Bryan Coleman @ NAB 2020 | Maxon Cinema 4D

hi there my name is Brian Coleman I am a motion design director and style frame artist based out of Los Angeles I work with After Effects redshift Arnold octane and X particles but most importantly cinema 4d which is the foundation of all of my work generally I focus on broadcast and commercial design work but today I'll be discussing a short film I recently created I work with a wide range of clients including Apple MPC the Mill future deluxe frame store and man vs. machine like to thank Maxon and Mathias for bringing me out to present today just to discuss my workflow with cinema 4d red shift and red giant for After Effects a lot of my work leans towards data visualization but I also do a lot of work on photo realistic lighting and rendering today I'm going to be discussing how to create a bump map in After Effects in Photoshop which will then be used as a displacement map in redshift I'll set up scene lighting and discuss creating a scanline using an area light I'll touch on using the motion tracker in cinema to generate motion track details then I'll explain render settings and how to set up a z-depth pass AOB I'll use red giant trapcode form to generate a point cloud and texture map and finally I'll show you how to set up tracking points in After Effects to create the final details let's take a quick look at my demo real [Music] [Applause] [Music] [Music] [Applause] [Music] [Applause] [Music] [Music] [Music] okay so that was my demo reel and the next thing I'd like to show you is the project that we were going to be discussing today [Music] [Music] okay so let's talk about what I want to discuss with you today which is this shot right here so we're going to talk about how to create a displacement bump map in After Effects which is going to help us to create these meteor fallouts right here these meteor craters and I'll show you how to do some of the scan lines and some of the tracking points so let's get started so let's head into After Effects and I started with this really cool moon surface texture scan that I got off of the NASA website they have a ton of really cool stuff and this all started because I had been working with one client and the project sort of evolved and much like any project I worked on work on I always kind of one like do my own thing with it so I started to mess around with some redshift and displacement and I'll show you how I got to the final product so let's create a new composition we'll make it a thousand by a thousand and we're going to call this circle and I will create a new solid that's black and I'll create a new solid which is white let's hit Q and that's going to bring up my circle or ellipse mask tool I'll feather this down just a little bit and I'm going to add a rough and edges texture to it we'll just increase the border a little bit here maybe reduce the size or the scale and then take the complexity up to about 10 I'll actually just duplicate this and make it black that way I don't have to double back on some of the work I've already done I'll hit em twice and let's take the expansion down a little bit so at this point this is the foundation of the crater that we're making so any area that's white right here will be displaced upwards in any area that's black will not be touched at all so let's take that circle that we just created and drop it in on top of our moon base let's create a new adjustment layer and I'll put an exposure on that adjustment layer and let's make sure that the circle is on top of that take the exposure down of that back plate let's create this little garbage matte around here and I'll feather it out submit it subtract and at this point this is going to sort of mute out some of this background stuff and we'll have this central area here which is going to have a lot of details in it so let me fast forward a little bit and take you into Photoshop which is this is the texture that ultimately I ended up creating I found that darkening in these edges and keeping this the most contrast was visually the most interesting and I would go into filter 3d and then generate bump height map and that would create this really lovely bump map which you'll see here so this is the final version of the final product of that the reason that I'm not showing it right now is just because it takes a little bit of time to generate you have to let it do its work and you can see here that it blurs things out quite a bit creates I don't know it just sort of blends things together really nicely so that is one technique I use for creating bump maps so let's take this into cinema now and we'll start to build out our scene so the first thing that I want to do is create a new plane let's make that 1920 by 1080 and we'll do the width and height segments to be about 20 and I'm going to create a new red shift material we will drag and drop that red shift material onto the surface of the plane we'll double click our material and I'm going to type in texture to bring in a texture node under general we can apply our main boot main moon texture to it and let's do a little color correct note in here to which I'd like to do as much work as possible procedurally within redshift I think it gives you a lot of power to make changes on the fly as opposed to having to do things in photoshop or After Effects and then bringing them in again so I like to do everything on the fly including color correct so let's take the out color connect that to the input and the outcome of our color correct and we will connect this to the diffuse color for this color correct I just had a couple of changes that I made which I will change the gamma here to be 1.48 and my contrast I'm going to make that 0.7 so at this point I've got my base texture applied to the plane and I just want to double click that go to my editor tab and change the default texture preview size to 1024 as opposed to the default was just this it just makes things a little bit more clearer and easier to see so at this point I want to control grab and drag my texture node and let's change the texture that's on there to be the bump map so we've got our bump map loaded and I need to attach a bump node bump map node to that so let's apply our bump map to the bump map node and we will apply this then to the overall bump input and let's change this height to be about two and I'm going to control drag release that's going to create or duplicate of my texture and I want to add another color correct knowbut in here and I want to create a displacement node as well so we'll drop that in there so let's take the out color to the input of the color correct and the out color of color correct to the displacement text your map and then we will apply that to our material output displacement so let's make one small adjustment to my color correct in here which I will make that be point one so it's gonna flatten things out a little bit but a little goes a long way when playing with displacement maps so let's take a quick look and see how this is all coming together so let's go red shift so this is my set up for red shift right now my render view so I'll just click play and we can take a look at what's going on here which in this moment everything is very white and I believe it's probably because I made a mistake on my color correct which I did I made it one point there eleven point four eight it needs to be one point four eight so a little mistake there okay so this is starting to come along but we're not really seeing any displacement or anything on there so let's make one adjustment here inside the texture map so for the displacement I actually want to increase that to about ten and then on my plane I'm going to attach a red shift object tag and I'll go into the geometry and on click on override click on tessellation for the maximum subdivisions let's turn this up to 16 for the minimum edge length I'm going to leave this at 4 right now but I will take it down to 1/4 final rendering and give us those gives us a lot more detail when we do that and let's also enable displacement and right here for the maximum displacement we want to make that 35 so you're starting to see a few things happen here so we can kind of see our bump starting to work and our displacement starting to work but let's do one more thing which is really going to make this sing and at this point we can see our displacement we're getting our craters in there we're getting all this really pretty displacement down here from all these little nooks and crannies so this is starting to look pretty good at this point I want to add a little bit of lighting because right now we're just using the default lighting setup in redshift so let's let's do one thing first which I'm just going to create a new camera which is going to create a camera in my perspective view here I'll make sure that I have that selected and I will add a protection tag to that and you can do that by just searching up here if you know what you're looking for I'll go out to my for pain view and under camera switch that to the perspective mode so let's make sure hmm not sure why it's doing that there we go we were just in a little too close and that's okay so let's go to quick shading and now we can see our scene as it's being set up so okay this is working really well so far so let's create a new red shift Sun and sky rig and I wouldn't always use this setup but it just seemed to work really well for what I was trying to do in this moment the first thing I want to do is just adjust the coordinates of where my sunshine is coming from so let's just change that to negative 48 and negative 164 make sure we do it right 164 and then let's change this to 56 so that's starting to look really cool already if we were working on a big scale these hard edged shadows here would work perfectly but because I'm gonna end up in sort of this micro world with these macro shots I'm gonna end up blurring these out a little bit so let's make some quick adjustments here so for my sky I want to make the intensity multiplier be 1.75 let's make an adjustment to the coloration here so if I go down here to their red and blue shift you can make a really orange or really blue but I will make mine be about negative 0.1 so it's just a touch of blue you can see that right here just a touch and then on saturation let's just make this point seven-five just kind of want to smooth things out a little bit one thing that you'll notice here is that I'm getting a little bit of reflection it's just it's a little too much it's still really glossy so let's duplicate or excuse me let's double click on the material and under the redshift material let's change the roughness to be about point seven so I think that works pretty well if you end up cranking it all the way up to point eight and there's something that it makes it just makes it a little too white across the board so let's just leave a little bit of roughness in there or excuse me a little bit of reflection in there I think that's going to work pretty well so the other thing I want to do is just make a quick adjustment to my shadows here which I can do if I go into my excusing red ship sky Sun and on the Sun disk scale let's set this to 20 so that just softens up my shadows a little bit so it really reinforces that we're up close on something because the farther you away you are on something the especially like the Sun the shadows are going to be quite harsh okay so I think that's that's pretty good for this so let's just set up some depth of field because we have this really lovely depth of field and before everything in in the middle here in focus so we will a chat catch a redshift camera tag to that let's go to Boca and let's turn on override and enable that and for the radius here let's set this to 10 and we'll see initially that everything is out of focus and all we have to do is just make sure that we're adjusting our focal point to be right in the middle and sometimes I might even crank this up to be really extreme just so I can know exactly where I'm looking here so I think that's that's good so let's take this back down to 10 the next thing that I want to do is just make a really quick adjustment to my scene rendering here because right now it just sort of feels a little plastic it's not quite rendering exactly the way that I would want it to so in my render settings let's adjust the renderer to be the red shift render I'll turn these samples max up to 1024 sometimes I'll crank these up much higher for the final renders but for right now I think that will work under the primary GI engine let's make that brute force and brute force and instantaneously we have this very natural lighting setup it's it's got a tints of blue in some of the areas that are getting hit by the Sun and we can see the sunshine colors coming through so that's really nice that's what we're looking for there the next thing that I want to do is just quickly show you how to create some of these little shadows in here which the point of this is is really that we were only seeing a really small part of this really huge scene so there might be some craters or some other objects that are off-camera here that are creating these shadows so it helps to create some visual interests as well just to make everything so it's not perfect much like the real world so let's just create a plane really quickly and let's make a pretty big and let's just drag it down a little bit so we're just kind of getting a little bit of shadow right here and the further away I get from my from my point of view the more blurry the shadows become of course and it's just let's duplicate this and I'll just hold ctrl and drag that over so now we've we've got these shadows on on both sides so we've kind of got our light coming through the middle here we've got some sort of object here and down here which is really adding some nice detail to it so let's go ahead and just quickly render this out so we've got everything in place let's render that out so the next thing I want to show you is how to create these laser lines here that are scanning the surface like these aliens have come in or humans are on an alien planet they have all this technology and they're just gently scanning everything we're getting all this feedback from all these bits of data and it's all feeding into the mothership at least that's what I imagine is happening so let's recreate some of that stuff so if I go into my redshift tab and create a new area light and you can see already that it's pretty hot to rotate that by 90 degrees I'm gonna make it really really long and I'll make it really really narrow and we can see that we're getting a lot of light spreading all over the place here so we'll just make one really quick adjustment which under your general tab down here where it says spread let's just take this down close to zero and the closer I get to zero the less spread out it comes which emulates the idea of a laser light which is pretty pretty cool I think that's looking really good I might rotate it a little bit just so it's not perfectly aligned to camera then if I just scrub it back and forth we can see that it's looking really really cool all right so let's just turn the opacity of it excuse me the brightness of it down a little bit because it's coming in really hot so if I just take this down to maybe like 10 starts starts to just soften up the edges a little bit so I think that's that's working pretty well so far so I've got my render done of my moon here and I need to render out my laser light but I need to comp them together in after-effects so I need to get this laser separated but I need to retain all this displacement map information that I've got going on so let's duplicate the material that we've already created and I will drag that on to the plane and I want to rename this texture black out and where my diffuse color is let's disconnect my moon color and let's make that black all right so at this point everything should be rendering without any texture on it so we're sort of getting this really dark surface here and then all I need to do is turn off my Sun and my sky and maybe let's just increase the intensity a little bit just so we can see it better so now we've got this laser beam that's going across the surface here and so now we can render that out and take that into After Effects so let's go ahead and grab my moon base here so I've got this all rendered out and it's already animated and everything cameras animated let's take our light and drop that on top and we'll turn the mode to add and if I just scrub through this really quickly we can see that it looks like it's scanning the surface so that's that's pretty cool the next thing let's just discuss how to create these tracking points here and I'm going to be using cinema to do this portion of it and I'll go back to my standard view to create a new scene under tracker that's bringing up motion tracker and under the footage let's bring in my motion track scene so it's basically just the render that I just put out let's adjust the samples to the resampling to be 75% so if I just scrub through this really quickly and see that this is the render that I just put out a little bit ago so let's go into 2d tracking and for the number of tracks I'll take that down to about 200 let's leave the minimum spacing let's create some auto tracks and immediately you can see these little points pop up which it's understanding that it means to grab on to the little dots so for the minimum length the frames I'll make that 5 and I'm going to auto track so at this point cinema is working and you can see down here it's processing each frame so for each frame each of these points is looking at its pixel or its pixel area and just trying to track along with it so once we're done here with this we can just scrub through it and see which of our points have retained their pixel area and maybe some of them have fallen off so a few of them did fall off up here and if you did fall off down here and that works really good actually for this scene because where it's InFocus I want more more of those little dots the tracking points and where it's out of focus I just went a little bit less so you can sort of see them tracking along at this point let's go to our 3d solve we'll go to the run 3d solver so cinema at this point is taking all that 2d tracking information and it's going to generate some tracking points in 3d space and then also it will generate a new camera under motion track under our 3d solve let's go to display and let's change that to rectangle and under radius let's switch that to be about five now if I click on my auto features tab you can see that we've got some of these green squares rectangles or some red ones so the green ones mean that attract really well the red ones mean that it didn't track so well but that's okay because this is just all garnishment on some of the work that we've already done you could also change this to circle or diamond and you could increase the size of them a little bit so you can see them better but for me I'll show you even a better way to see this so if you just duplicate this camera and make sure that it's highlighted you can now see all of these tracking points and we have our camera which that's all just tracking along really well but I will change these back to rectangle and decrease them down to five and now we can see that we've got our little tracking points here so let's just do a quick render we're going to use the hardware render but in order to make this look right I need to make an just meant to my back plate here to the gradient so I'll just go into my preferences scheme colors and editor colors let's change the gradient one ingredient to to be black we'll go into our render settings change the renderer to hardware and I don't want to save this right now because I just want to show you what it's going to look like so we've got this black background and we've got these points that are green in the red so let's just take this into After Effects and drop it on top and so because it's black if I switch this to add the black we'll have zero impact on my rendering here and now I can see all of my motion tracks and those will all scan along with my footage so that's all looking really really cool to a little quick Ram preview here one thing that you will notice though is that any area that is out of focus here in camera is not out of focus from emotion tracks so I just need to create a depth mat in red shift to bring into After Effects to make that happen so let's switch over to cinema again and I'll go back to my original scene and I'll make sure that my texture is the moon texture that's on there and I'll zoom out just a little bit and let's go back into the redshift layout that I'd been using earlier I'll click play just so that we can see everything that we've already done and let's just set up that z-depth pass so let's go into the render settings you can hit control B to do that or you can click up here on the little cog wheel under redshift let's go into a ovie tab and under the show AO v manager click that and then let's grab depth drag that in click on it for depth mode let's change that to normalized and I'm going to make a little change in here because right now the use camera near and far is going to be looking at the cameras rear clipping and near clipping to create the depth map but I don't want that I know that my focal point is around 700 600 700 so let's just make a quick adjustment to the minimum depth which I'll change that to 375 and my maximum depth is going to be 800 so at this point because we've created that aov we can now see that we have this depth 0 pass drop-down so let's click on that and we're not seeing anything and the reason that we're not seeing anything is because we need to be able to click on the bucket rendering so the only way to see the depth pass is to click on bucket rendering which it took me a little while to figure that out so if you're not seeing anything in regards to your passes just make sure that you're always on bucket mode because that's the only way to see it so I'll go quickly back into After Effects though because it can take a little bit of time to render that stuff out so we can see here that I've got my depth map everything that's on the top or the farthest away from the camera is whiter and everything that's closer is blacker or darker so let's combine the depth and the motion track right now hit ctrl shift C on a PC and that will bring up a new comp with those two objects and I will just call this motion track let's double click on that to come into the composition I'll just turn off the depth because we don't really need it I'll create a new adjustment layer and I'm going to use fresh lift depth of field because that's what I like you can use After Effects camera lens blur which will also be able to use depth pass but let's rename this adjustment layer DOF for depth of field under my depth layer let's make sure that it's looking at depth and let's crank this up to be about 50 for the radius and everything blurs out we can see here that everything in the background where it's white is in focus and everything in black is out of focus so let's just tell it where to be in focus and we'll just click right in the center and so now we've got everything in the middle here which is in focus and everything outside of that is out of focus one thing that I will do sometimes is to make a quick adjustment in here to make my book be a blonde or elliptical instead of completely perfectly circle because if you if you make it perfect like that I just I don't think it looks that realistic all the time it's nice just to change up that shape and you would do that in cinema by going into your camera and making the aspect be like 0.75 or something like that so little things like that little details will really sell the idea a little bit more just to make it look a little bit better the next thing I want to show you is how to create some of these little dots in here which are like these little data bits that are scanning everything it's just garnishment again it's just little bits in details and it's like you're layering up that cake just to sell the final idea so I will do that by creating a new composition by hitting ctrl C on a PC and I will just call this form I'll make the comp 1920 by 1080 and I will generate a new solid which is the same size as my comp I will go into my effects type in form drag that on to the salad and it will generate a default base form and I know some of my settings in here so I'll just make a couple of quick adjustments the particles in Z let's just take that down to one and my X Y Z I want those individual for X I want that to be 1024 y I want that to be 790 for my particles and X I want those to be 600 and then Y I want it to be 300 and for the particle itself I want to take off the sphere feather for the size let's make this 0.5 for the size random let's take that up to 100% and opacity random let's take that up to 100% as well so right now we've got our base setup and all we need is the camera from our scene cinema scene so I've got that project right here you can just drag that project in import that in to after-effects and you can just drag that into your composition and click extract and that will bring in a camera and it's going to bring in this little plane right here and I created that plane just to back up a little bit in my cinema scene right-click on that plane and go into render tags external compositing and we will go down here to click on solid and I'll make the X and the y be 100 and that gets saved out and then it gets generated back here in After Effects so let's look at the position of this because that is the position that we want our particles our new form particles to be created so if I go into my trap code form set up my red giant trapcode form setup we can see that the position is 960 by 540 and we just need to make sure that those numbers equal these numbers so let's make this 0 88.4 and 0 and now we have our dots in space and if we're to take that new comp and I put it into my build comp that I've already got and let's make sure we switch form and motion track to be on ad and I'm going to solo form and solo the moonbase we can see that our particles are tracking along perfectly with the surface of the Moon what we're sort of running into here is that because I did this in After Effects and not in redshift my form base is completely flat it's not registering that we have any displacement in here and there's a few ways that you can adjust this but I am going to do it the cheat way because sometimes it just doesn't matter so I'll duplicate my moon base and I'm going to put that on top of form under my track mat let's change that to be illuminate and let's add a levels to that new layer and let's just crush down the blacks a little bit and bring up the whites a little bit so we can see here that anywhere that is brighter is where the form dots are existing and anywhere that it's black it's not really showing and it just so happens that most of my white areas just happen to be some of the flattest areas so it's a bit of a cheat but it's working really well and you'll also notice that the foreground and the background of those dots the form dots is not out of focus so all I need to do is go into my emotion track and copy the depth of field adjustment layer and my depth render take that into the red giant trapcode form and will see that everything is out of focus right now so let's make sure that our depth of field layer is reading the depth render layer so we can see now that we're getting this InFocus area right here and everything else is out of focus and I'm just going to duplicate the form layer just to add a few more dots in there because I really like the size of them but they're really small any if you just duplicate that layer a few times it'll start to build the structure up a little bit so let's go back into my main scene and we can see how this is all coming together so we're getting this little dusting of dots here and it's not really paying attention to it's just kind of a nice fake it's a nice cheat but I want to show you another way that I use this and you can see this other the these other dots right here so there's another layer of dots going on in here and I did that by creating a new comp and I'm going to create a texture in after-effects using trapcode form and I'll create a new comp which is a thousand by 1000 and let's just call this form texture click ok let's create a new solid which is black and I will add form to that and again it's going to generate its default setting so let's go into the base form and I'll change the particles in Z to be one and for the size of XYZ let's make this 960 which is just a little bit smaller than the composition itself for the particles in X let's change it to be 25 and 25 so now we have this very even spacing so it's going to be very tile able in redshift under the particle let's make the particle be a 1 the sphere feather will be 0 the opacity excuse me the size random let's make that 57% and for the opacity random let's make that 75% so we have this really light gentle dusting of particles some are really light some are a little bit brighter some a really small in size some are a little bit bigger so we're going to render this out and take this into our scene in cinema and apply that to the surface that we've been creating and then bring that back into After Effects so let's do that now so let's go into cinema and I have this black texture that I've already created this black material let's duplicate that and I'm going to call this form and I will just drag the form onto my plane and we could see everything turned black there and let's just take a look at everything right now make sure that we're on our Beauty pass so I've got that form texture being applied to the surface I want to go to a progressive rendering because it seems to show you things a little bit faster so let's double click on our material tag and go into the shader graph and I'm just going to use the pre-existing texture tag that a tab that I've already used the node duplicate excuse me remove the color correction and let's bring in that texture the form texture that we just created and let's apply that to the diffuse color and I will apply this again to the overall emission color I'll click on the red stuff material go to my overall tab and under emission weight let's set that to two so we can see that we're starting to get some of these dots existing on the surface and they're actually moving along with these ridges and in the valleys here so it's just a nice extra little layer just to sell the idea again and under the redshift material base properties let's just turn the roughness all the way down excuse me not the roughness but their reflectivity all the way down because we're using any mission it'll light up on that surface and we don't have to have any lights or anything in there so that's pretty cool so that works really well the other thing I want to do is for the redshift texture for the scale I want to increase this number which is going to increase the number of tiles that are in the scene so at this point we have this nice dotted grid structure using red giant trapcode form so we can render this out take that back into After Effects and apply it to the main comp that we have been creating so far so I will bring in the form texture and let's apply that ad and so at this point we can see our texture and we can see how things are starting to really come together there and I'll do I'll do sort of an overall composite here at the end just to bring all the colors together so at this point I want to show you the final touches to bring all of this together which are these extra tracking moments where we have these tracking points attracted to some of this stuff on the surface here there's lines connecting it together so I'm just going to give you a very brief overview of how I did that so I want to create a new composition and I'm going to be tracking some of this footage in here so I also want to grab my lights can drag that in here and I want to go into my tracker and I want to make sure that I have my lights can layer selected let's do a track motion that brings up a new window which is going to bring up a track point icon and I want to drag that and I just want to set it on the surface of this laser scan and if we come back into our video we can see that we have these these little points that are tracking along with that laser light and it's just sort of a fun little thing like these tracking points are talking to these tracking points that information is being sent up to the mothership so always talking to the mothership it's always doing something cool it's what aliens do I guess so let's go ahead make sure we're at zero and we will click analyze forward so at this point after FEX is analyzing all of these frames and it's doing its best to track along I'm going to skip ahead to show you the final result let's create a new null object and I'm going to call this 0.1 and i will duplicate that and it'll be 0.2 and duplicated again and it's going to be point three so we're going to create three points here so on my light scan I'm going to go back into my tracker and underneath the Edit target let's make sure that we have 0.1 selected and click OK and then we will click apply it'll bring up this dialog and we will say yes to that so now we have this tracking point one here which is tracking along with what we just tracked on that scanline so that's that's working really well there the next thing I want to do is have my moon base selected and I want to do track motion on that and I'm gonna set up two points on this the first one I'll just set up over here you can concede this little a little splat right here I just want to track this guy so I want to make sure that I have that selected and track forward and so again after effects is going to track forward from where my point in time was and I'll redo that a little bit just to make sure that we have everything from start to finish because I made a mistake of starting here in the beginning no big deal and now I can say analyze backwards so at this point I will have a track from 0 to 6 seconds and I want to go into my edit target and this one we will apply to point to click ok so now we've got excuse me click apply first make sure you click apply all right so now we've got a point one which is attached and point two which is attached you can see how straight some of the stuff is I could probably have just manually done it but I'm not sure if you can see some of this off or didn't track properly that again it sort of works really well with some of the tracking stuff you just kind of want it to be a little bit on excuse me a little more natural to not be so perfect I'm gonna skip ahead to show you how I connected the Knowles together let's create a new solid and I'll make this guy black and I'm going to use the plug-in beam drag that on to the surface so we can see that this beam is now generated and so we just need to tell it to connect these two points together and then these two points together so I am going to create a couple of things in here we have to write a couple of little annotations in here so I'm going to alt click on the starting point for the beam and let's just give ourselves a little bit of room to work with so for the expression that we were about to create let's do x equals and we'll do our pick whip and let's come down to our point one and for X let's make sure we click that semicolon enter y equals pick whip to our Y semicolon bracket bracket X comma Y bracket click enter and let's do our ending point which our ending point is going to be point two so starting point is point one ending point is point two so again on the PC I'll click and I am actually just going to copy this and paste it and then change from point one I'll just type the two in here makes a lot easier point two and click enter on the numeric keypad zoom out here and we can see that it doesn't quite reach and all we need to do is make sure that the length is set to 100 and for the starting thickness I might just take that down to two and - so things thins things out a bit for the inside color let's make that white and for the outside color let's make that sort of a gray and we do that so that we can add some color to it later and just make sort of very natural tonality across there so let's call this being one and let's duplicate that and well that'll be beamed - and now I want to click uu and that's going to bring up my my expression here again so for the starting point let's leave it at 0.1 and for my ending point let's make that 0.33 click OK and then hit enter on the numeric keypad and now we've got two of these so if we look at this the idea was always that this point is latching itself onto some of these other points out here but it doesn't always remain on those and sometimes it breaks away and finds another point that it finds more interesting so I'll just scrub to like two seconds or let's just make it three seconds so it's kind of getting close to this so at this point let's let's just it's alt and a bracket to shorten that and alt and a bracket to shorten that and at this point we can see I just do a little RAM preview of this we can see the right around three seconds it's going to break from the original point and it's going to latch on to that new point very cool and let's go into our main comp here let's drag in the thing that we just created which was this comp which i think is this one here this is why naming conventions are the best thing you can do for yourself but working on the fly it's not always easy so now we can see that we've got these tracking points in here which are all looking pretty cool so the final thing that I want to show you is let's let's really finish this up let's really make this cool because I need to bring in the depth of field into this comp that we just created make sure that our depth of field is attached to the right layer and we can see that we're getting some depth of field in there so anyway that's working pretty well yeah there we go I think that's all I think that's not working pretty good so I just turn this off I feel like it's given me a false result oh there we go alright so that's that's exactly what we want right there so if we zoom in here now we can see that all of my elements that I've created outside of cinema are out of focus because of the depth of field that I created got my laser light got my tracking point so let's just bring it all together so I like to use Video Copilot color vibrance I think it does a fantastic job of colorizing things let's make sure that let's just make everything orange one thing you actually want to focus on you see how this is sort of this burnt color you want to go into the into the main composition that you're trying to colorize it add a black layer to the bottom of it I come back out here you can see that it really brightens things up quite a bit so that's looking really cool let's add that to the form texture so everything just turns orange and add it to the motion track and you'll notice here that it doesn't really colorize it that well and the reason that's happening is because it really prefers a white and black to colorize things so i will add a hue/saturation and desaturate it all the way down to minus 100 and once again add that to our light scan so this is all coming together perfectly I think you could probably keep doing some more work to it which I did endlessly because I can never finish things sometimes I just want to make it perfect so let's take a look at the final result one more time [Music] [Music] all right and that about does it for me so today I went over creating a bump map and After Effects in Photoshop we took that into redshift and created a displacement map with it I set up scene lighting and spoke about creating scanline using an area light we touched on the motion tracker and cinema to generate motion track details I explained how to set up some render settings and set up a z-depth pass with AO V use red giant trapcode form to generate a point cloud and then also a texture map which then was used as a texture inside redshift and finally I showed you how to set up tracking points in After Effects and connect them together to give it the final details once again my name is Brian Coleman I am a motion design director you can check me out at Brian Coleman com on instagram at brian the Coleman and on Twitter at Brian the Coleman I really appreciate your time today I hope that you have walked away with a better understanding of how I use cinema and maybe it'll help you in the future thanks so much

Channel: Maxon

Views: 80,494

Keywords: c4d, cinema 4d, maxon, modeling, modelling, 3d, animation, rendering, motion graphics, mograph, vfx, visualeffects

Id: mfLoGjUVG9M

Length: 55min 27sec (3327 seconds)

Published: Mon Apr 27 2020