Learn to Animate Particles with X-Particles and Redshift

1. Intro: Shiny, organic and sexy particle renders is time to get into the war of particles animation. Hello, I don't have your radius. I'm a Mexican motion designer with more than ten years of experience in the industry. Currently living in the beautiful city of Edmonton, Canada. I have been working with the agencies all around the world delivering content for brands like LG, Spotify, and National Geographic as a freelancer, I'm in the same way running my own studio based in Mexico City. One of my biggest passions is particularly mentioned. It's such a creative and powerful tool, but sometimes could be a little bit confusing and intermediate. That is why I'm here to help you to get started with particular new measure, even if you have never done it before. The word doesn't need more motion designer, need motion design. That is why I wanted to share with you all my knowledge gathering about all these years about this powerful tool to help you to improve your skill set as an artist in the fastest way possible. The skills that you will learn in this class are going to help you to understand better how particle simulations works and use this powerful tool in all your next projects. Are you a motion designer, graphic designer, or creative artists that wants to dive into the award of particle animations. But don't know where to start. This class is for you. Along this glass, I'm going to show you how to set your fierce particle system with just a few clicks. And with that same particle system, we're going to create that 10 s animation that looks like this using x particles inside Cinema 4D. We'll be covering how to save your particle system from scratch. One deal, they output settings that you need to take care to share this information, this Q Sharp platform on your social media or even use it in your demo reel. You don't need any previous knowledge of all these particles. However, since this is a plugin that lives inside Cinema 4D, you need to feel comfortable to working with it. To follow this class until the end, you need to have install it in your computer. The latest versions possible of cinema for d, x particles, red shift, After Effects, and Adobe Media Encoder. Are you eager to add some extra sparks to your project? I want you to create powerful images using particles. So let's get started. 2. Class Project: Hello there. Thank you for enrolling in this class. I'm very happy to see you here. In this class, we'll be creating this animation. You're very fierce particle animation using x particles in Cinema 4D. If you don't know anything about x-bar equals, don't worry, you are in the proper place. However, you need to feel comfortable working with cinema 4D and Rich. I suggest you to get installed in your computer. The latest version of Cinema 4D export, it goes red shift after ethics and Adobe Media Encoder and you compare to follow up this class until the end. Get ready your cup of coffee or tea or whatever it is your preference. It is possible avoid any distractions while you are taking. 3d animation is sometimes hard to process requests from computers. For that reason, I recommend you to go to the software websites and check the minimum technical specifications that you need to have in your computer to run this up worst smoothly. This way you're going to enjoy a lot barely. Before to move forward to the first lesson. Don't forget to download the files that I prefer for you. In this file, you want to find the environment where our particle system is going to be leaving with all the textures just to drag and drop. In this way, we can focus in the particle system and avoid ending up with a four hour class. And we're very happy to see you here and with nothing else to add. Let's move forward with the next lesson. 3. Tips and Tricks: Before too young to the class, I want to share with you some tips and tricks that are going to help you to work as smoothly with the two. The first one is to have controlling the color of the view port background. You can do it with their preferences Windows. Then you go here to the menu, Edit Preferences, scrolling down to the skin colors, interface colors, and play around with this. But this is a little bit tricky, hard to get there. So what I suggest you to do is a background element and that assign color solid texture. This is going to give you a lot more control of the color in the bubble. This is because sometimes the particles are not that big or that bright that see them through their regular color of the viewport that the color by default is a little bit complicated. So if you can control the color of the viewport background is gonna help you a lot. The second tip is going to help us a lot working with collisions and have more accurate simulations. If we enter the shortcut Control D, here in the attributes panel, we can go to the next particle stuff, dynamics stuff, and then we're going to see this subframe step sit. I don't want to go deep in the rabbit hole about this subject. So the short long story about what is setting those is that add extra calculations per frame of where the particles could be. So that means that we're gonna get more accurate collisions because sometimes the particle could be in a position that doesn't hit the collider. But in the next frame will be outside that cool mess a little bit the simulations. So keeping in mind to have a number around two or three, it's kind of the sweet spot that I found. Because if you go too high, you're going to tell the computer that a frame is going to calculate this number of times. So if you go ten or higher, probably the simulation is going to be a little bit more accurate. It both. You're going to pull a lot of resources of your computer and the streets, stress out the system. So 2-3 for this class is pretty good. But every time that you have troubles with your simulations, remember to come back here and play with the settings. The next tip, it's about to know how many particles we are displaying in the view port. If you go to the emitter here in the hierarchy tree upper particle system, don't worry. Now, we're gonna do a quick tour about what this is. If you click in the mirror element, go to the Display tab, hot, and then show what. Then you're going to see that we have the counter of how many particles live in or isn't. This is a very powerful number to have in the radar because we can know exactly how many particles or computer can run in this simulation without stress out too much and leave us work smoothly, at least in the best way possible without having huge legs. With the x position and y position slider, we can put it in a place that cool work for us. In my case, I'm gonna put it there. And you'll see that this is going to be helping us a lot to monitor or number of particles and also how stress, how the computer gets. The next tip is about to change the shortcuts for the play and pause. And they got Start button. Every time that we do a change in our simulation, e.g. I'm going to add more particles so they'd be great to see completely how these change simulation. You need to go back to the beginning. So this is going to be something that we're gonna be doing a lot working with particles. So to avoid to go all across the interface, what I want to do is to add a shortcut that is close to the current position of my hand because I constantly using them 12.3 key with the left-click of my mouse to navigate in the view port. So if I have a short code that is close to this position on my hand is going to be super fast. The shortcuts that I choose is out to an odd one, but you can choose whatever fits where we do. You can do it easily. Go into the Window menu customization, common Manager. Here you write the command that you want to rewrite the short good in this case is pretty forward. That by default. If you click here and then you go to the shortcut field, clicking here. And Jews entered the new shortcut is one. I write it by itself and then you have to click in assign. So it's, it's done for this one. We're going to do it in the same way for the war to start. And we're going to do the same click in the field. One. And click sign is already there. So this way, using my neutral goods out to, I'm gonna play stop and using L1, go back to the beginning to see an re-simulate. If we can see it in that way. All the particles that are appearing in my report. And the last but not the least stimulate want to share with you is if you have the chance to add an extra hard drive to your computer, is going to help you a lot. Working with the x particles and many other software like After Effects or Premiere and another 3D softwares. Those generate gushing information that you can put it in that directory that is all tied. Your main hard drive is going to help you a lot. Imagine that you're going to have to highways of information going through your software. This way, you avoid to have a bottleneck if you work with your hard drive. I mean, it's, it's possible, it's doable. What is going to smooth? I love your project if you have this extra hard drive gears for the cache information. So if you can do it, I really encourage you to do it. If not, there is no problem. But it's something that you need to have in the radar if you really want to speed up your workflow with it, with this motion, the same process. So when nothing else to add, Let's go direct to the glass. See you there. 4. My first X-particle System: In this lesson, we're going to have a quick tour to the x particles plug-in inside Cinema 4D. I really believe that one way to have a quick home boarding with new tools is doing a practical projects. Which means that we're going to focus in just few settings to get things done. Because if you really want to go through all the possible configuration settings, stacks, modifiers, this is going to be a never-ending video. For that reason, I want to keep it practical and just show you what we need to tweak and play with to develop the animation that we saw in data. So it's got two diabetes. If you have already installed in your system that part, the next particle system, you will see in your menu the insulin, one that is the development of the x particles doing. Then you can go to the next particles menu. And clicking the X particle system by default is going to give you hierarchy organization of folders for all the tools and operators and the blue hat. We're going to jump directly to the emitters one here, millimetres by default with the X particle then mirror, it will click on them. In the attribute panel, we can see all the settings that we're going to use for that. You select the mirror by default is this over here is scored that we have in the view port. We play the sequence. We would see that it generates dots. Those dots are not visible for the picture viewer render because it's just information is not geometry that could be rendered. In the next lesson, we're going to check how to make these dots beautiful. But for now, we'll see that this is what we need to work onset of our particle system before to jump in how to visualize. If you click the X Particles familiar, you will see that you have many types. The, one of the most important one is the object. You can control the shape of the particle that we have. Could be circle, to be a sphere. That is something that we're gonna be using because half the property of the emitting the particles in redirection and the difference to circle that has a phase that is going to be directed. In this case, you have not grown is c plus. And then we can control the radius. We can control the cows facing this, we will write C plus and we can do it opposite C minus or many other options that we can control. The second one is the emission. Emission tab is going to help us the characteristics and the settings of the mission that this Emir we're going to do is we can have the red one. And this is a certain kind of particles per frame is going to be coming from this mirror. We have the false that this is certain amount of frames. And we're going to have the shot. This is just one shot at the beginning of this scene. There are so many things I'm very powerful that is going to help us to create any kind of particle system. And the tier-1 very important for us is the display tough, because in this one, we're going to have the control of how we are going to be socialized, that particles. And even more important, the core information that we're going to use to be even define it. We can say it like that for red shift. And it's going to give us the color information for the material that we're going to show. I believe that for this one, the only thing that is important to mention is that the color could be in different kinds of properties. Could be a single color, a random color. But the most important one is the gradient with a parameter. Because in this case, we're just changing what is by default, the particle is going to be changing the color in this spectrum or this range. And we can say they're like as younger, it guess is going to be in this blue and all this it gets is going to be in this wide as the particle leaves in the system, isn't going to be getting all the scopes. So with this, we can set off a very easy particle explosion. Now we can go back to the mirror. We can go to the object, change the mirror shape for a sphere, as we mentioned, is going to have the particles in any kind of directions. And mainly it will be taken. This isn't fair, is not taking geometric information. We can do that in different other settings. What is mainly that is calculating from this area how many particles we can emit according to the birth rate. And we have the emission is already in short, which is good for us because we are going to remit jaws at the beginning of the scene, one single shot of particles and the amount of the particles we're gonna be taking care of it because probably is going to change him at the time. Could be ten movie, Many, many of that. I just realized that I don't have my preview, my counter of particles. You remember in the listen, it's a very good way to see how many particles we can have in their system without stretching out the computer. And go back to the display that they're hot and they show how to reposition it is there. And then you will see that it, because it's one single shot of particles that have those on particles we have thing goes on particles leaving out that on the, on the viewport. This way we can have control of them. We're gonna go back to the Display tab and us and less tweak. We're going to change the way that we visualize the particles to have more volumetric perception, we're going to change the editor displays two spheres. So this way, we can see that now are particles are starting to be more accurate and we can have unpaired calculation of what we want to achieve. It's fair to say that a more complex is depolarization. It requires more resources from the computer. So in certain point, you see that your computer and start to have a hard time to present persisted. You can come back to the circle. You'll see that it's going to help you a lot to be socialized with a ship. Or would circle fill. Also help set up the world up to you. I'm going to live in, in your decision. Or in my case, I'm gonna be working with the spheres. 5. Particles Collisions: In this lesson, we're going to focus on collisions, how the particles collide between each other, and have it bounds with external geometry. If you still don't love the assets that I shared with you in the Skillshare platform. Now is the moment because we're going to use them by the phone. Or particles collide, they intersect each other. And many times these dosing required to have that extra calculation in the system because the particles are too small and we really don't notice it. But for the predicate that we are building here, having the interaction the particles have within Kali between each other is going to bring us some more organic simulation. And to add that, we're going to the dynamics element in X particle system hierarchy. We're going to go in the menu of dynamics objects, and we're going to add the x-bar equals constraints. 12 appears here below the Dynamics folder. Inside this folder, we are going to navigate to the coalition tab and we're going to activate the collision. Check. Now, if we play again, you'll see that the explosion of the particles is a little bit more random than before. I'm going to deactivate. You will see that this is quite uniform. But if we activated is going to add all these interactions that the collision between each particle with the particle nearest to it is going to randomize the movement that they have. And that's precisely what we're looking for here. The second part is to make the particles collide with external geometry. We're going to bring to our scene. They find that their share with you using the shortcut Control Shift 0, the first particle animation container file. You'll see that it's going to bring inside are occurring, is seeing the container. I'm going to explain quickly what it is. What is a simple mobile app setup using a simple platonic element and the powerful model of MoGraph Cloner to have these corners, to have the edges that is going to decorate quickly and make it more interesting to watch. And it's also an external container using the subdivision surface to have a more smooth aspect of the container. For now, I'm going to hide them. Because what I am interested in to show you is with the container collider element. If you click in the object, go to the basic tough, you'll see that the X-ray chest is marked. This is because he's going to help us to visualize the particles. Fly through or called bounds with them. Imagery because they will form inside the element. So we need to see through it. Now, running the simulation, you can see that the particles are flying through. So to fix it, we're going to click in the container collider right button of the mouse, go through the incidence, tax on to the next particle collider. You'll see that it brings a lot more of settings. But the only one that we want to take her is the normals. And we're going to check inside. We're telling to the software that used the inside faces of these polygons to calculate how the particles are worried about where the particles are going to bond. But another thing to take care is that or a mirror is outside the geometry. So as I mentioned before, the emitter is an element that is in the space. We can reposition it easily. Go into the beginning of our scene. I'm going to try to make it as centered as possible in references, in reference with them. Container using the front view. I think something that works good. Yes. Then I'm going to play my simulation again. You will see that now the particles are kept inside the object. This is because we did that. We assigned to or container collider. We are telling the other particles use. They're going to bounce with the geometry using the inside face and give them all of them inside these beautiful platonic container that's used for collisions, There's vote to jump on the modifiers to add a very organic flow to these particles. See you in the next lesson. 6. Add Motion Modifiers: This lesson is about modifiers. Proudly, the funnest part of working with X particles, we're going to explore gravity and turbulence. Those are two forces that are going to push for particles in this space and our settings. And you can find in many other particles plug-ins out there in the market. So let's go to walk through it. To add modifiers to or particle system is quite easy. We just need to click here in the modifier folder. And you will see that we have four categories of them. There are many, there are a lot. I really encourage you to click on play with them to see how affect the behavior of particles. But now we're going to focus in two that are very popular and you probably can find them in any other particle system. That is the gravity and the turbulence. Fierce to add the gravity, we're going to click here in the emotionally fire menu. We're going to find our x bar equal gravity here. And you'll see that appeared as an element in a hierarchy tree. Again, a lot of settings where we're going just to focus in the gravity strain that this is the main setting that we want. If we simulate again or particle system, you will see that this term to get a little bit more, more delay it, I'm going to bring down the number of my particles us a little bit to see the appropriate behavior or faster the simulation. So I'm going to click in dimension. I'm going to bring it to just one dose to see how the X particle gravity modifier affects the system. You'll see now is a little bit more smooth. The ad, a force, a force of gravity with the string of 981 centimeters. That is the standard gravity force. Another physician, but I know that this is the standard number of how it really works in real physics. Sorry, both the inside of me have to go all this. The 981 cm that cinema had. The sum value is the acceleration of gravity in real-world. But for us, we want to put a negative to make or particles floating in the container. We're going to add a negative number. For me works something good around -20. And then you'll see that the particles have this idea of a floating to be lighter and going up. Not that hard because we increase the number a lot. You'll see that this is a little bit more on real like feeling attractive for something in the top of the container. But since I want just the smooth movement, something around -20 works good for me. The second modifier that we're going to use here is a turbulence. As the same way that we add gravity, we're going to click in the modifier element to them emotionally fires and find x bar decode stimulates. Here, you'll see that the particles are going to have a more organic throwing. It probably is not that easy to see here because we don't have that much particles and we just have 90 frames. So to make it clear, let's look to add more frames. This is going to be at 10 s animation running on 24 frames per seconds. So this will be 240 frames MEN. This go to double the number of particles to those. You'll see now, the lens is adding this organic flow in that we are looking. The settings are pretty easy in this one, so you can play with them. There is not correct settings for that. I'm going to use 200 in scale and 20% in the frequency. But whatever fits for you and it's more pleasing to the right, it's, it's good. 7. Final Tweaks and Cache: We are almost done with the particle simulation, just few tweaks and we are ready to run the cache. With this, we're going to avoid to have the computer calculating every time that we run the sequence how the particles collide with each other or with the external geometry is going to really is moot. They work on the next part of the project. Before to generate the cached file, we need to take care of some settings to it and tweak some parts of the simulation. Because once we get this file done, if we want to change, something is not going to be possible because everything gets recorded in that file. We want to edit something, we will have to calculate it again. And that can take several time for that reason before to jump into cache file, I'm going to go to the immediate object, the emission tough, and change the variation in the radius to 1.5. This way, we're going to have a different size of particles in our simulation, which is going to make it more and more organic as well in the displayed in the cranium parameter, I'm going to use speed and remove the intermediate nodes or Mediterranean. With this, we're telling to the tool that when the particles is in the minimum speed or steady at zero speed, is going to be this blue. When it reached the maximum speed is going to be white. You will see that now here in the corners, when the particles are more steady, you get the blue bluish. When they get pushed in the middle. For the Turbulence Modifier, you get white. So this is one to help us to help more dynamically behavior on the particles, which is going to feel more organic as well. And the last setting, but not the least, is to take care of the frame rate of the project. Because if you change it after gosh, file, equal crush the computer. So using the shortcut Control D in the attributes panel here in the predicted, you will see that the frame per second theory, we're going to change it for 24. The length of the project changed. So we need to bring it back to 240 because this is going to be out in sequence and emission. And with that, then we can increase the number of particles coming back here to this particular mirror emission and changing the number, we can get it done. I'm going to use 50,000 for this project. And you'll see that now it taking a lot of time for the computer to calculate joules one frame. So if we want to work the way the animation of the cameras, the lighting is going to be, it could be very heavy for the computer. For that reason. I'm going to go back from the start of the animation. And here in the agility subject, we can navigate in the menu and add the particle cache objects. Here, we're going to tell the tool where we want to save it. You remember the fears? The fears video with tips and tricks. Having a dedicated hard drive for the catch helps a lot. If you don't have it, don't worry if students want to work. Here, I have one for me and I'm going to assign in this folder. With all the settings reading, we can run the file. We'll see come watch time it takes. It could vary according to the resources in your computer. But believe me, spending the time here, it goes, say force hours along the rest of the project. 1 min, 20 s. Well, that's was that was pretty fast. Now we'll see that the cash object turned into red, which means that is already calculated as well. It adds attack in the next particle emitter. So now you will see that if we navigate through the sequence, it's completely more smooth. This is going to help us to work without lag the next part of the class and save us a lot of time. With this. Don't just go to jump to the environment. See you there. 8. Environment: This lesson is about to bring the environment that I already prepared for you and I share with you in this picture platform to your chlorine is seen both if you want me to go deep and how to create this kind of environment from this sketch to the final acids. Let me know in the comments probably I can record class for that. To bring the environment to already seen, we're gonna use the same shortcut that we used for the container Control Shift 0. We're going to bring the file, my fears particular animation environment open. And I'm going to fall all of them to explain vector. Here. From the top to the bottom in the lights, we have a simple saved with that top area light on the top to light up the top of the container. Emitter to have highlights. And the dome light with the HDRI file to have environment lighting. That's when I looked very cool. Next is the cameras, is street cameras with 80 frames animation. Around 80 frames would say on a little bit more to have room for additional later. The first one is Dolly out. The second one is a movement from the top to the bottom. I'm, the third one is panning. The third element is the geometry, which is, um, let me check out the view of the camera to go to the view front view. Here. The geometry is basic elements, objects and MoGraph Cloner from cinema 4D. Nothing fancy. But the idea is that with just, with simple shapes, you can build interesting environments in something that, that power to your scene, to your project. He's going to be a lot better than just have a solid color or bad light. It really going to help. I'm going to bring the container to this folder to keep things tidy geometry. And I'm going to hide the collider. And I'm going to activate what we really want to see in already seen that this, the corners, the edges and this surface. With that, we're pretty much ready to move forward. In case that happened to you that the tech source are not showing properly. I'm going to give you a quick tip to solve it. I'm going to bring their render viewer of redshift and going to improve it. Here. I'm going to run it in case it doesn't appear slide this way. Or hearing the textures you have are red squares. Here to their redshift menu. Read ship asset manager is going to bring this window. Here. You can assign new beds for the files. You click with the right bottom of your mouth. I'm here in relink. For localized files, you can change the directory. 9. X-Particles and Redshift: In this lesson, we're going to connect x particles with red shift to make the information that the X Particles plugin generate. That is still simple. Points of position in the space visible for the Rendering game. Let's go there. If we start the redshift render in Django and in here redshift menu render view. You'll see that by default, the particles doesn't appear there. This is because the plugin generic position for each particle, but not geometry. To make it visible, we go here to the particle emitter. Click with the right button of the mouse, navigate through the menu to find redshift tag and add the object tag. It will clean on that, go into the attributes panel, particle stuff. You'll see that the mode is disabled, are gonna change it for the sphere instances. And these way redshift is going to add an atmosphere to each of those position that we generate with x particles. And in that way, make the particles visible for the rendering Jane and work with the rest of the project. 10. Animation Preview: Now that everything looks good in their redshift preview, we're going to prepare or Procreate to have proper render settings. And before to just hit the Render button, we're going to create a preview animation that this is going to help us to check that everything is working correctly. Now that we check that in red shift, everything works good. The particles are there, that they extracts works properly. We are ready to send the animation for rendering, but before to jump in the Redshift render, I like to do our viewport test. This way we can see that the animation is completely there, that it's working in the timings that we want. And in this way, we can avoid mistakes because the renderer can take a lot of time, or sometimes money if you are working with the render farms. So always as more cheese sticks you can avoid, It's really going to help. So I'm going to close the redshift preview. I'm going to click here in the Render Settings window. And I'm going to change the render settings to viewport. I'm going to click here and render settings and create a new one. This new one, or it brings us back to standard. I'm going to change it to be poor rendering. And I'm going to rename it as a VP for viewport rendering. And I'm going to change my resolution to 1984. Full HD resolution, change the frame rate to 24 frames per second. And the frame range, I'm going to use the frame range that have been mentioned in the camera one. I'm going to click here in the camera one to my timeline and see that goes 0-860 to pay six. There. I'm going to move to the safe that I'm going to change the format to BMG. In the name, I'm going to select this folder that I had prepared before to record. The name is something important because we're gonna be sending the tree cameras to render. The cameras have different frame range if we want to send them all of them to the queue. Render system that Cinema 4D hat don't have to come back every time that the camera finished to render the next one. Using tokens for the file naming is something that really works. I'm not going to go deep on that subject because there are many more. The one that we're going to use here is the name. We're going to pull the name of the file plus the name of the camera. We're going to write sign dollar, PRG for Procreate plus dash. And then again sign dollar camera. This way where I want to tell the solver that take the project name, adage for separated and the name of the camera that we're renting. Now we can click Save, and he's going to rename it automatically. Going to need Alpha channel here. And I think that I'm ready with this one. Now because we're going to send three cameras with different frame range. I'm going to create three child's settings of this one. To do that, I'm going to click, hold and click and drag using pushing the Control key three times to have three different copies. And I'm going to rename all of them. Camera one, camera two, camera tree. I'm going to drag them below the VP. So this way in the opera hierarchy is going to be like the master of the settings. And whatever the change here is going to override the settings. But he's going to give the general settings that we have in the master. So for the camera one, we already have the frame range that we need. From camera to we need to change it. So we're going to click in camera to go to the timeline and see that goes 7-72. One-sixth three. Good. Now, render of the camera or a tree or under settings here, click the camera tree to see different branch. And this goes from 154 to the n, 15404. That's it. We have the different assign. We can close the Render Settings window now. And we need to save the file first to send them to the queue render. So I'm going to save it with another name. I'm going to add settings name, safe. And now we can go to the render menu and open their Render Queue. Here I have the files that I rendered before to this class. I'm going to delete it and using this button here that these are the current project. We're going to click it three times 123 because this is the tree render that we're going to send. I'm going to click in the first one. And I'm going to ensure that we are using the proper render settings. That in this case is the camera one. With the camera one. Camera one for the render settings and the camera, camera one. **** del Toro renaming. This way is going to use what we said before. For the second one, we're gonna do the same Render Settings. Camera two, camera, camera to the same thing for the third one is the kmer tree combinatory. We can check here that all of them matches are going back to the first one that we are good to render. I'm going to click start rendering water. And I'm going to speed up the recording. See you then. Well, it finish. It took around 1 min each sequence. It's great fast. So Joseph spending a little bit of time here to have the viewport rendering is going to help you a lot to avoid mistakes before sending it to the render farm or to spend nights are inheriting your animation. So let's go to be sure that this is working. Doing this composition in After Effects, unchecked, you've works good. Now that we're here in After Effects, we're going to build up quick sequence fears. I'm going to import my renders using the shortcut Control add that allows me to import multiple files. So I'm going to click in the first frame of camera one, be sure that the PNG sequence is checked. And then import is going to open the window or gained by itself. And I'm going to do the same for the camera to. You can click on any frame. He doesn't need to be there. The very first one of the sequence. So as soon as the name convention of camera two is going to import the sequence. So PNG sequence activated import the same wine for the camera tree. Here. He's going to open again. So now that we don't need to import anything else we can click on Done. I'm going to move this in my folder of sequence. And a before to do something. By default After Effects recognize the sequences in different frames per seconds. Many, I'm not sure if it's always bought many of the times is 30 frames per seconds. So we're gonna change that, send it in the sequence, go to them, replace food dish. Not is the interpretation for this menu and kill me. I'm going to change it for 24. And this way is going to recognize it 24 frames per second segments. When I do the same for the other interpret interpret footage main, it's only 4 min. Okay. And the same with this Interpret Footage Main Tony, for now. Now we can select all of them and drag here in the new composition, we know single composition, okay? This one, I'm going to drag it to my folder of compositions and want to work in this. And I'm going to be sure that the length is the a cell constant we want. So I'm going to use the shortcut Control K to open the composition settings window and be sure that the duration is 10 s. We got it there. Okay, I want to extend my timeline. Now. I can reorganize my cameras to completely cover the 10 s animation. We render a little bit more frames on each camera to have this time for overlapping. That is going to give you a room for rent for render for addition. Sorry. Because if you are going to match this with music, or probably near doing kind of transition, having some extra frames, it always work. So I'm going to do a preview using the zero my number pad. Looks like works. Very good, very good. We are, we are there. We want to loop, explode. And you mentioned mood. Everything moves. Well known particles escape. I think we are good, We are ready. I'm going to send this quick render to outputting in M before file. Because this one is something that you would like to have in your process. You can share it in your social media. So I'm going to select my composition. Go to Composition, I believe, yes, Composition. Add to Adobe Media Encoder is going to open the encoder from Adobe. And with that, we can export it. Now we are here in Adobe Media Encoder. The composition was added by default because we send it directly from After Effects. The settings by default works perfectly good. Hh264 is the gold standard for mp4 format, the heartbeat grader. How by default works good. We just need to check that it goes in the file directory that we want. What are the skill share class project? And I'm going to overwrite the one that we have here. This one safe. Yes. We're going to use the Play button to send the render. Since this is using the GPU acceleration, the render is going to be very, very fast. They're rendered, it's done. So little to check. Where is our animation? Here in the outputs here. And that's it works perfectly good. This is a very good asset for your social media. This you use it and it's going to show how you build your projects. And with that, let's go back to Cinema 4D and prepare the settings for redshift. See you there. 11. Final Render Settings: Now we are completely sure that the animation works good with a view port for preview that we made. And we are sure that everything looks good when they're red shape can be aware. We are ready to sing or animation for render. So let's go to prepare the final said before to go back to Cinema 4D. Don't forget to save your after-effects file because we are going to come back after the redshift render finished. Here in cinema 4D, the only thing that we need to change is the rendering engine that we're going to use. That's going to be quite easy since we already prefer settings for the output. I'm going to click again here in my Render Settings window. And I'm going to select the ones, those settings that we create. All of them. Click and drag, holding the clip, push the Control key, and then we can duplicate it. I'm going to rename them, changing the VP for the RD to make it clear that this is for red shift, r d, r, d, r d. Good. And going first to the camera one is good to confirm that we're going to use red shape and this hole to change the directory because we wanted in another folder, I'm going to create a new one, new folder. Red shape render. Here. In this one, not the one up there. Here. We're gonna be using the same tokens project dash camera. And we're going to click Save. I'm going to bring this part with me on trolls see gaze. I'm going to hide the background to have empty background to see the transparency, so we can choose the background easily in Cinema 4D, sorry, in After Effects, we need it. So I'm going to hide the background. And I'm going to activate the alpha channel and the straight Alpha. The other output settings are okay. So I'm gonna do the same for the camera to. I'm going to select this, delete, paste my settings, activate Alpha channel strip alpha, and the same one for Camera tree. Delete the path, Control U V alpha channel strip, and be sure that the three of them redshift sign. Let's shift. Redshift. Okay. Perfect is a lot to double-check that their range, different ranges. Are there zero to six to 721-63-1542 through 40 would look good. We're good there. So with this, we're telling that we're gonna use each render settings for each camera working with Redshift. And I think that this is the last part that we need to take here in Cinema 4D. I'm going to close it, renders it in Windows. I'm going to save it with another name. I already have one here. I'm going to override it. Safe workplace, yes. We're going to do the same process. Render menu, Render Queue, delete this tree. And with this bottom that we have here are the current project three times 123. I'm going to the first one. Be sure that the render settings, what eats, what do we want RD can one using the camera one. Here, Render Settings are the Camera tool with the camera two. And this one or the tree with the camera Three. Good. And be sure the Torah renaming is unchecked. So with this one, be sure that you are not going to touch your computer for the rest of the night or for the time that you have your computer. I've a level four for rendering because profit is going to take a little bit of time. So I'm going to send the render using this button and see you when this finish. 12. Extra touches: We're almost done. You make it to the last lesson. In this one, we're going to take care of the final touches in After Effects to or rendered sequence and exported to the final output. I'm going to organize my sequences in folders to be sure that it's clearly to me to know that this sequence belongs to the viewport render. I'm going to create a new folder for the red shift. And in this one I'm going to bring my red shift sequences using the same shortcut that we just before, Control Alt I to import multiple files. I'm going to click in one of the friends or they can borrow one, be sure that the PNG sequence is checked and then import this same for the camera to the same for camera tree port. We are done. We don't need to import anything else and we need to change their frame rate again. If you know a way to do all of them at once, please let me know. Because now we just have to sequence and take a little bit of time for the money. You have. 51020. So it can be a little bit. Hello. So if you know a way to do it, all of them, please let me know. I'm going to duplicate my sequence using the one, draw, the short goods, sorry, Control D to duplicate. I'm going to my composition now and I'm going to rename it using the shortcut Control K to bring the composition settings window. And I'm going to rename it for final at the end. That sounds good, right? Finally, we are almost in the end. Frame rate 24. Okay. I'm going to close the composition to be sure that I'm working here. Now, I'm going to replace with my new sequences. I'm going to select the first one. I'm going to click and drag on top. And before too realistic click, I'm going to push the key on my keyboard to override the layer. I'm going to do the same with the camera to click and drag on top. In my keyboard releases a clique. Same one for the camera. Click on, click and drag on tough Alt key, released the click. And this way it looks like, it looks very good. Now I'm going to cut the overlapping. For this one, we can use a very handful short code that is selecting both layers. Use the shortcut Control Shift D to split the layers. I'm going to delete the end of the star of this, this one, select control shift D. This one. This one. And we don't have more overlapping. That looks good. I'm going to use the zero in mind numpad to do a ramp preview, the animation to see if everything works with. So far, looks super good. I'm very, very happy with the result. The particles looks very organic. You mentioned looks good. Now render looks good. And yeah, this is what we are looking for. Looks, looks super cool. Now we have our sequence already prepare it. Go to war in the final touches. With the sequence already dawn, this is small that we made here. I'm going to create a new adjustment layer. And this one is going to be a little bit of color correction. I'm going to rename it with CC stands for color correction, at least in my personal language. But you can use then the name that you want. And I'm going to fierce to add color correction effect of, well, we're looking hue and saturation. And I'm going to add color correction levels. I'm going to move my levels first to the top. And I'm going to be sure that we are taking their proper arrange and bring a little bit down the mid tones. That looks good to me. Here. It looks a little bit darker. I'm going to put it on top. This is a general color correction. Of course, we can be working on each shot. This is just to have uniform dodge or not both of them. I'm going to work in the hue and saturation to saturate jaws a little bit. Maybe 69, I think that's good. Let's look to see how it looks like without small change. Well, I can see a little bit more than the extra four pin. Like it maybe a little bit more saturation, then. That's good. That's good and fine. Now I'm going to add a curve. Select my layer curve. The color correction curves. And I'm going to bring down a little bit the dark part and a little bit of the brightest part to make it more contrast. That's good. That's good. I have a little bit of highlights that I don't like much here, but it's just this part that we have this strong reflect going to work just in this layer. I'm going to add again the curves, color correction curves, and I'm going to bring a value will be the highlights. This here. Yeah. Yeah. I think it looks good. I like it. Yeah. What's club works good for me. It's kind of the result that I'm looking for. This is a basic color correction. Of course, we, we export our file when we can have all the buses. We can work a lot on the composition. But that's another rabbit hole that we can explore later. After that, I'm going to add some small effects. I'm going to add a new adjustment layer. This is going to be my beneath, beneath his Spanish vignette. I believe it's in English yet or Italian, other know what is the name? And I'm going to add an exposure, color correction, exposure. And I'm going to bring a darker, darker, darker, darker there. And I'm going to create a mask to add the effect of the vignette. I'm going to select my layer, double-click here in my click on cold chain for ellipse tool there, and then double-click in the live store is going to add a mask. When my layer selected here in the mask menu, I'm going to click Invert. I'm going to unfold the math setting. I'm plagued with a fairer and the expansion. To have the effect that we want. We need a little bit more darker. Start it looks a little bit more bare in the corners. Here. Here it looks good. Looks good. I think I think that's good. How it looks like here? Yeah. Yeah, we like it. Of course, there is no proper settings here is what is policing for your ride and achieve the look that you're looking for. Or for me, looks good here. Maybe I'm going to reduce the opacity a little bit. 75, 80. Yeah, that's perfect. Okay. And another one that I like to add is to create a uniform noise on top of it. So another adjustment layer. And we're going to add noise and go into my effects controls panel. And we're going to add this and generate, generate. No. I'm going to bring my window of effects. We see some presets here. Here to find the noise that I want. Noise HLS, this is the one that I like. I'm going to put it uniform and I'm going to add a little bit of lightness. I believe it is. Lightness is Jocelyn small, tortured. I want prolog lean four per cent. This the external pressure level in the recording. But if you can see it brings a little bit of organisms to the sequence, is what to check. 55 Looks good. Yeah, it looks good. Add treatment that I always like. I'm going to just animate a little bit the face of the noise. I'm going to click in my stopwatch here, using the shortcut you to see the keyframes. I'm going to the end and then going to remove it just 45 degrees to have this more smooth movement in my notes. Now that we are playing, it looks a little bit the statics. So I'm going to reduce the lines to the half, 2.5, little bit more where the noise phase, I'm going to bring it to one complete look to see how it looks. That looks a lot better. You can see it here in the mid tone areas, in the darker areas. Looks good to me. Now. Okay. With the noise, the vignette and the color correction is for me, It's good to go. I don't know, guys, if you want to work in something other efforts, please let me know. If you have a personal color correction that you love. Please uploaded the project. I would love to see what you can create with this. With this project, be completely sure that you save your project and we're ready to export. We're going to do the same select or an emission final sequence composition. Add to Adobe Media Encoder is what the wave for the computer to open it. It's already open and we have our sequence here. I'm going to change the name, the folder where I want these outputs. Your magic final render. I'm going to change the name for class to see results. Safe. And they said things are okay, what's good for me? Play? Let's go to render it. This is going to use the, the CUDA oscillator. So it's going to do it completely faster. Render is done. Go and check or file. That should be here in videos. Listen plus Procreate outputs is not here. Nice. Sculpture class does predict outputs here, geometric final render class. And look at that. Looks super good. Or particles look super smooth. The render look very smooth. Everything is there. Seems to me that we are ready to wrap this. We made it, we finished the lessons. So please be sure that you share your final result in this Skillshare class. I'm going to be very eager to see what you create it. You can change all the settings, you can change the geometry, the color of the text doors. Feel free to do that. I would love to see it. So let's go to the final wrap-up in the conclusion video and recap what we learned here. See you in the last video. 13. Conclusion: Congratulations, you made it, you finished the class, and now you know about how to use x particles inside Cinema 4D. You can use this powerful tool in order next projects in the class we covered since the beginning, how to set up your particle system from scratch with just a few clicks until the final render settings to use this rendering your social media or in your demo reel. However, there is just one thing that I want you to remember about this class, that war with particles is easy. With that, you can create very powerful images in your next projects. Please. No, forget to upload your final project to the Skillshare platform. This way, I can see what you have built. If you follow the class in the exactly same way is okay. You are gathering the knowledge. But if you want to play with the shapes, with the textures, with the colors, even the camera. And you mentioned, I'll be very excited to see what you have done. In the same way if you're going to share these in your social media, don't forget to mention me. That way. I can see your results. If you learn at least one thing in this class, I'm going to be very happy. Please be completely honest. And if it's possible for you, leave a review and read the class. So I can deliver very content for you. In the next one, you can contact me through my social media or hear in the Skillshare platform in case you have more comments of questions, I'm gonna be very happy to answer them. Thank you again for enrolling in this class. I am very happy to see you here. And we nothing else to add. Seeing then Excellent.