Summit 33 - Track.Comp.Win. - Cinema 4D

what is up everybody welcome back to mount mograph in today's video i am going to be showing you some at 33 called track comp win now this is going to actually be an ongoing series on this channel called tzw i'm showing you how to put 3d objects into on the environment with realistic reflections and all of that so check this out and then we'll jump into today's video which actually will be very short and you'll learn a lot alright so as you can see we have a 3d object in this scene which obviously was not really there and there's one little glitch that i forgot to fix in this render that i'll actually be showing you how to fix but as you can see we have reflections of the environment onto our object so this is going to be very cool and the only thing you're going to need to do this video is cinema 4d r14 or later so r15 also works and also After Effects cs6 or later so if you'd like to in the video description you can download this plate and follow along and as you can see we don't have a 3d object in this scene so this is just some stock footage it's four seconds long I don't want to make like a really big download for us but uh yeah so let's jump into today's video so I'm going to be using the Creative Cloud version of After Effects but all you're going to have to do is go up into your workspace and change this to motion tracking so we're pretty much set up and this is going to be really quick so first let's import our footage I'm gonna do command I on my keyboard and just go over and select my raw plate that is in the video description and click open so now I have my raw plate here I'm going to right-click it and just go to interpret footage main and just take a look and it's going to say twenty three point nine nine is the frames per second I'm actually going to put this to 24 frames per second just because that'll be easier down the road so I'm just going to place this raw plate into a new composition here and now it's going to pop up into our window so if I play it pressing zero on my keyboard we'll see we have our footage playing and this is going to be how we're going to track our footage obviously and we'll be able to do this right inside Adobe After Effects so what we're going to do is right-click our footage layer and go down to track camera so let's click that button and it's going to immediately pop up with this analyzing background step one of two now there are other settings you can change on the 3d camera tracker but I'll be getting into those a little bit later in future videos for this honestly the stock will just work great and this should go pretty quick so because it's just 98 frames so it's going to solve the camera for us and in just a second we will see all these little tracking points so let's go ahead and just scroll through our timeline and see these little points pop up so this has interpreted our footage for us and found all these surfaces so I'm going to show you just real quick if you click off your layer you're not going to see your tracking points if you click on your layer you're not going to see your tracking points if you want to see your tracking points make sure in your effects controls you have the 3d camera tracker layer selected and all your points will be visible so um basically you're going to just think about where you want to put the object in the scene now for me I'd like to place the object somewhere on this top portion right here so I'm going to find a point um just move your mouse around you can either click and hold and just drag a selection around some points and figure it out or you can just hold a shift in select points or you can just do the auto one and find a surface that you like so as you move this around you'll be able to see the target is changing perspectives based on it like we'll triangulate the position and just find a point that you like so I'm thinking I'm going to put the object about here and that that surface seems to be pretty good seems to line up pretty well with the scene so what I'm going to do is right-click and go to set ground plane and origin and what this is going to do is put the floor of cinema 4d and align it to this point so I'm going to do that and then I'm going to right-click again and go down to oh I picked the wrong point it doesn't have to be the same actually so then I'm just going to maybe select this point right here and go to create solid and camera so what this is going to do is create a track solid and also a 3d camera tracker layer and we'll be able to use this footage and import it into cinema 4d so as you can see we now have a sticky note on is what I'm going to call it just on our scene so let's add another sticky note um and just select our 3d camera tracker layer and just select another point just for reference so I'm going to kind of like line it up with this hill here so right click and go to create solid and I like to use solids instead of nulls just because they're easier to see and then I might put another one somewhere back over here just for perspectives purposes and let's find another good point um this one looks pretty good I'll right-click and go to create solid and we're all set up to interpret this footage into cinema 4d so let's go into our project layer and make sure you have your summit 333 raw plate composition selected and just go up into your file and go down to export so if you um you do have to have cs6 or later like I said and also um you can I think you can actually use the light version of cinema 4d but I'm just going to click this max on cinema 4d exporter so click that and it's going to ask you where you'd like to save this footage so I'm going to call this a project just track and save it to my desktop so let's go over to my desktop and click this track project so it's going to open up in cinema 4d I'll be using Studio r15 um I just love this software it's really fun and now if I play this video we're going to see that our tracking points and also floor is set properly so we're going to first do is make sure you go to mode project and make sure your frames per second is set to 24 because remember that's how we interpreted our footage inside um After Effects so now that we have this set up what we're going to want to do is obviously add um our video to this scene to see what's going on so let's click into our object manager go over to your environments um over here and select a background so let's create a new material so double click into your material manager click your matte and let's just call this a video so let's just turn off our specular layer because we don't need it and in our color channel let's go to texture load image and just go over to your desktop so I'm going to just literally interpret arm or import this summit 33 raw plate and click open so this is going to open up and cinema 4d so click into your video here next go to your animation tab and set this to simple exact I'm actually going to go to exact frame as the setting and click calculate so as you can see it says movie frame rate is interpreting it at 23 frames per second let's change this to 24 you're going to want to make sure you're having consistent settings so that should work great so let's close our material editor and just drag our video material onto our background so immediately our scene is going to be in our project now if I play this video our camera is still moving but our scene is not so let's change the setting click double click onto your material you would put on to your background and go over to your editor tab on your editor to editor tab click animate preview and what this is going to do is play the video to the corresponding frame as we go through this project so now when I click play we'll see our sticky notes are now stuck on to the video fantastic alright so let's put an object in the scene and just get this done with real quick so what I'm going to do is go up into my primitives and select a sphere um and as you can see it's going to align itself right to the origin of our project like we set it to so I'm just going to lift this up a little bit and press T on my keyboard to bring up my scale and scale this object up next I'm going to click my sphere go into my attribute manager and turn my segments up to like 150 actually it probably doesn't need to be this high let's just set it to like 50 next go to your type and just do a hemisphere and that's just a basic shape just to show on the reflections of the scene so if I do command R my keyboard to do a quick preview this looks really horrible it looks totally crappy 3d something off the sci-fi channel if you guys are familiar so let's make this a little bit better let's create a new material click into that and let's call this alien text text for texture so on your color Channel let's just add a simple noise click into your noise go into your color one and let's set this to a kind of dark grey and on our second color let's set this one to a kind of dark purple and we'll just leave everything else at that setting go down into your reflection channel let's turn this on and turn our brightness down to 25 next go into your texture and set it to it for now and set this also to 25 let's grab our alien texture and put this on to our sphere so now if I do command R it still is looking bad so let's fix this again I'm go up into your invite your environment objects here and let's grab a sky object right click your sky object and go to cinema 4d tags compositing tag on your compositing tag let's click scene by camera so we can see our video again this is a very powerful tag if you haven't used it before and will be using it for a couple other things in this video so now let me do command R and it's still not looking that good so what we're going to do is duplicate our video channel here drag it over here and click into there and we're going to call the sky texture so would like to use this sky texture as on the video as the light for our scene so it looks like it's in the scene so simply just drag your texture here click and hold and just drag this over to your luminance Channel and drop it onto your texture and turn on your luminance channel and turn off your color channel so now what we're going to do is drag our sky texture onto our sky and do command R so now if we let the video play a little bit more I'll actually probably scale up my sphere so it's bigger if we let the video play more in scale forward you can see we now have on the reflection the scene now something to think about is as you can see the little tree here is the little tree here and that's not cool we don't want that to happen so what we're going to do I'll show you a quick example and then I'll show you why so in your background if you go down to your length and to -100 it's going to disappear but I'll just move it over so we can see I've now flipped the channel so now the little trees over here so that's what we're going to be doing on the sky object is just going to be hard to see so I'll do command Z twice to just delete those changes so we have our background back here click into my sky channel on my material manager and go to length.you and set this to minus 100 now when I do command R it's going to look like it's actually reflecting so the tree here is actually over here now so that looks great alright so let's do a little bit more so in order to make scenes objects look like they're in the scene they obviously need a shadow otherwise they're just floating around in space so what I'm going to do is hold alt and click my track solid all my different tracks solids just tie them so we don't see them and what we're going to now do is go and grab a plane so our plane is going to pop up into our origin so let's just press T and scale this object up as you can see this workflow is very easy um and I think it works great so I'll do command R and now we have a plane on our scene so this is going to be like our shadow mat or a shadow blade and it's going to catch the shadows of our object but obviously it pops up in the scene and we don't want that so let's drag our video footage onto our plane here and what we'll go do is click onto our texture tag on our plane go down to projection and set this to frontal so now the image is going to project itself forward towards wherever the camera is facing so if I do command R now you'll see that the video frame lines up with the footage but obviously it's a different color so let's use our compositing tag again right click your plane cinema 4d tags and go down to compositing I'm going to sitt set it to compositing backgrounds so that means it's going to act like a background object and not be affected by the light so let's click that in do command R and now it's visible invisible but we don't have a shadow so let's add a light to our scene click on the light object and what we're going to do is just drag this up above our sphere click into your light settings go down to type area shadow area and let's just scale this up a little bit next go into your light settings your details and let's go down a little bit and change our samples to 50 just to smooth out our shadows and we'll change our fall-off to inverse square physically accurate so I'll just move this up until it's a little bit above the floor do command R on my keyboard and now we're going to have this massive shadow that does not look very good but it looks kind of realistic so let's actually go into our light settings and change this to inverse-square clamped and just so we don't have such a glow on top of our object let's go to visibility and change a couple more settings our sample distance we're actually going to turn down maybe 250 and our outer distance will also turn down quite a bit see um we have some more stuff to change go into your shadow settings and let's change our accuracy to one hour minimum samples to three maximum samples to 350 and this is just going to smooth out some shadows it's going to be hard to tell right now but we'll still change some stuff so I'm actually going to scale my light down command R and next let's go and just turn our density down a little bit on our shadow because it's a little harsh so we want to kind of still see the background so that looks alright but it doesn't seem to fit in the scene so let's click out of our 3d camera tracker layer just by clicking this little square right here and we're now going to do is be able to move around our scene and see what's actually going on so obviously the light is going to be coming when we're in our camera our light is going to be coming from like this side over here so let's just align the light to where it would be in the environment so I'm just going to move this scale it down a little bit and move it over here so it's kind of coming into the scene from an angle maybe lift it up let's see if this looks better so I'll do command R and now it looks like it's kind of projecting the same way as the rest of our objects but it is a little bit big so maybe we should make our sphere smaller for this example so I'll scale down my sphere a little bit click my sphere and also my plane in my light so I guess I'll select all three of these and let's just position this a little bit different in the environment so it's it's not going over this tree trunk here maybe move it again and let's see what how that is going so that looks a little bit better it's not perfect but we'll fix it in just a second so let me move this one more time something like right there and that is almost perfect I'm going to click out at my camera tracker and move my light just a little bit different it wasn't quite catching where I wanted it to so this is going to be what looks good to you of course but this is what I'll be doing for this example so now I'll do command R and that looks pretty good to me it's pretty lined up with the scene and we'll be changing some more options down the road so now that we have this on the sphere made we need to make this a little bit more interesting so it's in the scene what we're going to want to do is add a cloner object to this and I'll show you why in a second let's go to mograph and holding shift select cloner or actually sorry go to mograph I sold with your sphere selected hold alt and click cloner that'll make this severe a child of our cloner so let's turn our differences to zero here so it's just going to clone on top of itself and let's turn our count up to ten so right now we're not going to be able to see anything it's basically ten copies of the object inside of this one object what we're going to want to do is with your cloner selected and go up into your mograph module effector and go down to step and what this means is every every cloner of this or account is going to have a different setting on each of the different steps of it so the first one be different than the second one then the third one and so on so let's go into our parameters and change them stuff I don't want the scale to be increasing I actually want it to be decreasing so I'm going to drag this down so each count is actually going to be minus 0.75 times smaller so three-fourths smaller everyone also in my rotation let's do something so I'm going to turn my parameters I'm going to change this and I'm just going to rotate it a little bit so as you can see actually what I'm going to do is delete this on this alien object just for a second so just delete it so we can see what's going on actually maybe I'll leave it on there so command R and I might have to just rotate my clone so we can see as you can see we have like a shell coming out of our object here so that looks kind of cool and it looks pretty realistic as well now one of the things you'll notice let me move my cloner over a little bit so the reflection catches better you'll notice on this cloner is that we're actually getting the reflection of our plane on here and we don't want that so our planes here and it's actually showing up in the reflection and this is something that was actually in this video and I said I caught it kind of after the fact as you can see we have our plane stuck in this reflection which does not look very realistic so let's go back into this and on our plane go into your compositing tag and obviously all we'll have to do is click scene by reflection just unclick this and that should fix our problem so now it's not visible in our reflections just like we specified so that's an easy way to just fix things is the compositing tag okay so let's see if this is looking good it looks great so let's add a little bit of an animation to this um and get this rolling so I'm going to just turn my parameters down not quite so much so maybe just two like three hundred and thirty so we kind of have like a bug shell look to it and that looks great so let's go back to the beginning of our composition here so to frame zero and what I'm going to do on my cloner is just click this button for a keyframe and go forward and on my cloner I'm just going to go into my coordinates and change my parameter here to 360 so it does a full rotation and hold command and click this keyframe button and now when I play this video my object is going to spin so that's looking pretty cool um actually what I'm going to do I think it was turning the wrong way is maybe go to the end keyframe and also just turn it um just so we get a whole bunch of spins I'll rotate it also on the H access so just click command and make sure it doesn't turn yellow and that looks good so now we're going to do is go and click our stuff effector and on your effector go down to strength and turn it to zero and hold command and click this button here and that's at frame 0 go forward to end and we're going to turn our strength up to 100 so that means that this effector is going to be going from the strength of zero so these parameters will be affecting an object zero and slowly turn up over time so basically this is our scene so I'm kind of happy with this I think on this shadow is kind of catching at a funny angle so I'm going to kind of cheat and just to rotate this a little bit so press R on your keyboard with your plane selected and just rotate it to fix it a little bit in the environment it didn't line up perfectly and kind of just get it to line up with the rest of the shadows obviously from this first perspective it doesn't look too - right but yeah that looks better so just tweak it a little bit now what we're going to want to do for the scene is export this back to after-effects so what we're going to do is first we don't even want to see the video texture on our plane so just press delete on this texture and so this will actually show up as the rectangle again and for our background we don't have to worry about it and for but for our sky make sure this is set to scene by camera that's correct now what we're going to want to do is click your cloner right click it cinema 4d tags compositing tag let's go over to our object buffer and click enable and this is going to be a buffer one so what this is doing is adding a little tag that tells our render to buffer this object separately and that is going to work out great so basically our scene is set up now we're going to do is go over to our render settings here and actually just change a couple things so first I'm going to right click go down to ambient occlusion and just keep that at the default if you have the render you can change it to physical it'll work without the physical just fine let me do command R and now we're seeing our scene looks great this is obviously not going to be there in our final but it's going to work out great so let's go into our output make sure your frame range is set to all frames and go over to your multi pass on click that on because we want to have multiple passes of this render right-click and go down to object buffer so just make your object buffer correspond to the group ID that we put on our so as you can see this is set to object buffer 1 we need our group ID set to 1 for our object buffer and our multi pass make sense let's go onto our multi pass right-click and go down to shadow so what this is saying is we want to also export all the shadows in our scene separately so let's go back into our save options here on our save options let's pick our render settings so first on my file here I'm going to click in here and pick a location I'm going to command D and bring it to my desktop and just create a new folder so I'm going to call this um track render alright so I'm going to save this file as main underscore enter and so what this is going to do is just save all our different images into a image sequence and also I want to click this alpha channel option so we don't see the background okay so now let's save the multi pass images so this is saying we want to save these all multi pass options so first let's unclick this multi layer file since we're doing a video we don't want all the different channels to be on one file that would be helpful if you're just going straight to Photoshop with an image but or not so unclick this option click into here and what we're going to do on our track render is I'm going to save this as MP underscore for male multi pass underscore and with this layer name as suffix suffix I'm selected that's going to be like MP - object buffer MP - shadow so this is all setup fantastic now there is a compositing project file that you can save to After Effects but it comes out as a dot AEC which I've actually had problems with so I don't ever bother with it you can look into that more if you'd like but it always messes up on me so I don't even mess with it so I'm just going to do command as make sure my file saved that's fine and what I'm going to do is just click this um render - picture viewer so my picture viewer is up over here um yours will probably be in a different location and let's see if this is importing right so right now it's actually not and what I'm going to have to do here is fix this because something is exporting funny so let me just stop this review click yes and we're going to need to fix this so what is showing up in our scene let's click into our sky our background right click your background go to cinema 4d tags compositing and on your compositing tag and your attribute managers let's go over to our tag inset scene by camera and now let's try this again so I'm going to click to my picture viewer say yes that's fine and now our scene is going to be fixed I forgot to click that option so make sure that is set so as you can see our scene is exporting and this is going to render really quick you know as you can see it's rendering like one frame a second so I might even just keep this video rolling I was going to pause it but this is rendering out really quick so what you're going to want to do is go over into your layer here and make sure that you're getting all these different passes so you have your alpha your buffer and your shadow and that'll mean you set up your multi pass right so I'll just go back and let this render out additionally what you're going to want to do is take a look on your desktop and for your track render um just take a look at this folder here and make sure that you have all these different and this is my folder here it's saving as all these different files so as you can see we have MP shadow MP object and the main pass so I'm just going to close this and we'll just let this render out for another second as you can see this is rendering super quick and this is the benefit of compositing 3d objects it really takes no time at all and you can get um some really great effects you know like this is I think this always looks better than like the sci-fi channel and I've got a lot of other cool stuff coming with this like you can add dynamics to your scene you can add other objects I just wanted to show you this track comp wind series um as like an introduction course to making things that look really nice so I hope you guys like it if you have liked this video so far have learned something leave me a like or drop me a comment I love hearing for you and I'll keep the videos coming um and yeah it's just going to be another minute sorry to make you guys wait for this render but hey it's like a minute so it's not even really worth pausing we're just about there I only have 96 frames to render so yeah um I do have some rigging videos come coming soon I always get sidetracked um and I'm trying to find a way to like mix everything together you know like show you the complete motion graphics world I've been doing some After Effects stuff some cinema 4d stuff some tracking stuff and I think it's this is kind of like the first step to enter to get integrating it all together and making something awesome so yeah just another second here oh it looks like it we're now taking two seconds of frame so this could potentially be another minute so sorry for making you guys wait but this is great to make sure that your render is looking the same as mine or similar otherwise you've uh you've messed something up horribly and there's no going back but yeah I think I think these scenes look great and especially when you have a very reflective object that kind of catches the background you know just makes it look like it's actually in the scene then this really crappy 3d thing so additionally you could take like an HDR photo and just put it as your background like if you took an HDR of the scene if you're like a professional and that would make it look even more realistic but for our purposes we just flipped the video and that'll kind of cheat the effect in save us time um and also the money of going to this random location in the desert and doing all that I'd probably cost thousands of dollars which I don't think any of us want to spend on that kind of thing um yeah so this is basically how they did the Transformers movie now normally I would use an application called PF track for my tracking but since a lot of people don't have that and I'm trying to do these videos for you guys I thought I'd use the 3d tracker and After Effects for this effect okay so our render is now complete I'm just going to do command s to save my cinema 4d project click out of there and let's go back into our After Effects project so in our After Effects project will have these sticky notes still on our scene way back in the day let's delete our 3d camera layer and all of our sticky notes so I'm just going to press delete and now we're going to want to do is do command I to import footage let's go into our track render and just select our main now as you can see my options going to pop up automatically to import as footage and at if sequence is what you want and that means all the different objects with a corresponding name and just a different number are going to be imported together so let's say open and I'm going to import it as straight on matted and I'm going to click uh-oh I'm just click ok and now if I drag this on main composition are this this sequence onto my summit it doesn't look like it lines up right so remember this is supposed to be perfect but this doesn't look like how the render did that we just did so what this is if you click your tickets tip sequence because it's an image like an image folder it often interprets the footage wrong so right click it go down to interpret footage main click that and as you can see assume this frame rate is set to 30 frames per second we had our set to 24 so just change that to 24 click OK and immediately our composition gets longer and it now lines up to our scene so that's nice now obviously we don't want to see this this horrible rectangle in our scene so let's do command I and import our next thing which is going to be our MP multipass object so make sure it's set to photoshop sequence in our case say open now we're going to do is grab our object one buffer above our main object here go to our track mat settings and set it to a luma matte so now we once again have had the same problem where a luma matte it works for some of the scene but it doesn't line up in time so we're going to do is click our right click our object one buffer go down to interpret footage main once again it's assumed the frame rate of 30 we need to do 24 so I'm going to say ok and immediately it will fix itself for our scene and now we have our object floating around now one of the things is we're obviously not getting the shadow because we only set the object buffer to our cloner so let's import our shadow right-click go to import or you just can do command I forgot that shortcut for a second and just go down in your folder until you see your shadow so make sure that's set to photoshop sequence footage open I'm going to assume it import of this raw so I'm going to right click go to interpret footage main and as you can see it also has thought this is 30 frames per second I'm going to do 24 click OK and drag the shadow layer underneath everything else because I want it to be behind our objects so now it doesn't look right in our scene so I'm going to go to my mode here and set my mode to multiply and now it's in our scene so this still doesn't look right so I'm going to zoom in a little bit and try to just match the color tones to the rest of our scene so first I'm going to go into my actually what I'll do is probably just do my opacity so press T on your keyboard and just turn your opacity so this is helpful because now I'm able to tweak anything like you can export all kinds of different stuff but I'm just going to keep it simple and just do a shadow pass for this first video so I'm going to just turn my opacity down to maybe like 73 until we get some of the color tones back and maybe go up into my effect right here effect and go down to whatever I want I wanted to fill that would be under our let me change this real quick my setting change it to standard just for a second and effects in presets I want a fill so I'm just going to type in fill and drag oh it's under generate I forgot where it was and I'm just going to drag my fill color onto my shadow here actually that's not going to work what did i do before I'm kind of blanking on what I did actually I matched the shadow color but whatever I'm just gonna leave it on and just pretend it's perfect oh yeah that's right in cinema 4d on my shadow in my light if you go into your attributes on your shadow color I just changed this to a dark blue to match the scene so like a midnight blue and and that will match better as you can see the color tones a little bit better and that's that's what I did I forgot to tell you guys that but anyway in no time at all we have a very nice composited scene that is our 3d object floating in space um and it looks pretty cool you know um I made my plain is a little bit the wrong size for this video but overall this looks pretty cool and yeah so that's how you make this video if you liked it leave me a like drop me a comment and I got more to come and for this footage all I did was slow it down just to make it look more epic and obviously you can do this with anything you get a very nice effect so I hope you guys liked today's video I've got more coming so yeah this was Matt from Mount mograph get your learn on these out guys

Channel: Mt. Mograph

Views: 73,228

Keywords: Motion Graphics, Design, Animation, Graphics (Field Of Study), Adobe Photoshop (Software), Adobe Illustrator (Software), Adobe After Effects (Software), Cinema 4d, c4d, Mograph, Tutorials, Graph Editor, Mt Mograph, Cartoon, low poly, low-poly, minimal, shape animation, motion design, hipster motion graphics, hipster graphics, object transitions, morph, alpha mask, slick, geometric design, basecamp, hipster, map fold, character rigging, expressions, keyframes

Id: Sr7UxnSpVJ0

Length: 33min 46sec (2026 seconds)

Published: Sun Feb 23 2014

Reddit Comments

[u/Mt_Mograph]

Summit 33 - Track.Comp.Win.

Welcome back friends and fellow motionographers! In today's Summit we'll go through a basic workflow of exporting 3D renders onto real life footage! Totally epic way to kill 30 minutes and you'll wind up with something you can show off to friends. We'll go into the incredibly useful Compositing Tag, Lighting and Exporting from After Effects to C4D and back again. Hope ya'll like it and leave me a comment if you do!

Download the Summit 33 - Raw Footage here: http://www.mediafire.com/download/f57f1lpp09n3wts/Summit_33_-_Raw_Footage.zip

Subscribe for unique tutorials coming soon! Like my videos? Hate my videos? Let me know, I'm happy to help if you've got questions.

Get your learn on, Matt

[u/KickingDolls]

Man, I don't want to give you the wrong idea here, but you have the most soothing voice I've ever heard. You record yourself reading positive messages of encouragement and just start sending them out to people all over the world. You could put an end to war, famine, poverty, all of it with that lovely voice.

[u/ReasonOz]

Well done! Like Lazores, I was already familiar with the technique but since it is so in-depth, I wanted a refresher. Nice, pleasant voice too.

What I'd like to see is a part two where you create geometry for the surfaces of the hillside and roll some dynamic spheres down it. That's the next level for that technique.

[u/Lazores]

I like it a lot, already knew the technique but wanted to see how you tackled it. liked the way you did the skytexture (I tend to make a panorama myself, but it aint as quick as this method)

Just a side not, the aec file that you can save from the rendersettings in C4D needs a plugin to work, the plugin lies in your C4D folder under Exchange Plugins then Aftereffects. Drop the plugin that is inside the importer folder into your AE plugin folder.

Then you can just press file and import in AE. This file just takes all your passes and whatever you added (Lights and cameras too) into a composition for you. (It sometimes puts things in wrong order, but its still faster than importing manually)