WEBVTT 00:00.180 --> 00:06.480 In this lesson, we're switching back to the Orbe so you can open the blood loop, underscore 003 Miah 00:06.480 --> 00:12.180 file if you want to follow along with the project file or if you are already creating your own, just 00:12.180 --> 00:15.630 pick back up with the progress you made at the end of lesson four. 00:16.170 --> 00:20.160 Let's take a quick render preview and see how our render cam looks. 00:20.610 --> 00:24.690 We want to make sure we have it selected in our dropdown here so that it's actually rendering the render 00:24.690 --> 00:25.040 cam. 00:26.280 --> 00:32.130 And if we scrub our timeline, we can kind of get a quick preview here because we only have one spotlit. 00:32.130 --> 00:36.510 We're not seeing a rendering artifact that I wanted to point out. 00:36.810 --> 00:41.910 So if you actually add more spotlights or have them not positioned directly behind the object, you 00:41.910 --> 00:44.440 might be getting specular highlights that you don't want to have. 00:45.000 --> 00:48.330 Here's an example where I had three spotlights behind the object. 00:48.540 --> 00:54.810 And so because they're not positioned directly behind it, it's casting this glancing light that's catching 00:54.810 --> 01:00.410 and creating these very hot, white, bright areas of the blob. 01:00.690 --> 01:05.310 And if you want to turn that off, if you have spotlights in other positions other than right behind 01:05.310 --> 01:11.940 the object, you can actually turn those specular highlights off by going to the actual light itself 01:12.120 --> 01:18.570 and scrolling down to the Arnold drop down menu, going divisibility and turning off specular. 01:19.140 --> 01:24.380 That way, this light will no longer be emitting any specular reflections onto the object. 01:24.900 --> 01:31.820 The next thing we can do is also optional, but we can add a depth of field effect to our camera. 01:32.100 --> 01:33.300 Let's choose our render cam. 01:35.900 --> 01:45.100 Go into the attribute editor of the render can scroll down to the Arnold settings and turn on enabled 01:45.110 --> 01:50.780 at the field, we can increase the aperture size to increase the depth of field effect, to create a 01:50.780 --> 01:51.750 blurry background. 01:52.130 --> 01:57.380 Now we just need to make sure we know what the distances between the camera and the object itself so 01:57.380 --> 01:59.330 that the object is in focus. 01:59.780 --> 02:05.480 If we select the curve and go to these scale attributes, we can see that we've scaled it up by eleven 02:05.480 --> 02:09.910 point two nine, which is actually going to be the same as the distance from the object. 02:10.130 --> 02:15.950 So if we control, see, copy that value, choose the render cam again and go back to that depth of 02:15.950 --> 02:17.300 field attribute. 02:17.540 --> 02:23.420 We can paste that value into focus distance control v minute enter and we can see that our object will 02:23.420 --> 02:24.050 come into view. 02:24.320 --> 02:30.980 Now all we have to do is choose the aperture size to decide how much blur effect that we will have on 02:30.980 --> 02:32.000 the background itself. 02:32.330 --> 02:37.520 Finally, we need to adjust the render settings so that we can reduce the amount of noise in our image. 02:38.270 --> 02:44.390 I'm going to go first to the lights and increase the samples on the lights by going to the Arnold tab 02:44.390 --> 02:46.730 of the lights and choosing a sample of two. 02:48.440 --> 02:53.150 I'm going to go to the Skydome light and do the same thing and choose a sample of two that I'm going 02:53.150 --> 02:59.750 to go to the Arnold Render tab in the render settings and increase the camera settings to four and increase 02:59.750 --> 03:01.470 the subsurface scattering to three. 03:02.660 --> 03:08.060 Now we can see the image is a bit less noisy, but it looks like we still have some noise here and the 03:08.060 --> 03:08.450 image. 03:08.810 --> 03:15.080 So I'm going to continue to increase these render samplings until we have something that's less noisy. 03:15.210 --> 03:19.580 And if you want to compare before and after image of these types of settings, you can always hit the 03:19.580 --> 03:25.280 snapshot icon down here for it to save that preview, render that you can compare to the next adjustment 03:25.280 --> 03:25.700 you make. 03:28.160 --> 03:32.380 This will also help indicate how much time your render is taking, we can see in the bottom left. 03:32.420 --> 03:35.780 We have 18 seconds versus this one was 12 seconds. 03:35.790 --> 03:38.870 So we've added six seconds to our render time, which isn't that much. 03:39.170 --> 03:45.770 And we can also zoom in and compare how much that's improved our render by toggling the last image on 03:45.770 --> 03:46.250 and off. 03:46.610 --> 03:48.560 We can see it might still need some more help. 03:48.860 --> 03:52.820 One final thing I can do to help clean up the noise is adding a imager. 03:53.090 --> 03:55.190 We scroll down under the Arnold Render tab. 03:55.190 --> 03:59.030 We can see imagers and I can choose add imager denoyer noice. 04:01.720 --> 04:06.520 Now, if we zoom into our image and we compare with the previous render, we can see how much of an 04:06.520 --> 04:13.780 effect that the noise there has on the image by reducing the noise of the entire image itself so we 04:13.780 --> 04:17.950 can go to common and we can choose the name for our renders. 04:21.160 --> 04:22.660 You can choose the image format. 04:23.770 --> 04:28.750 Just to keep this simple, I'm going to choose JPEG, typically I'll choose X if I'm doing any kind 04:28.750 --> 04:32.040 of compositing, but I'm going to use JPEG because it's a fairly simple render. 04:32.050 --> 04:37.540 Then I need to choose named no dot extensions so that we get the frame range available now to render. 04:37.900 --> 04:44.470 And I can change the end frame to 119 because we know that frame one twenty is a duplicate of frame 04:44.470 --> 04:49.140 one because this animation is looping so we can just exclude that from our render. 04:49.390 --> 04:54.610 So that's why I'm choosing frame 119 instead of frame 120 and we can scroll down and make sure we have 04:54.610 --> 04:55.810 our render cam selected. 04:57.680 --> 05:01.880 And then we can choose a preset for the dimensions, I'm just going to keep this at five, since I'm 05:01.880 --> 05:05.810 only going to be sharing this on social media and I don't need a high quality render. 05:06.050 --> 05:08.270 I'm also trying to keep my render time low. 05:08.510 --> 05:11.870 And right now we have twenty five seconds per frame, which is pretty reasonable. 05:12.150 --> 05:18.460 A general rule is that your render times will generally increase as a direct result of your dimensions. 05:18.650 --> 05:24.290 So if you increase your dimensions by two times, your entire times will also increase by two times. 05:24.800 --> 05:31.670 And because we set our project at the beginning of these lessons, we can see that the path of our filename 05:32.270 --> 05:35.090 is going to be in the images folder. 05:35.660 --> 05:41.660 So let's go to the render tab under rendering and go to render. 05:41.930 --> 05:47.840 And as soon as we hit Bache render, it's going to initiate a render and it will create an image for 05:47.840 --> 05:49.910 every single frame of our animation. 05:50.090 --> 05:56.120 I've already done that so we can jump into after effects to create a movie file from those rendered 05:56.120 --> 05:56.590 images. 05:56.600 --> 05:57.020 I'm going to right. 05:57.020 --> 06:04.790 Click in the project window and go to file import and then I'm going to find my images folder and choose 06:05.090 --> 06:06.770 one of these images. 06:07.190 --> 06:09.490 I previously had export extras. 06:09.500 --> 06:11.360 That's why those are showing up instead of JPEG. 06:11.780 --> 06:17.600 So whatever file format you have will show up here after effects should recognize this is part of an 06:17.600 --> 06:20.650 image sequence based on the naming convention of all of these images. 06:20.900 --> 06:26.660 So this option to have sequence checked on should already be enabled by default. 06:26.900 --> 06:29.780 Even if you just select any one of these, it doesn't have to be the first one. 06:30.260 --> 06:34.910 I'm going to choose import, then I'm going to check to make sure that the frames per second match are 06:34.910 --> 06:36.200 my project. 06:37.010 --> 06:40.940 If we look in the Mirror project, we had twenty four frames per second here in the bottom right. 06:41.240 --> 06:47.420 We can change that of course, and render whatever frame rate that we want, but that will mess up our 06:47.900 --> 06:49.640 current key frame locations. 06:49.910 --> 06:53.510 You always want to make sure you set this before you start in twenty four frames a second. 06:53.510 --> 06:57.920 Didn't need to be changed at the beginning because that's the typical frame rate that movies use and 06:57.920 --> 06:58.970 most animations use. 06:59.810 --> 07:04.760 But back in after effects we can see it's decided that it wants to interpret these frames as twenty 07:04.760 --> 07:05.630 five frames a second. 07:05.870 --> 07:07.400 So the change that I can go to. 07:07.400 --> 07:13.940 Right, click the footage and go to interpret footage main and type in twenty four where it says assume 07:13.940 --> 07:14.630 this frame rate. 07:15.470 --> 07:22.970 Now I can click and drag this over the icon here or here and I'll create a new composition for animation. 07:23.360 --> 07:29.210 All we have to do then is it control in to add it to the render queue choose lossless to adjust our 07:29.210 --> 07:30.500 settings to whatever we want. 07:30.500 --> 07:37.400 I'm going to choose quick time and apple process for two to Alti from the video codec settings here. 07:37.760 --> 07:39.410 You might have others that you want to choose from. 07:42.770 --> 07:45.050 I also want to choose where to save this. 07:49.320 --> 07:55.200 And I can hit render or if I want more options from Adobe on the Codex, I can choose, I'm going to 07:55.230 --> 08:02.790 quit in the Adobe Media and encoder, if I render it, will automatically just render it at these settings. 08:04.260 --> 08:09.510 But if you don't want something as high res as quick time, Apple progress for two to Alti, which sounds 08:09.510 --> 08:12.270 really fancy, it's just a nice higher end. 08:13.050 --> 08:21.540 Kotek you can choose from and two six for Chodak from the Apple midi encoder, an option that we didn't 08:21.540 --> 08:22.710 have in after effects. 08:23.070 --> 08:28.620 This will be appropriate for something like YouTube or social media, which will take up less hard drive 08:28.620 --> 08:33.180 space because it will be a smaller file size, but it will reduce the quality a little bit. 08:33.630 --> 08:37.170 You can see that it's choosing 720 HD instead of five forty. 08:37.590 --> 08:38.400 So we can. 08:40.310 --> 08:46.610 Click that to actually change the source settings so we can say match source and it will change the 08:46.610 --> 08:50.910 dimensions to what the source composition was set to hit. 08:51.020 --> 08:56.060 OK, and then you can hit the play button in a median coder to create your video file. 08:57.550 --> 09:04.390 If you want to do some advanced compositing, choose the exact format and go to merge Ave's and go to 09:04.390 --> 09:09.550 the AV's tab and scroll down and choose one of these Cryptome at layer's here. 09:09.550 --> 09:16.450 And we can just choose object maybe, and you'll get a kind of hidden layer within that X are in that 09:16.450 --> 09:18.070 same our past. 09:18.070 --> 09:21.850 So I've duplicated it here and we are going to use that as a matte. 09:22.540 --> 09:29.980 You can actually apply the krypto matte filter to this and get access to a nice matte system here where 09:29.980 --> 09:37.780 we can select just the blob and we can isolate it as a map only and then use a Looma matte trackpad 09:38.500 --> 09:46.330 so that an adjustment layer by right clicking and saying new adjustment layer and adding a hue and saturation 09:47.140 --> 09:54.430 effect to it, we can actually keyframe that so that we can either animate the hue and saturation or 09:54.430 --> 09:56.110 we could just set it to a single color. 09:56.290 --> 10:01.400 And it's a nice way to isolate the blob by itself and change the color of it and compositing. 10:01.720 --> 10:03.640 Thanks for watching this short lesson. 10:03.640 --> 10:06.450 If you enjoyed this, I want to go deeper into creating animated loops. 10:06.760 --> 10:12.550 I have a course that will teach you how to use MoCap and bring in a character and do a similar effect 10:12.910 --> 10:15.940 for a sci fi looking animation loop. 10:16.240 --> 10:19.300 Thanks for watching this lesson and let me know what you think about it. 10:19.300 --> 10:24.370 And if you want to see more like it, I hope to see you on social media under all my digital creators 10:24.370 --> 10:25.210 school accounts. 10:25.630 --> 10:26.620 My name is Lucas Ridley. 10:26.620 --> 10:28.480 Thanks for watching and I'll see you next time.