Cinema 4D Tutorial - Animate With Music Using The Mograph Sound Effector

in today's video you're going to learn how to animate with music inside of cinema 4d you don't want to miss this one everybody its Nick here again from grayscale guerrilla comm bringing you the tools training and tutorials to help make you a better motion designer now today's tutorial is one of my favorites that we've ever made here on greyscale gorilla and we're going to get right to it but before we do I wanted to remind you if you're new to cinema 4d or just getting started you may want to check out our absolutely free intro to cinema 4d series over on our website I'm going to link it up down below and also here on YouTube as well and with that let's head on into today's tutorial and see what we're making in today's video you're going to learn how to animate clones and other objects inside of cinema 4d using the sound effect er I jump into the sound of vector and show you some of the settings that are really important in controlling this effect and then I actually import some music and we make this really fun animation in cinema 4d this is one of my all-time favorite tutorials we jump into a lot of different parts of cinema 4d including some texturing a lighting and the whole process to get this whole animation done again it's one of my favorites I can't wait to show you this one so without talking too much more let's head on in to cinema 4d and let's get started so here we are let's get a basic sound effect err kind of thing going just we could see what it does let's grab a cube and scale it down maybe 50 by 50 by 50 that'll be a good start and we're going to drop this in a cloner object and the cloner object instead of going up we want it to go sideways so grab your cloner let's make a little room here and instead of going in the Y direction we want to go in the X direction so let's zero out Y let's turn up X until our cubes are just a little bit far apart and turn it up you know so we have some more clones you know 15 20 clones just we could see what's going on so here are here's our clone are all set up and what we need to do is add the sound effect err so if we go up to mograph and we go to effector we could add the sound effect err and by default it's going to do nothing it hit play a nothing's going on and of course we need to tell the sound effect er what to effect so you need to grab either a quick time with with the audio in it or a wav file or an mp3 I think works actually mp3s might not work I'm not exactly sure but make sure you grab a file that it recognizes so in this case I grabbed what I think might be an mp3 so let's find that out it's it's by this artists a queue based o or cubist oh I'm sure I'm screwing up his name but it's this track right here it's got a lot of kind of stop stops and starts it's got a lot of high frequency and low frequency stuff and it really shows off kind of what is going on and let me see what type of file this is this is an M for a file which i think is a type of QuickTime file so those are those are supported obviously so we're going to open it up and now when we hit play we have audio and the other thing we need to do is extend our timeline because right now we're only getting the first kind of 90 frames here and so let's go ahead and extend it let's go to you know 500 frames or something like that so we get a little bit more of the song and we're going to extend our timeline out so it keeps going so the other thing this track in particular has kind of a soft opening it's not really that loud for two Long's it actually gets going right around frame 500 and whatever whatever thing you pick to you may want to find the louder part of the signal to start to be familiar of what it is if it has a slow intro so in this case I'm just going to go let's start at frame 500 and go to 1000 let's see here there we go 1000 not 100 and let's hit play and there you go so hopefully in the tutorial I could leave the audio going and just have it really low in the in the background so it's not bugging you guys too bad but you need to be able to see what the audio is doing so in this case the it looks like the volume of the audio is affecting all the clones together and it's not affecting them very much you can see they're just kind of moving around there so let's go into our sound effect err and start to play around with some of these settings and see what they do so I'm going to leave the track running again hopefully it's low enough volume and we're going to look at first of all the parameter so the parameter by default is this position so you could of course make it go higher so now you can see it's moving up really high but in this case we don't want position we want scale and we only want Y scale I'm going to make kind of like an kind of like an equaliser kind of thing if you're an old man like me we have these uh graphic equalizers on all of our radios and that's kind of what we're going to start with and we're going to move into the sphere thing a little bit later but but using just kind of basic shapes or a good way to see what the sound effect or does before we try to go in and make something else with it so let's go ahead and turn up the scale on the y-axis up pretty high and and again let's go back to our effector tab and you want to check one more thing now right now what it's doing is it's affecting all the clones the same and that is because of this apply mode all okay and this essentially looks at the waveform and you know there's not a good way to know exactly how it's calculating all this stuff and I know there is documentation if we right-click and we go into show help it'll show us you know what the frequency graph is and what these things are but in the end of it we kind of have to make some adjustments and see what it does to affect our shapes before we could really trust it right there's no kind of numbers that are being spit out here it's just kind of driving our shapes so if you the first thing we could do to kind of make it a little easier to see it instead of all which is just going to drive this all at the same time if we go to step we're going to see this frequency graph displayed in our viewport now so now when we hit play the low frequency stuff is going to make these squares move higher and lower and the high frequency stuff is going to make these move higher and lower and just so we're clear you guys probably know this but this down here represents the base and the lower frequency of the audio and this up here represents the higher frequency the high hats and the snares and the the snares are more in the middle but the high hats and the cymbals and the sounds so if we had a sign for all this it would go B like that alright so that is what is being represented by these clones right so the the kick-drum goes off you get more active down here and the hi hat goes off to get more active up here so let's watch that for a second you can see it's really driven by the volume breaks too when it stops the volume it gets kind of quiet and all that stuff and that's why this track is really nice it has a lot of ups and downs okay so where do we go from here well now we know we can drive that by hitting play and seeing what's going on now we can compress it which it looks like compressing it is big making the louder stuff louder and the quieter stuff quieter which to me I'm not exactly sure if that's a traditional type of compression what it looks like to me it's doing is really kind of basically turning everything up and in fact if we crank everything you're going to see we're basically down to a 1 or 0 level so when it's really quiet it basically goes to 0 and when it's really loud it goes all the way up this almost turns it into like a binary system where if it's if it's on it's on and if it's off its off you can see we don't get any of that movement anymore the higher we compress that signal so it's almost like a visual compression like a like a photo if you compress a photo high enough it's just going to turn into pure black and pure white right and that's what it's doing here you and you can see that in the frequency graph if it's low you know we kind of have this nice waveform and then the more we compress it the louder the louder stuff gets and the quieter the quieter stuff gets until it's just pretty much you know zero here so the compression is a good way to kind of add a little bit more dynamics into the system that's one way to look at it and the thing above this is the lower cutoff and this is a little bit different this actually cuts off anything quieter than a certain level so you can see if we crank this all the way up we barely get any movement at all and this is because this is kind of like a threshold it says at any one of these frequencies if it doesn't pass the certain loudness don't even bother don't move it up at all and wait until it gets past a certain level of loudness and then crank up and then allow it to be affected right so if we go to about halfway you can see this is what's going on we're really not getting a lot of data until it reaches a certain volume and then it pops into place really quickly so it's a really snappy movement but both of these actually kind of work against us in this in this equalizer kind of model kind of way in fact I really wish there was another slider that allowed us to kind of do this lower cutoff but something similar to if you have ever played around with sound keys which is a trap code a plugin for After Effects really cool plug-in allows you to dial in a lot more carefully what parts of the audio you want to affect and you know there is a little bit of that down here with the frequency and bandwidth but it's just not as intuitive and it's not as smooth you don't have the control over that to fall off and all that nice stuff that you do with with sound keys in fact there's a tutorial from while back I think it was at NAB buy recorded with Mike's a monkey was doing that and he had a really great audio example of how he used audio to animate a character and in fact he did all this audio stuff inside of After Effects and using sound keys and then he exported it into cinema for exactly that reason because the sound effect er didn't give him that much that control that he needed so it is a little bit limited this sound effector and we're going to look into ways to kind of work around it a bit but I just wanted to kind of make that difference clear so all right so what can we do so let's turn both of these down and get more kind of a natural look here and let's look at some of the other settings that we may or may not use for the final animation but I wanted to show you the filter shape basically allows you to equalize this graph so in this case the base is really heavy and it kind of trickles down and the really high frequencies aren't really there so in this case it's really weighted very heavily to the left and and you can see this represented in the graph so if you want even these things out one thing you could do is in your filter shape you can draw a graph so we have our new graph here we could basically draw a little thing here from left to right and now the right side of this graph will be higher than the left side and you can see it's basically compressing or not compressing in this sense but it's turning the volume down where the curve is low and keeping the volume normal where the curve is high and you can go above and below I think as well especially using these these little things here we definitely don't want it to be that quiet but we just want to equalize it out so this might be a good way to turn down the base a little bit not audibly but just the way that it's being driven so now it's a little bit more even you can see a cross and we're actually going to use this in the final as well so what's after that so below that we have frequency color and this is a way that you can color your objects based on I think the loudness of this going up and down so let's pick a color here let's pick like red for the bottom and and pink for the top or something like that and you can see it does nothing right default and that's because we're missing one little thing here we have to go into the parameter which is where we tell it you know the scale and the position and all you know this is where we tell the sound effect or what it's supposed to do to our cloner okay and what's what we can do in here is is there's a color mode right so in color mode we could say turn color mode on and now we're getting somewhere you can see now we have si never know if alpha strength on or off is better it looks like off is better so in this case now it's actually being mapped according to this color so we have red down here we have pink up here now it's a little washed out that's partly because of the specular channel so let's just go on the side and try to remove some of that so there it is red to pink all the way up the up the frequency and you can make this rainbow you can make this whatever you want so this is how you get the colors to change based on the audio right I want it off it goes to black so that is that now next thing here is the filters is is being able to notch in and only only have the sound effect er look at certain frequencies of the of the audio clip and this is where it can get really powerful you can get you know down into the lower registers like you know so 440 is kind of that middle a guitar string kind of like if you have a guitar go play that second string on it and I think that might be middle a it might be one octave lower than a middle a but that's it's kind of roughly where it is middle-aged kind of I might be screwing that whole thing up 440 seems a little bit low might be 44,000 but that seems high I gotta go back to my audio class I'm sure when you smart people will will correct me on this one but essentially if you get these lower numbers you're going to be in the bass so you know somewhere around about you know 10 to 400 200 Hertz is going to be based and then you have mid-range from there up into the thousands you know like human voices is around 3000 and you could look these up if you want to know the frequency of different instruments and stuff like that you can go find that online you know somewhere in the thousands your going to get or that mid thousand you're going to get voices and then above that into the ten thousands you're going to get high hats and cymbals and splashy sounds and s sounds and stuff like that so figure out what part of the audio clip you're trying to move with and that will kind of help you do this so a couple things about that idea of course in this song we don't have any vocals really it's all just kind of bass and drums and stuff like that but if you have a vocal track and you're trying to make things move based on when people talk this will become very important to dial that in and then it will exclude the stuff you don't want right so let's talk about what it does and then what we could use it for so the frequency we can move up and down and you can see it's actually being drawn into this frequency graph it shows you what kind of part of the frequency it is so if you see a really sharp piece on your graph up here that you want to capture you can actually move this up and down visually and kind of grab it the number below that is your bandwidth and this is how why or how fat that that channel is so look at it this way instead of your clones moving based on the entire frequency of this graph right now it's only going to move based on what's in this blue area so again if you want to highlight the kick-drum and only half things go boom boom boom whenever the kick drum goes off this is how you would do it and then you can make another sound effector and and then isolate the snare so then these clones could go boom boom and then these clones can go kick and then you can go boom whatever right so that's what that's what these two can do is help you isolate what that is in this case we're not going to use it we actually like the graph or I do for this for this case we don't have to I certainly do like it from low to high in in that frequency okay but that's what it does right below that you can actually see you could play this play the audio if you like and you can scrub turn on/off the scrub sound if you leave it on when you scrub it's going to play the song and if you want that off you could do that and then it's not going to bug you when you move around so that is the sound effect er a couple more things up here and again anything I missed if you right-click and go to show help boom you got this whole thing it's going to show you what all this stuff does and frankly this is how I learned it this morning some of these things I didn't know what they did and I kind of went in here and started to learn about some of this so you know if I don't go over all of it there you go your magic button you have your normal min and Max stuff and I think we're I think we're ready if we're ready to move forward here start to make something with all this knowledge now so we have our track we have our stuff bouncing around let me show you how quickly we got from here you know basically me learning how all this stuff works to make it a cool little animation with some spheres of course so let's swap our cubes let's just delete our Q's and make give them some spheres instead and in this case we don't want them to move in the just the y-direction we want them to move and scale in all directions so we can go to our sound effect ER and go to the parameter and say uniform scale and then turn that dude up okay cool so now we have some spheres that are kind of bouncing around we can also shrink these spheres down let's go to frame zero which in this case is 500 but you get the idea let's shrink our our spheres down so they're little tiny dudes normally and then they really grow up large so let's go to that sound effector and really crank it up something like 10 or maybe even higher okay so there we go so now again someone let me really crank this and talk about the next thing we're going to add before we before we start adding all the dynamics and stuff like that the next thing in the list or the next thing I noticed was there's no way to get that fade down that that the trapcode sound cues have and what I mean by that is there's a there's a setting in there that allows you to basically not allow the what it's driving to just fall to zero instantly and you can see that's what's happening here it's kind of going from full on the full off and that's not always what you want sometimes in fact those old 80s equalizers that I grew up with had this setting it was something called like delay or hold or something like that so instead of the equalizer jumping really fast it would actually peak and it would show its peaks and then if it got quiet it would just kind of fall down naturally and and it gives you a better visualization of where those Peaks are instead of disappearing so quickly those Peaks would peak right and then they would hold their their level and just kind of fall down to zero instead of instead of falling to zero instantly like we have here so that's what we have we have these kind of going you know blink blink blink blink blink and one way to get around that is to use the delay effector so let's grab our cloner you always want to make sure whatever you're applying this to is selected you want to go up to mograph and add a delay effector now you may have seen me use the delay effector and we find it there it is you may see me use the delay effector for spring which is cool and spring is usually how I use it but but in this case blend is what we want blend does two things it doesn't let it jump off very quickly and it also doesn't let it jump down very quickly so it wants to kind of stay where it is and you can see the higher we move this ignore the color for now because it doesn't work on color unfortunately I wish in this parameter that the delay effector had a little checkbox for color as well would it be cool is if these not only stayed large longer but also faded down into like a deep red and a deep pink air purple instead of just blinking the black right unfortunately I couldn't find a way to do that but the delay effect are helped with kind of the size and scale of this so I ended up somewhere around sixty seventy percent you can see what it's doing now as it just kind of fades off and it's not as drastic if I turn off the delay effector you can see it's really blinky see that it's kind of ones and zeros and it really rumbles around it moves a lot still a effector just kind of smoothes it out and this ends up working really nice especially when we add the dynamics okay so that is that so let's get our our main kind of cloner dudes ready to go in this case let's go back to frame 0 where it's nice and quiet and dial it in okay so in our cloner what we can do is add a ton more clones and then shrink them all way up close to each other and now what we have are a lot more kind of clones to work with but of course they're all touching so let's start adding those dynamics so they kind of bounce around and do all that fun stuff so let's go to our tags make sure your sphere is selected go to tags go to simulation tags add a rigidbody and hit play and watch them explode what we need to tell them to do instead of exploding is to go to the force tab and tell them to follow position and this kind of tells them to stay where they are you've probably seen this being used on a lot of my tutorials and it's nice because it keeps them where they exist but they still are dynamic so now you can see we get that cool little effect where they grow but they all are trying to fight and stay where they were right so try something small something like three or five here and now you can see we have our kind of desired effects now this is with the delay effector as well so now you can start dialing in your delay effector and saying okay what if it's all the way down it's really kind of itchy and and blinky and what if we turn it way up well now it's really too solid so let's turn it down and it's all about getting that right amount of pulsing here so now you can see the bases making these move and the high frequencies are making these move this is exactly what we wanted and it's fantastic lovely ok so now what you can do is in my case what I ended up doing is duplicating this sound effect err and before you do before you move on one thing you might want to do is visualize and equalize your your sound so if you have too many too many of them moving down in the base you may want to do something like this with this filter shape and kind of tone down the base and if you want your mid-range to go up you know you can make a little notch here and move that up right so it's all a few and how you want the stuff to move obviously a lot of settings here we could play with but this looks pretty close to where we were so let's stop with this sound effect and go down the neck into the next one so I essentially what I did was duplicate the sound effect err and I opened up my cloner and I went to my effectors and I added it now I put it before the delay effector and I'm pretty sure this is the order you should put it in and you want the sound effect urge to kind of happen but you want the delay effector last and I think that's because it will kind of equalize both of these at the same time so if we go into our sound effect err now and basically give it the same exact settings but now we give it a white channel instead of a pink to blue or whatever this is we give it a white Channel now it's going to really make the scaling crazy the other thing that's going to do is so let's um let's tone down the scaling let's go to parameter and turn this to one for now ok the other thing you could do with this is now in your parameters in your color modes you could turn this instead of to default to add when you turn this to add and you start to play around with some of these colors let me make sure I got this the right set up here you start to get more of these um you get just start to get more variation in your colors so instead of just having red to pink you're going to have kind of sound effect errs working with each other to then add color on top of the other ones so let's go back to our original and you can see default is set to here you could turn this to add as well and really start to get more kind of pastel colors and and get to the the kind of color shading you want so let me see in this case what the best what the best scenario is as far as colors are so let's try default in the in the base normal ones and then let's try add here and turn off alpha and I think what we really want to do is not make it a hundred percent so let's go into strength and just tone it down that's really what we're going for so now it's going to get brighter the louder it gets based on them so there'll be they'll be dollar blue and red and then as they get louder it'll be brighter blue and red so now we're adding variation using layered sound effectors that are going to going on top of each other and adding different variations to it so that is that is those two we have pretty much everything we need at this point um I added two other things so let me tone this down just so it's not so jumpy maybe we'll just scale out nice and dad cool okay so you guys are sick of this song already but that's alright let's add our lighting and then let's add that last variation which is that kind of dust that's floating around in fact let's add the dust now I think that's kind of really fun too a fun effect I was looking at this effect and I was like you know this is really cool and I have all these fears jumping around but what if it was colliding with all this other stuff so I took the cloner and I copied it and I pasted it and I basically made an identical clone of another set of spheres with the same kind of dynamic settings on it and then I went into its effectors and I said I don't want them to be affected by sound and I don't want them to be affected by anything really I just want them to be and exists and not be a part of the audio system but to be a part of the dynamic system so what we have now are all these kind of grey spheres that kind of have nothing to do they all hang out and they they stay small but they're being affected by all these other objects that are bouncing around seeing and I thought that okay that was cool but what if they had a lot looser rules what if they could really float around so then I grabbed their force and their follow position and did something really really low so now when they get hit they kind of bounce around so they're always trying to be back to where they were but for the most part the being just kind of thrown around by all these spheres the other thing I ended up doing was moving them up and that's because because they have such a low follow position they want to fall to the ground now the other thing I could do maybe what I should have done is go into their their force list and and zero out the gravity on only this sphere and only this cloner set so now this set has no gravity it's just kind of flying around that's probably what I should have done instead what I did was I grabbed them and I just move them up so they're always fighting to be a little bit higher than they should the other thing I did was make them a lot smaller so let's start over there they are they're all folks falling down and as our system starts going you're going to start to see them jump jump and be a little one little particle now I think it did one other thing on this set system and that's make them varied varied sizes so I went and grabbed turn off the audio I went and grabbed an effector random effector and I went into the parameters of the random effector and turned off position turned on scale turned on uniform scale and just kind of scaled these all a little bit differently so now you can see we have variations that's a little bit too much maybe two and then I shrank the sphere way down so now we have big big particles little particles and this just gave it more of like a dust kind of a feel instead of these larger particles so one especially once they started getting going yeah I want to say it at a way more of them too I think we had over 300 of the little dust particles so let's go in our cloner let's go into objects and crank this dude up we can also use render instances which is going to make this calculate a lot faster and the other thing is is we can shrink down our object a little bit closer so they're about the same width as what we needed before so let's try 2.5 looks about where we have it or we could just grab this dude and just kind of roughly eyeball it but if you do that you want to grab it from one of these upper and lower or top or front views so you're not moving it too crazy all right let's head back in see where we are we have our dust falling down whoops there we go so we have our dust falling down we have our loons kind of popping and moving around and being loud and making dust fly around there it goes cool that's exactly what we want so let's pick a frame here and start to design the look and the lighting and all the rest of this stuff so we haven't textured anything really other than the basic stuff and adding reflections to these these particles can be tricky because we're using not a texture to texture them but a sound effector and so there's a little bit of a workaround to do this so let's do that first if you want to make these glossy these spheres let me show you the way I always try to do it and I mess it up you add a new material and you drag it to your cloner and you say whoa crap now what these clones where the color I wanted them I just I'm just trying to add maybe some transparency or trying to add some some luminance or in this case we're trying to add reflection Y you know can I just blend this together and you go to mix check textures and you're like well that's not working mixed textures usually works when you have two textures you want to blend them together you know what's what's the secret here and the secret is is to go into your color Channel and go grab in your mograph Channel here you want to grab your color shader and now color shader is going to look into that system of clones and pull out the color shader into this material and it doesn't show up here because it's different for every object right but if you're using the this is also popular with the shader effector obviously any one of these things where you using color in one of the effectors this is the way you pull it out right so now the color is actually driven by the color shader you can actually do this with the luminance as well if you want the luminance to be driven by the color shader you can come in and do the exact same thing and say color shader and now when we hit render it's it's illuminant material with that texture not just the color so we don't need it in this case but that's what that's how you start to build your texture so now we have a color of course we need reflection we need some for now we're going to tone it down so we just get a little bit of reflection and we're starting to get somewhere all right I'm also going to kill our specular now you know what I think we're going to add a normal light in here and I'm not I'm not a specular hater like it used to be so let's um let's leave it up for now and maybe we'll turn it off in a second I'm going to give it give you a break specular don't don't disappoint me let's grab a new material and add it to our dust sphere this is this system here and you can name it if you have a lot of time on your hands you could say dust and you can click on this and say main color there you go everyone's happy now and then you hit render and you got your dust you got your particles now we got to light this dude in my case I used two lights I used a we went to the the light kit and the softbox overhead softbox was the first one I grabbed so the overhead softbox is just going to come in kind of a little off-center just because of the way we built that system but if we move it and grab it and shift it over and zoom in here we're going to go kind of a long way just by doing that so now one light that looks pretty good right there and actually depending on the song you picked that might be all you need especially the some spooky dark kind of heavy heavier song or something like that that's pretty stark kind of look you know really one light source in in space basically add a little background to that and you may be onto something in my case I wanted to fill in a little bit of this detail I didn't want it to fall off the black so much so I ended up using the linear skylight and I added that and I hit render and that filled in the rest of it you see it just kind of gave everything a nice overall light and also it started to add some shadowing here in the middle that is also part of the overhead softbox but just got a nice kind of feeling to it and I but I didn't want to see it in the background I wanted to make my own background so I went into the linear skylight I went into its controls and I went to the bottom and I said I said sky scene by camera turn that dude off and now it's just on black perfect so now let's build our own backdrop you could use a gradient on a background I of course am a sucker for my own tools so I'm going to go use the seamless floor I'm going to turn off the floor we don't need a floor but we we do need the background if we do a default render you can see it's on white and if we grab our gradient and make something a little darker in my case it was a darkish blue Center and a black around the edge and that's where we ended up so that's pretty close to where we where we ended we have our little clone we have our little dust flying around we have our big stuff there and I think the linear skylights a little bit bright so let's just tone that down maybe halfway there we go so it's still very top-heavy you get this nice reflection and the last thing as far as lighting is concerned is I in the overhead softbox instead of using a square gobo I used a circle and what that did was give me circular reflections instead of rectangular on the top I thought this was a nice offset for the spheres you know instead of having those sharp edges now we have these nice little circles on top all the reflections and that is where it was rendered so from here I figured out the length of the song what I really did was I kind of made the the timeline really really long like four thousand here and then I went tried to find the end of the song so is it here a little further right there okay so I found the end of the song I gave it a little bit of time to kind of settle and I said okay 3400 is about right so I went to our timeline I said thirty four hundred and now we have our entire song animated ready to go all driven by audio no keyframes nothing goes no nothing to animate or worry about you just drop a song in and you're all set in fact if you were to drop a new song and you get an entirely different animation based on you know again based on the audio that's what this is all made for so this is where I ended up rendering I went into my render settings I did a 1280 by 720 and saved it out saved it out as TIFF and I pulled it into After Effects so that let me make sure because I always forget I'm at least one thing after I go into After Effects and look at it but I guess I just have to bite the bullet and go in here and make sure we're on the same page so let me shrink this down so you guys could see it and let me make sure After Effects fits in the window here so you could see everything and let me break down the After Effects project just because of the compositing does make a big difference so let's first of all this is the final kind of look we have our particles being flown around we have our dust kind of flying we have our black pieces everything's looking good right so let me show you the compositing breakdown and let's start with the audio that was added in After Effects because we started at frame 0 and rendered it out I knew I could bring in the audio in After Effects and just start on frame 0 would be all set above that we have here's our base runner so there's a nice little a B for the compositing this is out of cinema actually without them without the motion blur that's what came out of cinema and with the motion blur and with the compositing that's it so it's a subtle look but I always have to composite it so let's talk about the motion blur really quickly the motion blur is from real smart motion blur it basically looks at the motion of your objects and tries to guess where the motion blur is this is much faster than rendering out a motion blur pass in 3d not as accurate of course if you need something really accurate you know like helicopter blades or some really smooth kind of silky animation thing you may have to bite the bullet and render full full motion blur out of out of 3d in this case real smart does a great job most of the time and you could dial it up and down and get more or less motion blur in a little bit goes a long way with motion blur but it's always a part of my compositing for the most part because motion blur exists in anything that's filmed it unless it unless it's one of those action movies where they crank up the shutter speed you know most things that are have motions have motion blurred it looks more natural so that is real smart so above that we have so let's go piece by piece here's that with looks real smart the next is just a little bit of a highlight above I figured we'd add almost like a little lens flare because that's where the lights coming from so I added a little bit of light up there the next one is a little bit of a color over here to break it up and there's more color over here as well so these three are just single solids in After Effects with a soft mask around and if I grabbed one you can see there's the mask for that one and they're just feathered masks for all three of those one two three all right up next we have a directional blur directional and blur is really subtle really low that's actually being driven by let's check this out sound keys we talked about them earlier this is that trapcode plugin if you've seen shine particular some of these other plugins this is made by the same dude same team I probably should say dude for this one the older ones and and sound keys is that one that's in here in fact if we turn it on you can see it has this cool little interface that that shows you your your histogram here on how how loud all the different variations are and you could set up your ranges like we talked about earlier a lot more specifically and say okay what part of the audio what part of the audio system or what part of the frequencies do you want to look at and it also has that nice little fall-off CIN area where it actually falls off a little bit more realistically or visually realistically so check out sound keys if you use them after effects for a lot of stuff and in and quick note crap I'm going to blank on it I got to figure out what that is what's that hey guys what's that crime drama with did the one everyone tells you to watch all the time wire thank you yeah that's that show that everyone tells you to watch all the time so I watched it and and it has when they when they when they are wiretapping the the dudes in not praat in the housing projects they have like a little visualized thing in the basement where they're where they're I'm going to screw up every one of these things I can't remember one of their names but it's good first season you know I'll be that guy you should watch it okay so when they're when they're showing the audio from the phones when they're listening in the way they did the visualize is with sound keys they didn't even do anything that's added sound keys and they put in the sound file and they recorded sound keys he believed that I thought that was great and and they need a royalty for that I think I don't know I thought it was pretty cool I saw that's literally this interface was what was on their computer anyway so that sound keys and sound keys is being is driving the amount of blur so let's turn that off sound keys is driving the amount of blur in this directional blur so if we open up our directional blur we actually see some code here that is looking at sound keys to to say how long the blur is the blur length and it's also looking at the code to see how high the opacity is now in this case is a really subtle effect it's something I toned way down because it was a little bit too obvious when it was really pumping loud but I kept it in there just as an example to show you not only can you use cinemas you know sound effect your stuff but After Effects using using sound keys you could do some of this stuff as well so pretty cool and it's using the same song so you could really tie tie some really cool animation together so that is our directional blur really subtle effect again and above that we have our vignette so above this we have just a really subtle vignette let me tone this down and here we go so we have our vignette dark bright then you can see it's just a soft mask around that above that we have our let's let's our vignette above that we have our curves so our curves adjustment basically does some contrast here you can see a nice little SS shape here we have a blue lift you know just to pull up some of that blue nothing too crazy but just a little bit and then we have our levels which pulls our blacks back up we kind of crushed we kind of crushed our levels a little bit they just kind of pulling those up to make sure they're not too crushed there up next we have some grain not a lot just 7% on it with the misfire and this will kind of do a couple things that will fix some of the gradient issues and again grain is one of those nice compositing tricks to just because it tends to make things look like they always existed together on film right above that we have our sound keys and above that we have another levels which is O which is our fade out so if we go all the way to the end this levels is controlling our fade out that's it that is our compositing in After Effects and your renders out get the final result and when we celebrate so that's that's all of it I think we did it all thanks again for watching everybody and hey don't forget about our intro to cinema 4d series over on our website if you're serious about stepping up your game this year and learning more about cinema 4d head on over to the site you can sign up for free today and with that I just wanted to thank you guys for watching these tutorials we really enjoy making these and we love seeing the stuff that you make after watching all this stuff so you know keep watching keep learning and I just want to thank you once again and I hope to see you in another one of our tutorials really soon bye everybody okay guys don't forget if you've been following along with this tutorial and you've been using a popular track when your favorite MP or something and you want to put it on YouTube chances are the YouTube algorithms will find your copy written song and remove the audio and that's no fun for anybody so I thought it'd be kind of silly if I play the song and then if you guys want to use this little number to animate your Spears well you may have other problems but here we go one two three oh don't dog allows you don't talk about you like that don't got a lot of other things that you want to be don't go about you don't yeah I don't know that'll work sure if you actually use that thing let me know

Channel: Greyscalegorilla

Views: 145,821

Keywords: cinema 4d, c4d, tuts, tutorials, motion graphics, greyscalegorilla, Cinema 4D, mograph sound effector, cinema 4d mograph tutorial, cinema 4D sound effector, cinema 4d mograph effectors, cinema 4d mograph animation, c4d mograph tutorial, c4d mograph effectors, c4d sound effector, animate with sound in cinema 4d, cinema 4d animate with music, cinema 4d animation tutorial beginner, greyscalegorilla tutorial, greyscalegorilla sound effector, cinema 4d audio, animate to music

Id: dmS01Og5ij0

Length: 45min 16sec (2716 seconds)

Published: Thu Apr 20 2017