- In this video, we'll finish adding the background and foreground elements to the scene. Okay. Now, what I want to do is I want to use this sky behind the model in our projection scene, so I'm going to check the canvas size here. Its pixel dimensions are 5,472 by 3,648. So let's go back to Cinema 4D, and let's make a plane. Move it back. Let's focus on that plane now, and we'll make it plus Z orientation. In fact, we're going to make it the same aspect ratio as it is in Photoshop. Okay. Now, let's make a new material by double-clicking in this area and import that image of a sky into its Luminance channel. There it is. We'll click Open. And now we'll drag that sky onto the plane. First we'll name it "Sky BG", and we'll change its orientation to be negative Z. Okay. Now, let's switch to the top view, and let's drag that sky into a different position. First we'll drag it up. Then, we'll make it bigger, and drag it up again. Now we'll rotate it to be more perpendicular to the camera. We'll switch to an object coordinate system. We'll sort of center it so that it fills the background of the screen. So it's looking good. It's sort of a big backdrop back there. But it's a little flat, so I'm going to use this Wrap Modifier. Now, what this Wrap Modifier does is it sort of wraps this image into a curve. By changing the tension, there's more or less on this curve. Now, obviously, it's curving in the wrong direction, so we'll click on the Wrap Modifier and we'll rotate it 180 degrees. Now, if we change the tension on the Wrap Modifier, you'll see now that it's wrapping in the right direction. So let's look through the shot camera, and we'll increase the tension a bit. You see now that this image kind of wraps around a little bit. It's a little bit nicer. So you can do that. Well, there's something else that the Wrap Modifier does which is kind of nice, and that's you can change the wrap from cylindrical to spherical, and then increase the radius. You'll notice that instead of just wrapping cylindrically, it kind of wraps in a spherical manner. So let's take a look through the shot camera again, and you can see now that the image is kind of being cylindrically wrapped to a certain extent. That's a little bit nicer. It's still a little bit close to our house, so let's move it back a little bit and sort of figure out where we want it on the left and right. Move it more to the left, so it covers up that edge, and there we go. This is better. Okay. Let's go into Photoshop, and I have this image here of some mountains and a bit of grass. So let's check the pixel dimensions, and it's 2,560 by 1,128. Let's go back into Cinema 4D. I'm going to make a polygon here, and I'm going to give it the same aspect ratio. One was pixels. This one's centimeters. It doesn't really matter as long as the aspect ratio is the same. I'll make a new material, and in the Luminance channel I'm going to bring in that image of the mountains. I'll also bring it in into the Alpha layer, because it does have an Alpha channel in that Photoshop file. I basically want to cut the sky out, and there you see it. So now all we have is the mountains, and not that blue part of the sky. Let's drag that onto the polygon, and let's increase the texture preview size to 1,024. Change the orientation to negative Z, and there you have it. There's our mountains. I'm going to try to get it so that the mountains are not so flat. Now, let's make it an editable object. We'll switch to Edge mode, and we'll choose the Knife Tool. I'll switch to Loop mode for the Knife Tool, and I'm going to make some cuts in this. I'll make a cut right around here, right around here, and here. Now, I'll make some vertical cuts across this polygon, which is now just not one polygon. It's many of them. Now, I'll switch to Points mode, and I'll start by choosing some of these points, and then moving them back a little bit on the Z-plane. What I'm trying to do here is give the impression that this is a little less flat. I just want to have a subtle effect. Remember, it's a four-second shot and there's a lot going on. So we want to go ahead and just give a touch of indication that these mountains are actually pushed back a little bit into the Z area, so they look a little bit less like flat cards and more like mountains. If you want to use some of the other modeling tools, sculpting tools perhaps, you can also do that. Let's copy this object and paste it into our scene. We'll move it back somewhere between the house and the sky, rotate it a little bit more into position the way it should be, and choose the Scale Tool and scale it up. Then, we'll move it up so that the grass, where the grass hits the mountain, is somewhere on the horizon, something like that. It needs to be pushed over to the left a little bit. That works. So let's make a copy of it by holding down the Command key while we drag, and then we'll rotate it a bit. The object was not big enough to use one of them, so I've split it into two. Then, where they join is going to be hidden by the house, so I'm not too concerned about that. Now, let's take a look at it again. I'm going to move it over to the left a little bit, because this way I can get that barn in the picture, and there we have it. Let's do a quick test render, just to see where we stand. Now, I noticed that the shadows are a bit dark, so I'm going to click on the light. In the Shadow tab, I'm going to change the density to 95%. There. That's looking pretty good. Here's what it was originally. Here's what it is now. Now, let's take a look at this model here, of a sign that says "Willoughby". So let's copy this object, and let's switch back to the main scene and paste it. Now, let's manipulate the sign so that it goes into the right position. So let's render it to Picture Viewer. There. That looks pretty good. I'm going to make sort of a brownish color that I'm going to apply to the house underneath the projection, because there's one area where it's still sort of this whitish-grayish color. I wanted it to look sort of a little bit less grayish and more brownish, this area right here. So let's go ahead and let's render that now, and you can see that instead of being sort of grayish, it looks a little bit brownish. Next, I'll select my shot camera, and I want to reverse its keyframes, so that way the start position will be the second position, and the end position will be the original viewpoint from the camera in the photograph. So all we've done is reverse the keyframes here. In the next video, we'll render out the final frames as well as hold-out mattes, and do some color-correcting in After Effects.