hello and welcome back to part two of creating sports graphics with Boris
Continuum my name is Ben Brownlee from Boris FX and we are going to be
continuing off where we left off in part one so if you haven't checked out part
one first then I would heartily recommend you do that before watching
this now so in this part we're going to be diving straight back into title
studio and taking our flat 2d art and turning them into 3d models we're also
going to be looking at how title studio works with those 3d models in different
ways it can render those out and we're gonna have to tweak up our 2d animation
in this new 3d world so let's get started all right so here's where we
left off from the previous exercise and now let's pop back into title studio and
give this a little bit of depth shall we it's looking a little bit a little bit
flat a little bit boring okay let's come in here and the first thing I'm going to
do is when I'm finished with the animation as we were in the previous
exercise I'm actually going to turn off the auto animate key so we're just back
in static mode so don't want everything to be animating in and out because as
we're gonna tell soon pretty much everything can be animated in right
perfect so let's turn off the other rings that were not interested in and
would just take a look at actually ring 2 which is this inner ring and before I
go too far let's give these proper names because ring one ring to ring three ring
five aren't that particularly inspiring names I will call this inner ring this
one here is middle ring and this one here is outer ring or out
train whichever you prefer okay so with our inner ring selected we're going to
change up how we look at this so in our timeline we can tell that
we've got a name we can tell the media we have is an EPS file it is unlocked it
is visible and this is our track shape so currently we have our track set to a
one-sided plane and this means that when we see it rotate around as we do around
here we can see that it's just a planar shape so that means it's infinitely thin
and when we see it on its side it will completely disappear we don't want that
we're going to turn this into an extrusion instead so they turn extrusion
on all of a sudden up in our controls up at the top we have more options
available to us she's gonna undo that with ctrl or command Zed and you can see
we've got four options and then I'll redo that and now we have five we've got
a new tab that says extrusion so we can make this a really big extrusion we can
make this a really thin extrusion we'll keep this at the starting value just for
now though we can also give our shape a bevel and if I turn our bevel up here
you can see we've got beveling so it doesn't just come up straight as a
straight extrusion we actually have a nice bevel on this here as well and we
can change our bevel depth and these are the bits that sticks out
past the extrusion and we can change our bevel type as well so we can change this
from being straight bevel to being a convex bevel so get a smooth roll off
here so it looks like a pole oh sweet all we can have a concave concave look
there all we can even choose a custom one and we choose custom bevel it
actually lets us come in on the custom bevel and choose a different type of
spline so we can start to draw a spline in here
and that spline there we go look at that gorgeous that spline will control the
bevel we have if i zoom in a little bit to a hundred shift this over just by
holding down the spacebar you can actually see
controlling the spline or yeah controlling the bevel with the spline
there we can get some really nice custom looks going on on our bevel
really nice edging there so I keep that yeah actually I think I think I might
this wasn't part of my plan but I kind of oops I kind of like how that's
looking so I'm going to just roll with it there we go okay so let's come back
up to our inner ring again close this up so don't get confused about what's
happening come back up to the extrusion and I can say back bevels as well so if
I say back bevels it means as I rotate this around let's just spin this around
here it means we'll have the bevels on the back as well without that we just
get a flat area kind of makes sense it's just undo that a few times so I haven't
spun that around again by will turn on back bevel that's good and the extrusion
contour I can have that set to straight or I can set a custom one on that as
well so we've got you know really fine controls that we can be doing on our
extrusion but I kind of like how that's looking right now that's that's kind of
got a bit of class to it really nice and simple as well and let's do that with
the other ones I'm just going to come in I'm gonna go to my middle ring now I'm
going to turn this into an extrusion keep that up 1.5 take my bevel type to
concave
amount and a bevel depth back bevels as well please bring that out there
so we've got just a slightly more complex shape happening like the way
that it's looking
yeah that's cool and let's come to third one turned the visibility off in
the middle ring turned the visibility on on the outer ring turn this into an
extrusion do exactly the same thing concave again I think extrusion type
will leave that where it was give this quite a big bevel quite a big amount of
depth there we go back bevels as well okay cool well let's have a look now at
all of those three together - invisibility on for all of those and
yeah it's looking like a bit of a mess well one of the reasons is if we take a
look at the shape position on our middle ring let's have a look at the animation
well that's what that's doing we've got the spin happening from minus 157 there
and what I need this to do is we haven't got the spin coming in properly here so
the spin at this point should be around about zero ish
so let me make it a little bit that way so if that powerless five and so that
should be at the end when we come here - yeah - 20 that's
that's cool let's come into the middle here now we've got these big fat
extrusions happening a couple of things are going on in our shot one of the
things is now we've given these all depth they're actually too close
together there's a couple of things that we can do to kind of contract them in a
little bit one of the things is if I go to the inner ring here and come into my
extrusion one of the things I can just come into edge contract and just what
that will do is just yeah contract the edge just in a little bit
so there's a nice way of just compensating for any sort of models that
just swell a little bit as we add in the extrusion the other thing we could do
possibly is just come in and you know change the master scale up a little bit
on the middle ring take that to one hundred and two hundred and three which
means also that I need to come in and change the master scale on this one on
the outer ring and maybe even just contract the edge a little bit there to
get that working in properly another thing you're going to see look at this
here is that this doesn't and sorry about that let's just zoom back to fit
one of the things you're going to see now is where these three rings are
rotating around and intersecting with each other they're not intersecting
quite right and the reason for that is a simple one take a look at our scene here
it says scene tule composite and what that means is the way that title studio
is set up to render this scene is just as a 2d composite so they're layers that
are on top are the ones that are going to be rendered on top of the other
layers underneath it so if I change the layer order so the outer ring and the
middle ring were behind there we've now got you know the outer ring of
but very bottom middle ring still in the middle and the inner ring is on top so
this you know maybe fixes some of the problems but still as these pass around
each other these should be interacting with each other in a completely
different way so let's come up to our scene our main
scene here come over to render and I can change my render type from A to D
composite where we're just rendering out the layers in the layer order to a 3d
render we're actually looks at the position of all of these in z space so
as we have the the proper depth coming in you can see it's going to start to
interact with the layers in depth and it doesn't matter what layer order I've got
these in if I change that back up to the top there doesn't matter the fact is if
they intersect with each other in space they can intersect with each other there
we go in the actual animation so I know now
that I have to scan my middle Australia scan white outer ring up a bit bit
higher and I'm going to come into my middle ring here and I'm going to
contract the edge on that as well I'm going to contract the edge on my outer
ring a bit more
just so we get three separate rings rather than rings that are intersecting
each other there's something going on there as well
I see why because they're passing through in that way so I'm going to read
you the animation so I think what I'll do is I'll have the the spinning
stopping very quickly he says I add in new value here there we go
it's automatic gonna add in another auto-keyframe
even though I don't have the animation turned on simply because I've already
got this value this property animating in already same here
let's take that to around about minus 20 something there we go so we still get
the movement just coming in but we don't get that interaction then I have to
quite as much edge contract as I was doing before there we go all right let's
play that back that's looking better so we've got a nice bit of separation
between the layers we've got the or sorry the Rings and we've got the Rings
animating in in an interesting way now so it's always a little bit of movement
to it
and we can tell that they're not crossing over each other cool so the
only thing I might do on this one is maybe on the middle ring just give this
a bit of a bigger bevel I would give it a bigger bevel and it contracted in just
a little bit more and maybe change the master scale up just a little bit as
well so we don't clash with the inner ring take a little look at that yeah
cool and maybe now I can spin that just a little bit more as well so that's
going behind yeah cool all right okay so that's that's beginning to look
alright okay good so if I come up to the viewer up at the top here we can change
the view that we are working with so the moment I'm looking at the render camera
so that's the camera that's built into the scene or gonna look at cameras later
on in this series but we can also look at these from the orthogonal views so we
can look at the house can look at who just looked straight front house gonna
look from the left hand side right hand side top and bottom back and we can also
look at a world view as well so the sort of perspective view we can see how
things going to be working just in that view there and this could be really
useful to picture how the shapes are working and interacting with each other
without coming in and messing up with your animation at all and we can split
these up so we can have a look at dual horizontal so we can look at what's
happening in our camera on one side and what's happening in perspective on the
other side here what this leads me down as well is coming in and having look at
some of these shaders we have number of different deformers and image processes
that we can use depending on the footage and type of scene that we're working on
if I stick on a glow edge here and I'll just bring it over the top down in the
timeline it says disabled shader and the reason is disabled is because our render
type is a 3d render I turn this to 2d composite all of a sudden now we can
actually come in and start to add in our glow here it's not disabled anymore but
of course our scene stops being a 3d render turn that back in if I come up to
deformers and I'm gonna use something let's use the bend taper twist
I can actually start to bend things around in 3d space using my bend or
taper or twist as we great to add a sort particular just a little bit of extra
oomph to a particular shape you know maybe make things so they're not quite
perfect and the way this works is that if it's above multiple objects it's
going to affect all of those objects if I were to just drag this into just my
outer ring here it's only going to affect the outer ring if I bring this up
it's going to affect all three of the Rings and I kind of like how it how it's
working I'm just going to turn this back to a single viewer over here and look
back in the render cam and I kind of like
twisting in maybe it's twisting in just a little bit too much bending in just a
little bit too much but I like the fact that they're not a hundred percent
perfect rings let's bring this down there you go point seven six I mean
let's play that back and this being accelerated by the GPU so this is quite
a cheap effect in terms of processing power course we've started to build up
that first stage of the animation I'm starting to like where we were where
we're headed with this now and on that note we're gonna stop this part here and
we're going to continue on into part three in part three we're going to be
looking mainly at textures how we can take this from being flat boring white
rings into something that actually has a bit more character and a bit more a bit
more oomph bit more life so in this section we have looked at how we take
our flat images and we start to extrude them out and create 3d models out them
we then also looked at how we play C's in a 3d scene and how we can start to
add deformers onto our 3d models to give them a bit of extra life and I think
we're gonna leave that there for part two and carry on in part three thanks
very much for joining me with creating sports graphics with continuum and I'll
see you in the next section thanks for watching and be sure to go to forest
effects comm to download a free trial of Boris Continuum so you can try this out
yourselves if you don't see more of this type of tutorial be sure to leave a
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