Latest Tutorials
Tutorial | Instructor | Date Updated | Runtime | Views | Relevance |
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Creating a MoGraph Sports Intro Animatic: Series Overview
In this series we will build a mograph sports intro animatic from start to finish. In this series we will build a mograph sports intro animatic from start to finish. Using storyboards as our roadmap, we’ll use primitives and some simple modeling to keep the geometry as simple as possible which keeps the Cinema viewports and renders fast. Then we’ll use the mograph module, motion camera rigs and some simple keyframed animation to bring our scenes to life. After that we’ll sweeten the look with r18’s enhanced open gl hardware options and use hardware previews to output our work before switching to Adobe Premiere Pro for final assembly. Once in Premiere, we’ll use some basic tools to knock out a rough cut in just a few minutes and then see how to stack tracks making versioned renders easy to spit out for client review. |
Raymond Olsen | Jan 11 2017 | 00:38 | 9140 | |
Creating a MoGraph Sports Intro Animatic: Project File Setup
In this video we’ll create a folder structure and save out our first scene file. Then we dial in the render settings for the hardware previews and save them out as a render preset for future use. We conclude with an example of render tokens in use. In this video we’ll create a folder structure to organize all of our assets, then we jump into Cinema and save out our first scene file. Then we dial in the render settings using a render token in the save path for the hardware previews. When finished, the render settings are saved as a render preset for use throughout the series. We will also see an example of the results of using the render token with our scene file names. |
Raymond Olsen | Jan 11 2017 | 06:04 | 2628 | |
Creating a MoGraph Sports Intro Animatic: Blocking Out Shot One
In this video we’ll model the light bank in frame one of the storyboard, convert it to an xref and then prep shot one for animation. In this video we’ll create the stadium light bank seen in shot one using a few primitives that we collapse into editable mesh and manipulate to create a single light assembly. We then populate the light bank cloner with the light assembly and add a random effector to give each light’s orientation some variation just like the real thing. Next we save the light bank as an xref and get shot one ready for camera animation. |
Raymond Olsen | Jan 11 2017 | 07:10 | 1922 | |
Creating a MoGraph Sports Intro Animatic: Shot One Morph Cam
In this video we’ll animate the camera move for shot one with a morph cam rig and render out the first hardware preview for the animatic. In this video we’ll place cameras at the beginning and end of our camera move and then learn a shortcut to auto-populate the camera fields in the camera morph tag upon creation. After the setup is complete and we animate the blend, we can adjust the camera move to our liking as the scene is played in a loop. Next, we’ll export a hardware render using the settings we configured earlier. |
Raymond Olsen | Jan 11 2017 | 06:12 | 1771 | |
Creating a MoGraph Sports Intro Animatic: Blocking Out Shot Two
In this video we’ll model the main driveshaft and the trench it sits in along with the leg assembly that the holds up the conveyor belts. In this video we’ll model the main driveshaft with a cylinder primitive and a spline cogwheel extruded using CV-Extrude Splines. Next we tackle the trench with a CV-Extruded spline mask that was made with the help of another CV Tool, CV-Boole Tools. The trench’s lower floor will then be made with a plane primitive. Next we’ll set up the conveyor leg assembly with some cubes, a cloner and an instance object. The leg assembly then gets converted to an xref and we create a row of them with another cloner to make the trench “roof”. CV-Extrude Splines can be found here. CV-Boole Tools can be found here. |
Raymond Olsen | Jan 11 2017 | 21:09 | 2108 | |
Creating a MoGraph Sports Intro Animatic: Animating Shot Two With Time Effector and Camera Morph Tag
In this video we’ll animate the driveshaft spinning up using a time effector and give it two extra driveshafts to spin with. In this video we’ll be dropping the driveshaft into a fracture object and then use a time effector with an animated strength parameter to spin it up with a small wind-up at the beginning. Then we’ll duplicate the driveshaft twice and invert the effector strength to spin the new driveshafts in the opposite direction. We’ll finish by repeating the camera morph procedure, adding some SSAO and rendering out another preview. |
Raymond Olsen | Jan 11 2017 | 13:11 | 1766 | |
Creating a MoGraph Sports Intro Animatic: Modeling Shot Three Assets
In this video we’ll build the logo capsule element that we see a glimpse of in shot three. In this video we’ll build the logo capsule that is revealed in shot three using primitives, a MoText object, a lathe, a cloner and a boolean. |
Raymond Olsen | Jan 11 2017 | 09:54 | 1804 | |
Creating a MoGraph Sports Intro Animatic: Pose Morph for Shot Three
In this video we’ll animate the logo cap assembly using a pose morph tag, add a camera move and sweeten the look with shadows and SSAO. In this video we’ll start by grouping all the moving parts into their own hierarchy. Next we’ll apply a pose morph tag and configure a new pose, then use the pose slider to blend between the poses adding a little wind-up using overshoot on the curve like we did on the driveshaft. After that we’ll repeat our simple morph process to add a quick camera move, add shadows and SSAO, then render out a preview for editing. |
Raymond Olsen | Jan 11 2017 | 12:40 | 1901 | |
Creating a MoGraph Sports Intro Animatic: Animating Shot Four
In this video, we’ll animate the conveyor belt rollers using a time effector and then add a camera morph move inside an animated null. In this video, we’ll place our conveyor belt rollers in fracture objects and animate them with a time effector like we did with the driveshafts. Then we’ll put a camera move together with the morph tag, but this time we’ll place the rig in a moving null to add a second layer of movement to the camera morph. |
Raymond Olsen | Jan 11 2017 | 05:34 | 1789 | |
Creating a MoGraph Sports Intro Animatic: Adding Detail to Shot Four
In this video, we’ll add detail to the ends of the rollers for the camera move in shot four. In this video, we’ll use cloners, primitives, and some spline objects to build a higher level of detail on the roller ends for shot four. Then we add a light, shadows and SSAO to refine the render. |
Raymond Olsen | Jan 11 2017 | 15:49 | 1461 | |
Creating a MoGraph Sports Intro Animatic: Building Shot Five
In this video, we’ll take shot two and use it as the base for shot five as we build out the majority of the final scene. In this video, we’ll start with a copy of shot two and construct most of the final scene. The conveyor belt and plays will now be made, and then the trench group will be duplicated, trimmed and repositioned. Next, a new camera angle matching the storyboard is framed up as we pull in the light bank as an xref object to populate a radial cloner. Lastly, we’ll rough out the cityscape background with a cloner and cube. |
Raymond Olsen | Jan 11 2017 | 15:20 | 1356 | |
Creating a MoGraph Sports Intro Animatic: Building the Logo Element
In this video, we’ll build the logo element that is the hero of our final shot. In this video, we’ll build the logo element that is the hero of our final shot. We’ll start by modifying and reusing some of the geometry from shot three, then we’ll finish off with cubes and mograph type. The logo element will be built in a separate scene and then copied and pasted directly into the final scene for animation. |
Raymond Olsen | Jan 11 2017 | 07:14 | 1412 | |
Creating a MoGraph Sports Intro Animatic: Animate Shot Five’s Main Camera
In this video we’ll use a motion camera on a spline to fly thry the final scene. Towards the end of the spline we’ll morph to our existing preview camera to end the move. In this video we’ll use a motion camera on a spline to fly thry the final scene while using three targets to control the camera’s focus. Towards the end of the spline we’ll use a camera morph to transition from the spline camera to our existing camera. |
Raymond Olsen | Jan 11 2017 | 12:11 | 1865 | |
Creating a MoGraph Sports Intro Animatic: Animating the Logo capsule
In this video, we’ll use mograph effectors to animate the logo capsule elements flying past the camera into the scene. In this video, we’ll use three mograph effectors and some falloff to animate the logo element flying into the scene. Using a combination of falloffs and strengths we can animate all the elements using the same effectors. |
Raymond Olsen | Jan 11 2017 | 09:43 | 1580 | |
Creating a MoGraph Sports Intro Animatic: Finishing Shot Five
In this video we’ll add the final camera move to shot five and then animate the conveyor belts and plays so we can render our final shot for the animatic. In this video, we’ll create the final camera move using a three camera morph. Next we’ll use one more motion camera to add a layer of natural motion at the end of the spline camera move. Then we’ll animate the offset in the spline wraps to get the conveyor belts and plays moving and we’ll finish by polishing the look and rendering the final shot needed for editing. |
Raymond Olsen | Jan 11 2017 | 12:35 | 1530 | |
Creating a MoGraph Sports Intro Animatic: Editing in Premiere
In this video we’ll edit our animatic in premiere and then go back and polish any shots that need edits or improvements. In this video we’ll pull all of our rendered previews into premiere for editing and then set up some favorites in the premiere media browser for easy access to any new renders. After that we’ll drop in a sound bed to edit to and quickly put a rough cut together. Next we’ll edit and re-render our shots as needed to polish and finish the |
Raymond Olsen | Jan 11 2017 | 12:17 | 1569 | |
Fading the Edges of Hair that is Applied to Polygon Selections
Fade the edges of hair on polygon selections. In this quicktip you will learn how to position a 2D Gradient with the fit to region command to control the density of your hair object. Then, by using the projector shader I force a hair material to adopt the settings from a regular texture tag so that the hair material channel has the same position, projection, rotation, and size as the texture tag! |
Darrin Frankovitz | Jan 09 2017 | 04:41 | 5152 | |
Using the Inheritance Effector: Playful Titles - Introduction
Learn a different way of animating your clones, using the Keyframed Animation from another Object. You’re probably aware that you can use MoGraph to “choreograph” the motion of clones using Effectors. I’ll show you a different way of animating your clones, using the Keyframed Animation from another Object. We will do this, using the inheritance Effector in “Animation” inheritance Mode. |
Athanasios Pozantzis | Jan 04 2017 | 00:53 | 5735 | |
Using the Inheritance Effector: Playful Titles - Animating the Reference Object
In this video, we’ll see how to animate a cube in a playful manner, using only Position, Scale and Rotation animation. In this video, we’ll see how to animate a cube in a playful manner, using only Position, Scale and Rotation animation. We will use this to create our title animation in the next video. |
Athanasios Pozantzis | Jan 04 2017 | 06:45 | 1775 | |
Using the Inheritance Effector: Playful Titles - Animating the title with the Effector
See how to transfer the keyframe animation from the previously animated cube to a title, using the inheritance effector. In this video, we will see how we can transfer the keyframe animation from the previously animated cube to a title, using the inheritance effector. Also, I’ll show you how to retime the animation and take control of the keyframe values without changing the keyframes themselves. |
Athanasios Pozantzis | Jan 04 2017 | 07:18 | 2265 | |
Set Unique Filters for Each C4D View with the Make Parameter Local Option
Learn how to individually control Cinema 4D viewport filters at work with a clean Perspective view. Cinema 4D’s View Filters work globally by default, so that any changes to the filters in one view panel apply to all the views. In this Quicktip, you’ll learn how to make the view filter parameters local so you can uniquely control which object types and UI elements appear in each viewport. You’ll also learn how to manipulate the filters for multiple views at once using the Configure All option or by selecting multiple view panels. |
Rick Barrett | Jan 03 2017 | 03:14 | 3964 | |
Animate Textures Moving over Objects with Texture Offsets
Create fun looping texture animations with two keyframes. With just two keyframes, you can animate the OffsetU and Offset V parameters in the texture tag to create looping texture animations. Make use of the animation track properties to adjust the loop style, and adjust your keyframe interpolation to ensure there are no hiccups in your loop. |
Donovan Keith | Dec 27 2016 | 04:23 | 8566 | |
HDRI Preset Packs: Interior HDRI Pack 2
This pack includes 6 ready-to-use HDR images dedicated to interior image based lighting. In this video, you’ll learn about this new pack of HDR environments by Maxime Roz and how to simply and easily use them in your Cinema 4D scene. This pack includes 6 ready-to-use HDR images dedicated to interior image based lighting. For more details about the production of these HDR images, you can visit maximeroz.com/hdri. |
Maxime Roz | Dec 21 2016 | 00:58 | 7240 | |
HDRI Preset Packs: HDRI’s Download and Install
In this video we will cover how to install HDRI exterior preset packs. In this video we will cover how to download and install HDRI exterior preset packs into Cinema 4D. To Install HDRI exterior and interior preset packs manually: |
Maxime Roz | Dec 21 2016 | 02:02 | 32540 | |
Simple UV Unwrapping for Lids and Caps
In this BodyPaint quicktip, you will learn how to create perfect UVs for a very common type of Geometry, a Container Lid In this BodyPaint quicktip, I will show you how to create perfect UVs for a very common type of Geometry, a Container Lid. The two techniques I’m going to show, are the BEDROCK of BodyPaint UV unwrapping, and with slight modifications, can be applied to most UV Unwrapping cases. |
Athanasios Pozantzis | Dec 19 2016 | 06:51 | 7481 |