Welcome to setting up the camera in this video you will understand that the can review is for our animation
rendering as well as our normal rendering that we do.
We're going to set up the camera.
Ready for the animation and also and make the camera.
So let's hop straight on over into blender.
Okay so we have our animated lamp that's jumping about here.
But of course the way that we're currently viewing it the view that we've currently got is nothing to
do with the rendering.
If we go over here and click render image we will see what actually is going on.
Okay.
So before we go any further there's something really weird going on with this space here.
This is not the view we want for our animation but this is neither the base that we want here so let's
go and troubleshoot this really quickly.
Now it looks like geometry is going over the top of one another yet in the 3D view.
When we render or set the viewport shading to rendered we don't get that issue so something that's turned
on in rendered mode is not turned on in our view mode.
I'm guessing actually looking at the outline here I'm guessing it's probably these two curves are still
rendering we can see here they've got still cameras on them.
So these are the base curves that we had before we turned those two off and just render our image again
perfect.
That artefact has gone so a good point.
Just to highlight here that before we go an animator anything and do 120 different renders.
Let's just make sure one of them comes out right first.
And I'm happy with that.
But I'm not happy with how it looks.
So we need to move our camera sets hop straight back to the 3D view.
Okay.
And let's turn on some of the other lighting that's going to be going on here so we're missing the plane
at the back so let's turn that plane on right and hop around to where the camera is so view camera or
no pad ziran and this is what the camera can currently see.
You will not all that the carrot and carrot and say I'm not going to need to zoom out a little.
They go that's what the camera is Curry currently seeing inside that border.
Now that's not an inspiring view.
We want to move the camera around and the camera is just like any other object.
First of all in the outline and we need to check that it is actually visible in our scene.
We can see that it is not.
And if we try and select the camera and do anything with it try and move it well we can move it up here
in the transform pane that's absolutely fine.
But if we try use G and move it with out it being selected as visible it won't do anything.
Depends which tools you want to use our We've got key framing still turned on notes as this is all gone
yellow.
Now we may in fact want to key frame it anyway so let's move it around to its starting position.
So I'm definitely going to want to rotate.
It's not like four that's around it's own z axis maybe about there now this plane that submitting light
for us is likely to end up being in my shot if we leave it like this and we don't want that.
If we go file file we go render render image.
Well let's see as that comes out yes.
That plane is going to be in our render.
And we don't think we can just turn it off in the render because there will lose the light from it.
Let's just try that and go and click on render as it comes out you see the scenes much darker so we
cant just hide it from our friends because it needs to physically be there in order to admit light to
make our lamp shine so were going to have to move the camera ever so slightly closer on a hot straight
back round to the 3D view and we were going to use these transform here's just adjust our view of slightly.
I do actually want to be a bit closer to the lamp so there's fire.
I'm just going to grab the camera and move it there and let's hop into non rendered just solid view
and just play our animation and see how that looks OK.
That's looking good.
We can see here that the animation it's slipping back ever so slightly before we go.
So let's just go to this part here and then.
Well we don't want the camera following us so we just need to shift it back slightly on that key frame
there since I am going to annamay this.
I can just move it back ever so slightly like that.
Let's see how that looks now as we shift through yet that's still in frame.
And it's actually still in frame as it jumps at the top so let's see if we can zoom in a little closer
so let's change the work.
Is it going to be Z goes up and down so I'm going to have to move it down slightly and then move it
closer to the camera.
And probably this way as well.
Now I need to rotate it so let's rotate round a little this way.
I don't need to do it that way and I will have to look up slightly because I'm going to lower the camera
down here and pull it back here.
There's lots of adjustments you can do here.
This There's no right or wrong for doing this I'm just setting it up how things can look quite good.
On the final render.
And that's going to go out of shot.
But that's fine because we can adjust and keep framing some new camera positions.
As we go forward and obviously that's going to fly off the end of our scene they're brilliant.
So we've got the first stage we got the first key frame all set up.
We've got our starting position for the camera all set up.
We'll just do a quick render again to make sure it's coming out how we want it to be perfect.
That's great.
If this render here is taking a very long time remember in the rendered options there are some settings
that you'll need to do.
And if I scroll down 64 by 64 well for a start I know that 16 by 16 is going to be slightly quicker.
Now this is not going to be a fair test.
We got two minutes twenty six if I render again like this is probably going to be very close to it.
So you can longer track.
But it's too close to call at those low levels anyway.
So the other thing of course is scrolling up the samples.
Here we've got the render sample set to 10.
Now I suggest you do leave it down low at the moment.
If you increase that massively and find there's a problem like we have that base problem if I hadn't
rendered it there and missed that.
Again being lean make sure you render it quickly.
Well we're about to render 120 So 120 times three seconds is several minutes of waiting.
However if we set that renova samples to one just for a test render and then hit there we can see it's
very grainy but it's done very quickly and we go ahead and render out an animation like that which I
don't want you to do just yet because it's not going to come out how we want it because we haven't set
it up for exporting like that yet.
We're just dealing with the camera.
It will render very quickly anyway.
And of course once you've got the animation right you can turn these rendering samples up as high as
you'd like depending on how long you have to wait.
The higher that is the better the image quality is going to be until you get diminishing returns.
But anyway I've got a challenge for you guys.
I would like you to set up an animate the camera to set up the camera so our lamp is in view the entire
time alamy the camera to keep our lampin view as its jumping about and then have fun try different angles
see what you come up with.
I'd love to see your animations as well but we're not quite ready to export the animations.
Hold on and we'll deal with that in the next lecture.
But for now pause a video now and set up an animation that camera.
Okay guys.
Welcome back.
Let's hop back on over into blender.
OK so I need to hop straight on to my 3-d view once more.
Now that we're here the camera needs to really be rotated upwards so we can see it's now at the lamp's
highest point which is around there.
I'm going to move the camera up.
I actually I'm going to look up.
So going to move the camera along so it's kind of following.
And let's see if I rotate.
I think it's X yet to look up.
And I can even move the camera in ever so slightly.
Brilliant.
So let's just see how that looks.
So the camera should follow us here.
Now the base goes slightly out of shots.
But am I happy with that.
Yeah that's fine.
And as it goes down to land obviously it's nowhere near our lamp and I would like to be looking back
I've decided I want to look back on our lamp.
So before it lands so I can see it lands about there before it lands I want my camera already in position
so it's going to be around here that the camera needs to be there so I need to rotate it round to look
down on our scene.
And this is the X cordon I believe that's college towns let's move this in.
And the camera down.
So let's see how that looks as it swings around because the other thing we need to bear in mind is if
we're animating the camera does it make sense.
So look there.
And then the Cambers being pulled round.
Now I'd actually like it's had me looking down on the scene at this point.
Part of the point of having this lamp is that it's shining a light on the floor.
So at this point here we come to here.
I want to be looking down silhouettes rotate the camera pull it down here and then lift it back up.
So how does that feel as we pan across go across here.
And then we go out for a wider shot.
Perfect.
So the final thing that I would do here's our just pull this camera perhaps a little bit further down
even rotate it round rotate just a little bit more.
That's a bit too much because I want to see the spots that this is doing.
So let's just run through that from here.
So comes around and.
Pans out.
Perfect.
Excellent.
How did you guys get on.
And shortly you'll be here to share your animations with the rest of us.
Take care.
See you in the next lecture.