Tutorial No.98: Creating a Stunning 3D Motion Design in Cinema 4d and After Effects | Full Tutorial

welcome to mograph Luscombe in this series of tutorials in almost four hours we go through the process of creating advanced 3d motion graphics in cinema 4d and After Effects this is another one of our project-based tutorial series in which we take one motion graphic design and show you how to create that motion graphic from scratch in this course we are a creative very nice and professional 3d motion graphic [Music] we start up by explaining the general workflow to create this motion graphic design have you ever played with Rubik's Cube so we're going to show you how to set up a simple yet effective rubik's cube break in cinema 4d and how to animate it this is the most important step to create this motion graphic design then we start from absolutely scratch and what you through every and each step you need to know to design this amazing 3d motion graphic design everything will be done in front of you and there will be no secrets at all after we finished rigging and animating we start a lighting process and prepare our scene for final render as soon as our render is finished we start a compositing process inside After Effects and turn our raw renders into one of the kind 3d motion graphic design so if you want to learn how to create and design professional 3d motion graphics this course is for you if you think you know the basics of cinema 4d but cannot design a professional-looking motion graphic make sure to take the course and learn the thought process behind a high-quality motion graphics and how to approach one so let's get started thank you for watching this free video tutorial from magrav plus comm please make sure to visit our website and check out our premium courses for cinema 4d 3ds max Arnold v-ray Maxwell motion graphics and much more and also please make sure to subscribe to our YouTube channel and follow us on facebook twitter and vimeo to enjoy our free video tutorials okay folks welcome to mograph plus calm now in this first section and in this lesson basically we're gonna be talking about how basically to have this animation of rubik's cubes and how to go about it i mean it's really not gonna be that hard and especially i try to make it as simple as possible for this lesson and show you a very easy way to achieve this kind of interrelated motions you can see different animations and motions and definitely it is gonna be kind of easy kind of hard but the way we're gonna be walking you through in this lesson it's gonna kind of be very simplified and it's gonna be really easy to everybody to understand it the first thing about the whole workflow is that if you take a look at this design here we we have two different types of cube we have these simple cubes with which are very simple and this complex cubes that are made up of a lot of pieces now the way we are gonna be doing this is we're gonna be working with absolutely simple cubes and we're going to animate them and when the animation is done we are gonna be able to simply replace those simple cubes with these complex cubes but while we are animating those we're going to be using just very very simple cubes so let's go ahead into cinema 4d and start or kind of working and see what we are gonna be able to do so the first thing we need to create a cube and I'm getting to my object and reduce its size to something like 190 centimeters and control an inter perfect and then we're going to enable fillet and go to something like two centimeter for the radius and five for the subdivision and then the next thing is to basically go ahead and actually convert this cube so I'm gonna hit C okay I'm gonna hit C and then go to my mograph menu hold down alt and click on the cloner we're gonna changing the type promote to greater right and we're getting to something like three hundred and ninety centimeters perfect so that's what we have at the moment okay great the next thing is to go ahead and actually we can simply go ahead and convert this cloner to be a simple object but before that I'm going into my layers and creates a new layers and let me just change the color to something a bit more like this and I'm gonna rename this to extra I'm going to create a copy so ctrl and drag and then ctrl and drag this copy into my extra layer and make sure it's not visible in my viewer render or my manager so we can reference back to this cloner if we wanted to the next thing I'm going to hit see on this cloner to convert it so here there we go and now we have our cloner and our 27 cubes from 0 to 26 perfect now I'm going to ctrl and drag this cloner and this is gonna be our cloner let's go ahead actually rename this to converted and also I'm going to have another original version of this guy so converted perfect let's go ahead and control and drag this guy to my extra layer too so here is our cloner and the first thing is to do is to make sure if you take a look at the cube they have different access points and the pivot point where are all of our cubes is different what you're going to be doing is make sure that all of our cube have the exact same access point and pivot point which is 0 0 0 on X Y and set so let's go ahead and select our first cube I'm going to enable my axis tool here and in my coordinate manager I'm going to type down 0 0 0 and hit enter and I'm going to do this for all of my cubes so there we go the second one and cube 3 and this is gonna be very very important to be able to do that animation I mean the way I did it is my original design was completely different from this and it was a kind of a lot of reading and expresso involved just to make sure I have an absolute control over it but doing it that way you know it would take forever really if we wanted to do it that way this way is much more simpler and we can really go ahead and create whatever we want someone let's go ahead and do this so I'm gonna zero out all of my 27 cubes so they have there we go let's go ahead and do this for this guy for number 17 but the fact about this methods it's gonna break it's possible to break at any point I mean it at some point it's not gonna be possible to continue the animation because of the gimbal problem that we are familiar with and or in that case we're gonna be you know finding a solution always we can think out of the box and find solutions for different situations and I'm gonna show you that solution after the problem appears so let's me go ahead and zero out and definitely the problem appears whatever you do sooner or later I mean after two three four five six motions it's possible that we see the problem and let's me go ahead and zero out this guy's there we go I'm just going to check them back again and select these guys and take a look at these positions here so make sure there are they there are zero zero zero for all of them so I'm gonna click on my down arrow here and make sure they all are zero zero and this one's for God so let me go ahead and make sure 25 26 and then if I select all of my cubes as you can see their access points is exactly at this point two zero zero and zero I'm going to disable my access point get back to my viewport and start working on our animation here perfect so let's kind of change this cloner name maybe to something like controller or maybe master ok and there we go now we can go ahead and start the animation so I'm going to kind of have about eight motions and each motion will be happen in 20 frame increments now as I said this lesson is just I'm gonna try to walk you through the basic concept and the way that we're gonna be doing it the workflow basically and how to kind of have this Rubik's cubes a puzzle and those motions happening and in from the next section from the next lesson we're gonna start at the basic the main motion design that we have and different ways that we're gonna be doing this but let's go ahead and start the animation now let's go ahead and start the motion here so let's go ahead first of all let's start the cubes from here so I'm gonna go ahead and start them select them here so it's gonna be kind of easy there we go as I said I'm gonna go and have about eight motion each motion will be in 20 frame increments so we're gonna be needing about 160 frames so let's go ahead and type 160 and let's start working the first thing is to make sure I'm gonna select all of my cubes and then ctrl click on my master if you a middle click on your patterns you can see all of the children will be selected so I'm going to go ahead and then ctrl click on the master so it's gonna be deselected but we have the cube selected so let's go ahead and set a keyframe we are just going to animate the rotation so let's go ahead and deselect the position and the scale and let's set a keyframe and then I'm going to frame 20 and then let's select these cubes from this side here so there we go very simple perfect now let's go ahead and animate them maybe this way about 90 degrees I'm going to set another keyframe and then select all of my cubes and set a keyframe for them too and then I'm going to frame 40 maybe and now let's go ahead and select maybe this upper section here so let me go ahead and select all of these cubes perfect and if I move them left or right nothing's gonna happen so let's go ahead there we go so let's go to frame 40 I'm going to select my rotation and let's go ahead and rotate this 90 degree make sure it's 90 degrees let's set a keyframe select all of the cubes again and set a keyframe for them too so now we have first second let's go to frames 60 and let's this time go ahead and maybe rotate this middle column here so let's go ahead and select this middle section so let's go ahead and just make sure you have the right selection perfect and now we got one two frames six teams let's go to frame six Steve's and maybe rotated this way and set a keyframe select all the cubes and set another keyframe so there we go one two three perfect and then I'm going to frame about eighteen okay and this time let's go ahead and maybe rotate this bottom section here so let me go ahead and select all of that just hold on shift and select this guy's perfect and make sure you have the right selection and then I'm going to rotate them this way perfect set another keyframe and then select all the cubes and sit another keyframe so we still have no problems which is perfect now okay just make sure if you have set a keyframe for all of this at frame 80 I'm gonna go to frame 100 and this time let's see so we have this guy's 1 2 3 4 I'm going to frame 100 here and I'm going to select this guy's here maybe and you know what let's go ahead and actually select this part so we have another emotion on the banking axis so let's go ahead and make sure we have the right selection control drag there we go now let's go ahead and see if we can rotate them so about frames 217 there we go oh you can see it it breaks at this point so we can if you take a look it's like 1 2 3 4 all so here basically they're rigged basically breaks and the solution here is as I said we can go ahead and really go talk about our rigging and expresser to make it work but it's gonna be very very complex and really beyond the grasp of this course and always I'm trying to make things as simple as possible so you can really do complex jobs and always think out of the box and try to find simple solution for your complex tasks so what I'm going to be doing is to delete these guys so let's go ahead and delete those and what I'm gonna be doing is create another set of these cubes okay so we have our first set so let's go ahead and master 0 1 I'm going to here maybe let's go to frame 0 back I'm gonna ctrl and drag and create another set so master 0 - ok so 0 2 now let's go ahead I'm gonna go to select everything here and at frame 0 I'm going to delete every key frame on this okay so basically now we have another set of key frame which another set of cubes which has no motion okay so I'm going to disguise the animation finishes at about frame 80 so I'm gonna let's go ahead and hide these guys I'm just going to type in up to 80 so there we go for second master nulls we're going to set a keyframe for all of the cubes at exactly at frame 18 if you take a look at the wall use here you can see everything is basically zero perfect so I'm going to set a keyframe for them so let's go ahead and set a keyframe I'm going to frame 100 and then I'm going to select these guys these cubes here there we go perfect and let's go ahead and maybe animate them again so frame 100 here let's go ahead and negative 90 degrees so let's set a keyframe select all of the nulls and set another keyframe so there we go and then let's go to frame 120 and I'm going to you see this so there we go and let's go to frame 120 let's go ahead and maybe select this upper section this time just hold on shift and make sure you got all of the cube selected perfect and so we have this let's go to 120 and see there we go 90 degrees set another keyframe select all of your cubes there we go so let's go to frame 114 and this time let's see what we got okay I'm going to 114 and select this section here and it might break at any point I mean it's my breaks after 2 movement after 2 rotation or after 1 motion or you know or after 5 6 motions I mean so let's go ahead go to 114 so we got this this 140 let's see if it's gonna work or not it's working yet and I'm gonna set a keyframe here select all of my knowles and set another keyframe perfect and let's go to frame 160 and hopefully this is gonna work too so let's see 160 perfect so I'm going to 160 and maybe let's see if this guy is working I really hope it's Bryce you know what because I wanna show you the completes the complex solution another complex solution I just want to make sure if it happens you know how to solve it but if it doesn't break we're gonna be just working on these two sets and I'll show you how to kind of add more sets if you wanted to so let's go ahead and set another keyframe and select all of the cubes and make sure I see it's kind of breaks you see it kind of breaks at this point it's kind of bright so let's go ahead and add another set of key frames so let's go ahead to here I'm going to control Z a few times there we go and okay now we're going to be adding another set so I'm gonna go to frame 116 let's go to 80 to 140 okay 140 and then we need to create another set up this guy's so ctrl and drag I'm going to select everything get back to frame 0 and I'm going to select all of these keyframes delete them and here is our third set which is gonna be 140 to 180 let's give it to motion a place so let's go ahead get back here I'm going to select everything and make sure it's all this zero out and if you select these guys you can see so let's go to 114 and then I'm going to select these guys and let's go ahead I'm going to select this middle section here so hold on control okay we got this guy selected there we go so let's go to frame 140 first of all and let's go ahead and set a keyframe for these guys there we go and let's go ahead and increase this guy to 118 and there we go so I'm gonna go to 160 and rotate these guys sorry let's go ahead and select them again so there we go perfect great there we go let's go ahead and rotate these guys maybe 90 degrees and then select everything again and set a keyframe and then go to frame 180 and let's see what's gonna happen here I'm going to select this cube Sears okay I'm perfect just rotate and move them and there we go let's move this guy so 180 let's move that maybe 90 degrees here okay or maybe 180 degrees so [Music] okay 180 degrees and set a keyframe select everything I hope it didn't break so yeah it did and it's quite weird because I'm gonna did some weird motions so so let me go ahead and kind of do this thing over again I'm going to select everything I'm justa tool actually controls that a few times just to make sure there we go so we have this it's working fine so let's go ahead and maybe this time I'm going to select these guys here okay move it I'm going to frame 180 let's go ahead and rotate them there we go and select everything oh it breaks it breaks very quick this time you seem so we can add another set but I think eight motion is enough so let's go ahead and just control Zed there we go 160 would be enough here so perfect now so there we go just one motion for this third set now how are we going to kind of blend these guys together it's gonna be kind of very simple we're going to add some keyframes so if I select this a personal it's gonna be up to 80 so I'm going to my basic and I'm going to frame 79 here and let's go ahead and turn these guys on so this guy is gonna be on default so I'm going to turn and visible and editor and visible inverter I'm going to animate them and then I'm going to frame 80 and going to turn this off okay and set another keyframe and then at frame 79 the second set is gonna be turned off and at frame 80 it's gonna be turned on so let's go ahead and just change it to defaults there we go and for the third set is gonna be its me up to 160 so let's go ahead and go to frame 114 139 so that this second set is gonna be turned up at frame 140 so at frame 139 we're going to add two other key frames go to fraud after I'm 140 and let's go ahead and turn them off okay sorry there we go on set a keyframe and then I'm going to our third one is gonna be off at a frame 139 so make sure it's off and at frame 1 14 is gonna be turned on okay so now we're gonna be having a perfect solution let me just save the scene here okay let's go ahead and hit play and see what's gonna what we're gonna get one two three four five six seven eight nine ten eleven so as you can see you got two one let's see one two three four five six seven and eight motion okay perfect and we have blended them together now another very exciting problem here is obviously we are not going to be working with just these simple cubes we are going to replace these cubes and it's gonna be kind of hard how I'm going to basically parent for example if I want to have a sphere here instead of this cube how I'm going to parent this virtual disc you because this cube is its existence is up until frame 80 and from 80 we have another cube from our second set replacing this cube so let me show you what is the problem here so I'm going to take this cube as a prototype here okay so let's come down here and this is cube number 24 let's see I'm going to have a cube that is closer to let's see it this is our cube number 6 that's perfect so let's go ahead and work on this cube I'm going to just quickly create a sphere here ok and let's get the sphere up and running to where we want I'm just going to put it maybe about here let's go and it's exact exact position is gonna be negative 195 because 195 is our keep number here so negative 1/9 5 and I'm going to increase its size okay now I can go ahead and parent and make this sphere to be a child of this cube so it simply would be like this okay so if I go ahead and hit play again you can see the sphere is actually going to work but from frame 80 as you can see because we're changing the set basically we turning off this sphere and we're replacing this cube with another cube in our second set so how are we going to solve this problem I'm going to solve this problem using the constraint tag so let's go ahead and get back here to frame and less remo default here so here is our cube number two and let's see what we're going to do here here's our sphere perfect now let's go ahead and add a constraint tag to this guy so I'm going to right click on this character tag and we're going to add a constraint okay perfect and the type of constraint is gonna be parent and we need to parent and the first target this is the sphere at the moment is 195 negative 1 9 5 negative 195 so it's basically okay that's gonna be good but I'm coming to kind of putting it in here at the moment so let's go ahead and make sure the y is one-nine-five okay so the q6 is gonna cube eight is gonna be what we're gonna be working with okay so let's go ahead and this is our cube eight perfect let's go ahead and work on this thing so the cube eight is gonna be the target so let's put this cube eight and this is gonna be from frame zero to frame a team so I'm going to frame 79 here okay set a keyframe at at frame 80 okay where we basically change the set now you can see our first step set is disabled and we have our second set and if I select this sphere and come down here you can see it's cube number 26 so we're going to parent let's go ahead to our constraint tag here and let's add frame 80 we're going to be replacing our cube number 8 from set one to cube number 26 from our second set so let's go ahead and animate that and this is gonna stay up to frame 140 so I'm going to frame 139 here okay and let's see I'm going to animate this thing go to frame 1 40 now we have our third set basically enabled and this is the cube that we are interested in which is cube number 24 okay so let's go ahead and select this guy and we're going to put our cube number 24 in here animate it perfect now as you can see if I hit play we are going to let me just save this scene here if I hit play you can see the sphere is gonna stay perfectly and it's gonna be perfect you can see very great and I can go ahead and make B make this your kind of a bit bigger there we go so you can see it's much more simpler there we go and we have our sphere completely integrated with our three sets of cubes perfect so basically this is the workflow that we're gonna be using and I don't know it's whether it's simple or complex but this is the simplest way that I can I could come up with really my original design was a lot of rigging and expresso and it was really confusing but this is very easy because you know it's really easy I mean you're just animating some cubes you just need to have some things in mind and if you find it complex just go ahead and rewind and watch the cordwood this lesson again now from the next section we're actually gonna start to basically work on the motion design and see what we're gonna be doing and hopefully after a few hours we're gonna have a very awesome and complex motion design so see you there okay folks so let's go ahead and start working on our animation you can go ahead and open up the file zero three zero one and this file is gonna be our starting point for our motion design ads it's basically what we had in our basically first lesson I'm just having my cubes without having any sort of motion so just really nothing here and also I have this camera hierarchy just to help us out with the motion and is the camera from the main design you see we have this main camera we have a camera that contains some position keyframes and we have a camera that contains some rotation keyframes okay so great so some basic information we can go ahead and you know I'll use it to kind of block out our animation here so what I'm gonna be doing is kind of starting the with the motion that we have and working on it so let me go ahead and I'll tell you what we're gonna be creating in this lesson let me open up the file here so here's the emotion that you're gonna be creating in this lesson you see this first cube that comes in see there and the second cube you can see from left to right take a look here so these two motion we're gonna be kind of blocking them out it's gonna be really easy so let's go ahead and do that so this is our first cube that we're basically going to animate you see and that's our second cube that comes into play so let's go ahead and start working on this let me go and come out come out of the camera and working on this cube the first thing as you saw there was a simple rotation at the beginning of our motion and because the cube access point is at this zero zero point if you're going to kind of rotate it this is what you're gonna have so it's not really gonna work the way you want it to so what I wanted to do is do the following I'm going to select this cube 26 and go to my objects and hold down alt and create a null now we have this null for cube 26 okay which is its access point is exactly at zero zero zero and we have this cube 26 and it's access point is at the same point but we want to for this cube in order to have a rotation around its axis we need to make sure its axis is centered to its volume so what we're gonna be doing is select this guy go to your mesh axis center and center axis - now we have a cube we have a null as a parent for this cube so if you wanted to kind of rotate kind of Rubik motion we can go ahead and simply use this null or and if you want to kind of rotate the cube around its volume we can go ahead and simply use the cube itself so this is gonna be really useful so let's go ahead and maybe about 25 frame would be enough for this guy so you take a look at a camera you can see an about frame maybe 30 yeah 30 is enough so let's go ahead and select this cue go to frame 30 and we want to move it on z-axis so I'm going to add a keyframe just click on this button here and let's go ahead um come back to frame 0 and I'm just going to move this thing on Zed okay and make sure you are basically moving the cube so let's go ahead and kind of move it maybe to about here if I get back to the camera you can see this is what we have I think it's a bit too far somewhere around here would be kind of enough and as you can see one important note here is the camera's focal length is about 15 millimetres so we have this wide sort of look here great so let's get back to the cube here I'm going to let's go ahead to something like 714 and I'm going to the cube coordinates and let's go ahead and set a keyframe for this guy too so here is the motion that we have okay very simple perfect so maybe great maybe we can actually go to about here so let's go ahead and actually thirty maybe five so let's go ahead and actually move this keyframe to frame 35 here okay perfect and now we need to add the rotation so let's go ahead and select this thing and we want to rotate it on heading yeah so let's go ahead and maybe about 13 frame about here I want the rotation to be finished so let's go ahead and add a keyframe on our heading so 0 here gets back and maybe go to something like maybe negative 45 here or let's go to something like 16 and set another keyframe so this is the motion that we have at the moment okay very nice and simple it comes rotates and I just want to make the ear rotation a bit more dramatic I mean you can block out the whole animation and then come back to this detail but I kind of personally like to do some kind of detailed work on my emotions as I go through them so let me go ahead and select this a rotation go to the animation and show the F curve let's go ahead and select this first keyframe and I'm going to kind of spit it up so it's gonna be a bit more quicker at the beginning and then slows down gradually so this is what we're gonna get we have this kind of first motion first quick rotation and then it comes to its rest okay perfect now the next thing is this second cube that comes from this side here from negative x so let's go ahead and actually animate and rotate that maybe it would be okay if it's kind of finish its motion maybe about here so that maybe frame 35 what we had for this guy or maybe a bit light let's go to something like maybe 40 okay so let's go select the cube 5 and you want to move it on X so let's go ahead and positive a create keyframe on X now let's go to maybe here see when it's completely out of our camera view now let's go ahead and move it on negative x so let's go ahead and back it to us maybe to something like this okay and here is this keyframe I'm gonna get back and there we go I'm just going to actually hide this cube for the moment so let's go ahead and hide this and so let's see what we're gonna get and I think it will be okay just to go ahead and change the aspect ratio to the HDTV okay so there we go and now if I kids play this what we're gonna get the first thing is kind of bothers me here as you can see the cube from this side if I go hit shift V and go to my view and increase the opacity here you can see this cube here is kind of visible and it's quite obvious that is staying still there and as soon as the camera comes it's started motion which is really not that nice I guess so what I'm going to be doing is kind of let's go ahead and if I select the cube number 25 let's see motion if I move this keyframe to frame 0 let's go ahead and 0 let's go to something like negative 200 ok let's see what's gonna happen this time so we hit play now it's better and it's a small thing is gonna be it's hard to actually see what's going on with this and I mean we can go ahead and reduce this value if we want to so it's kind of a bit more in motion or what we can do is kind of move this keyframe from 0 to and negative values like negative 20 or negative 30 so this way it's gonna be in motion already when with the timeline starts but I think how let's see is play okay that's I guess is enough you know yeah that's that's gonna be enough and another thing we can do possibly is to move this camera a bit to the right to kind of hide this thing but it's really it's not that important and what I can do with this cube again if I go ahead and open up its F curve I can make the motion to start a bit faster again so it's gonna be in motion from the very beginning and it's not gonna gradually start to if it was like this sorry if it was like this it would gradually start to motion and then speeds up and then slows down but if we change the curve and the handle to be like this so it's already in motion and then it slows down as it goes through the time line so if I go ahead get back and hit play you can see from the very beginning it's starting motion even though it was it be too exaggerated so I'm going to open it up again so let's go ahead show the F curve here maybe something like this is more than enough and so hit play perfect perfect so this is our first motion and we're gonna continue our design from the next lesson so see you there okay folks let's go ahead and talk about creating these complex cues before actually we continue doing our motion and if I hit play you can see we have two type of complex cubes this type that as you can see our cube is made up of our very smaller cubes you can see and the second tab which is this cubes which is kind of like this you see there and then pieces are coming together and finally create the final cube there okay so let's go ahead and work on those two types I'm gonna show you how to do that really quickly and let's go ahead and start working on these guys so I'm going to this is our first type so I'm gonna type 119 make sure you have selected all the x y&z so control and inter and then I'm going to enable the fill a 2-centimeter there we go great so the next thing is to kind of hit C to convert this let's go to our front view I'm going to select my edged components here and I'm going to select the rectangular selection make sure you have tolerance selection enables and only select visible element turn up I'm going to select all of the edges and heat em F and H card tool I'm going to disable this value I'm going to something like maybe 10 in this case I'm just going to show you how to do it and so let's go something like 10 here and let's go ahead and apply that and the next thing is to go ahead and select these polygons so I'm gonna go ahead and select this first guys hold on control and deselect this type these parts and hits you and P to split now you can see we have another set up another cube so select the second row and hits you P select the third row hold on control u P and you continue doing this until you have separated so let's go ahead and hold on control and again u P and we're going to be doing this for all the parts so let's go ahead you P and you P let's go to this part also and finally just make sure hold on control and remove the selection and hit u P now we have 10 extra parts and we can go ahead and let's go ahead and hide everything and work this is our original cube so okay now we can now simply go ahead and basically close this polish because if you go ahead and for example select this guy you can see it has no Polly's in its upper or bottom section so let's go ahead and create those Polly's for all of them and basically close them and lock them down so I'm gonna go to my poly and go to my M D to my basically closed poly tool and let's go ahead and do this for other parts perfect let's go ahead and here we go let's go ahead and select and create the other guys there we go it's closed so select this guy and perfect let's go ahead and select this one and close it hide it unhide this one and do this for all of your cubes now this type that this type that's we are working on it's kind of simple to create but the next type which was very very small cubes it's gonna be much more complex I mean that's really much more complex it's gonna be very time consuming for you you want to create it even though I'll be providing the model and you don't have to do it but if you had to do it it would actually take a lot of time to actually create so let's go ahead and unhide everything and now we have this nice Poly's let's go ahead and hide the original cube and now we can go ahead and simply apply some sort of fracture and stuff like that that we're gonna be doing in the next lesson and I kind of move these pieces and separate them so you can see very simple now we have all of these parts basically making our cube here now this is our first types of enough alt G this is our first step now the second tab let's go ahead and create another cube here and exactly the same size so 190 centimeter feel like two centimeter and I'm gonna go hit env to go to my garage trading lines and then I'm gonna add some segments now we're gonna be recreating basically these guys now right now we're gonna be trying to kind of create this guy you can see there are small cubes and as I said it's really gonna time be time-consuming and we're not gonna be able to create this whole thing even though I'm gonna providing you with the this model and these pieces and you can use it simply in your design but generally speaking it's kind of really time consuming let me show you how we are going to be doing this first of all you define how many cubes you want let's go to six and six and six for olive are all of the sides here and the next thing is to kind of convert this so let's hit see there we go now let's go ahead and split this part so let's go ahead and go to the one let's go ahead and select these guys there we go now that's what we have at the moment I'm going to hit U and P and this is we have basically splitted this part I'm going to hide this original version and now we have this basically side alone and now we're going to separate each and every one of these cubes you know so let's go ahead and do that I'm going to hit em and deep and close this poly and then I'm gonna hit K to my knife tool make sure it's on line and I'm going to basically connecting these vertices together so let's go ahead and there we go let's start here and come up there and just make sure it snaps you can see when you hover our point it kind of highlights it and then you can click and drag until you get another vertex and let's go ahead and do that there we go now let's do it vertic horizontally let's go ahead and do that so let's see there we go perfect now let's go ahead and see what we can do here and I'm going to now select these poly san see what we are gonna be doing let's go ahead and separate this time this side here so let's go ahead to here and I'm going to hit you and pee again okay let's go ahead and hide this guy and now we are here again we need to close the Polly's for this guy so I'm gonna hit and M and E and then again use the knife tool and let's go ahead and connect this guy so just let's see there we go and perfect now you have this and you are going to split it again I mean it's a very time-consuming process but the good thing is let me just walk you through a few of these guys so let's go ahead and maybe select these policy and then you hit U and P again and let's go ahead and hide this way one and simply you have this poly and you go to M D and just make sure and you can close it now let's go ahead and hide this unhide this and let's go ahead and select maybe these guys this time and hits you and P let's go ahead and hide this and select this and simply go to your close poly tool and there we go now you have two of these guys very simply and you can go ahead and create as many as you want really simply so the access point is right now here so you can see it's very simple and we basically have created two of these cubes now if you take a look at the original cube here let's go ahead and unhide that you can see what you can do I mean if you want to go through and create all of those cubes it's gonna be forever you got about six cubes here six cubes there six cube down it's a huge number I guess it's about 200 220 something like this and it's really gonna be time-consuming but what you can do guys is for example when you create this a raw here 1 2 3 4 5 6 of these guys you can go ahead and simply control drag them and copy them and these raw will be created and you go ahead and do the whole thing and when you for example are in this side and you're working on this raw here this guy's here and you finish one you can go ahead and copy it down and create a few copy and if you create this one whole column here this is about 36 of these guys you can go ahead and simply copy the whole raw one two three times and here you're gonna be able to just copy them and it's gonna be very simple so this is the way I did it originally and it was a bit quicker but generally speaking it's a really time-consuming process when you want to have this nice and custom cubes and this is unfortunately the only way to do it I don't I'm not aware of any plug-in that's gonna be able to do that but generally speaking this is the way you are gonna be doing if you don't have to do it because I'm gonna provide you with the model which is gonna be just at this one and the also this small cube so this one and the second type which is gonna be this one here okay so in the next lesson we're gonna start putting this guy's into our motion and see how we can kind of animate them using fracture and integrate them with our whole motion so see you there okay folks let's go ahead and continue creating our motion design and in this lesson we're gonna be creating the first part of those small cubes so what I've done here in between lessons I just went ahead and imported this model let's go ahead and hide everything else and here's the model that we have and it simply is as you can see we have some small cubes I can go ahead and maybe select this guy here you see let's go ahead and maybe select these guys you see it's just very small cubes you can go ahead and as I showed you in our previous lesson I just went ahead and create a whole cube and I imported it here and then I just simply created a fracture object okay and put all of these small cubes into that fracture object and rename the fracture object to small cubes zero one and make sure the fracture object on their object and under mode is set to explode segments and connect okay so that's what we need to do for the moment so let's go ahead and unhide everything else now what I want to do as you can see right now it's in here which is perfect and as you can see the position of this guy is at 195 195 and negative 1 95 I'm just going to create a null and I'm not going to animate these fractures objects you know position or rotation wise I'm just going to add a plane effector and work on it but in order to kind of be able to have a better motion if you wanted to kind of individually move it I'm going to make it to be a child of an old so let's go ahead and create a null and I'm going put and no pivot point exactly at this center point which is let me just it's a 1 9 5 1 9 5 and negative 1 9 5 so 1 9 5 1 9 5 and negative 1 9 5 okay so the knowledge exactly at this point which is perfect and we're going to just rename this thing maybe to small cubes I'm going to put this fracture under this node okay now we have this node exactly at the center point and the next thing is we are actually going to put this to be a parent of our cube number 8 so let's go ahead and put it down here perfect and now we have our cube and if we move it the whole thing will move now it's time to actually go ahead and add some effector so we can actually move those small cubes so we have this fracture objects and let's go ahead and add the vector so I'm gonna go to my mograph effectors and let's go ahead and add plane effector so let's go ahead and add a plane I'm gonna open up the camera and put this plane effector here so it's child off our Nolan R cube and it moves as we move the whole structure and let's go ahead and work on this plane for just rename that small cubes zero one and we're just gonna make sure that it has been added perfect let's go to the plane effector I'm going to first of all change this to be a linear fall-off I'm gonna get out of the camera and let's kind of see where is our there we go here is our plane effector I'm just going to kind of rotate these things a bit so as you can see now we can see those small cubes perfect let's go ahead and kind of maybe rotate them this way it's going to make it a bit bigger and now let's go ahead and change some of the parameters for this plane effector so under parameters I think something like this maybe something like this not too much really but just let's go maybe on X we need to go through a bit and then Y if it's more I'm going to enable my rotation and rotate them as they kind of rest in their final position so let's go ahead and maybe change these guys to something like that and also I'm going to enable my scale uniform scale and put it negative one perfect and now we can simply go ahead and animate our plane effector and get this motion okay perfect nice now what I want to do is to kind of hide this cube eight because we don't need it and I'm going to enable the other pieces that we have here perfect now if you take a look we can go ahead and simply and he made this cube I'm gonna go ahead to my camera and see what exactly we have if I move this guy so if I come down here okay okay it's not too bad we show the camera is still moving so we're gonna be finishing it in a place like this so there we go so perfect nice so let's go ahead and animate the plane effector so I'm going to select the plane effector go to the coordinate manager and create a keyframe for the x and y and z and this position is gonna be at about maybe let's go to something like 30 and as you can see it moves so it should be finished by about frame 70 so let's go ahead and select our plane effector I am hoping that I can kind of move it so let's go ahead and get out of the camera for a moment let's move it on said perfect let's go ahead and animate them create a keyframe if I get back to the camera and if you take a look so here's the motion that we have okay perfect the only problem is actually perfect yeah about 3:30 so we hit play and okay that's perfect now we are going to be continuing and in the next lesson we're going to be creating another part of our motion design so let's go ahead and do that I'm gonna first of all let's go ahead and save the scene and we continue our last our course from our next lesson so see you there okay folks let's go ahead and continue our motion design so here is what we're gonna be creating let's get back here I'm gonna be trying to recreate from here to here and this part also are need kind of this slices of this cube kind of build up we're gonna be creating this too okay so let's go ahead and start working on it I'm going to so here is our camera the first thing I wanted to kind of change is this first plane effector I wanted to finish kind of a bit late you know it's finishing about frame 60 I want to finish about cream 70 I think it would be better so let me go ahead and select this and select this keyframe here it's at 70 I'm gonna put it at about 80 and if I now we go through you can see now it's better so it's about frame 18 it's perfect now we're gonna be actually rotating this master controller let's go ahead actually rename this thing to here okay now before doing anything we have imported this second set up our cube if I get out of this camera and here it is and it's exactly where our cube number 18 is this GOP oh there we go I move it sorry if my access point enable let's go ahead here is the cube number 18 so let's go ahead and as we did for this first set of our cubes these small cubes we're gonna be putting this guy into a null so let's go hold on alt and create a null now let's go ahead and just copy the name here and paste it on our know and also going to be parenting this to our cube number 18 so let's go ahead and do that I'm in the middle click on this and put this under my cube 18 perfect now when we move our cube 18 the whole system will actually move okay so this is perfect now let's go ahead and work on our motion at what premium 18 so let's go to frame 18 I'm going to my master zero one okay now let's start raw animating the position under rotation so let's set a keyframe for them at frame 80 and for the rotations also and I'm going to let's see at about frame 100 about 20 frame here we're going to be rotating this guy let's go to something like maybe 100 I maybe 115 is kind of enough and on pitch so let's go ahead and rotate it about negative 180 now as you can see we have our cube number 18 so let's go ahead and maybe nearly 118 and I don't know maybe something like this is enough and also on Z let's go ahead and maybe few degrees on Y I'm going to maybe move move it up a bit maybe something like this and on Z I think maybe a few centimeters will help okay now let's go ahead and set a keyframe for these and basically here's the motion that we have so you tweak hit play and that's the motion exactly what you want so hit play perfect now the next thing is to basically animate the added fracture object at a plane effector to the second set up our fracture object and small cubes that we have and we're gonna be animating it so let's go ahead and add a fracture object so I'm gonna go to my mo grab vector sorry a plane effector and let's put these plaintiffs vector there we go and let's put it here I'm going to hide the cube number 18 and make the fracture setup visible so you can see that now we have our plane effector I'm going to select this I'm going to its parameter for the moment I'm going to disable the position I'm going to the fall off and make it linear again and let's go ahead and move this thing and okay here it is so let's move it maybe to here I'm going to change the orientation to plus y or minus y ok so that's what we have perfect and let's go ahead and work on the parameters that we have here first of all is the scale so let's go to our uniform scale and put it to negative 1 perfect and if I move it this is what you're gonna get and the next thing is to work on the rotation maybe something like 100 degrees is kind of enough and the next thing is to kind of change the size on up our follow up on Y I'm going to reduce this value to something like this so this way in every and each moment we just have a few cube moving and not all of them and we're gonna be able to create this sort of motion okay I'm going to my parameters enable the position this time zero out the Y for the moment I mean to move these guys on negative x so we got something like this and maybe we can go ahead and actually increase the rotation to something like 168 and if I kind of move it with my plane effexor this is what you're gonna get nice maybe it's a bit too much on our X let's go ahead maybe it reduce this wall which is something like this and if I move my plane I Specter this is what you're gonna get okay it's that's very close to what we want okay now let's go ahead and animate this if you take a look at the design here you can see if I take here take a look here it's kinda it's very slow you see it's never finishes and it's kind of there let's go ahead and apply here you see this gets back a bit more maybe to about here and it's like okay you see when we get there a few slice has finished their movement and these guys are trying to finish the cube but they're moving kind of slow and as you can see even though we change the animation and we move the camera to this side these guys are still trying to build up and if I go ahead and take a look you can see even though we have finished the motion and change the but I basically where move the whole structure they are still they haven't finished yet so this is what I'm gonna be trying to do so let's go ahead to so frame 100 is where we get there and we need to have a few cubes and a few slides already built so what we're gonna be doing is to let's get out of the camera so it kind of can manage the thing of it easier let's go ahead and get back to here okay so I'm going to frame let's see maybe create a keyframe here so let's go to coordinates I'm going to select all the positions and set a keyframe and I'm going to move this keyframe to frame zero okay so when we get there we've already had something now let's go ahead and select this plane again and let's kind of move it up that's not the right one that's the wrong one actually lets me make sure you haven't messed up the let's go ahead and select this plane so we have this let's go ahead and finish it up set a keyframe again but this keyframe needs to be maybe about let's go to I'm not sure really but let's go to something like 330 maybe so let's see if I get back to my camera okay when we move the whole structure and rotate it we have a few cubes already finished maybe one cube and here where the camera again you see changes so let's take a look okay so we kind of need to about 60 frames something like this so come down here okay perfect so to calm down here okay so it's about frame 100 we received here and if I take a look at this plane again we have this key frame we can go ahead and maybe frame 0 maybe let's go ahead and if I put this thing about here for the moment get back there I can kind of go ahead and maybe do something like this so snow just gets back here so we come here and we have a cute build up perfect so that's close to what we want and now we can go ahead and continue by adding different motions and as you can see it's kind of kind of slow exactly what we want and we can program about here change to this other side of our whole structure so see you in the next lesson and we're gonna be trying to build the arrests of our motion so stay tuned with mograph plus calm and I see you in the next lesson ok folks we'll come back now in this lesson we're gonna be creating a very small animation but it's gonna be essential let's go ahead and hit play if you take a look this place is an empty and this cube comes and fill that place so if I hit play I'm gonna be just recreating that small motion ok let's go ahead and do that this is the cube in question it's cube number if I take a look and get out of the camera sorry so here is the cube cube number basically let's see which one is this is cube number 22 so let's get back to the camera here and let's go to let me frame about 100 when this motion is finished so let's set a keyframe at frame for the position zette as you can see we're gonna be moving this coupon zette so let's go ahead and set a keyframe at 1:00 maybe about 40 frame so at about frame 140 it should be at its place so let's go ahead and see the keyframe and I'm gonna get back to frame 100 I'm gonna just pull it out until we can't see it there we go and set a keyframe at frame 100 now if you take a look so let's get back you see we can see it here you see this is a huge problem that we're gonna need to solve it but if I hit play it comes there we go and it goes but the problem is you can see we can kind of see this cube at the beginning of our design so what we can do very simply is to add a simple display tag so it won't be visible until frame 100 okay so let's go ahead and do that I'm going to cube number 22 and I'm going to right click on this cinema 4d tag at a display tag and I'm going to enable the basically the visibility okay or we can go ahead and actually just enable or disable its if we want even though without having any display tech just simply turn it off in the editor and the render but just this display to kind of help to keep our scene a bit more organized and it's helped to kind of remember what we have done so I'm going to first of all enable this visibility okay and at frame 100 the visibility should be zero before from 0 to 100 so let's go ahead and set a keyframe and at frame 101 we're gonna be increasing this visibility to 100 and if I get back now to here you can see we can't see this cube here and we basically make it disappear and if I hit play we go through we rotate and as you can see now that you come into place perfect so that was it and now we're gonna be doing our next step and moving the whole structure a bit about 20 30 degrees and add the small cubes instead of this big cube cube number 20 that we have here so let's go ahead and do that okay folks let's go ahead and continue our design and in this lesson we're gonna be creating this motion this exactly this motion so we basically go ahead and move our camera okay this way and actually we will rotate this middle section here so if I take a look and hit play again there we go that's what we're gonna be recreating and not these small cubes yet we're gonna be doing it in the next lesson but for the moment you can see we can simply go ahead and create this okay so let's go ahead and do that the first thing I wanted to kind of change and kind of work on it is the basic we can actually go ahead and animate the camera can see we got this camera and it's kind of you know working fine but what I'm going to be doing is moving this master controller I don't want it to kind of stay completely still as we kind of move this I want to have kind of some sort of motion so this is when we kind of move it on rotate it very severely at about frame 100 and about frame 140 we want to kind of rotate it to this other side okay so let me go ahead and kind of change it really small so it has some small motion all the time let's go to may be frame 140 about here so let's go ahead and do some very basic maybe changes just maybe something like this to maybe make it nicer or let's go ahead and maybe this side a bit let's go ahead and create a keyframe for the position and for the rotations and just a very simple small movement so we don't stay still all the time okay then I'm going to frame 114 and about maybe 10 15 frame we're going to maybe 150 here now let's go ahead and change some of the wall use for this guy so let's go to frame 145 over 50 so it's 10 frame and let's select this master controller let's maybe kind of get back a bit and let's put it down somehow let's go to our Zed and kind of get to the side about maybe something like this would be enough because we're going to you know rotate it so let's go ahead and kind of rotate it to this side something like 60 65 degrees would be enough and let's go ahead maybe negative 170 and let's go ahead maybe go to something like negative 4 so this is kind of good if I go ahead and take a look we are having this motion so boom perfect now we're going to add other motions so it's not gonna stay that's you know quick boom sudden stop we're gonna actually remove that but for the moments let's go ahead and animate this middle section here so let's go ahead and what we want to do about frame 142 I think it's good so let's go to 142 I'm gonna get out of the camera and I'm going to select the cubes that are here so let's go ahead and hold on shift and select them so we're basically doing our first robux motion here so let's go ahead and select all of these cubes and the cube that is in the center is cube number 13 let's make sure we got the right selection perfect and let's go ahead and animate this guy's rotation so let's go ahead and select all of their rotation and okay so we have this motion at the moment so let's go to 142 I guess it's enough I'm going to animate these guys let's actually get back to our camera and about 15 frames I think it's gonna be enough so let's go to 1 5 7 and we're going to rotate these guys I get back here just make sure you got the right selection and we're going to rotate them you see so let's go to 1 5 7 and if you rotate them you can see it's gonna be problematic let's get out of the camera and just make sure we have the right selection here and I'm going to rotate these guys 90 degrees see it's kind of problematic let's see what we have selected wrong we might have a wrong selection here that's why kind of stay let's see what we are going to select if I move these guys you're definitely changing some other things let's go ahead and make sure we have the right selection here again mmm everything looks to be fine and if I go ahead and rotate them sorry there are as you can see they're fine okay so let's go ahead and go to frame 1 5 7 and let's start selecting these cubes again see cube number 13 and get back to the camera there we go and let's rotate them about 90 degrees okay and let's go ahead and set a keyframe for them so this is what we're gonna get I think the camera motion should kind of start a bit later the master Knoll motion so I'm going to put these guys to maybe if I get closer here to about maybe here so starts then the camera moves perfect and okay so if you take a look this is what we have at the moment and perfect now we're gonna be creating this other motion where these small cubes kind of create this cube here and we're gonna be doing that in our next lesson so I'll see you there okay folks in this lesson we're gonna be working on this piece here as you can see these small cubes are kind of creating our cube let's go ahead and work on that first of all if I come out of my camera the a Cuban question is cube number I think it was 20 I guess that cube number 20 and I have imported basically another piece of these small cubes as you can see just some small cubes into a fracture object and they are exactly centered with our cube number 20 as you can see 195 negative 195 and 195 I'm just going to select this guy and hold on alt and add a null and let's go ahead and control see the name and copy the name to the null here and I'm going to put this null to be a child of the cube number 20 okay we might be if our setup breaks if our Rubik's basically movements break we might need to change this parenting system to constrain tax system but for the moment let's see how that's gonna work out so here's our Knoll and we can go ahead and work on the fracture object and see how exactly it happens now if I go ahead and get back to my camera we can go ahead and actually hide the cube number 20 and make sure the cube the small cube in the fracture object are kind of visible let's get back to our camera and if I move this thing there we go here we need to kind of animate this thing let's go ahead and do that it's gonna be very simple let's go ahead and quickly add a basic let's go so I'm going to mimeograph effector I'm going to just create a plane effector and let's go ahead and put this thing in here let's go ahead and close this guy and this one too okay now we have this plane effector let's go ahead and actually move it you know right place so let's go ahead and get out of here as you can see right now if I select this plane effector lets me gonna move it and let's go ahead and change its so like this plane effector change to fall off again to linear and this is what we have great let's go ahead and move this thing and see what exactly we want to do now if I get back to the camera you can see we have this fall off and we can work it out let's go ahead and kind of let me move it a bit it doesn't really matter that much we're just going to work on it so let's go ahead go to our plane effector I'm going to the parameters and I'm going to zero out the Y I'm gonna move it on X so like this okay and if I go ahead and move this you see this is what we got at the moment that's me good to change my plane and change its orientation to if I go to plus X it's gonna be I guess Plus that is the best case in this let's see maybe negative Z so that's what you're gonna get at the moment you know kind of close to what we want let's go ahead and work on it I'm going to first of all make the parameter enable the scale uniform scale and make sure it's negative one okay so as we move them you can see they kind of come into play and I really as you can see in the design get back here a bit you can see these cubes are really random and they you know fill the places not in a really regular way that they are really as you can see irregularly basically come in to their places so let's go ahead and do that now in order to do that you can see other ones are really exact and really kind of natural maybe but let's go ahead and do that I'm going to select this plane effector the fracture object sorry I mean II okay let's go ahead and apply a random vector let's go ahead and make sure the random vector even though it doesn't matter in this case I'm just going to put it there and let's select this fracture make sure the random is applied before the plane okay and then I'm going to this random effector and I'm gonna disable the position and I'm just going to randomize the weight of this cube so maybe something like this okay now if I go ahead and move the follow up you can see they're gonna be like this nice not as good and back here so about let's see I'm gonna go to my plane I don't want them to be a bit farther away and also maybe we can apply some sort of rotation a few degrees just maybe something like this and maybe a bit on Y and maybe a bit on Zed something like this maybe it's enough and now if I move my plane you see we get this motion perfect nice so let's go ahead and maybe about here it's a good point let's get back to about 135 I think so let's go ahead and I'm going to select all up the position while use and set a keyframe and maybe go to frame maybe 200 and see maybe here we want to finish them maybe something like this okay and set another keyframe so basically this is what we have hit play and there we go maybe I don't know looks a bit unnatural and I guess you can kind of make this thing to be a bit quicker so let's hit play again that's much more better and at the moment it seems a bit unnatural but when we go to After Effects and start compositing we're gonna be adding motion blur to this data and they're gonna be looking much more natural so no worries at all if I hit play so this is what we are kind of having okay nice so this is it and we're gonna be we're gonna go ahead and continue our design and hopefully finish the whole motion design in a few lesson and then we can start adding more detail and prepare our scene for lighting and rendering so see you in the next lesson okay folks will come back now in this lesson we're going to be creating the motion from here from here you see this big rotation and also this part here that you can see okay so from here when we are rotating the whole structure and then we're gonna be creating this part this fractures here okay so let's go ahead and get started here we are inside cinema4d and we have finished this motion so that's what we have at the moment great now let's go ahead add about frame 175 okay I'm going to select my master here and I'm going to start the basically the rotation from 175 so let's go ahead and select this guy and I'm going to select the position and also let's set a keyframe here and also select the rotation and set a keyframe and we're going to you know maybe about 15 frame let's go to something like 190 191 something like this and we're going to rotate and move our master controller and to the other side so let's go ahead and rotate this now let's go to something like let's see maybe negative something like here this is the cube but not exactly this one let's go ahead we still need to go the other side and let's go to maybe just negative 174 75 let's see something like that and for here let's go ahead so something like maybe this this is the cubing question cube number six exactly so let's go ahead and rotate this wall used and sorry I just made a mistake we're going to make sure the wall use are here so it was negative 75 yeah and then negative 177 and finally negative 1 7 4 okay let's go ahead and set a keyframe for them and now we have this motion you see so if I hit play boom perfect now when we actually it's a bit unnatural because it's so quick but when we actually go to After Effects and add the motion blur it's gonna look so nice and natural so let's go ahead to here and let's see and let's change this wall use a bit I'm gonna go ahead to kind of move my whole structure a bit down maybe something like this and maybe ok I think that's nice let's go ahead and set a keyframe for these guys too and here is what we got perfect now the next thing is to go ahead and actually add the kind of those slice of cubes this fracture that we had in here and if I get back to frame 0 the cubing question is cube number 6 and if I come here I have this side fracture 0 4 which is as you can see just the same thing that we had before so if I go ahead and let me just delete this tag here and get out of my camera so here is the this side fracture and it's exactly is in the position of our cube number 6 and if you take a look it's negative 195 195 and negative 1 9 5 let's go ahead and add a null and I'm going to ctrl-c and ctrl-v here here is our null and let's go ahead and make this to be a child of our cube number 6 so let's go ahead and do that cube number 6 and if I get back to my camera and if you go through there we go here is our fractures we can go ahead and hide cube number 6 and I also enable the null and the fractures now let's go ahead and quickly add a fall-off here so I'm going to go ahead and select this No and goto mograph effexor hold down shift and add a plane effector let's go put this plane effector down here I'm going to my site fracture zero four go to that vector and I'll so let me just make sure rename this plane so we don't confuse there we go and I'm going to select this side fracture and put this plane side fracture zero four in here perfect now the only thing I'm going to do is to zero out the values for this plan a plane effector so it's gonna be exactly here so let's go ahead and zero out all of these values and hit enter and as you can see if I change the fall-off to be a linear fall-off you can see what we have here I'm getting just to change this to let's see positive x or positive Y yeah that's what we want and if I move this you can see this is what we get at the moment perfect let's go ahead and work on the parameters a bit I'm going to a negative value maybe something like this and also I'm gonna change the positive Y to be negative Y okay and let's go to the parameters let's yeah I think we were wrong let's go to these follow for a moment and still negative wide perfect now let's go ahead and enable the for the moment enable this scale uniform scale and as always negative one so that's what we have and let's go to the fall-off and change it to positive Y and see what's gonna happen perfect and we can go ahead and kind of move our fall off this way perfect so let's go ahead and work on this I'm going to make the fall-off to be a bit smaller maybe something like this and go to the parameters the position something like this not too much really and also let's go ahead and have some rotation here maybe something like this and if we can if you want we can actually add it this way too so I can go ahead and simply animate my camera my plane effector on y-axis so very simple ooh great now let's go ahead and animate that so at about frame 190 you see we get to here so it should already we need to have a few cubes when we actually when we land the motion here so let's go ahead its frame 190 right so let's go ahead and I'm going to select my plane effector go to my coordinate I'm going to move it so let's go ahead maybe let's set a keyframe in here so and I'm getting to about 50 frame a B let's go to frame 250 and let's go ahead and move this thing here and set another keyframe okay and I'm getting just to put this guy maybe for about frame 160 so this way when we actually rotate our structure we already have some cubes so just make sure I'm gonna put this value here maybe about 140 so we had some cube when we go there okay there we go perfect that's what I want and it's gonna stay we're gonna be staying here about 20 30 frames you can see here is the camera moving and as you can see we actually didn't talk about the camera animation and as you can see I have to hold one for camera rotation while for the camera position and then why I really didn't go through the camera animation it would take forever and we already have a lot of courses about the camera animation and all of the other courses that we have the gift project the box audio project and the real slow advanced motion graphic in cinema 4d unreal we talked extensively about the camera animation and - it would take really forever if we want to you know go through the cameras animation and all of those delicate and very nice motion that we have our camera it would be impossible solved it would really make the animation much more harder if we had to move and animate the camera and the whole structure here but that's why I just used the camera that I had before and are imported and we base our animation on that cameras motion and I found it kind of useful I will kind of go through quickly how to set up your camera very quickly but the motion of the camera will be here is what we are using it so let's go ahead and sit back so that's nice you know it's kinda here and you know frame 190 we're gonna be for a frame 220 so you can see I'm going to maybe put this guy to about 300 so let's see what's gonna happen perfect and 220 and these guys are still working and our camera is moving and perfect so that's what is that's great so let's go ahead and work on the earth stuff our motion in the next lesson so see you there okay folks we'll come back now in this lesson we're gonna be creating a few other motions if you take a look here this is one of the parts you see that's after we let me just go ahead let's take a look at what we want so we are here at the moment okay so we're gonna be adding this motion here you can see this rotation and also this second rotation okay so let's go ahead and do that very quickly so at about frame 190 you see we have this and here as you can see the camera kind of moves and rotates so maybe about frame 225 is gonna be enough our first motion and we're gonna be selecting these cubes that are in the basically middle part of our cube so let's go ahead and select them they're our cube let's see 2112 let's go ahead and select them from here I have right basically write down the numbers for these cubes let's go three also 5:16 so this is five this is 16 and let's go 10 23 14 so 10 23 and 14 so we have basically this nine Kuban if I go ahead and move them and 13 so let's go and actually select the 13th and here is you can see we have selected all these cubes now if I go ahead and select my rotation I'm going to make sure to basically add a keyframe for these guys okay so we have all of these guys and we're going to go ahead and basically add a keyframe if you go to your rotation tool while we have it here okay folks now we can go ahead and rotate them if I go ahead and rotate them right now you can see we're gonna have some problems you see they're kind of the axis basically is not right so what we're going to be doing is if you go to your rotation select this rotation and go to your object axis you have this reject manipulation and this gimbal in rotation let's go ahead and select both of these guys I'm going to set a keyframe for these nine cubes that we have selected and if I go to about 15 frame would be enough to 14 and let's go ahead and maybe rotate them this way let's go about 90 degrees perfect plus another keyframe and as you can see we have absolutely no problem and if I hit play there we go so that's what we want the next thing would be to kind of wait until the camera make this big move you see that's the camera movement if I go ahead and maybe go to the top view see where we are here there we go here as you can see the camera making this big rotation here that's what we are talking about you see so we're basically moving the camera instead of the EBA moving the whole structure here so what I'm going to be doing let's go ahead and about frame if you take a look 265 it's a good starting with two rotating this guy again so let's go ahead and do that so I'm going to about 265 and we have those cubes still selected so I'm going to create another keyframe and again about 15 frame 280 I'm going to kind of rotate them again 90 degrees okay so let's go ahead and do that and set another keyframe so if you go ahead and take a look that's what we have one motion and the second motion perfect perfect extremely perfect okay folks now before actually we finished this lesson I'm gonna go ahead and do one extra motion if you take a look at a design you see here is the first rotation here's the second rotation and if you take a look at the design we have another rotation here about here okay so let's go ahead and do that so here is the first this second and we have still those cubes selected so I'm going to maybe frame 200 maybe 295 okay and again set a keyframe port down and go to maybe 200 300 250 300 maybe 10 and rotate these guys again perfect so let's go ahead and set another keyframe for them and there we go perfect so hit play 1 2 3 and now we can actually go ahead and do the final motion that we have in the next lesson so I'll see you there okay folks now in this lesson we're gonna be basically finishing the basic motion here and we're gonna be working on these final part of our design if I go ahead and hit play I'm in this you see if I gets back a bit so let's take a look this part okay we're gonna be working on this so let's go ahead and do that perfect I'm gonna go ahead and start working on this design and let's see what we want maybe about frame 300 and take a look we have this vinyl motion 310 I think would be perfect so let's go ahead and select our master Knoll here and I'm going to set keyframes let me actually enable the position also and I'm going to set a keyframe for the position and rotation at frame 310 and maybe about 30 frame at 314 okay we're going to rotate it so let's go ahead and rotate these guys I'm going to something like negative 175 maybe something like this kind of severe here and let's go - I think that's enough for here let's go to about mmm I don't know let's see maybe about kind of here is enough and also okay that's cool and the next thing let's change the position of it a bit let's see on X about 120 130 let's see I guess this is gonna be enough about here and maybe about let's go increase the Y it beats move it up a bit maybe about here and I guess something like this okay so let's go ahead and just use this keyframe button here and that's what we're gonna get so hit play more and boom okay now it seems it might be not that dramatic but when we actually add these final motions and rotate this guy's finally it's gonna be much more nicer boom okay so let's play boom we can kind of make it a bit quicker if you wanted to but let's go ahead and work on the rotation of that we have for the upper and this basically down section that we have so let's go ahead and select these nine cubes and one a very important problem as you can see this cube is empty so what is that if you come back to the beginning of our animation guys you can see here we basically make this cube disappear so we don't have any problem with the motion of this cube here so let's go ahead and work on this cube and find out which cube is this one so I think it's cube see it's cube number twenty-four yeah that's this cube and it's disabled permanently let's go and then actually enable this and there we go I'm going to instead of this I'm going to add a simple display tag okay and this plate tag let's see where we can make this thing to kind of appear see let's see about here about here we basically have we don't see anything behind these cubes and we can make this thing appear so we're going to enable the visibility and it's gonna be zero at frame 84 and I'm going to frame 85 and increase this to 100 okay now it will appear reasons you can see at the moment we can see it but here it will come to life and if I go through the whole motion get back and this time as you can see our cube that is working perfectly great now let's go ahead and add this final motion to this guy's so let's go maybe to about frame 310 when we actually kind of rotating the whole structure we can work on this and then cubes now let's go head and select these nine cubes I've basically I have the list here so let's go ahead and select them let's see okay there we go let's go ahead and select them cube number 211 27 so 27 0 17 so 0 17 25 6 8 so 25 6 & 8 & 9 18 1 so 9 18 1 4 26:19 so 426 is gonna be this null and then 1924 15 so 24 is selected 15 20 to 15 22 and there we go perfect now if I go ahead and move these guys you can see we have this perfect selection here okay great let's go ahead and basically add a keyframe okay and go to maybe frame 325 about here and let's go ahead and rotate these guys actually then we can move the keyframe so let's go ahead and select these guys and make sure you have the pre per object manipulation and gimbal in rotation enabled and let's go ahead and rotate these guys about 90 degrees and then let's go ahead and set another keyframe and let's go ahead and kind of zoom in here and I'm going to move this select this keyframe and move it to about 3 frame 325 here at your key time and that's what we're gonna be getting so let's play perfect maybe it's a bit quick and but if you take a look it's nice perfect I think it said I mean even though it's not exactly like the motion that we have but I think this one is actually nicer so let's go ahead to each play and perfect great now as you can see now we basically have the whole motion and we can kind of get back here and take a look so let's go ahead when I hit play here we go so no problem whatsoever perfect grades and nice okay what we can do maybe if we go through these guys come down here I'm going to actually select this guys maybe we can kind of mmm come here let's go to maybe three for 340 and see hit play wow that's I think it's nicer and that we have this kind of problem but it's not gonna be visible at all it's gonna be very quick and we are gonna be adding motion blur so if I hit play here boom perfect very nice now we can go ahead and from the next section basically start adding the letters here and also start lighting material and all the necessary stuff before under and then we can go ahead render it and do the compositing inside After Effects so I see you in the next section stay tuned with mograph class come you okay folks welcome back to more graph plots calm let's go ahead and get the ball rolling in this section by kind of fine tuning our animation and our motion and see what exactly we have so let's go ahead and get started the motion is finishing about frame maybe 400 let's go ahead to about frame 400 our timeline is just right now let's go ahead and take a look at our motion and see what we have here so I'm gonna hit play and see where we need to adjust some of the stuffs okay one of the parts that seriously needs adjustments it is this part one of the very very basic principles of any successful motion design is never let anything to stay still for one moment just try to have motion just try even if you for example we need to stay here to look at these small cubes building this main cube but at the same time you know as staying this steel and just having this kind of motion is really gonna be a very serious problem for someone who knows design even for some very basic people who watch in your design you have this very nice motion very active scene and suddenly here everything stops that's not very cool now let's go ahead and adjust this problem and add some motion to the whole thing if you take a look at this master zero one we have this basic change here and you can see from frame 156 to frame 157 here is absolutely still and if you take a look at the keyframes here and go to the next keyframe you can see there is absolutely no change in the rotation or position while you so let's go ahead and see what exactly we're gonna be doing I'm gonna get to frame 175 and if you take a look at the direction of the motion we're coming from so this way okay so in order to make it nice we can go ahead and continue the same motion but with much more slower right so let's go ahead and do that okay folks so let's go ahead and see what we have here so if you take a look at the numbers here we are changing and you see from 108 on heading we are going to something like okay so let's go ahead and there we go here is the motion let me just zoom in a bit here so we can kind of focus on our here that's where we want to change from 176 to 175 so let's go ahead and do that I'm going to just select this and kind of move it this way a bit not too much really and if you take a look at this master controller something like this and if you take a look at the design right now let's hit play you see this kind of forward and backward motion when we added this let's go ahead and hit play there we go that's the problem here now we added some kind of movement but the problem is we have this kind of forward and backward awkward motion and we need to solve it so let's go ahead and open the curve for this rotation heading so let's go to the left curve and see what's going on at frame between 156 and 172 let's go ahead and zoom in a bit here so that's the problem you see here here is we are on our rotation heading and it comes down and here is that where we want to kind of add that extra motion and as you can see we have this problem here you see this bump let's go ahead and solve this I'm going to kind of select this thing and kind of move it it beats to maybe something like that and kind of change this handle length a bit to make it a bit shorter so let's see what we are gonna have this time so I'm going to hit play okay that's exactly what I want so if I take a look here take a look how nice or how much more live the action is you see there it's not staying still like even though just that few degrees I think we change this 10 12 degrees but just that quick and small change adds a lot to your design okay perfect so let's hit play perfect so it's not gonna stay still it's moving you see there we go very nice even though it's a small movement but it's moving which is perfect so great and these kind of small movements prepared the viewer to kind of be prepared that there is another big motion that's gonna come so let's hit play boom perfect so let's go ahead and take a look okay we still have this problem here you see boom it's staying kind of steel and it's not that quick here so let's go ahead and select the master controller here and we're going through and here is kind of staying still and that's not very cool so let's see okay so frame one seven six so let's see what we need to change here to add a bit more extra motion at one maybe about 201 202 maybe something like this just to have that bit of extra motion so he's play okay that's where we have the motion so I kinda wanted to make this thing about maybe frame 217 and if I hit play this time okay that's better but we still need to change some of these guys so let's go ahead and get back here and open up this one to frame 1 7 from atom 192 2 1 7 so let's go ahead and open up our F curve and see what's going on exactly so I have it opened here there we go so 190 and if you take a look here at the motion and add the curves you see here here's the problem kind of so let's go ahead and see what we can do here if I take a look at the sky's curve so let's just move its maybe upward of bits and that's gonna help us hopefully so let's hit play ok perfect much more better so if I hit play again it's not gonna stay still and that's exactly what we want great so hit play always there is a motion and perfect great guys so I seriously advise you that you go through all of your keyframes and do that and I just wanted to show you how would you do that and you go through you change the motions you make sure there is no a steel moment in your whole motion design and I did it for just two parts and we have this extra and detailed camera motion that really helps look at this this from here it's all all camera motion you can see from here just get this very nice camera motion that I added in my previous project and I know we didn't talk about the camera animation at all that's because first of all we have in our previous courses at Mogra plus comm we have been talking about camera animation quite extensively for most of our projects we have been talking about for a complete section just animating the cameras and we've been talking successively about the moving the cameras animating the cameras have to manage the multiple camera scenes and all of those data that I really wanted to be kind of really I didn't think there is any need to go through and talk about the camera animation at all but for this specific project I'm gonna just go ahead and talk about the camera animation in the next lesson just very brief talk just to give you a hint if you have no idea where to start your camera motion and animation and combining the camera motion and this nice motion we are basically overlaying layers and layers and layers of motion you know we have the camera motion we have this master controller rotation and movement we have this cube coming and going we have these small cubes and those fractures that we had those kind of side fractures that we had and all of these layers of motion to make a kind of simple design sort of to be looking kind of complex and the viewer things to hoe oh my god that is so great but really this is the one of the important principle of motion design is this layering of motion you add and add and add motion of emotion of emotion and that really make a very complex and nice design finally so there we go here's about the fine tuning and I just as I said I didn't go through every keyframe and I didn't find tune every key frame because it would take forever really but I seriously suggested to go through and work on your key frames on your motion see where has problems where you need to adjust them and really this is our job and we need to be very good at it and you go there you look at it even though it's really boring this part but you have to do it and you make sure that your animation is nice and you have some nice motion there so there we go and in the next lesson we're gonna be taking a look at a camera motion really really briefly I'm just gonna give you some ideas how to you're kind of work you're with your camera motion and then we can go and then actually start adding those letters and start adding the camera the materials and preparing our scene for final render and so I'll see you there okay folks we'll come back and in this lesson I'm gonna be talking briefly about setting up the camera the scene that we have years four zero for less than zero four zero two is a much more simplified version of what we had and what we've been working on throughout this course but I'm just gonna be you know giving you some hints where to start your camera animation so let's go ahead and here is the scene and I'm just going to quickly make sure it's actually we have the right aspect ratio here and let's go ahead and add a camera and let's go ahead and go through a look through that camera and for this motion design the focal length I use was a very wide something like fifteen and using these sort of wide angles really helps to make the emotion to look much more dynamic I'm really a big fan of using wide line this when the time comes to designing this sort of dynamic motion design because it really helps you to sell the shot and make the shot to look much more dynamic and much more live so let me show you where to start so we have our camera and the next thing I'm going to do is to actually control the camera with two nulls I mean it really depends on your scene and how much detailed control you want you you want to have over your camera but in this case I used two nulls one all to control the position of the camera and one Knoll to control the rotation of the camera normally I might use for example three notes for just rotation each note for each axis heading pitch and banking basically and I be controlling each axis for one specific null this is one way of doing it if I really wanted to have very very extra detailed control out of my motion but in this case I just used to know so in order to make sure you're having it right just create a two nulls in this case one of the nulls is gonna be for the position Peak or position and the second one is gonna be for rotation so I'm gonna make the rotation to be a child of my position Knoll and make the camera to be a child of my rotational so if you take a look at the position and the rotational are exactly at zero zero zero point and this way we were really gonna be able to have a very great control over our cameras motion so if I go just a bit closer to my scene here there we go I can go ahead and select my rotation control or rotational control or whatever you want and as you can see we can have some extra details control let's go ahead and for example change it this way and you can see because the camera is a very wide it really helps to make the scene to look extremely dynamic and fun so let's go ahead and add some extra detail and if you want to control now the position and move your amaura you simply go ahead and select your positional and kind of move your camera and you can have some much more better control over it so I'll just go ahead and zero out this wall use sorry there we go and perfect and we can actually go ahead and still move our camera if you want to have you know adds another layer of motion there so early that's about moving the camera and you can go ahead and create some cool stuff let's go ahead for example control our rotation and position and let's go ahead and add a keyframe here and let's go to maybe frame 25 and then I can go ahead to my rotation control here and I can go ahead and create some nice motion here maybe something like this okay and let's maybe move our camera beats farther away and let's go ahead and select both of these nodes and set another keyframe and if you take a look we are having this extremely nice and dynamic motion you see there and now boom boom and we can go ahead and if you want add some extra motion here so maybe just a few degrees down here set another keyframe and you go to something like 50 frame here and hit play we're gonna get this very nice and detailed motion you see there boom now you don't have any motion blurring might seem a bit I kind of awkward that's quick motion but I could take a look so you can see it's very simple to control your animation using this sorta a hierarchy basically you don't camera by itself even though if you want you can but you control the camera using two nulls and that way you are gonna be able to control your camera in a much more sufficient way so this is about the camera motion and really just using these two nulls on the camera I added all of those detailed motion and you can go ahead and do the same thing but as I said because it's really take forever it could go through and just you know animate the camera you know throughout the timeline and throughout the motion that we had so I'm gonna just stay with it and use the camera motion that I had and I just wanted to make sure you understand if you haven't been watching our courses because we have a few other courses on our website mograph plus some that we talking about the camera motion as I said quite extensively so if you really think you need some extra information about how to move the camera on how to animate the cameras I highly recommend you go there and watch those courses we got these the gifs project the bug studio project and the motion graphic in cinema 4d unreal flow especially the gifs project is where we go through the camera motion I mean we we really go crazy about it we do a lot of stuff with the camera we animates multiple camera we use the morph camera and a lot of other stuff that I think if you really need some information about the camera motion I seriously recommend that you go there but for this course I just think it would be enough and hopefully you go there and animate your cameras by yourself and I seriously recommend that you don't use my camera that I will be providing with you and you have access to all of the lessons that we go through them and you go and create your own camera create your own motion and it will definitely gonna be much more fun for you and you're gonna have to face some other challenges and solve them and really learn and basically it gets much more much much more out of this course so see you in the next lesson where we basically start to attaching our letters to the different cubes and basically yeah and after that we can start preparing materials and lighting and final render so see you there okay folks we'll come back to mograph Lestat's come let's go ahead and actually attach the letters and create some materials the first thing I want to do is to create three materials so let's go ahead and create a new material I'm just going to change this preview to sphere GI and then I'm going to it's color I'm going to 223 223 there we go we'll go to our reflection I'm going to delete this specular and add a simple back man here I'm going to my texture add a simple Rennell here and I'm going to reduce this value maybe to something like this and this strength to something like 25 maybe would be enough okay that's what I want I'm just going to create created duplicates this is gonna be the color is gonna be black and I'm gonna be using something like 50 not quite black there there we go and the third one it's gonna be this color twelve to two to sixty and ninety two and that's what we want and I'm going to create two sets of this material and I'm gonna show you why to set and what we need to do so I'm going to select all of these guys and control-drag okay now we have to set up these materials as you can see and let's just rename them maybe add a two here or you can go ahead and name them more appropriately based on the color that you're using but I'm just going to set this way okay perfect now let's go ahead and start applying the adding the letters and applying the materials I'm going to my mograph and add mo text I'm going to solo out this mo text and let's get out of the camera basically and see where we are here here's our text I'm gonna go to here this is gonna be our M so I'm gonna be typing M let's go to our object type in M and I'm going to change the phones to typographic Pro or whatever points you like to use I'm gonna just use the typographic low a pro and extra bold and I'm gonna change the alignment to be middle and let's go to something like 50 maybe and I'm going to my caps make sure feel like caps okay let's go ahead and change the fill light type to two steps and I mean something like this would be definitely you know okay five centimeters would be too much but that's I think it's gonna be you know fine and we can change the step but it doesn't matter that much because we're using these two step mode there okay that's our M and I'm going to maybe to something like 140 would be enough or its height and now that we have it let's go ahead and start attaching this guy to our desired cubes let's unsolo and if i get back to my camera and start taking a look so i'm going to be using just three cubes in the original design i have had six letters distributed on this five cubes one two three another one on this side of this cube and another letter and another for this final cube but just to make stuff a bit faster I'm just going to be using three letters and you can go ahead and add as more letter as much letter as you want but in this case we're just gonna stay with three because actually we're not gonna be rendering this a project I have rendered that I have done it before and it is complete with all the multi pass and everything and we're going to be using that render to doing our compositing inside After Effects and I'll be providing that with those renders to you too but generally speaking as I said we're gonna be using just three letters and just make stuff a bit fast because as you see it's gonna take some time to actually prepare the scene to be rendered okay so let's go ahead and do that so this three cubes are our main cubes okay I'm going to be applying this three the materials and attach one letter to each one of them so let's go ahead this for these guys we're gonna be applying these second set of materials and I'm gonna be walking you through why I do that because you see what we need to change after we applied the materials so let me go ahead and select these three letters select this just go ahead and replace here it's gonna be a fifteen twelve sorry twelve hold on control and also nine so these are these three materials there's three cubes that we want to kind of move them perfect I'm going to right click on this material and hit apply and as you can see now we have this material being applied to let's go ahead and attach our letter M to our first cube which is a cube number 15 here okay so I'm going to let's pull this thing down here our attributes manager I'm going to drag this M under 15 okay and then I'm going to select my M go to its coordinates and zero out XY and Z values and also all the rotation values perfect let's go ahead and drag it and for this M we're going to be applying this whites material so let's go ahead and apply the second white material even though just the black material is important but just to stab it organized I decided to create another set of material for the letters too so let me just get out of this camera and gets back to here and kinda I'm going to rotate it 90 degrees on this angle and rotate it 90 degrees this way let's go ahead select our move tool and see okay let's pull it back a bit maybe something like this okay okay I sing it enough and if I get back to my camera you can see now this M is actually as you can see coming here you can see the end down here and there we go and okay here is finally our M okay let's go ahead and do the same thing for the cube number 12 I'm going to select my M ctrl and drag it okay and I'm going to put it under cube number 12 and we're going to rename it to G and let's go ahead to its object and instead up and we're going to type G okay and here is our G and I can kind of zoom in a bit more and see we can make it a bit bigger but because of the structure of our M we need to kind of keep that consistency if we can increase the G size it would be kind of not in quite harmonious RM so that's why even though the G could be bigger I'm gonna stay with this size I'm just going to kind of move it a bit okay something like this it's enough and this is our G and we can actually add a shoe suffix here okay 0 2 and for this G 0 2 so these are gonna be our set to that the materials up set 2 has been applied tool and as I said it might seem a bit confusing but in a moment we get to that and we show you why we're using you know another version and renaming them this way so this is this and let's go ahead and is a cube number lets me have my notes here cube number nine which is this one let's go ahead and control and drag and here is our plus okay so let's go ahead type plus and let's go ahead change the text just type in floss there and hit enter and let's go ahead and move this thing about here let's see I'm just going to make this thing a bit bigger so let's go ahead and change this height let's go to something like 200 and see if it's enough or we can still make it bigger maybe 220 250 something like this I think it's gonna be enough it's figure but it's gonna it's a bitter a better a nicer typography to have the plus a bit bigger because it's not a letter it's simple sign here okay there we go and now add the let's go and rename this to Plus version two okay now if I get back to the camera and walk you through now if I come down and hit glide that's what we're gonna get you see the M and G and plus okay okay so I'm sure you spotted the problem and the problem here is because we didn't add that much of those Rubik's cubes motions the mg and plus kind of stayed together for a long time and they barely separate and this is really not what we want we want to distribute these mg and plus in different parts so they seem separated and finally when we get to this final motion boom here we want to stay together so what we're going to be doing is we're gonna be using a bit of trig here and it's gonna be really kind of easy you just have to get your facts right before getting into it but what we learn to do here is to get the mg and the plus and not all of them because the G has some nice motion as you see and I would love to actually have this G exactly here but for the M and the plus what we can do is to go ahead and make them the M the plus and the black material that has been applied to the cubes that the letters are attached to we can go ahead and animate them so from about here when we actually don't see them but frame 314 1716 here we can go ahead and make the or material to change from black the white to black the material of the cubes and also we can make these two letters appear okay and then what we can do instead of using the cube number 15 for the M and cube number nine for the plus we can go ahead and use some other cubes and attach the M and the plus to those other cubes and we can you know look at them they are looking nice they are separate nicely and we can make them disappear in our final motion so we are gonna have just the M and G and the Plus that has been applied to our cube 9 12 and 15 and this way you're gonna get a bit nicer I mean maybe it just seems a bit confusing but when I actually do it you're gonna understand it much more easily so let's go ahead and solve this problem that we have and that's the letters are staying together so the first thing I'm going to do is to make sure that the M and the plus are gonna start appearing at about here frame three sixteen and seventeen okay so let's go ahead and do that I'm going to apply a display tag to here cinema 4d tag display tag and I'm going to enable the visibility okay we don't need to see them before frame 370 and here is where we want to see this guys okay so let's go ahead and do that I'm going to print 316 enable the visibility and let's zero out this wall you and set a keyframe and I'm going to frame 370 change this value to 100 and set another keyframe okay so the M you can see there is basically no M here there we go because the emmys has disappeared and here we have our M back and if I go and take a look at added from another angle you can see basically it frame 307 to M up here you see that there we go it's not there but here you see take a look at here and it appears perfect now let's go ahead and do the same thing for our plus so it's gonna be simple a copy paste so let's go ahead and control drag this to our plus and now as you can see our plus is not there take a look see and it appears there we go perfect that's exactly what we want instead of and beside this another thing we need to do is actually to any media material so where they start to appear we want the material to before that you want the material to be white and from here when the material to be black for our final motion okay perfect and actually this plus we're gonna be adding this red material so let's go ahead and apply this material there we go and let's go ahead and do that for the materials so it's gonna be again a very simple let's go ahead and 318 the material that has been applied to the M and plus okay we're going to animate that and there is another thing you can see the material for the letter G and the cube beside it is the same material that has been applied to the M and plus okay but we actually don't want to do that because the G is gonna stay there forever so let's go ahead and actually create to copy from this white and black material and let's go ahead and just name them G white and G black okay and let's go ahead and for the G we're gonna be using these materials and we're gonna be animating this set of materials here so let's go ahead and apply the this material and this material now when we actually animate these two materials this one and this one we are not going to be animating the material that has been applied to the letter G and it's Cube because it's gonna be staying there forever you see because it has some nice motion and I really don't want to lose that so let's go ahead and animate this guy so I'm gonna go to frame 316 so let's go head 316 and what we want to change is the material that has been applied to the cubes that are the that's the M and the plus R attached to I hope it's not getting confusing I know but really this is just you know just a fraction of what you do on a daily basis when you are trying to create a motion design I mean I haven't I tried to make the whole project to look as simple as possible that organelle part which was much more complex and it was designed the way that it could be easily dealt with later on if you wanted to change something and if they wanted to change something I mean the client so it was a really perfect break but here I try to make it as simple as possible and even though it's still low complex but really that's our job so let's go ahead and do that so what we're going to be doing here if I get back to the camera its to animate the color of these cubes that the M and the plus are attached to the M and the plus are going to be appearing at about frame 317 and we're going to make sure that the material for the cubes this cube and this cube that the M and the plus are attached to are going to be white until frame 316 and in frame 317 its gonna turn black to match with our design so let's go ahead and do that I'm going to get back to frame 316 here I'm going to this material I'm going to set a keyframe at frame let's see 317 because the here we want it to be black I'm going to frame 316 and I'm getting to change the color to white okay so there we go so what's gonna happen now you have basically animated this if you take a look at our camera just get out of the camera see they are black but if you get back you see here these are the two cubes that we are talking about you see they are white and they suddenly become black and the M and the plus appears perfect okay that's very cool and amazing let's go ahead and continue our design and now what we want to do guys is to start adding other stuff because at the moment before frame 317 we only have the G and we're going to attach one M and one other plus two another two cubes and the cubes that I think are gonna be best are gonna be cube number eleven which is let's get out of this camera the cube number eleven and cube number sixteen okay so let's go ahead and do this and see what we are going to so let's see let's see let's see let's see I get back to here and go to the camera so here's the cube this one is cube number sixteen are going to attach the M to it okay now let's go ahead and do that really quickly I'm going to create a copy of this M and I'm going to drag it here I'm going to delete this display tag for the moment and this is gonna be our cube zm0 one because we have it first and then we have our m02 and the material that's gonna be applied is going to be different and this is its let's go ahead and zero out its coordinates just quickly and there we go I'm going to drag it up perfect get out of the camera and as you can see our cameras motion here is this way I kind of want it to be let's see rotate its negative 90 degrees and I'm going to pull it up so there we go move it there and let's see so perfect now let's go ahead and apply the material from our first set which is this matte white material and we're going to apply material the black material to our this cube which is cube number 16 our first set that we because we have animated this material and this material is for only G I'm going to be have to animate this material to later down the timeline but for the moment if I go to the camera you can see this is what we have okay nice and let's go ahead and do the same thing for the plus and the letter that cube that is gonna be perfect it's gonna be cube number 11 here so if I get out of the camera let's if you can see it huh okay this is the cube number 11 here so let's go ahead perfect let's go ahead and do that so let's go ahead and add the plus two number 11 let's go ahead and control drag and this is gonna be our plus version 1 and let's go ahead and apply the appropriate material from the first set just to stay organized and the 11 is gonna have the black material from this versus that - perfect okay now let's go ahead and go to the plus zero one I'm getting just to zero out its coordinates on XY and Z and also the rotational values I don't know just move it down there let's see where it is now let me actually go ahead and delete this display tag on it there we go so we can see it and move the camera let me get back and there we go so you know even it would be nice not just to have something in here you know nothing attached look at that it's gonna be very actually nice boom see that's an idea if you want to pursue it and it could be actually very very cool look at that pool now but we're gonna stay to our design here so let's go ahead and just going to get out of my camera and let's see that's the plus here so let me zoom in there I'm going to rotate it 90 degrees and actually let me just save this project here rotated 90 degrees and let's see that wasn't 90 that was 100 lets me change it to 90 degrees and okay I think that's gonna be enough let's go ahead to our camera and now we have this M and the plus and the G separated see em you got the G we got the M here okay and here we got the M G Plus now what we want to do when though they are actually going to disappear by themselves but see here we got this block here and another thing that I'm actually going to do is to create a general material and add that white material to all of these guys so let's go ahead and actually just duplicate maybe these guys that hasn't been animated yet and I'm going to come up here and renamed it to the main material main white material I'm going to be applying this guy to everything so let's go is apply to our master node number one perfect and if I go ahead and render it okay let's see these guys obviously have some material applied to them so let's go ahead and see what is the problem drill number 18 the structure had this deleted material let's go ahead and delete that and also this guy lets me open it up and also let's go ahead and delete all the deleted material here there we go and if I go ahead and render there we go perfect now we haven't done anything so it looks ugly definitely but we're gonna make it much nicer so let's see now what we want to do is to make the plus the M and their material two can disappear we're going to disappear the M and the plus at about maybe here at what frame 320 and at the same time we're going to make their cubes that are attached to be to become or to turn white at the exact same frame okay so let's go ahead and do that so here's the M let's go there the plus is the one that is you know lasts a bit longer so let's go ahead and actually work on that first of all so we need to have it there and about frame 321 we don't need it anymore so let's go ahead and now go to our cube number 11 here and cube number sorry 11 there we go now let's go ahead and apply display talk to this guy cinema 4d tag display tag enable the visibility set a keyframe go one frame forward zero eight outs and there we go I'm going to apply this to our also m0 one which is applied to cube number 16 so let's go ahead and control and drag it and now what's gonna happen is they're gonna be if I take a look at the this view as you can see they are gonna disappear at frame 300 and there we go you see that our plus has disappeared perfect that's what we want and let's go ahead and do the same thing for the material that has been applied to and it's gonna be the this material which is this one and the material to the cube number 11 we're gonna be turning it to white so let's go ahead and do we don't need to change this just this block material need to turn white so let's go ahead and do that I'm going to frame three hundreds and there we go about 320 so let's go ahead and 321 321 City keyframe go one frame forward and turn it to the same white that we have 223 223 and 223 apply that and if I get out of here you see they turn white and they disappear and if I get back to my main camera and look it's gonna be perfect so let me go ahead and save this project gets back and it's played there you go perfect just select everything let's play CMG you got this plus and there we go very very cool and nice and if I hit play again so that's that's cool that is cool and perfect very nice and there we go exactly what we want and it's very nice and it's kind of confusing but just rewind and watch it again to understand why we did what we did just stay tuned with more applause comm see you there you okay folks let's go ahead and focus on our lighting now lighting for such motion design isn't that I want to say isn't that hard but the fact is you don't want or basically you can't get very specific about your lighting and because everything is moving so and we know how important the reflections and the way you put your light is to your reflection but because everything is moving including the camera the objects and the motion are basically are very dramatic so it's really hard to get very exact lighting so that's why we're gonna be going to a very kind of and constant overall lighting without having to kind of make it dramatic or work on it that much because it's not gonna work there are so many motion that's gonna make the specific lighting to kind of be impossible so let's go ahead and do that I'm gonna go to my render setting first of all and let's go ahead and enable the global illumination and we're going to irradiance cache or lights mapping actually you can use the quasi Monte Carlo if you want to because we're rendering animation and if you want to get rid of any flicker and actually that's the way that I rendered it in my original design so let's go ahead and stay with this for the moment I'm gonna just go ahead and reduce the parameters just a bit so we kind of go a bit faster about everything in the samples all solo I'm going to my anti-aliasing I'm going to make it best and one by one four by four it's gonna be enough and also I'm going to add the ambient occlusion really quickly and just let's go ahead and increase the quality to something like twenty twenty hundred maybe something like ten is enough and the accuracy fifty percent perfect so let's go ahead and start adding the lights I'm gonna get out of my camera and gets back to I'm gonna default here so let's go ahead and start adding some nice lights so see just to make stuff simpler when it closed disguise and closed the cameras where the moments actually let's have it opened so I'm gonna start by adding a target light to my scene and move it up and then I'm going to change the light to be an area light and also make sure we got some area shadow going on and also I'm getting to my detail tab and make this something like maybe 800 centimeter and 800 centimeter and it's really it's not enough so let's go ahead and make it bigger it's kind of an overhead light so maybe something like this so this is our first light and I wanted to add some sort of texture to it so what I'm going to do I'm going to my layers and I'm going to create a new layers for my material and this going to be our main materials and let's go ahead and basically make this material here and go to our new layer and I'm going to create a quick material for my texture so let's go ahead I'm going to maybe use a gradient or we can go ahead and actually use a surface I'm going to use a surface and we these tiles let's go ahead and change this values here and maybe something like this is that isn't actually that's bad okay there we go let's go ahead and increase the global scale to something like 200 okay that's isn't too bad and perfect let's go ahead and just create a plane here I'm going to make this plane to be child of my lights and going to my attributes manager coordinate and zero out all the position and rotation while use let's go ahead and rotate it 90 degrees and what I'm going to do is to go to my lights go to my detail tab and make the size X to be a driver and this will drive the size the width of my plane so set this as driven and go to the detail set this as the driver and go to the plane and set this as the driven okay there we go even though we get to express a tag and it's gonna be a bit messy and we can do all of that in one simple Express attack but now let's go ahead and stay with the driver and driven here so there we go and I'm going to put the planes kind of behind my lights something like this would be nice and let's go ahead and apply this texture so that's what we have at the moment and I can get to my camera let's go through and see what we have at the moment let's go ahead and render it perfect now as you can see we have this nice reflections which is nice perfect okay great let's go ahead okay let's go ahead and I'm going to hit Alt + G is gonna be our first light let's go ahead and duplicate this and it's gonna be our second light I'm gonna get out of the camera this is our first light let's go ahead select the light here and let's see Smoove this thing maybe here put it here and let's go to maybe this angle here and I'm going to make it sorta this way okay and let's see what's gonna happen with this so I'll just go to our camera I'm going to hide this light and see just what is going to what are we gonna have with just this light so let's go ahead to move so here is maybe a good angle let's go ahead and take a look so as you can see we get this kind of nice reflections which is I think it's gonna be nice but for this one and we're going to create a second material and just going to change this style to some sort of gradient go to the gradient and let's change this to none and see pull this thing to about 50% here and we can go ahead and double the nuts a few times maybe something like this would actually be nice so let's go ahead and apply this to our second light okay and see what we're gonna get this time okay it's not the way that actually I did the lighting for my original project but I think it can look nice so let's go ahead and stay with this and if I turn on the other light that we have and let's go ahead to another view maybe here and you have both of the lights let's wait for the render it's gonna take some time we're gonna go through and add more lights definitely to make sure but I think this kind of reflection is nicer the original version I just went ahead to a very simple light which is some box gradient type you know but it's really up to you I think this is gonna be looking nicer so let's go ahead and add some other lights I'm going to duplicate this first light control drag and there's gonna be our third light I'm going to select the light and put it down here okay maybe let's just make it a bit angled this maybe here and see let's just make it a bit bigger and I'm going to create this time is going to be a simple gradient so let's go ahead and create a simple box gradient invert t-nuts and maybe something like this let's go ahead and apply this to this guy here and let's okay let's go ahead and see what we are gonna get from this light and get back to my camera view and see okay maybe here let's go ahead and render it people are getting closer and closer and we can go ahead in order to speed up our render we can go ahead actually disable the area shadow portion of our lights but as I said I don't want to have any dramatic effect so I want the shadow to be as soft and as unbiased as possible so let's go ahead and do that okay this is another light great let's get out of the camera and see what we have here okay this is generally speaking not too bad I'm going to select the slides and actually control drag to create another copy for let's go ahead and select the lights and maybe move it somehow let's see where we are something like this okay and also I think we can create a duplicate for this light to be on the other side so let's go ahead and change this to five so I like this slide and let's move it to this side and let's see what we're gonna get okay and the first light I'm going to definitely make it a bit bigger so let's go ahead and kind of make it bigger perfect let's get back to our camera and none of these lights are gonna be invisible so I let's go ahead and apply a let's just select all of these guys and hit control sorry Alt + G and that's gonna be our lighting and let's go ahead add a cinema 4d and this light target one definitely need to be here see okay let's go ahead and add a compositing tag here and make sure it's not gonna be seen by the camera so let's go ahead and render this thing and see what you get okay folks so this is the result that we have here which is not too bad just to visualize things a bit better I'm going to add a background even though we're going to be adding the background inside After Effects but I'm just going to add a background here and just let's create a new material for our background into the color let's add a gradient here and I'm going to use this not box just a circular one and this color and the second color maybe a bit just a bit darker I'm going to actually invert them and let's go ahead and apply this to our background and let's see what we get okay as you can see adding that background color really make things come to life and if I get back to maybe these frame let's go ahead and before the renderer I think some of these guys are so our bright for example this guy here so let's go ahead and make the light intensity maybe something like 75 here and also this guy too so let's go ahead and select it and go to something like 75 I'm going to my camera and let's go ahead and see what we're gonna get this time okay so definitely not too bad and if we wanted to kind of feel some of the parts we can go ahead and add a sky for example let's go ahead and do that just a simple sky now let's go ahead and add a simple material here - these luminance material and just this white color even though it's a B - let's go ahead and go to something like this and let's go ahead and apply to our sky and see what's gonna happen and this is definitely you need to add a compositing tag and make sure it's not gonna be visible to our camera aisle so let's go to our lighting and kind of hide it from our viewports and let's go ahead and render it again and see what you're gonna get so as you can see it's kinda helps but okay and we can really or endure our whole scene with just a simple Skype if I wanted to okay folks so what I want to do is to first of all come here and make this bevel with something like maybe that maybe three percent so something like this and also I'm going to make my other headlight a bit bigger so let's go ahead and select our first light so I'm going to still make it bigger maybe something like this and you can add some follow-up to our lights if we wanted to but as I said in this case it really doesn't matter that much so let's go ahead and render it again and see what you're gonna get this time and I'm going to actually disable the sky anyways it was just an option if you wanted to so I think I'm loving this much more better and okay okay definitely better and great great very nice-looking let's go ahead to different frames and see maybe here let's see what we're gonna get I think these material kind of need some adjustments because I don't know let's go ahead and see what our renders are looking like okay you know what I'm going to do let's go ahead and get out of our camera just for a moment and for this one I'm going to actually let's see select the light here which is which one is number two let's go ahead and actually select the light and let's go ahead and make it something like this okay so you have a nice reflection here and let's get back to our camera and see what we're gonna get this time so you get this reflection here even though we can kind of make this whole thing to be a bit bigger so let's get out of the camera so you can just tweak stop and see which one do you like better let's go ahead and make this thing a bit bigger something like this maybe so we have this big card let's go ahead and see what's gonna happen here okay so you get these nice reflections all over which I think it's gonna help as I said you're not gonna be rendering this project I have the renders already prepared and I'm gonna be using those renders nor compositing inside After Effects but if you want to you can experience with different settings that this is not the way I did my lighting in my original project at all I just use some simple box area lights type box textures anyway for the textures and but here I use some different texture and I think it's really worth it it's very nice and we can use this and I like the lighting what we can do maybe just get these colors to be not that dark so I'm going to just quickly go ahead and we can reset this thing and let's go ahead and add a white color add a black color the block I'm going to make it to be something like that not so dark okay let's put something like this and let's make sure position of these guys is 50% now let's go ahead and double them a few times okay nice maybe there we go something like this let's get back to our render and see what we're gonna get this time I mean there is no specific rule about lighting such as scene when everything is moving because the lighting might look like this in one frame but if you go to frame 139 for example the whole thing is has moved the camera has moved the object has moved and you are gonna have a totally different light lighting situation so that's why it's really isn't that restrictive that's where when we rendering up for example a simple steel shot here is everything is moving and the lighting is much more it's gonna be challenging if you really wanted to get a very specific result for each frame so I think this is nice generally speaking let's go ahead go to maybe this frame and see what we're gonna get basically let's go ahead and render it out just as you do your lighting just go ahead and check out different frames and see how they look and if they need any sort of adjustments or not I think we are actually very very good and I think the ambient occlusion really helps to sell the shot and add more depth into our scene and into our project okay I am actually loving it that's cool let's go ahead see what's going on here sorry let's go ahead and close our picture viewer here and render it in our viewport okay guys I think it's enough let's go ahead let's maybe go to this scene and see what we're gonna get I think we have a nice shot generally speaking maybe we need to add another light from this angle but I think you have some nice reflection going on all over the place okay it's definitely not too bad and remember we have the post-production process to make stuff look much more nicer so let's see so I'd like get out of my camera here you see we might need the lights maybe from this angle not sure maybe we can make this guy to come sorry let's go ahead and select the light here maybe come back here and kind of make it a bit bigger okay and hopefully if we get back to our camera we should be having a better time let's go ahead and render it it's not gonna be that dark hopefully this time okay let's go ahead and wait and so the lighting is basically finished what we need to do in the next lesson is to kind of prepare our scene for final render at the appropriate compositing and object buffers and we're going to be adding the depth of field also add some personal objects to be used inside After Effects if wanted to add some 3d effect inside After Effects and yeah we're gonna be done in a few lessons hopefully so I think the lighting is not too bad at all and we have a very good lighting overall and we still can go ahead and improve it in arm and this is our final shot let's go ahead and take a look at this one to go in and improve it inside After Effects let's see what's this shot is gonna look like let me just get back a bit there we go let's go ahead and render this so I'm going to leave it like this but if you want to get a bit more even looking reflection you can go ahead and basically change this to be some other type you can go ahead and basically just get rid of these stripes and have some simple gradients instead of these stripes if you want you can simply do that but I'm going to leave it like this and we need we can go ahead and add and change and adjust those too but basically this is the process of lighting and really depends on what you want to do and how you want your lighting to be you can go ahead and use different texture or you can go ahead and just use one texture and basically use that all over the place and this is the thing that I actually did I just use this simple lets me go ahead this simple box gradient texture for all of my lights in my original project because you know it really is up to you I want it that's really even reflection all over the place so that's why I didn't use this source price and this window reflection and stuff like that but if you want you can go ahead and do that and it's absolutely up to you so in the next lesson we're going to be preparing our scene for final render so stay tuned with mograph plus calm okay folks let's go ahead and start working and preparing our scene to our final render before actually going through anything I'm going to actually change this texture I'm going to replace this texture with just a simple texture not this one actually let's come down here just this texture let's go ahead and do that or I'm not sure let's go ahead I know if there is more lighting but I finally I didn't like it the way it was those stripes wasn't that nice in a reflection and I think let's go ahead and see what we're gonna get I think this one is gonna be a bit nicer now what you're gonna be doing this lesson is to basically prepare the scene for final render we're going to be doing a complete multipass rendering that's mean we're going to be taking all the passes and combined them back inside After Effects and this way we're gonna have a very very nice control our everything okay so let's go ahead and do that okay nice okay that's I think it's a bit better for this project let's go ahead and start the multipath rendering I'm going to my render setting and I'm going to add a few passes I'm going to add the fuse I'm going to add reflection I'm going to add ambient occlusion I'm going to add global illumination let's see what else do we need we we're gonna be setting up depth of field so let's go ahead and actually add depth to and I think this is gonna be enough halls of shadow so let's so diffuse reflection I mean the occlusion global illumination shadow I think these are gonna be enough perfect let's go ahead and just we disable the safe so make sure we have the multi pass rendering as it should be let's go ahead and just render it and see how it's gonna work out let's go to our output and rendering the current frame let's go ahead and render it and see what you're going to do and I'm also going to hide my lighting from my viewport okay there we go as you can see they're under Spanish let's go to our lair and enable the single-layer here is our reflection here is our ambient occlusion here is our global illumination our shadows and you got the diffuse and finally the depths that camera has some depth data which is great we're going to be taking a look at that too and if I get back to my image and let's go ahead and enable the multipath rendering and you can see when we enable the multipath rendering we're basically what we're doing is basically we're telling cinema 4d dad please basically make the pixels based on the layers that you have in your multi pass rendering data so we're not using this image here and we're just combining different passes to diffuse the shadow and if you take a look here for example the diffuse is it's blending what is set to normal this shadow is multiplied the global illumination is add dami and occlusion is multiplied and the reflection is add to I'm gonna be doing the same thing inside After Effects to basically combining them and we're getting hopefully we're gonna be getting this exact same results okay so I can get back and take a look let's go ahead and take a look at the depth of field that we have if I take a look at the camera you can see if you take a look here the cameras in order to have depth of field because we have copied this camera from the original project so it has some data if you select the camera and go to your detail tab you can see we have the depth of field map reverb lor turned on and if you take a look you can see the focus point out this camera is about here and if we go through you can see when though the camera is moving but because we always have something close to camera and this way the focus point will basically remain here and we're gonna be all of the close parts to camera are gonna stay in focus all the time and as we basically get away from the camera they're gonna be coming more and more blurry so the that's it so 0 for start and which is this wall you we haven't changed it and seven six eight for our end here you see that's where that's left a list click finish and we have that here at this point the depth of field is at its most powerful basically as stage and basically everything that is here is gonna be completely blurred unless we tell otherwise inside After Effects based on the data that we calculate from our depth of field map okay so that's cool let's get back to maybe a bit more interesting let's see okay maybe here isn't too bad let's go ahead and add some object buffer so we have a bit more control our our render in after-effects first of all I'm going to add a one object buffer to the whole thing even though we are gonna be rendering alpha and it's not gonna be that important but let's go ahead and go ahead and add a cinema 4d tag and add a compositing tag sorry cinema 4d tag and add a compositing tag now let's go ahead make enable the object buffer number one okay and now let's go ahead and see what we want to do this cubes this black cube let's go ahead and maybe let's go ahead and select them it's really you need to think about what you want inside After Effects and based on that you can go ahead and add different object buffers to careen different to create different mats so I'm going to maybe select these guys and okay so let's go ahead I'm going to have this guy's also selected this M and this G so there we go not this plus here and because there are kind of we're using these cubes our parent to this letter so basically when we select them we select their children also so there we go now let's go ahead and right-click cinema4d tag add another compositing tag here and this could be for example object buffer - okay and we are going to enable object upper one so they're gonna be including object upper one other words are going to be excluded and the object after one is gonna be without them so let's go ahead and enable object upper one - and I'm going to add another object buffer to this plus button here and also the plus button I'm going to do the same thing for because basically we have a to M + 2 + as you remember so let's go ahead and do this let's go ahead and add another compositing tag and this is going to be object buffers 3 for example and let's see let's go ahead and lets me get my notes here and make sure we're applying the materials to the right there we go here is the notes for this lesson there we go and material 16 and 11 solid I go to the cube number 16 we're going to even though we're really not gonna be using a buffer that much but I'm just going to add let's go ahead material 16 material 11 let's go ahead and add another compositing tag to these guys and make sure object buffer one and object buffer 2 and the plus is going to be here + number 1 so let's go ahead and make sure it is also gonna be you know object buffer 3 and there we go I think that's you know we can go ahead and add an object buffer for all the other cubes that we have but I don't think it's really that necessary okay we can go ahead and combine some of those mats inside After Effects if we but you know if we want to we can actually go ahead and simply do it so let's go ahead and select all of this cube right click cinema 4d tag and add a compositing tag here is gonna be our object buffer for for example so let's go ahead and enable 1 & 4 for them and also this guy cinema 4d tag compositing tag and object buffer 4 and let's go ahead and control drag it to this one to this one and basically all the cubes that have no material in here and we have specified the materials for them up there so let's go ahead and control drag it here and this one too let's go ahead and render it again and see what we're gonna get this time so let's go ahead and render them one more time okay folks so there is finished and if I get back to my layers oh you know what we forgot we actually forgot to our to go to our multi paths and add the object buffer so let's go ahead an object buffer one let's go ahead and add object buffer to 3 & 4 let's go ahead this is gonna be one it's gonna be - it's gonna be three and this is going to be 4 let's go ahead and render them again okay folks so the render is finished and as you can see we've got different object buffers we have the depth here we got the object buffer number 1 we got the object buffer number 2 we got the object buffer number three we got the object buffer number 4 okay object buffer number one is supposed to actually include everything so let's see what we've done it let's take a look for example this cube wasn't visible in it let's just make sure you see we have forgot to a can I name the object buffer here let's go ahead and make sure go ahead and enable object law for one for them just see these guys also don't have the appropriate object buffer so let's go ahead and apply the object but for one and okay just make sure this guy perfect let's go ahead and this one okay let's go ahead and render it again and see if this time it's gonna work you just have to make sure your object buffers are actually working fine we might or might not use them it really depends on the situation and what you want from your post-production but it's always good to have some sort of mats so you can create some cool stuff inside After Effects but let's wait for this okay now the object upper one is working fine got the object buffer to object upper three jig buffer for we still have some problem the object buffer to is supposed to be just these three guys but we have some extra yeah that what for to if you remember we've actually added two because we have basically two parts when we had the first cube set up cube and they disappear and this final three cubes will appear that's why we actually see two version of them and if I take a look let's see what cube is this cube what's cube number six and if you take a look it's has one and four but let's see it has some compositing date on it that's why it's kind of caused the problem let's go ahead and delete this guy's completely and also afford this guy let's see what's gonna happen there we go so this guy have these compositing tags that we really don't need done let's go ahead and delete them and render it one more time and hopefully this times gonna work just fine okay folks so as you can see this time is working just fine we got object but for one object like for two object out for three an object buffer for perfect and now what we really need to do is what I want to do basically sue gets some 3d data into After Effects so let's go ahead and do that I'm just going to add a few simple lights really nothing too special let's go ahead and let me go ahead and create go to my lights we need to add a light here and I'm going to basically hide this light or just turn up it visibility completely so you can go ahead and turn off its diffuse specular or GI illumination and it's just gonna be a dummy light that we may need to be using after effect so let's go ahead and move it's maybe about here let's control drag and create a copy create a copy maybe we can go ahead and create a copy and this way we're going to have some nice detail let's go ahead and actually control drag these guys and let's do this I'm going to just there we go and let's just go ahead and select these guys and also maybe let's go ahead and get them back to maybe about here and also let's go ahead and select these slides okay now let's go ahead and it's going to be our lights up or export basically so what I'm going to do I'm going to select all of these guys and go to my naming tools and I'm going to add this suffix to them for export so we can simply use them inside After Effects there we go and now when we actually let's actually go and put them into an OL so the singles will stay organized and nice and neat and let's type lights for export perfect and we basically don't need this background so we can go ahead and delete this and there we go here is our scene nice and neat go ahead and hide them here for the moment gets back to our camera as I said and I'm going to say it again we are not going to be rendering this and using this particular project to our final compositing I have the renders prepared from my main project I'm going to be using that render and that files in after-effects and do the compositing but let's go ahead and prepare scene to final render I'm going to my outputs and the whole frame range so all the frames were 0 to 600 okay let's go ahead and enable save and now here you can define which format you want to use or your render I'm going to use Photoshop PSD and the depth map I usually use this 16 bits per channel you can go to suit 32-bit if you want to but that's gonna be enough I'm going to enable the Alpha Channel I'm going to also enable the straight alpha you define where you want to save your file here and give it a name and here you define where you want your multipaths images to be saved I'm going to disable this multi-layer file and I'm going to come down here and enable the compositing project well I'm going to hit save choose After Effects and make sure you have include 3d data and you are good to go we can go ahead and enable our filter and change it from a cubic to be a gas animation and this way we will get rid of any possible flickering in our animation so that's it and I can go to my global illumination maybe we can go ahead and add our diffuse depth add some more samples which is up to you but I think for this project we really don't need to go crazy about our global illumination it will add to the render time and it's really not gonna be that visible so I'm gonna stay with that and ambient occlusion is perfect the minimum sample are 20 the maximum samples are 200 and accuracy is 50% we can go and actually decrease this accuracy to get a quicker render but that's it and we are basically ready to render we can go ahead and start the rendering and Oxford render is finished you can come back but I'm going to be providing the raw or rendered data that I have so you don't have to actually go ahead and render it and you can use those data from your project file folder and you can go there and use those files inside out perfect so we are basically done with cinema 4d and we're gonna be basically working on our compositing in the next section inside After Effects so see you inside after reflecting in the next section okay folks before actually getting into after effect there is one very important path that I want to make sure you are going to be able to use it and it's called a motion vector pass especially for this project that we have these very severe motions and also these small cubes and all of this motion a path like motion vector it's gonna be extremely essential when we go inside After Effects and this way we're gonna have very accurate motion blurs using the motion of clear paths that we exported out of cinema 4d to After Effects I mean we can simply go ahead and render motion blur out of cinema 4d and just our render would be with motion blur and we're not gonna change it inside After Effects but he's gonna add to our render time and in After Effects we can get very close to very accurate motion blurs if we export the motion vector data so if you go to your multi paths and right click here you get this path called motion vector you see not a lot of really details but if you go ahead and actually just make sure if you go ahead and render it I'm gonna just go ahead and quickly make the output to something like five hundred just so we have a quick render here just make sure the output is set to current frame now let's go ahead and render it out so if you go to your layers and single layers you see you got this layer called motion vector and as you can see the color varies based on the movement that the object has if you take a look let's see you can see how the color varies some parts are kind of green some part are kind of a yellow and as you can see these small cubes that are kind of moving a bit faster you can see our bit more greenish and this really helps us to have much more accurate motion blur so make sure you actually export this motion blur data out of cinema 4d now let's go ahead and actually close cinema 4d here here we are inside After Effects now let's go ahead and import those renders let me double click in your project folder you should have this data provided to you obviously not in PSD because it's gonna be very very huge you can see a lot of these guys but I'm going to provide different passes for you basically on mp4 so you can go ahead and import those data it's not gonna be that accurate and you need to if you really want to go but to be very accurate you can go ahead and render your own file but if you want to just go ahead and use this data I'll be you're gonna have this file just go to your render folder or multipass folder in your project well and you're gonna see these files and here is the a dot a E C file that we're gonna be using and as you can see here it is and if you open this thing you're gonna have every pass and every light and every camera basically that we have inside cinema4d will be imported to after-effects so let's go ahead and double click on this and wait a bit okay folks now when you do that you can see you have this folder which contains your passes your special passes the object buffer the motion vector the depth pass and also the main render and also you got these reflection shadows and the inter clusion and diffuse and you got this composition also which basically it couldn't be easier than this if you just double click on it you can see you are getting your renders and everything is just ready to go okay you see there let me just go ahead you might have this some problem as we go ahead and select all of the layers here and get back okay let's hold on shift let's hold on shift I'm going to hit N and trim the camp to the work area and here is what we have guys as you can see basically this is a multipath render basically we have our diffuse our shadow and if you take a look we can go ahead and actually do that if we want so let me just actually go ahead and do this for you I'm gonna go ahead and delete all of these guys so we have and nothing and we're going to combine our passes manually so I'm going to my passes the first pass you need to add is obviously the diffuse so let's go ahead and add the diffuse and the next thing we're going to be add is the shadow and it's going to be multiplied because we need the dark pixel basically okay the next thing we're going be we're gonna need is the let's go to global illumination so let's go ahead and add this and the next thing is obviously our ambient occlusion or reflection doesn't matter let's go ahead and add the reflection and make it to be added and finally our a or ambient occlusion which is gonna be multiplied there we go you can go ahead and change the reflection and ambient occlusion if you wanted to okay there we go so here's under and it's not similar to what we had inside cinema4d at all so in order to solve this problem if you go to your project setting you basically need to linearize your workspace inside after effect let's go to our project setting and down here at the depth let's go to change it to 16 and the working space I'm going to change it to srgb and also I'm going to linearize my workspace and hit OK and as you can see now it's very very much more similar now let's go ahead and create a quick background I'm going to create a new solid here and that's gonna be our background turn off caps lock if you have it turned on so let's see and as you can see we got all of the nulls all of the lights I don't think I'm going to be using these nulls and we didn't export them in our original in our you know design that we did it together so there we go okay now let's go ahead and add a quick gradient ramp let's go ahead and apply this and let's see we're going to radial hold on shift and the second one let's go to something like this and the color that we're gonna be using let's see get this here let's go ahead and use maybe this color and also let's go ahead and use this color maybe just a bit brighter so something like this it doesn't have to be really really accurate but as you can see it's not too bad at all and let's go ahead and start working and adding different effects the first thing I'm going to add is actually depth of field so let's go ahead and find my depth map which is this guy so let's go ahead and I'm just going to rename it to the depth map okay and then I'm going to pre-compose it and I'm going to name it the just depth map really depth map com great and let's go ahead and create a new adjustment layer so a layer new adjustment layer and let's pull it up and this is gonna be our depth of field let's go ahead and add the depth of field effect from fish left dead field okay you can go ahead and use the camera lens blur effect in which is a native plug-in inside After Effects what I'm going to use this commercial plugin very powerful plugin actually so let's go ahead and apply this turn off the caps lock let's go ahead and define our depth layer which is the depth map comp and let's go ahead and increase the blur to something like 8 and let's define where we want the depth to actually be so I'm going to click on this select depth and somewhere about here it's gonna be a good space good place and as you can see we got this sort jaggedness that's going gone around and that's a huge problem with all depth of field map and there are different solutions but let me just show you a very simple one I'm going to select my depth map here and what I'm going to do is to apply a very quick fastclaw so let's go ahead and apply a fast blur and let's go ahead and increase this wall to something like 35 so it's getting very blurry but if I turn on this repeat edge pixels and if I get back to my original project you can see we are getting to have a much more nicer and much more realistic depth of field effect going on throughout our data and the next thing is the motion blur let's go ahead and create a new adjustment layer so layer new adjustment layer let's go ahead and put it maybe here let's go ahead and name it our motion blur and we also remember the motion vector that we talked about at the beginning of this lesson so let's go ahead and use it so let's go this is our motion vector pass so let's go ahead and use it I'm going to type in motion map and I'm going to click compose it also motion map comp perfect now let's go ahead to our motion blur I'm going to use another plugin which LLL which is real smart motion blur pro from from revision so let's go ahead and use it so this is what we have at the moment let's get closer I'm going to I'll in the alternative motion source I'm going to use my motion map lor and let's see about 0.5 actually is enough let's see where some of the parts okay we got this nice motion blur okay lovely and let's see kind of get a bit have this so you see here is we have this big rotation and we have a nice motion blur basically okay very cool now let's go ahead and add some particles to our environment I'm going to create a new solids and let's I'm going I'm I know I used a lot of plugins that are commercial but unfortunately part two killer and here's the trapcode particular and I'm going to change my emitter to box and let's emitter size go to something like 5,000 5,000 5,000 maybe and the particle per second I'm going to have about 5,000 perfect and also I'm getting to my emission extras and I'm going to increase my appearance so the particles already be there at the frame zero and then let's go ahead to the particles here and the size something like 1.5 okay and the size random maybe something like 1 1 the opacity let's go something like 50 and okay nice stuff and there we go we got these nice particles around and also the particles are kind of reacting to our depth of field maps which is very very cool because you can see these particles are in focus and as we you know as they gets away from the camera they become more out of focus and more blurred and that's about the particles and finally I'm going to use this light so you remember those lights that we created for export now we have about four of them and when you export you basically import your IEC file and you open the composition you can see you got all of these lights and we can actually go ahead and use them so I'm going to create a new solid and apply a bit of optical flares so let's go ahead and tap in flare and I'm going to let's go ahead and pull it up now let's search for the optical flare from Video Copilot so let's go ahead and open it up and we're going to change the source type to be a track light and we're going to go to the options and okay let's go to our motion graphics and find something nice you know it's really up to you and I'm just going to be as quick as possible let's go maybe select this bad boys here and you can see so much at the moment but let's go ahead and change this one transparent and they're gonna be kind of less effective but you can see adding them kind of helps a lot to make the scene to be much more complex and nice got this nice motion blur and the depth of field and optical flares really helps to sell the shots and let's see great very nice as you can see it's very close to the main project that we have and as you can see the compositing isn't that hard but there are some principles that you need to follow so that's about it and let's see what we can do here and perfect so you got the light you got the fulfilled we got a motion motion blur and maybe we can go ahead and apply some you know overall changes and for example we got these object buffers so let's see object buffer one object buffer - object buffers three let's see what object buffer disguise are okay let's object buffer for for example this object doctor for 20 so what I can do for example I can go ahead and create a new adjustment layer okay let's go there create select a composition here let's go ahead and create a new adjustment layer new adjustment layer and let's go ahead and name it maybe CC for those two numbers for 20 okay or 2 and 0 okay let's go ahead and apply a simple hue and saturation so there we go and let's go ahead and maybe if you want we can go ahead and colorize everything let's go ahead and disable that but let's make sure this game to be applied to only our a letter two and zero I can simply use this math so let's go ahead and get this map here and make sure the this is the adjustment layer is gonna be just affecting the two and 0 so let's gave change its track mat to bloom on that okay now just affecting the two and a zero and I can go to my adjustment layer and really whatever I want so you can go ahead and totally change the feeling of our design you see and we can't go ahead and change the background if we want and it's really up to use so that's why we actually export those mats to have absolute control our our renders so that's about it and I hope you love it I'm going to actually turn it off but I just wanted to make sure you understand this okay folks it's finally finished and we are done as you can see we still can work on it and possibly we can go ahead and reduce the opacity of our optical flare but generally speaking we have this very cool and awesome motion design thank you for watching this free video tutorial for Mogra plus comm please make sure to visit our website and check out our premium courses for cinema 4d 3ds max Arnold v-ray Maxwell motion graphics and much more and also please make sure to subscribe to our YouTube channel and follow us on facebook twitter and vimeo to enjoy our free video tutorials you [Music]

Channel: MographPlus

Views: 143,217

Rating: 4.9574628 out of 5

Keywords: Motion, graphic, design, tutorial, animation, cinema 4d, after effects

Id: Jmr9ZS2K5u4

Length: 224min 6sec (13446 seconds)

Published: Tue Mar 13 2018