don't want this to be so strong. Let me move it back a little bit and let's take down the intensity a lot to say 50. So now it's very soft. Now that's enable the key light. And we have this which I think is quite good. Let's bring the lights and the light target into the lights folder and let's maximize to prospective. I'm also gonna enable ah, ambient occlusion. So let's go into effect and then ambient occlusion. And in the ambient occlusion, I'm just gonna make this one ever so slightly brighter just a little bit. So let me drag up the quality slider here, and I think that light is good. We're also gonna add reflections to this, which is gonna make it a little bit brighter. So in the next lesson, let's texture this, and that's coming up next. 8. 7 Creating the Colors and Rendering the Scene: it's time to texture. And while I texture, I'm going to keep the interactive render region active and I'm gonna switch it from the standard render to the physical rendered because I find that it's a little quicker toe work that way. Eso I'm going to go up to the render settings and switch it to the physical, and I'm gonna set it to fixed and low as we work and then close this and I am going to maximize the interactive render region. The first thing I'm gonna do is at a background object. When we ultimately render this. I'm gonna render this with an Alfa Channel and add the background in after effects. But I want to see this in context when I texture the shape. So I'm gonna add a background object so background and in the background object, I'm gonna add color. So let's call this one b g and drag it on top of our background and let's go into the material, drag it over and I don't need reflect, intense and in the color I am going to add a layer shader and I'm going to go into the lay shader. I'm gonna add to Grady INTs. A first Grady Int is gonna go from top to bottom That's going to simulate some sort of sunset. And then I'm gonna add another Grady int on top of that just to create a little bit of a netting as we work. So in Shader, let's add first Grady int and let's go into the Grady Int and switch the direction to two D V and the bottom one here. Now I'm going to make some sort of, ah, warm color. Well, not that saturated. Something like that. Maybe a little bit more saturation, a little brighter. And then I'm gonna make a blue color for the sky light blue, Something like that. So that's good. Let's add I mean yet So let's go up one level. Add one more shader One more Grady int and I'm gonna set the blend mode to the top, grading to be multiply and then go into the Grady int. And instead of a two d you I'm gonna make this a two d circular and I need to flip the colors and I don't want it to be so dark. So let's set it to some sort of gray I think that's good for now. And this is just temporary while we set the colors over shape so we can close this now. Now I also know that we are going to need reflection, so we need something that can reflect. So let's add a sky. And like we've done before, we need some sort of HDR I map to add to this guy. So let's go back to our usual. So in presets and then prime presets, light setups, HD or I and the one that I've been using all this time it's Sunny Park. So let's do it again and let's go back to the Objects Manager and then let's drag this on top of the sky. I don't want to see in the camera, so we're gonna add a compositing tag cinema 40 tags and then compact um, compositing. And then we want to take off, seen by camera, and we also don't want to give any sort of colored reflections. So let's go into the material and bring it over, and then we don't need reflect INTs. And in the Luminant, let's drop this into a filter shader. So filter, let's go into the filter Shader and just take down the saturation. And that's closest. So now we're ready to texture this. So let's add a new material and I'm gonna drag it on top of my landscape and let's open up the material and let's start working with the Color Channel first. And I know that I'm gonna need to Grady INTs. So I'm gonna drop this in a later Shader to start, and then let's go into the Lady Shader and let's add first Caridi int and let's go into the Grady Int and I am going to switch this to A to D. V. And then let's twirl down the settings so I'm gonna create a pastel looking shape. Eso we're gonna have some pinks and blues, some, uh, slightly warm white in here. So let's just experiment and see what we can get. Let's start here and let's add like a pinkish color, not too saturated. Okay, and then let's duplicate that. Make that want a little bit more pink. Maybe a little bit more saturated. It's a little too much now to speed this up, I'm gonna drag down the quality slider here a little bit. Uh, and I'm also temporarily gonna disable the subdivision surface just so we can work a little quicker and this is too saturated. So let's take down the saturation. Let's add another slider around here. I'm gonna make this a slightly warm color. Pretty bright. Something like that. Let's add a blue next to it, my kid a little bit more saturated, admit more saturated. And then let's add one more pink. And then let's pull this over and add one more color at the end, maybe a little bit more towards purple. You pull this whole thing over a little bit. This is all tweaking. I think I want more color on the top there. So let me duplicate this material or this not, I should say, And let's just change the hue of this a little bit. Okay, so I mean, I think that's a good start. So, to this Grady, in what I'm gonna do is I'm gonna add turbulence with me, make this a little bigger. So I'm gonna add turbulence today, so I'm gonna set the strength to 80 so that's way too intense. But I'm gonna take down the octaves to three. That reduces the complexity, and I'm also gonna take down the scale to 25 which is gonna make this a lot simpler. I just want to break it up a little bit. So that's the first grade, Ian. Now I'm gonna add another ingredient on top of this, So let's go up one level, and we can simply duplicate this one. So if I grab it by the thumbnail and click and drag up, we make a duplicate that way. And let's go into the second Grady Int and let's temporarily disable turbulence that that 20 for now. And then let's switch up the colors. So I'm gonna delete that one. I just dragged it down. That deletes it. You can also select them and hit the delete key. Uh, let me and pull a blue over here and still eat this one. I'm hitting the delete key this time and then this which this want to a much lighter blue. And then let's simplify this a lot. Let's take down this one and then just delete that one on the sea. But we get, um, let's bring in some more colors, make this a little bit warmer, perhaps something like that on and that's let's leave it. I think Let's leave it at that. Now, let's bring back turbulence. I'm gonna set this to 80% but I'm gonna increase the octaves a little bit to four. So we have just a little bit more complexity. And I'm also gonna change the scale, set that up to 50% and just to make sure we don't have the exact same as the previous Grady int, let's change the sea. Just click that to one that's gonna change. It's gonna give us a different noise, a distribution. So that is down. Now let's go up. And what I'm gonna do is I'm gonna change the blend mode of this one instead of normal. I'm gonna set this too soft light. So now we're kind of blending, blending this on top. Um, I am also going to give a layer master this one. So shader at a noise, and I'm gonna drag this noise underneath and changed a blend move from normal to a layer mask and then let's go into the layer mask and I am going to change to global scale. So it's a lot larger, so set it to 600 and then let's go up, and I'm going to reduce the capacity on this top one just a little bit somewhere around there. So the purpose of the top grade and it's just to break up the bottom, Grady. And so it's not so even everywhere. So I think that's looking good. Now let's add the Reflections Channel to this. So let's enable reflecting this channel, and we have a default speculum. Let's delete that right away. And this time, let's add a pigment. So in the attenuation instead of average, let's set this to additives so that the colors can come through and it's very reflective. Let's first make it a little darker, so in the color instead of this white color that set this color down to say around 80 81 80 . That's good. I was gonna make it a little darker. And also, let's add a friend l from the get go here. So twirl down layer for Nell and let's set this to a die electric, and the preset I'm gonna choose is beer. But I want to bring back a little bit of that reflection. So in this strength we can tone the friend L down a little bit. So let's set this to somewhere around 70 75 or so. So that's good. Now let's add some roughness to this. So some roughness and really less and I don't want any speculators strength on this. I'm gonna take that all way down to zero, and then let's bring down the reflection strength to around 70 75 and I think that's looking quite good. I'm also gonna add a bump to this eso. We need some surface imperfections, and I want to make these tiny little streaks that kind of follow the flow here. So let's enable bump and let's add a texture to the bump channel. So a noise and and it doesn't look right. But let's go into the noise, and I'm gonna change the noise type from standard noise, too, on Nahki and let's change the space. Set it to UV to D so it follows to flow of the polygons. And let's set down the scale here to around 30. And whenever you set the global scale and on a noise in the Bump Channel, you should also adjust Delta for a better quality noise. So let's set this one down to 32 match Do you can see that we're getting these streaks here ? It's too intense, and I wanna have them stretch much more in one direction. So let me set this 1 to 530 about and then let's reduce this to 50% so it's a little too strong. So let's go back to the bump. And instead of 20% I'm gonna set this down to 10. And let's increase the quality here so we can see a little bit better. So I think I think that's good. We're ready to render. So let's set up a render of this. Let me close this and we don't need the interactive Render region again, and I am going to enable the subdivision surface again. And let's disable the background. That was just temporary. So let's disable that one. Let's just hide it Then, in the render settings, I'm going to keep the render settings very simple. In the output, I am going to stick with 2048 by 2048 and we're still doing a still, so the current frame is good under save. Save it to your hard drive wherever you prefer Ah, And then in the format, I'm gonna do a P and G and 16 bits per channel. And I want an Alfa Channel and I'm gonna render a straight Alfa Channel. This time there are two different types. There's the pre multiplied Alfa Channel, and then there's a straight Alfa Channel. The pre multiplied adds a little bit of colors to the edges of your objects, where it's a straight Alfa Dozen to assist a straight Alfa. Um, but aftereffects can handle both straight and pre multiplied Alfa. So let's enable straight this time and under the physical, I am going to keep it at a fixed. I find that that was the quickest when I did my test. So I'm gonna stick with that and just didn't I'm just gonna set up the the sampling quality too high, and that's it. That's all I'm going to do. Now. I am ready to render. So let me close this. Make sure that everything is enabled again, said the subdivision surface is enabled. I took out the background and let's render gonna hit the render button, and this is gonna take a little while and I'll be back once it's rendered. So the render is done and we have the final result and it looks good. Let me zoom into 200% here. I want to show you thes thes. This is the result off the straight Alfa and it looks strange in the picture viewer, but it's gonna look just fine in after effects just here in the picture viewer that it looks strange. I also want to show you if you don't have a bump, just want to show you the impact of the bump. So this is without the bump and this is with the bump. So the bump really adds a lot to the final result of this these little nice streaks. I also wanted to show you in case you're rendering with standard render even with anti alias ing set to best he moved. Zoom in here a little bit. Give me that. We have these kind of weird artefacts and that's because we need to up the anti a leasing settings a little bit. Um, let me show you the next one here where I increased the settings for the anti alias ing. Then we get good results here again. So let me show you what I change to make this better. So if I go into my render settings under the standard anti alias ing by default, we're gonna have this and actually, by default you have geometry. But when you render, in most cases you should set up instead of geometry. You should it up, set it up to be best. And then we have a minimum level in a max level, and then a threshold that controls what is rendered with four by four, the max level and what is rendered with a minimum level one by one. So max level is gonna look better. So I took down the threshold to one to make sure that almost everything is being rendered with a max level. And then I got the better results. So let me show you again. If I go back to the picture viewer and just look at the result, the difference there again. So this is with the threshold of one and then threshold of 10. It just looks pretty bad here. So if you are using the standard render, make sure you change that. So next up, let's bring this into after effects and add some post effects to this 9. 8 Color Grading in After Effects: Okay, so here we are in after effects and we're going to create this. This is gonna be the final result or something close to it. So let's start. Bring in the render from cinema 40 to the project window, and then I am going to drag it down to the create new comp button at the bottom. That's going to create a comp with the right settings for us. And I am working in 32 bits per channel again on if you have a different setting, you cantata will between the three modes by holding down the altar or option key. And that's going to take you from 18. I mean, 8 16 and then 32. And make sure that you have that set to 32 bits per channel. So let me drag this up a little bit, and I'm gonna add a background to this. So they're up. We have to activate this window first and then layer new solid, and I'm gonna call this one BG for background. Make sure it's to comp size and then click okay, and let me dragged it to the bottom. So on this background, I'm gonna add a ramp. So let's go up to effect and then generate. And then we have ingredient ramp. So I'm gonna create a ramp going from the top to bottom and that the bottom, we're gonna have a yellow orange color like a sunset color not too saturated, but something like that. And then let's add the top one that blue. So a light blue. Let's try something like that, and I think that's good. And then let's add some effect to our shape as well. And the first effect I'm gonna add is under color correction. I'm gonna add in Something called Vibrance and a vibrance is similar to the saturation effect. But vibrance is affecting the muted color more so it doesn't go overboard with the saturation eso if I bring this up just a little bit, and that's compared before and after. It's very subtle, but let's add that, and then also I'm gonna add a curves to this so effect color correction and then curves, and I'm gonna leave that blacks alone pretty much. But I am going to brighten this up. Something like that. I think that's good. And then I also want to blur this a little bit. So effect blur and sharpen. And I'm going to use a ghazi in blur and repeat the edge pixels. And and then I'm gonna set the blurriness to to just a softening up just a little bit. And then on top of this, I'm gonna add on adjustment layer, so layer new adjustment layer and the adjustment layers can affect everything underneath, including the background. And I'm gonna add a tri tone effect to this so effect color correction and a trite own. So the tri tone lets you control the brights and the darks and then the mids or the gamma. So I am going to add a pink purple color to the Gamma, something like that. And then I'm gonna add, like, a purple dark part here, something like that, and then just warm up, um, the whites ever so slightly maybe something like this, like that that's good. And then I'm gonna blend this together with the original, so c 60 let me see. So this is before, and this is after and it just brings all the elements together into one cohesive, um, composite eso Let's also Adam. And yet to this, So I'm gonna add a new layer new, solid. And then it's called this one vignette. And yet and I'm going to make this a purple dark color and then click OK, and then to this vignette, I'm gonna add a mask. So let's go up to my mask tools. I'm gonna choose to your lips tool, and I mean, zoom out to create a mask that is the same size as the comp. I can double click on the lips, so that's good. Now I wanted the reverse so we can invert this so individual. Yet under the mask there's an invert check box. So let's invert this. And I want to get this to the settings for the masks or we can get to them by hitting N m. And then I'm gonna feather out this mask quite a lot and more, a little bit more. Maybe something like that, that's good. And then let's take down the opacity. Um, if I twirl down, I have my transform settings and we have capacity down here. You can also get to your opacity and a short cut to twirl. Just the capacity down is to use the T key and then I'm gonna set capacity to save 50 and then it's compared before and after. It just allows us to focus on this a center object more. And I'm just gonna add one more thing to this. I'm gonna add some green. And so let me duplicate this adjustment layer. Let me call this one a de guia just and this is the tri tone. So let me hit control or command D is gonna duplicate that one. And then let's drag this one to the top and I'm gonna call this one. I am reading them, renaming the layers by hitting the return key. And I'm gonna call this one green green, and I'm gonna delete the tri tone from this. And then I'm gonna add effect noise and green add green. Let's zoom in 100% right now, we can only see this little preview window, but under viewing mode, we can change this from preview to final output. So this is a little too much. I am going to lower the intensity to 0.25 and then size 0.25 as well. And by the way, you can pan inside of the compositing window here by adding the space bar. So I think that's good. It's subtle, but it adds something to it. So if I disabled it, enable it and I think that looks quite good. Usually adding green to almost all renders is a good thing. It looks better. Um, so let me bring this full screen by hitting the tilde key. And this is 100% on my monitor. This is I'm recording this on a 1920 by 10. 80 monitor. And, um, I mean, that's good. I like this. So the project is done. We started in cinema 40 by adding a twist to former on a circle spine. And then we wrapped a landscape object along that supplying with a spline wrapped a former we used to different Grady INTs and added turbulence to them to create the colors. And then here we are in after effects, where we've added just some post effects to it. And hopefully this gives you some ideas on how you can use these types of techniques in your own projects. Thank you for watching 10. Thank you for watching: thank you for watching. This was the third course in a Siri's off four on making abstract shapes in cinema 40. So if you didn't see the first and second course, I recommend checking the mount. And please do post your projects and let me know if you have any questions or if you have ideas for future courses you'd like to see. You can reach me on velocity peak dot com, where I post projects and tutorials. I'm also on Twitter at Jesper Sandal. Hopefully, you found the course helpful, and if you did, I would very much appreciate our review. I'll see you next time.