Making Giants Part 2: The Edit

Welcome to the second part of our short film making journey. This time we’re going to be doing a very important step in the process, cutting an animatic. It’s easy to get ahead of yourself when you’ve got an idea that you love, but how do you know if that idea is even going to work, or what it’s going to look like? That’s why the animatic is so important. 

In this video we will block out the shots in Cinema 4D, rendering out some previz-style playblasts that we can then import into Premiere for editing. We’ll create an animatic that will serve as the framework to start animating and creating final shots.

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.

    00:00:01,664(intense electronic music)
    00:00:11,581- [Instructor] So, we've got ourselves an idea
    00:00:15,539and it's even starting to feel fleshed out a little bit.
    00:00:18,499We found a music track we like,
    00:00:20,920we found a cool quote to tie the whole thing together,
    00:00:23,802so we're in business now.
    00:00:26,019The next step is to cut an animatic,
    00:00:29,361so we can figure out how long each shot is going to be,
    00:00:32,479and to get a feel for what the final piece will be like.
    00:00:37,459So, you can do this using the Photoshop sketches,
    00:00:40,221but since this is going to be a cinematic 3D piece,
    00:00:44,179I thought it made a little more sense to do the rough edit
    00:00:46,919kinda like a previz on a movie,
    00:00:50,357just using rough 3D shapes and blocking out the framing
    00:00:54,399and action and camera movement as quickly as possible.
    00:00:58,355So, let's just jump right into Cinema 4D and get going.
    00:01:02,390Our goal in Cinema 4D right now is to try and strip away
    00:01:06,228all of the unnecessary decision-making.
    00:01:09,551All we wanna figure out is where's the camera gonna go,
    00:01:13,748how fast is the camera gonna move,
    00:01:15,609how's the framing gonna look.
    00:01:17,311So we are gonna totally ignore details
    00:01:20,527about the way the building's gonna look,
    00:01:23,633and the exact textures, and lighting, and all that stuff
    00:01:26,489we're gonna use; we're not gonna focus on that right now.
    00:01:28,705First, I wanna set up my scene, and I'm gonna set it up
    00:01:33,049using that 1920-by-820 resolution that we figured out
    00:01:37,953in the last video, and I'm gonna be working
    00:01:40,692at 24 frames a second.
    00:01:42,907When you change your frame rate in cinema 4D,
    00:01:44,948you have to do it in two spots.
    00:01:46,501You have to change it here, in your Render Settings,
    00:01:48,671but you also have to change it here
    00:01:50,489in your Project Settings.
    00:01:52,711Cool, so now we're set up, we're good to go.
    00:01:56,629One thing I like to do.
    00:01:58,281Cinema 4D, it puts a little darken filter
    00:02:03,802overlaid on your viewer here, so you can see
    00:02:07,774your render area, but it's not very dark.
    00:02:10,709It doesn't give me a great idea of what my framing
    00:02:12,528is gonna look like, so what I like to do
    00:02:15,301is hit the Shift + V hotkey.
    00:02:17,680Brings up your viewport settings
    00:02:19,312for whatever the current active viewport is,
    00:02:22,203and if you go to your view settings,
    00:02:23,760you can actually change this tinted border
    00:02:26,203to have more opacity, so you can totally block it out;
    00:02:29,218I don't wanna do that, but I do want it to be fairly dark.
    00:02:31,579I'm gonna leave it at maybe 80%.
    00:02:33,074So now, I just get a much better idea
    00:02:35,373of what my frame's gonna look like.
    00:02:37,119So, there's a few elements that we need to add to the scene.
    00:02:41,339Obviously, there's going to be a building,
    00:02:44,939so the stand-in for that can just be a cube.
    00:02:48,945I do wanna make sure that I'm actually using
    00:02:51,397the ground plane here as the ground.
    00:02:54,917By default, Cinema brings in 3D objects in the middle
    00:02:58,400of the ground, so what I'm gonna do is
    00:03:00,170I'm gonna roughly shape this like a building,
    00:03:04,724and then I'm gonna hit the C key
    00:03:07,353to make it editable.
    00:03:08,844I'm gonna open up, in the Mesh menu,
    00:03:11,869Axis Center, which is one of the most useful tools
    00:03:16,086in all Cinema 4D, and I'm gonna turn on Auto Update
    00:03:18,910and then just scoot the Y down to negative 100,
    00:03:22,313and you can see, this just moves the axis around
    00:03:24,416on your object.
    00:03:26,510I just want it right in the middle, but at the bottom.
    00:03:30,233There you go, and so what's cool is that now,
    00:03:32,131I can just zero out the Y position on the cube
    00:03:34,309and it's directly on the ground; cool?
    00:03:36,871So there's our building stand-in.
    00:03:41,765Then, we're also gonna need a plant,
    00:03:44,035and we're also gonna need a ground,
    00:03:45,737so I'm just gonna use a plane for this,
    00:03:47,993and this can be our ground.
    00:03:51,955I don't need any detail in it.
    00:03:53,731I'm gonna turn the width and height segments down to one,
    00:03:57,491and then I'm just gonna scale this thing up
    00:03:59,315so it's really, really big.
    00:04:03,954So next, we're gonna need a plant and we're gonna need
    00:04:06,373some mountains, and you know, at this point,
    00:04:09,455I wanna make sure that I'm staying true
    00:04:12,113to the original image and some of the development
    00:04:16,033that we did in the last video,
    00:04:17,093so I'm actually gonna open up a Window menu
    00:04:19,249and open up a Picture Viewer, and I want to open up
    00:04:25,573one of the frames.
    00:04:26,749I've got these JPEGs that I kicked out of Photoshop
    00:04:30,095of the rough frames I did, which will help me with framing,
    00:04:34,092so then I can take that Picture Viewer, I'll just dock it
    00:04:36,335over here, make this part a little bit bigger,
    00:04:40,492and so now, I can reference this as I'm over here
    00:04:44,014working on my framing.
    00:04:46,544Alright, so we are gonna need some sort of little plant,
    00:04:49,253so I'm just gonna make a new Cinema 4D project
    00:04:51,505really quickly, so we can do a very simple plant,
    00:04:54,334and all I need is just a little vine
    00:04:56,119with a cool angle to it, so I'm just gonna draw one.
    00:05:00,991I'm gonna go into my front view here
    00:05:02,303and just draw a little thing, like that little spline.
    00:05:06,776Then, I'm gonna grab an n-sided spline
    00:05:10,655and a sweep NURB, and just put those together.
    00:05:17,194Now, you'll probably notice that I'm going fairly fast
    00:05:19,957through this tutorial, and that's because, again,
    00:05:22,053this series, I'm hoping it can be a little more,
    00:05:26,865a little bit more of just a peek behind the scenes
    00:05:30,107than a strict, "Here's exactly how to do this technique,"
    00:05:35,549'cause I think that that is cool, it's cool to learn that,
    00:05:38,226but it's even better to learn
    00:05:39,485how to put all this stuff together.
    00:05:41,998Alright, so we've got this.
    00:05:43,741I'm gonna take this spline type,
    00:05:44,743I'm gonna turn off intermediate points.
    00:05:47,380I'll just set it to none, and so now I've got
    00:05:49,341this very low-poly, simple-looking kind of stem.
    00:05:55,581Make it a little thinner, and then,
    00:05:57,602for the actual flower part of it,
    00:06:00,445I'm just gonna add a platonic,
    00:06:03,261and I'm just gonna position it right there.
    00:06:07,218So there's this little head of the flower,
    00:06:11,202and that's gonna be a stand-in
    00:06:12,521for this more interesting-looking thing that we'll do later,
    00:06:16,351and then, just so it looks a little bit closer
    00:06:19,399to the drawing here, I'm gonna add a little leaf,
    00:06:22,839and that could just be, maybe, just a little polygon.
    00:06:27,078I could make it a triangle polygon,
    00:06:29,135I can shrink it way down, use my T hotkey for that,
    00:06:34,898and then I need to rotate it so that it's actually facing
    00:06:40,237the right way, and I'm gonna zoom in and just position it
    00:06:46,376in the right spot.
    00:06:47,209That's too big, but get something like that.
    00:06:50,467Just trying to roughly get some idea, right?
    00:06:54,350There's a leaf, and then I kinda see one up here,
    00:06:56,339so let me just add one more.
    00:06:58,558Rotate this guy around this way, move it up here,
    00:07:01,401make sure that it's actually touching the flower;
    00:07:06,579there we go.
    00:07:08,316Maybe move it a little lower than that.
    00:07:09,721Okay, cool.
    00:07:10,718So, this is our little stand-in flower
    00:07:11,897that we just made in two minutes.
    00:07:13,897I'm gonna group all these; Option + G is the hotkey,
    00:07:16,617and I'm just gonna call it Plant,
    00:07:18,761and then I'm gonna copy this, go back to this shot here,
    00:07:24,558and paste it.
    00:07:26,157So now we've got our ground, our building, and our plant.
    00:07:30,746The plant is right in the middle of the building,
    00:07:32,677so let's move that out here somewhere.
    00:07:35,255This would also be a great time to save,
    00:07:38,095so why don't I just go ahead and save this here.
    00:07:43,393We'll make a new folder called C4D,
    00:07:45,999we'll call it Shots, and actually, let me make another one
    00:07:51,930and this will be the Previz folder,
    00:07:54,415and we'll call this S01.
    00:07:57,898Shot 01, there you go, alright.
    00:08:01,215So, now what I need to do is need to make sure
    00:08:03,999that that plant is right on the ground,
    00:08:05,538so I am going to go back, grab that Axis Center tool again,
    00:08:10,596and I'm gonna do the same thing.
    00:08:12,098I need to make sure that Y is all the way at negative 100,
    00:08:16,477but because there's a whole bunch of objects here,
    00:08:18,257I need to make sure that I have Include Children
    00:08:20,196and Use All Objects on.
    00:08:22,292Alright, so now, it'll actually look through
    00:08:23,677this entire setup here and find the lowest point,
    00:08:27,197and put the axis there.
    00:08:29,575So now, I can hop into Coordinates and zero it out,
    00:08:33,058and it is on the floor, it's directly on the floor.
    00:08:36,098Now, let's try to frame this.
    00:08:37,879Let's start to get some sort of rough framing here.
    00:08:39,895Now, you'll notice that the way I drew this,
    00:08:43,538you're seeing the plant and you're seeing the top
    00:08:46,838of the building.
    00:08:47,835Now, just using the default camera here,
    00:08:51,138you're noticing, probably, that this building doesn't look
    00:08:53,799anything like this building, right?
    00:08:55,610Because this is very straight looking,
    00:08:58,519and this is angular and very dramatic.
    00:09:01,500The reason you're getting these extreme angles
    00:09:03,737is A, because I drew it, and I could draw whatever I want,
    00:09:06,279but also because in my head, this is a very wide-angle shot.
    00:09:10,541So, we actually need to use a wide-angle camera.
    00:09:14,038Now, if you don't know what a wide-angle camera is,
    00:09:16,415that's something you should Google.
    00:09:18,073It's a little bit beyond the scope of this tutorial.
    00:09:21,192Actually, there's an excellent Greyscalegorilla tutorial
    00:09:23,378that I'll link to, where Nick talks about different cameras
    00:09:27,757and stuff like that; highly recommend that.
    00:09:29,778But I'm gonna use a very wide lens here.
    00:09:31,872I'm gonna try a 15, that is a pretty wide lens,
    00:09:34,855and what a wide lens does, if you may allow me.
    00:09:41,255You can see how it really distorts perspective.
    00:09:45,153It really exaggerates things, and that's how you can get
    00:09:47,375these really dramatic angles.
    00:09:50,498Now, this is a lot more dramatic, it's a lot closer to this.
    00:09:54,610So, we need to frame this shot, and I wanna try and get it
    00:09:57,938as close to this as possible.
    00:10:01,034What I wanna do is, I'm actually gonna use
    00:10:03,140the Coordinates manager here, because I want the camera
    00:10:06,273to be pretty much on the ground, but just above it,
    00:10:11,074just a little bit, and then I'm gonna use the pitch rotation
    00:10:14,762to actually position it, and then we can come
    00:10:18,674into one of these views and just kinda move it
    00:10:21,355right where we want it.
    00:10:23,357I think somewhere like this;
    00:10:27,843I want that building to be a little bit bigger in the frame,
    00:10:30,498so I'm gonna move the camera closer,
    00:10:32,833and then I'm gonna look up, and then I'm gonna move it down
    00:10:36,077a little bit more.
    00:10:37,663We're gonna kinda have to fight this a little bit
    00:10:39,954to make this really work the way we want.
    00:10:43,334Maybe I need to shrink the building a little bit.
    00:10:49,138So that it fits in the frame.
    00:10:51,053Alright, so there we go.
    00:10:52,237Now our building's in the frame,
    00:10:53,653and now I need to get the plant in the frame,
    00:10:56,134so I'm gonna go to my top view here
    00:10:58,455and I'm just gonna move that plant,
    00:11:01,037and it's gonna be right about there.
    00:11:05,858Now, one thing we need to be really, really careful of
    00:11:08,157is we need to make sure that the scale of the building
    00:11:11,314and the scale of the plant make sense,
    00:11:14,441because if we don't do that, and you can see it right now,
    00:11:16,855that they're almost the same size,
    00:11:18,397so that makes absolutely no sense.
    00:11:20,658So I need to scale this plant way, way, way,
    00:11:22,914way, way, way, way, way down.
    00:11:27,474And it doesn't need to be physically accurate
    00:11:29,175or anything like that, but it does need to be a lot smaller
    00:11:32,498than the building, otherwise it just won't really make
    00:11:35,028a lot of sense.
    00:11:36,313So, now that we've shrunk that plant down,
    00:11:38,577let's go back to our shot, and let's zoom in here,
    00:11:42,477and let's move that plant very close to the camera,
    00:11:46,548so that now we're actually seeing it.
    00:11:50,173And I'm gonna try and roughly position it where it was here.
    00:11:53,773If I wanted some help with that, by the way,
    00:11:56,751if you go into your camera and you go into Composition,
    00:11:58,935you can turn on Composition Helpers,
    00:12:01,415and if you turn on Grid, it gives you a rule-of-thirds grid.
    00:12:05,015So, what I could do is I could take the building,
    00:12:08,813for example, and move it so it's a little bit more
    00:12:12,013right on that third, if I wanted to, right?
    00:12:14,314And I could push it back in space like that.
    00:12:18,782And then, I could do the same thing with the plant.
    00:12:20,653The plant, I could just scooch over until it was...
    00:12:24,013By the way, if you hold Option, it allows you
    00:12:26,665to do smaller adjustments.
    00:12:27,693I could scooch it until it's right on the third,
    00:12:30,269and then push it backwards and mess with it
    00:12:32,290until it's in the right spot.
    00:12:35,441So okay, let me turn those helpers off for a minute
    00:12:38,253'cause I wanna talk about something.
    00:12:41,783I just completely ruined my camera; there we go.
    00:12:44,249The way that I drew this shot over here
    00:12:47,113is basically like a triangle pointing up like this,
    00:12:50,041so even the way that this plant is bent,
    00:12:54,553it sort of reinforces and makes sure I go up here,
    00:12:57,867and this plant isn't really doing that,
    00:13:00,153and so I want it to.
    00:13:03,380Without spending too much time, I wanna make sure
    00:13:06,298that this plant is at least mimicking the shape of this one.
    00:13:10,931So I'm just rotating it now.
    00:13:13,289And so now, just by making sure it's facing the right way,
    00:13:15,550you can see it's pointing up there.
    00:13:17,710Great, okay?
    00:13:18,747So we're getting pretty close to this framing,
    00:13:21,803and then, we've got all these mountains back here.
    00:13:24,531I don't want to actually start modeling anything,
    00:13:27,210so I'm just gonna use pyramids for that.
    00:13:29,770What I'm gonna do is take a pyramid,
    00:13:31,909these pyramids need to be enormous,
    00:13:33,967'cause they're supposed to be mountains.
    00:13:35,626They need to be much bigger than everything else,
    00:13:38,362and then I need to move them back in space,
    00:13:41,338and what I'm gonna do is just move them backwards.
    00:13:44,106I'm gonna hit the C key one more time to make them editable,
    00:13:48,202so I can go to the Axis Center tool and make sure
    00:13:50,463that the axis of these things is at the bottom.
    00:13:54,071That way, I can make sure that they're on the floor.
    00:13:56,664There we go, which means this needs to be
    00:13:58,162a little further back.
    00:13:59,669Alright, cool.
    00:14:00,666There's a mountain back here; maybe I can rotate this thing
    00:14:03,109so it looks a little more interesting, right?
    00:14:07,567And then I'm going to just copy and paste it,
    00:14:11,167and move one over here, and I'm just trying
    00:14:16,186to mimic this kind of contour that we achieved here.
    00:14:20,527I can rotate this a little bit
    00:14:23,166and move it back in space a little bit like this,
    00:14:28,983and just try to find a nice little spot for it,
    00:14:30,730and then maybe this one needs to be a little bit bigger
    00:14:32,141in the frame.
    00:14:34,053There we go.
    00:14:35,003Then this one, I'm gonna copy and paste again,
    00:14:36,707and I'm gonna move this further back
    00:14:39,437and try to get just a little bit more,
    00:14:42,896a little bit more something.
    00:14:44,790And then maybe this one, I can just kinda stretch out
    00:14:47,046a little bit too.
    00:14:48,997Let's take a look at this.
    00:14:50,783I've very quickly, very roughly, blocked out
    00:14:55,085where those mountains are gonna be, and I'm just making sure
    00:14:58,285to maintain that nice triangle shape to the whole thing.
    00:15:03,505So, let me group these, let me clean up my scene
    00:15:05,325a little bit; this is MOUNTAINS,
    00:15:07,583and then we've got the Ground, the Building, and the plants.
    00:15:11,501Let me capitalize this, so my OCD
    00:15:13,401doesn't get the best of me.
    00:15:16,692So now, we need to figure out
    00:15:18,946an interesting camera move for this.
    00:15:22,005What I'm thinking is, I kinda want to see the building,
    00:15:25,545and then we maybe pull back and reveal this plant,
    00:15:29,463I think that would be a cool camera move.
    00:15:31,469So, how are we gonna do that?
    00:15:35,229Camera moves, there's a million ways to do 'em.
    00:15:38,146One way is, I could just actually
    00:15:40,535just animate the camera, like this.
    00:15:43,786But, generally, we're gonna wanna be animating the camera,
    00:15:47,269not just on one or two axes,
    00:15:49,525but we're also gonna be rotating it,
    00:15:51,509and so there's actually a very cool tool in Cinema 4D
    00:15:54,666that makes this a lot easier.
    00:15:56,485So, what we're gonna do, let me first just frame this up
    00:16:01,386exactly how I want it.
    00:16:03,737This framing right here, it's pointed right at the top
    00:16:07,647of that, this thing is crowding the top of the frame.
    00:16:10,346I might even want to just tilt up just a little bit more.
    00:16:15,145Just a little bit,
    00:16:16,040it really makes that building look imposing.
    00:16:19,414That is gonna be the end shot.
    00:16:21,989So I'm gonna take this camera, I'm gonna rename it END.
    00:16:25,706Then I'm gonna copy it, and I'm gonna rename it START.
    00:16:28,526So then, what I wanna do is look through the START camera
    00:16:30,971and I wanna put that START camera much closer
    00:16:35,390to the building, and maybe even looking up at it, like this.
    00:16:39,598That's an interesting-looking frame.
    00:16:42,741So that's the start, that's the end.
    00:16:46,367I'm gonna just hit the top little traffic light on those
    00:16:49,466so I don't see them in the comp anymore.
    00:16:51,868Now I'm gonna add another camera.
    00:16:54,073Actually, I could just copy one of these,
    00:16:56,657turn this one on, and we're gonna call this CAM01.
    00:17:02,340Now, on CAM01, I am going right-click and I am going
    00:17:05,780to add a Motion Camera, Camera Morph tag.
    00:17:10,281What this tag does, it lets you create two or more cameras
    00:17:15,343and then morph between them, and it's a really easy way
    00:17:18,643of having complex camera moves.
    00:17:21,801So all I need to do now is go into my Camera Morph tag,
    00:17:26,383drag the START camera into Camera 1
    00:17:28,521and the END camera into Camera 2,
    00:17:30,340and now if I animate this blend,
    00:17:32,404it will animate between them.
    00:17:36,219You'll see in a minute why this is really,
    00:17:38,639really, amazingly useful.
    00:17:40,143So, first thing I need to do is add some more frames
    00:17:42,897to this animation.
    00:17:43,919I'm just gonna make it 250 frames;
    00:17:45,540I don't know how fast this needs to be yet,
    00:17:47,716but let's go into animation mode, in the Animation layout.
    00:17:52,235I'm gonna start by putting a key frame on the blend, 0%,
    00:17:56,297and then I'm gonna go forward, I don't know, 96 frames;
    00:17:58,639we'll go to 100.
    00:18:01,530So, by default, Cinema 4D gives you an easy ease,
    00:18:07,716in After Effects terms, an easy-ease curve.
    00:18:09,897So it eases out, it eases in.
    00:18:12,235So for a lot of things, that's what you want.
    00:18:15,633For camera moves, it's generally not what you want.
    00:18:18,319So, if we cut to this shot, and then the camera
    00:18:23,897starts moving, it's gonna feel a little weird.
    00:18:26,317I don't want it to feel like we cut to the camera
    00:18:30,420and then the camera starts moving.
    00:18:32,166It feels better when we cut and the camera's already moving.
    00:18:35,279So I'm gonna take this Bezier handle here
    00:18:37,473and just line it up like this,
    00:18:39,496so what that's doing is it's telling Cinema 4D
    00:18:42,420that on frame zero, this thing is already moving.
    00:18:47,439So it'll work much better as a cut,
    00:18:49,081and then it eases into that final position.
    00:18:51,859So, you could actually manipulate this curve,
    00:18:55,857but there's even a better way to do it.
    00:18:57,785I'm gonna just go into my key-frame mode here,
    00:19:01,185and select all the blend key frames,
    00:19:03,081and I'm gonna set them to linear.
    00:19:05,142Option + L is the hotkey for that, by the way.
    00:19:07,439So if we look at our curve now, it's a linear curve.
    00:19:10,836Which is going to feel weird; watch the end of this move.
    00:19:14,836It's just gonna stop suddenly.
    00:19:16,495It feels bad, right?
    00:19:17,577It doesn't ease.
    00:19:18,575But that's okay, because in the Camera Morph tool,
    00:19:22,959there's this little arrow under Blend that you can open up,
    00:19:25,663and then you can actually manipulate this curve,
    00:19:28,838and this curve can actually control,
    00:19:33,999basically, the interpolation and the easing
    00:19:36,819between the two cameras.
    00:19:39,140And this is a little bit easier to access.
    00:19:43,464And it doesn't clutter up this with extra key frames
    00:19:45,161if you wanted to put another frame here and do it like this.
    00:19:49,516Typically, maybe what you would do
    00:19:50,741is put another point here, so you could have
    00:19:53,922a much harder ease, if you wanted that.
    00:19:56,261Let's just see what that looks like, but it's gonna...
    00:19:59,535It's kinda neat (chuckles).
    00:20:01,019Actually, it kinda makes it like the camera's jumping back
    00:20:05,376and then it slowly settles.
    00:20:07,637It's kind of a nice little...
    00:20:09,659And actually, I don't know, I was doing as a joke,
    00:20:12,699but now I kinda like it.
    00:20:14,357Because this is the first shot of the film,
    00:20:17,475so maybe we start on black, and then there's a big drum hit
    00:20:23,099or something, and this is the first thing.
    00:20:24,837Bom! Right?
    00:20:26,717And there's a few seconds before you end up
    00:20:28,997seeing that plant.
    00:20:31,935Like you're looking at the building,
    00:20:33,360and then the plant comes into view.
    00:20:35,739Happy accidents, people.
    00:20:36,937So, looking at this, I want this shot
    00:20:39,199to take a little bit longer, I think.
    00:20:42,362And really, I want a more of a pause
    00:20:46,257before we see this plant, so let me just come in here
    00:20:49,297and actually scooch this back a little more,
    00:20:51,639just so that the ease on this,
    00:20:55,438basically, this ending part,
    00:20:57,476this ease here takes a little bit longer,
    00:21:00,188and then let's take a look at that.
    00:21:02,321So we've got that cool jump-back move,
    00:21:04,417and then we see the plant.
    00:21:07,420That's really interesting, yeah.
    00:21:09,559I like that.
    00:21:10,724I do like that.
    00:21:12,117And because we made this to scale,
    00:21:15,603you can see that by the time that this is in the frame,
    00:21:18,364these things are barely moving,
    00:21:19,783because they're really far away,
    00:21:22,958and it really adds to the scale of the thing.
    00:21:26,155This is working pretty well so far.
    00:21:27,501I like that as our first shot.
    00:21:30,383Now, once the camera comes to a stop,
    00:21:32,760I don't really want it to come to a complete stop.
    00:21:35,882And remember, I don't know how long we're gonna sit
    00:21:37,480on this shot.
    00:21:38,483So, what I wanna do is basically keep that camera moving
    00:21:41,123just a little bit.
    00:21:43,059This is why using this Camera Morph tag is awesome,
    00:21:45,779because all I have to do now is animate the END camera
    00:21:48,981drifting backwards a little bit.
    00:21:50,776So let me look through the ending camera,
    00:21:53,157and you can see, the ending camera's not moving at all.
    00:21:55,640But what I could do is maybe come somewhere
    00:21:58,136in the middle here, and I'm gonna put key frames on X and Z
    00:22:01,901for that camera, and then I'm gonna go somewhere here,
    00:22:04,335and I'm just gonna slowly, I'm just gonna have it
    00:22:07,459drift backwards, and I'm just gonna eyeball
    00:22:10,179where it's gonna go.
    00:22:13,423Okay, and put key frames there.
    00:22:15,443So you can see that it's just drifting backwards
    00:22:18,540a little bit.
    00:22:20,789It's probably drifting a little bit too much sideways,
    00:22:23,977so I wanna push it back this way.
    00:22:31,439There we go.
    00:22:33,316Then, what I wanna do is go into my Position curves
    00:22:39,841for that END camera, and I wanna make sure
    00:22:43,355that they make sense.
    00:22:44,995I want them to ease in, 'cause I do want that move
    00:22:47,935to be blended.
    00:22:50,575There's two camera moves that's happening now,
    00:22:52,159there's the one caused by this Morph tag,
    00:22:53,679and now, there's actually key frames on the ending camera,
    00:22:56,182and I want those key frames to blend into the morph motion
    00:22:59,977but I don't want them to ever stop.
    00:23:02,273So I'm just gonna bend that down like this;
    00:23:05,355I'ma do the same thing on Z.
    00:23:08,832There we go.
    00:23:10,697Alright, so now, if I look through the morph camera,
    00:23:14,495it's gonna morph back to this camera
    00:23:16,955and then it's gonna keep drifting very slowly
    00:23:20,575all the way to the end.
    00:23:22,596Or all the way until this last key frame,
    00:23:24,457which is at 174, so let's actually just move that back
    00:23:29,876to 192, and we'll make 192 the last frame of this.
    00:23:34,573Alright, and let's just do a quick preview of that.
    00:23:39,235Cool, and I'm trying to hear the music in my head
    00:23:42,079and maybe the voiceover starting.
    00:23:44,651Now, one thing I'm not loving is, as this thing drifts,
    00:23:52,015this composition's starting to get a little unbalanced,
    00:23:54,939and I think we might need to make sure,
    00:24:01,499we might need to have that drift a little bit,
    00:24:07,359a little bit...
    00:24:08,356We might have to cheat it a little bit.
    00:24:10,136It's getting pretty empty over here.
    00:24:12,355Now, there is probably going to be another mountain
    00:24:14,596over there, and that might help it,
    00:24:15,954but we could also do this.
    00:24:19,371We could go to this key frame and put a position,
    00:24:21,737I'm on the ending camera right now,
    00:24:23,574I'll put a position on the heading rotation,
    00:24:27,335and then we'll go here and we'll just turn that camera
    00:24:32,479just a little bit, just like that.
    00:24:34,649Just to rebalance that shot a little bit,
    00:24:37,635and now because I changed some things,
    00:24:39,511I just need to make sure my animation curves are still doing
    00:24:42,536what I want, and they're not, of course.
    00:24:45,657Go like this, and we'll look at the rotation too.
    00:24:49,781And let's see what that looks like.
    00:24:57,375Alright, so we kinda settle
    00:24:59,279and we get this nice little drift.
    00:25:02,569And I think it might be cool, too,
    00:25:04,639because I like that subtle rotation that's happening.
    00:25:07,215Maybe we can incorporate a little bit of that
    00:25:09,181at the beginning, too.
    00:25:10,740So maybe that START camera, I could just rotate it
    00:25:14,640a little bit this way, right?
    00:25:17,061So that we're rotating that way already
    00:25:19,520in the beginning.
    00:25:22,800Then what I could do too is I could come
    00:25:24,539to my key frames here for the ending camera
    00:25:28,820and I can start them much earlier,
    00:25:31,621so that that rotation actually starts to happen
    00:25:35,141on the initial drift.
    00:25:38,254Now I know I'm going through this fast,
    00:25:39,541but I hope that you're picking up a few things
    00:25:42,101here and there, and you're gonna get excited
    00:25:44,480to go play around with these camera tools
    00:25:46,166and try to make these interesting, cinematic camera moves.
    00:25:50,122So, this feels pretty good,
    00:25:53,441and that's it.
    00:25:55,096We're basically ready to use this in our edit.
    00:26:00,215So, let me show you how I like to set up shots
    00:26:04,021to get rendered when I'm doing stuff like this.
    00:26:06,539I'm gonna go into Render Settings here.
    00:26:08,763I've got my standard render settings,
    00:26:10,501and I am just going to hold Command and duplicate them.
    00:26:14,059I'm gonna call this Playblast.
    00:26:18,054I believe Playblast is a Maya term,
    00:26:20,469but it basically just means a very,
    00:26:23,013very fast software render.
    00:26:26,501So what I need to do is just set up a render setting here
    00:26:29,621that is gonna give me a very fast render
    00:26:31,883that I can just save out and then import into Premiere.
    00:26:35,040So, I'm gonna change the size to half HD.
    00:26:39,861I'm gonna lock my ratio, change the top to 960,
    00:26:42,557and this'll instantly make the renders four times faster,
    00:26:45,563and then, I'm gonna change the Frame Range to All Frames,
    00:26:49,285and then, I'm gonna change the Renderer
    00:26:52,141to Software renderer.
    00:26:55,083Software renderer basically just creates frames
    00:26:57,643that look just like what you're seeing here,
    00:26:59,658so they render almost instantly.
    00:27:01,797If I hit Shift + R, and I don't have a save name set up
    00:27:05,433but that's okay, I'm just gonna hit Yes,
    00:27:09,475you can see how quickly it rendered that whole shot for me.
    00:27:12,597192 frames in three seconds, and this is what it looks like.
    00:27:16,519It doesn't look exactly like this, but it's close enough
    00:27:18,735and it's gonna work perfectly for what we need.
    00:27:23,957Here it is at 100%.
    00:27:27,354And you can see, there's some things about this
    00:27:31,882that might throw someone's eye off.
    00:27:33,941The ground here is totally black,
    00:27:38,097and that might look a little weird.
    00:27:39,359So what we could do is just put a light in the scene,
    00:27:44,821and I'm just gonna put the light way back here
    00:27:49,162and way up high.
    00:27:53,354This is a pretty big scene, but I'm just gonna put a light
    00:27:56,381in the scene, just to light things a little bit,
    00:28:00,290so that when we then do our Playblast again,
    00:28:03,341you'll now have some lighting.
    00:28:06,293Just so you can see everything,
    00:28:07,842you'll get a little bit better idea of the kinda tones
    00:28:11,058you're gonna get, and I'm gonna turn that light down
    00:28:13,679a little bit too, it doesn't need to be so bright.
    00:28:16,722Maybe it could be 50%, let's see what that looks like.
    00:28:19,842That's too dark.
    00:28:21,901Let's go up to 75.
    00:28:26,018Yeah, that's better.
    00:28:27,021Okay, cool.
    00:28:29,021So there you go.
    00:28:30,036Now, you've got the first shot basically ready
    00:28:33,268to render out, and now that we've got
    00:28:36,498this Playblast rendered in our Picture Viewer,
    00:28:39,858and now that the Playblast is done,
    00:28:41,695we're just gonna go up to File and say Save As,
    00:28:45,602make sure that you set the Type to Animation,
    00:28:48,977make sure the Format is QuickTime Movie,
    00:28:52,375go to the Options of the QuickTime Movie
    00:28:54,034and for the compression type, I like to use
    00:28:56,455Apple ProRes 422, but if you're on a PC,
    00:29:00,098you may not have that.
    00:29:01,495You can really use anything,
    00:29:02,996as long as your editing application can read it.
    00:29:05,655You can even use H264 if you're using Premiere.
    00:29:08,674So, I'm gonna do ProRes 422 and I'm gonna make sure
    00:29:10,898my frames per second is 24, so it matches this.
    00:29:14,738I'm gonna hit OK,
    00:29:17,335and then I have a folder set up, C4D, OUTPUTS, PREVIZ,
    00:29:21,698and I'm just gonna call this Shot01_v1.
    00:29:25,794Just like that, it saves out a QuickTime movie
    00:29:28,052and you are good to go, and you can bring that in.
    00:29:30,637So, let's do one more shot, alright?
    00:29:32,818This was shot one, now we're gonna do shot two,
    00:29:35,719and I am going to actually just hit Save As
    00:29:39,159and save this as a completely new Cinema 4D project.
    00:29:43,879So, to start the second shot, let's go
    00:29:45,335into Startup layout here, and let's open up
    00:29:49,415our Picture Viewer, and load in our second reference frame.
    00:29:56,258We'll dock that over here, hide this part,
    00:29:59,618and let's try and get this type of shot.
    00:30:02,741I'm gonna go into my START camera, and I'm just gonna pivot,
    00:30:07,378I'm gonna hold the 3 key on my keyboard,
    00:30:09,337I'm gonna pivot around this part of the building
    00:30:13,138and I'm just gonna zoom in and try and line it up this way.
    00:30:16,077By the way, I use the 1 2 3 keys on the keyboard
    00:30:19,277to move, zoom, and rotate around.
    00:30:22,999There's a lot of different ways to move the camera around
    00:30:24,669in Cinema 4D, but that's how I do it.
    00:30:28,225This is still a 15 millimeter lens,
    00:30:30,797it's a very wide-angle lens, and one of the things
    00:30:34,676that wide-angle lenses do is they exaggerate distance,
    00:30:37,079and so the plant, which is down there,
    00:30:39,974if I hit Render and do a quick render,
    00:30:41,682it's just a pixel, you can't even see it.
    00:30:43,981So for this shot, I'm gonna use a different lens.
    00:30:49,163Why don't we use a little bit of a longer lens
    00:30:50,816that'll compress the distance?
    00:30:52,381So why don't we use a 75 millimeter lens?
    00:30:55,183That's also gonna get rid of some of that distortion
    00:30:59,084that we were seeing on the edge of the building here.
    00:31:03,341I'm also gonna hold the right mouse button
    00:31:05,019as I rotate this camera, just so I can dutch the camera
    00:31:07,682a little bit, and try and get an even more extreme angle
    00:31:11,841coming out of the building here,
    00:31:13,202and what I want is for the building to be pointing,
    00:31:16,483like there's lines literally pointing to that plant.
    00:31:20,640So, here's my building, and then the plant is way over here.
    00:31:26,880I want the plant up here.
    00:31:28,480So, there's two ways to look at this:
    00:31:30,723I could try to frame the camera to actually get
    00:31:34,403as close as possible to this while leaving the plant
    00:31:36,656where it is, because that would be more accurate,
    00:31:39,459but who cares?
    00:31:40,462This is film-making, right, so you cheat,
    00:31:42,782and you do this on a real set all the time, too.
    00:31:45,481You move the camera, all of a sudden,
    00:31:47,502the shot doesn't work as well, so you cheat,
    00:31:48,928you move stuff around.
    00:31:50,646So I'm gonna take this plant,
    00:31:52,843I'm gonna turn off the y-axis here so I can't
    00:31:56,119accidentally lift it up in the air,
    00:31:57,624and then I'm just gonna drag it
    00:31:59,078and put it right where I want it, and I want it,
    00:32:01,102I don't know, right about there.
    00:32:03,752And I'm just gonna try and find a nice camera angle
    00:32:07,321where this makes sense.
    00:32:10,358Then I'm gonna drag this thing over here; cool.
    00:32:12,323So you basically, you've got the building...
    00:32:17,381You can see, it's really finicky.
    00:32:20,118There we go, that's pretty close.
    00:32:22,259And you've got the building more or less pointing
    00:32:25,008to the plant.
    00:32:27,377It's pointing in that direction.
    00:32:29,081Now, there's another aspect to this shot
    00:32:30,841that's really important, which is the shadow
    00:32:33,339that the building is casting.
    00:32:35,422Because that's a big compositional element
    00:32:36,939and we can't see that here, so what I'm gonna do,
    00:32:39,565I'm gonna take this light and just delete it,
    00:32:41,778and I'm gonna add a new light that's an infinite light.
    00:32:44,899An infinite light is basically like the Sun,
    00:32:46,761it's infinitely far away.
    00:32:49,099All of the light that it casts is directional.
    00:32:52,179So, let me jump out of this camera for a minute
    00:32:54,083and let's preview this.
    00:32:56,818Here's my light, and it doesn't matter where you position
    00:33:00,868a directional light, it matters which way it's rotated.
    00:33:04,366So, an easy way to control that is to add a Target tag
    00:33:08,521to that light, and then just target something,
    00:33:10,883so I can target this building.
    00:33:12,766What's cool is then, you can just move the light around
    00:33:15,123and it'll automatically rotate.
    00:33:17,861It's a little bit easier
    00:33:18,694to control an infinite light that way.
    00:33:20,607Then, I wanna turn on raytraced shadows
    00:33:24,990and I wanna go up to my Options and turn on Shadows.
    00:33:28,154Now, this lets you, if you have a graphics card
    00:33:32,351that supports this, it lets you preview shadows.
    00:33:34,494Now, this looks terrible; you can see
    00:33:36,111they're very crappy shadows.
    00:33:38,213The reason this is happening is because the shadow map
    00:33:41,969that's being created for this preview
    00:33:44,554doesn't have enough detail, because it's trying to cast
    00:33:47,354a shadow, basically, A, from everything in the scene,
    00:33:51,397and also onto this enormous ground plane that we've created.
    00:33:55,116So, what you wanna do if you're trying to preview shadows,
    00:33:58,538let's go back to our START camera here.
    00:34:00,997Actually, no, let's stay here for a minute.
    00:34:03,950What you wanna do is simplify the scene as much as you can.
    00:34:06,538So, these mountains, we don't see them anymore,
    00:34:08,597I'm gonna delete them from the scene,
    00:34:10,138and you saw that that changed the shadow a little bit.
    00:34:13,073The big thing is you need to make the ground plane
    00:34:15,162much, much smaller, and you can see, as I shrink it,
    00:34:19,077the resolution of that shadow map gets a lot better, too.
    00:34:22,719So now, if we look through the start,
    00:34:24,901let me first move this light around
    00:34:29,316so it's actually in the right spot to cast a shadow.
    00:34:33,222Let me undo what I just did, I'ma zoom in here.
    00:34:36,496Zoom way, way, way in, and I'm gonna move that light
    00:34:42,083so that it's behind the building, and I have to zoom way in
    00:34:45,838'cause my scene is so big.
    00:34:47,376There we go, and you can see, I'm moving it around
    00:34:49,198and you're seeing the shadow now, here.
    00:34:51,342Let me go into my light settings for a minute
    00:34:52,862and change the density of that shadow,
    00:34:55,742so we see it but it's not totally black.
    00:34:58,397Cool, and what's awesome is I can control
    00:35:00,958where that shadow is just by moving the X and Y position
    00:35:04,016of that light.
    00:35:06,261So if I want to pretend the Sun's high up in the sky
    00:35:08,761and then it's lowering, and that shadow's now
    00:35:10,977(mimics explosion)
    00:35:11,840it's covering up the plant, I can do that,
    00:35:13,673or if I want it to swing around like this,
    00:35:17,742I can do it that way too.
    00:35:18,976What I'd rather do is try to match something like this.
    00:35:22,622This looks cool, and it might be cooler if I came
    00:35:26,379over the top, and I tilted a little bit more.
    00:35:34,398I kinda want...
    00:35:36,542I think now, looking at this, I want the building to be
    00:35:39,182a little bit thinner, so I'm just gonna scale it
    00:35:41,598a little bit, just like this, so that that shadow
    00:35:44,920is not so fat.
    00:35:48,280I just want it to be a little thinner,
    00:35:49,916and I'm just kinda messing with this camera
    00:35:51,699a little bit more to try and get the shot
    00:35:55,219that I'm seeing in my head and seeing over here.
    00:35:59,340There we go.
    00:36:00,376That's kinda cool.
    00:36:02,345I don't know, I might want to actually play
    00:36:04,558with a little bit of a wider lens,
    00:36:07,022so maybe instead of 75, why don't we go down to 50?
    00:36:10,622So we get a little bit, and the reason I wanted to do that,
    00:36:12,718'cause I wanted a little bit of a perspective shift here,
    00:36:15,959and I wasn't really getting one.
    00:36:17,299See, if we go down to a 25 millimeter lens,
    00:36:19,358now the shadow really has a lot of perspective on it.
    00:36:22,398Which is cool, but now you're so far away from the plant,
    00:36:26,798but then again, we could cheat that by scaling the plant up
    00:36:29,139for this shot.
    00:36:30,878If we do a quick render, it's hard to see the plant,
    00:36:33,139but I don't know, but this does feel pretty cool.
    00:36:35,918So I don't know, maybe we leave it.
    00:36:38,099Maybe we do end up with a little bit of a wider lens here,
    00:36:41,477'cause I like the interesting perspective change
    00:36:44,458that we're getting in that shadow.
    00:36:46,819So, let me go ahead and just tweak the shot here
    00:36:50,960a little bit, 'cause now we've got too much of that building
    00:36:53,982in the frame, I didn't want that much.
    00:36:56,659Just wanted some, like that.
    00:36:59,779You can see how finicky this is.
    00:37:01,296You can draw anything you want,
    00:37:02,997but then, you actually want to try and get that shot
    00:37:05,485and it doesn't really work.
    00:37:06,955So, I don't think I'm gonna be able to get that exact shot.
    00:37:09,983But, I still like the way this is looking
    00:37:12,318and I'm gonna scale that building up a little bit more,
    00:37:15,022there we go.
    00:37:16,019Just so that it's actually kind of touching its own shadow,
    00:37:19,258I think that'll be cool.
    00:37:22,339There we go.
    00:37:26,558Let's say we like that shot.
    00:37:29,724We're basically gonna be cutting from here to here.
    00:37:34,422I'm just doing a quick little preview,
    00:37:36,110between my START camera, which I've moved,
    00:37:38,160and my END camera, which I haven't.
    00:37:40,291And so let's say that this is our shot, we like this.
    00:37:43,139We're gonna start with the light here,
    00:37:49,219so that the shadow isn't actually touching the plant;
    00:37:53,239I'm gonna put it pretty close though.
    00:37:56,019And then, let's go back to the first frame
    00:37:59,022and put a key frame on Y, and let's say we want that
    00:38:02,641to take, I don't know, three seconds, 72 frames,
    00:38:05,848before it actually is covered up by the light.
    00:38:08,956But then it's gonna keep going.
    00:38:10,815So let's just go here and animate this,
    00:38:15,498so that now it's touching it.
    00:38:16,672It took three seconds, and now that plant
    00:38:18,294is being covered up by the shadow.
    00:38:21,136Now, we can go into animate mode
    00:38:23,170and we can go to the light key frames,
    00:38:26,811go into the curves, and I'm gonna select this key frame
    00:38:30,610and hit Option + L, and this one, Option + L,
    00:38:32,991so now these are linear.
    00:38:34,551Basically, I want to continue that movement
    00:38:38,715all the way to the end, so I'm gonna go back to my light,
    00:38:41,995add another Y key frame, and I'm just gonna move it down
    00:38:44,576until I'm basically drawing a straight line.
    00:38:48,992This is how you can basically how you can maintain
    00:38:51,952the velocity of something, and then,
    00:38:53,512I can just delete this key frame.
    00:38:55,014I don't need it anymore.
    00:38:56,192So now, if I preview this, you can see that shadow creeping.
    00:39:01,955Very cool.
    00:39:03,696Alright, so now, what should the camera be doing?
    00:39:05,912And also, I'm having trouble differentiating the building
    00:39:09,352from the ground right now, so let's see what happens
    00:39:13,334if we put another light in the scene
    00:39:15,535and we move it.
    00:39:20,016Let's see if we can get a little bit more,
    00:39:21,675or actually, an even easier thing to do
    00:39:23,696would be to just make a quick texture,
    00:39:26,715I'm gonna hit Shift + F2, bring up my Materials,
    00:39:28,973and I'm just gonna put this on the building,
    00:39:31,696and I'm gonna make the building a little bit darker,
    00:39:37,152just by changing up the brightness,
    00:39:38,954just so we can see it.
    00:39:40,454That's really it, that's all it is.
    00:39:42,130This is all just placeholder.
    00:39:44,592Cool? Okay.
    00:39:45,595So then, I'm gonna delete my END camera
    00:39:46,976and I'm gonna copy my START camera and rename this END,
    00:39:50,534and all I want this move to do is basically to drift,
    00:39:56,352hmm, we gotta think about this.
    00:39:57,933I think what would be interesting is to drift the camera,
    00:40:03,056let me mock it up.
    00:40:04,294Basically, drift the camera this way,
    00:40:08,054because then the building is basically imposing
    00:40:10,831on the screen space of this plant.
    00:40:13,595So if it started over here and kinda went like this,
    00:40:16,672that would be cool.
    00:40:17,915So, let's have it end here, and let's have it start
    00:40:24,272a little bit more like this.
    00:40:27,414And then, we've got our Morph tag on this camera,
    00:40:30,655and it's already animated, so we can actually just start,
    00:40:33,856we can just hit play, and it'll actually preview our move.
    00:40:36,862Now, it's going really, really slow.
    00:40:39,654Actually, here's why that wasn't really moving at all.
    00:40:42,120Because the Camera 2 was the END camera that we deleted,
    00:40:45,995and so we need to drag the new END camera in there.
    00:40:48,850Now if we hit it, okay.
    00:40:50,112So you remember that interesting curve that we built here?
    00:40:53,835That is gonna be a problem now, we don't want that.
    00:40:56,333Now what we want is a nice linear curve,
    00:40:59,595so I'm just gonna make this linear.
    00:41:01,952I'm just gonna select the points and make it linear,
    00:41:05,632and this is gonna work better as a cut.
    00:41:08,576When you cut to a camera that's already moving,
    00:41:10,751it feels better.
    00:41:12,496So now, you can see that shadow creeping
    00:41:17,435and crossing over the point.
    00:41:19,494Now, I think I want that shadow to be back
    00:41:24,192a little bit further at the beginning, so let me go ahead
    00:41:26,518and change the Y position so it's a little bit further back.
    00:41:32,270Then I just need to select those light key frames again
    00:41:34,632and hit Option + L to make them linear.
    00:41:41,925And I can use any part of this shot that I want.
    00:41:46,288I think I'm probably only gonna need a few seconds of it.
    00:41:52,594So 120 frames might be all I need.
    00:41:56,694So let me make all my key frames fit inside 120 frames
    00:41:59,894and shorten my shot, so now, I've got this shot.
    00:42:09,889So now we've got shot two done.
    00:42:11,776So now, let me show you something.
    00:42:13,345If I hit Shift + R to render it,
    00:42:17,570we're not seeing the shadow.
    00:42:19,123The reason we're not seeing the shadow
    00:42:20,598is because that shadow is actually,
    00:42:24,435our graphic card is making that,
    00:42:26,570it's an Enhanced OpenGL thing, so if you wanna use that,
    00:42:30,640you can't use the software renderer,
    00:42:32,456you have to use the hardware renderer.
    00:42:34,135Once you open the hardware renderer setting,
    00:42:37,294this little option pops up, and you can click on it
    00:42:39,315and turn on Enhanced OpenGL and turn on Shadows,
    00:42:43,312and you can actually turn on Anti-Aliasing, too,
    00:42:45,635and crank it up, and it'll just smooth out your lines
    00:42:48,216a little bit.
    00:42:49,089So now, we should see our shadow; there we go.
    00:42:52,574So, there's our shot.
    00:42:55,326And if we play it, you can see, there it is.
    00:42:57,830So now, we've got two shots ready to go,
    00:43:01,288and I'm gonna save this one out,
    00:43:03,048and then I'm gonna make some more shots.
    00:43:05,830So, from here, I spent the next few hours making the rest
    00:43:09,153of the shots, and I made sure not to focus on the details
    00:43:12,652that don't matter yet, like what the plant looks like
    00:43:16,728and what the building looks like, and the exact setup
    00:43:19,510of the mountains and the scenery and stuff.
    00:43:22,330I just used a simple sweep NURB to make the plant,
    00:43:25,584so I wasn't too concerned with how I was actually going
    00:43:28,550to pull this off yet.
    00:43:31,052My main focuses were framing and camera movement,
    00:43:35,290and once I had the shots that I thought I needed,
    00:43:37,654I took them into Premiere to put together and edit.
    00:43:40,694First, I recorded a rough voiceover track
    00:43:43,948and I brought in the music from PremiumBeat,
    00:43:46,513and then I started putting together the edit.
    00:43:49,670Now that I have all of these shots rendered out,
    00:43:52,753and there are eight of them, and you know,
    00:43:55,692I'm assuming that I'm gonna have to go back
    00:43:57,500and tweak some of these once I start messing with the edit,
    00:43:59,672but the goal is, put together something
    00:44:01,967just to help me figure out if this is even working
    00:44:04,450on any level at all.
    00:44:06,474So, first thing I need to do is create a new sequence,
    00:44:09,368and I usually work at 1080 resolution, 24 frames a second.
    00:44:15,570Premiere, I'm coming from Final Cut Pro
    00:44:18,648is what I used to use, so I'm still a little confused
    00:44:21,386by all these options I get with Premiere,
    00:44:23,003but this is the one I usually use,
    00:44:24,450I just use the XDCAM 1080p24 setting,
    00:44:28,552and why don't we call this Animatic.
    00:44:32,589Alright, so I'ma start by laying out the audio.
    00:44:35,208I've got my music track here,
    00:44:37,149we'll put that on track one,
    00:44:39,526and I'm not really gonna do too much editing to it yet.
    00:44:42,088I'm actually just gonna leave it like that for now,
    00:44:45,149we'll edit it later.
    00:44:46,027Right now it's three minutes long and change.
    00:44:48,909It's obviously not gonna be that long
    00:44:50,109but we'll deal with that in a second.
    00:44:51,970So, here's the scratch voiceover that I recorded,
    00:44:54,888and there's a few different takes I did in here.
    00:44:57,309Let's just listen; I think one of the later takes
    00:44:59,905is what I liked better.
    00:45:01,589- [Instructor Voiceover] Are often the sources
    00:45:03,733of great weakness.
    00:45:05,330- [Instructor] See, this is why I want a different actor
    00:45:07,264to do this, 'cause I don't like the way this is sounding
    00:45:09,253at all, but, you know, you work with the tools you're given.
    00:45:12,256- [Instructor Voiceover] Are often the sources.
    00:45:13,792The powerful are not as powerful as they seem.
    00:45:18,094- [Instructor] Okay, so I wanna just find the beginning
    00:45:20,234of the script.
    00:45:21,067- [Instructor Voiceover] Giants are not
    00:45:21,937what we think they are.
    00:45:23,359- [Instructor] Alright, that's the first line.
    00:45:24,584- [Instructor Voiceover] The same qualities that.
    00:45:28,504are not what we think they are.
    00:45:30,322- [Instructor] Alright, I like that a little better,
    00:45:31,362'cause it's got nice separation.
    00:45:33,122Alright, so we'll say "Giants,"
    00:45:36,061I'ma lay that in, we'll put that on track two.
    00:45:41,320And I'm not worried at all about where these things
    00:45:43,702are actually ending up, because that's gonna move around
    00:45:45,681once we start putting the picture down.
    00:45:47,540- [Instructor Voiceover] The same qualities
    00:45:48,795that appear to give them strength.
    00:45:50,984- [Instructor] Alright, that sounds okay.
    00:45:53,098- [Instructor Voiceover] Are often the sources
    00:45:54,582of great weakness.
    00:45:58,104Are often the sources of great weakness.
    00:46:02,024- [Instructor] See, I'm not really liking
    00:46:03,175any of these takes, but I'm just gonna use them.
    00:46:07,272- [Instructor Voiceover] Are often the sources
    00:46:09,214of great weakness.
    00:46:11,273- [Instructor] Alright, so that's the next line.
    00:46:14,966- [Instructor Voiceover] The powerful are not as powerful
    00:46:18,436as they seem.
    00:46:20,313Nor the weak as weak.
    00:46:24,480The powerful are not as powerful as they seem.
    00:46:28,393- [Instructor] I like that one better.
    00:46:29,476- [Instructor Voiceover] The powerful are not as powerful
    00:46:31,648as they seem.
    00:46:34,094- [Instructor] So we'll put that in,
    00:46:35,092and then the last line.
    00:46:36,916- [Instructor Voiceover] Nor the weak as weak.
    00:46:40,553Nor the weak as weak.
    00:46:43,454- [Instructor] And I like that take best.
    00:46:44,793Okay, cool.
    00:46:45,796Now we've got our voiceover roughed in there.
    00:46:48,633I'm just gonna cut the audio right here,
    00:46:52,751and let's just listen to it.
    00:46:54,644Let me just do a quick, rough little mix here.
    00:46:56,971I'm just gonna bring the music down a little bit.
    00:46:59,694(deep, resonant music)
    00:47:03,773- [Instructor Voiceover] Giants
    00:47:06,452are not what we think they are.
    00:47:10,998The same qualities that appear to give them strength
    00:47:15,972are often the sources of great weakness.
    00:47:20,151The powerful are not as powerful as they seem,
    00:47:24,152nor the weak as weak.
    00:47:28,857- [Instructor] Cool.
    00:47:29,854Alright, so at least the tone of it
    00:47:31,316is what I'm going after here.
    00:47:33,691So let's just start laying the shots in
    00:47:36,137and see how this thing is working.
    00:47:37,920So, we're gonna start with Shot01.
    00:47:41,197Now, all of these shots were rendered at a resolution
    00:47:45,193that is less than 1920-1080, so what I'm gonna need to do is
    00:47:49,150once I lay each one in, I'm gonna right-click it
    00:47:51,396and I'm gonna say Scale To Frame Size,
    00:47:53,417and that'll just scale it up.
    00:47:55,593(deep, resonant music)
    00:47:59,254Now, there's this long buildup on the music
    00:48:01,030until this first piano hit, and I don't want any of that.
    00:48:03,556I just want that piano hit.
    00:48:05,337I want that to start off the edit.
    00:48:09,533So I'm actually gonna take this and slip it a little bit,
    00:48:13,252I'ma slip it two frames.
    00:48:15,833Here we go.
    00:48:17,172(deep piano note)
    00:48:18,372So that's now the first note we hear,
    00:48:20,538and the reason for that is because now,
    00:48:22,809let me scoot all of these voiceover audio sections down,
    00:48:26,789'cause now,
    00:48:28,229(deep piano music)
    00:48:29,888you've got this cool piano hit right at the beginning
    00:48:32,528of that move, and if you remember,
    00:48:33,930there was this happy accident where the beginning
    00:48:35,589of that move was almost like a burst.
    00:48:37,888(deep piano note) Right?
    00:48:39,189And we might even be able to lead
    00:48:40,930into this a little bit over black.
    00:48:45,225(deep, resonant music)
    00:48:49,426That's kinda nice.
    00:48:50,528(deep, resonant music)
    00:48:53,925- [Instructor Voiceover] Giants
    00:48:56,485are not what we think they are.
    00:48:59,968- [Instructor] Cool.
    00:49:01,786I don't know, I like it!
    00:49:03,029I don't know about you guys, but I'm excited.
    00:49:05,282Alright, so now, let's do Shot02.
    00:49:07,925Let's see what we got here.
    00:49:09,466(deep, resonant music)
    00:49:11,765- [Instructor Voiceover] The same qualities
    00:49:12,924that appear to give them strength.
    00:49:14,629- [Instructor] Alright, now here,
    00:49:15,770this is gonna be important.
    00:49:17,872Let me first scale this to the frame size.
    00:49:19,488So, when this shadow crosses over that plant, I wanna cut
    00:49:28,389to here, where it starts to get darker
    00:49:30,250and we start to see it at the bottom of the frame like that.
    00:49:33,648So, let's set this up.
    00:49:36,349And let's move this over.
    00:49:37,590- [Instructor Voiceover] The same qualities
    00:49:38,748that appear to give them--
    00:49:40,102- [Instructor] "Appear to give them strength."
    00:49:41,886When we hear "give them strength," I wanna cut.
    00:49:44,929Because you're seeing, and this is where having some kernel
    00:49:50,929of a story in your head can really head.
    00:49:53,635The story I'm telling is, you think this building
    00:49:56,908is very strong, and it's proving its strength
    00:49:59,884by casting a shadow over this powerless little plant,
    00:50:03,249and at the same time, I'm showing you that visually,
    00:50:05,462you're hearing it.
    00:50:06,812- [Instructor Voiceover] The same qualities
    00:50:07,848that appear to give them strength,
    00:50:10,129(deep, resonant music)
    00:50:12,550- [Instructor] Alright.
    00:50:13,497So now, the next shot
    00:50:16,929is this little shot here, where I very crudely mocked up
    00:50:19,569this idea that these vines start to come out
    00:50:22,268from the base of this plant.
    00:50:23,569So let's just put this in.
    00:50:25,088I'm not quite sure how it's gonna work yet.
    00:50:26,668(deep, resonant music)
    00:50:28,609Let me scale this up.
    00:50:31,358- [Instructor Voiceover] Are often the sources
    00:50:33,509of great weakness.
    00:50:35,249- [Instructor] Okay.
    00:50:36,252We're hearing, "Are often the sources of great weakness."
    00:50:39,169At this point in the story, we're not quite sure
    00:50:43,048what's happening yet.
    00:50:44,108So I'm gonna move the voiceover down,
    00:50:45,713because I don't wanna give away what's happening.
    00:50:48,268I suspect the audience, when they see the vines coming out,
    00:50:51,628they're gonna have some idea, like, "Oh, okay,
    00:50:53,793"the vines are now the strength of the plant
    00:50:57,046"as counteracting the giantness of the building,
    00:51:00,012"but the building can't move and these vines can grow,"
    00:51:02,252but I don't wanna give that away totally yet.
    00:51:04,353So I'm gonna actually cut this together first.
    00:51:06,732So, the next shot I created has the vines growing
    00:51:10,172in this overhead shot, like this.
    00:51:12,225Let's just take this endpoint here and cut this together.
    00:51:18,529Now let me scale this up.
    00:51:20,510Let's just take a look at what we got.
    00:51:21,494(deep, resonant music)
    00:51:28,570And then,
    00:51:32,085I had this shot in mind, which I thought was pretty cool,
    00:51:34,806where we start climbing up the building
    00:51:37,148and then the vines climb up the top.
    00:51:39,642This is gonna be very tricky to do, for real,
    00:51:41,902but I think it'll be cool.
    00:51:43,948Then after that, I want this shot
    00:51:45,505where it's like the plant looking as the vines grow
    00:51:49,084up the side of the building.
    00:51:52,966Let's take that as the out point, let's put this in.
    00:51:55,708And then the final shot has us going
    00:51:59,184up the side of the building, and we get to the top,
    00:52:01,745and then there's a pause, and then the plant
    00:52:03,744grows back on top.
    00:52:06,348So now it's won, and there's some room here
    00:52:08,444to put the quote there if we decide to do that.
    00:52:10,584Let's just lay this out, leave it like this,
    00:52:14,424and let's just fade the music out,
    00:52:16,465and let's just not have the voiceover in there yet.
    00:52:19,722Let's just get a sense of what this feels like so far.
    00:52:22,922(deep, resonant music)
    00:52:26,364- [Instructor Voiceover] Giants
    00:52:28,799are not what we think they are.
    00:52:32,604The same qualities that appear to give them strength...
    00:52:52,584- [Instructor] Alright, so I'ma stop it there.
    00:52:53,759Obviously, I forgot to scale these to frame size,
    00:52:55,908so let's do that, but this is, at least visually,
    00:52:59,028this is working for me, and I wanna make sure,
    00:53:01,477there's a little bit of a hitch at the beginning here;
    00:53:03,668I wanna take this shot in the middle.
    00:53:05,646(deep, resonant music)
    00:53:07,420There we go.
    00:53:15,588Right, and then we're probably gonna end up holding on that.
    00:53:17,524So let's start putting the audio back in.
    00:53:18,985I felt like I wanted the VO to continue on this shot.
    00:53:23,944- [Instructor Voiceover] Are often the sources
    00:53:25,486of great weakness.
    00:53:28,686- [Instructor] Alright, now maybe,
    00:53:31,584"great weakness" makes more sense to hear on this shot,
    00:53:34,585because this is the first time we actually see
    00:53:36,516the vines climbing up the building.
    00:53:38,738So I'm actually just gonna knock that audio forward,
    00:53:42,300I don't know, maybe a second and a half.
    00:53:44,295- [Instructor Voiceover] Are often the sources
    00:53:45,799of great weakness.
    00:53:47,420- [Instructor] There we go.
    00:53:49,916And then...
    00:53:52,264- [Instructor Voiceover] The powerful are not as powerful
    00:53:54,977as they seem.
    00:53:58,769- [Instructor] And then here.
    00:54:00,359- [Instructor Voiceover] Nor the weak as weak.
    00:54:02,451- [Instructor] Boom, and then it comes up.
    00:54:04,636(deep, resonant music)
    00:54:08,716Alright, so, let's take a look.
    00:54:10,894We've got our audio laid out,
    00:54:12,556we've got our picture laid up against it,
    00:54:16,203and I'm already getting some ideas
    00:54:18,616of things I wanna tweak a little bit.
    00:54:20,675So, let's go ahead and just take one final look at this,
    00:54:23,838and hopefully, this was eye-opening.
    00:54:26,293You can see how quickly this came together,
    00:54:28,618just doing some really rough previz, editing it together,
    00:54:32,138music, VO, not editing the music at all,
    00:54:34,515but let's just take a look at this.
    00:54:37,637(deep, resonant music)
    00:54:41,093- [Instructor Voiceover] Giants
    00:54:43,654are not what we think they are.
    00:54:47,436The same qualities that appear to give them strength
    00:54:56,790are often the sources of great weakness.
    00:55:02,716The powerful are not as powerful as they seem,
    00:55:08,575nor the weak as weak.
    00:55:17,948- [Instructor] Cool.
    00:55:18,925Alright, so I think we're on the right track.
    00:55:21,562Now, let's talk about some of the things
    00:55:22,744that could be stronger here.
    00:55:25,402I think it would be cool, at the beginning here,
    00:55:28,162to just totally, over black...
    00:55:30,982(deep, resonant music)
    00:55:33,944- [Instructor Voiceover] Giants.
    00:55:36,760- [Instructor] Maybe that's okay, but maybe there's even
    00:55:38,845some other interesting thing we could do,
    00:55:41,704like maybe we're traveling along the ground
    00:55:43,645and then we look up.
    00:55:45,745Or something, you know,
    00:55:46,749so there's something happening there.
    00:55:49,389- [Instructor Voiceover] Giants
    00:55:51,840are not what we think they are.
    00:55:55,448- [Instructor] Alright.
    00:55:56,445Now this, there's this nice piano hit,
    00:55:58,349and I want that shot to cut right on it.
    00:56:00,724So I'm actually gonna move this edit back a little bit.
    00:56:07,469- [Instructor Voiceover] The same qualities
    00:56:08,545that appear to give them strength
    00:56:12,145(deep, resonant music)
    00:56:16,966are often the sources of great weakness.
    00:56:19,688- [Instructor] Alright, there's a big gap in audio
    00:56:21,266between these two, so I think I wanna try
    00:56:23,103spacing these out a little bit.
    00:56:24,466(deep, resonant music)
    00:56:27,744- [Instructor Voiceover] Giants
    00:56:30,430are not what we think they are.
    00:56:34,208- [Instructor] I'm gonna move this one up a little bit.
    00:56:36,690(deep, resonant music)
    00:56:37,860- [Instructor Voiceover] The same qualities
    00:56:39,029that appear to give them strength--
    00:56:43,223- [Instructor] And I think the way that this line is said
    00:56:45,906isn't working for me as well;
    00:56:48,162let me see if I have a better take.
    00:56:49,475- [Instructor Voiceover] Qualities that appear
    00:56:50,323to give them strength.
    00:56:53,064The same qualities that appear to give them strength.
    00:56:56,528- [Instructor] That was terrible, oh God!
    00:56:59,107- [Instructor Voiceover] Of great weak, of great weakness.
    00:57:01,384- [Instructor] I'm gonna have to re-record that line,
    00:57:03,347but basically, what I want, I want it to say--
    00:57:05,521- [Instructor Voiceover] The same qualities
    00:57:07,065that appear to give them strength.
    00:57:08,951- [Instructor] "The same qualities that appear
    00:57:10,775"to give them," and then I wanna pause, "strength."
    00:57:12,750(deep, resonant music)
    00:57:15,381I wanna draw that out a little longer.
    00:57:18,331I also think it would be cool--
    00:57:19,851- [Instructor Voiceover] Qualities that appear
    00:57:20,809to give them strength.
    00:57:23,720- [Instructor] Before we cut to this shot,
    00:57:26,079it would be cool if this flower gave us a little bit
    00:57:30,676of an anticipation that it's about to do something.
    00:57:33,282Maybe it shudders or it shakes
    00:57:34,557or something happens, or it bends down,
    00:57:37,597and then, (deep, resonant music)
    00:57:39,320boom, then these things pop out.
    00:57:42,556- [Instructor Voiceover] Are often the sources
    00:57:43,685of great weakness.
    00:57:48,293The powerful are not as powerful as they seem,
    00:57:54,392nor the weak as weak.
    00:57:56,680- [Instructor] Cool.
    00:57:59,853Now, the music edit is definitely gonna need some work.
    00:58:03,160Let's just take a listen to other parts of this song.
    00:58:06,374(soaring, uplifting music)
    00:58:10,637You can hear, it gets a lot more epic at the end,
    00:58:13,618and so I'm gonna wanna cut the music
    00:58:15,685so that it actually, once this plant starts to show
    00:58:20,860what it can do when it starts to take over,
    00:58:23,620I want the music to change, and then at the end,
    00:58:27,206(heavy, climactic music)
    00:58:32,096I want that big ending, just like that.
    00:58:35,541So, I am gonna go make some tweaks,
    00:58:37,834I'm gonna cut up the music a little bit,
    00:58:40,869I'm gonna re-record that line in VO,
    00:58:43,032and then we're gonna check out where the animatic stands.
    00:58:47,354Using this previz/3D method has a ton of advantages.
    00:58:52,954For one, as you can see, you can get a pretty good idea
    00:58:55,936of how the shots are working from one to the next,
    00:58:58,533even with really simple geometry standing in
    00:59:01,714for the final actors.
    00:59:03,914So after tweaking a few shots, tweaking the audio
    00:59:07,514a little bit, putting everything back together,
    00:59:10,252refining it until it felt right,
    00:59:12,693here's where I ended up.
    00:59:16,453(deep, resonant music)
    00:59:21,237- [Instructor Voiceover] Giants are not
    00:59:23,536what we think they are.
    00:59:27,333The same qualities that appear to give them strength
    00:59:34,450are often the sources of great weakness.
    00:59:42,757The powerful are not as powerful as they seem,
    00:59:48,996nor the weak as weak.
    01:00:03,616- [Instructor] Well heck, this thing is actually
    01:00:05,067starting to feel like a real piece,
    01:00:08,593even with my terrible scratch voiceover track.
    01:00:11,308But it sure doesn't look like a final piece,
    01:00:14,065doesn't look like a real beautiful thing yet.
    01:00:17,285But that's okay, because that's the next step.
    01:00:22,165(understated electronic music)
    01:00:31,778(intense electronic music)