Well come to Matching camera settings.
So this is going to be mainly about configuring the camera.
We'll be setting up the camera using the settings gathered from your picture and I will also be reiterating
the importance of accurate camera data and I'll show you why that is very important.
We're going to use the text editor to store data for reference I don't have to keep going backwards
and forwards to that information and I'm going to start setting up a scene to match the photo.
So let's go and hop on over into a blender.
Right.
We are back in blender and the first thing we need to do is open up the scene.
We've been working on so far.
I'm going to go here and open up the introduction to compositing.
I'm going to then go ahead and save as and this is going to be my next lecture.
Of course you can name these slightly differently if you so wish.
I'm going to call this one setting up KEMMERER I spose because that's what we're going to be doing.
Saves a blend far.
I can confirm the name at the top is change and I'm ready to go.
Let's just have a look at my properties here because I was running on a GP you before so my tiles will
be at the wrong size and was going to save that file.
Excellent.
So we're ready to go.
First of all let's have a look at the camera properties and click on the camera to select it in the
outline and then go down to the Properties window and click on the camera tab.
Once we've done this we can have a look at a series of settings.
We won't go through every single one of these.
However the important ones for us are going to be the focal length.
We're going to want to leave it on perspective that is quite important.
We're going to need a focal length and I'm going to have to look up what those details are in a few
moments.
Let's see down here and camera well have a look at that as well when it becomes important.
So first of all let's go ahead and set this appropriately.
I don't know what it is so I'm going to have to go and research I'm going to open another window up
and change that to a text editor.
And once I've changed that to a text editor I'm going to click on new and Kamerad details.
Now if you don't have the cursor your actual mouse cursor in that window it will stop typing.
So make sure it's over there if you're typing.
Now I've when I've done this it's going to save those details along with the file.
And I have to go and grab my particular picture and again you can grab this from your assets pack if
necessary.
This is the picture I'm going to go and get info from it.
And we've got the details here it's a canon e o s eleven hundred d.
Excellent.
I can cut and paste which makes my life a lot easier.
And what was the focal length.
Does it say EXIF data.
Focal length focal length focal length thirty four hour that will be 34 millimetres.
That's a great start.
Resolution may be important.
I might as well copy it across something that was under General subpixel Hi Tim pixel width and I've
got everything I need there.
I am going to ground the aperture data as well that aperture is basically how large the light hole is
in a lens and the lower this aperture value the shallower depth of field i.e. the foreground and the
background can be very blurry compared to the actual object you're actually focussing on.
I don't think that's going to make a difference in this case but I'm going to put it there so I've got
the reference and I'm going to save my file.
Excellent.
All that data there.
I'm good to keep it there for the moment but I'm going to make this window smaller so I can get all
of the data I want.
I only just leave it with that for the moment and I can scroll up and down if I need.
So going back to these camera properties.
Now you may think oh excellent we can just lower the focal length down to 34 and we're done.
Not quite.
We don't know the sensor size of our canon.
E o s eleven hundred d.
It may or may not be thirty two millimetres across.
Let's have a look and see if there are there is a series of cannons.
Oh there is actually oil in eleven hundred d built in to blender.
By the looks of things I also know that that is an A P S C sensor.
If your camera is not listed on this list which is really a relatively comprehensive.
I know for instance that the the nikam here the X format is all of the consumer ones the these three
thousand The three thousand one 5000 7000 etc..
I used to have nikon's if you got a different camera that's on here you will have to go and have a look
at the specification sheet for your particular camera.
So we know it's been taken with an eleven hundred day we might as well select it and that is the camera
all set up and ready to go.
Again I'm going to save my blender file so I'm ready to go and let's have a look and see if it renders
any differently to how it did before.
Now so be a little slower as I'm waiting for the c p u to render the the cube does look slightly different.
Now this is the important thing when setting the camera right.
If we got this wrong and set this sets a 60 it wouldn't be a it wouldn't work once we had that line.
Everything in the scene.
Now for argument's sake you can probably Eline something in a scene that looks absolutely fine even
though it's got the wrong perspective in everything else.
So that looks more in line with these ground lines.
In fact we're going to use those in a moment to try and work out scale etc..
I'm going to lower that down to thirty four because otherwise I will forget.
I'm just going to render that out once more so we've got a cube on a ground plane in a scene.
But the camera's in the wrong place it doesn't look right.
It's just floating in the sky it's not really in contact with the ground anywhere.
This is no good.
We need to manipulate where the camera is in order to manipulate where the camera is we're going to
have to fake some of the geometry that's on the floor and get it roughly right in scale.
So looking at that photo album open up the photo.
There we go.
So looking at this photo we can see there are lines on the floor there's some guides that we can use
in terms of perspective.
Now if I could read these numbers that were on here.
Perhaps that will give us some detail.
That's not working I don't know if he's a distance markers.
If I knew a bit more about runways I could probably work out the distance between here but we can.
We can guess you know is that fair.
That's probably going to be about five meters across.
So five blend units and then just stretch out into the distance.
Let's go ahead and do that.
Then we can position up the camera accordingly.
So I'm going to delete my default.
Now I'm going to lower it down I'm going to move it on that.
Not got it selected properly and to move it on the z axis by two minutes to say.
And that is going to be to blend the units across so I can scale vats on the x axis by two point five.
That's now five blending units across and then I can scale that on the y axis.
I asked into the vast distance okay.
I'm gonna assume that's the right width for what I'm working on and when I look at it from the can review.
Of course that's not going to be lined up with are seen.
In fact we can render our scene really quickly and see what's going on.
We're always going to have to render each time we change an actual model.
But in this case we can see that it's probably not going to be lined up right at all.
No no it's not.
So we need to move the camera now so those two things match and of course that can be very difficult
without it in the foreground for you.
And first of all before we go and manipulate everything else let's make sure you can see both of them
at the same time.
So to get this appearing in our view we're going to have to go to the 3D view and then open up your
properties panel scroll down and turn on background images.
We're going to add in image now it should be a memory show we should be able to pick it yes we can.
We can pick it from the drop down and that's loaded in amnestic it's a foreground and then we go in
front.
Perfect.
So that looks pretty much how the picture is looking.
Before you go cross reference that in a few moments after I have set the access of this view to just
the camera view because that's all we care about now.
Let's open up a nother window.
And make sure that these things match.
So we've got one of the lines going through.
Yeah that's pretty much what I'm seeing over here.
Excellent.
So now I'm going to make that disappear and we can start moving the camera about.
So the first thing I'm going to do here is whilst in the camera view shift in F Saidon go into first
person view and perhaps I'll be able to get the camera in a position that makes sense.
Now these are stretching away into the distance.
And as you can see.
I can move this around now.
It looks probably a little lower than it than the nine anticipating it being her.
Now this is trial and error and it can take a while to do so.
Don't worry if you're not getting it right first time.
Wow this is going to take a little bit of manipulation to do.
And of course that's an ideal time for a challenge.
I'd like you to go ahead and create your environment if you don't know the exact camera data.
This will be judgment and trial and error as specially if you don't know it's actual.
MM How wide an angle lens is and what camera it was taken on.
Now I suggest picking a scene especially if you're new to this that you know this information.
Otherwise you're going to spend in e.on tryna get to the end result.
Now knowing the actual camera's position is helpful in this particular example that I'm going through
I don't know where the photographer was stood.
Now I'm going to assume he was stood on the ground he or she was stood on the ground but I don't know
that they might be seated on top of a car or even in an aircraft control tower.
Now look for features that can be followed.
Now I've got some lines on the floor that I can map to a 3D model so it should only take me a few minutes
to line.
These are good enough that I can use it for placing 3D models on or other bits of geometry.
Go ahead and add a ground plane and any other objects that would have a shadow cast upon them.
So if you've got a pole or a little ridge in your Seen you need to model those as well so accurately
is modelled.
If you're modelling a window ledge you would have the model the lip over the edge as well so that shadows
if the light is coming in from above cast properly over the wall ball's video now and give that a go.
Okay guys welcome back.
I'm going to continue now creating my environment.
Now this is the stage I've gotten to so far and I am literally going to continue now moving the camera
about into why get it roughly in the right position.
Now this can take quite a while to get right.
You know is it to the left is it to the right.
Do I need to move quickly or slowly to align things.
And yes this can be quite a tedious process.
Now I'm not going to bore you with this particular process I'm going to fade out now and I'll come back
after I faffed around for a bit and got it spot on.
Okay so I'm almost here at the moment and I've noticed an issue of it is a clipping issue.
I'm quite happy with this.
Edge is lined up but then it kind of stops there.
And that is the camera clipping distance.
So if I go in to my properties I should be able to change the view propertys.
Here we go clipping at a hundred or a thousand at the moment.
If I increase fat I should see more and I don't swing and I go to my camera clipping and scroll down
here.
Here we go clippings ends at one hundred.
So this is to do with the view itself.
As in this view which when I first created the shape I thought I had plenty of space but the camera
clipping is under the camera settings itself and once I extend that you can see it is now going into
the distance.
Son of a set that at a thousand as well and what that will be able to do is give me some more guidance
in making sure that this is correct and it's not at the moment so I will see you guys back in a few
moments.
Okay so welcome back.
And I think I'm almost done.
What I have done to try to approximate my my actual ground plane is I've jupe I've made these pieces
just a little bit thinner than they were before.
Alan I've while pieces there's plural.
I've created a couple of them because I think these gaps in the runway are different are different spacing
basically So I've made a couple of them laid them out.
I seem to be getting quite a good correlation between what I can see on the camera and what I can see
here.
Now I think these lines actually arch away ever so slightly so there may be a bit of distortion on the
on the actual image itself.
Now one of the things I don't have or didn't consider is the other really good line and that's the horizon
line.
So I tried to match up the end of my piece with the horizon which I think I've done pretty accurately
here.
So what I should be able to do now after I've played with those things.
First of all I'm going to save because it took me ages to get the camera into that position to me about
5 or 10 minutes of faffing backwards and forwards and I'm literally going to scale this up on the x
axis so that it fits our runway or at least fits wherever the shadows and everything else are going
to go.
You can see here Virts it's.
It is expanding a wave.
I don't want it really too but that doesn't matter I can still move the object itself so it still lies
in roughly the right place.
Now I'm just going to scale back on the z axis just a little bit more.
I'll go over the corner of our picture and what happens over here in the distance doesn't really matter
we can see that it's slightly slanted away.
I don't think it's going to cause us any issues and if we zoom out in this sort of realm we can see
that's quite a large runway anyway so no matter where we put an object on there it should not matter.
In fact if there's an object right in the distance.
Well to be quite honest we're not going to really see any detail that it causes so this is the area
that was were literally going to be casting a shadow on in a few moments.
So my scenes all set up and ready to go.
How did you find setting up your scene.
You will see that it is somewhat of a pain to try and get it right.
Hence knowing that the more information about your scene the camera the lens that it was taken on is
very important.
Please show your work in the discussions and I will see you guys in the next lecture.