How to Use 3D Assets in Your After Effects Projects

If you want to be at the top of your MoGraph game you're going to need to know how to work with 3D renders in After Effects. Cineware is great for this some of the time, but it can't do everything for you just yet. You're still going to need to know how to handle 3D renders the old-school way. In this lesson Joey is going to break down all the need-to-know info about using 3D renders in After Effects, like working with Multi-Layer EXR files, using utility passes like Object Buffers and Motion Vector Passes, getting After Effects 3D layers to sync PERFECTLY with your 3D renders, and adding Motion Bur with the ReelSmart Motion Blur Pro Vectors effect.

Check out the Resources tab to grab a copy of ReelSmart Motion Blur. 

If you have any questions, click over to the Q&A tab to post them. Other students can answer you, and we'll put our team on the case to try and get you a solution ASAP. 

29_PhoneComp.zip

 ReelSmart Motion Blur 

    00:00:00,630(electronic music)
    00:00:17,902- Joey here at School of Motion and welcome to day 29
    00:00:20,255of 30 days of After Effects.
    00:00:22,223Today's video is going to be about compositing animation
    00:00:25,175from After Effects with 3D animation from Cinema 4D.
    00:00:28,514This is a very common thing
    00:00:29,757you have to do as a motion graphics artist
    00:00:31,356and we're gonna talk about how to really lock those two
    00:00:34,108programs together and get your 2D animation
    00:00:35,882from After Effects to sync up
    00:00:38,070with 3D animation from Cinema 4D.
    00:00:40,504We're going to use prerendered elements
    00:00:42,675but we're also going to use Cineware to pull in information.
    00:00:45,541I'm gonna show you a lot of compositing tricks.
    00:00:48,438It's gonna be awesome.
    00:00:49,607Don't forget to sign up for a free student account
    00:00:51,940so you can grab the project files from this lesson
    00:00:54,194as well as from any other lesson on School of Motion.
    00:00:56,989Now, let's hop into After Effects and get started.
    00:01:00,859So, in this video we are gonna cover how to sync up
    00:01:02,713your After Effects animation with 3D render
    00:01:04,786as using Cinema 4D and we're gonna sort of go over
    00:01:07,102a lot of other compositing things,
    00:01:10,010including using multilayered EXR files
    00:01:13,824and a lot of really geeky cool stuff.
    00:01:16,120So, let's talk about, first of all,
    00:01:18,709what are starting elements are here.
    00:01:22,018So I'm gonna hop into Cinema 4D and show you my project.
    00:01:25,319Now, I'm not gonna get too deep into this,
    00:01:27,302cause this is not a Cinema 4D tutorial.
    00:01:29,360I'm using Cinema 4D R15 and if you have Cinema 4D light,
    00:01:34,775and that's the only version that you have,
    00:01:37,010the free one that comes with After Effects,
    00:01:39,225that's okay.
    00:01:40,262You can do this entire tutorial the exact same way.
    00:01:42,951I'm not using any special features.
    00:01:44,543Really, all that's going on is you've got
    00:01:46,609an iPhone model and it spins around
    00:01:49,761and kinda lands and that's it.
    00:01:51,935Alright, and what I want to be able to do
    00:01:54,671is composite whatever I want onto that screen
    00:01:58,364in After Effects.
    00:01:59,530So let me just do a quick render here
    00:02:02,664and show you what this looks like.
    00:02:04,642You know, I've lit this in a specific way,
    00:02:07,185actually just using one of the presets that comes
    00:02:11,806with Cinema 4D, called the array light.
    00:02:14,038And then I used a couple of just planes
    00:02:17,695with a white texture on it and I used that
    00:02:21,733so that it actually gives me a nice reflection
    00:02:24,347on the phone and I also rendered with global elimination,
    00:02:28,414which is why it's taking forever to render for you guys.
    00:02:33,396But here it goes.
    00:02:34,229So this nice, diagonal highlight that's going across
    00:02:37,267the phone that you sort of see on a lot of cell phone
    00:02:40,416commercials, that is actually just a reflection.
    00:02:43,080And I want to make sure that I'm able to keep that
    00:02:45,936when I composite something in the screen.
    00:02:49,758So I'm gonna show you how to do that.
    00:02:51,840So the first thing you need to do is you need to make sure
    00:02:53,433that you prepare this Cinema 4D file a certain way, okay?
    00:02:56,751And what I mean is, you need to make sure that
    00:03:00,858if you want to stick something on this screen,
    00:03:04,108you need to have a reference object in the scene
    00:03:07,375that you can then import into After Effects.
    00:03:10,083So if I open up this phone null, this is the null
    00:03:13,383that's holding all the pieces of the phone
    00:03:14,846and here's the front of the phone
    00:03:16,792and here's the screen of the phone
    00:03:18,311and even the screen has multiple pieces.
    00:03:19,852It's a pretty detailed model,
    00:03:21,132and this cap one object here,
    00:03:24,873if I, here let me go forward here and jump into my
    00:03:29,378isometric views here, you can see
    00:03:34,987that that object has its anchor point right
    00:03:38,929smack dab in the center of the phone
    00:03:42,014and right on the surface of the phone.
    00:03:43,878So if I was somehow able to get a null
    00:03:46,531that mimicked exactly what that sreen's doing
    00:03:50,250and get that into After Effects,
    00:03:51,497then all I'd have to do is parent my animation
    00:03:54,588to that null.
    00:03:55,421So that's exactly how you can composite stuff
    00:03:58,236in After Effects and Cinema 4D.
    00:04:00,612The only thing you need to make sure is that
    00:04:02,565on your object that you want to bring into Cinema 4D,
    00:04:05,578you need to have this tag.
    00:04:08,399Okay now, I'm not gonna go too deep into tags,
    00:04:10,329but you basically right click your object,
    00:04:12,379or control click, you go to Cinema 4D tags
    00:04:15,657and you put an external compositing tag on it.
    00:04:18,261Then, when you save your Cinema 4D project,
    00:04:21,058and you import it into After Effects,
    00:04:23,159After Effects will ignore every object in the scene
    00:04:27,371except your camera,
    00:04:28,627which it brings in automatically, any lights you have
    00:04:31,500and any object that has this tag on it.
    00:04:34,304It will bring in any animation that's on that object,
    00:04:37,149position, scale, rotation.
    00:04:38,733So, now we're good to go, we're all set up.
    00:04:41,253Okay, so let's hop into After Effects,
    00:04:44,170and I have already rendered out
    00:04:49,217my 3D scene here.
    00:04:50,419You know, you can just import your Cinema 4D project
    00:04:54,942and you can have After Effects render it,
    00:04:58,042but in most cases that's a terrible idea
    00:05:00,445because it's gonna render much slower
    00:05:02,429inside of After Effects and every time you change
    00:05:05,102something you're gonna have to rerender the 3D,
    00:05:07,079which takes forever.
    00:05:07,993So, here's what you want to do.
    00:05:10,429You want to render an image sequence right out of
    00:05:14,184Cinema 4D and specifically, what I do a lot of times,
    00:05:17,171is I render a specific file format called open EXR.
    00:05:23,353And it's a 32 bit file format,
    00:05:25,501which means it has a ton of color information in there.
    00:05:27,873It's very good for color correction.
    00:05:29,413The other thing it can do is it can hold multiple layers.
    00:05:33,253You know, there's something, there's this technique
    00:05:36,457in 3D rendering called multi pass rendering
    00:05:38,512where you can render out multiple layers of your image.
    00:05:42,649Okay, and so one of the layers I have
    00:05:44,721is an ambient occlusion pass,
    00:05:46,853and I'll show you what all these layers look like
    00:05:49,454inside of After Effects.
    00:05:50,486I also have a motion vector pass.
    00:05:52,523This is gonna allow me to create motion blur
    00:05:55,431without actually having to render the motion blur
    00:05:57,554inside of Cinema 4D and I have an object buffer
    00:06:00,409which is literally just a mat.
    00:06:02,921So, actually, you know what?
    00:06:04,753Let me show you what this looks like.
    00:06:05,801I'm gonna turn off aim and occlusion
    00:06:08,078and global illumination and I'm also gonna turn off
    00:06:09,314saving so that I don't actually overwrite
    00:06:14,214any of the files I've already saved.
    00:06:16,001So, if I just do a quick render here of the current frame,
    00:06:22,854here's what you're gonna get.
    00:06:25,397Okay, out of Cinema 4D you're gonna get your main render
    00:06:27,605but you're also gonna get these layers.
    00:06:29,968So you're gonna get an ambient occlusion pass,
    00:06:32,162which isn't really showing up here because I turned
    00:06:34,609ambient occlusion off.
    00:06:36,124So let me turn it back on temporarily so you can see
    00:06:37,169what it does.
    00:06:39,093In addition to ambient occlusion,
    00:06:40,913you're gonna get a motion vector pass,
    00:06:43,209which is gonna look really really strange,
    00:06:45,171and then you're also gonna get this object buffer.
    00:06:48,193And you can see with ambient occlusion on,
    00:06:49,890the render takes much much longer,
    00:06:52,485but what it gives you is it gives you these nice dark
    00:06:55,975shadows wherever objects are close together.
    00:06:59,190It basically creates sort of fake shadowing
    00:07:02,787wherever objects are just in close proximity
    00:07:05,996and it just gives things a more realistic look.
    00:07:10,246And so I had this pass render out separately
    00:07:13,093so I could composite it and control it.
    00:07:15,995Here's the motion vector pass and it looks strange
    00:07:17,902and basically what it's doing is telling
    00:07:20,470whatever compositing program you're using
    00:07:23,014how fast each pixel's moving and it does that by
    00:07:27,045basically alternating between a red amount
    00:07:30,664and a green amount and one of those colors,
    00:07:33,932I'm not sure which one, probably red,
    00:07:36,062corresponds to horizontal movement
    00:07:37,847and green corresponds to vertical or vise versa,
    00:07:40,224and so you can get motion blur by using that.
    00:07:43,090I've got an alpha channel and then I have an object buffer.
    00:07:46,523The object buffer is the matte for just my screen.
    00:07:50,424This is gonna be really useful if I want to make sure
    00:07:52,957an image only ends up on the screen
    00:07:55,267and the way you get an object buffer, if you don't know,
    00:07:57,834is that same object that has my external compositing tag
    00:08:02,433also has a compositing tag.
    00:08:04,732They're both in the Cinema 4D tags menu.
    00:08:06,953Here's compositing, here's external compositing.
    00:08:09,162And when you add the compositing tag you can go
    00:08:12,393to the object buffer tab and enable one of these.
    00:08:14,920Right, enable buffer one and then in your render settings
    00:08:19,254you go to multi pass, you add any passes you want here
    00:08:24,390and you add an object buffer and make sure that
    00:08:26,919the group ID is set to one and then,
    00:08:28,782this is turning into more of a Cinema 4D tutorial
    00:08:32,394than I had hoped.
    00:08:33,232So, make sure you have your object buffer set up
    00:08:36,006and all that good stuff and then
    00:08:38,778the key is I make sure that I have my multi pass image
    00:08:42,679set to multi layer file.
    00:08:44,612So here's what happens.
    00:08:45,445You end up with an EXR sequence.
    00:08:47,790So let me first, let me reimport this,
    00:08:50,707cause I want to show you
    00:08:52,266some little gotchas that can happen here.
    00:08:54,330So I'm gonna make a new folder,
    00:08:55,710dump all this stuff in there,
    00:08:56,814and then I'll reimport it.
    00:08:58,744Okay, so we're going to navigate to where my renders are.
    00:09:04,378Alright, here it is.
    00:09:06,755Alright, so here's my EXR file.
    00:09:09,550So, the first thing that happens when you import an image
    00:09:13,012sequence into After Effects,
    00:09:14,190is it tries to guess a few things.
    00:09:18,101It tries to guess the frame rate and it guessed 30
    00:09:20,278and actually, I animated at 24.
    00:09:23,532So I'm gonna hit command option G,
    00:09:26,112which brings up the interpret footage dialogue.
    00:09:28,407You can also just control click and say interpret footage
    00:09:31,406main and tell After Effects that this is actually
    00:09:35,12424 frames a second okay.
    00:09:37,560The other thing you need to make sure you have correct
    00:09:40,035is the alpha channel
    00:09:41,193and you can either have a straight or a premultiplied
    00:09:44,793alpha channel.
    00:09:45,788That is something that you set inside of Cinema 4D
    00:09:48,835right here.
    00:09:49,793Alpha channel, and if you want an straight alpha channel,
    00:09:52,585you can check straight alpha.
    00:09:54,500Okay, now I didn't check it,
    00:09:55,888which means it's premultiplied
    00:09:57,534and if you don't know what that means,
    00:09:59,423there's actually a tutorial I did.
    00:10:01,148It's a new tutorial, but the information still applies
    00:10:04,446to After Effects and I explain the different between
    00:10:06,595a straight and a premultiplied alpha channel
    00:10:08,741and I'll link to that in the notes for this tutorial.
    00:10:11,475So now I've got it interpreted correctly.
    00:10:15,239And now I'm gonna just drag it into a comp okay.
    00:10:17,855And let's just play it
    00:10:19,297and see what we got.
    00:10:22,023Fantastic, alright.
    00:10:23,821So, we've got this phone and it's got this nice reflection
    00:10:27,055on it and it's great.
    00:10:28,942Now there's no motion blur on it and right now
    00:10:31,644the ambient occlusion pass is not being applied to it.
    00:10:34,820And obviously there's no image on it.
    00:10:36,915So, first things first,
    00:10:38,401let me just copy my background right out of this comp
    00:10:43,953and stick it inside of this one and set this back to,
    00:10:47,863I think I had it as kind of like a dark off black
    00:10:50,926kind of cool color.
    00:10:53,270And just in case your guys are curious,
    00:10:55,119this background could not be simpler,
    00:10:56,969it's just a bunch of solids sort of layered
    00:11:00,182together with a couple of masks and then I added some
    00:11:02,920grain to the whole thing so I didn't get banding.
    00:11:06,464So there's the background.
    00:11:07,463Alright, and so now I've got my phone
    00:11:09,612and looking at it,
    00:11:11,936it's kinda like a really hard dark edge there
    00:11:15,640that I don't really love.
    00:11:17,379So first thing I'm gonna do is just color correct it
    00:11:18,852a little bit.
    00:11:19,685I'm just gonna grab levels and this is very important.
    00:11:21,940This EXR sequence is a 32 bit image sequence,
    00:11:25,836meaning there is a ton information in this image sequence
    00:11:29,813and by default, in After Effects,
    00:11:33,610you're working in 8 bit color mode.
    00:11:35,811So if you look right here, you can see it says 8 BPC.
    00:11:37,029That means you're working in 8 bit color
    00:11:40,446and you want in work in 32 bit color
    00:11:42,802if you're using 32 bit image sequences.
    00:11:46,143Okay, so the way you do that is you just hold option
    00:11:48,812and you just click this and it'll change to 16 and then 32.
    00:11:52,325And one thing you need to make sure you're aware of
    00:11:54,620is that look at this levels effect.
    00:11:56,686Look at the numbers it's showing me.
    00:11:58,137In 8 bit it goes from zero to 255.
    00:12:00,270In 16 bit it goes from zero to 32 thousand something.
    00:12:05,272And then in 32 bit it goes from zero to one.
    00:12:07,413And what's really crazy,
    00:12:08,816is you can actually, in 32 bit mode,
    00:12:12,018go past one and past zero.
    00:12:13,575So these are all kind of compositing things
    00:12:17,011that kind of beyond the scope of this tutorial,
    00:12:19,416but working in 32 bit mode, the biggest advantage,
    00:12:22,926is you just get a ton of color correction capabilities.
    00:12:25,792So, I'm gonna push the whites a little bit
    00:12:28,181and what I really want to do is bring the black level
    00:12:32,446up a little bit.
    00:12:34,569It feels a little harsh,
    00:12:36,045especially sort of in here,
    00:12:39,482like these edges just feel a little harsh.
    00:12:40,882So I'm just gonna bring the black level up a little bit
    00:12:43,204and then to compensate for the loss in contrast,
    00:12:46,581I can push this black input down a little bit
    00:12:50,565and maybe play with the gamma a little bit.
    00:12:53,156Okay, so I've just done like a basic color correction
    00:12:55,399to get a little more contrast out of the phone
    00:12:57,136while bringing up this black level so it's not so dark
    00:13:00,959against the white background.
    00:13:03,497Alright, next thing I want to do is I want to get
    00:13:07,444that ambient occlusion pass on the phone,
    00:13:09,930but where is it right?
    00:13:11,856I rendered out multiple passes, but where are they?
    00:13:14,489They're actually all inside of this image sequence.
    00:13:18,249There are multiple layers to this.
    00:13:19,828Now here's how you see them.
    00:13:21,366I'm gonna duplicate this layer and I'm gonna rename this one
    00:13:23,514AO, for ambient occlusion,
    00:13:25,466I'm gonna reset the levels on it,
    00:13:27,517and I'm going to, let me solo it for a minute,
    00:13:30,183so we're just looking at this.
    00:13:31,414Now, if you have an EXR sequence with multiple channels,
    00:13:34,575you can go to effect, go to the 3D channel group
    00:13:38,813and grab the extractor.
    00:13:41,152You'll see it says EXR, so it gives you a hint.
    00:13:44,306So you do that and then you click somewhere in this area.
    00:13:49,057It says click for dialogue.
    00:13:50,113Okay and now any layers you have,
    00:13:52,453you can select them in here.
    00:13:54,001So you see I have my ambient occlusion layer,
    00:13:55,315motion vector, and my object one buffer right there.
    00:13:59,533So I'll grab my ambient occlusion and hit okay.
    00:14:02,459And now this layer changes to the ambient occlusion channel
    00:14:06,666and you can see it looks very flat
    00:14:09,144except there's these nice shadows
    00:14:12,896where stuff is close together.
    00:14:13,729So, I'm gonna set this to multiply.
    00:14:17,179So I'm now multiplying the ambient occlusion layer
    00:14:20,775over this layer and so I'm seeing now these shadows.
    00:14:24,486If I turn it off, and on,
    00:14:27,076and I do want to adjust the levels on this.
    00:14:30,844So, I'm gonna
    00:14:31,986push the white output back a little bit,
    00:14:36,498but then I'm gonna crush the blacks a little bit.
    00:14:38,666I'm just trying to find a nice happy medium
    00:14:41,861and really, if you look right there,
    00:14:44,017look in this part of the phone,
    00:14:45,495as I adjust the gamma.
    00:14:46,761You see how you see more and less of that?
    00:14:50,354I don't want it to be too heavy,
    00:14:51,884cause then you get all this weird artifacting there.
    00:14:54,097So I'm probably gonna just leave it right around there.
    00:14:58,173Alright, so the levels didn't really do too much
    00:15:00,078I just brought out a little bit more
    00:15:01,663of that ambient occlusion pass and that's great.
    00:15:04,765And that's why I rendered it separately
    00:15:06,100so I had that control.
    00:15:08,035Very nice.
    00:15:09,635Alright, so the next thing we're gonna need to pull out
    00:15:12,054is we're gonna need to pull out a motion vector pass.
    00:15:13,988So let me duplicate this layer again
    00:15:15,913and I'm gonna call this Mvector.
    00:15:18,499And I'll delete the levels and now I'll just click in here
    00:15:22,149again and I'm gonna say now, I want the motion vector pass.
    00:15:24,897Alright, and so I don't want that in multiplied mode.
    00:15:27,764I want that in normal mode.
    00:15:29,513Here it is, okay.
    00:15:30,475So now we have a motion vector pass
    00:15:31,843and you can see that the color changes
    00:15:33,703depending on how fast it's moving and in what direction
    00:15:36,915each pixel's moving.
    00:15:38,805Alright, and I'll show you how to use that.
    00:15:40,827I'm gonna turn that off, throw that down at the bottom.
    00:15:42,403And then there's one more layer,
    00:15:44,165which is the object buffer one.
    00:15:47,165So let me set that to normal, delete the levels,
    00:15:49,681click on this and grab object buffer one.
    00:15:54,030Cool.
    00:15:54,863Alright, and so now I can see I've got
    00:15:56,783just a black and white image, white where my matte is
    00:16:01,847and black where everything else is.
    00:16:03,728So this would be a nice luma matte that I can use.
    00:16:06,893Now, you don't have to render everything as a multilayered
    00:16:11,268image sequence.
    00:16:12,328You can render everything in separate passes if you want to.
    00:16:15,884The advantage to this is if you
    00:16:17,792do a whole bunch of compositing here,
    00:16:20,347and then you render out a new version of this,
    00:16:22,955you only have to replace one thing in your After Effects
    00:16:26,213comp and the whole comp will be rebuilt.
    00:16:28,715You can have 25 passes inside of this thing
    00:16:33,337and be doing a lot of really complex compositing,
    00:16:35,656and then if you render out a new version you only have to
    00:16:38,718render out one set of files.
    00:16:40,914You don't have to render out 25 and then go through
    00:16:43,055After Effects replacing them.
    00:16:44,549So, it's a lot nicer way of working
    00:16:47,289and if you're not using the latest version of After Effects,
    00:16:52,051by the way CC2014, this extractor effect,
    00:16:55,794it used to be a lot slower.
    00:16:58,063It works much, much faster in this latest version,
    00:17:00,381which is fantastic.
    00:17:02,246Like before it was almost unusable
    00:17:05,161and now it's really really usable.
    00:17:06,637So I would definitely recommend upgrading if you haven't.
    00:17:09,875So, now
    00:17:11,945let's talk about how we actually
    00:17:13,628get something on this screen.
    00:17:16,523So, first thing we need to do is
    00:17:18,541import our Cinema 4D project.
    00:17:20,727So let's import, here it is,
    00:17:24,020iPhone C4D, and I am just gonna pull this down here
    00:17:29,626into my sequence and I'm gonna
    00:17:32,082turn off everything for a minute okay.
    00:17:34,125So you can see by default,
    00:17:35,600it's just rendering the software version,
    00:17:37,432and if I turn on my phone render,
    00:17:39,708it should match up pixel perfectly to the Cineware preview.
    00:17:45,449Okay, and you can see that it does.
    00:17:47,260It works out, it's perfectly rendered.
    00:17:50,384It's perfectly in sync okay?
    00:17:51,451Wonderful.
    00:17:53,503So what I can do now is I can turn off my Cineware layer
    00:17:57,020and just hit he extract button,
    00:17:59,875and what that's gonna do is it's gonna bring from this
    00:18:02,959Cinema 4D file any lights I have.
    00:18:05,029So there's a light, alright, and I'm gonna delete that,
    00:18:08,055cause I don't want to use lights inside After Effects.
    00:18:09,801Here's my camera, which matches my Cinema 4D camera
    00:18:13,054and most importantly, here is a null
    00:18:14,936and that null is named cap 01 because remember,
    00:18:18,520I put the external compositing tag on the cap 01 object
    00:18:21,138and if you watch that null
    00:18:24,821it mimics what the screen's doing.
    00:18:26,783Pretty cool, okay.
    00:18:28,677Or so it would seem.
    00:18:30,702There's actually a little twist that you're gonna see here.
    00:18:33,106So, what I figured I would just do
    00:18:35,238is just take my School Motion intro and put it on the phone.
    00:18:39,499Alright, so the phone starts out horizontal, like this.
    00:18:44,989So let me drag the animation in there
    00:18:48,419and I'm gonna precompose it and leave all the attributes
    00:18:51,038in there and I'm just gonna call this
    00:18:52,305screen image okay.
    00:18:55,006And by setting up a precomp ahead of time,
    00:18:58,353what this is gonna allow me to do is once this is tracked
    00:19:00,988to the phone and composited,
    00:19:02,519all I have to do is go into this precomp
    00:19:04,219and replace whatever this is
    00:19:06,325and now I have something new on the phone.
    00:19:08,538So it's like a nice little template.
    00:19:10,419So what I'm gonna do is I'm gonna make it a 3D layer,
    00:19:14,691okay, and then I'm gonna parent it to cap one
    00:19:17,140and I'm going to zero out the position,
    00:19:20,676zero out the rotation,
    00:19:24,878and then scale it down okay.
    00:19:28,115Now, we need to adjust a couple of things.
    00:19:30,068First thing is this null, inside of Cinema 4D,
    00:19:33,633was perfectly right in the middle of the screen,
    00:19:36,233however, now, you can see that the anchor point
    00:19:39,572of the null is not in the right spot.
    00:19:41,286It's in the corner.
    00:19:43,168Alright, so what I usually do, you just need to know,
    00:19:46,506that the center of a null in After Effects
    00:19:49,951is actually not zero zero.
    00:19:53,139It's 50 50.
    00:19:55,308Alright, next thing I need to do is rotate the screen image
    00:19:58,098and I can rotate it 90 degrees
    00:20:02,277and then I can scale it up.
    00:20:03,503Now, it just so happens that
    00:20:05,943this is an iPhone 5, so the screen is 16 by 9,
    00:20:11,915so using a 19 20 by 1080 comp, like I am,
    00:20:15,809means it's gonna fit perfectly on the phone.
    00:20:17,874But just to be sure, the next thing I want to do
    00:20:20,429is make it slightly bigger than the screen of the phone
    00:20:24,986and then I'm gonna bring this object one buffer up here
    00:20:28,733and I'm gonna set my screen image to use that as a
    00:20:31,484luma matte.
    00:20:32,959And so now, it's gonna map that out for me.
    00:20:36,318And you can see that it doesn't quite to to the edge
    00:20:38,864of the frame for some reason,
    00:20:40,817and I think that's just the way the model was done
    00:20:43,660in Cinema 4D.
    00:20:45,531It doesn't go all the way to the edge so
    00:20:48,164I can show you some ways to adjust that,
    00:20:51,377but first, I want you to see the big problem here.
    00:20:55,023So here's the big problem,
    00:20:56,531if I just sort of do a ran preview of this,
    00:21:00,611what you're gonna see is that for the most part
    00:21:03,326it locks up but there's some weird frames
    00:21:04,585where stuff doesn't sync up right.
    00:21:07,843Like what's going on there, right?
    00:21:09,303And then look here.
    00:21:11,218What is this right?
    00:21:12,156So, the screen of the phone it's like almost perfectly
    00:21:16,042locked on there but not really perfectly locked on there.
    00:21:20,593And why is that, you know?
    00:21:22,287I'll tell you why.
    00:21:25,436So, and actually it's easier to see in here.
    00:21:28,726If I hit u on this cap one null,
    00:21:31,661you can see there are key frames on every single frame.
    00:21:35,170So what happens when you import this Cinema 4D project
    00:21:40,993into After Effects is any animation that's on here,
    00:21:44,391and I'll show you the animation in Cinema 4D.
    00:21:46,527You can see there's not a million key frames right?
    00:21:49,073There's a dozen,
    00:21:50,432and you can see that my z position,
    00:21:53,086for example of the phone, is this nice fluid curve.
    00:21:57,243And in After Effects, if I go to my position
    00:22:00,245and look at the animation curves, you can see that the z
    00:22:02,450is mimicking what's going on in Cinema 4D.
    00:22:05,422But there's some extra junk happening here.
    00:22:08,032What's this y position stuff?
    00:22:09,435If you look at the rotation,
    00:22:11,583it's close to what's happening in Cinema 4D
    00:22:14,762but there's extra rotation happening here.
    00:22:18,901I'm really not sure why.
    00:22:21,474So here's the solution for this.
    00:22:23,568What I do, is I save a copy of my Cinema 4D project.
    00:22:28,402So just shift command save,
    00:22:32,209and now we wait
    00:22:34,231because I've got an external hard drive attached,
    00:22:36,240but what's happening is,
    00:22:37,454after After Effects is baking the key frames
    00:22:39,964into different ways.
    00:22:40,853You can see here, I've already baked it once.
    00:22:42,481So this is gonna be bake R2.
    00:22:46,797And what I'm gonna do is go to my Cinema 4D timeline,
    00:22:52,564and make sure you're in key frame mode,
    00:22:54,966if you're not move your mouse over the timeline,
    00:22:56,516hit space bar,
    00:22:58,515and then I'm gonna select my phone and I'm gonna go
    00:23:01,104functions bake objects.
    00:23:05,733What you want to do is make sure you have position
    00:23:07,244and rotation checked.
    00:23:09,028If you're doing this with something where you've animated
    00:23:11,799the scale, you also want the scale checked.
    00:23:13,617PLA and parameter you don't need to worry about,
    00:23:16,620so it's not important that they're checked
    00:23:18,710and I want to create a copy,
    00:23:22,423and I'll tell you why.
    00:23:23,883So when you hit okay, it bakes the object
    00:23:25,661and what it really does is it puts a key frame
    00:23:27,653on every single frame
    00:23:30,173and it just goes through
    00:23:32,899and it literally bakes the animation on every single frame.
    00:23:37,169By letting Cinema 4D do it, it's gonna be much more accurate
    00:23:40,475when we pull it into After Effects.
    00:23:42,136And the reason I have it make a copy is just to confirm
    00:23:45,188by scrubbing through my animation,
    00:23:46,527that the copy doesn't do something differently,
    00:23:50,022because if it does, it's still not gonna line up
    00:23:52,555in After Effects but it lines up perfectly.
    00:23:53,495So now I can delete phone one.
    00:23:59,182Now I don't need that.
    00:24:00,414Now I just need the copy and I'll save this project
    00:24:02,562and now I'll go back to After Effects
    00:24:05,435and I'm gonna import my baked project now.
    00:24:09,727So now what I'm gonna do is go to the first frame here,
    00:24:12,593and I'm gonna delete cap one and the camera
    00:24:16,852and my Cinema 4D project
    00:24:18,824and now I'm gonna bring in the baked version.
    00:24:20,433Turn it off and hit extract
    00:24:22,169and now I can actually get rid of the project from there.
    00:24:26,067Get rid of the light and now if I parent my screen image
    00:24:29,593to this cap one,
    00:24:32,743it should sync up perfectly
    00:24:35,334and you can see now you don't get any weird
    00:24:37,134key frames or anything.
    00:24:40,930Cool?
    00:24:42,709Piece of cake.
    00:24:43,542Alright, so now you see how the matte for my phone,
    00:24:47,718if I actually turn it on,
    00:24:49,836you can see that it doesn't,
    00:24:51,212and actually let me turn it on and set it to screen.
    00:24:55,226You can see that it doesn't quite reach the edges
    00:24:57,338of the screen and that's probably just, you know,
    00:25:01,983whoever modeled this made that screen too small
    00:25:05,276and wasn't very precise or something, who knows,
    00:25:07,643and so I tried a bunch of things to fix it
    00:25:12,527and what seems to work best was just
    00:25:17,153blurring the edges just a little bit,
    00:25:19,133just to kind of blend it in with the black screen
    00:25:21,151of the phone.
    00:25:22,058And so you get just like a little bit of a soft matte
    00:25:26,413that's happening with the image.
    00:25:29,118So now we've got the After Effects layer completely,
    00:25:33,656perfectly stuck to the phone, so that's fantastic,
    00:25:37,515and we can turn our background back on
    00:25:39,743and kind of see what it's looking like.
    00:25:41,007Okay, so now we've got that on there
    00:25:43,021so now what I also want to do is I want to get the
    00:25:45,911reflection to happen.
    00:25:48,498See, if I turn this off you can see this nice reflection
    00:25:51,067there and I'd like to keep that.
    00:25:54,005Now, I could've rendered a reflection pass
    00:25:57,029out of Cinema 4D.
    00:25:58,465That's one way you can do it.
    00:26:00,154But there's actually an even easier way.
    00:26:01,915Because I have this matte for the screen,
    00:26:05,639part of the phone,
    00:26:07,187what I can do is duplicate that,
    00:26:08,819duplicate the actual phone render, right?
    00:26:12,922And then tell the phone render to use the object buffer
    00:26:15,943as its luma matte.
    00:26:19,077Cool?
    00:26:19,910This has that blur effect on it so let me delete that
    00:26:24,671for a minute.
    00:26:26,752You can see all that's done,
    00:26:28,236and actually let me color code these
    00:26:29,591so maybe is a little bit easier to tell what's what
    00:26:31,647for everybody.
    00:26:33,524So thers two purple areas, this is now just the screen
    00:26:38,021of the phone composited back on top of this.
    00:26:41,485Now why would you do that?
    00:26:42,626Well, you do that because now what you can do
    00:26:45,111is you can color correct this.
    00:26:46,782Let me reset the levels and I'm gonna color correct this
    00:26:49,556so it's very dark, but you have this nice highlight on there
    00:26:53,415and I'm gonna set the mode to screen.
    00:26:56,835Okay, if I turn this off and on,
    00:26:58,545you can see that now I've composited that reflection
    00:27:00,632back on top and not only the reflection,
    00:27:02,639here's something else that you get too.
    00:27:04,920As the screen turns, right,
    00:27:07,704when it's facing the camera, it's gonna be a little bit
    00:27:12,028more blown out.
    00:27:13,838When it's turned away from the camera,
    00:27:16,294you can see that it gets a little darker
    00:27:18,142because of the Fresnel effect
    00:27:19,491and also because when it's facing down there's nothing
    00:27:21,577down there but once we sync up,
    00:27:24,041there's kind of a big giant light source up there.
    00:27:26,771So you can get that shading back for free,
    00:27:31,071by doing this trick.
    00:27:33,481You recomposite the 3D render on top of itself.
    00:27:37,141Alright, so now you'll see that you get
    00:27:39,826all this free shading, you get your reflection back in there
    00:27:42,045and then you can just play with the opacity of it
    00:27:44,586to actually decide how much of that effect
    00:27:46,916you want to keep and how much you want to get rid of.
    00:27:50,361So let's this ram preview for a minute,
    00:27:52,997and we'll talk about some of the other things we need to do.
    00:27:54,807So one thing I want to do is adjust the timing
    00:27:57,930of this whole thing so we actually get to watch
    00:27:59,873a little bit of the animation on the screen
    00:28:01,850before the phone actually moves back and starts rotating.
    00:28:06,747The other thing I want to do is add motion blur to this
    00:28:08,978because the phone is moving so much that
    00:28:11,209it really should be blurry when it's moving.
    00:28:17,354And so I'm gonna show you how to do that too
    00:28:20,575and then I'm gonna show you the little finishing touch
    00:28:24,319that I applied, just sort of copying the render
    00:28:28,314and having these things pop out at the end.
    00:28:29,975So first let's talk about the timing.
    00:28:31,390So what I want to happen, is I want--
    00:28:36,159I deliberately set it up so the phone is all the way up
    00:28:38,506against the camera.
    00:28:39,731So we can just sort of play whatever content is on it
    00:28:41,728and then have it swing back okay.
    00:28:44,805To start out, let me go into my screen image
    00:28:47,917and let me actually, let's move this back.
    00:28:50,455So the first frame has something on it
    00:28:52,629and then let's go back to our main composite here.
    00:28:58,641Now, what I need to do is I need to delay
    00:29:02,530the motion of the phone.
    00:29:05,814So I need to delay not just this null,
    00:29:08,774which has key frames on it,
    00:29:09,607I also need to delay every single render, right?
    00:29:13,166Every single piece of this needs to not start moving
    00:29:17,878until I want it to.
    00:29:19,681So let's say I want it to hang for one second.
    00:29:22,109So let's move all this stuff forward.
    00:29:25,870So now,
    00:29:29,307so the camera's not moving, right,
    00:29:31,158but this cap, this null here, this is moving
    00:29:34,900so this actually needs to moved up to one second too.
    00:29:37,878Alright, now right now, I can't see my screen
    00:29:40,929because that screen has a matte object that it's using
    00:29:44,510and the problem is that matte object
    00:29:48,532doesn't start for a second.
    00:29:50,674So what I can do is enable time remapping
    00:29:52,437and I can pull this layer backwards.
    00:29:55,439And so now, if I just turn this on and solo it,
    00:29:59,762I'm basically holding on the first frame until one second
    00:30:02,623and then everything starts moving.
    00:30:06,618So this is gonna let me see, let me turn that back off,
    00:30:10,010it'll let me see the animation
    00:30:11,630and then at one second everything starts happening again.
    00:30:14,725Cool.
    00:30:16,767Now what I want to do is once this thing spins around
    00:30:20,788and starts to come back at us,
    00:30:23,300right there,
    00:30:24,289when it spins around I want it to be on the second shot
    00:30:27,430of the sequence.
    00:30:29,724So I'm gonna now hop into my screen image
    00:30:31,684and I'm gonna split the clip.
    00:30:34,284I'm gonna go back a couple frames and hit sift, command, D
    00:30:37,336splits it okay,
    00:30:38,362and that's just the hot key for split layer,
    00:30:41,131which is right here in the edit menu.
    00:30:44,180And then, I'm gonna
    00:30:46,595slip the timing of this, so now we're on the second shot.
    00:30:50,230So now we can hop back here and you can see that flies back
    00:30:53,017and then as it flips towards us,
    00:30:54,657now we're seeing the second shot
    00:30:55,889Then when it flips back the final time,
    00:31:00,242what I want it to do is to be on the ending,
    00:31:02,404where we see the School of Motion logo.
    00:31:05,616So when we see the screen here,
    00:31:07,584I want it to be the School of Motion logo.
    00:31:08,756So the other thing I need to do is I need to make
    00:31:11,500this comp longer, so I'm gonna make it six seconds
    00:31:13,902so we can then hang on the logo.
    00:31:16,953Alright, and you can see that the layers are not
    00:31:20,809long enough.
    00:31:23,035So what I can do is just extend them all,
    00:31:25,582and anything that is a render, right,
    00:31:28,254I can enable time remapping on.
    00:31:32,606So command option t is the hot key
    00:31:34,409and I can just extend them all the way to the end.
    00:31:36,583So that now, you gotta make sure that I do the matte layer
    00:31:40,158as well, cool, okay.
    00:31:43,424So now once the animation stops
    00:31:45,285it's just gonna hold on that last frame
    00:31:47,086as long as I want it too.
    00:31:47,992So let's go to the part of the animation
    00:31:50,324where I want to see the School of Motion logo.
    00:31:52,377So right in there.
    00:31:55,045So now I'm gonna jump back into my screen image comp,
    00:31:57,010I'm gonna split the layer one more time
    00:31:58,991and I'm going to slip it
    00:32:00,877so that now we're seeing this part.
    00:32:04,785Now, here's the other wrinkle.
    00:32:06,959At this point, the phone is vertical.
    00:32:09,541Alright, so if I want to be able to read this normally,
    00:32:11,153I need to rotate this negative 90 degrees, cool.
    00:32:19,962But now I've got nothing at the top and the bottom
    00:32:22,359of the screen, which is no good.
    00:32:23,718So I just did my old trick of using
    00:32:27,947the CC RepaTile effect.
    00:32:32,131I did this in the kinetic type series too
    00:32:33,498and I set it to unfold and then expand the down and the up.
    00:32:39,245Now you can see these black kind of vertical bands
    00:32:42,807that are happening that obviously shouldn't be there
    00:32:45,690and so probably at the top and bottom of the render
    00:32:49,010there might have been a one pixel black line because
    00:32:50,702of a compound blur effect or something like that.
    00:32:52,286So an easy fix is you just precomp this layer
    00:32:56,109and you can just say leave all attributes in here
    00:33:00,686and hop into that precomp and let's just scale this up
    00:33:05,080by 1%.
    00:33:06,226And now you hop back in and now that one pixel
    00:33:08,503black line is gone.
    00:33:11,835Cool.
    00:33:12,668And let's look at the phone.
    00:33:14,871I want to make sure that I'm not seeing
    00:33:16,122these extra triangles here so
    00:33:18,197what I'm gonna do is just scale this up a little bit more.
    00:33:24,076There we go.
    00:33:24,929Cool.
    00:33:26,358So now, if we do a quick ram preview,
    00:33:28,332and I'm gonna hit shift and the zero button
    00:33:31,535on the number pad so I render every other frame
    00:33:33,199so it goes a little faster.
    00:33:34,639If you guys didn't know that, that is a huge time saver.
    00:33:37,742Render every other frame when you're ram previewing
    00:33:40,245and you can ram preview twice as fast.
    00:33:42,492So now at the end here, there we go,
    00:33:46,166the phone spins around and we see the explosion
    00:33:48,761and the logo resolve.
    00:33:51,924Beautiful.
    00:33:52,757Okay so now let's talk about how to add motion blur to this.
    00:33:55,577Now motion blur in 3D, I mean,
    00:33:58,672there's many different ways to do it,
    00:34:01,174and I'm gonna show you one way that is by far
    00:34:03,890the fastest way to do it.
    00:34:05,313You know, one of the things about motion blur
    00:34:06,914is that the way it's rendered in After Effects
    00:34:09,830is sort of, you know,
    00:34:11,926if there's 16 samples of motion blur,
    00:34:14,450then between frames one and frame two it's gonna render
    00:34:17,00916 times and then blend those together to make motion blur.
    00:34:20,291Cinema 4D can do that.
    00:34:23,254It can also render motion blur sort of more realistically
    00:34:26,520using something called the physical renderer,
    00:34:29,022but that takes a long time to render too.
    00:34:31,657But rendering out a motion vector pass like we did
    00:34:34,669can let us do motion blur very quickly
    00:34:36,031and there are some caveats to it
    00:34:38,361but for the most part it works pretty well.
    00:34:41,399So, here's what we need to to,
    00:34:42,986first we need to precompose the entire comp of our phone.
    00:34:47,652Okay, whatever our phone looks like, right,
    00:34:50,450which at this point,
    00:34:51,777it's from this layer all the way down to here.
    00:34:54,728It's our phone, our ambient occlusion,
    00:34:57,023the image on the screen,
    00:34:58,723the matte for that image,
    00:35:00,583and then we recomposited the screen back on top of itself
    00:35:03,060to get the reflection and some of that glare.
    00:35:05,058So, let's precomp all of that and call that phone PC,
    00:35:09,453precomp.
    00:35:11,059Now, something disappeared and I know why.
    00:35:14,595Let's hit undo.
    00:35:15,702So, the screen
    00:35:19,553is actually parented to this cap and it's relying
    00:35:22,322on the camera to be seen correctly so I actually need to
    00:35:25,012precomp those as well.
    00:35:26,841So, precomp, phone, pc, there you go.
    00:35:30,638So now you've got this one layer
    00:35:32,204and that one layer has everything in it
    00:35:36,307and so now we can use this motion vector layer
    00:35:39,681that has just been waiting and biding it's time down there
    00:35:43,276and here's how it works.
    00:35:46,003Now, unfortunately,
    00:35:47,698you need a third party plug in to use motion vector passes
    00:35:52,754inside of After Effects
    00:35:54,635and if you're doing a lot of 3D compositing,
    00:35:57,638it is well worth the price to get this plug in
    00:36:00,204and the plug in is called revision RSMB.
    00:36:05,963It stands for real smart motion blur
    00:36:07,705and when you buy it, you want to buy the pro version.
    00:36:10,777You don't just want the normal version okay.
    00:36:12,910Now, RSMB provectors, that's the effect you want to use
    00:36:17,296because that looks for a vector pass.
    00:36:19,559So you put the effect on the layer
    00:36:21,463that you want motion blurred and then you tell it
    00:36:24,210which layer contains the motion vector.
    00:36:26,342So, right now the motion vectors are in this layer.
    00:36:29,717So I'm gonna say motion vector in that layer.
    00:36:32,516Now, so you could see we're getting motion blur now, right?
    00:36:36,448And if we kind of scrub through it,
    00:36:38,148and I apologize for
    00:36:40,254the render hit we're gonna take here,
    00:36:43,628you can see that it works pretty well
    00:36:46,801but it's blurring edges way too much, right?
    00:36:49,259It's like, it sort a looks right
    00:36:52,966but it doesn't really look right.
    00:36:54,873And in here you're getting some weird stuff.
    00:36:56,531It's not quite working right.
    00:36:59,092So here's the thing with motion vector passes.
    00:37:01,308You need them to line up pretty darn perfectly
    00:37:05,771pixel for pixel with your render in order to work correctly.
    00:37:09,037And so if I turn on the motion vector pass,
    00:37:11,053you can see it and we zoom in here
    00:37:13,401you'll see that it doesn't quite line up perfectly
    00:37:17,342and so what happens is the edges,
    00:37:19,673some of the edges of the phone
    00:37:21,460overlap with the motion vector pass and some don't
    00:37:24,423and so that's creating this inconsistency.
    00:37:26,498So, the work around is basically
    00:37:30,475to shrink your motion vector pass just a little bit.
    00:37:34,465Now, it's important to know that this motion vector pass
    00:37:38,037already has an alpha channel
    00:37:39,810because I used the extractor effect.
    00:37:41,609By default, it copied the alpha channel from my render
    00:37:44,453on to this motion vector layer.
    00:37:46,990If you render out separately in a separate pass
    00:37:49,842it's not gonna do that for you so you're gonna have to use
    00:37:52,487an alpha matte or something like that.
    00:37:54,518But now that I've got this, what I can do,
    00:37:57,292is I can just put a simple choker on there.
    00:38:00,459So I'm gonna go to matte simple choker
    00:38:02,475and I'm just gonna choke the matte by one pixel.
    00:38:05,900And you can see that it got rid of all those weird fringy
    00:38:07,838edge pixels.
    00:38:09,133Here's the thing, now because I've got that effect on there,
    00:38:13,461my real smart motion blur effect is not going to see
    00:38:17,780the result of the simple choker until I precompose
    00:38:21,334this whole layer.
    00:38:22,446So, now I need to precomp it,
    00:38:24,054call it M vector pc, precomp.
    00:38:28,000Make sure that you move all attributes
    00:38:30,682into the new composition and hit okay.
    00:38:33,293Now I can turn this back off and now the motion vector pass
    00:38:37,027should work a heck of a lot better.
    00:38:39,222You can see that now, there's still motion blur up here
    00:38:42,056where the phone's moving quickly, but on the edges
    00:38:44,061it's not blurred unless it's supposed to be, okay.
    00:38:48,085So let's just forward to a frame
    00:38:49,863where there's a lot of motion.
    00:38:50,938Here we go, like this frame.
    00:38:53,354You can see now motion blur is working so much better
    00:38:56,021and if we go back and find...
    00:38:58,736So here, just to show you how important it is
    00:39:02,617to do that step, I'm gonna turn the simple choker off
    00:39:05,433and let's go forward.
    00:39:07,346Let's find a pretty nasty motion blurred frame here.
    00:39:11,773Motion blur, by the way, if you go into full res mode,
    00:39:15,483you'll get a much better idea of what your motion blur's
    00:39:17,625gonna look like.
    00:39:18,532And look at these disgusting edges here.
    00:39:19,856Look how lumpy and terrible they look
    00:39:22,187and then if we go back and turn that simple choker back on
    00:39:24,506and hop back out, now they're much much nicer and cleaner.
    00:39:28,933So, don't ever forget that step, it's very important.
    00:39:33,313So now we've got motion blur over the whole thing
    00:39:36,349and actually a lot of motion blur.
    00:39:38,976It's amazing how well that works.
    00:39:42,166So let's do a ram preview of that
    00:39:45,909and the last thing I want to do
    00:39:52,778is, and actually, now that I'm looking at this,
    00:39:54,361see how dark that's getting?
    00:39:58,193Let's go back here.
    00:39:59,147Right there, see how dark that is?
    00:40:00,847Oh my goodness and I just noticed,
    00:40:02,643the reflection is not there until right there.
    00:40:05,706So, okay, let's fix this.
    00:40:07,182Let's go back and do our phone precomp.
    00:40:08,583The reason it's getting so dark,
    00:40:11,956and this is really one of the things that interesting about
    00:40:14,68632 bit compositing,
    00:40:17,616so this layer here right, let me turn off this effect
    00:40:21,602so you can actually see it,
    00:40:22,744this is the layer remember we recomposited the screen
    00:40:25,297of the phone back on top of itself
    00:40:26,739and then we color corrected it and set it to screen mode.
    00:40:31,043Normally when you put screen mode on something
    00:40:33,994it really can't darken anything,
    00:40:36,899it can only brighten it, right?
    00:40:38,142Well, in 32 bit mode, screen mode can darken things.
    00:40:43,872It's really interesting and it's because your black input
    00:40:47,329you can actually push values darker than black
    00:40:51,523and so anything that's darker than black is going to
    00:40:53,951subtract from your pixels and you know,
    00:40:57,253it's really kind of a technical explanation,
    00:40:59,045but just know that in 32 bit mode transfer modes don't act
    00:41:02,887the same way you think they do.
    00:41:04,129So if I want to make sure that I don't ever
    00:41:05,866darken the screen I only brighten it with the screen mode
    00:41:09,290I need to make sure I clip my output black.
    00:41:12,226So let me turn that on okay.
    00:41:14,287Now, let me recolor correct this,
    00:41:18,561alright so now I will never have that problem.
    00:41:22,160Now here's the other thing I need to do.
    00:41:23,437I need to extend this layer back so that the glare
    00:41:27,478actually exists at the beginning of my animation.
    00:41:31,388But I don't really want to see it,
    00:41:32,688so what I think I'm gonna do is I'm gonna go a few frames
    00:41:35,882before the phone starts to move
    00:41:37,816and I'm just going to put an opacity key frame here.
    00:41:42,135And then I'm gonna jump forward like 10 frames,
    00:41:44,727put another one,
    00:41:46,724and I'm gonna go to this original one and just set to zero.
    00:41:49,207So as the phone starts moving,
    00:41:51,274we'll see that reflection pop up.
    00:41:52,850Right, that's what I want to happen, like that.
    00:41:55,488Okay, much better.
    00:41:57,466And now we don't get that crazy darkening of our image
    00:42:00,193either because we turned on clip output black on.
    00:42:02,929Okay, so now we come back here
    00:42:08,796and we can do a quick ram preview.
    00:42:10,134So, the last step is gonna be just to duplicate the phone
    00:42:15,094at the end and
    00:42:15,927have the copies be a little smaller,
    00:42:20,376and really that's gonna be an easy step.
    00:42:22,784We're just gonna duplicate this precomp
    00:42:24,359and scooch the two copies over.
    00:42:29,308I want to point out also that the animation of this phone
    00:42:36,264it's really just based on the animation principles.
    00:42:39,413You know, whenever you need to just show a phone
    00:42:41,672and there's not like a motivation for what it's doing,
    00:42:43,980it's just show something cool on the screen on this phone
    00:42:47,196and move the phone in an interesting way,
    00:42:48,976it's hard to do that if you're just trying to find
    00:42:52,289a good animation and you're just guessing
    00:42:54,714until you get something you like.
    00:42:56,264It's really helpful to understand animation principles
    00:42:59,154and so I just want to take this opportunity,
    00:43:01,251while we're watching a ram preview happen,
    00:43:02,996to harp on that.
    00:43:05,486So now we've got, this is a pretty good place to check it.
    00:43:10,859Alright, we've got motion blur on the phone,
    00:43:12,183the screen is composited on there.
    00:43:14,045We've got the reflection composited back over it.
    00:43:16,484Everything's looking great.
    00:43:17,878And now, when the phone settles, right there.
    00:43:23,223Right when that burst happens, here's what I want.
    00:43:24,353I'm gonna duplicate the phone.
    00:43:27,650Let's just call this phone 02
    00:43:30,292and this copy I want it to be a little bit smaller
    00:43:32,784and I'm also gonna hit option left bracket
    00:43:35,667so the layer doesn't start until this frame,
    00:43:38,186and I'm gonna hit p, separate the dimensions,
    00:43:41,165and I'm gonna do an exposition key frame
    00:43:43,567and jump forward like, I don't know, 10 frames
    00:43:46,814and just scoot this thing over a little bit.
    00:43:50,764Cool and then I'm gonna easy ease those
    00:43:52,854and I want that to sort of jump out
    00:43:57,553and then really ease into that last key frame like that.
    00:44:02,222There we go.
    00:44:03,401Cool.
    00:44:04,234And then I just want the same thing to happen
    00:44:06,191on the other side,
    00:44:07,198so I'm gonna duplicate this and let's go
    00:44:10,623to this frame here and just scoot this one
    00:44:15,848back the opposite way until that's about even.
    00:44:20,778That's great.
    00:44:21,611Double check my animation curves.
    00:44:22,837There we go.
    00:44:24,936Cool.
    00:44:26,060And the last thing I did was I did a little bit of
    00:44:29,507compositing to these two phones just so they looked
    00:44:32,136like they were a little further back.
    00:44:33,612What I did was a put a levels effect on each one
    00:44:37,587and I just sort of brought the contrast down.
    00:44:42,095There's a white background, so if you actually brighten
    00:44:44,738the phone it'll sort of make it recede back into that
    00:44:47,563white color, right.
    00:44:49,830And then I also darkened the white output just so
    00:44:53,736it wasn't so bright either.
    00:44:55,273You know, almost like the spotlight's really on this phone.
    00:44:58,129And then I'll copy that level to this phone here.
    00:45:02,580And the last thing I did was I blurred it so it looked
    00:45:04,895like it was a little bit out of focus.
    00:45:06,187I'll take this opportunity to show you guys something cool.
    00:45:09,718So, you know, you can use, I generally use a fast blur,
    00:45:14,469that's sort of the most common blur that I use.
    00:45:17,878And just so you guys know, the Gaussian blur,
    00:45:21,838this is like an older blur.
    00:45:23,906This was like the original blur
    00:45:25,689that came with After Effects.
    00:45:26,757Fast blur is the updated version of Gaussian blur,
    00:45:28,505they're identical.
    00:45:30,483The big difference is fast blur
    00:45:32,446gives you this repeat edge pixels.
    00:45:34,966So I just use fast blur, don't use Gaussian blur.
    00:45:38,745But a fast blur does not look the same as something
    00:45:42,802going out of focus.
    00:45:43,730So you can also use the camera lens blur
    00:45:48,336and that looks a little bit, you could see it,
    00:45:52,178it just resembles defocused stuff a little bit more.
    00:45:55,427This effect has gotten pretty good, actually.
    00:45:59,305It used to be really slow and now it's much much faster.
    00:46:03,316So this is a perfectly good one to use.
    00:46:04,691The one I really like to use is from a company called
    00:46:07,898Frischluft and they have two effects that I use a lot,
    00:46:12,621depth of field, which uses a depth pass
    00:46:14,670and there's actually a tutorial on School of Motion
    00:46:16,381about this, and out of focus,
    00:46:18,191which is sort of just a defocus effect
    00:46:22,051that gives you some interesting options.
    00:46:23,797For example, if you want,
    00:46:25,803you can sort of have the highlighted parts
    00:46:28,331of your layer glow,
    00:46:31,164which sometimes happens when things go out of focus.
    00:46:33,244I usually turn that off but it's a really fast
    00:46:36,267and nice looking defocus effect.
    00:46:39,821Alright, so I just copy and paste that to both
    00:46:41,630and there you go.
    00:46:43,058And now you've got your clones of the phone,
    00:46:47,332everything's tracked and screened perfectly.
    00:46:49,377Motion blur, things are color corrected and looking nice.
    00:46:52,876And there you go.
    00:46:55,232So I hope the take away,
    00:46:58,321cause there's always a take away in these videos,
    00:46:59,588the take away is that
    00:47:02,089if you understand how you can get information
    00:47:06,077accurately out of Cinema 4D and bring it into After Effects,
    00:47:09,091which by the way you can do with my 3D studio
    00:47:11,547and other programs,
    00:47:12,454Cinema 4D is just like so embedded with After Effects
    00:47:16,487that it's just way easier.
    00:47:17,963But once you wrap your head around that you can do such
    00:47:20,452powerful things because to sync up what's going on
    00:47:24,306with the screen with the 3D movement of the phone,
    00:47:27,941that would be very difficult to do in Cinema 4D.
    00:47:30,315But in After Effects, it's really easy to time things out
    00:47:33,859and adjust the way things look
    00:47:35,668and adjust how much of the reflection shows up over image
    00:47:38,601and all that good stuff.
    00:47:39,771So that's why this type of thing is always done in a
    00:47:43,443compositing program, right?
    00:47:44,595You use 3D for its strengths
    00:47:46,774and you use 2D for its strengths.
    00:47:48,501Cool?
    00:47:49,410So, I hope you guys learned a lot and thank you guys.
    00:47:51,848I will see you next time on the last day
    00:47:55,888of 30 days of After Effects.
    00:47:57,541Thank you so much for watching.
    00:47:59,276I hope you learned a lot.
    00:48:00,566The integration between Cinema 4D and After Effects
    00:48:03,284is super powerful once you wrap your head around it.
    00:48:05,703As a motion graphics artist, it's really good to understand
    00:48:08,329the link between those two programs.
    00:48:10,030If you have any questions or thoughts about this lesson
    00:48:12,642let us know and we'd love to hear from you
    00:48:14,709if you use this technique on a project.
    00:48:16,646So give us a shout on twitter @SchoolofMotion
    00:48:18,770and show us what you did.
    00:48:20,245And if you learned something valuable from this video,
    00:48:22,977please share it around.
    00:48:24,150It really, really helps us spread the word about
    00:48:25,662School of Motion and we truly truly appreciate it.
    00:48:28,127Don't forget, sign up for a free student account
    00:48:30,787to access project files from this lesson
    00:48:33,517plus a whole bunch of other excellence.
    00:48:36,081Thanks again and I'll see you next time.
    00:48:37,716(electronic music)