Transcripts
1. Introduction: What's up guys, It's Patrick again. We've got a very special day. I always say that I know but this one really special because we actually get to bring our creationists to life this time animating them. Before I was not able to do that because the machine I had, I was a bit too slow and would have made these classes a little bit of a drag. I'm happy to get through that now. We're starting simple. We're going to model like some very basic spheres. Again, this one is not about modeling, really texturing or lighting, of course we're going to do that, but this one's basically showing you how to animate these pieces. Adding the correct motion blur, explaining why certain pieces look cinematic and not talking about Shutter rates, FPS, what makes things look like film pieces. Pretty much getting your animated pieces looking familiar because I've seen a lot of people proposed they're moving animations but they're missing motion blur. Just like anything else, there's a right amount to put towards these pieces, and after this class we are going to do that. Let's jump right into it. We're going to be using Cinema 4D and Adobe Premier. I think that's about it. Let's get into it.
2. Getting Started / Layout Prep: Hi guys. What's going on? We're jumping in here, this is Instagram. Of course, I want to show you what we're going to be making. I made a recent animation here, actually it was Pro-render, even though we're not using Pro-render this time. By the way, we're going to be making classes on Pro-render, the new volume measure, all this stuff, and that's a new in R20. It's going to be pretty fun. I wanted to make something really simple, so that this class doesn't take overly too long, but you get the idea of what's going on. Also something that's going to show off some nice motion blur, because another way to really get that film effect is by using correct shutter frame rate and all this stuff. Now that we're able to actually do the stuff, I'm excited. Let's jump and make some simple. I haven't really prepared anything. I'm doing this on a whim, which of course I think is healthiest if you guys want to see exactly how I come up with this stuff. We're here, this is the default layout in R20, I got all the new things highlighted here, which of course you can actually turn off by going to preferences, and going to write here highlight features R20. If you want this off, just turn it off. But if you do want to know what's new in each of the versions starting at R18, you can click that. The first thing we're going to actually going to do here, is set up everything for physical render. What I'm going to do is as always, create a new panel. Go to new view panel here, and drag this by the little square thing hear on to right about there. This will create two windows. Maybe you want to have the physical render, the one that's going to be rendering every time we want to see something a little bit smaller. It'll take a little bit less to calculate. Also if you want to enhance this field a little bit, you go to "Shift V", and we're going to go to view, while all this window selected, and just take the opacity bump up to a 100. This one's pretty much already a square. We don't have to worry about that too much. However, if we do want to worry about it, we just click on this view part, and take this all the way up to a 100. We're all set there. By default, I think I had a camera up here. I don't think you guys will be starting with one. Let's delete that. This is how you guys will probably be started. Let's create a camera. Let's actually give ourselves some room to work in here. What we're going to do is jump into the camera by clicking the little square here. Right now this view panel is inside the camera, this one is not. We know that because when we click "View" use as render view, this little slate right here is checked blue, and we're inside the camera because this is white. If we go to the view panel on this one, it turns to black because we're not in it. Let's click that. Now we are in the camera in both of them. If we want to do this and zero some coordinates out, notice we're looking at everything from a diagonal axis. Let's go to the coordinates. Let's go x these out. Maybe keep this at minus 600, that's fine there. Let's zero out all of these parameters as well. Right now, if we were to jump out of the camera, we are to see the cameras perfectly aligned with this plane, viewing forward. Let's jump back in there. That looks good. For now, if you want to right-click the camera, let's go to cinema 4D tags, go to protections. No matter what, we can't accidentally move out of this camera view, of course we want to jump out of it, we can just jump out of it, but we really can't move it anyway because we have that protection tag on it.
3. Geometry (Spheres): Of course, let's start off with some spheres. The big thing with this class is going to be the animation of everything. That's why I don't want to spend time on making anything too complex because then it would make that a regular class will save the cool, complex modeling and texturing stuff for later on. We've got a sphere. Let's hop this into a cloner as always. Click "Cloner" up on MoGraph and then to enable a cloner, let's drop this as a child of the cloner and then we've got three of them. Of course, let's go to Object, let's go to Grid Array and actually scale this thing way up till it's about out of frame here. What we'll do here is scale these spheres down individually now, making them a decent size, small enough to where they're going out of frame a little bit. I'm happy with that. The segments don't really matter too much because they're very simple. If you want to go to icosahedron that evenly distributes the vertices. But those should be pretty good. We're not going to be switch it with the font tag and render perfect checked. There should be pretty perfect spheres as is and if we want to randomize the scaling of these a little bit. While the cloner is checked, let's go to where is it MoGraph effector and Random. So naturally, if you want to keep this random on the position and the axis, by all means, keep it that way but for me, I'm actually just going to keep this. It's got a parameter here. I'm going to keep these aligned here. I'm really only going to mess with the scale because if you had a uniform scale, drag this up a little bit, you can see it actually really messes with the scale. As long as we've got some subtle variations there and now we're really going to do and this depends on your system. Don't go too crazy. I would not go like 10 by 10 by 10. But I think we can get away with like five by five by five.
4. Dynamics Simulation: You'll notice once we start, actually, if we click play here, nothing happens because nothing is dynamic yet, everything is just there. What I'm envisioning a little bit here is everything going similarly to this video here, towards the center, but we're actually going to have these things accelerating towards the center much faster so we get a lot more motion blur. Because I think that the biggest problem that most people have with animating is everything looks so cartoony and a little bit fake because in real life there's motion blur. We'll talk about the natural film settings for cameras in a second. But for now, we're going to deal with this. Actually you know what, I think I'll get into the camera settings in a little bit. What we can do first is animate this. By doing that, already we have 90 frames here set to the side. That gives you about, I think around three seconds. The first thing we want to do, my apologies, is right-click this view here and add some simulation. We're going to go to simulation tags, rigid body. The first thing that's going to do is allow these things to actually interact with the world. But they fall down and that's not what we want, even though that would give us some motion blur. We don't want them falling out of frame because it doesn't look that interesting. The one thing we would actually want to do is we're going to click Control or Command. If you're on a PC or a Mac. I'm on a PC now, Command D. Then we're going to go to dynamics and in the general tab, tick the gravity, turn all the way off. Now when you click play, nothing should happen because there's no gravity, no forces acting on any of these things. If you were to take something like a simulations, go to particles and let's say a turbulence, the factor. Now if you were to play it, the things start wiggling around, which is a little bit cool. It makes them seem like they're floating there little particles. That could be great for what you guys are going for. Me personally in this little class here, we're going to be going with the attractor. Now what's going to happen here is you can't really see here, but if I had to hop out of this camera. Since I have the attractor selected, it's actually pinpointed exactly dead center in this whole scene. What that means is that of course, it being the attractor is going to attract every object that is dynamic into the center or wherever the attractor is. Right now it's here. The only problem with that is they don't really know what to do when they get to the center. So if I hit play, notice that last one is skipped and actually we can't see too much because it's not strong enough. If we were to take the strength of this up to 1000 from ten, these things go everywhere which is actually pretty cool. It's going to add some nice motion blur, if that's something you are going for. There's a little trick here if you want these things to all clump up because there's no way for these things to start clumping up. Unless of course you add something like an invisible sphere, which I figured out works very well. If I were to place another sphere, totally has nothing to do with the scene and make it even the same size or smaller as this main sphere in the center. If you right-click the sphere and go simulation collider body, watch what happens. They all start gathering up together in a clump and that's exactly what we want. The nice part about this is we'll get some motion blur from everything being attracted to it. But then once everything gets settled, it'll settle down. We'll get a little bit of everything in the scene. It's simple, we don't have to model anything really and it looks like a little atom thing, so it looks pretty cool. Of course, the more motion blur you want, you can take the attractor and maybe make this 2000, which will make this beginning scene look very cool. Of course, one of those guys slips out and actually comes back in a little bit. Sometimes, you can fix little guys that stray away from separate cloners, or you can take the cloner and actually go into where it's MoGraph selection. Now all of these are actually able to be selected, if you wanted to get rid of one of them, is you got to click the guy and then go back to MoGraph, hide selected. Now that guy is no longer there and sometimes actually getting rid of those will make other guys pop out. But in this case, I think we totally got rid of it. I'm happy with that. What we can do once we're actually happy with the way everything is formatted. We got another guy for some reason. Take that guy and delete him as well. We should be good. Once we're happy with a certain amount of, let's see, I think I'm happy that. We'll get some nice motion blur with that. Once we're happy with that, we can actually right-click the cloner. Go to MoGraph tags and go to MoGraph Cache. What that's going to pretty much say is, we see how it's being rendered now, I want to bake this so we don't have to worry about them doing anything crazy from now. This is a 100 percent set to how we will see it when it renders. Because sometimes it gets a little tricky with dynamics. Things will pop in different parts because everything's randomized, especially in instances like these. So we're good, we don't have to worry about anything else except maybe texturing them in lighting them later. Which actually I think we're going to have to do. This is going to be that simple of a class that I just wanted to at least be able to animate something for you guys. I think we are ready to in fact, light and texture this thing.
5. Lighting & Texturing: Without further do, let's go into the render settings. If you pop this guy open. Actually set the pro-render here. I don't need to be. Let's go back to the physical render where we can be comfortable. For those who do not have our 19 or 20 or any crazy hardware. What we're going to do here is activate ambient occlusion. Actually, in fact, I'm actually probably going to take you step-by-step, show you the difference of what this all looks like. We can actually start using the interactive render region. With this mouse on this or hovering over this view-port, we can click alt R. It's going to show us a preview of what we're looking at. As long as we drag these somewhere around the parameters here, we should be good. The first thing we're going to do is let's get to a part where we can see a lot of shadows and stuff like that. That looks pretty cool, but very fake. Because and our render settings, we don't even have any ambient occlusion, which makes realistic shadowing, basic shadowing, two objects coming in contact with each other. We're on physical render, that's good. Let's add an effect. Let's go ambient occlusion. Let's actually select that from here, but it's already here. Let's check that on. You can see some nice shadowing starting to appear. Based on your computer settings, if it doesn't load fast enough, take this guy down, you'll get a chromium view or all the way up and get a nice clear view of what's going on here. Fortunately for me, I get to actually go all the way up because the system I'm working on is a little bit faster now and it'll be just faster for you guys watching. The next thing we're going to want to do is, this is just default lighting. It's got nice shadowing, but it's default lighting and everything looks really flat. What we're going to want to do is go to effect and global elimination here. With that's also I'm going to do is now rely on us to come up with the lighting. But it's also going to react much more realistically. If I click global elimination, everything's going to disappear. The reason that is is because we are not relying on any default light. There's no such thing anymore. We have to make our own lights, which in turn is going to be much more realistic. First things first, let's create a sky. This is going to be our first step in actually creating the light that we take out or put in rather. If I go to the sky, you'll see a couple of things happening here. It almost looks very unrealistic, but we're also getting some nicer shadows here. That's because notice these things are fading away. Because we literally have hypothetically wrapped a huge dome around this whole thing, that's giving very basic flat light from all directions. These are literally almost disappearing, because I'm pretty sure the default color of the balls are the default color of the light that we're actually splashing onto it. The next thing we're going to do is wrap an HDRI around it, or for this, we may not even have to. As long as we create a material, this is our first material, drag it on the sky. Notice now it's being wrapped by something that's a 100 percent white, which is totally fine. What we're going to do is take the color off, take the reflectance off, and go with luminance. Now that's actually being covered by a 100 percent bright white light instead of just a color. We can wrap HDRI around this. Let's just click on the texture. This is my HDRI folder. I just got a bunch. I can take one that I've actually taken myself like this guy right here. Is there a way to preview this? Let's go open with photos, so this, even though it's clipping over here, I like this image because there's a lot of dark areas and a lot of light areas. Creates for some contrast. Let's use that one. Click yes. Now we're getting some nice light from this directions. If you were to go to this display, you can actually see what's going on here. I'll actually rotate the sky little bit. I like having a light source come from one direction to create some nice contrast. There's some things we can do, but it's easier to add your own light sources at the same time. What we're also going to do is right-click the sky, go to cinema 4D tags, and go to compositing. What this is going to let us do actually is take away the sky from our view port. We want to see the light hitting the balls and the reflections is giving, but we don't want to be in the actual render because this looks awful. We're going to click "Seen by camera" and now will be gone. We're just seeing everything lit by these spheres in the first place. Usually what I like doing, and I'll do this in a second, is adding my own plane lights and using some formation to make them give some nice looking, some light reflections. But before I do that, lets texture these spheres so we can actually see some reflection. I'm going to drag this onto one of the spheres. We're now texturing all of these spheres as a whole. What I can do here is, depending on what color you guys like, let's go for this one. Maybe orange, brighten them up a little bit. Nice. Reflectance, let's go to the reflectance tab, go to reflection legacy. By default this is going to make everything very chrome. We don't really need that, as far as now. We're going to take off the specular totally and take this down to like 10 percent. It's now we're getting some nice realistic reflections. But I think we could use some more contrast because it almost looks like these balls are a little flat, even though we're getting some nice reflections. For that we're actually going to make her own lights. What we're going to do is let's take a plane, moves these guys up. Each of these are going to represent a light. I actually like the look of long line of light. We're going to create a new material. Tag, this thing up here. In the material of course, we are going to take off color and reflectance, so it'll apparently be black for a second, but then let it up with some illuminance. You'll see that these are actually showing up in the spheres, also giving some lights. Let's go to something like 200 brightness. It's going to brighten up much more, 200. There we go. It's going to create some more dynamic shadows as well. We can move this a little bit up and actually hop this guy. You can see it's actually moving in the reflections on the view port, which is very cool. You can see how that's going to look before. What I'm going to do is go to mograph, cloner and drag the plane into the cloner again. But we don't want them to be stacked on top of each other so we can kill that on the y-axis. We just want them to be next to each other, or an easier way, you could move these to the left. As you can see, you're making more of them like that. Or an easier way is going to grid array and only making one level of them. That's made three of them, and also they're going to be centered by default. We just need three. Three by one by one. If you want to change that, we can go to five. A little bit more dynamic there. You can either drag this out of frame, which is still going to light these guys pretty well, or you can keep them in frame and do the same thing with the compositing tags. You can still have them pretty much be close, but off-screen. In this case it might be a little dangerous because you are actually going to have some of the spheres running into the light. But it's a 100 percent up to you guys. I think in my case, to combat that, you can take this a 100 percent out of frame. Let's jump out of the camera real quick here. To combat that, you can space them out a little more and make them bigger. That should be good. It's given off more light. It's given some nice reflections and actually creating some contrasts brighter on the top, not as bright on the bottom. We might actually be able to go to 250 or 300 with this light, assuming it's not too bright. Might be a little too bright. Let's stick with 250. That should be good. We should be good. Depending on whether you want this thing to have a black background, white background, it's up to you. If you wanted to change the background, just add a background, and change color. You can drag any color you choose onto the background, I guess for sanity sake, just put that towards the back and whatever background you guys think fit. There's no wrong way. You got to make sure you on the color channel and go blue, offset it. Right now I'm honestly thinking about what would make the coolest thumbnail. If we're going orange with the balls, will be like a yellow, something like that and then mess with the color here. But this doesn't really concern you guys. I'm just trying to figure out exactly the right color. I want to go with here. That's actually a cool color combat. I'm actually go with that. Of course, add bump and whatever you guys need, I go over all that stuff in the last channel. If you really want to go out and make all of these spheres as realistic as possible. That's totally cool. But we already cached this up. This should be already set. Let's see here, let's go back to the beginning, play this out.
6. Camera & Render Settings : Everything looks fine to me here. Now let's worry about animating this thing or it's already animated. But the correct camera settings to get you guys being able to animate anything and have it look realistic from the camera's perspective. Number one, depth of field. Something that would be nice to do is right now you notice we're on a 36 millimeter. I would at least bump this up. This is for the sake of depth of field so for those of you who don't know, depth of field is having something, maybe in focus and then in the background be very blurry, and in the foreground possibly be very blurry at all. In any cinematic scene you may have seen, most likely there's a very shallow depth of field, creates for a very cinematic look. Right now we don't even have cinematic or we don't have depth of field checked on. We're going to go back to the Render Settings, go to Physical tab, and check depth of field so we don't have to worry about that anymore. Right now you haven't seen anything crazy happen because the aperture is set so high to eight. First things first, let's set this to one and see what happens. We're actually starting to get some blurriness here, maybe hard for you guys to see. But this can be changed dramatically by changing the f-stop and also changing the focal length. The more zoomed in you are or the higher the focal length or millimeter, the shallow that the field will be most naturally. If you're at a super wide angle, that's why if you guys have ever seen a landscape photo, everything is always in focus because there's using such a wide lens versus something like a 50 millimeter or an 80 millimeter. If you want, we can drop down to an 80 millimeter. Actually, let's go 50, which is also going to crop some of these things out. You can either do a couple of things. You can zoom in with the camera, which we actually already have this thing as a productive tag, or you can minimize everything. But instead of doing that, let's just work with the camera. Because we already have everything cached, we're good. Let's jump out of the camera and see what's going on here. Technically, the focal point of this whole thing is out here, so everything is out of focus and that's not going to look very good or professional. You can do a couple of things to make sure that the focal length is correct. You can drag this guy back to the point where pretty much the middle is in the focus range and stuff in the front there's a lot of focus and stuff at the back there's a lot of focus. That's a really easy way to get your focus set. You can also play the thing and be like, "Where does this stuff end up? I want the front of this whole stack to be in focus." Let's keep it around there. That's actually a good tactic to use for a lot of reasons because usually you wouldn't want the focus to be in the back if every part of the action, everything you can see is in the front. Usually if you're going to go for a focal length that should be in the front or somewhere around there, and if you want this to even look more cinematic, you can go to the Physical tab and go take the f-stop down maybe to like 0.6, and you'll be able to see a little bit shallower depth of field and go to 0.4 even. Now we're really starting to see it. Especially if we redo that, everything's going to be pretty blurry and the one thing we're actually not seeing it is motion blur and we'll get to that last. We could actually do with a little bit more so let's get down to 0.2. There we go. Everything is super blurry in the back, super blurry in the front, that's exactly what we want. Everything ends up in-focus and then the back you can even see. Still blurry. Depending on how crazy you want, maybe you want to go 0.15, that should be more than good enough for me and I'm happy with the depth of field. Once you're happy with that, the next thing to deal with is frame rate. Let's go to Control D again. This is huge. Standard in film something you guys all need to know is a 24 frames a second frame rate and right now this is at 30. For games, a lot of the time it's at 60 or 120 I heard. But for something that works at games where you need to have all those frames available because those can make the difference in what's fluid and who will get the final kill, whatever your game you're playing. Film is difference. In film it's usually 24 frames a second, and these are things that people who don't know anything about film make a film look cinematic and they don't even know why. The general rule of thumb is your shutter speed, which is going to be in control of the motion blur, should be double your frame rate, so that should be 48. To go to the shutter speed, you can go to the Object tab or another physical tab and right here it's 0.033. But when you using DSLRs and sometimes even cinema cameras, you'll see that it'll look something like this. Right now this is one-thirtieth of a second standard and film is one-forty eight, so it's go 1/48, and I'll do the calculations for you. That comes out to be, I guess 0.021. But this is 1/48, and pretty much what that means is the lower the shutter, so let's say it was 1 over 7, that means you'd get a ton of motion blur because it's only changing one-seventh of a second. It takes one-seventh of a second for the shutter to close, and vice versa, if you're going high-speed, if you're going one-thousandth of a second, you're never going get any motion blur with that because it's shutting so fast. Just finding the right amount of shutter to use is key, which is why a lot of people don't know film and the shutter rates that are natural for film cameras have a hard time making these renders look realistic. For it to stay at 1/48 of a second, we should be pretty good. I'm not sure you can actually see the motion blur here, but you will be able to. Let's cache this as we already have it and pick apart of a frame actually that has a lot of movement in it. Right around here, there's a lot of motion going on and one thing we need to check is actually in the physical tab, you're going to check motion blur. Now, I haven't had too many problems with these settings, so they should be good if you have a ton of motion and everything becomes really elongated and you need those extra samples and subdivisions, start cranking these up a little bit, but these should be good for us. With that checked, I think we can actually do a test render. Let's go to our "Output", "Current frame" should be good and let's just test this out. It looks like 1,080 by 1,080. Should be good. Let's try that now. Again, this might take a little bit longer since we're going to 1,080, but I did boost up the process, so it shouldn't take too long. But as you can see, we're already getting motion blur without it being fully rendered. It's being elongated and it actually is showing, and it actually already is rendering. We're looking good. We're getting some nice depth of field. Notice these things are a little blurry and I'm pretty sure that's not because of the depth of field because we're pretty correct on that, it's because of the motion blur. Even though something may not be perfectly seeable right now, you know that it's working because in motion it's going to look great. This is perfect. We're getting a ton of motion, a ton of action, and you can even see even with this being just one still, you can tell there's a lot going on and a lot of moving pieces here. Even though this may look a little bit noisy, when you start uploading these to things like Instagram, a terrible compression already, it'll blend right in. This image by far will get the job done. We're looking totally fine, I'm very happy with this and on the first try, we're looking great. We're just going to make sure everything's looking good before we bump this out. I'm only going to do about three seconds here. That looks great to me. That is exactly what we're going for. If you're not seeing any elongated motion blur, that pretty much means your shutter is too high or your movement is too low. The things aren't moving fast enough and it has to do with a combination of your focal length, how fast everything is gone, or how strong your attractor is in this case and your shutter. You can do a couple different things if you want to cheat it and not mess around with your attractor, you can make the shutter maybe one-thirtieth of a second, but we should be good. Let's exit out here. Let's see here. I think we actually should be good. Just to talk about the timeline here, what we ended up here with was 72 frames because we run 24 frames a second, which means 24 frames will be one second, so we automatically know this will be one second. Then if we double that, 48, that's two seconds, 72 is three seconds, so this is a three second long composition here, which is fine and I'll show you in Premier how to actually double this without having to increase the render time at all by literally just looping it backwards. Some people call that lazy, but in platforms such as Instagram, it works great. What we're going to do here is, let's see. I think we're actually pretty good. The one thing that is very key to making sure is that your project settings, aka your FPS here, match your render settings. Your output should be 24 as well. It's good that we caught that. Make sure your frame rate here is identical to your frame rate in your project, and then everything should add up when you go into Premier and creating that image sequence. We're looking good there. It's only three seconds long, but I didn't want to make some too long and too complex, especially when we are going to bump this out to Instagram and really as long as we go over animation in general. Hopefully, in the future I'll be able to do crazy animations in less time. But I think we're good to go run this out so let's go over some Render Settings. Output is good at 1080 by 1080, if you're on Instagram, that'll work fine. 24 frames a second, everything is fine here. Render all frames, not just the one we were on, and then save. This is the huge tab. Everything is actually fine here. We want a TIF, we don't want to work with a movie, because if one frame messes up, you're screwed because it's already baked into a movie. Let's go TIF, and let's just name this and put this into a render. Let's just create a new folder called animation skill share, maybe, go in there, and what I do usually is just one. By giving it a name of one, it's very easy to take control or remember the frames. It'll start with one and just keep going 2, 3, 4, 5, 6, 7, and your computer needs to have easy numbers to remember or at least some way you memorize these frames because when it adds them all together, they need to be in numeric order. That should be good. I think we're good. Let's go animation. Let's click "Evaluate transparency", even though we don't have any transparency, it's a good habit to get into before you do work with glass and stuff. Global illumination. Let's change this to high. In fact, actually I don't think we need to because since we're not using anything that we're actually going to see any splotchy marks with or anything. We can keep that at medium. What we do want to make sure though is have this set to fixed and let's go at least to medium settings. For this, we can get away with it for sure because of how simplistic everything is and because our background is not physical. It's just literally a background. But we can take our blurry subdivisions up to something like three for everything except subsurface scattering, which we don't have. I think we're good. We're going to bump this out. I don't think I missed anything, we'll see you exactly once this render is done. We can hit "Render". Of course, make sure you bake everything, it gives you this warning because a lot of times stuff can get out of whack and change on you if you don't catch everything. But that's what we did. We know that by this thing, this little symbol here being green.
7. Compositing in Post (Premiere): Hey guys. We're back here and by the looks of it, it took around let's see here, about an hour 59 minutes for me, and it could have been longer or shorter for you based on the CPU power you guys have. I noticed a couple of things actually. The only rough areas we're having is at the very beginning here where you see this area here. There's a sphere right here. It's close to us, it ultimately goes away as they gets into focus and to be honest, this is so fast that you're not going to notice it, but if you were, you might want to increase the sampling subdivisions and all that. But in that we're looking good and all of this again, will be posted. I'm sure for you guys, either YouTube or Instagram or Facebook and bombings the compressions already going to make everything here blend together, which usually is bad but in this case, I guess if you have anything that sticks out like this is good. We're looking great. There's so much motion blur here, awesome frames. This is the things that make it look like to people who just click or decide to click on the thumbnail or not on your video, they see motion. If I were to do something like this would be like, oh, what's going on here? I got to click this and you can see running this forward, nice. It almost looks like it's jumping around, it's like an ad on these guys can't sit still and the motion blur gets more subtle as you get into those, but you see the motion blur heavily right here and this is like accurate real-world camera settings. This is how this would look in real life if you were shooting on like a film camera. That's exactly what we want. I think we're good to go and open up Premiere. Let's open that up real quick. I'm going to start fresh for you guys and I assume if you guys are using Premier here, you get the idea of how to set up a composition, sequence and all that. There's only a couple of things I'll really good through as far as that but I'm going to go here is, I'm assuming click New browser, let's find this folder we have here. Let's go Skillshare, tutorials, premium, animation. This'll be good here and then yeah that will be good folder to put this location of the project in and then just name it, Looping Animation. HDV; this is an HDV video, technically it's 1080 by 1080. Depending on your render engine and your graphics cards, you may want to select CUDA or GPU acceleration. However, Premiere is known, have started to figure this out now to glitch out every once in awhile if this engine is selected and by all means, I'm pretty sure it's a Premiere problem or Premiere into video problem acting with the graphics card. We're just going to use software only. But if you're using Mac, I would use the other one, Mercury I think, another [inaudible] of Mercury. Yeah, so use your hardware if you're on a Mac, that's I just switched to PC, so I'm all out of work here. We're going to click OK and it brings you up to this little window here among the color panel. I don't know what panel you guys will be starting on, but I think color should be good, since that's the majority of what we're going to be doing here. We're going to go to our project here, double-click to import some media and we're going to go to, let's see, where did I save, I go Skillshare, premium, animation. Now, looks, I actually saved this to the other folder that's on me. I'm going to go to animations Skillshare, and here are all the still frames. We obviously don't want every single frame because that's not going to give us what we want. We just want to click the first one here and right here, this thing pops up. If it's an image sequence, which it is, it stitches up together all these tips sequences based on their name, so it knows where to place them and just click Open. As you can see, it now gives us this moving visual. If you were to double-click and play it, that's exactly what we're going for. The settings that we actually bumped out in cinema 4D should be good. If we know that already, we can just drag it over here. It's this little icon here, and it'll create a sequence based on this whole piece of footage. If we go to sequence, sequence settings, this is what we're working with, 29.97, we actually want 23.976. That's standard frame fps for a lot of film cameras so you can't really go wrong with 24 and 23.976. No one's really going to know the difference. But since I do a lot of film work, I'm going to go with that. Display format, I'm going to go 23.976. Everything else looks good here, you don't have to worry about it. Exon render quality; check it, bit depth, good and we should be good so click OK. As you can see, it goes red because we changed a bunch of stuffs here so if you want to do Control R, just re-render that for us. Now we're looking really good. Something else that you can keep in mind, if you go to this tab here, you can customize your tabs here and I already brought it out, but I believe where is it? Right here. If you want to drag this over to this panel here, which I already have, it's called loop, click OK and make sure this is checked on. Now, it'll just keep looping so you can keep taking a look at it and the easiest thing you can really do to get this fluid thing, if you don't want it to just automatically start over which sometimes you do based on the sequence you have. But if you want it to be more of a smooth transition or Boomerang it or loop it however you want to call it. All we're going to do is hold, click and drag to make a duplicate of it and what we're going to do is right-click this right here, or Command J. I actually set my keyboard shortcut and go to, let's see, speed duration and we're not actually going to change the speed, we're going to just reverse it. I'm going to click OK and make sure this is directly after the first one, so we can render that again and what'll happen is it should just really reverse. Exactly, and no matter what happens now, it just like a perfect looping animation and so it pretty much doubles your actual sequence or composition, doubles your video without having to actually render those frames. In a way, it's cheap because you're not actually seeing any new frames past this point, but it's really smooth and it seems like one giant piece of footage. What we can do now is color this and I'm actually going to, yes, so select this first piece and bring out elementary color. It should be opened by default if you have the color tab open and what you're going to do now is open up your lumetri scopes and this looks out here because it's an animation. We did some funky stuff with it but ideally if you shoot some regular footage, this stuff, ideally, nothing is going to be passed 100 or even touching 100 and nothing's going to be even touching zero or below zero and what's going on here is this line here or zero represents pure black and everything on 100 line represents pure white. You're seeing actually the things that are getting close to pure white are like these spots right here and you can see these lines right here represent the lighting that we have going on. Ideally, you never really want things to be peaking too much. Now we could go crazy and bump all these up, but every time things go past this white mark, you're losing information, which is why really nice cinema cameras, actually, if you've heard of raw format, everything will be mostly below 90 and above 10, which gives the editor enough latitude to edit and bring the values he wants down already. But if you shooting on something like a DSLR camera, then you're limited because everything's already compressed and so changing the values actually distorts the footage even more. Right now we're actually working with TIF files because as you can see, everything set as normal. But if I were to bring the highlights down a little bit, actually we don't have that much latitude to work with, so these are actually 8-bit tiffs. I imagine if you edit with 16-bit tiffs, we were able to change that earlier before rendering them out. We would had a little bit of latitude and that's probably would've been a good option, however, it would have cost more memory. But for some like this, it really doesn't matter. I was bringing down the shadows, increasing that contrast a little bit and a lot of times even bringing up the mid tones highlights, bringing up a little bit, making everything pop and figuring out what color combo actually works with this. We've pretty much almost nailed it from the gun but as you can see before and after little bit more contrast, I actually like the color of the background prior. What I'm going to do actually is go to Effects, go to HLS, go to Color balance, double-click that and if you go to Effect Controls, you'll see not only our elementary color that we've done, that you can just turn on and off whenever, but our color balance, which nothing is happening now because we haven't done anything and if you take the hue a little bit left, yeah, this should change similar to Photoshop hue and saturation change this to whatever you like. You're not really confined to what you rendered out at the beginning. Even something like this, I'm happy with minus six degrees. Maybe jack in the saturation up about 10 and then really just seeing everything we've done by check an on and off both of these and I'm pretty happy with that. I don't see any reason why that's not good. Maybe I can take down the highlights just a tad. Take that down and the mid tones and then we can call this whatever you want. Anything else needs to be touched up. You're not confined by anything.. Something like this, I'm actually happy with we got motion blur. What I'm, going to do actually is take, let's go Effect Controls and copy both of these Command C and make sure they are exactly like we see them here. They're actually switched, so just make sure they're in the right order and we're going to click Command R and we should be good to go. Let's see how this plays. I'm happy with that, and I honestly can't tell if I like this better or just straight up, having this thing repeated. Because it actually takes the viewer less time to see what's going on here. I'm actually not sure, so that's up to you guys. I'm going to Command Z that, this thing's still here, re-render and I think I've added my CUDA cores and my GPU doing most of the work, that wouldn't be the case. But I'm actually happy with this and I think we're good to go. This was a very simple animation class, but I got you guys. You see the difference between different motion blurs and I didn't want to spend too much time on modeling or anything. But as we go on and we'll be able to see some cooler stuff. Hope you enjoyed this class and I can't wait to see what you guys come up with, please send me your trial and when you're exploiting this guys, I forgot to mention. For me it's Command E. I had my keyboard commands change, I believe on here you can also go to Export Media so that's Control E for me and then I'll bring up what everything is going to actually look like here and a compression that usually works pretty well is H.264. In the format H.264, if you've got audio included, if not, you can uncheck that, render at maximum depth. These savings don't matter too much, Instagram really is going to take advantage of compressing your footage. But if you can, and you have the space increase the bit rate a little bit, maybe something like 14 or 15, you can go crazy to me, I've seen that it doesn't make that much of a difference, because using the platforms we all use, and for the most part love a lot. It really distorts it in the long run. Anything you can do to prevent further distortion is great and you can just name it whatever you want in the folder that you want. Of course, Animation Skillshare and just title this Finished Animation. We're looking good there and we should be good to export and then you guys are good to go. If you guys are going to submit these to me, I would recommend submitting something that's a very low file size, maybe even smaller than eight megabytes so it's easy for me to see what's going on and I'd love to critique you guys, so appreciate you guys watching and we'll see you in the next one.
8. Outro: I appreciate you guys watching this video as always. Submit to me anything you guys have. I will be happy to not only critique and give me feedback on it, but try to feature it on my Instagram as well. If you do submit it and want it featured, please hit me up as well with your Instagram handle, and I'd be happy to try to download it from there and feature it. As always, this one was a simple one. The first animation one, and this was pretty much directed to people who have never really animated before in Cinema 4D, but in due time, we'll be making some more complex stuff, some core morphing animations and stuff like that. I appreciate you guys tuning in, and we'll see you next time.
Patrick Foley, 3D Artist
