With all those Multi-Pass layers and masks, that's going to give us a lot more control when we get to the After Effects section, which is next. It's going to stretch out in a vertical direction and that's just a slightly different look to what we have in the distance. Let's go ahead and do the buffers. But either way, what you're looking for is this Compositing Tag. We've got 1, 2, 3, 5, and 6, number 4 is missing and there is a frame from number 4. In the final project, I was able to create a gradient which runs from this blue color to more of a purple or pink. I'm not sure why exactly. The two key zooms in and out and the three key will orbit around our scene. Let's go to the time and location tab and just type in zero. Now everything disappears after a certain point because we turned off the second instance. If I turn this off, you can see it will return to white, and if I turn it on, we get the multiple colors. We have gone through the general method of exporting from Cinema 4D. Under brightness, if I double this to 200 percent, we don't see any change. Multi-Colored Lights Effect in Cinema 4D, 9. This is the level of control you will have when we get to the After Effects section. Let's just start by adding image layers. The human eye has gotten used to these minor errors in photos/movies that the absence of these features does not minder the observerâs subjective realism of this imagery whereas computer generated images are often considered too "clean" or even artificial. Those of you who have experience with photography will feel at home right away. Let me put this slide all the way to the top and also expand this render region. Next, I want to adjust the intensity of the multiple colors effect. In the next section, which is just a short video, I'm also going to go over my favorite settings in Premiere Pro, which is what I use for exporting to Instagram and YouTube. Once the first few frames start to render, you can actually click on this to see the bigger preview. You can skip this lesson and move on to the final output section. In CINEMA 4D you have several different ways to actually render out your scene. Let's create a new adjustment layer, and on this one, we're just going to put a curves adjustment. With the Stage Object you can control all cameras (as well as light sources, Environment objects, etc.). Just double-click anywhere down here in the materials box. It's too bright, so let's push the threshold all the way up to 100 percent. We need to do this for the other multi pass layers that we're going to use. 12. For the class project, you will build a city in Cinema 4D using the Cloner object and the supplied 3d buildings. Let's take a look. Cheers. From zero to 15,000, let's go to window and timeline, open this up and linearize that key frame or those two key frames, so we have constant speed throughout. I do a lot of stuff for music videos and then sometimes for live shows and concerts. GorillaCam makes your camera feel like a real person is behind it, not some cold, dead machine. In the other mode, pass step, you define the gap in-between rather than the overall width. What if we start with Morphe green, and then this color. So let me show you how I set this up. What happens is the Fog does not render in the Fog ground. We can, for example, get the main sequence and drag this to a new composition button and it just comes in as a single layer like this. But the floor is also in its own group, which is number 2. Cameras define how the 2D Viewport scene will be displayed spatially. This class is all about learning from a really cool visual aesthetic, breaking things down, and figuring out how to create a similar look in Cinema 4D. C4D … That's it. If I just render this out quickly in earlier versions of cinema, it won't be quite like this, but it will be something similar. We're going to get all those images and bring them into After Effects. We want this to happen by itself. I'm going to put the large buildings in group number 3 and the small buildings in group number 4. Let's go to Set Project Working Space, and under Depth, this should be set to 16 bits per channel. Maybe this is not an ideal setup. When one finishes, it just moves on to the next one and you can now see how this is going to look. Let's put this above the sky color and its object buffer, and I will get the same buffer still. Of course, this has some compositing later in After Effects. Click on the "Gradient" and move the top handle to be within the inside of our circle, and do the same for the lower handle. That's what this class is about. Here you’ll find a compilation of free Cinema 4D tutorials (plus some After Effects too) from the blog. Advanced Render Settings in Cinema 4D: In this lesson, we're going to continue with the Render Settings, and we're going to look at a more advanced way of producing our image from Cinema 4D, so that later, when we get to After Effects, we will have more control over how our final image looks. Let's go to yellow, orange, and a bit of blue. Now we have something like this. At this point, we can go back to our Save tab, make sure we are saving, so re-enable that. Then I will move forward one frame using this small arrow right here, and set this back to what it was, which is 2000 and once again, I will confirm that Keyframe. It's going to open up this box here where it asks us to drop a material tag. Let's start by removing the sun. So if I go to Multi-Pass, we can add an Object Buffer, and this ID by default is set to one. Now that's just a bit too extreme. Guest dataflow. We just need to spread it across the rest. 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