Transcripts
1. Intro Perfect Loop 3D: Hi there, everyone. My name is bedrocks. Told you I'm a 25 year old motion designer from Lisbon, Portugal, and I've been doing motion designed for about four years. Mainly focus on Pridie for about two. My word varies from creating content for deejays and artists also doing some trailers. I'm helping you out, creating your perfect food, ready to deliver to the client. We'll be doing some lightning festering compositing in after sex. I'll help you out with everything you need to really deliver the best work you can do. So if you move to Cinema four d, this is the perfect Carson. You will touch basis with everything that you need to know to start really using the full potential of. I'll be doing everything in cinema for the often render in adobe after effects. So make sure you have those and please send me all your work so I can critique it and help you out. So I hope you stick around and let's have a great class
2. C4D and Octane Render Overview: Hi, everyone. So I'm starting this really simple. Just doing a little run down to everything that we're going to use and show you a little bit where everything is on cinema for the a t least what we're going to use and also talk a little bit about. Okay, so first of all, I have these layout that I that I created that with everything that I use the most placed of where I feel like it's the best. The best place. So we have the materials down here. The diffuse, the glossy speculator, the camera here, the area lights right here. The target area lights here. Daylight's actually our environment. The nose editor, which I use. And I recommend everyone that uses all tensions. This one, uh, don't do materials on the tap because you have more control. You have more options in its easier to use in a way when you get used to it. But I feel like you should really use it. Then you have the common things, like if you want a cube or if you feel like you want a disk, you needed a score. Tourists and with all the access. So you can rotate its scale. It's so whether I am using art to rotate it, see to scale it and e to move it to move around. You use the one I pressed the 11 key to rotate their president three and zoom in a press the to If you want to put this edible so you can change the polygons and purchases, you just press seat to make it edible. Or you can always go here and, um, current state to object. It doesn't show their or make creditable and you press it and then it's you. You can go like this. You have all the polygons and all the vergis is and you compress them and you can extrude them like this. But like like this in their routes. You have the taps, the object up here. I like to use attributes here and layers. Here. You can see here the attributes coordinates with size, number of segments you want, and then we go to the octane and go to settings. I'll show you my basic settings go to bath racing. Most of the time. It depends on scene, but usually like to keep it like pretty high at the 1,002,000. Diffuse. Always go to eight, depending. Actually, depending on the scene that you actually making speculator death depends if I have a speculum on my scene. Speculum materials on my seen If I had them I like to keep this at a 10 12. It's more. I don't know exactly what everything does, but I play around with a lot of settings until I found my perfect spot settings. I like to. I like to use the environment that black standards with the great let gray color here. I usually go to all black so I can have a pitch black scene. I can show you. I turned it on. You can see anything if you have the environment at the standard, you go like this. I usually like to keep to start everything like this. So then I can add a a lives. You know, something like this, something like this. I can move it around. It's Moeller. Basically, it's like this. I like to. I like to work with this. I sort of show you everything that I usually do. I'll be I'll be going to the project that we there will be creating. Let me just fire, Okay? He's loading the textures. It's not very complicated. It's really simple project. We only have three textures. And let me show you. If you were, we got here. So this is the project there will be creating. This is for the noise In this project. I felt the need to use the denies. So I can't. I can lower a little bit the samples and not be overwhelmed by the timings. And you can see it gleans a lot. A lot, actually. Using 500 samples on this project. I don't I don't I didn't felt like I need anything anymore. And for a stylistic approach, I lowered down the speculator death so I can get this like dark edges on the glass. So you guys, let's get started.
3. Creative Process: So let's talk a little bit about the process out creatively Loop with the concept that you came up with or the idea that you have. I usually get a lot of really excited about some music that I hear. I'm very passionate about music. So I asked a friend to be, Oh, a three d model off the face off black. It's any pop artists are in the artist that I really enjoy that I was thinking about doing some projects, um, on my own time for him that never actually took off. But I started doing some VJ loops for almost like if I was working with them, what I would show him, and then that's where I came with this idea. I usually get a lot of inspiration on my audience on Instagram. I'll show you some some people that I usually go for inspiration. I really enjoy this A for you. This guy, he makes really dull part. As you can see, this is his personal collection. I really take a lot of inspiration from him, but I always tend to drive me away from the inspiration so I don't get to focus on it and try to do my own take on something that I see that I really like. I always are also go to people. Everybody knows people, and you should definitely know people is an amazing artist. They're doing daily renders for the past, like nine years or so is really, really good Hardest. If you don't know him, you should definitely check him out. It does this type of pain type of renders and you can check his YouTube channel to see out the process off him. Creating this. So after you came up with a concept or an idea, you need to start making it start. I just don't think too much. Whenever you have an idea, go to the program and start doing it. After working it with a bed, you'll see that you'll start developing even Mawr. The idea as you do. And maybe even you scrapped that idea and you start over. But at least you're trying to do something and you actually learning by doing that's what I advise you to do, moving forward and trying to, and that's exactly what I advise you to do. Go for it. Don't don't stay too much on the concept on in the idea. As soon as you have something in your mind, just go for it and do it and try to do whatever you feel like it.
4. Modeling: so okay, I start doing our vitae. Look, we'll open a new composition. Here we go. And then Well, let's start with the cube. You shrink it a little bit from the white access on the Z is that sorry And on the X, and then you push it up. Remember, I'm always using the 12 and three for this. I'll be using 25 frames per second because that's usually what I go for. What I just did an oppressed command control on my case. If you're on Mac Command E and then afterwards I like to use some fillets because no, no, There are no perfect angles on real life, so I think to go that way. So after you've created this first elements, I always think to save everything. A always saving. Okay, So after you've saved, whenever you want it to be saved, I'll go and hide this. I'll call it ice front, and I'll start to model the chains. When I did for the change is really simple. I just pick up the rectangle because I'm not a modeler at all. I don't do that and and then I write this down. Let's just say something like Okay, Something like this looks Looks OK, let's run the inches. Maybe a little bit more. Let's go with 75. Okay, this looks good, but this is really important that you do this bids up your process a lot. I press should see and this menu opens, and then I write whatever I want from the program, and it shows me and gives me. So at this at this point, I need a sweeteners. So press sweep here is the sweeteners. I'll call this chain, and she'd see again. And I want this circle. I know that I need a circle really small. Let's say, like, 10 for now. Maybe it's good I put them here. Okay, This seems okay. I think I need to lower the rounding off the rectangle a bit. Maybe not that much. Okay? Something like this looks good. Looks good for me. So here we have our first change. What I did, I created another chain. Help me out. I rotated it. 90 degrees Is that put down, like, barely touching. This is markets. Crack this. Okay, so we are hard based chain now. Done. Let's hide this. And now let's choose the main, the main model that we all want for this project. In my case, I'll be I'll be going with the black face because I have it here and I want to show you how I did that. So I imported my O B. J set the scene in this case you It will open and you've seen with my with my over here I have my face. It's not really good. It's not perfect for animation. Consider, as a lot, a lot off polygons, but in our case, it works perfectly. If you have this glitch happening, it's not a glitch. Actually, you just need to go to Kamanzi and change the viewing clipping to tiny annual crash anymore . In my case, I wasn't keeping medium, so I'll name this black coffee in basic here. Let's imagine this is being like, almost cute. For example, I think this size looks really good. Okay for that opposition, it around here almost set the bottom part, being at zero. Okay, after that, we need to position our model where when you wanted to be in this case, I'll keep it a 20 because I feel like it's a really good position. I'll come up to my for cues and in coming to the top you and then I'll pick up my pen to do this. This line where the change go. So I'll go like this. Maybe like this. So from here, it doesn't really matter if it's a perfect form will come up. We'll need to readjust it for sure and in a little bit. Okay, A simple thing, really simple to do, really simple shape. And then let's put our points a little bit different. Push this up. This pull this up a swell in these few. I changed the direction off the curve on this view. I'll go at this point and pull it up. You, in this case, wouldn't I feel like we're gonna need it? You need go like this so it does a little curve right here that I feel it's interesting. This is more of an an an ecstatic type of thing. You'll choose whatever you feel like it, and will probably change this afterwards when we're actually putting the change here in animating everything will probably come back to change this just filling up a little bit off space with them. So the screen gets a little bit crowded with things, but not too much like this is going to work. Okay, so we have a pretty simple for British people supplying and we have the object here and we have this plan wrapping around everything for a simple named convention. Let's go with chain, because is that it's exactly what it's going to do. We activate the change, pull them back here, Okay? Now I can see that this isn't going to work. It's there too big. At least right now that's blue, a little bit down. And let's hope and change the circle radius to something like two. It's putting a little bit Speaker three in this case looks good. We need to readjust this Pick up this this change a little down with this barely touching grab everything but didn't know when I did was I pressed off g separated. No change. The name change and I'm going to do now is shift see again to pull of this menu and turn on a corner and pick up corner changes to change back. I change this. I always tend to not instantly put my object here. I tried to be careful, because if you if you go way too much, it's going to break and it's going to shut down your cinema. Four d. So be careful with that. Change this to object, the Moto object and then on the object you put the chain path. This seems good. Let's put this even and put the changes. Okay, so right now it's all twisted. It's not good. It's not working. So what we need to do is go to transform and change the rotation off the change. This guy's it's it's not here, It's on the people. There you go, and I have this chain following it. Let's bump up the account. When you see that everything, it's more or less connected, and it's barely touching. Would everything? It's good. I feel like this is good. This is going somewhere is you can see we have a little bit of an intersection. It's going to be annoying, so to work with it. So we just pick up this point where we left off we but this one or this points and we just pushed the little bit to the side. You can see now we have cleared everything that might be boring. It's not any mating. We're going to do that afterwards. First of all, I like to give it a little bit of randomness on the chain. So I pressed through the cloner she see again, Breast friend. Um, it's going to break everything because he asked. Not the pyramids that we want. We want to rotation and I don't know, Let's set it up like 500 gets a little bit awkward here because we have pretty steep rotation here. I don't know where is the points? Let's just shut this off. It's right there. So if we pull it, this may be go like this. Okay, Now we have to change up this. Okay, this looks almost fine. Let's script this down a little bit. 90. We have a little bit of variation on the rotation off the chains off individual change. So I feel like it's this is a really good breath. If you want, you can change this name. I always think to change. Spend them so we know everything that where it's when it is and should be not be lost in your own project.
5. Framing: Now I'll just go ahead and create a camera. Have the often camera here, but you can find it objects, prompting camera. You come through the whole thing already. The tax. I don't like to keep it at default unless I really want to in the project needed. So for now, I'm going to put it at 50. I feel like that's the right, the right length focal length to use. Okay, so we have more or less what we want. I just need to change the coordinates, so I have more or less off feel that I have on the other. As you can see, it's a little bit tilted, and we're going to do that, going to tilt it like this. Maybe a little bit more. Let's go with 10. 10. Looks good. Come a little bit closer so we can barely touch the end off that maybe turn it down a little bit. Maybe go with like 77 Seems good Booth back. Try to center the main object with a frame and let's focus a little bit on the ice fronts. The ice that we created a little bit bigger and thicker. Pull it a little bit to the front. What? This? Let's see the coordinates. Now, this is This is where the important stuff starts to happen. Because now I'm thinking about animating it. So I need to find a way to make it look perfectly where one step one starts, the other ends. So I need this to be precise. I'm going to like 1 70 Let's put this here and about, like, 300 minus 300. Let's see where it waits. Fades away. Okay, so he finds a way. It for 20 for 30. Let's play it safe for 30 is where it fades away. So we need one there. We need one. Okay, so now I'm walking. I'm going to unthinking them a little bit. Let's go with, like, changes to 6 42 and one one for you. This seems good. It seems correct. Now I have this on my coordinates. It's at minus 808. 80 and this one is in minus 4400 and 30. So what we can do? No, it's calculate this. That's but this zero. It's your foot accounts. So we need to walk. These needs to go minus 430 centimeters to the left. So which when? When it ends, the other piece they'll be right here will end up here, and this piece will handle. And this coordinates. So for now, let's duplicate this. They walk it for 430. Okay, To knowing of this at this point, I like to to protect me and protect the camera that I'm using Actually made a mistake I need to protect. So I don't randomly changed the place off the friend that I have that I really want and I really want to keep it. So I just turned off. Go out of the camera. I like to turn it off so it doesn't bother me. And now I have to put another one and walk with it for 30. This site. So now we have four blocks. This is more of a safeguard type thing, but it's important to have it. Okay, so now I put them all in the know change, change into ice. Go back here, kids. You know, we are ready to start animating everything
6. Animation: First of all, I want to animate the ice moving. So I go to this frame, put a key frame or next on zero, go to 250. So have 10 seconds of animation. If, in your case you're working with 30 30 frames per second, your 12th mark will be 300. Let's put dish push this minus scored 30 If you concede e almost nothing happened. But on the background it did happen This If we pull this, you can see that our ice blocks are not moving and going from one place to the other. What, exactly where the other ends and starts. But I don't want this to have this piece because like that he won't be looping because you will stop at the end off 2 to 250 frames, as you can see. So what I do? It's a breast right click here animation show after and now we have our effort The menu after menu on here. I just pull this to impress here to go linear and the movement starts and ends just like this. It's so is going. You will never stop. And if I put this into 49. As you can see, it looks it has a little bit break here. But that's because of our models and seeing and stuff like that. So that's nothing to be bothered. At this point, I remember it's better not see. Use the random here because the Brenda will difficult. A lot of things being this chain. But you can You can try it out. You just need to Really? I tried to pick us far where it loops. It will be hard, but you might find it. Okay. After this, let's any made the chains. We go to object on a clone it. And if we change the offset, as you can see, groups not exactly loops, but it animated. So I press a key friend here, go to my last friend, and I need to find I'm going here with this. This bunch, maybe 10. No, I just need to find a sweet spot. I don't know if 13 minutes express here to go to the first time. I know it's not use unless changes back to 2 50 here. Almost there. I think 21 is the sweet spot. Yeah, this is perfectly okay. after this, we need to do exactly what we did with the last thing and me to go to our first and changes to linear. You can see No, it looks animated. It's a little bit cranky. Think is because it does too many chains or in this case, too little. So we need to. I think this down a little like this. Bumpy amounts something like this. You can see it's a lot a lot better, a lot better After this, I'm going to animate the remain our main object in my case, my face. So I'll be retaining on this excess. For your reasons, I'll press. I'll do a key frame here. Go to my less friend 3 60 So we will takes that way and do the exact same thing. Put this on live here. In this case, it's really simple. You just put this everything on linear, and everything will work everything. So at this stage, I like to change a little bit of change. I don't mind it going around going inside. As you can see, they're going inside my three d model, but a No. One and not feeling this form right now. So I change this? Actually, let's go to this Until here. I think they're points. It's like this point. Move it here and this point. Let's credit this down. Something like this Put this like you. It wraps around this. It's too much. Let's try to make it clean it out a little bit in this one right here. Like this. Put this a little bit closer. This one. It's bugging genius. Well, well, just Frank down this. Move it to the side a little bit. Do you have a point year? There were Definitely need to move around. Okay, just go like this. In this point, I'll be going upwards like this. Okay, so, no, As you can see, we have a lot of change. Too many chains. Okay, that seems OK. Let's see if it's cranky. Well, we can work with this. It's not that bad. Let's turn on smooth rotation and it's perfect. As you can see, it's perfect. Now I'll change this to to 49 frames because the 2 50 it means that it will. It will have to one of 251 friends and because we're starting at zero If it started one. Yes, 250. But it seems we're starting at zero. It's better a few years to 49 so you don't have to cut the last frame and editing. You can see. No, everything seems really good. Okay, we have a little bit of a problem on the offsets here. Let's crank this up again. It's the chains are not exactly doing everything. Correct. OK, to send six Seems good. Yeah. 10 60 29. You know, here we go. I know you have a perfect wolf. Everything is modeling. Everything is in place. Everything is corrected. Now it's just a little bit off moving around stuff and finding the perfect spot for everything. For example, I don't mind. It actually won't show. Good. May be behind this. See, I'm just trying to find something that might bother me afterwards. So I take care of his right now, I put that I put at the ice in X ray so I can see where the change is coming and going. So it's actually going through there, but you won't be able to pick it up. So it's OK. You can change it if you want. Like Bush of the points a little bit further, actually closer to the camera. So eats more or less doesn't touch it. Actually, I'm going to do that just to show you until I have the point here, I push it firm front and upwards a little bit. The rotation here. Okay? No, we have the problem because we need to add up. Another two seems OK. No chief working. It's not working anymore. So we need to fix that 2 50 Well, we check it. It's definitely not working. If this party just trying to find the right spot, it doesn't have really, at least that I know of any calculations. Okay, Cindy three's the one before. Let's just check if this it's still linear. So it's good. You can see everything is good, incorrect and working, which is important. So this example, because I didn't want to do know too much composition on after effects. I just used a plane, pretended it nine degrees, push it a little bit back, really, Back in this case, score here it just covert. Still seen. It's so I have a Weibrecht backgrounds with my camera so I could have this on post, but it's easier like this doesn't bother me at all. Okay, so we have everything in place. The frame is set, everything is animated, everything is working. Let's go toe lightning in veteran Elsie.
7. Light and Texture: Okay, so now let's start doing the lightning and the text ring off our models and everything in between. So I fired up octane render. I'll change this to path dressing and I'll go to my settings and put the exact same settings that on the other. So 500 samples. Diffuse depth eight. Speculative eight. Shanklin, once here, a change in my camera. Often tanks go to camera, imager, sparkle. Anything noise? Er so now I have to be noise. And now we don't see anything because we don't have no lights on our scene. So let's start by having area lights. Let's make this our main area Lights. Drink it up. You're pull it like this. Push it downwards. Let's make sure we don't see it here. Gates Covert. I want to change the direction. I want to make this for a little zero here. This, uh And when it up So it covers everything, you know. We can see the light here, push it backwards so we don't see the full off their lights. Picker this. We want this to be really intense light. You push it up, so bounces off. That really nicely change the color the RTV spectrum here for Call her here. Really warm color. Okay, something like this. This experience. We have a really bright side here, and everything is covered with orange. So now we have our main light focus. That's changes to remain. Let's no, we need another area. Lights e feel like we need some light in this area right here and in the front. That's believe, like 50 50 degrees. That's trinkets. No, we need to pull it up. Okay, So missed. This is really intense. Like, I don't want this to be so intense where they want us to be floor just to crush some some darkness on our scene. Okay, Lets even crank this a little bit down like 10. Just to have, like, a little bit of feel. It's almost like a fill light right there. And to finish this off, let's create another area lights and we want some binary like on this side. So it bounces off a different color, like a contrast in color for the the orange that I really want a little bit more orangey. This is maybe too much. Okay, this seems OK. No, that's great. Another area lights. Let's put Let's go, this one, Phil. And this will be the you, right? So our views I refuse, push it like this weather. This will up with the this reflections on speculate material that it will be creating afterwards. Let's just push. It's a little bit attended a little bit. It's like this change and put it here. Let's create this way. 20. Since he seems okay, let's put a color. Maybe you can see it, but I'm pressing texture and then going all the way down on the drop drop down menu to see for the octane and then go to RGB Spectrum. Okay, so now I want to contrast that with some sort of blue color. Looks like this. I like this color. As you can see, It almost turns a little bit purple, but it's cool. It's good. I like it. And now it's some detector. Everything. We'll start off with really basic things. Let's just put a Y texture on the background. It's even a diffuse not going to reflect anything on that. Let's put this coldest back from okay and now we want a glossy material. Okay, let's just change this to backgrounds and the other one Maine gets. So you want to apply this one to remain object? I want to keep it white, but I want to add a little bit roughness and texture to it. Okay, so after this really good, really great texture pack that I bought from the French monkey. That's a lot. A lot of interesting overlays to use right now we're going to use I just drag and drop the image here. You can always go here and go to image sector. You have this note and then you press three buttons and then you go to whatever you have the texture. In my case, if you go to overlay and then go to grudge French kits and for example, this one. But this large happens, for example. And here we have the dirt knows I already have in here. So put this on normal map and we see what we have here. Okay? School. Maybe we'll change it a little bit afterwards. I just want to right now. Let's just duplicate this one the 3rd 1 and put this on the bunk. You lost it lost a lot of details on the reflections, and this one will put it on roughness. Okay, so now I'm going t you be transforming UV texture projection, Link everything up. I want to crank this. Maybe not. No, Let's Let's keep it like that. Just lowered a lot of this bump like this. So it still has the little bumpiness soffit, but it adds a lot of glossy nous to the material. Okay, I'll just go here. Exchange this spherical two cubic, see what changes, Okay? Everything looks good as a really nice texture to it. I won't change anything else. Go like this. Now we're going to do the chains. Created glossy materials, chains open this the note. Go to the chains. Drop it here. Okay. No, let's work on this. I can't remember where I saw it, but I saw it somewhere on the internet. Someone explaining a lot about the out of the film. The film lane works, actually, when I'm trying to do some gold type materials. Always go for this. The this technique I just put the film iro all the way down. Go to the index bullshit zero as well, so you can see it's almost like mental type. Look, then I go to something like 2.5 and it creates this yellowish material, which is really cool after that. We need to add some imperfections, so it looks more real. Okay, I just posted. I just went to grab another overlay that I have here and I just looked it in. Looks good. That's great. This just little bit that, uh, something like 0.6 looks good. Let's have a great in here. So we can. You can always solo this. As you can see now we have a better look at where we have under the radiant If What? Keep cranking this down, Maybe switch it up. Well, let's just flip it. The values that's more contrast to the texture. No, it's these able this. No. Now you can see that we have really nice texture to this. It has a little bit of imperfections, which looks really, really good. Okay, it looks really good now. No, let's do the ice that's bringing speculator material. Let's change the name to ice and plunged it in on the ice. No. One thing that I always do, it's not. Go to the common and take the fake shadows, so it's a little bit better looking open the known editor. Grab some overlays that I really like for this type of material. First of all, we can change the next. I think that this index is almost like 1 2050 to something like this. I can't quite remember it correctly. You can. You can always engine and you can search it on the Internet. You'll find the correct amounts. Okay, so I have your my my over light I attached to the roughness Change this something like cubic box. In this case, it looks good. So I went to grab that. The other material that I did on the other side have Archie beyond the transmission has a little bit of yellow in this case, a little bit of orange. And I have on my index 2.44 17 It's the diamonds. Correct index. I have a little bit off this person to add this colors to do the reflections. Anything that's it. Didn't have anything else. No. Yeah, a little bit of some layer, but not too much. You can see. Now we have ah, full perfect blue texture elected almost ready to render. Let's just take up the last thing we need to do
8. Render: Okay, so now we're the final stage. We're going to get everything ready to render. Said that the frames and set the camera right settings. Right to get this thing going, I always go for a little bit of post processing. So he gets a little bit of bloom and that obtain Look, there we are used to it. This bloom ish color. I always put something like 15 to 20 this case twenties a lot. So let's go with 15. 15 looks, OK, maybe I need to bump down this life just a little bit. Something like this looks good. And now I would like to change a little bit about the camera on the camera imager. I'll go to the exposure crank this little bit down. Just turn time into it. I took something like 2.89 Yeah, this looks good. And then just just little bit down 95 here. So get more contrast. E in the light urns is blasting. Yes. He used to know Have our camera ready. Make sure you turned on the 80 noisier. Let's check once again our samples. So we are parked bath racing. Maximal 500 defused that eight Spitler Depth thanked Filter size I don't touch Don't touch on the caustic blur. Jack. Climb all the way down to one. You can always put static noise. My it works really nice for the A I d. Noisier. Let's check out our screen settings so we're going with full HD 9 2010 80 25 friends per second. Remember, this thesis is really important. To match up with this, you need to match their self. 25 friends that I worked here 25 frames per second. It's going to eggs export. Now let's go to all frames often render you zoology use And now let's save it. I always go with being itchy 16 bits Okay, so after you choose and everything, it's time to render it just saving. Now you have two ways of rendering this. Imagine that you want to stack a lot of work in a render everything at once. It leaves whenever a renders finishes and other starts you can render asked to render queue and it goes to a render queue. Then you start there you stack up everything that you want to render and then you leave it to render this case, we don't need that. And unless you're going to do exactly that, But I tend to not do that a lot. Now I just press shift our and it just thoughts rather. And there you go. Now we're going to the last part of this this class and let's jump into after effects seeing a bit.
9. Compositing: Let's compile everything. Let's grade it. Let's put some music and export it from the after effects to deliver. The pipeline is always like this. Police for me. I do everything on three. D, then exported. Then go to after effects. Compile everything composed and deliver. It's always like this. Okay, so right now let's it comport everything that we want into after fix. Let me clear this. Yes. So now I have a clear project which is going press two times there and we choose the file that we want if you my render. Here it is. I always like to work in 16 bits per channel and make sure that whatever you import he used this assumed this frame rate at my cases 25 in yours, maybe 30. You need to choose the frame rate that you exported everything out of cinema and I forgot to tell me about one thing. When you press one image this this pops up. You need to press this. P and G said sequence in our case because we exported P and G's. I just drag and drop this into here now have a comp that changed this name too. Face So now we have the loop here exported. I'm just going to have do a simple grade A simple, great just pop up elementary color Just push it a little bit down on the temperature exposure Push this just a little bit one then bump up A little bit of contrast. Not too much, though. Don't go too crazy with this. The highlights Just push it a little bit down the shadows Who wish it just a little bit. So you can see now we have this pretty, like, really focused, uh, object on the center. Pushed the lives blacks, you know, pretending it, uh, now we don't have like, in this case, I'm I'm going through here The dark side dark parts of the image here we don't have the black is not really black As I intend to just close this go to creative sharpened Just a tiny bit cool to life. 10 Or maybe 15 even. Don't go to I'm saturation. Let's put a little bit. Looks like 1 15 like 10. No, you can change this to whatever you feel like it. You can see it changes a lot. I'm going a tiny bit of friends Well, maybe not that much. Something like this on the shadows. That's just a little bit of blue. Okay, for example, For me, it's pretty, pretty much done, which is going. We just go here, which is to look at this one. Go to this change, become settings to you're raising here. Oh, by the way, impressing control. OK, to open this composition settings menu, just go like 30 seconds and just put the come face. LaPierre duplicated, replicated. You know, we have this look and in school if you worked with these compositions because as soon as time after effects renders one composition the other to our rendered as well. So it starts automatically and you don't have to cash anything else as you can see. Like it catches this to know. Is this this because it's always the same composition? Because you did the college rating inside of that composition. It just takes a lot of a while to refresh this one. To catch this one. It's another. It's cash. Let me show you a Z. You can see we have a perfect group going on. When this one ends, the other one will start and you won't even notice it like that. We have a perfect loop that we can look forest long as you want. This will work every time. Now, let's have just just a touch of music. So a good friend of mine here in Portugal did a music for me for my last show reel, and I'm going to use it here. Just drag and drop here. It's okay. You have the music. What I want to do is on this 12th mark, it drops. In my case, it's here. So it built up. Okay, So what? Music to trump here. But the other one starts, so I just go here way. It's a second job in stare. No, just push this a lot further. And here, maybe I need to check. Let's see. Okay. So not right there. If you go like this way, we can actually just ended here. Put it like this. Here. Okay. So not like this. That's what this looks good. Let's just tone this to have a fading can put zero about three seconds in the beginning and at the end, like from 27 2nd 27 story crystal AGI levels and pushing 30 and go minus. And there you go. You perfectly using cinema for tea often render exporting it composition on aftereffects with some music it's ready to deliver. Now let's just render this out Fresco file Come Finals file export. In my case, since I have a windows I need to go to to meeting Colder to export it with a quick time. And that's what I'm going to do right now. They don't show you what my settings are in this case. I want to have really I quality. So you have it. He choose where you want to save it. Let's go here Class finals come find No. Here at my presets that I created for the age start to 64 I created a maximum beat rate using so and video X as well. So since I use this a lot, this is my settings. I always use CBR 50 for this type of things Audio. I always a c quality 320 Be great. Yes. OK, so you just press you just press start and you're done. You're finished, you're ready to deliver
10. Final Thoughts: Okay, guys. So here we have it. We have done our perfect loop. And in this class we learned exactly what cinema for these capable of using simple techniques, simple modelling techniques that I didn't really use a lot just sweep nerves and a cube. But it's really powerful like that. And we've learned a lot about lending, texture, ring in, obtain nothing, render settings the composition that I do with the grade in after effects. So I hope you enjoy. I learned a lot. I really enjoyed banking days for you and let's let me see what you guys create.
Pedro Custódio, Creative Director
