In this lesson, we're switching back to the Orbe so you can open the blood loop, underscore 003 Miah
file if you want to follow along with the project file or if you are already creating your own, just
pick back up with the progress you made at the end of lesson four.
Let's take a quick render preview and see how our render cam looks.
We want to make sure we have it selected in our dropdown here so that it's actually rendering the render
cam.
And if we scrub our timeline, we can kind of get a quick preview here because we only have one spotlit.
We're not seeing a rendering artifact that I wanted to point out.
So if you actually add more spotlights or have them not positioned directly behind the object, you
might be getting specular highlights that you don't want to have.
Here's an example where I had three spotlights behind the object.
And so because they're not positioned directly behind it, it's casting this glancing light that's catching
and creating these very hot, white, bright areas of the blob.
And if you want to turn that off, if you have spotlights in other positions other than right behind
the object, you can actually turn those specular highlights off by going to the actual light itself
and scrolling down to the Arnold drop down menu, going divisibility and turning off specular.
That way, this light will no longer be emitting any specular reflections onto the object.
The next thing we can do is also optional, but we can add a depth of field effect to our camera.
Let's choose our render cam.
Go into the attribute editor of the render can scroll down to the Arnold settings and turn on enabled
at the field, we can increase the aperture size to increase the depth of field effect, to create a
blurry background.
Now we just need to make sure we know what the distances between the camera and the object itself so
that the object is in focus.
If we select the curve and go to these scale attributes, we can see that we've scaled it up by eleven
point two nine, which is actually going to be the same as the distance from the object.
So if we control, see, copy that value, choose the render cam again and go back to that depth of
field attribute.
We can paste that value into focus distance control v minute enter and we can see that our object will
come into view.
Now all we have to do is choose the aperture size to decide how much blur effect that we will have on
the background itself.
Finally, we need to adjust the render settings so that we can reduce the amount of noise in our image.
I'm going to go first to the lights and increase the samples on the lights by going to the Arnold tab
of the lights and choosing a sample of two.
I'm going to go to the Skydome light and do the same thing and choose a sample of two that I'm going
to go to the Arnold Render tab in the render settings and increase the camera settings to four and increase
the subsurface scattering to three.
Now we can see the image is a bit less noisy, but it looks like we still have some noise here and the
image.
So I'm going to continue to increase these render samplings until we have something that's less noisy.
And if you want to compare before and after image of these types of settings, you can always hit the
snapshot icon down here for it to save that preview, render that you can compare to the next adjustment
you make.
This will also help indicate how much time your render is taking, we can see in the bottom left.
We have 18 seconds versus this one was 12 seconds.
So we've added six seconds to our render time, which isn't that much.
And we can also zoom in and compare how much that's improved our render by toggling the last image on
and off.
We can see it might still need some more help.
One final thing I can do to help clean up the noise is adding a imager.
We scroll down under the Arnold Render tab.
We can see imagers and I can choose add imager denoyer noice.
Now, if we zoom into our image and we compare with the previous render, we can see how much of an
effect that the noise there has on the image by reducing the noise of the entire image itself so we
can go to common and we can choose the name for our renders.
You can choose the image format.
Just to keep this simple, I'm going to choose JPEG, typically I'll choose X if I'm doing any kind
of compositing, but I'm going to use JPEG because it's a fairly simple render.
Then I need to choose named no dot extensions so that we get the frame range available now to render.
And I can change the end frame to 119 because we know that frame one twenty is a duplicate of frame
one because this animation is looping so we can just exclude that from our render.
So that's why I'm choosing frame 119 instead of frame 120 and we can scroll down and make sure we have
our render cam selected.
And then we can choose a preset for the dimensions, I'm just going to keep this at five, since I'm
only going to be sharing this on social media and I don't need a high quality render.
I'm also trying to keep my render time low.
And right now we have twenty five seconds per frame, which is pretty reasonable.
A general rule is that your render times will generally increase as a direct result of your dimensions.
So if you increase your dimensions by two times, your entire times will also increase by two times.
And because we set our project at the beginning of these lessons, we can see that the path of our filename
is going to be in the images folder.
So let's go to the render tab under rendering and go to render.
And as soon as we hit Bache render, it's going to initiate a render and it will create an image for
every single frame of our animation.
I've already done that so we can jump into after effects to create a movie file from those rendered
images.
I'm going to right.
Click in the project window and go to file import and then I'm going to find my images folder and choose
one of these images.
I previously had export extras.
That's why those are showing up instead of JPEG.
So whatever file format you have will show up here after effects should recognize this is part of an
image sequence based on the naming convention of all of these images.
So this option to have sequence checked on should already be enabled by default.
Even if you just select any one of these, it doesn't have to be the first one.
I'm going to choose import, then I'm going to check to make sure that the frames per second match are
my project.
If we look in the Mirror project, we had twenty four frames per second here in the bottom right.
We can change that of course, and render whatever frame rate that we want, but that will mess up our
current key frame locations.
You always want to make sure you set this before you start in twenty four frames a second.
Didn't need to be changed at the beginning because that's the typical frame rate that movies use and
most animations use.
But back in after effects we can see it's decided that it wants to interpret these frames as twenty
five frames a second.
So the change that I can go to.
Right, click the footage and go to interpret footage main and type in twenty four where it says assume
this frame rate.
Now I can click and drag this over the icon here or here and I'll create a new composition for animation.
All we have to do then is it control in to add it to the render queue choose lossless to adjust our
settings to whatever we want.
I'm going to choose quick time and apple process for two to Alti from the video codec settings here.
You might have others that you want to choose from.
I also want to choose where to save this.
And I can hit render or if I want more options from Adobe on the Codex, I can choose, I'm going to
quit in the Adobe Media and encoder, if I render it, will automatically just render it at these settings.
But if you don't want something as high res as quick time, Apple progress for two to Alti, which sounds
really fancy, it's just a nice higher end.
Kotek you can choose from and two six for Chodak from the Apple midi encoder, an option that we didn't
have in after effects.
This will be appropriate for something like YouTube or social media, which will take up less hard drive
space because it will be a smaller file size, but it will reduce the quality a little bit.
You can see that it's choosing 720 HD instead of five forty.
So we can.
Click that to actually change the source settings so we can say match source and it will change the
dimensions to what the source composition was set to hit.
OK, and then you can hit the play button in a median coder to create your video file.
If you want to do some advanced compositing, choose the exact format and go to merge Ave's and go to
the AV's tab and scroll down and choose one of these Cryptome at layer's here.
And we can just choose object maybe, and you'll get a kind of hidden layer within that X are in that
same our past.
So I've duplicated it here and we are going to use that as a matte.
You can actually apply the krypto matte filter to this and get access to a nice matte system here where
we can select just the blob and we can isolate it as a map only and then use a Looma matte trackpad
so that an adjustment layer by right clicking and saying new adjustment layer and adding a hue and saturation
effect to it, we can actually keyframe that so that we can either animate the hue and saturation or
we could just set it to a single color.
And it's a nice way to isolate the blob by itself and change the color of it and compositing.
Thanks for watching this short lesson.
If you enjoyed this, I want to go deeper into creating animated loops.
I have a course that will teach you how to use MoCap and bring in a character and do a similar effect
for a sci fi looking animation loop.
Thanks for watching this lesson and let me know what you think about it.
And if you want to see more like it, I hope to see you on social media under all my digital creators
school accounts.
My name is Lucas Ridley.
Thanks for watching and I'll see you next time.