Subtitles of the Movie

So here we are playing with magnets. We could be applying it instead of to a cube, to a head or to a chest or to a neck or something like that. But it's easier simply to orbit this magnet right now, for the purposes of explanation, around a cube instead. So what we were going to start working with here is the magnet zone. The magnets are broken into three parts under the prop menu. Again, the magnet one, which is the actual magnet itself, the base where the reaction takes place and the zone; how much or how significant this effect is over space. Well, right now we're with a magnetic zone and you recall that I opened this little window earlier for the magnetic zone fall-off. Now, we can go in here and edit the graph itself and you'll see it dynamically update right there in the window as we pull some of these parameters around. We can make it less significant, more significant, anything you'd expect and we can do it very smoothly so that it doesn't have any abrupt linear changes. By linear, I mean where you get these hard and soft lines occurring, unless that's exactly what you want. Go ahead and close this window. These things here you can also control by scale if you want to change everything. Now, look at this little sphere that's around that cube. That's the zone of influence. So if we were working on a human figure and you were pulling out part of the head to make it more like an alien or trying to make the whole head maybe or just messing around with the body, you can control some of that with zone. Let's go to the other category here and that is going to be the base. Right now the base is right down on the floor. You can change that using these translation controls here. The Y translation tool, of course, for the Y axis. It goes straight up and down and when I roll my cursor over the magnet now while we've got the base selected, you actually see the base down below, just like the, remember those bars you used to put across the magnet to make sure that they kept a circular magnetic field so they wouldn't drain and become less effective? Well, that's kind of what this is. You can go ahead and grab the Y control here and start moving it up. You'll notice that the magnet's moving with it but it will change the amount also of where the influence takes place. If I wind up scaling that a little bit, the magnet becomes less of an influence. Let me make sure I'm using my words correctly. When we're dealing with the section here, the magnetic zone, the influence is really what you see or how large this circle is rounded. When we happen to be working with the magnetic base, that's actually making the magnet smaller, just like you see it. That's the reason the visual cue is there, so that the influence may be as great but the magnet's not as big. It is no longer as strong. You can go ahead and rotate this as well, if you wanted to rotate this on the Y axis, if you wanted to go ahead and rotate this about the X axis. So now you're starting to see some of the implications as we move this around. Notice it's concave on this side now? You can locate a magnet inside an object so if you wanted to pull in part of a character's features or something or really regress a chin or something like that, or on the chest if we wanted to make it look, a cross-country runner's chest look, slightly caved in like they seem to be sometimes. You can use these magnets for that by rotating these around and again if we come at this axis, woops; that's the translation. What if we just rotate that? So you do get tremendous control, but it's easier to see that on a cube at this point in time. So again, this is one of these kind of odd little forces that you can use to create a range of looks in either your characters or some props you might have in your scene. Now, you can take really primitive props like this and turn them into furniture or if you happen to have a couch in a scene and you wanted the couch to depress in, like we do right here because the character is sitting on it, a magnet is the tool of choice for that. That's how you deform some of those what are called inanimate shapes for that. If we went ahead and rotated this around completely, let me go ahead and rotate our camera a little bit. If we translated this forward a little bit, the edges, the way that this particular geometry is put together, it's not pulling in this edge and making the edge go down as well. On props like couches where you actually have a rounded edge, this won't be an issue. You'll bring that in and so it's an easy way to adapt furniture to match your characters if they happen to be sitting in it or if there's any soft body type of dynamics that you want to portray with something going in, a sense of weight. So here it is. We've covered deformers, we've covered the deformer dials or the morphing dials and how you can build cumulative or combined morphs and then save that as a separate morph target that you can use within your file again and again. We can split the morphs so you can apply part of it and then another part of it to the left or right side. We also looked at our morphing tools, which allows you to just go in and grab parts of the character's face or wherever you happen to be morphing and change it, drag it around. And then we looked at create morph. Where you can go ahead and pin things down you can use the brush marks actually and bring in, pull in and out features of characters and save them off as well. And finally, the magnet right here, where we go ahead and can deform not only organic shapes, but inorganic shapes. In our next section, we'll be looking at something near and dear to my heart and that happens to be materials. It's how you start making things look real.