Introduction to "Cinema 4D" and "Motion Graphics" - Step by Step

1. 00 Intro: Hey, one. How you doing? My name is spots, Ericsson. I'm an animator from Germany. Onda. And this course what I'm gonna show you is basically the instant outs off cinema 40. Um, it's roughly split in two parts. The first part is kind of like the interface and the different tools help to navigate how to create stuff and all this kind of stuff. Um, and the second part will be more like showing you techniques and showing you how to approach your own animations for motion graphics. Um, and at the end of the course, you will hopefully be able to create something like this, but not just exactly this. But I would have given you the tools to create whatever pops into your mind and create nice motion graphics accordingly on bond. Yes. So I would say, Let's go into it. Happy to have you on board, Andi, Let's go 2. 01 User Interface: Okay, So if you opened Cinema four D, this is what you see most, like, um and Doug, if you now just a quick overview. So you kind of know where everything is. Um, right here in the middle, You find to your report here, you basically see you're seeing here. You work in everything you put into a senior will see in here. Um, then up top years, all your your taps, your graph editors, your primitive, your render settings, everything you can set up hero are kind of find, uh, what you kind of need. Um Then to the left, you find your different setting. So objects adding, So if you want to just the points within a mash what a mashes I say in the another lesson. Um, the edges or polygon What you select basically, um Then down here, if we create a material with double click, you find all your materials in your scene right down here. And if you double click on the material, you can work on them or you go to the right side here at the bottom. You also find all the properties off what you have selected, certified have a Cuban here. As you can see here, I can adjust of properties off whatever I have selected. Um, and up here is you can see I just created a cube on Cube shows up here. He was basically are out liner. We'll find everything we have in our scene, Um, and where we can kind of adjust it and and assorted and categorize it so we can half a structure seen, um, and then here to the right off this, we have our content, brother, and our takes and our structure. So we have a little taps by the side and up here, you're half your layout setting, so you can have a pre mate settings. Or you can use customized settings that you do yourself so that you have to lay out that you like. But for this course, we work with the a little basic layout that you always have in cinema. Four D 3. 02 Navigating Viewport: OK, first thing's first. How do you navigate through your scene in cinema 40 in the View port as very easy. They're two different ways. Basically, 1st 1 issue used Ault. So you hold down old and you used one off your three mouse buttons. The left most button. It's basically your Tate around the object that you have selected the middle mouse button. It's basically you go from left to right or up and down. You just drag it around and the right must It's Ah, Pat, this is a man knows him on, uh, this together you can basically navigate very quick and fast around your theme. And if this is not for you what you can also dio and miss, you can use 123 So one is basically panning like this, uh, to assuming in three is retaining around and you just press three or one or two, and then your normal click your normal left mouse button to do your action. Whatever you prefer, just get around it, check it out, try it out. And after that stunt, see in the next lesson 4. 03 creating Primitives: Okay, We know now how to navigate in l seen. And now we want to create something we want to create. Primitives in every three D software are basically very, very basic shapes like a cube or sphere of come and to create these things in cinema 40. What you do is you go up here and you see a cube right here on what you can do issue hold it when you click it and then you have basically a list of all the primitives you can create in cinema 40 in, for example, we take a cute for now. So if it automatically selected and what you can do now is here you have selected it and on the right side at the bottom. Here's attributes Tab. You can change basically the properties off your cube, for example. Here's co ordinate So where it is so X y and Z scale for here, for example, or the position can at that here. Off course. I show you later how to move it in the scene. Very easy. Very structures. You can rotate it. Um, here you have the tab for object where you can be ski scale. It without using the scare property. So it always stays at 111 which is sometimes important, and he can change the segment, um, changes to quick. So segments basically means polygons and how detailed you want to have your cute course in case of the Cube, you don't see much difference. But if we use, for example, a sphere that's going here, as you can see, it's a bit choppy, and the moment we go to object, tap and increase segments, it gets a lot smoother. So let's go back here. You can see it's very smooth, and if I decrease the segments, they go basically from very polygon like to hide off course. This is not so important, but if you have a bigger seen the more polygon to half normally, it means more render time on. You can change radius, and also the type took. Basically, maybe in something like this. And that's basically how the polygons are distributed on this primitive. And there's a lot of different primitives, a landscape figure or whatever. I just tried out and check out what kind of primitives were half and what you can change. For example, here at the Cube. If you want a little of a Bavel etch, can I say fill it and then change the radios to something like this? And it's already a nicer looking cute because the axis a little bit around, um, and every primitives has some kind of unique properties You can change. Okay, so check it out. 5. 04 viewport perspective: Okay, now we know how to navigate in l view Port, but something is a bit It's a bit un accurate. So maybe we need something a bit more accurate. And to basically change how the view port looks are basically the perspective off the report. What you can do is you go any of your port up in the ride. This is little square. So here are the tools for the camera. You know, zoom in and rotating. You can use it there, too, but right next to its little square and you press on it. And here you have basically four views. They look all the same now because there's there's basically cube so that we create another primitive, like may be a cone, and now you can maybe see the difference. So, basically, here we have the view, like from a camp and all the other views. As you can see here, there may be from the side or from the top, um, from another side. Okay, so this is a side view. This is a front view, and this is a top U. And as you can see, you can still go in one of these reports. Or if you want to enlarge in this report, what you're gonna do is you go to the view port you want and you press with little square inside the view poured again and then you open this one and then you work in here and now it looks very simple. But if you have a bigger seen, this can be quickly confusing. So what, you might normally you kind of change between the normal you poured and one of thes you ports constantly to kind of check that everything is in line. And folks, Abby, let's go to the side view to the front view. We go in here, uh, Mexican. See here, for example, Go down here. You can see we can now clearly see that this alliance perfect. But if it would be just a little bit bigger you see here clearly, See, it's not a line Well, but if we would be in this view port, we could not maybe clearly see that this one is a little bit above this one. Eso This is why these views are sometimes very important and very nice to have, because you can be very except like way object are okay. Just something to keep in mind. You probably don't change as often, but sometimes it comes very comes in very handy to have the option to change to one of these few ports. 6. 05 move rotate scale: Okay, So now created our primitives. But now we want to move and position them inside the scene. And what you want to dio issue select the primitive You half You want to move? Oh, and now we have three tools. We can move it, we can rotate it, and we can scale. Andi, Each of these tools has the key has a hot key. So move is e rotation is are and scale is t so e R t right next to each other, right in the insightful through and kind of like, um, do whatever you want very fast and efficiently. So let's start with the move to if you have to move to, um, activated, you can also move them up here in the top, row off your above your view port issue like move, scale and rotate. So now we have the move tool, And if you can grab one of thes arrows, you can move it along these axes, right? Or if you want to axes, but not the third. You can go here and grab the sing in the middle between these axes. Fuck sample here. If I want Axe NZ, I just grabbed this one in the middle, and I just moved here but doesn't move up and down, Okay. And down here in the left corner of the view port, you see, basically award and where each access ease. So green is why access red and disease blue. Um and this basically is case for every other tool. So if I go to rotation, click it and press are Thomas. You can see here we have also access, like blue, red and green. Why? And now we can grab one of thes handles and move it along these axes. And if I don't click on one of these anchors, I basically have free rotating thing. It's a bit sometimes it's useful, but in general it's a lot more less control on how to move it around. I want to recommend using these anchors, okay, and that we have t for scale and this basically again Samos move to but instead scale so you can scale it on here. In this case, it's still primitive, so you can just scale that uniformly. Let's make it a normal cute And now we can do like this and ah, how you make a primitive too ordinary polygon object a show you on the next list 7. 06 make editable: Okay, so now we have all primitives, but we want to do next, as we kind of want to adjust on. To do that, we have to make them at it to do make it primitives off. So you're happy with the base shape or here, for example. And now you want to make them edible? Everything you're gonna do is select the primitive and it scared cube and you press, see? And now it's at a pool on your creditable, and you can see here in our out liner kind of changes to the symbol. So if I go back here still a Cuban, here's a sweeter. So you know what's basically the base shape of the primitive is, But the moment I make it added herbal, it's a polygon, objects. Everything here is Paul the guns now, um, And now how do we change these? How do we grab these? If you basically go to the left years, the object mode right here. You just grab the whole model, the whole piece. And now if you want to grab, like the points, all the edges or the polygon to just go here to the left, Select one of thes Moz point mode at mode. And I'm polygon Moz. And this is basically how every model is made up in three D. So it's points. They're connected by edges. And between these edges of Holly Gagne, Okay. And now, if we have this polygon, we can click on one polygon, we have it, and here we can move them around with our normal, um, move to Okay, so here we can move it, We can rotate it, and we can also scale. Okay, It's a bit of practice necessary, but there tell you basically, um, manipulate the polygon, sicken off course, select more polygons and do the same thing here. Um, but more about this in the next lesson. 8. 07 Quick Menu: Okay, so now or object is added herbal so we could start and kind of modelling something before we go. Really? In the modeling, What we need to do next, um, to make the workflow a little bit faster. Um, what you want to do is we won 1/2 a quick menu. So to have a quick menu, everything you need to do in cinema 40 years going to view port and press you and the moment you press you you have this list. But the moment you move your mouse, it vanishes. So don't move your mouth. So you press you and you search what you want to have. So we have split optimized or loop selection. Um, all kinds of tools that you can kind of fastly accessed through this menu and in this case , what we want to do. Maybe it's a loop selection, So we after were So do it again. So we press you and then we press l for loop selection. And now we have our tool automatically selected, and you see if I have her over the polygons. What happens is they indicate what kind of will be selected. Click here and As you can see, it all goes around. And another note is, if you have a tool, you can still use Ault or 123 and use your mouse and pan around without selecting any any polygon. Okay, the moment you stop pressing old, though, you can click again and select different polygon. If you want to make more than one selection and Catholic merchant together, all you do, it's like in every most every other software. You just press shift and then you click again and again and again. And then you have multiple selections, all kind of looping around. Okay, so and another thing that's also very important is if you press you and you search for D, it's disconnect. But without the U, you have different hockey, sometimes on different key, as you can see here, the would be disconnect, but another tool you use a lot in and modeling STD without the you just D. It's an extra tool and would you do with this? It's basically you extrude all the polygon TSL and as you can also see if I have my tools selected extrude in this case here on the right in the Properties panel. You can change the way this extrude will behave as you can see if I have extruded it. Now there's one polygon that kind of like newly created between the walls. If I crank up the subdivision and do the same thing again, you see I have more polygons in between with which I could work, if that's what I want to do. So just keep in mind if you select a tool. It's not always everything the tool can do. Just check the properties. Um, what else? You can change? Maybe too easy what you want to do and yet just play around. Liz, press you and just maybe try out a bunch off tools you find here. But we will go in some off them in detail in later lessons as well. So we still kind of getting used to cinema 40 on. This is just one part of it. It's very 9. 08 outliner: Okay, So next up, what we're gonna do is we're gonna check a little bit what our outline er does for. Okay, so we have here three object, too cute in one sphere. You see all three here in the outline er on DNA. Now there's a couple of things we can do. So whenever you don't want to see an object, for example, what you can do is you go to the object in the outline. Er you see whatever you couldn't, whatever your selected in the scene, you also select in the outline. Er on. If you go through there, you can add it to new layers. We go to the later but behind there are basically $2 about each other and the app dot What it does is you can hide it in the view port, but important to know days I am the upper dot only shows only heights thinks in the view port, but not in their end. And the lower, um that the lower dot if you turn it to read, heights it from the render so you can have something in the scene that is visible. But if the lower daughters read it will not show up in the render. So if you press render later, you would only have these two, um, primitives show up. But this one is not visible. Um, so you can kind of control with It's what you see and what the Render sees later on in a very easy way. Okay, Next thing we're gonna do is we right. Click here. I know it doesn't work and we kind of select to things and what we're gonna do now. Sweet, a click old and we click g all t and you basically create folder. It's called a null because annul is basically nothing. It's just a container for something and it's basically exactly what you do. You kind of create a container for these two primitives. We call this full the one normally you want to call it something more descriptive. And now he gives the same things you can. You can hide the whole layer for render off you poured and it will affect everything inside the layer. And this is basically how you kind of Justin and sword things in your outline it to make it a bit more visible and find things better 10. 09 splines: Okay, So now we dipped a little bit into how to and just and create primitives and, like, how to model it a little bit. Um, but there's a whole other kind of things that you can do. It's an awfully and a whole other bunch off stuff that you can create inside your view port . That is not polygon, but they are very useful to also, um, kind of changed Look of your scene. Um, And the next thing we're gonna find here is, for example, if you go here, you have a pen tool. So you have all kinds of spines that you can create. Um, for example, a hell ICS Here s you can see. I just clicked on it. And I have a helix here. I can rotate it. Maybe by 90 degrees on. Now, if I click on hell ICS here in outline er in our property, This here I go to object. And now I can kind of manipulate how this hell X is going to look. Okay. Um, there's a lot of different settings like here on. If you go through here, you find all kinds off kind of pre mates blind, but It can also go to the pen, for example. And then you can kind of draw inside. You're seeing okay. Ah, but that's totally line. Next thing is gonna I'm gonna show you how to manipulate this blind into something that actually can be rendered and actually seen by your camera. Because at the moment, this is basically just a guideline, and now the next, let me turn it to something more really. 11. 10 create objects from splines: Okay. So last time we created this little hell X. And now what we want to do, we want to basically, um, spin around polygons around this hell ICS. And to do this, there's a couple of tools. Um, What? We're gonna use this? We go up here to subsidization surface. This is the box inside a box on here. We have different kind of things. They all do can't something different. Subdivisions surface, for example, makes everything a lot smoother. We showed you this later, but we have here, for example, extrude loft suite. Laugh there. And it can kind of see by the Aikins what they do, and this guy's would want to do it. We want to sweep along the spine, um, and create polygon. So we say sweet, uh, and drag our Hellickson inside the sweep object in the outline. And as you can see, nothing happens. And that is because the sweet object needs to splints. So this is a guiding spine, and now it needs a spine that specifies how the polygons look around this thing. So let's create, for example, a rectangle. Okay, we make this a bit smaller, so we go to a rectangle object and we may be drop it down to, like, 40. I'll let's say 20 huge hype with you. Just change it. And now what you do is you drag this rectangle inside too sweet, okay? And important to notice it in the sweep object, the lower spine. It's a guideline. And the upper spine of the upper upper thing you have been here is basically the form off the, um, polygons around the guideline. So and now if you go close, as you can see here, we have a nice little a square kind of sweeps around our point. And if you want to disable this for a second just to check the spine or just something, you can go here to object. And here's a little check mark and you just turn it off. Their comes an X And now, as you can see, polygons are not created anymore, and you can go in and make changes to it. Um, and here it's the same us with the primitives. As long as here's the Hellickson. The phallic symbol is here. You can only changes with the properties down here, but if you want to make inevitable just press. See, when you have the headaches, for example, select. And now here you have enormous plying symbol, and now you can add it. So go, for example to point mode going here, take one of these points out and you can kind of manipulate them however you want. And now you activate the suite tool again. And as you can see, it kind of follows your spine here cause you want to be a bit more careful now it's a big Jaggi. Um, but that's not the point of the moment. Let's go back. Um, and here, as you can see, it's also updating alive, so you can also keep frame this. I say what a key frame is later on. But basically what you can do is here you go into the rectangle, and you can, for example, turn on rounding. And now you can basically switch from here. You can adjust it how it looks, and you can immediately sees the changes on your Alex and on the object you created. Uh, s you go. And this can also be key frame. I show you later how it really done. I just make it real quick. um, Let's go and hear. Radius. Yeah. And now we go basically from around. Perhaps we go from rounds to square. Okay, on this is one of the objects and the other ones are very self explanatory. Let's go into them. Um, if we create the rectangle again And for example, now we go in here and we say extreme and everything that does If we drac in a rectangle in here, everything it does is it Strout's basically from the spine and everything in between and how it can make it bigger. But I can also change it so I can say should go up. So I changed basically here, the movement not just in and Z, but also in why So the middle is always why Okay, I make it to the XX. So if I turn around can kind of change it like this too. Why go into caps and I can change the caps like like here and here. If something like constrained, create single object or so many things that you can change. No. And if you're happy with it, you can always go on this object as well and just press see And you make it edible. Unless you can see. Now here. Um if you go to Polygon Modric and select polygons and CAFTA change them around because now it's edible. But remember the moment you press see, you cannot go back basically later on and change the base shape. So always just press. See if you were you want to do it or if you're not sure, just copy it, but control C and V and you have two copies. This one you can turn on the visibility get off and then you make one Aditya bull and one is basically just in back, okay? 12. 11 subdivision Surface: Okay, So next analyst, what we want to do a very important, um, objects 1/2 is a subdivision surface basically here the AC And if you just press it once, it will always automatically create a subdivision set because probably one of the most used objects and cinema Freedy on what does is basically it, um in temple eight between two edges creates new politik guns too. Kind of Smoothes things out. For example, here we have this cube and now what I do I drag this Q. It can also, of course, be a folder. So if I have like, um, yeah, it's not 50 to show what does? So I put the Cuban here, and as you can see, it basically becomes this here. And that is because we go in here and its shade and it showed the outlines. It's basically a cube with just one face here. One polygon here, one here, one here. So there's not much detail to begin with, and if I sucked a wide this, it becomes a sphere. But if I go in here and go to the segments right, we can change the segments. And let's say each segment gets like five, and now I turn on the subdivision surface again. As you can see it, it kind of keeps the shape off que but the edges are very, very round, and I can crank this up even more. Let's say I make a subdivision off 10 here and now it's even more defined and breaking up again to maybe, like 33. And now it's you could see it goes on and on and on. So basically that means the more detail your your cube, how or your object has, the more it will retain the shape after subdivision and just makes it a little bit more defined and smooth. But the less shape it has, the more are the chances that it will lose this shape it has on you. Concede it very well. So 30 22 can see gets a big laugh. 11 gets even the last. We go back to five even less. Go back to two, and here you see the big difference. So this is too, and this it's one. Okay, so just this is a lot. And inside the subdivision surface, you also have a subdivision editor and render, which basically means this one shows you how it looks in the render in the view port. And this how it would look in the render. So if I crank that up to three, this is how the Cube would basically look if I render it out like the edges wise. But I can work with something like this in in one subdivision mode just to save some some energy when I work in the view port. But in this case, of course, bit hard, because the shape is not very much the same. So I should keep it onto to kind of have the impression okay where it is or how it will look later in the render, but in the rendering will crank it up, even one mawr, just to have it a bit more quality, Uh, wise when I render it out. 13. 12 Green Object Manipulators: Okay, New phone we had here. These objects Subdivision and everything is in this group basically changes how? Something looks okay. If we go one more step one more akin. All these here if you If you hold on one on this, I can. You also have a list of things you can choose on all of these. They don't really change the look of something but mawr. They help you build complex structures, for example. Um let's take this cemetery. Object is very easy. So basically does. It's a symmetry, right? So if I have a cute right and I put it in here, right, it's under last. And now I put it in the symmetry object. It will basically just copy it to the other side. So everything I do to this cube will be done to another one on the other side. And here I can, of course, make that put it in here. And this doesn't work. It needs to be one object on to do this. What we can do is we just select both and we say old and G to make a group and now would work. So now I can go in here moves the sphere like this. And as you can see here, everything will be perfectly symmetrical. And I can always go in here and change things up and may mixing looking better. And it will automatically update everything. Um, and I can go in the symmetry. And he of course, we have different options. Yes, X and y basically a mirror plane. Like what kind? What's kind of merit? As you can see here, this is nice. Interesting effect. I put it here, and as you can see, hey, doesn't show up. No, no, no. There it is, basically, Marist from top to button so I can go up here. I took something. And of course, what you can do is you can put it inside of each other. We have a symmetry object, another one. And he put the symmetry into symmetry and this kind of thing happened. And as you can imagine, if you if you kind of have a cool animation on just these two cubes, you know, if I have just here cool animation and make it back symmetrical like this and everywhere it happens is it same time and you have to take this kind of effect right here. This very cool. And this is like the first step in creating some cool motion graph. Okay, on moving on. What? We also have this, for example, and array, and it is also very easy. You just dropping the cube. Just make it a bit smaller, like here. You can drag on these handles instead of typing. And in here, by the way, um, dragon to the right and everything it does. Like the name said, it's kind of mixing nice little array. You can change the amount of copies it can nearly make a sec. A lot of, um, you could change the radius, um, amplitude. So you can kind of randomize it a little bit, and then you change he a frequency array because you can make it in time. So it kind of moves on its own without having to keep framing the nice effect. Um, and render instance basically just makes everything a little bit lighter on your CPU because of basic copies, ease into memories and just used them for memories instead off creating one by one by one in you to make copies of them. It's just another way to save some some memory when you render something Happy out. Um, it's nice. And here, of course, to you can change it here. Something like this is cool. Right? Um can also make a group. So all g and drop in some new stuff like a cone. Just drop it in here, make it a lot smaller. And now they stick cone, bag it up unless you can see inside the null. Um, it's basically not visible. They're still here right in the middle, but they're not visible because they used for the area around here. But if they turn it off, as you can see here, I can work on my object right here. Right. However, I want to make it look. And if I turn on the array kind of copy, sit down. The original Ray, actually still right here in the middle. Okay. And then let's check out the last one. What we're gonna do is we create a sphere and we created atomic array. Um, what this does tripped easy and pretty neat. You just drop it in here and it basically takes the edges and makes him to choose. Oops. And the points two spheres. So what you're gonna do is you can now change the sphere radius or the cube radius and make a little like, like a network out of something, and you can use it for everything. But just remember, the more detail your optic cats, the more needs the Morris, a power usage of your CPU, and it can sometimes get very slow. But it's a cool effect. A minutes you can see here we can change up subdivisions to make it even more, uh, less detail. So if you look from here, for example, we don't need so much detail. But if we want to have the camera later, go very close up. What, you maybe want to do this create the slight subdivision, and what's also important is a single element. You have a lot of object. Uh, that would do something like this. And what is Dust, basically is. If I make this creditable now, I have a folder and no, And in here I have just sphere, right. I'm like a single object, and now what I have is I have all these little things basically by themselves. Sometimes it's useful, sometimes not, but now it could go in and animate single objects off these array of this network. I could also use a factors to affect this. Um, I go to that in the next lesson, and this is very cool, because now I have to the option to have every everything in single instances or I go back , turn this off. And now I just have one take, um, object that I can use and move around. 14. 13 Blue Object Manipulators: Okay, So now we probably come to one of the most comprehensive M categories inside of cinema 40. And that is, uh, the many populate your object. This everything from bending something to melting something to smoothing or displacing something. There's so many things right here, um, that you really have to look through them and then see what they do and how you can use him . But we will go through a few of them. Okay, so the 1st 1 we're going to do it's a standard up Jack Bend. Uh, we go right here, we just click it. And what we're first going to do is we have this. It's cute, right? So we do. We give them a lot more segments because all these things basically that deform and and and manipulated different polygons in your object. So I want to do is we go to Cuba and we just give him some huge number, like 50 50 50. I have to change it here, can see it's very dense and very detailed, and it's good because we kind of need it for that. So and now, in the end, the object before we used the green ones And they are basically folders where you put in. You're you're polygon objects, right? So we have, like, an array. We put the cube inside the array. But with the manipulators for you, with the reformers, what we do, we put the d formers inside Oh, for the polling on object. So we go in here and now if we use it, we kind of bended right. So that's kind of the difference in the hiring. So the screen once you always put some things in and the blue ones you always put inside of something and you can stack the issue as well. So first. But first, let's see what the bent deformity so you can do here. You have put it inside the cube and here's the bent to form and what you can do is first, you often can't say fit to parent. What did stuff is basically it it makes it so that the parent is completely in cups of inside this manipulator of this two former and now for use something like here it would perfectly use and to form everything without us to to manually for go back with two manually go in here and then make sure everything inside we can just press fit to parent. And this is very good. And now if we say Ben, we can say strength. So here, you see, we bend it over like this, let's say 180 now. We've been a little arch, and we can also change the angle so you can kind of, like, twisted a bit around. And you can also animate this later on. That basically goes like this. It's kind of a cool the fact. And it can you be used for many things. Um, and here is the different modes, like within the box or unlimited. In this case, it's not so important because it's a very simple object. But what I said before, oh, you can also say here, keep y axis length. So basically the Cube doesn't extend too much from the original, as you can see here, while if I turn it off, a calf goes up in everything. But what I wanted to say before we can stack these manipulators on top of each other, we can, for example, take the twist. Put the twist in here, go on the twist fit to parent. And now what we're gonna do this week we twisted on the angle. And now what you get of it if you get this bended cube and it twisted itself on itself is very nice Effect can see him. And this is also why we need all the polygons, as you can see, if we go back to a cube. And now I dropped down the polygons to maybe, like, 11 on each side. As you can see, it gets very choppy and doesn't look so nice anymore because, um, all the bending and everything is happening that you really need the detail in in the object you want to transform if you want to make, like, here very big and very noticeable and deformation. Okay, just something to keep in mind, um, and hear a lot of different things. For example, what we can do is a jiggle and the jiggle the former's. Basically, whenever you have an animation on an object kind of copies, um, it kind of yeah, makes it jiggle after the animation. Um, what else we have is a male a very easy way to kind of gives the illusion that something is melting, for example. Here, of course, you can also animate this kind of goes to a plane. And it's not the most realistic effect, but it's kind of like it always depends on how you use it on. And if you just want to have something that looks a bit cartoony and kind of melts down, this is This is a go to effect, I guess. Um, Anya there so many different effects that you just have to look through them and kind of see for yourself. What kind of fits your style? Um, okay. And another cool of factors may be at sea. Oh, this one, um, explosion. It's nice. It takes basically all the holly guns off your object and explodes him outside. So basically, you can make a like a little disintegration Effect was Okay, so this is really like the ball game off cinema body that makes it very good for motion graphics, because you all these kind of bent performers, uh, not bent. It forms all this kind of reformers and manipulators that you can use and stack upon each other to create very cool effects. Very, very fast. Um, and you can always couple this with this. So you make it like a symmetry object and then put on there something like this there. So many possibilities that I would highly encourage you to kind of check it out and then see what you like. What, you don't like, how you can use it, how you can combine it. Andi is very useful for all kinds of things. 15. 14 animation: Okay, So now we learned a lot of stuff, like how to manipulate o object to position them to retake them. The next thing we're gonna learn is how to animate. Um, and this basic, the most important thing. Because in cinema, for the you cannot just animate the position or irritation. I am on the scale. You can also most likely animate everything inside off. Um, you're objects. May be a polygon. Objects like here. Like like spent two former ah, most properties in cinema for you can animate over time. You can see that you can animate them always if there is, like, a little grey dot in front of their Okay, Um, for example, where we gonna do now? We animate it from left to right. Okay, so it starts here. Uh, well, we wanted to do There's two way to animate. Um Oh, no. Two key frame something because this is called key frame. Okay, um, you've down here below a timeline. It's here, right from you're frames to 90 frames. And here, like three little red Aiken's on may. Basically only the 1st 2 important to you. The 1st 1 is just a key friend So you click it and its key friend and the key frames co ordinate okay, here is accordance. If you want Teoh the French position, rotation and scale. And just use this one, um and then move forward to maybe 90. Frank. Oh, no, let's go. 45. You make it, go to here and then you click it again and its key friend. And now if you do here, go here you We have animated. So now let's say it goes to here and now it should go back to where it started to make a little loop. So what you can do, go to a timeline and you see everywhere where we made a key frame. Therefore, that object you have to have the object selected. You see here a key frame. It's a little blue box. If you click on it, it gets yellow. You're right. Click on a copy. Then you go to frame 90. I do just say, And now we have a nice little looping animation. Okay. And now here. A few familiar, for example, was after effects What you can do here now issue Go on your key frame. You're right. And you can hear Change how The interpolation off the key France. So you can make it very choppy. Like Alenia. As you can see. If I play it now in the middle right here it gives very fast to go back. If I wanted to be a bit past smooth I go in here and for example, you saw on now, as you can see when it turns, it goes very soft. Okay, um this one way and the second I can read here is auto key so very self explanatory. If I just say go up here, it only key frames a position. And as you can see here, I don't have to press this button. It just goes where I drag it to. If there's not a key, frame it, it makes a key frame. And I can very fastly say how Chipman Okay, but keep in mind sometimes if you keep it on, it can mess something up. If you try things out, eso just you know, use it with caution. Okay, lets go back. I can't this And now this key friend you can only use for position scale importation. But now we go to the object and here you want to keep frame something as well. Maybe the height. So what you're gonna do is you go to the position where it starts, maybe to change the height. Maybe he frame frame 20 on. What you gonna do is see, it's a little great dog, and you click on it and now turns red and red means there is a key frame. At this point in time, if you you can see it, it's a full dark. If you go to key frame where no key frame miss um, accorded, you can see it's basically just the outline off a red dot right here. Um, at the moment you make a key friend turns Reddick in. So, for example, now it should go become big, and as long as you have not recorded a key frame and locked it in, it will be yellow so that as long as it's yellow, the key friend you see it here. But the moment you move it, it is not recorded. So every time it's yellow, it just means it's just a reminder for you to two key frame it still that it's locked in. So now we click on here, key friend. And now, as you can see, it goes up. And now maybe we go to 65. We type in 200 to go back down to what started here. It's yellow. So there's no key, Frank. Click on it. And now this acute frame. And now, as you can see, we have a little animation which goes from left to ride, and it scales up and down. Um, and you could use this for everything. So it, for example, if I put in a twist to form A Now, um, put it onto the cube and say Fit to parent Come. And now I go to 20 on Say, angle zero and I go to 65. Also, angle should be zero and our 2 45 and I twisted little. And now, as you can see, our d former doesn't update the boundary box automatic. So while two Farron works most of the time, in this case, you have two men manually. Kind of changed the boundary box to something bigger like this, and now states there and basically you have this nice little animation and it can also keep frame. Um, the twisted former. So just keep in mind everything in cinema for you can keep frame and you should take advantage of that. 16. 15 import model and viewport settings: Okay, So in this lesson, what I'm gonna show you is first how to import your model. And after you imported it, how to kind of switch of you pour two different modes, um, to kind of check your model and to kind of work a bit better on it or just a You know, I see a bit more detail on what you're working with. Okay, So the first thing you want to see is that you can easily imported just by going to your model. I gave you this meet Matt. I just downloaded on. You just drag it onto your report. And as you can see this thing, um, pops up. It's basically everything in this file, you can say you want to import it or not, like geometry stack, polygon slides, cameras and everything. And I know that this this files for some, for example, our cameras so I can turn this off. But in this case, just to show you, I leave it on. And if you have animations, you can say you want to import them or not on all kinds of things. But normally what do you do is you don't really Prince just okay. And then you see what you get. Okay, so we press OK? And as you can see, we have a lot of cameras that we don't want. And we have our model in the middle. So what we gonna do, Go to outline er on the right And here's cameras. If you open it up by clicking on the plus, you see all the different cameras, and you can go into them. You won. Um, but normally, what I dio you know, they're set up. You just click in front on the I can just to the double bolt. But what we do is we just beat it. So now we're in here and we just have our model. And as you can see, it is a little bit gray and everything, Onda. And that is because the textures, as you concede, had textures already applied or materials I should say on they show up all down here and they're all great. That's why the model looks just gray. What we want to do now. First we wanted to go to the View port up to the top here you have display and what you can change in the displaced Basically how the mold is shaded. And if you see basically outlined off the polygon, for example, we have here Gore chain on. We go here too, the same. But just with the lines. And as you can see here now, you see every single politik on, um, and how the etch flow is and everything This can be sometimes very useful, especially also if you want to si OK or what's going on? What's wrong if something doesn't work? Um, also what you can do issue code shading, which is not so much different. That's just a little bit. And it depends more on the lights in your scene. And constant shading is basically it gives you. You see nothing here, as you can see, basically nothing. It gives you basically just the outline. It floods everything. Um, and you could do that was shaded colors with with business lines. Um, but what I like to work with it's just a normal shader and sometimes depends on the model. If I don't really should make out the shapes, for example, of phone, which we come later on in another, another lesson where we use an iPhone axe that you want to use it just to see better Where ? Where? The single objects off the phony. Okay, so another thing What you can do is you go display, right, And then options is right next to them. What you can do is you can turn off the textures as you could see a turn off the textures. And this is basically is a default gray. And if I turn it on, I see the actually materials and textures off the model already applied. In this case, it's not much of a difference, but we're going to change that in the next lesson. Well, we're gonna go and check out a little bit off these materials and how we can change them to meet our needs. See that? 17. 16 material and light: Okay, so now we want to work a little bit of materials, and it's the first time doing material. Um, just want to show you how to apply them. So you go to outline er right here. Unless you can see here you have the single mashes like base had the body. And here here's a different section, all of them. And normally behind every mesh, there's always a few Aikens. And these things are called tax. We come to them in a different lesson. But in this case, the most important tack for us in this lesson is this 1st 1 and this is texture, tack anomalies. Always the ball applied with was a material on it. Okay, so here you can. Basically, if you have another material, you can drag it on here, um, and changed the material on. There's a couple of different settings that we will go to in a minute. Yes. First, what we're gonna do now, we create our own material on. What we're gonna do is we go down here to our material panel and we double click and with double click what you do with you, you create a new material. You have it here. Right, Matt? That's a default name. So you double click on the name and we call this checkerboard, because this is what we gonna create. We're gonna create checkerboard, um, kind off effect. Just also to see if the movies what that is. I call you later. I tell you later, Andi, just, you know, give it some variety and see how it can affect them. Okay, So if you open your material with double clicking, this is what you will see. And basically, a material is split in different channel. Okay? The color is just a basic color flat color. Okay, so you keep can load in different textures, can be pictures or everything, but there will be no reflection or a luminant of whatever, because all of these things will be handled in different channel, For example, reflecting here. You can say if your, um if you're materials very. It's like a mirror. More like I don't know, more like stone. Like, very rough. Okay. And you can say the strength, as you can see here, we have a black bowl representing it, but it's also effects our Schaeuble at here in the corner. Okay, so I can speculate. Strength, I get it down. What you can do is you have multiple levels off reflecting sees. So as you can see here, we have basically also and I would intern it off and on. And here you have add removed and copy. So we add something and then it ask you, What do you want to add? And the 1st 4 are all basically pure effect. IMS and all of the others are also reflected sees. But they are like mawr specific Here, for example, Diffuse or here for cloth. Oh, this is more like legacy things. What? We want to use what I personally like to use his G axe. We go in here and the second see our ball gets reflective and you can turn it down the layer strength though this is based on lay a second dragon, a buff and below. And as you can see here, doesn't change so much in this case. But it depending on what kind of things you you you add or what kind of no you have or how strong it will effect. For example, here you can see here a little bit more diffusing the Biltmore less contrast. Because now this speculates on top off the reflect Insee. If I pull it below only reflecting this you basically don't see it because everything is reflect. And here you can change this strength I can make It may be too like 30%. And then I couldn't go into this layer. And I can say maybe the reflection strength itself is also not so much that I basically have to ways to control the reflected. And I can also say it should be more rough. Yes, you can see here everything. It's not a perfect reflection, but it gets more rough and more diffuse, maybe like like you would see in metal. Okay on then you have a different kind of ways to kind of effective for Nell. Here is basically how their affection is at the corners. As you can see, if I turn it on, thing happens. Much thing happens. But you see here different, and you can change basically the index of it. You know, it's it's subtle, but he also presets maybe like Iran, Um or maybe like sodium. Um, Now relieve it off, actually. But all of these kind of like make subtle changes to get to your look. And that's way in materials that you always have to kind of make Make it there where you want to have it little by little. And this also how this material itself is set up because now we have the color. Now you can off course key, fram, etc. And in this color just for example, what you can also do issue can key frame everything in the material. It can go so uh to to frame zero key, frame it on green Then you go to 30 and a key frame to read and hear said a key frame And now, as you can see, kind of blends between these colors within 30 frames, okay. And this way you can keep frame everything And here you can even keep from the reflect Insee. So you make non reflective and then the expectancy comes slowly into play. And here a lot of different settings. But, uh, color reflect insee, luminant and bump or normal. I'm basically most important. Let's go to Luminant. If you check it, you can see it gets white. And basically this is really, um how Teoh light up the material. And as you can see here, you have always this texture option. On in Texas, you can load in like like actual pictures or noises or like generators from, uh, from cinema 40 itself. Example. Moyes's. And as you can see here, you have a noisy thing, and and everything it's white here will light up. Everything's it's black with multiplied up. Um, we don't want to use luminess for this on then we have bumped and normal. They basically do the same thing. They basically give the impression that something comes out off. You know, normally everything you see here, now it's totally flat. So and Bump gives the impression that it has, like roughness. It has a dense and everything like this, or scratches and normalised basically the same thing as bump but a little bit more advanced . Normally, for these kinds of things, you use normal maps there, like you maybe saw that it's like violet maps was a lot of colors, and bump is basically just a black and white map. So again that can use in and noise. And if I crank the strength up, maybe you can see it. Um, maybe turn off the reflect Insee Now I know I have to turn it on off course So if it turned it on here, I cranked it up too high. And now you see here just the noise gives it this little kind of bumpy look And I can go in of course, in here. And you know, you just click on here on the noise and then you go to Shader and here you have all these kind of different things. You can change your northwest, for example make it smaller. And now you have this nice little rainy noise that gives it a little bit more for rough feeling and makes it not perfectly flat. And it's always something you want in your your material. Give it a little bit off. Ach, a little bit off imperfection to make. Really. And you can change the noise of course, to sell Moyes or oh Hama noise bigger to see it and they all give a little bit off a different effect. I really like this one, for example, or what I also like is tabula and I make smaller, very subtle And yet you have to try this. This is something I can teach you go into this in more detail in the later lesson. But in general, this is one of the things in cinema 40. It's the same us with every creative thing. You just have to go in and try things out and see what you personally like. Um, because he is not really a right or wrong. He's just, you know, what do you like? What do you down, Um, and we just leave it. Maybe add this for now on. Like I said, normal is the same as bump. But here, you normally need a map to use it. Okay, In this case, we don't use it today. Um, yeah. So there's different kind of things, you know, transparency. If you want to cut out something and, um, have a hole. So I've something in the U. S. Agency here now, but just turning on transparency, everything goes away, and he was just a reflections. Um, Alfa does the same as transparency with a different that transparency is maybe more like, alas and alpha. It's really it's not there. Okay, So transparency you would use for glass I can turn may be too late. Like here 85 then change the reflection refraction like this. And as you can see, the delight bends within the material mawr while if I use offer an office also just a black and white map If I just put in here color. And now I make this color black. As you can see, everything vanishes there, not even the reflections anymore. So depending on what you want, you have to choose between one of these two. Or you can combine them off course. If we would go in here and say we put in a noise as you can see, um, if we make this may be bigger and more Kontras somewhere. Lo clip here. As you can see here now we've combined. It's at some points. There's no texture and no material and enter geometry will build and the geometry will vanish So you can see through the geometry. Just so you know, it was Alfa transparency you see through But here you know that scene some parts that just like like glass, and some are totally gone. In this case, we don't need any of this. We just keep it like this. Um because now what we want to dio is we want to check about right? So that's closest and create in new materials. We could have used this, but we start from scratch. We called us check award two and always name your things because sometimes the FDA like 40 materials and you want to find your material. So now what we want to do we want to create a check report. So we use the color and I we say here, um, how do we find it? So there's a different thing. So you have a fresh inal radiant. We can use the Grady and and then it's like black at the top or red and goes to blue White , whatever. Um and here's a lot of different effects we can use, but what we want to use, we want to go to effects. And here should be something like it. Check aboard. Or maybe its under surface. Um, that see, Elia here its under surface and you see your fear, something like marble. If you want to create something that looks a little bit like marble or flames are galaxy off bricks and but we won't checkable. So we choose checkerboard and as you can see here, we already have a checkerboard, and now you can go in here. And if you change the frequency, you get a more dense checkerboard. Okay? And now this looks all nice and well, but what we want to do is we want to apply. So what we're gonna do is drag our material from here to the texture tag as you remember, one of these things, and we gonna use the unless you can see here. Now it applies textures to our head. Um, I guess you can see here. It's kind of wonky at the end. It's just because they are basically different mashes. But, um, we can check how it drag it onto the body and used to this books. Actually. Quite nice. Come here. Yeah, that's that's nice. And well, so now we have this and now what we can do We can play around with it so we can check How reflective does we wanna have it So we can here and said G x x g x may be may be not so reflective Turned down layer, Make it more a little bit Just a little inspector strengths up a bit. Well, it looks nice. But now let's say we won just maybe the black color to to reflect. So what do we do? So what we can do is go to our color we click on on this little arrow right in front. Right here was that we have to checkerboard and what we can say. We say copy shade with this copy Shader We go to reflect ins and here you go lay a must. What you gonna dio? He is also texture. We just go in here and we say simply exchange And as you can see now what we have at the moment is that only the white parts reflect But we want a different right. So what we can dio is we simply go on here. That would change the colors. Don't change this. Just change the colors here and you say here's black and here's why. And now, as you can see only where black parts are on now Perfections and the white is totally not affected by buy. Whatever we did on this layer make this more obvious. If we don't make this wide going here and with changes, maybe to a nice little I know Maybe an orange. And as you can see here now you can see Definitely was not just because it was white here it not affected by bye bye. This reflect Insee land. We can also go in here and paste it in here. But we don't want to do that. We want some. We want a very Matt feeling this once. And that reflected feelings of this. And now what? We can also dio we go now back to our color and we copy this again. So we go in here Copy Shader and I would go into a bump. You know, last time I showed you on the Shadab all but now see it on the model. What we're gonna do, we go to texture on. We go on a pace to Shader and as you can see here now we have this little blocking. It's going on. It's not something we want, but most of the time Um and here's the thing. So put it here. There's something I have to say what you see in the view port? I haven't said that so far What you see in the view port right here It's not the ANC results. This is just a approximate nation off. How it will look later on. If you want to check how it really looks, What we need to do was make you have to do a pre render and to do a pre render what we need to dio Yes, we need to create if a few lights in our seats Okay, so what we want to do next is we want to create some lights and are seen to see how model would look if we would render it. Okay, um, to create some lights. What you need to do is you go up here to the top and here's a light ball. You just click on it, hold it. And here you have different options for life. They're all nice and well, but the most useful ones are light. It's basically a point like one point that emits light in all directions. Ariel light. We can direct it, and it's more like a like a square or a circle disk should say eso this shadows like a nice second. More realistic infinity light and sunlight are basically the same. They're from one direction, one light source in constant strength. So these they kind of fall off like flashlight, for example. They fall off in the distance, infinity and sunlight do not. Hey, we take on area light for now. And as you can see immediately in our scene, you kind of see that it's not an area voice is just so Oh, it's just so big. It's just so big. So we make it smaller by dragging on these white on the Seattle darts Just made small. And as you can see immediately on the model, we also get in idea how the shadow will look. So we really tae did a bid right here. Come from there, maybe. And then and then we create maybe a point light put it just behind it to give it a little bit off a room light. Maybe we should use awesome aerial at what you can do. You can always change your life what kind of light it is by going into general. If you go here, IHS your property manager, right. And if you go on like you have all your light properties where you can change it and only lied point light What you change It to his area, like like this. And probably gannets Super baked because the model is just so small. So you make it small. Other life. Uh, now we can put it somehow like this. And now what you can do? Yes. You can just press here. This three Aikins, they have thes movie claps, right? So the right want to surrender settings? We go in here later on in the probably the next lesson, I guess, to see change some settings. Um, the middle one is rendered to picture Viewer, if you do that and another window opens and it renders your picture Yes, you can see here. It was very fast. If I click it on again, it render sis. It's very fast at the moment. Um, it it takes longer than more complex. Seen it on if you do it. If you knew, said the left button off the three kind of render inside the view port See it? But the moment you move inside the view port, it kind of goes back. So it's a quick way to check. And as we can see here, Checkerboard is actually kind of looking like this. I didn't expect that So what we can do? Maybe it's going here and see what we can do to change this. Maybe it's due to the nature All the checkerboard just so bright eso so contrast, so immediate. Um, maybe not so much power. And there's always this thing like it can also be because it's very big on, but sometimes a problem, because it's very sharp. Okay, So because here is basically goes from white turn to white when white to black, their snow radiant On this wise, this is looking very good. And this is just simply how bump maps work on their very big and very sharp edges. And they're faking the depth, right? That's why this is not working as a bump. Please, not in this side. So what we're gonna do next is we gonna change basically how this is Scott? I look right. How big these things is that we don't change them. Actually, in here, we could changes. We could go in here and go to check aboard and checks a frequency. But then we off course have to copy all of this again into reflect insee and bump. And we don't want to do that So what we gonna do, IHS? We go in here, we go into the body. Um, I would go on to the texture. What we can do here now is we could go all the way down, can see here we have tired so we could change it here. It's nice. Better. Let's maybe turn it to six. So basically, if off the whole body tiles at six times the texture, we have applied. Okay, Um and here you have also, just so you know, maybe we needed later on you have your projections. So you peace. Just so you know, are basically a map for this specific geometry. So it on Lee worked. This one UV map only works for one specific geometry. If you don't have you ve sometimes you don't have you go to the text attack on what you do is you go to Cuba. Cubic, miss. Basically another way to project the texture around as a model. Okay, It's not always perfect. And here you have to see go big again. So we have to crank the tiles up a lot. And if we crank it up a lot, we can kind of go. Come to the same result as you be maps. But this is a postman. Always change. Sometimes you have to try out the other projections. But the most useful ones probably cubic and you be fufu bees. But we come probably in another lesson. Two more details on this one. Okay, let's turn it back to you via just so we work with smaller numbers and looks a little bit nicer. Ah, now what we do is we render this. And as you can see here, the height is a lot more convincing and what we going to do, and I would go back to our material. We go to bump and we crank it down a little 5% because it's a fake effect. It's not actually changing to geometry. What do you want to do is want to keep it subtle. You don't want to overdo it. If you overdo it, it gets noticeable. And then the effect has kind of gone. So even 5% in this case, maybe it's a bit too much. And don't be afraid to go low. It goes a long way to just change it. Very, very subtle. As you can see here we have this feeling off high and also because of the reflection is here and here. Now it's a very nice and convincing effect. But now the other thing we want to dio way created this light, right. What we want to do now is we want to create a little bit off. Better. Like this is nice, but we want to create a better and flying okay because normally all not only have two light sources is like you. You have old around to you, something that reflects or something sky and all kinds of stuff. And that's what we want. Okay. And to create this, it's a light off. You don't find under here something you find if you go to to the right years of floor, it looks like a great you hold it. Uh, you find a physical sky, which is basically show you this this is basically recreates the atmosphere around you. So if I render now, as you can see, the life changes on my model, but also around we can rid of this was attacked. But this is another tutorial. Um, this is also lied. You can of course, change it here and then the light changes its hat. It has a built in some and it can change a sky here and the sun here, like the intensity and all of this Goodness. But we don't need this at the moment, because what I want to show you is an HDR I okay, And for this we used the sky of go to the grid and sky. And basically, this is the same as a big sphere around the whole scene. Okay? And right off the bat does nothing, except it's just gray. And it's not what we want. What we born this we want here to have 36 degree, 360 degree image, a mask upon the sky. I So what we do, we create a new material, double click on the material and we call this guy. We go into the material and this is very simple. You unclip everything luminant and into Luminant. You can download these that give you two options. One, It's an HDR. I won bandage to one. It's more like a studio light. And the other one, it's more like an outdoor scene. So we start with the studio light, put it in here. What we do now is we drag this material just on to the sky. As you can see, a text attack is applied on, uh, close this for now. Unless you can see now if I turn on the other life and render this this is how it would look I and you can see it's still in the background. So I show you how to get rid of Hey, you go to your sky And this is the same, by the way, for the for the physical sky off. So you go here, you're right. Click cinema 40 tag and then you go all the way to composition. And this is a complex tack at first glance, but it's very easy. What you gonna do it to go here and you can basically say what to the camera can see. Oh, no, no, it's not correct. Save what you can say in this composition. Tack is basically this object by what it can be seen and this case we want not seen by camera. And it's you can see advantages here. Been getting rid of it in the report. So we only see the effect of the sky um, but not the sky itself. And what we can do now is, for example, going here, and I gave you another HDL something like this, and it looks a bit more like a realistic one. So it's like like an outdoor scene. I think, actually, it's an h here. I from Overwatch. Um, if you enter games, Um, now, as you can see, this a slight difference. Maybe see here, recede in the reflections you can see here. Basically, you have flight, right? Actually can make it just that's going here, and it's make this one super effective so it can easily make it out. Okay, So as you can see here now, in the reflection does you can see you see basically the surroundings. Um, And if I change this back to the previous one, which is more like a studio scene, we render it out. Now, we have basically the fractions in here, so that's something to keep in mind. If you have, like, super effective and not Larry Reflections, I would recommend to like, slight blurriness. So if something like this looks a bit nicer than having super shop reflections, then we turn this back on kind of like emerged both. So we have, like, one one light. Here's a light seen up, and this looks already nice. Okay, so, yeah, this is how you basically use your materials and how to set up an easy life. You can always still go and here make it an infinite life. And as you can see, here you have this line And if it's basically the sunlight and now from this slide comes the direction okay and it goes across the whole scene. So it is just a direction and blood from this direction down can see here, return this off. It's just a little limb rim right from here. Crank this up a little bit, and now is you just have lit up from behind and turns on that we have a little bit from the from the front was, of course, way too much. But this is basically now there Introduction to lights and June material on the next lesson . Probably a show you bit off, more complex model where you can see by basically all the different kinds we used before. And like different materials and lights and how to set up its seen and animate Oh, and I phone I think it is. Yeah. See you then 18. 17 Linking textures and prep phone for animation: Okay, so this Listen, what we're gonna do, we want to create a little animation. Um, and we will fix a few things. So this is a scene I'm giving you just so you know where you got this from? It's from free three d dot Come. You can find a lot of different kind off seeing files are our three D models for you to use because not everyone is a motor. I'm also not really a modeler, so you can find a lot of stuff for you to use. Um, but moving on. So everything I did, I opened this scene and I put in the sky object like we did in the last lesson and we're gonna do now is what do you want to do? We want to kind of make it like a little animation and render it out and set some setting. So that's Ah, a couple next lessons you. But first we want to fix some problems, and the problems arise here. So this is a model, right? And we have light in the scene and we want to render it. Okay, so we click on render view right here. The left. Aiken And as you could see, the first thing that pops up is an acid era on acid era's most likely always the case when some of your materials where he opened a scene and some of the materials has a texture. So a picture I am inside of it. But it's not link, so it cannot find it. Okay, so we kick. Okay. It was still render after you click. OK, but it will not be inside the render because it cannot find it. So this one will always be like just black. Okay, so what we're gonna do is we rendered again here and we check this window and what it says is like the mat this the 1st 1 is always in name. And as you can see, that whoever did this seemed filed into good job modeling everything. But he did not a good job like naming. And this one is called just Matt. So what we're gonna do? Yes, we have to 22 materials here that called and we go in here and we have to check through the channels if we find something that is not connected. And that's again the name IHS did the camera lens. I can check. So it's here. Okay, so he said is here, and he shows a picture, but it's probably that he doesn't know what is. He knows this one, but he doesn't know this one, even though it's the same. Okay, so everything you're gonna do issue click on here. Um, And then you coming in another window with shader. And here you can choose your folder. It's all in the full that you can download. And here you choose this form because this is a picture he's searching. Just always double check the name in the file Here. Look. OK. And just to be sure, we go also to the other one, and we also make sure he finds it here, too. And now the thing is, when we such no errors, so he renders it out. Okay, so the next problem is the screen is very, very dim. Okay, so we have a nice lighting going on. As you can see here, we have nice reflection at the end. It's it's very dark. I hope you can see it in the in the recording. But that's mostly AK. You what you want in the phone, right? You want a nice reflections. But he wanted bright screen. So what we're gonna do is we go to the screen. So it's most likely this one. And he were two things that I knew. No, just one Tuesday. So you can see it has multiple material supplied. And then there is like a triangle in Orange Triangle. And what that means is you can if you go in here for the selection. We did that right. If you select something, you can go right click. And you can Oh, no, no, you don't have to. Right Click. You just select something you go. So let And then here you find something cold Did did them sets election. It's 1/3 from the from the body. And if you click that you get here trying on you can name se screen So and what that does is basically it saves your selection so we can delete that because it's already done. So if you double click on one of these triangle, he would re select whatever the selection. Tak has safe the select. Okay, so this is the back. Find it. But most importantly, the last one is the screen. As you can see, it turned it orange. Actually, we can go to options and de select lectures, and this better to see. And now, if I click through you see, this is a if that's like Cassis ceiling Tween the frame and the screen and the last one years, a screen which is important one and in front off the selection is normally and the corresponding texture. So we go into the texture. Here we find it here, met to, um, and as you can see here, there's a screen. Maybe if you loaded then you you always have also have to replace is in my case, it's already he knows where it is. If you don't find it, you can. You have Teoh do the same thing we did for the other texture and re Lincoln so but the problem here is this is in the color channel. That means if I have this life which looks nice at the edges because it gives his light nights reflections and but Leiden in itself is pretty dim. So what do you want to do is you want to put the color, you copy it My copy shape you de select the color and you put it in the looming. So he is already another text replied, Um, but we don't care about that because it couldn't find it either way. So what we do is pace changer, the one we copied from color. And now, if free, do this as you can see, the screen. It's nice and bright because it's a luminant. It's not affected by the light. Um, and we have the nice little devil brother Reflections on the edges. So and now what we can do We have this. Now, this is all nice and well, we create an area like comes up here and, as you can see here now, the screen, the phone is big enough that we don't have to scale it down. Date was the last texture on. We maybe set some more lightings here to basically just and Hans the reflections around the farm. Okay, So render and you see here we have a nice little etch coming from this life. What we're gonna do is maybe script stretches out a little, go into properties, maybe go. Um, yeah, actually, make it just pick up, the bigger it is the more intense it is either way. So now what we do is make a preview render. And now we have here Nice little edge. That's exactly what we want. I know. We can also go to the back check how it looks There. This looks nice. Yes, And just for the fun of it, what we can also do is we can go back into our material. Um, that actually rename it in to sky and we change this one. Who is the other one? So we go back, you full The here is our second year. I put it in there and sometimes it asked if you want to copy it to the path location. Oh, if you don't normally not. But if you want to give the project to somewhere else, you should consider doing okay. Now we have here unless you can see here. The reflections changed a lot. It looks a lot more like a real reflection here. That's why they put the back, as you can see, doesn't really flat anything. It's just black. Something to change. I would go back here to our body and want to search this. It's a so it's a second and in front. If you said the material inside your outline, er there will be an orange frame around it. And they all say March friend will be around your You're your panel for your for your material. So we know this one, IHS what we're setting for. And now we go in here and check what's is wrong with relax. And here that does reflect in it is just so and maybe make a bit more off strong. But we also want to add a reflection. So we're going here, make it also a bit more off. Not so strong, maybe more like this. And then we make a test render. And as you can see here now, we have a lot more reflections in there. Nice. The next thing we'll do is we're gonna switch back to our other H year, I because it looks just a lot more high quality in terms off studio light because a phone most likely will be shot in a studio lighting on. This will look just so much nicer if we have the right lighting and the right conditions guy. Now let's check here. These are the reflections off this life. Not even one. But it's OK for now. Um, this is basically just fixing it in the next lesson we're gonna do animate this and what I want to show you real quick just for you to check out, Can see Here. We opened up. We already worked in here. But as you can see here are old and kind of, um, defectors used before, right? If you go back here to subdivision surface extrude sweep, you find all of these in here like a bowl. The array arrayed, full, their balls basically cutting things out. Um, I just check it out, maybe go from here, Said textures. So now you have nice little textures Phone right here. But take a take a look around on less in more, animate the phone and create our first little animated something 19. 18 animate phone: Okay. So what do you want to do now? We just want a nice little and simple animation off this phone, getting into the screen to do that. What we gonna do is basically, first we want to create, um, camp and a camera. You might have seen it already even clicked on it. This year's light, the last Aiken on the top and right next to the camera. Click on it. And as you can see, we get a camera. Can see that in the scene already right here. Little outlined. Did she go to the view port through the outline? Er right after the camera, this little black square was point in the middle camera. I can click on it turns white and that it's an out. You're in the camera, and you the you are controlling the camera. Okay, So what we want to do is we want to line it up. Lie this. So the phones right in the middle, and now we get out of the camp. Uh, and now we would animate. Um, but what you can do if you have your camera locked in and you want protected, what you can do, issue right. Click on the cam, Go to cinema 40 Tax and you go to protection tax here. And that means he can lock that things like a position scale importation. That means now, even if we want to move with all the number buttons cannot. So we only have to go out. And now we can animate. And as you can see, the camera has these lines going out there, and that basically means everything in here will be seen. Camera. So we go to the side, we have to get the phone here, and we have to push it down here to basically get it out off the view of the camp. So now I wanted coming from below taking in. So let's say the whole thing should and at, like, 60 frames, which is, like 23 seconds, depending on how many frames? Yeah, or actually, yeah, go to 70. And now what we do, we can animate all of. But if we animate, um, which is folder off the phone, we will animate and move the whole phone. As you can see here while if we just go in here, we just part of the phone. What you can use to make can used with things I like, Like spreading out this all the parts of the phone itself. So what we gonna do now to set frame 17 on what we're gonna do? We press, um, go to court and we keep friend the position. So we just hold, uh, the mouse button down. You see, they turn red and also their rotation right here. So, friend, just just click it and the meat in this position and time times phone will be there with this rotation in this position. And now we go to frame zero, and first thing we're gonna do is we drop it down, like here from the side. It will not be in the view of the camera. Can I go up and we have press here? Keep position. As you remember, if we press this key, it will keep position to scale and rotation. And the next thing you want to do, Yes, we go to our take two. So press are. And now we're just going in and rotated a couple of times. Like so just a few times. Um, nothing Fan, um repress court like you and out we let it come up. As you can see, there's one big mistake. So it looks nice. It comes up, but it rotates of it weirdly as you conceal. So the rotation comes not from the middle of the phone, kind of from the side. And it's something we want to change. Um, but how can we change this? So what we do is we go to our positioning tool, you know, transport tour. And if you go to the left, you will hear a lot of Aikens. But there's one I can, which is kind of like a 90 degree. Um, I can 90 reacting. You know, this an arrow to top into the right and they're connecting here. Click that one. It's an axis. Click on it and it turns blue and that would you condone? You issue can change the axis, so basically, you just drop it, drag here. So it's kind of from the middle of the phone. And now, as you can see, the phone jumps to this position because now here is the axis, and now you concede hands in rotate from this position that you said now what we need to do is delete the text of the protection tax from our camera. It is now we have to change the position of the camera just slightly. So we are back having the phone, the middle of the frame, right, Wiccan flying protection and what you can also, of course, do. It's a bit faster. You just take the tack and drag some wells, moved the camera and then drag it back. Okay, that's also possible. So now we go to a time like here. You can, um, never get Timeline can just drag it here and now you pressed play. And as you can see, the phone comes in and kind of for Tate's and stops. Um, before we end this tutorial, one thing we can do to make it look different off it's smoother. You can go to a phone or to the object that we have keyed in the scan. The phone on this blue is our key friends, right? So we click on it, it turns orange I want you can do now, you can write and the four top, uh, options here, basically, how the key frames are interpolated. So he's in, for example, makes it so that at the end or when it goes into a new key friend on this key frame, Every animation coming in kind of slows down. So we take this one or he is soft is just stuff, you know, there city torn Linnaeus, like very just stops. But we take a season, and I would play it again. And as you can see, it's subtle, but it's just a little bit slower. So this is basically how you animated. And in the next lesson, I'm gonna show you how to actually set up the render, uh, settings and render it out. 20. 19 Camera and Rendering: Hey, everyone, how you doing? Um, last time would we did we did this little animation for our phone, right? So what we do in this Les nous? First, we we kind of changed a bit the camera settings. And then we go into the render settings and kind of set ourself up to render a nice, clean image sequence for our animation. Okay, The part was, the camera's pretty straightforward and we keep it minimal because it's also one of the things where you play around but pretty easy in general. So it's the camera selected on what you can do here is basically, am allayed a real word camera, so focal length. We can play it around to make it maybe like, 50 or make it a wider. We stick with 36. That's basically the standard, and I'm same for film size. This is ah, full frame camera, them size in general, you can changes to medium for murder, whatever you want, but we stick with the default. Everything we gonna take a look at basically now is first focusing. So what you gonna do is hear your focus distance and you have two ways to control basically where the camera focuses. Okay, so the first thing is, you go to focus distant, and you can type it in, of course, or you can use his little arrow. Take it and click where you want it. Click here and you can see it's foreigners 60 units away. It's a nice way to do things, But if you have, say, a moving image, what you can do is, for example, you can link it to a focus object. So what we can do is we can just take the iPhone and drop it in here and now what it will do. It will focus on the access porn on the rotation point. That's the point where it focuses. So sometimes this point, it's like in a suite right in the middle, so it doesn't really focus nice on the surface. So what you can also do with you can just take a null right. Go to the cube, hold it, created null and sticks up here we go out of the camera and select Elena again right here I will be going to do is we kind of drag it in here, and we kind of wanted position it right on front of the screen right here and now What we're gonna dio is basically of course, you can go up and down wherever you want to focus. If it kind of like maybe tilts later, you want to focus on one specific Aiken, But we don't care about that so much now. So what you gonna do is you take the no and you just call it focus, and we drop it into the group. Okay, so it's inside the group. We go back to a camera, and instead of the I found instead of the group, we drag in our null object. Okay, so now this camera focus always on the nal object, so we can Also, during the cause of the animation, we could animate the null, and the focus would follow the null. Okay, so we can basically make it, like, focus on the top off the phone and then slowly sliding down and basically depths a feel of the camera would shift m wherever the Noel goes. Okay on. Then you go back to the camera and the last thing we're gonna look at, it's basically go to physical on what you can do here is basically pretty straightforward. You cannot change your your aperture, so that means like eight is pretty normal. But if we push it down to one, for example, it will have very, very shallow depths off field. In this case, this is the phone. So we actually don't use shallow the ups off field because we want everything and focus for now. So we just said it to maybe like, four. That's pretty nice and even. Okay, so now there's one more thing, and we kind of want to see better how or what the camera sees, exactly as you can see here, we have a little borders. Maybe you if your layout is a bit different, it looks a bit different, but there's always like to values off gray and basically lighter gray. It's like what the camera sees in the doctor. What they don't say. We want to enhance it a bit. So what we do for that is we go back here to the top view interview, part finder on. What we're going to do is we go to option and configure all. Okay, we click on here, and, as you can see here on our attribute panel. We have a lot of different options now, Okay? And what we want to search its We want to search the view tab. Okay, The view tab. And here you have all kinds of values you can play around. But you want to find this capacity right next to tinted boulders. OK, you can also turn off tinted borders and then you would have this line that shows you what the camera sees. But what we want to do is we want to take the capacity to 100% and now we've black border. So everything you see, it's basically the camera what the camera sees, okay. And that's what we want. Um, and you see why we want to see that in a minute? Okay, now we have the camera set up. Um, what we do next is basically, um, set up the camera settings, not the camera sent the render setting so to to render out a render animation. And for that, we go up here. You see here the osprey render and renders setting. I can send we go to the one with a cock wheel, we click on it. It's a right one. Um, And we opened this window, and the first thing you gonna notices Renderers Standard. If you click on here, you have all this kind of stuff. But normally you probably only of the 1st 4 if it's the first time opening cinema 40 because nobody can use certain party renderers like octane or red shift. Um, but you don't always have to, though. We stick to the standard ones and depending on which one which one you use, the render settings will differ on how to set them up. But in general, that will kind of be Simula. So as you know, as I just said, you have probably just standard and physical these, um, awful preview so we don't gonna bother with them. Um, standard is basically, in general, just a bit slow, faster and cheaper. If you don't have too many reflections and stuff going on that physical, it's mostly bit faster if you have reflections because we have a very reflective phone we use physical. Um, because I think in general also looks a little bit nicer because standard tends to be very hard. And also physical gifts is the ability to render shell depths of field, Which standard does not. Okay, so your physical and s a concern here, Maybe a few things changes. A few things go away. We go to that in detail later. So next thing we're gonna do is why we set up the camera like this. If you go to output. Uh, what you're going to see here now is you have width and height, and he was basically the pixel. You can render the size of the picture you render out, and what we're going to do now is we're gonna set it to full HD. So 1920 by 10. 80. And as you can see here, um, we're now a lot closer to a phone. And and here's also the boldest kind of like go to the side to kind of show us what the camera sees. Um and and of course, it's it's adaptive. So if I go make this smaller, you're gonna see it better here and just maybe two gives the phone a bit more room. We go back to the camera and we go to object and maybe change the focal length now to 28. Okay, so we're a bit farther away looks a bit more like what we animated and what we lined up before we changed the out. The output? Well, off course. Normally you would want to set the output right at the beginning. Before you kind of start animating just to know what you're dealing with in output, what you can also change. It's a frame rate from 30 to maybe 24. If you want to have a more cinematic all, you can also crank it up to 6120 whatever to make it like, very slow mo. Maybe if you have very fast thanks. You can change the frame rate to kind of give you the opportunity to kind of create a slo mo effect. But remember, of course this then it renders a lot more frames. Um and we're going to show you that in a minute. How many frames? Because next thing we're going to do is we set the frame range, and that's basically the range in your timeline that you're gonna render. You can start a 10 or 20. Of course, if you have something that maybe starts at zero, but the way you want it is 20 so you can start a 20 but we start from 0 to 90. And as you can see, with 30 frames a second, we have exactly 90 frames to render. If I want to have it slo mo and put it to 120. I have 360 frames to render a 306 to 1 because we started zero. So remember this framer. It also dictates how many frames you your render and it will take longer. Obviously, Um but we go back to 30 and there's basically it, um, four for the output. What we go nexus safe, safe is pretty straightforward. You have fury, say safe and then fire location where you safe your pictures Because in cinema 40 you only render out picture sequences normally are you want to do it for more flexibility? Hey, you said the former and the phone that you can basically choose whatever you want, But keep one thing in mind. If you choose J pack, you cannot render offer. That means everything in here in the back will probably just be black. Okay? And you cannot change that. You know it, it's in the picture. But if you want to render like Alfa, so that basically just the phone and you can put it on whatever footage, whenever layer you want and after fact what you're going to choose. Maybe the easiest one is probably P and G. And then you go down here to offer channel, and then you can choose. Do you want a straight off? So that is a picture itself has transparency, or what you can do is separate offer. So you basically render a black and white of masks for your object. Okay, in this case, normally what I do is straight out, for it's just a little bit easier. And, of course, you can change the depth to, like eight or 16 bit. Okay, next, one, multi powers would go on this in another tutorial. I gas. It's just basically means you can if you have more than one object, for example, you can say one passed for the for the iPhone and one for the other object. Or you can separate like reflection and defusing, layered on top on and after fax just to give you more control. And then you can basically control the reflection how strong it is in after facts without needing to render Atmore, so it gives a lot of opportunities. But it's a bit more complicated and, I think not needed. If you just start out enough to fax and then Auntie I'll izing is basically shar patches how soft they are. And here's, um, they can sometimes if you crank it up, it can significantly Teoh put a strain on the random time. So if you crank it up too much, it can cost quite a lot of friends time, sometimes depending on the object always, Um, and then we have options here. We have, for example, yeah, great depth. So how many? How many bounces do the race do and kind of this stuff, So it's not so important at the moment. You don't really need it to change anything. What we need to change, though, is we go to physical and physical. What you can do here is you can turn on the motion blur again. Motion blur makes takes more time to render, but looks more natural. But you can also always say Okay, I do it in after facts that maybe looks not as nice. But in most cases it looks still quite good. Um, and then here you can also say sampler. So if you deal with physical renderers, you want to crank out this numbers? Oh, this, Ah, decrease this number. So in, in order to basically make a better image, So sometimes if you render something out, it can get a little bit grainy. So you kind of kind of change. Here's presets, a kind of changed to medium. Check it out, and if it looks better, just choose medium to render. And here you can kind of find unit, you know, on and the higher the numbers here and the lower the number here, the longer it takes surrender. So try to find the best setting for you that gives you speed, but also the best quality possible. Because if I half a great image in medium but change and ended high, it kind of looks the same, and I leave it at high. It just says one image to render takes double the time for no benefit. So try so give yourself some time trying out different settings. Render just a single picture off your frame and kind of change and see what takes the least amount of time, but still looks good enough. Okay, Skips use. It will save you a lot of time. Especially a few. Half an animation was like 2 300 frames. It can take a long time if you have the wrong render settings on. The same goes down for here for blurriness shadow. You know, the more samples, the better in general. But be careful not to do so much, OK? And now we have two things here that are automatic created for us and this ambient occlusion and global elimination. If it's not created, what you do is you go to effects and search it inside. Here He has a lot of different effects. But most of them you don't really want to use because you can. You can do it in after effects of it. Better have more control over it, but ambient occlusion and global elimination you kind of want to have in your Endara. So what are these two ambient occlusion? It's basically contact shadows. So if something touches another object, it always have in real life, contact shadows. Just put your two hands together and see where they align and you will see they have a shadow. If you don't have ambient occlusion enabled, this shadow will be kneeling on existing and it will look a little bit weird, so kind of turn it on. Um, and you can most likely leave it of the render settings, but you can also play around with it. Make it shopper if you make the radiant smaller. But normally I just leave it at this and kind of just have to contact shadows. And it's good enough for May. Sometimes if you have a screen on, like how to say like it glass in this case, on on our screen, we don't have a glass, right? But let's say we have a glass so transparent material right on top of something. What you want to do is go to Amun inclusion and make value transparency that will ensure that glass doesn't cast shadows. Um, because if you don't turn this on, it can be like the glass appears to be black, because right underneath is a complete shadow, a complete black shadow. So they're Whatever is underneath will not be shown in the glass, just looks black. So if you have dealing with glass in any way, just say value transparency and that will fix the problem. Okay. And the last thing is global illumination. What? This basically does it it it basically bound to slide around. Okay, so let's say we have a wall on the right side of our phone right on the left side. So the light would basically go to the wall and bounce it from the world back to our phone . And this is what's global illumination does. It just makes the whole scene a little bit nice. And also reflections look a lot nicer. Whisk global elimination so you normally always want to have that on. And here's the same thing here, your samples to media missus stamping sometimes to get away was low. But in general I would stick to medium. And you can kind of change this things around here On what I figured out. It's like if you say record density, you can maybe go too low, but smoothing. You want to crank up to maybe, like, 150 just to smooths everything out a little bit, and then you don't get too much flickering because if you if you live with the the values too much there can be in an animation. It can happen that it kind of starts flickering and doesn't look nice. So you kind of want to keep the the samples to a certain degree. You have to figure that out yourself. But in general, I stick to medium and here, also to medium and 100 50%. Sometimes I go too low, depending on the object. But normally I think a stick to medium. It's a bit different if you sing. If you render out just a single frame because a single frame, uh, you don't see this flickering so you can get away with lowering the numbers a little bit. Um, but in general, I would. If you come to animation, I would kind of try to keep it flicker free on that, unfortunately means having a little bit higher. Numbers here would add a little bit to the render time, but in general it it's definitely worth it because it looks a lot better. Okay, so there's basically a quick run down on the settings and most important ones. Um, if you then you know you have set everything up. What you can do now is we want to render it out, right? So what, we're gonna dio we have two options here. We can say render to picture viewer. So then it would start rendering every frame. But the problem is we can't stop it If we started, we kind of and we want to continue. We kind of have to go back in here and we say, um, go to output and kind of type in here. The number we finish after it's a bit tedious. So what do you want to dio? If you want to go to your taps the right of the top in our menu bar and he s renderers. And then what you do in rendering issue go to at to render queue, this image pops up and would also it ask you to save your job. So you say Yes, we don't need that. And now you have basically a project in here and you can always start and stop it however you want, Um and you have here also the ability to say OK, I want to render the camera blah, blah, blah. If you have more than one camera, can choose a camera here and render settings whatever you choose or if you have presets, you can also do that here. And, um yeah, so that's basically it is a better way to kind of renders something else because you can maybe say, OK, I go eat some lunch now, so it's start rendering. When I come back. I continue working on other stuff, so I don't want to render I need my PC. So stop it. And then maybe you go to sleep and you can just start it again. Andi, to go to the render queue. It's always just go to render up here. If you start cinema for the you go to render and then render queue You come back to the window and you can say start rendering again. Um, and yet then just render things out, um, and is basically how you render stuff, okay? 21. 20 mograph cloner: Okay, everyone, welcome back. So before we kind of gonna go and finish the cost without a little nice animation project, I'm gonna have to show you one last thing and cinema for the one very, very powerful tool. And that is a mo graph tab. Okay, it's right here. Mo graph. And as you can see here, we have, like, clone on metrics, fracture, Barani fractures. And these are all kinds of things we can use to create some nice little motion graphics that look very complex by, for example, multiplying an object multiple times that moving it around and everything. So this is basically the whole course by itself. So we just going to do one very simple thing. Just so you kind of know what you can do and how you can start playing around with it. Okay, so what we're gonna do is we're going to mow graph here, and we're going to create a cloner. Okay? And as you can see, the moment you have a cloner, nothing happens. It sits here in the outline, er but but nothing really happened. That is because it needs something to clone. So what we're going to do is to create a cute We make it smaller. We make it 2020 20. Disturb it small and night. Nice. Okay. And that would be Do the drac, this cube into the cloner. And as you can see immediately, this is a standard that's gonna happen. It copies its three times on top of each other. Okay, so this is a bit boring, so that's not what we want. So we go into the clone a ride, and as it could see, if you go into the object tap, we control most of the things in the cloner you can see here. We have certain options. So linear mode is what happens right here. So in one direction, it's kind of copying the the the object over and over again. So he has the count three. We have three objects. If we increases. As you can see, it kind of grows up. So cases, Nice way to control this. So we have here mawr than one option. We have radio, and as you concede the moment, click it. The arrangement off the clones kind of changes. So we have a grade like this. We have a honeycomb. It's all nice. And we have an object. This is what we gonna use and, as you can see because I clicked the mod object. Nothing happens again because once again, the cloning needs basically an object to clone on two. Okay, um, So what we're gonna do is we create a sweet okay, You zone s were. And now we go back to our cloner, and he was an object, right? We put the sphere inside. And this you can see the moon. We do that, the the cube will be cloned around the sphere over and over again. Okay. What we can do, for example, now we can change the layout off our keep. So it's basically how the what you can do here in the spheres as you change how the polygons are arranged in the spear to give it there. Maybe like something mawr often even distribution. If you have a standard, as you concede, kind of clumps up in the top and he gets a bit less so what we're gonna do, we cannot go choose one of these. This looks kind of more even. So we kind of go with that, okay. And what we can do now also can hide sphere because we don't need it at um And what we also dio is we go back to a cloner. And as you can see here, we have a few more options. So let's go down here. We have an app vector. So what you can do here is basically acts, so everything kind of lines differently onto the sphere. So we go, Maybe was this. And now basically, all the cubes are lined on the sphere, but they're facing outwards. Okay, so there's one face going directly down while you have non as it can see their bit more random. So we got with Wyatt. That was nice. Gives it a bit more even distribution. Feel in a bit more clinic, uh, which we break up later on. So next thing we have is the Vertex okay, distribution on Vertex, which basically means it always on the point off the sphere. So if we just check that for a second right here, bring it back this fear and we go to display gold shading each one off. These intersection is basically a vertex. It's a point where the polygons connect as it conceive, turn it on wherever the they're connecting, that will be a cute and we can change that, actually. So we go back to our cloner right here on we say maybe we change from vortex to match. So on every edge, so every line is a clone. Okay, All we can go polygon center. So it's and right in the middle of the polygon surface, you know? But that's a good thing. So all these 1st 3 they're all kind off clinical, so they're very precise while when we go on surface, it kind of randomly distributes our clones alongside the sphere, so I now would also changes is we have this down here? We have account so we can increase the count or decrease it. You know, maybe go to 100. You see, they overlapping here, bid there. It's very random on. We have the surface. And of course, we also have volume. So now if we turn off the sphere, hide it as it can see all these clowns, they basically that's crank it up even more, As you can see now, very clearly. All these clowns, they are inside the sphere, you know, some are sticking out but the middle point off there, The cube, the access point. It's all inside to spare. But what we want to do is maybe go to clone and we actually want to do on the surface. Can we drop down? Maybe 50? It's nice. Okay, so and now that we have this week, turn off sphere, actually, we crank it up to 100 like this, and he is also a seed, so you can play around with a starting position. Maybe this looks nice. Okay, um, now what we want to do is you can see if you play something nothing really happens on. And that is because this is simply a cloner to kind of change what's happening with the clones. What we can do is we go to mo graph and use defectors, and all these defectors do different things. OK, but there is a couple off, um, defectors air basically always used in some way or another, um, and most prominently, is the random and the delay effect. Okay, so let's go. For example, to random, we start was random. So we have a clone this selected, and now if we click on random, it is automatically applied to the club. If it is not what you go, what you do is you go to the cloner. Here's object transform and defectors go. And in the factors tab you can delete or put all the defectors in that you want this cloning to be affected by okay, in this case automatically, random is in. And now, as you can see, if I turn it off and on what the random affected us, it kind of Renda M'lee distributes their position, all the scale, all the rotation you can choose. So here, if you go to para meters on the random effect, er, you can say position and you can actually dial in values. So for example, 555 So everything is just slightly offset. Um, if I put it back to 50 it's all back to go and kind of Mehan, and you cannot really make out sphere again. But you can also do is you can go to scale. You can say uniforms or absolute scale or random scale. So if you say uniform, everything is scaled in proportion. If you don't do this, you can actually also say some are longer and make it very crazy like this. Okay, so everything kind of goes Mehan, which is a nice effect and off course, like all the waste. What you can do is also you can animate this so you can say at frame one excess this and it framed 50. It's maybe zero. And now if we play through Oh, no, we have not keep frame that. So it zero key frame it. And now when we played through, you can see it changes. This is all nice. You can do that. But what you can also do issue can affect everything that the random effect is there and then goes away. And you can do that. Actually, was all the factors not just a random effect. And what you do is you go to the random affect er, and you go to fall off, and now it's infinite. So that means it always on it's always there, but we want to do is maybe we use a linear. Okay, And now we go here to the side. And as you can see, if we take the effect er now and we kind of move it. As you can see, it's the way the moment it moved through. All the clones change on what we can do now. For example, we go to frame zero on frame 70 put it forward. And now, as you can see, sa fall off, move through. The random factor gets activated, but not just all at once, but gradually and, um, 11 element at a time. It was very nice. Okay, so this is good. But if you play it, it looks of its static. Okay? And for that, what we're gonna use on now to change this it would go to a clone or we selected. And then we go to mo graph effect, er, and we say DeLay and what delay basically does. First we go in here, we go to para meter No to effect defector. And here's a moat blend, and we want to change it to spring. And what's gonna happen now you're going to see here? It kind of, uh makes it less static. So what happens here now is that they have a kind of jiggle, you know, they scale to the right position, but then they jiggle just a little bit to give it a little bit. Mawr character a little bit more motion makes everything look a little bit more nice and natural. Okay, so it delay. Effective. Always nice to have on the team. Um, was definitely what we want. And now let's say what want to do is they should appear first, so they appear like this. And then the effect, er is kind off, uh, going in. Right. So what we do at first, we extend our timeline to 150. So we just go in here. The number. Now we have 150 friends. We take the random affect. Er, what we're gonna do, we grab our key friends, you grab on the timeline press shift, and then you drag along. And now when they're orange, you can basically move them around. Okay, so we moved them here. And now the first thing we want to do is we want to click on the cloner, and now we go in here and effect er and what we want to do with, we want to take, um let's say a plane effective. Okay. So as you can see here, things happening again because the position it's a default value for this, right? but what we want to do. Actually, we want to scale it to zero basically and essences additive, that means, like right now it's one. And here is the value said our added Teoh, what the size of these cubes are. So the cubes has wanted we wanted to zero. So what we want to do is you type in minus zero, and as you can already see, they're kind of vanishing, and that's exactly what we want. And now what we're gonna do is we go to fall off, and once again we create a linear effect. And as you can see here already, if I move this around, the clones are gonna appear out of nothing. So what we gonna do now is to go to frame zero right here, make sure no closer visible. So go right here. Um, then we keep friend this Gulf 60 frame forwards, I guess, like here. And then we pull it all the way to the right so they appear like this. And now also because we have already is a delay affect er in there, they will all already be delayed. Basically. So you have this nice little Jaeckel which is not coming up as you can see. But that is a nice fix. An easy fix. I should say. You go to a cloner and defectors and the delay effect, it should always be last. So we push it down here, would just grab it. It's a last effective that's gonna take effect. So now we go in here, and as you can see, we have a nice little jiggle. Not here, but we want to make it a bit stronger. So we go back to the delay effect, er, go to effect, ER and now right now is 50%. And let's say we crank it up to 70 and now we go back to frame one, and we played through. So here they appear. Nice jiggle effect. And here comes the other affect, er on again they appear and the jiggle on what we can do now, of course, here they appear here and we go to frame 110. Would take a plane defector again key frame it, go to friend 50 and dragged all the way back here. Nothing happening at the moment, but it will. So we go in here, they appear they change and they kind of go back. Okay, so you have a nice little loop, Maybe extended just a little bit more to to see the effect that they actually going away. And he they appear, they jiggle, they scale up differently and they disappear. Okay, so this is kind of the way how you create a nice little mo graph animations? An Incan changes. Really, really quick. Let's say now, OK, we have to sphere. It's nice, but actually, what we want is maybe, um, a Taurus. So we take the tourists, we rotate it and we scaled down with t ride. So it's like this now what we're gonna do now, we just go to the cloner way, make it invisible just for now. We go to the cloner and here's the object sphere. So now we'd say, Tourist, put it in here and now we just played. And as you can see automatically, our base smashes basically switched out. So it's very flexible set up that you can always change on the fly. Um, for example, maybe the base shape. It's not ready yet because someone else's modeling it so you can always just work for now. is something that is close to the shape you work in the final in the final animation and then at the very and you just switch it out and everything should work. Fine. Seeing so and as you can see here, we use now three defectors. And if you go to McGrath in the factory, he is a lot more that you can use inheritances. Nice. So you switch basically the Taurus we have to the sphere in a nice little animation and all this kind of stuff. Then your fracture, Verone I fracture, which we use in the next tutorial the next lesson. But just in general, this is kind of the thing that I cannot really teach you or just give you the basics. And from there on out, you kind of go and experiment yourself. Combined, different defectors combine different fall offs on DSI where it's going, you know? So the next lesson I going to show you a nice little Veron I fractured. That you can use on day after that is the final lesson in which we kind of going to create our own little animation. 22. 21 mograph frakture: Okay, everyone. So this is basically lost less before we go to a big project. You, um What I'm going to show you is another thing with that you can do with the mo graph. OK, on with McGrath objects and everything I will be going to do is we're gonna create a Maroni fracture. Object. So what? That is, I show you in a second. So we just create this Barone I fracture. And again, like in the cloner, nothing happens. What we're gonna do is we need to give it an object to define. And what we're gonna do is we're gonna use may be cute, Okay? Just simple cube. And what we're going to do now is we drop the cute inside the Verona fracture. I'm not gonna happen, as you can see here. Now, the cube is kind of em split into different parts. And this is exactly what we want. Thomas. You could see here we have a couple of options. For example. What we can do now is we have the offset fragments. Maybe we increases a little bit, maybe like by one centimeter. So we know what's going on. And as you can see here now we have thes gaps between these objects and this gifts is now the opportunity to g o into the McGrath again and maybe play around with an effect. Er And this time, maybe what we gonna do is we say, push apart and this is literally what it does. It pushes the objects apart, and here we have a radius for push apart. Now what you can do, for example, go to maybe frame zero say, 100 25. And at sixties frames it goes to zero. And now, if we played back, it goes from here to here to kind of like places of pieces together, like a puzzle. And as you can see, it's not just going straight in. It goes kind of like a little bit like it's sorting itself. It's not a straight past that they are wiggling a little bit when they put themselves together, which is a really nice effect. Okay, so this is nice. So this is what we can use on Ben. The next thing we're gonna do is we kind of want to change maybe the way they are, like cut, you know? So how to do this is We go to the source. And as you can see here, we have a point generation. So if we click on here, we can change the point of mound. You know, to Maura, to less is very nice, but it's a little bit on flexible because we can only basically change the seed on the points. But what we want to do is we kind of want to animate this these fractures that they kind of , like cut themselves and all this kind of fun stuff. So to do that, what we're gonna need to dio, as you can see here, we have green dots, and they are basically each green dot represents one fracture. Okay, one shot. Um, so we need to find a way to kind of, um recreate these points and feed them in here, but in a way that we can manipulate them. And how are we going to do this? So how are we going to do this is fallen. First we go in here and we delete this. So as you can see, there's just one color, so no sharks. So what, we're going to need to dio is we gonna go to more graph and we use a matrix. What A Matrix stars is basically. If I put it in here, as you can already see, it creates a grid. It's basically grid, and it can also change it here to linear. It's a little bit like a cloner. And what we want to gonna do is we're gonna go to object. What we're gonna do is feet in the cube into here. So as you can see now we have cubes that I kind of generated on top off this Q Onda. Also, what were going to do here is surface. So we have now hear different cubes randomly distributed on our surface. This is exactly what we want. Nice on DNA. What we gonna do is we go back to our Veron. I fracture and we pull in the matrix object in here. Unless you can see here now, everywhere we have a point, it's basically the fracture. So we can always go in here now and we change the points in our metrics object, and it will change. And the fracture off our cube And this is now in McGriff objectors. That means to this small group growth global. Do this McGrath object. We can use an effect. Er okay. For example, we use a random a factor. I told you, random defectors are nearly always used. We put it in here, and as you can see here, the kind of change a bid, because they move around. But what we're gonna do with we now, it's It's very static. You can see here. These points are not moving around, because the moment everything this random affected does is is kind of offset these points once. But what we want to do with, we want them to constantly keep moving around. Okay, So what we're gonna do is we go to the random effect, er we go to effect er inside random. And here is Rendon mode on. What we're gonna do is we go to click on here and we gonna say noise. And here we have an animation speed. We drop this down to 50 and now what's gonna happen if I play this? They're kind of moving around and kind of creating these nice moving shots that I constantly changing. Okay. And we also have this in here, so it's still affected that the sharp account like cut differently and even if they push it apart, so but maybe we don't want it to be too much there. So what we're gonna do is go to maybe 70 click on animation speed right here, go to frame zero, maybe make it here like tens of just moves around a little bit. And now what we're gonna do, we play back, and it's going to see here now. It kind of goes crazy after they are only after they are put together, you know? So this is very nice. So now we have basically an object that is cut apart and always kind of transforming itself . So every time these shots, they changed form. And this looks very, very nice. Um, and the next thing what? We want to dio delete this right quick. What you want to do is we want to create a material. Uh, because right now, effective Brenda, it has This color says it's OK, but it's not so nice. You kind of want to control what color? These these charts half. So what we're gonna do is create a new material we drag it onto of Iran. I opt. So if I surrender it now, it's just white because this is a default color. Okay, um and now we want to say in this color here, material color, we want to say, Grab the colors from the veran I fracture. So what we're gonna do is we go to texture in the color panel, would go down to mo graph color shaded. So and if we render it now, it's still what? Because what we need to do is we're gonna click on here, and he is colored Channel, but would want to do is index ratio. What's gonna happen now As it's still gonna be white or not, it's gonna be black. Okay, I was wrong. But what we need to do, either why is we're gonna go in here in the veranda fracture? I would go to object and colorize fragments gonna be turned off because now we actually see what our our our materials actually doing to our to our geometry. So if I have this on, it's still gonna be these colors. No matter what I say in my material, we don't want that. Okay, so we click this off and now what? We're gonna dio we have to find a way to cal Arise this black and white mosque Basically it so that we can kind of control what color say half. And it is very easy to dio we go again way don't change anything. We could just go click on the arrow right here and we go to colorize er and as you can see , it's already has, like, different colors now. And I would click on here and here. You see, we have for Grady int that basically represents the colors on our cube. That means now we can change these colors out. Maybe we say green here at the beginning. Maybe here is blue. Each thing on this at the end. This may be also like like a sigh in on you could drag it around and it's you can see it correspond to the Cuban. You can always just click on here and at new color. So maybe another who I'm Qala like this and as you can see here, changes. So this way you can control the colors off your things. And what you can also do is you can go to reflect Insee. And here's the same thing here you find a texture van and you can go in here and saying meow graph. Um, color shader, right? Here you go. And here, change it to index on what's gonna happen now it takes black and white mask and depending and each shard gonna have a different speculate or ity different roughness because off because of the Verona Fracture column app on this basically how you texture the in video individual parts. Now would you need to do is you put in some lights and whatever and then you have your first little nice animation, right? And as you can see, it's blinking like crazy and it's a bit annoying. So what you can do is you can just go in here and actually change things. Here you click through Shada Clicking here to just devoted colored also works. Um, I guess now it doesn't. Well, that's a problem for another day. Um, but yet this is just a way to kind off show you what you can do with Sima Graph tap. Um, let's go back to color mode like this. Nice on what? I also want to show you now you can still always go in mo graph go to effect, er and maybe say DeLay. And now you go in here and you can see it still has this delay effect in that. It's kind of like psychedelic right now. And But what's gonna happen now is you can always go in and add things over things, other things, more and more and more. And to go to the effect that you want folks up, you can add another random affect. Er right on you have you The strength that we can also do is you can go on here and say maybe at frame 120 the strength is the Arrgh and then goes up a little bit And then it goes down again on what you have, then, is it? It goes together like this and then now pushes itself apart. You see here, right here. It's kind of kind of goes out and kind of loses a shape just for a second and then goes back to being a perfect you. Um and this is how you control your object was mo graph. And this is really the part in cinema for the you know, you really have to play around, see what interacts with what and kind of just see what works. Okay, so see what For yourself. What works and what I would recommend this. If you have a fire like this, we played around. It kind of works. Just save it in a in a specific folder where you say, maybe tests or whatever and then you later on, you have a whole folder full off. Kind of different kind of things you did in cinema for the on. Then you can always go back loaded into a new project and work on that for maybe a new project. Because all of this is super flexible. As you can see, here we have this Cuban. If I change the cube here now, to maybe something like this gonna need a while to adjust. Maybe, like here. But as you can see, it's still everything is now this cube how we made it with a rounded edges, but feeling actions, right, we can change this. It needs a bit to update here, but as you can see, it works. And, of course, never forgot to turn off the metrics tool that it's not visible. Um, just so you see, a bit better. What's going on on this object can always be exchanged, and you can always load in something new. So it's a very flexible and nice workflow to work with. Andi is something we use maybe in the next tutorial in which I just going to go and play around and you see me playing around with something to create a nice little animation. Andi, this is kind of like to inspire you what you can do, and then you have to go ahead and kind of create your own little imagination and an animation for yourself and for your portfolio and for your Facebook or whatever you use it for. 23. 22 Final Project: everyone. How are you doing? Um, this this basically last lesson in which I just do kind of whatever. Just doing a little bit something playing around for you to see how your basic developed a shot on how you can kind of get started in creating your own little animations. Um, if you're free to fall along, But after this, make sure to also do your own little bank. Andi, Um, try out different things cinema, forties, all about trial and error on this. Exactly what I'm kind of gonna do in this tutorial. So I don't know if it turns out great or not, it's just like improvisation. Um, because is like, how every project normally starts that you kind of sit down and see. Okay, how can I achieve something or what do I want to achieve? Um, And what I want to chief today is basically I just started this 30 days off type challenge will be every day. You have a letter that you want Teoh create a little bit. Um, and you do that every day for another letter on. That's what we're gonna do today. So we start with a Okay, So you get in a in here. What you can do is you go to mo graph and you go to mo text pretty easy, pretty forward. So we type in here or attacks if we want to display. And as you can see, it's already geometry. So it's already a nice little A what we're gonna do, we say a line to the middle and maybe we change the text, um, to something like the I always kind of go for Dean if I don't know what front I want to do because kind of like super super basic eso thean alternative. That's nice. Um, Now what we're gonna do is like the same miss with everything we would press see to make adaptable. But before that, I'm going to show you this object a live it more because it's very, very useful tool. What we're gonna do is he will be caps and feeling caps. And what that does is basically, as you can see here, cut around the edges. What you can do is say you can constrain it, so basically doesn't change the shape. And here you have basically the radius. And as you can see, if I do it like this. Um, here it's basically for the front and for the back. You can do it differently. And here you have the steps, and we do the steps may be Oh, actually, I like it if it's like a little shop at right there. So just have a Dan. But we have to do now is create single object. We want to check this. Otherwise, if you have in this case, it's not so much a problem. But if you have here like a real text written down every letter would be a single object if you don't check this one. Okay, so now we go on a Texan allowed liner, you press. See, we click through the hierarchy. You find this, you press see again. And now we have our little, um, with a little geometry here. Little a. Okay, So what we wanted to Max is we want to create an object. And what we do is we go to what do we take in this case? We actually want a cute. Okay, we shrink this down to maybe three by three by three. So even nice little cube and what we do next is actually a hide our A Because what we want to do now want to use a clone object. Okay, so in this clone object were dropping out with you, right? And then here we change it to object. And now we drop in our A And as you can see here, we already see it. The lines on the Vertex. But we want to fill the ball. You and I would crank it up to maybe something like 400. So really, it is not even enough. Let's say 1000. This is where we want to be late on, maybe, maybe even more. Maybe you crank it up to 2000. Okay. Blood to make it everything a bit speedy, because if we had now factors, it can get a bit slow because we have a lot of cloners. So what we do for now is we drop this down to 500 again, and for now we just maybe increases size of the clones a bit. So make a bit more blocky and later on that we have dialed in everything. We just gotta change these values back. Okay, so we have our a. Now I want to do now is to go to a cloning. And our first thing I want to do is I want them basically to build up into appear from the bottom to the top. So what we're gonna do is I gonna go and get, um, a plane before my thing. Right? So I forgot to so, like my clone objects. What I going to do is I go here to effect us and drop in the plains. Affect er here at change the position What I want to change issued a form scale, two minds, one advantages. It's exactly what we want. And Alenia and I would just have to find something that goes like this. Yes, this is minus. Why? And now what we're gonna do is we're kind of key. Frame it, but I keep framing at 30 seconds going down around here on, then it appears like so on. I do this because before I wanted before the piers, I want to animate something in the background later on. So I give myself some room of one second to kind of, um, half the room and don't have to do that later on too much kind. So now we have this on this Looking nice. What I want to do now is I want to give it a bit more dynamic. So what we're gonna do now? Sweet. Go in here on what we do is we go effect? Er on we go. Random. On this case, we don't want the position. We want a bit of the scale uniforms scale. Maybe 20.3. So their bid random and rotation. Maybe we want them to retain something like this. So what I want this basic is that there at the beginning there rotated and scaled a bit differently when we make a bit more pronounced like this. But I also want them to kind of fade out again, like like they fed in this effect should fade out. So what I'm gonna do is they go to full and I also say linear. Oh, no. What's that? And mine is why? And as you can see now, a fight go up here. It also changed. So what I do is I go to thin 34 now I go to 30 to have it exactly the same. It's a plane, Former. All right. Yeah, I go to 70 Goel the way up to align it there too. And what I couldn't do. Now grab these and I offset them. Maybe 10 frames and I will, As you can see, they kind of appear and then they start to order themselves. You know, they start very random, and then they start to kind of aligned themselves. And that's what we want. Maybe 10 francs. It's a bit too much. Or maybe we just drag the first key frame a little bit for but that's good. Um, I finally, to finish this thing up. What we're gonna do is I'm gonna add, uh, delay the former and changes to spring and maybe put it to, like, 80% to make it a little Ah, a lot more spring t. So now if he played through, we have his life's little subtle effect. As you can see, if you go closer, it looks like they're kind of rotating in. You can see this. You This looks better. Nice. And we have all a on this. Basically, what we've warned on this is very, very nice. Uh, next thing we won't have is we want to go in and animated a little bit of a background, but first, let's set out our camera. So we know what in the background we have to animate. We go to a rent a setting. What I want to do is I want to do this, for instance. So I say rid and hide disposed 1 80 this nice physical just for later on. That's it. And now what I want to do is create a camera and I have something. Yeah, I wanted to push in. So I go on, like, here for zero. I want the whole animation to be maybe 120 frames long. So I go in, played through just so correctly displaced everything 120 just pushing slightly. That's good. So now we have this lifestyle animation. What I want to do now, just to safe this camera, I go right click, and I go to protect you. Okay, Um so this way I cannot move it or whatever. I can just go out, click on this white little thing. And now I can look from here, So but next thing we want to do is I will. I want to have a little bit of an animated backgrounds. What are gonna do is I created cute, and I wanted fairly big on what they're gonna do. It's ago and here make it a bit round. So I give it a bit of a roundness. Maybe like here. So just so that light can catch on these actions, I can even make it like two centimeters. And this way, when I add light lighter on the light will catch on these actors and give us a little light . Nice little highlight. Okay, so now what we're gonna do is we're gonna going here, and we copy this a bunch of times. Okay. Um, now what I want to dio is that kind of want to align them so that they fill the whole background. Um, unevenly. Right. Maybe I need to copy it again. A couple of times here Askew can see. I don't worry that they are overlapping because what I do next, it's basically but I want to dio that's copy this again. Put one here, copy this one again and put it here because now I know there are they in the background. I go out of the camera and I grab some of these, and I basically just offset them. So they are not overlapping at the same plane. Okay, so if this and we have here, but this may be a way back and then put this. Maybe that here. So now we looked through the camera, give this nice little grid pattern. Of course, this is now a little bit big. Maybe normally, I would like to have it a little bit smaller, but just for the tutorial, I make it a bit bigger, Herb. It's faster. So what I do now is a skilled some off them up and realign them so that the whole background is basically filled. Right? So I go in here, make this also did bigger make this a bit bigger, Like here. Like here. This is looking good. And now I know this is how the cubes how I want them to bay. Um and I want them to be there, and I'd like 30 30 frames. The frame should be filled, and now I go to zero. But what I'm gonna do now, it's I gonna drag them out off the field of vision of the camera. Okay. Put it down in like different directions. Thanks. So so here. But this may be can there and just drag it out. You No, no, no. Think signs here. Just like this. This also needs to go down. No, no, this is Oh, no, This is a problem, you see, Because I haven't turned on all two key Have to do everything again. No problem. Just do it falsely again. Drop this down. This may be this way, this way. And now that I have auto keying, everything is keyed automatically. So I don't have to worry about thing going. He, uh this may because there and this goes there. And now everything is keyed. And as you can see now, everything kind of falls into place and this is already looking good. She can't see, hear everything comes in, and then comes the A. But what? I generally like to dio because now everything stops its except same time. So what you want to do is want to grab some of these last key frames and you want to offset them just by a few frames. It doesn't matter in which direction. Just grab one of these key frames, drag it out a few frames make it be dragged him. Um, and then now website back. You see, everything is kind of stopping at a slightly different time on that. Makes it a little bit mawr. You need a little bit more catchy, you know, gives it more dynamic in the movement. Um, this is actually looking good and out what we're gonna dio we gonna create some materials. Okay, so we have one. We call this a because this material for the A So we drop it onto our Kloner and I would create maybe 1 to 3 more materials for our cubes and we apply them basically randomly. Just drag one of them on here from here. I'm here, so I just go in. Onda ply these, right? So now everything has a texture. Um, what I did next is I go in here, created a light, maybe like an infinity light right on. What we can do now is you make a quick preview, Renda, how this is looking. Um, yeah, it's not so nice because we forget if you go into the lights, we have to turn on shadows, OK? Otherwise, there will be no shadows. So we say area shadows, we render it again. And now, as you can see, we have here Nice highlights. We have our a going in front, casting a shadow on our background, which is pretty nice. We go maybe to Ariel idea. Maybe change is too soft. And now, as you can see, our lives bit softer, but I actually, like area live more. Um, we don't have too much control over it, but in this case, because we have just a light. Um, but it's OK for now. So of course you can go crazy with Edenic at some area lights here and there, which you want to do. Actually, I do one maybe just hear from the side like this. What we're gonna do is also go to shadows and maybe area shadow. Ah, Now let's see how this looking. Yeah, This gives us nice little sideline in there. It's looking good, you know, gives us here live it Shadow gets a bit more randomness on, gets more a bit more complexity just slightly. And there's what we want this good. And now we go into the A. Andi, of course, here you can also go in and say mo graphs color shader and then, like color the individual clones. You can do that. But in this case, we don't want to do that, or I don't want to do that. If you want to do that, go ahead. I just want to give it a nice little orange, and I want to make it a bit more. I want to give it a bit Mawr off reflection. Maybe something like this just just slightly make it like a little bit metal looking. This is good. And we just like this. Yeah, that's nice. Maybe dropped out 20. That's good. For now, that's fine for me. And in these what I dio I just change a bit off the with right here. Change mostly the color. So oneness, maybe living more bluish thing. And you, of course, you want to kind of try to find, like, colors that fit well with the A, um, so something like green and that it stinks doesn't work so well. But if we have maybe a bit like different shades of blue maybe a little bit of a different kind of reflections that received little bit off off a difference here and there, You know just just change out the reflections in a little bit. And maybe here we make it more darker blue. Okay, I would go back in here physical What we want to add, as you can see here, snow globe elimination. So we added, we see a fact here global elimination and now ambient occlusion. So we wanted at both of these to make sure we have good quality picture. And you see, it already takes a bit longer. It renders this Iridium's cash beforehand. You can see here some nice Cymbal little dots. Um, we have to wait a bit longer. That's a drawback from Global of Nation, But a general things look a lot better. Unless you can see here now, I'm already kind of looks nice. Um, that has his nice little shadows in between year on the wall everywhere. It's like a little bit off a variation. So this looks very nice. Maybe this shadow is a bit hard. Um, but it's OK. It's OK. Um, in general, I like it, you know, false. Normally what you want to do with you really want to go in and and animate animates stuff more precisely, give a bit more thought to the materials and everything, but this is a bit quick and dirty, so, you know, kind of the process how you do things. Um, And now we have this. And as you can see here now that we go to configure all of you and drop this out to 100% so we only know what's going on. And what you can also do is you can go to filter and, for example, turn off. Where is it? The fall off objects? Um, okay, I can't find it right now. Doesn't matter. So you can turn off some like off thes lights or whatever. So you can kind of, um, see only what's going on the geometry that you render out. Finally. But let's give it a try. So this is basically how the final animation would look like. I think it's pretty good. Um, it's a nice, fun little animation that looks not too bad. Yes. Yeah, I'm fine with this, you know. But what I'm noticing is is it just me? It's a camera, not moving. I feel like the camera. It's not now it's moving because off the protection tag thing, it didn't move. So now we have here. See, this looks scared, but as you can see in the first frame, we already still see this. So we go in here and we drop it down more. Same goes for this one. I think they're overlaying, but does matter. So now. Oh, go down key. Frame it. Go down key. Frame it. Okay, so now let's see. Yeah, This looks nice. So it comes together on this. Perfect. Yeah, it looks very nice, is what we want. Um, next thing we're gonna do is we go, of course, into the render settings. We would go safe here, say P and G, And we want to say all for general straight because right at the beginning, um, as you can see, nothing is in here. So this will be empty and in after effects. You could maybe put a local there are text or whatever are just a normal background, and then it would be occluded by the things coming inside the frame. Okay, so we want to have Alpha struh straight offer, then name where you want to save it. Here. We would say, of course. 0 to 120 right? um, frame rate. We leave it at 34 now. Physical? What do you want to do? I saw a little bit of grain. So what I want to do is they won't crank up all of this just by one on this, maybe to 15. And this should be enough to get rid of this. We can do in here. We can make another test render just to make sure did to them that c on if you look here. Yeah, Snacks is a little bit off grain, but normally I think in the animation itself will not be too noticeable. Um, looks good. Maybe these are looking big dark. So what I want to do is I want to go into this and want to brighten it up here and also go in here to make it the right thing. Maybe give it a bit more flexion strength and go color again on Just make it a bit more Run . The orange looks good. Yes, that's basically it. How you create a nice little motion animation. Uh, feel free to follow along. You know, maybe you did already at the end of your toe riel anyways, so try things out and as you can, Asai said, Like, cinema four D is all about trial and error. So going here. Right click. And you have here all these kinds of tax Try them out, um, on and see what you come up with. So, yeah, there's basically it's good luck with cinema for today. And I hope, um, this, uh, this course was helpful. See you then.