Transcripts
1. Intro: Hi everyone, welcome to this course. Turn logos into 3D motion graphics. My name is Sunny and I'll be showing you how to make social 3D motion graphics using the cinema 4D renderer built within After Effects. So there's no need to buy any plugins. In this logo example, we're going to use a single layered file. We're going to split this logo up into different sections. We're then going to use some 3D text, half 3D text fly in. And that will also have some 3D shadows. In addition to this, we're also going to be using some 2D effects to reveal our images. And we're also going to have some right on effects over the text. The cinema 4D rent real was introduced aftereffects CC 2017. So 2017 and above is all that's going to be required. And just a basic understanding of After Effects will help. However, I do go through this in a step-by-step format so you can just follow along. So let's get started. You're welcome to use the project files provided, or you can use one of your own files and just follow along and make your own 3D project.
2. Set Up & Importing: So let's get started with this FMR logo. Lets go into here to projects. Go to the footage and let's grab hold of our tiff file. Open up. I'm just gonna click and drag this and I'm going to create a compound of it by dragging it down here into the folder. Just zoom out, it's quite big. And then there we have it. So we're going to animate this. I think it's gonna, it's gonna be a good little project. And it's going to be good because we're only going to need one file for this. You can get, you can obviously you could bring in some logos where you have different layers and that's on a different project that I've also attached to this, the barber shop one. But for this one we're just going to need the one here. So let's knock this write down, press S for scale. Let's note this down to 50%. And I'm just going to go into its composition settings because what we've done, because we've brought this from a TIF layer into the composition. It's used those original settings from the actual tiff layer itself. So if we go to the composition settings, not this down to 1080. Thing that works for me better. I'll just keep the name as it is, 101920 by 1080 squared pixel. Leave it as a 25 frames a second because I'm in the UK and less keep our low. Let's keep our logo to about five seconds. The general speed for a logo, you do want to keep it between four to six seconds. But we'll stick with phi fanout and then we'll leave our background fully white. Okay? Right, looking good. I'm gonna put this up, this action title safe. I tend to find this is just useful just to have throughout the project and you can just turn it off whenever you like. But for now, let's leave that on. Let's go down here and create a background. So File New, sorry, right-click new, solid. Make sure our solid is fully white. Press okay. Yep. Drug that below. And there we have it. We have a background. I'm just gonna right-click on this and call this much healing, call it the flaw. Because when we go into a 3D section, this is gonna be the floor END. We can have some shadows shine onto it and it'll be quite good flaw. So now we have our tiff layer and the floor layer. I am going to lock these two. And the reason I'm locking them is because I want to actually trace this headphone and a head band with some shared players. And then we're going to use or share plays later on to animate. It's like a 3D section. So I have them both locked. I'm going to hold Command and zoom in with plus spacebar just to click and drag. So let's get a big image here. To go back a little. And then I'm gonna go here, go to our ship layers, and let's go for an ellipse tool. And now let's just, sorry, just go there. Let's go and start making a circle with this. So I'm going to hold shift. And the reason I hold shift while I'm making an ellipse to a tool is so it makes it into a perfect circle. If you let go of shifts that you can kind of squishing and drag it out. But for this, I'm just gonna use that. And if you also hold Command or Control, you can actually make the circle from the center like this. But I'm okay just to do this for now, click there. P for position unless get this for the middle, for the middle section of the headphone. So I'm gonna zoom in. And the reason I've locked this, because if you ever have a layer and you're trying to use any form of share player while you have a layer selected, you always end up making a mask and it's a problem I always, always do. So I always get into a habit of just locking things before I go ahead and do in that. So let's just scale this up a little. Actually, what I will do because the anchor point is over to the right. I'm going to grab hold of my anchor point tool and click and drag this into the center. And if you hold Command or Control, you can snap it to the center. Clipped my selection tool to go back, right, let's just scale this out a little. Position p for position to move it over to the right. And I think if I scale it by maybe just one, you can use up and down on your classes to move individually. So I think around there, P for position, and I'll just get this centered nearly that. Yeah, I think that works. Right? I'm gonna right-click on this. Unless renamed this headphones. Headphones, we call it an arrow small, Gulf of small. Let's duplicate this. So Command or Control and D, right-click on this rename. Rename this one big scale. And then we could just drag this out to the second line. Yet near enough. I'm going to go and make a third layer Now. So a Fed Shephelah go up here and go to rounded rectangle tool. And this town was gonna click and drag. And if while you're holding this, while you have your mouse button down and you click in and Dragon. If you press left and right, you can actually start curling this covering the edges. So left kinda straightens a right Kelsey edges. So think just a little bit further out. We go pee for position, just gonna move that down. Then we'll move this over to the left slightly. I'm just using my CAS is just to move them individually. Okay. It's gonna rename this one headphones, headband, headphones, and head band. And then let's make a new layer. New. Right-click noon null object. Right-click on the nil object rename, and we'll just call this headphones group. And I will click on this and make this a blue color as well. Click on my headphones. Go to the parent, the pick whip, and then click and drag it onto your headphones. And now we have that in one group if we need to move that. So we have our three share players. If you're shaped layers don't look like this. Just you can shift, select them all. And you could go up here and make sure your fill is crossed off. And then your stroke. We've gone for like a different dark color. So let's go for, for now, let's go for like a bright red color and click OK. And then I'm gonna go to my headphones, headband. Go to the ad. As you've clicked down. And then let's click on trim paths. Let's add a trim paths through this. Click down on the trim paths. And then let's play around with the starts and ends just to kind of get rid of this little bottom section here. So I will just move this round. And then let's start offsetting this. Nearly there. There we go. That's looking good. Just going to minimize that. Unless n this session right here, in the next session, we can start animating some of these lines and actually cover like a cool effect. And eventually we can have some shadows popping off them. So let's do that next.
3. Keyframe Trim paths: So in this section, let's start animating our paths. So let's go to our headphones. The headband click down, and let's go to the trim paths that we created earlier. So just here. And then on the first section we've already position our trim paths. So I'm going to add a key frame right here. I'm going to go forward 20 frames. So I'm going to use Shift Command or Control and right curse at 12. And we're going to add another two key frames then. And actually I'm going to add one to the offset as well. So I've just forgotten that one. So I'm gonna add to offset at the beginning and the end there. And then I'm gonna 0 everything out here. So 0 here, this and this. So then if I was just a solo this, you can see what happens when I scrub along. I'll just click off so you can see, you can see it's just going around and it slowly start into create itself. So when we get to this point here, Let's move forward 30 frames. So Shift Command or Control, and right casts a three times. So 123 Polk he Fram on all of them because I want this to hold while we have some other animation's happening. And then let's go forward 20 frames, 12. And I'm gonna put a final frame, keyframe at the end. So let us select this, animate this upwards. So I'll put this to a 100 touched link. So I'm just going to solve this and make sure we could have a quick look at that. Yeah, I know it's red for now, but it's just because we have a white background. And when we finally start to turn this 3D, we'll change the color. So I'm happy with that. So we got animating out. Yeah. And then when, so this is our first section. So animates are like this. And when it gets to this 20 Fram section, we want to start building this circle here in wonder in one way. And then we can build the smallest circle. Let me get away. So let's start that now. So just to go onto the big one, the headphones bake, click down. And then let's add a trim paths like we did last time. Trim Paths. Click down on the train paths. I'm going to add a key frame on the spot for one. Right here. I'll just press you just to solo that one. And then shift command, right cursor twice, 12. And then we want to animate that way. So we have this Come on. And then as you can see, I know this is animating output. What we could do is just simply select the two key frames. A cool little technique that I like to use. Right-click on it, go to keyframe assistant and reverse it. So I'll just sole above so you can see what's happening. So the line comes out, builds the headband, and then as soon as it touched to that, the second line pops out, goes all around. And while that's happening, we also want the Fed wants to do the same. So then let's go to our headphone. Small clicked down like before. Go to add, Let's add a trim patch. Click down on the trim path. Let's add a key frame at the end. Drag this forward. And then we'll just have that go like that. So I've gone from a 100 down to 0. And then like before, right-click both because we actually want this to reveal sunlight before go to keyframe assistant unclick time-reversed keyframes. Right, that's good. So let's go over to our headband again. Press u just to reveal all the keys. And we're just going to use this as a reference to snap our timeline to so I'm holding Shift and I'm just gonna snap to this section. And then we need a holding frame for both the headphone, small and big. So I'm going to shift select those two, press you twice, so we could get to these keyframes here. And then let's add a holding frame on both. So we'll keep them as they are. Holding Shift. Snapping to the very last key frame here is when everything disappears. And then let's put this one to a 100 and then put this one to 0. So then if we look at the whole thing, should grow on and then animate off. Yeah. Well, more time. Yep, looking good. Just think there's a tiny little bit I've missed. So if you see there had been a think there's just a little section, so I'm going to zoom in and have a look. Yep, just a little bit there. So if I go to this keyframe where it's grown right there, and then we'll have a look at which one it is. I think it might be the end, but we can test. So yeah, I've just pressed upon the cursor and we'll just keep We'll see what that's like at 23. Just drag this forward. Yeah, that looks better. So I'm going to leave that 23. And then we'll make sure that's at 23 as well. And we go looking good, right? So let's clean these layers up. So as, as always, click on all the layers and then just press you on. I've already got mine showing anyway, but just a good habit of doing it. So press you until you just see those keyframes. I'm gonna go to the end of all of them and I'm going to hold Option or Alt on a PC and right square bracket to chop these off. It doesn't always do exactly, exactly. So sometimes you might need to just move that frame there. And then at the beginning, we have some animation there, so we'll keep them as they are. But these two frames down here are layers. Shifts like both. I'm just gonna grab hold of the end and I'll just, while holding shift just snaps to these two frames here. So let's end this session here. Now we have our trim paths animated, and in the next section we can start bringing in more of the logo elements.
4. Add Effects to Head: So we have our TRIMP Asana methods. I'm just gonna un-solo these and then start revealing the rest of the image. Before I carry on with anything, anything to do with the trim paths, I want to start like revealing some of the rest of the image, especially this female character here. And then we'll go back and start adding some 3D elements. So these trim paths, and then we will be able to see some like cool shadows and stuff. So let's go to our image. Whoops, have it locks. Just unlock that. Unless you lose less you something called, it's called a CC grid WIP. Go to effects and presets and let's type in CC grid. Wipe. There we go. Make sure you are tiff layer selected. I'm going to double-click on here, bring this up. And before we, before we carry on, I'm going to show you what this does. It basically does what it says. It kind of makes this grid effect and there's wipes it on. And I like it because you have some controls here which he really useful. So for instance, if you go down to the rotation, you can move this around. You can play around with its borders. We can actually add mortals and if we like, and other things as well, you can also have it open in like a DAR effect. So on each side of this, we can have a open up almost like a, like a dolphin Western. And then we can have a rectangular soil reveal. Although in this situation we're going to have it as a radial reveal and we're going to have it come from the center of the headphones. So I'll just quickly reset that. And let's put this to 32% for now. And I'm gonna grab hold of the center. Move this along. And you can always come here and grab hold of this manually if you like. Put this in the center here. I'm gonna make sure I can see more actually because I've gone too far with this score or something like that. So I wanted to start there. And we'll see how it will have a look at how this is going to happen. So we have our headphone band, the headband Sheila xA, and the headphones. And then they finish round about this frame here. So let's move back five friends from this. So Command or Control. And then left cursor five times. So 12345. I'm going to add a key frame here. And I'm going to have this to a 100%. And then we're gonna move forward 40 frames. So Shift Command or Control and right cursor four times 1234. And then I'm going to reveal all of this. So that looks good. I also know that they do it. It is also affect the texts, but we can mass this out later. We just want to get this effect Tom for now. So I think it's not quite central enough. I'm just going to move this a little bit, the center around there. Let's add some more tiles in. So in a bump this up, if I get a bump is stripped 25. Yeah, that looks better already. And I'm just gonna play around with the borders. It's going to knock it down from 75. I'm gonna go doubtless, try 50. Yeah, that's better for me because I wanted these bigger holes at the beginning and like a gradual towards the end. And it is good as well because you can see it. You could clearly see that it's coming from the center and then going out. The only problem is it's going the wrong way. And that's not a problem. It's not a problem really because this is an easy fix. What we can do is simply click on this reverse transition. So now it should go the other way around. Here we go. Alright, great. So would this still selected? Let's go to our pen tool and let's cut this out. So I'm gonna zoom in. I'm just gonna cut this female head out. It doesn't have to be the nicest mask. We could just quickly just go around and make sure it's on its own layer. Sometimes this is the advantage of having like a layered file before bringing it into After Effects. But we cover that in the next lesson, in the next project. But in this one we want to, I want to show you what it's like to work with just one image. Every go. Yeah, looking good. And just before we end this session here, I'm going to duplicate this. Click down, go to the masks, and then add a subtract just to reveal the text. And then I'm gonna make sure with this layer selected that I get rid of the grid wipe that we'd created because we're gonna have a different effect on this text. And we go. So if I just solo that you can see that the text is on its own and the image is on its own. Right? So in the next session, let's start going back to our paths. Now we have this face reveal and will start making some of the past 3D.
5. 3D Render : So let's carry on. I'm just gonna press play and have a look. Yep. Happy with everything that there's just one thing. I am just just because I had a change of heart, I just want to change one tiny little thing. And that's to knock it from 45 degrees to 0. And this is only because I just want, I think I profess squares to kind of diamonds. Yeah, I think I like that. Yep, that's better for me, right? So let's work on these, these paths. So I'm going to click on all of them. Click down here. And if you don't have this available, you might have like a toggle button and just going to click on all three. And I'm gonna go to the 3D Layer and 3D LAN, all of these. And then I'm gonna go to the composition settings or you can just run a PM. Go to this section, go to 3D renderer, and click on Cinema 4D. Go to the options. Unless knock this write down. Let's just work off. I usually work in around this area here. So let, let's, let's go around halfway and we'll see how the MAC is coping. Ok. Now with these three selected, I'm just going to go down to the actual geometry. So let's click on the first one. Go down to geometry options and less at some extrusion to this. So thankfully, we already have this animated. So let's add an extrusion of 30. And let's go to the material options. Click down if you don't already have it down and make this on because we want it to start sending some shadows onto this floor layer. Due to the same. We'll do the same with a big warm but the extrusion to 13 and then make sure it cast shadows. And then the last one, just go down here, extrusion to 30. And then let's go and make sure that it's casting shadows. Right. Okay. So at the moment is still red, but it's okay. We can, we could change that now. So I'm going to have them all selected. Click on the stroke, and then just drag this all the way to the top left corner. For white. It's going to have a look. Yep. Looks good. Right? Moves to the beginning. And let's start bringing in some lights. So the first thing to do is to right-click New. And let's first of all bring in a light and will bring in an ambient light. And let's go to the intensity. So T, as a shortcut. And let's not this to 50%. And ambient lights are pretty much like the kinda act almost like a general lighting for the whole scene. And they're really good. They're really good for logos because you can help transition from the 3D look to a 2D look. So we're gonna keep this at 50 for now. And then towards the end when we when we, when we have the logo finished, we're going to have this back a 100. So let's keep this at 50 fungi as like a general lighting across the whole thing. And then let's add a second light. So right-click New Light. And this time let's add a parallel light. And now we have our parallel light. And this acts a little bit differently to the ambient light. While, while the ambient light kinda covers the whole screen, a parallel light also does the same, but it kind of does it in like a straight line. If you come from like a 3d background, the parallel light acts exactly the same. And I will just show you that now. So if you come down here, you have a few more options than you do with the ambient light. You have a point of interest, which in our case will be the center of the logo. And then the position which will always point to that point of interest. Now before we carry on, I wanna go down to the light options. And this is something that always catches me out and it's to make sure that the cast shadows is on. So then this slide, when we actually position it to the top left corner, it will be able to cast shadows on other materials that also can receive shadows. So we've already done this with the headphone group, but now we have to do this with the rest of the layers. So first of all, unlock the floor layer. And then let's just make this 3D. And let's make the other two tiff layers 3D as well. And the good thing that aftereffects does do is it automatically receives the shadows. So if you go down to your material options, just to show you always receives the shadows but doesn't necessarily always add cash shadow. So for the flaw, we don't actually need that to cast the shadows because it's the flaw, we just needed to receive it. But for the other two layers, I'm just going to shift select them both and press a which is a shortcut to the materials. And we'll go down we'll go to there. Yeah. Cast shadows. Going to click it on for that one. And we'll do the same for that as well. So I'm just going to minimize these. And I'm just gonna have a quick preview tablet, quick look how it's looking. So I've just fast-forward a little just to show you so you didn't have to watch the preview. And this is how it's looking right now. And if you're a little bit confused, the reason why it looks like this is because when we made everything 3D, After Effects put everything on the zed depth at 0, which puts everything on the same plane. Draw the position for this is at 0. The position for this is at 0, and the position for the flaw is at 0. So what we need to do is I'll just show you from a side view. So if I go into my Custom View, grab hold of my camera, click and drag while it's on rotate. And you should be able to see here, that's where our extruded and this is where a florist, so we actually need the Flood go underneath the extrude. So the way to do that is we'll knock this back by 30. And then we'll grab hold of our frames here, the two tiff layers. And we'll knock this to the position value and the SSID will put it to 29. And we'll keep the headphones as they are. So then when we go back to our men and our main camera, you should be able to see the actual little shadow just starting to pop up there. And if I grab hold of my parallel light and just move over to the left. While my Mac is just quickly load in. There we go. We can see more of the light now. So let's carry on with that. Let's grab hold of the parallel light and let's move it to the top left corner. So I'm gonna throw this this way and then send this to the top. And you should be able to start seeing this shadow really starting to show off. Now, there we go. That's looking good. I'm just gonna go into the shadow settings. So let's go into the Lai options and the shadow darkness. I'm going to bump this up to a 125. I just want it to be a little darker. Yeah. And also we can also play with this later on, but for now, let's keep building this logo and let's see what this looks like now in a preview. So just looking at this now it's previewed. This looks great. We can see the shadows. We can see the trim paths working with the shadows and the grid effect that we added. That works really well. We have a little clipping here, but it's okay cuz we're gonna change this later in a later session, but this section here is working for me. So let's end this session here. And I appreciate this as a hardest session with the 3D. I hope you haven't. You're not too confused. If you need to go through this one again, I'd highly recommend it. But let's start moving over to some of the other elements now.
6. 3D Live Text: So let's start moving over to this section over here with the text. And I want to add in a 3D texts with this SMR. So what I've done is I used a actual font and the font I use is called a rule. And that's spelled a r, U, L. So there we go, a RU l. And if you want to use this font, it's available for free on different.com and it's a 100% free for commercial and professional use. So if you download that font, you can follow along or you can use one of your own fonts if you're doing your own logo. So I'm going to click on here. And I'm gonna type the word SMR or the letters S, emma. Let's select it all. And I'm going to position it just of this one. And then we're gonna cut this out because we're not going to need the animal. So P for position. And I already have this, so it's 1100. And then the x-value is 55, eight. Let's make the Layer3D. Unless bump this down to 28. If you remember from the last session when we had to play around with the zed depth. And now I'm just going to scale this up. So S full-scale, let's just slowly start scaling this up. Unless put this at a 185 on the scale. So I've just trust the other text. And now I'm just going to hide this for now because we're going to use this for the angle IS section. I'm just going to recolor the face. We'll put this green. And then we put this at a brown. And I'd just like to keep things different. So now we have the SMR. And let's move forward 15 frames. So Shift Command, right cursor for ten forams. And now I'm going to hold Command or Control if you're on the PC and go forward five frames, we using the right cursor, so 12345. And then I'm gonna click and drag my layer while holding the shift has to snap to that. And then what we're gonna use is a preset. And it's great because aftereffects offers a few 3D presets as well. So let's click down here and let's go over to our text. Then let's go over to 3D text. And the one I want to use is I'll just, I'll just bring this in a little. The one I want to use is the 3D basic position zed cascade. This is, this is great. I liked this one. And what we're gonna do is you'll be able to see it slowly come down. And it's great because what we'll do now is add some shadows to this and you can actually see the shadow as it's coming down. So let's go down to the settings and light before go to the material options and turn on the cast shadows. So, so far looking good and are happy with this. But I do want to have some depth to this text. Not as much as maybe the trim paths, but definitely we need a little depth, depth to it. So I'm gonna go to Geometry options. And the same thing applies to live texts as well. I'm going to put the extrusion to 20. Alright. It's just going to minimize this and let's quickly preview that. Yep, this is looking good, really happy without all of the shadows and stuff. I think the only thing is the texts is the wrong color. But what we could do is color pick from the face and the minutes. The other thing is what we'll do in a later session is actually add a camera movement. And it's great because it will add to this effect. So let's first of all change the color. So I'm just going to minimize this. Turn my face layer back on. Bump followed a list L because the first layer has a great effect at the beginning. And then let's just make sure the SMR texts is selected. Go to the eye dropper tool unless pick this. And hopefully that should change the color of the text. Let's do that again. Just click on this. I drop a tool while it's highlights. It didn't seem to want to do it the first time that we go. Yep, happy without right. So let's move over to our second bit of texts, the glass. So I am going to just solo it for now. Which one is I think it's this one. Yep. So I think there's already a mosque on this, if you remember from the beginning session. So I just want to take this off. Go to our pen tool and let's create a new mask just around this text. So I'm just going to zoom in with command and plus spacebar just to drag it across. And let's just make a rough mask around here. Click there. We go. Just solo that. And then what we're gonna do is we're gonna use something called a strobe effect. And it will be good because it will give it this handwriting effect. So let's go to our presets effects and presets and type in the word stroke. And you go just generate strokes. And would this selected double-click on generates strokes, This won't. And then let's create another mask. So I'm gonna click off this. Click on the Pen tool, make sure your tiff is selected. And let's zoom in a less start tracing this with the pen tool, making the second mask. So we just want to go around it like we would like you would if you were to like write it on with a pen. So I'm just gonna go around and just quickly click on all this. Let's go pay a tiny bit that go in here. Right? Now. It's gonna click up here. Just going round. And I guess we'll probably come all the way down here with a pen and then round. Let's, whoops, just undo that. And if you do and do anything, just click the little box and then click again. You should be able to carry on with a mask. Otherwise, it might create another mask which you'll just want to undo and then just go back. I want to keep all this on the same mask. Right? Just getting them clicking down here. Shoot up to the top. And then I guess with the pen, I'd probably start at the top here. So I'm just going to shoot off over here. Then they're just down here. Let's go round. Then we'd probably go round like that. Yep. Go here. And then at the very end, I'm just going to shoot to this corner here. And then just do the top of this. I write. I'm actually, for some reason I have two must at the same color. So I'm going to click on this and do this. Say, we'll go for a walk, go for a red color. Just so we can see the differences. And this is mass two. So now we've done that. We're going to zoom out. Let's get the stroke to actually look a path mosque to, because it's actually looking at the mosque one path, but we want it to look at mosque to. And then you should see a little white line here. And it may not have covered it all, but you can always go in and start adjusting things. So just click and drag a few of, few of the parts that you may see. And then once you've got as much of it as you can, which I think for me it's mainly this section. Maybe we could do a little bit here. Move that down with the OpenSSL. Just want to cover the black line as much as we can. And then when you feel like you've gone as far as file with it as he can't. Actually, this one keeps coming back to me. Let's go over to our brush size. And at the moment is 6.9 for me. So I'll bump this up to ten. And if that covers everything, yep. And what I like to do is go buy a few numbers and I'm just press down on the cursor's just a little bit until you see a black line, tells a whole shift as well. So 7.9, There we go. So 7.9, that so I'm gonna move up until I can't see anymore. Yeah. So for me it's 9 will go from 9.3. Right? So click off that. Go to the SMR Layer, press you just to reveal the keys because I want this to start doing the stroke effect once this SMR text as a finish animating, which is at this key point here. Go back to this tiff layer. And let's put a key frame at the start Shift Command, right cursor twice to get 20 frames. And then let's bump this up to a 100%. And you should be able to see the text. So I'm just gonna press you just to solve these keyframes and just going to put it in the middle and just make sure it's working. Yep. That looks tough, looking good. Right? So that's this session. Don't, let's move on to the next session where we can start playing with the cameras. And then we can start at and a shock wave to the actual headphones of the character that we have.
7. Add Soundwave & Render: Okay, so carrying on. We have our text animated and we have this. And now we have a little bit of clipping just at the beginning of the air. And that's because we've, you know, we've had to put these on. We've had to separate a single image out using masks. But we can address this threat whereby just simply moving it off the z depth by a pixel. So if you go to SMR, go pee for position and where it says 28, let's just not that 27. And then our text where it says 29 and depth, let's put that to 28. And now they're all offset by one pixel, which then makes everything just, basically just cuts out all the clipping. Now this is something you won't have to do if you have a layered file. But we go into a layered file In the next logo, cause so I want to show you how to work with a single image for this one. And it's just a case of doing a lot of masking and masking separate parts out and then moving among different zed plans so they don't clip and interchange with one another. So now we have that. Let's move over to our lighting. If you remember earlier when we created the lights, we said towards the end we were going to put the ambiance to a 100%. The ambiance to a 100% will get rid of all the shadows and stuff on these social shadows that we have over here. So the way to Went to do that would be at the end of the text. So I'm going to click down to my tiff file down here, where we added the stroke effect. I'm gonna hold shift and snap to that end keyframe right here. And then from this point, let's start working on the intensity. So T for intensity per keyframe, their Shift Command, right cursor twice. For 24 m's. I'm gonna put the parallel light to 0. And I'm going to put the ambiance to a 100. Whoops, not ten to a 100. Okay. Right. So that looks good. So it comes in, goes down, and then you can see goes into a flat 2D image from that point. Right? I think it's time to add a camera now. So let's go to layer, new camera. I'm gonna keep the default one. Click OK. layer a new null object. I'm going to shift select both and then just colored them. First of all, make them a yellow. Right-click on the null and we'll rename this. Come on, just go controls. I'm going to parent the camera to the null layer. Just moving this to the first frame. Make ya know, layer into a 3D layer. I'm going to hold Shift command and then do six friends forward. I'll sorry, 60 frames forward. So. Shift Command or Control and right cursor six times 123456. Put a keyframe at the position. Press for rotation. And I'm gonna put a keyframe at the zed. Press you just to keep those two. So Shift Command or Control and left cursor five times 12345. And let's put a keyframe here. Unless knock our Zed rotation to 90. And let's just have a quick preview of this. That's looking good. I think. Happy about everything. The only thing we need to do is really add some 0s. So this in the graph editor. Yeah, that's really starting to come together now. Yep, let's add some 0s to the camera. So let's highlight all of the key frames. Right-click keyframe assistant. Easy, ease with them all selected. I'm going to click on my graph editor. And if your graphically that doesn't look like this, go down here and go to the edit value graph. And it's something, it's just a personal preference of minus. If you've followed any of my tutorials, I always use the value graph with them selected. Click on this just to highlight those. And I'm just gonna select all three of these here. Click on this and drag this all the way to the left. Just make this a really strong east towards the end. So this will be the position value and the z rotation. Whoops, gone down too far up, click on this again. And we go. And in the beginning I'm gonna make a little, little. He's not as much as before. And if you just solo the zed rotation and click on this here you can have a look. Yep. Let's come out of the graph editor. It's just going to drag this out because we, we made it smaller when the, in the graph editor. I'm just going to quickly just scrub. So in this section here, so we've added our ys's will do a preview in a minute, but I want to add one more effect. And that is when everything's out and we have the text written on, we want to add like a, some kind of light radio waves and some shock waves coming out. Because that's what SMR is all about, is about the sound. So let's create a new solid. Click OK. I'll color this a different color. We'll make it fuchsia. Let's go over to effects and presets and type in radio waves. Double-click on this. And we go. And what we need to do here is just go to the produce a point, which is just the center point over here. And let's bring it all the way to the center of the headphones. You can always just click on this and click in the center yourself. Write that. And then once I've done that, I'm gonna grab hold of the color. And I want to go for this color here. Let's play around with these rings and the frequency. I'm just going to add some more frequency may be too. Yep, that looks good. And then the lifespan is currently at ten seconds. I'm only going to need about roundabout two, tops maybe maybe three. We can have a look, see how this is looking. Yes, something like that, that look, that's looking really good. And then what I will do now is grab hold of my layer. And we want this to start around here. So when the texts ends, the last few frames, the last second will start having these radio waves come out. There we go. So let's do a preview of this and see how it is looking. So let us quickly preview this. We're so close to the end now. So this is the time where we'd actually just have a look at it as a final look and see which parts may need to tweak because we have all the key frames and we have all the structure in the kind of the build there. So the thing that pops up for me is if you keep staring at the SMR, there's like little clip going on which is right there. And that's because we just need to do a little bit of layering. So this here, which I'll just quickly Rename, call this radiowaves. Underscore waves. We want this to be at the very top. There we go and is brought back how a lot of shadow. And then the other thing, if I just quickly just grab forward, the other thing that caught my eye. Aha, so just this here. So I'll just go back a little. Zoom in. And it's just not quite in the center for my liking. Just maybe a tiny bit forward. Go to the produce a point. And I'm just going to use my cursor's. Just pressing the up and down on the curse is just to move this up by a bit. That's quite ideal Actually just to have the ring. There, there you go. That's actually maybe one pixel to the left. Or actually one more. There you go. I think that looks good. Just going to zoom out. Really happy with this ease. I think this is great. And then at the very beginning we got this starts here. So we could quickly amend that by pressing plus and zooming right into the timeline. Go to the headband, and then let's just cut this one frame. So then it starts right there we go. I'm just going to command everything, just select everything and just minimize it. And then the final thing, let's go to layer new solid. Call it BG, white background. And then let's put this at the very, very bottom. And this is just a cover. Any edges are any dark edges around the sides and we don't need to even make this 3D is just purely just to put at the very bottom to make sure that we have a white background. Okay, I think we're ready to render now. So let's go into our Settings. Click here at the top right corner. And when we go for like a higher-quality render, I tend to just go anywhere past this little line here. You don't have to go too far unless you are like rendering for like a huge screen and you really needed it to be high quality. But anywhere past this point is usually good enough. So just run about there for me just a little bit before that. At 66 for me. Okay. I'm gonna go into composition unless add this to the media encoder. And when your media recorder is open, like always, we're going to keep this as H.264. I am going to keep it as a high bit rate. You can click down here and change parts. But I just think a H.264 that comes out as an MP4 is usually the one that's good for Instagram and YouTube. And 90% of the time you probably will be using this encoder. So put the output, output file, I'm gonna put it into something I called a renders into one of my folders, save it there, click render, and then we can have a look at the actual Final Render.
Sunny Heera
