- Hey. Hi. Hello. All right. How are you guys? Like she said my name is Andy Lefton. I'm a Minneapolis based 3D VFX artist, generalist, filmmaker, and I'm here today to present to you guys my short film Two Worlds and show you the techniques and workflow efficiencies that helped me complete this very daunting task. Took me a while but I finally crossed the finish line. So currently, like I said, I'm a 3D VFX guy. I'm currently working freelance and I also work with digital tutors offering tutorials in the 3D and VFX realm as well. And with this you can see I have my website so if you want to find more information on myself you can go to andylefton.com, and I've got my reels and portfolio pieces etc.etc. And then if you haven't seen the film Two Worlds, you can go to twoworldsfilm.com and in there we got the film and some information also a teaser to the film. So what I'm going to do is I'm just going to share with you guys quickly my demo reel and from there we'll start to kind of get into the nitty gritty of everything here. - Okay. So that is my reel. And like I said if you want to find any more information go to my website andylefton.com. So what I want to kind of do here is like I kind of want to get into a little bit of the backstory of two worlds and kind of how everything kind of came to fruition. And so basically I'm just going to show you some stills as we are going through this I'll give you kind of the backstory. Two Worlds came to me about 2000 and so when I got into school in Minneapolis around 2001 I wanted to tell a story. I wasn't sure how to approach it. I got into media production which was kind of a wide gamut of media so I wasn't just hounded on animation, it was also doing video production and audio and scriptwriting and this is the whole works which helped me in the process to get to this point. So with that I was given in school a copy; they were running Sym 47.1 so that is where I started. So yes a very long time ago. So working with that I sat myself down and I just went through everything and just outside of school basically taught myself the ins and outs of C4D. And so with that Two Worlds kind of evolved into a student film which actually exists. And you know I didn't really know what to do so it was very crude, it was very primitive but it eventually becameth a portfolio piece which it actually helped me graduate which was good. So after school I put that away to never see the light of day again and so I actually resurrected and watched my student film before coming to Scigraph and it was very crunch-worthy. So thankfully it helped me graduate and then I moved on. So we jump forward to about 2007 and at this point I'm working professionally in the realm you know CG generalist kind of guy. And I was still working on some short film at that time as well. Nothing really came into fruition but I was still in that area and I got the idea to bring Two Worlds back to life. I loved the story and I knew by that point that I wanted to take my know how and my skill set after being involved in for a few years doing it and put it to good use and so I did. And this time I really sat down and I started the storyboard for real this time. Concept ideas, concept turns into animatic and from there it's just kind of history. So the big thing about it was that I knew at that time I was the sole artist on the film. I did talk to other people at the time but you know people were like 'I got other things to do. ' So I totally get it. So I knew at this time that I was running solo and I loved it. So what I did is sitting down I did the pros and cons and I knew that I had these challenges ahead of me one of them being the character relationship. So you have these two characters that not only are... If you've seen the film you know they are limited in their mobility. You know. And not only are they limited in their mobility, they are also limited in their expressions. So you know all we really have is the eyes to work with and just kind of their subtle movements. So I was trying to find that really good balance and chemistry between the two. So there was a lot of trial and error in that but after a while I think I found like I said a good balance with that. The other challenge working with the film was the environments. Not only do you have this vast universe so we kind of opened with, you have the exterior of the ship, you have the interior of the ship and then you also have snibs environment which is this vast barren wasteland you know it's Tattoine- esque kind of environment. And then you have his wreckage and then you also have this kind of makeshift, shanty if you will and so it was challenging but through a lot of R&D I was able to bring everything together. So the other thing that was difficult but I got through it was the piecing because you have seven and a half minutes of animation of the story and you are spending a lot of this time in the same environment. So it's easy to kind of lose track and lose interest. So piecing was a challenge so through the animatic phase and editing phase I was really able to once again find a good balance. So with that let's go ahead. I'm actually going to bring up the teaser. I'm going to show you the teaser to the film here. - Okay. That's the teaser for Two Worlds. And that's kind of story on its own. We have a small gathering annually in Minneapolis called MET which is Minnesota Electronic Theatre. It's kind of like a mini Scigraph everybody kind of gets together talks industry, show intel, and had about a month to put that together. So that was quite challenging but I basically custom built those scenes for the teaser within a month. Like I said a whole different story. So I would like to kind of get into the nitty gritty here. So I'm going to start to kind of open up some scenes here and describe to you some of the workflows that really helped to save a lot of time in the process of putting the film together. So if you can see here, I have Snib who is a little kind of elephant looking character...his make shift tent. And this went through a lot of different iterations. I'm actually going to kill my grid here. This went through many different iterations but I finally kind of settled on this look. And like I said if you've seen the film you know there's a lot going on. You have wind elements, you have cloth flapping around, you have his so called food source you can see in one of the shots. So it's dynamic simulation happening simultaneously. So what I want to do if I hit play here you'd probably going to see kind of some stuff going on in here. It's kind of bogged down because I did it in cache but you can see I have some clothes moving here. Let me go to my layers manager. You can see here on my planter is you know 'food source'. You know I've got some dynamics going on here. I've got cloth going there. We can go ahead and bring up his little satellite link here. And here...this mouse is going crazy. You know we have dynamic stuff going on here. You can kind of see there is little make shift kind of broken pieces, you know. And you may not see the stuff in the film but I just wanted to have those little nuances that really brought this place to life because it was kind of a desolate barren place. So you can see in one of the shots here that there is a lot going on. You know. And this is one of the shots where we introduced Snibs environment. So you have this kind of satellite bobbing around you know being affected by the wind, you have the cloth moving and you know like I said you have these hinge (sp) elements that are kind of broken hanging out. So what I'm going to do is I'm going quickly to how I started to build out his tent, his canopy. And this was a real life saver in regards to time. So I'm going to open up a new scene here. I'm going to turn my grid back on. Okay. So what I'm going to do I'm going to basically create... I'm going to grab a couple of formative (sp) cylinders here and just quickly eyeball it. And we are just making this little centre poles at the tent where our canopy is going to be leaning on. So nothing spectacular but we are just going to kind of place it. And I'm going to hold down CTRL and we are just going to kind of drag. Come on, come on control. I will do it the old school way. Duplicate this guy, bring it over, just kind of place it and then I want to create its framework because in order to create the canopy for his tent I had to create a proxy geometry that that canopy is going to be leaving on and with that proxy geometry then I can build out highly details modelling and what not which we will see in our final shot. So I'm just going to grab a cube. Grab this guy here. Once again just kind of eyeballing it. And then I'm gonna make my geometry editable. You can also hit C on the keyboard. And then I'm gonna grab an (inaudible 00:11:58) object here. I'm gonna plop my cube right into that there. As you can now we are kinda getting an idea of our frame. I'm gonna change my attributes here in the manager. Bump this up to five. So you get a nice even number. Drop this end to four. And then what I want to do is hit C once again in my keyboard to make it editable. We can drop this down, delete this guy. Let's go into our view part, either front or side. Going to my points mode let's grab our frame. We gonna right click. I'm gonna go to my knife tool. I'm gonna click off invisible only and I'm gonna hold down SHIFT and drag so we get a nice linear cut and it's gonna cut all the way through. I'm gonna grab my rectangle selection. Only select visible element as off, highlight these vertices and just delete them and we can just go ahead and move these stuff down. So let's go back to our perspective shot here. So now that we kinda have a relatively basic look to our tent I'm actually going to make this editable as well. I'm going to mark all these stuff. I'm gonna right click and I'm gonna go down to connect objects and delete so we have one object here. And I'm gonna double click and just call this frame. So now we have one object to work with where our canopy is gonna be living on. So with that I want to go ahead and start building out my cloth of canopy and what we gonna simply do is just grab a primitive plane bring this up like so and just kinda place it over. Once again eyeballing it. I'm gonna bump up my segments to 40 so we get a little bit more of definition there. I'm gonna again hit C on the keyboard. We can call this canopy. Make sure I can spell today. And so now what we want to do is that we want this canopy to now interact with our frame which is ultimately gonna be our tent. So what I want to do is that I'm gonna right click on my canopy. I'm gonna go to simulation tags, I'm gonna go down to clothes. And now I wanna grab my frame. I'm gonna do the same thing, I'm gonna right click. I'm gonna go to my simulation tags. I'm gonna go to clothe collider. So now that we have that I wanna change a couple of attributes to make this easier on ourselves. So this things is gonna automatically detect gravity. It's gonna fall, it's gonna flail all over the place. So what I wanna do is go to my forces tab and my clothe tag. I'm gonna add a little bit of global drag, one percent, two percent and I'm gonna hit play on this canopy and it's gonna fall right into place and start to adhere around our framework here. So that's a pretty good start but what I need to do is go back to my clothe tag. I'm gonna go into my dresser tab. I'm gonna set initial state and basically this is gonna freeze that fabric in position so that I can go back to frame zero and start the simulation over again. And at this point in the same tag I can go into forces, drop my global drag back to down zero, run the simulation once again and we start getting a pretty good look of our clothe. I like how that looks. So I'm gonna freeze it once again by going back to dresser, set initial state and now we are looking pretty good. So for me in a very short amount of time I'm trying to get you know pretty good results on this. So what we need to do now is that we need to tell our clothe where we want it to be pinned. Pinned in certain areas on the screen. So I'm gonna grab my canopy, I'm gonna go into points node, I'm gonna grab my life selection and I'm just going to grab this corner, vertices here not over thinking it. Highlight, highlight, highlight. Grab these guys and then obviously we wanna have this pinned down because once we get these wind forces so to speak, we don't want this moving and then just maybe grab kind of some random ones here in the middle. Like so. So cool. Now we have our point selected. Now we need to tell the cloth 'Hey these points are selected don't move. ' So what I'm gonna do is go into my cloth tag here. I'm gonna go into my dresser tab here and I'm gonna hit 'fix points'. So I'm gonna set those and now they're changing color telling you 'I'm not going anywhere. ' which is exactly what we want. So with that I need to have some interaction. So I need to get a wind object. So I'm gonna grab a wind object here. I'm gonna go up to simulate, I'm gonna go to particles, I'm gonna go down to wind, plop that guy in right there, just kinda move it out so we can see what we are looking at here. And if you are not familiar you can see a little arrow there which is going to tell us which direction the wind is going. So I'm just gonna simply just kinda place this. And we are working with infinite fall off. So it doesn't matter where this icon lives, its gonna affect it infinitely. So now that we have that going...let's go ahead and run this. It's probably gonna chug just a little bit. So now we can see our cloth is pinned to those corners which is exactly what we want. So let me go up, I'm gonna actually bring up my attributes here. We definitely wanna have turbulence. Bring the scale down a little bit its gonna randomize it more the lower you bring that value down, bring up the frequency and this is where you get a lot of control because you are gonna be able to control the amount of turbulence; you want it to be more violent, you want it to be calm. And so what we wanna do with that now let's go ahead and let's cache out our wind on our tags. So I'm gonna hit calculate cache and this is going to bake the cloth animation into our canopy. So now we can play this back in real time. So it's looking pretty good. I think one thing I need to do here... Let's do that again. I need to bring up my wind strength I need to get much results there. Let's bring this up to about 0.6 bring our turbulence to about 0.4 and then I'm gonna dump my cache and re-cache it. It's gonna take matter of seconds. Recalculate that. And so now working with my forces and my clothe I have my wind in here well which is also going to affect my particles that I had in my scene eventually. And now we are getting good results and in a matter of minutes I had this going so now I can move on to my next scene. And like I said, this entire Snibs environment was entirely driven by dynamics to give it a sense of occupancy. So with that, I'm gonna open up a new scene and I'm gonna show you another shot here. So then we had his food source, which again was dynamically driven using hair. And the great thing about hair is that you get multi purposes out of this thing. So it's not just running hair. You can animate geometry using the hair module. So once again I'm gonna go ahead and open up a new scene and I'm gonna create a proxy planter box here...so something simple like that. I'm gonna hit C on the keyboard and make it editable. I'm gonna select my top polygon. I'm gonna go to extrude inner bring that in like so. Let's extrude that down and so now we have our planter box. Now I'm gonna grab a plane object which is basically gonna be where our food source or grass is gonna live. I'm gonna bring this in, I don't want to touch the sides of the box and I just want to square off my polygons here. So it defaults to 20 so like I said I just want to square it off and I will show you why eventually. So that's pretty good right there. I'm gonna hit C on the keyboard again make it editable. And now I want to go into simulate. I wanna go to my hair objects and I wanna go to add hair and that's gonna plop right in there. So the first thing I want to do with this is I wanna drop down my hair count to about 150 because we don't need to overkill that too much. And then I want to go to my dynamics tab. I wanna open up my properties and when I drop my drag down it defaults to... I'm gonna put that as zero. I'm gonna put my resthold at 35 which is gonna basically tell our grass that it's gonna stiffen up around the roots so it's not just gonna fall all over the place. So if I would hit play probably we are not going to get good results here. So one thing that I need to do is let me go ahead and grab...once again go to simulate, go to particles, grab a wind object bring that in, again move it to wherever we feel it's good, have our wind blow in that direction. And again let's change our attribute. Bring it under three. Let's bring our turbulence up so we get some good randomization. Bring the scale down, frequency up. Once again trial and error whatever feels good. And if we hit play now we are getting some really cool action in there. So what we need to do now is we need to take these hair guys and we need to add geometry to them. We don't want to render our hair texture, we wanna render the actual geometry. So what I need to do is bring in a proxy piece of grass and all I'm gonna do is grab a cylinder, move this guy out of the way here like so. Wrong key again. I'm just gonna eyeball it. I'm gonna bring my rotation segments to 20. Bring my height segment to 20 as well. I'm gonna go into my hair. I'm gonna go into my general tab here and I gonna change my type to 'instance'. We are gonna instance our geometry. So now that we have that this guy open up and I'm gonna drop. Hit C on the keyboard. Drop this into our object dialogue and now it's gonna link. So we have geometry there, which is gonna be our hair. So now we can hide our hero grass. I'm actually going to make a quick texture. Go to new material. Just a little bit of green so we know what we are looking at. A nice, neon green there. Come on. And we are just gonna put this onto our hair object there. So the cool thing about this one thing we need to do is once we add our geometry to our hair we need to turn off render hairs because we are actually not rendering the hairs we are rendering the instance geometry. So with that I can go into my hair texture and this is where we get a lot of control. I'm gonna open up my material editor. I'm gonna go down to thickness. I'm gonna drop this to about five, my root and then my tip to about one. You can give it some variation, five maybe. Turn the control and now you can see we are starting to get some pretty good results. So now I can go to length. I can add some variations in there. Default is at 20 which is also pretty good I will put it to 30. I can add a little bit of freeze and now things are looking a little bit more like it. Drop that down to 20. Close that out. And now we have Snibs (sp) food source. And now it's moving on along dynamically. Tons of control. Unbelievable amounts of control on this. And I did it in a matter of minutes. So C4D dynamics especially work with hair like this in a matter of no time I got really good results. So now once again I can move on to other things. So let's do that. So I'm gonna open up a new scene and this time I'm going to talk about kind of getting a dynamic hinge effect and I'll show you one of the shots here. So you can see what I did here... Let me see if I can loop this. Okay. Good. We have a lot going in here so we have a lot of dust elements environment, and we have all kind of wind chimes. Once again introduction to Snibs environment the film I want to get a sense of occupancy, life. So we relied on again wind chimes etc. So let me go ahead and kinda build that out and kinda show you how simple it was. So again relying on primitives here. I'm going up to my primitives. I'm grabbing a torus. I'm gonna change this guy 90 degrees. Just bring our size down a bit. Just kinda move it into place like so and then I'm gonna grab a cube. Kinda bring this in the centre. And once again you know this everything in the film was purposely crude. You know everything was dirty. There was no real organization to it. So again for things of this nature I didn't really have to over think the size. I had an idea of what I wanted, sketched it down on paper and just kinda rolled with it. Make this a little longer. Okay now we have our first part. So what I wanna do is make this geometry editable. I'm gonna hit C. I'm gonna go to my points mode. I'm gonna right click. I'm gonna go to my knife tool. I'm gonna click off. Oh I'm sorry. I wanna click on loop so I wanna change my default line to loop so I can basically make some cuts here and I'm gonna make a cut here. I wanna go into my polygon mode now. I wanna grab this guy, hold down SHIFT, select that dude as well... Oops. Okay. Oops. What's going on here keyboard? Grab that poly, grab that poly so we have those four highlighted. I'm gonna right click, go to extrude enter Right click again and yes go to extrude. Kinda bring it in wait till they intersect and then I'm gonna delete it. So now we've got some holes there. So I'm gonna call this guy number one. Yes not very original. I'm gonna hit C on the keyboard and make the torus editable and I'm just gonna eyeball it here. I wanna grab my axis tool. I'm gonna move this kind of into a place where I wanna change my pivot point. So now I know when this thing moves it's now gonna move along in this axis. So kinda move in, let's bring it down. Cool. So I wanna duplicate this. I wanna make number two because we are gonna have a secondary motion in this wind chime. So again duplicate. Call this number two original. Bring it down again. Just kinda place it. Just rotate it at 90. Cool. Now I wanna bring this guy to life. The same thing. We are gonna be using some dynamics tools here. So what I wanna do is I'm gonna go to my simulate tab. I'm gonna go to my dynamics, I'm gonna grab a connector. And so these things are very specific and the fact that you need to put it in the position you want your pivot to be at. So let's bring that up there. And we also need to make a second one for a secondary motion here. So again make a duplicate. Bring it down. Kinda place it where we want motion to be here. Okay. Cool. So now what I wanna to do is I wanna take my first connector and I wanna put this into my number one object. So it's gonna be living and controlling this one. I'm gonna take my second connector and I'm gonna drop that into number two. So what I'm going to do next is we are going to simulate. We are gonna go to particles and once again get another wind object in here and kinda place it where we feel comfy. Get out of the way there. And so not much is gonna be happening here. So what we need to do is now we need to add a rigid body that dynamic tag to the geometry to bring it to life. So what I'm gonna do is right click on this guy. Come on mouse. Go to simulations. Go to rigid body. And then I'm also gonna go do the same thing at number two here. Right click, simulation, rigid body. So what I wanna do is this kinda works in a hierarchy order so we kinda moving downwards. So I'm gonna grab my first connector here and you can see we have object A and B. Object A is gonna start from the top so we're gonna drop our torus in there. Object B is gonna be our next object which is going to be number 1 and going down the line we are going to go to our next connector. Object A is gonna be one, object B is gonna be two. So now, if I hit play, we should be getting some action. So it's awesome but it's not totally exciting yet. Right? So again we have control with using our wind object and we can probably stay here for a while bump up our attributes trying to get some really good results. And I did this and it worked well but it seemed a little sluggish for the results I that wanted. So what I did instead is that I went into my project settings and I went into my dynamics tab here. And here you can change your actual timescale which is basically just gonna double the amount of movement. So I can go to 200 or 300, I can do 250 right now and we are probably gonna be getting way better results than this. And there you go. Pretty cool stuff. And the cool thing about working with this connector is just you don't have this hinges to work with. You have a multitude of options. So if I would have changed this to let's say ball and socket the scene with this guy here, now it's more loose. It feels a little bit more natural, right? And the cool thing about this is that now we have our wind it's dynamically controlling the movement of our wind chime or whatever you wanna call it. So once again I did three scenes in a very short amount of time and then I can move on. - All right. So the next thing I wanna kinda get into, I wanna talk about Snib. Snib was...let me bring him up here. Come on dear Snib . There we go. Very easy rig. I didn't have to overthink this at all even though the way mask were really easy on this guy. As you can see he's kinda just floating there. I used a jiggle deformer for his little tendrils back there and I used a vibratag on his wholeself. So he constantly have this sense of motion you know he kinda had his hoover seat. So he's kinda just floating around there. So you can see the rig for Snib is not that elaborate. I mean it really isn't and I basically used it to just kinda control his head. So what I needed to do was he needed to get a lot of control with his hoover seat because you can see if you've seen the film he's doing a lot of kinda of a gyro motion; forward, left, right. And so I wanted to have that motion with his seat. Right here is its boosters and if you can see its gyro seat it was autonomous from him so I wanted to have control over that as well. So one thing that really helped me with this was using user data in creating sliders so I can animate this on the slider. It saved me tons of time. So what I'm gonna do is I'm gonna select the object, let's say I wanna animate his rotative seat here and I know if I go onto my coordinates tab here I know that I'm gonna animate along each rotation of this axis here. So with that I'm going to go to my user data. I'm gonna go to add user data. This is gonna pop up right here. I'm just gonna change the name call this seat rotate. I'm gonna change my values. Let's go -25 and let's go +25 on that. Click these guys on so we have our sliders in min and max and if you go to the example now you can see this is what our slider control is gonna look like +25, - 25. I'm gonna okay that and as you can see we have a user data tab added on to our attributes manager. So what I'm gonna do is I'm gonna hold down SHIFT, select this because I need to see both of these guys because I know I'm animating along this axis rotation but I want this to control that. So I'm gonna highlight the slider I just created. I'm gonna right click. I'm gonna go to expressions. I'm gonna go to set driver. Let's try that again. Set driver. Yes. Okay. Now that that just happened I'm gonna go up to my each rotation that I want to animate. Right click. Go to expressions and go to set driven. And now this is gonna tell this guy 'Hey I'm gonna control you now. ' And there we have it. Pretty simple stuff but we are not finished because I still need to go into my object manager, select the object and animated going into the slider. So what I need to do is I wanna take this slider and I wanna move it into my hud. So what I'm gonna do is right click on my seat and when you go add to hud. It's gonna be a little hard to see but you can take this. Come on control key. Can't really see it. Let me move Snib out of the way. So now it's added to our hud, which is fabulous but the thing is we are not finished. I need to actually add a slider to this. So what I'm gonna do is right click on what I just created. I'm gonna go to widget, little arrow is going to pop up here and now we have our slider. Pretty cool stuff, right? But I had a lot of these sliders because there was these two characters in our acting that were really relying on user data. So if I were to click on an object something else I wanted to animate it would disappear. Okay. So we click back on it it appears. I needed it there all the time. So I'm gonna right click on it and then go to show and go down to always. That slider is constantly gonna be there. Pretty, pretty neat stuff. Once again matter of minutes I got it done. Let's just say I wanna animate his little boosters here like so. Again go to user data. Add user data. Go into properties like so and again change your attribute values, 25...25. Come on. This keyboard doesn't like me today. Let's go minimax. Look at our examples exactly what we want. Let's okay that and again right click on the booster, expression, set driver. I know I wanna animate this guy right here so I'm gonna right click on that as well. Go to expression, set driven. Same thing. Now I have total control. So right click add to hud and there he is. Right there. For some reason the mouse is not working and it doesn't wanna move into place. And again, let's go to display, go to widgets, open up our widgets. Now we have our slider. Right click again. Go to show always and now these guys are gonna be there, living there. And like I said for some reason the CTRL key is not working. Let's move it. There we go. So what I can do now, I had a ton of these sliders in my scene. So what I can do is I can hold down SHIFT, select both of these. I can right click and can go to make group and now I have a whole group these guys. And indeed I had a massive library of these stuff. So I can just move it out of the way here like so and now I can animate both of these. So this saved my life with bringing his hover seat to life. It was really, really cool. Another thing I want to show you briefly was using posemores because like I said if you've seen the film we had a shot where he had his utility door here. So we have this fun little door where he keeps his little knick-knacks and what not. So I could have built an elaborate rig with hydraulic arms but again there was a time issue I didn't wanna overthink it. So posemore really saved me on this. So once again I'm gonna select the object I wanna animate. I'm gonna right click. I'm gonna go to character tags. I'm gonna go down to posemore and now we have this tag here. So I know when this opens up its telling, ' hey what do you wanna animate?' And I'm gonna say 'I wanna animate my position...come back...and I wanna animate my rotations. So now I have control of animating and position and rotation. So let's go back into tag and it's gonna automatically default to where our door started out at. So that's good. So now it's saying 'Hey. What's the next pause I wanna be in?' So I'm gonna double click on this and again very original column number one it's saying 'where do you wanna go?' And I'm gonna say 'I wanna move this guy out because it's gonna open up and then I wanna add another pause because we want to get out of the way and open up. ' So I'm gonna add another pause because and when you double click call that two. Oops! That's not two. I need to go back to school. Call that two. And then it defaults on... Our new position it defaults back to its origins. I do not want it to do that. So I'm gonna go into edit. I'm gonna go to selected and go in place and now it's gonna tell me 'Okay cool. This is where we are going from here. ' So now that I have number two selected I'm just gonna prop this guy up, get him out of the way like so. And we also have a rotation. And so now if I click on the tag, if I go to animate now we have these motions baked in like so. So if I wanna animate the scene where in the film he kinda has a winch that kinda comes out, so his winch kinda fires out all I had to do is basically had a key frame here. Let's go down to 14 frames or so. Go to 100 add another key frame by clicking there. Go a couple of frames down, add a key frame on our secondary position. Go down a handful of frames and just go up and add another key frame. And there we go. Done. So you know in less than an hour I have got these scenes that have dynamically, so I can just move on. The workflow was amazing. Yeah. And so that is that for Snib. And then I think what I wanna do is briefly bring up my After Effect scenes just to kinda show you how I comp'd everything. And that was a task on its own. Lots of stuff going on there. So let me see. Okay. So this is my After Effect scene. There was a lot going on with this. Every scene I had a 110 shots for the film. Every shot was multi-pass rendered. So you can see if I go to my comp here, this is my original Cinema 4D render passes. So I had my RGB, I had my shadow occlusion, specular reflective GI ambient diffuse atmosphere and sometimes more. So you can see if I shut these off, it doesn't really add... It's not too dramatic but you can see overtime that it's really bringing some of these stuff together especially the atmosphere. Working with the environment on his world was critical because I wanted to make sure there was a perspective, there was a depth. So using a lot of stuff like fog and what not really helped kind of bring that vastness like there was distance there. So going back to my finished comp here, you can kinda see how I have everything set-up. I have the pre-comp that we just looked at set-up. I have his monitor which oddly is not showing up. I have the pole here. If I solo that you can see it was just the pole because he didn't have the screen behind there and I wanted to basically matte that out. And then I have elements like a dust wave, you can probably see some of it here; and then other things like foreground particles which I used a lot of particular. So I would build out a lot of these dust plates in particular, render them out as image sequences or quick times and then I would have this library of stuff. For most of these shots I did use some vibrate tag in some of my camera and some of my native C4D scenes but I also used some post effects as well on the camera. So getting some camera shake using Sapphire that helped immensely. And even if the shot was stationery or if it was static, I always had a little bit of flaw in the camera just to know that we were in the element coz it was constantly blowing, constantly wind moving around, dusting what not. And then Magic Bullet looks. So if any of you are familiar with Magic Bullet Looks you know it's an amazing tool. If I would click it off, you can see we kinda going back to our native renders. But adding Looks really brought everything to life. So not only was I able to get like good lens distortion, good lighting effects, I was able to get some pretty good like chromatic apparitions what not. Excellent tool, excellent tool. And you can see I kinda set-up a quick breakdown here. See if I can preview this out really quick. So pretty subtle camera motion you can see but you can see how I kinda had everything kinda broken up here. So I had the foreground particles here. I had the dust plate. I had this little monitor screen, which I relied on Holomatrix if you are familiar with it. Excellent tool. And then I have my C4D passes and then obviously depth pass. Plenty of depth passes in the film. So yeah, that's it for that comp. And then I'm gonna bring up one more here. I don't wanna save it. So here we have the wind chime scene and we saw this before and I'll just play it for you briefly. Once again there was a trick to the trade here which really helped me with some these shots. So there were a handful of these scenes where the camera was pretty still and I relied on After Effects using post distortion on the camera to get some effect. Right? So this was an excellent work around for me because even though we see we have these wind chimes and what not kinda moving around in the wind, we have these dust plates going, we have particles, the sea looks animated, right? Little do we know that this is actually one frame. I actually rendered one single frame of this shot. So I mean I can scrub the timeline here and there's no animation. So the cool thing about this is that I was able to render out these passes, right? Get a pretty good overall look; I brought these passes into Photoshop and then for instance, I can show you the breakdown really quick, you can see how I have my foreground plates here where I have some lighting effects kinda of some schmutz on the lens there. I've got some dust plates. I've got my animated elements here which you can see, and then I had little bit of clothe here for his canopy and then I have my render passes and what not. So you're probably wondering what this is. It's not pretty but I'll tell you what. This is what I did in Photoshop and it took me a matter of minutes to do this because I wanted to add a little bit more of grim to what was happening in our scene here because the camera is not going crazy. Right? Now I can bring this frame in Photoshop and I literally did that. I just brushed on. I had my colour pallet, kinda painted on some extra grim and dust and it just added to the shot. And so now I have... All I had to worry about animating was the chimes like I showed you in the C4D scene and it took a matter of minutes to render that out and plop it in, and then adding the dust elements and a little bit of that shake to the camera and the foreground particles then you got a shot and I can move on. And that my friends is the end of my presentation. Thank you. Thank you. Thank you very, very much. I appreciate it. And thanks to Maxon, you guys rock.