my name is Stanislaw Robert Luberda with AV-Ultra and today we're going to
be talking all about cameras. in part one we're gonna be working with viewpoint
cameras framing cameras depth of field near and far fade thickest and zoom to
behaviors if you're comfortable with cameras
I recommend jumping right into part two where we actually create a whole project
from beginning to end using cameras drop zones and a bunch of other exciting
things and it's gonna look a little something like this so let's go ahead
and let's get started when you open up 12a you're gonna be greeted with
something like this and I just have a 3d layer here in space and a few other
things in Apple motion we really have two different kinds of cameras we have a
framing camera and a viewpoint camera and right now I have these two in my oh
one camera types and if I turn one off and I turn the other one on it doesn't
really look like we're seeing much difference and that's okay cuz to really
see the difference between these two cameras we're gonna have to change our
perspective so let's go ahead and change from a framing camera to our perspective
and right away we can see a few different things you can see I have my
2d background I have some other things going on we're gonna ignore that for
right now and let's talk about our framing camera I'm gonna zoom out just a
bit and our framing camera does exactly what it sounds like
all our camera control is based upon what is being framed into our scene so
if I go under my framing camera and I go under my properties we have our rotation
XY control etc let's just jump right down into the rotation controls and if I
turn any of these things see what's happening our locus of control is based
upon what is being framed into the scene if I'm rotating anything it's rotating
around the object that is really being framed when we're talking about
animation and how we're actually animating that's pretty intuitive but
that's not really the way cameras tend to work if I turn off my framing camera
and I turn on my viewpoint camera our controls now are big
based upon our camera so imagine you are a camera person and you are sitting next
to your camera typically the way you're rotating them is like this and you'll
notice what happens if I do that in my scene my viewpoint control is a little
bit more natural it can be admittedly a little tough to animate with so if we're
actually animating I like to use the framing camera if we're moving a virtual
camera through a scene that contains a lot of video footage that we're stacking
in 3d space that's where I'm gonna be using my viewpoint camera an example
would be if I had some text like my Eevee ultra camera tests and I really
wanted to frame that up and so if I use my controls here to frame this up go to
our viewpoint camera and change this to a fit here I can back away and it feels
a little bit more natural as I'm animating so that is the main difference
between the framing camera and a viewpoint camera the main difference is
where exactly that control is coming from one more important thing to be
aware of with our framing and our viewpoint cameras is what happens when
we change our angle of view for example if I change my framing camera here from
a 45 degree to something like a hundred degree you can see what's happening in
our framing camera preview it is moving back but really that disc in the back
our Siemens star isn't really changing at all if I scroll all the way back to
about 10 degrees now you can actually see my text layer and what's happening
is our camera is moving really far back in space I'm gonna turn off that other
layer in the background for right now and if I go back to my framing camera
and I just start scrolling this back and forth our view is changing based upon
our angle here if I turn that off and I turn on my viewpoint camera check out
what happens this works a little bit more like a real camera would if I'm
changing that angle of view to something very very narrow it's almost like doing
a zoom in everything is becoming very compressed so I come up to my HUD I can
see a focal length so this is a pretty close approximation but it still doesn't
give me that same kind of control-r I would have my f-stop in
after-effects so be aware of that that it's not really a true representation of
focal length so those are the main differences between framing and
viewpoint cameras let's go ahead and move on to our depth of field so I'm
going to turn off this camera here and that's pretty important make sure these
two top cameras are off and we're gonna turn on our depth of field camera I'm
just gonna select my depth of field and I'm gonna hit F and what F does is that
zooms in to the view of this layer so this layer is comprised of this disc and
this text layer and it is showing me everything to fit into my screen and I'm
just gonna zoom that out just a little bit and select my depth of field camera
our depth of field camera has some different things first of all it's a
framing camera and that's what we're gonna be using by default we have these
three different squares we got this front square this middle square and off
in the back we've got this bar square spike zoom around here we can kind of
see that a little bit clearer and this really denotes what is in focus and
what's out of focus and where is like the furthest kind of focus that we have
if I use my HUD to kind of zoom in and zoom out by the way this is the same
kind of controls that we have in the top right corner I'm not really getting any
kind of depth of field at all really I'm just seeing what I would normally see
and the reason for that is we need to turn on our depth of field in our
renderer if I turn that on and now i zoom in you'll notice that things are
really getting out of focus and if I pull back my text is coming into focus
and then resting right about there and that's in focus well I can see that
right now my text is falling in between these two squares and off in the
distance that's still in focus and that's somewhere in this square here -
if i zoom in and get this within those two squares now this is in focus and if
I keep going beyond that you'll notice that it's getting out of focus again so
let's talk about how we're setting this focus I'm gonna just zoom out really far
for right now just so we have our text in focus and
our background out of focus let's go ahead and take a look through our active
camera this is what we saw on our front and middle square in the background
though this was all the way out past that third square maybe to illustrate
this better we're gonna turn on two views right now I have a few different
things happening I have a depth of field blur amount that I can actually turn
down or dial up the higher this goes the more blurry that background is going to
be or anything that's not in focus we also have our focus offset so if I scrub
this back and forth pay attention to what's happening here I'm really taking
that okis and racking it between these two different points and if I keep
scrolling forward that now this isn't focused and this is really out of focus
so this is telling me that the focus here is pretty shallow only things
between these two areas are in focus well if I want to change that I can
actually dial this all the way forward and back and this is my near focus this
is saying hey this is the closest thing that's gonna be in focus to the camera
and notice I can take this all the way up and now I have a very wide depth of
field so right now everything between this point and this point is in focus I
can change that offset and change that so as soon as things move past that near
focus they're becoming out of focus and the same with this back plane for when I
move this all the way back and once that hits that threshold of moving this all
the way out of focus well now everything is unreadable so let's go ahead and put
that back we also have a far focus and our far focus will let us set that
really far path so we talked about our near focus and that's setting how wide
our focus is and then our far focus lets us set the maximum focus value I can
crank this back up beyond it to pull everything in focus now maybe I just
want infinite focus in the back I don't want to worry about what's in between
here and this middle section and that front section with my focus offset I
really just want this and this and that's where we have this infinite
and as soon as I click that it does exactly what it sounds like it's going
to extend out that cameras rear focus forever so now all we have to worry
about is setting our near focus and our near focus works a little bit more what
you would imagine a real camera to work like so let's go ahead and move on to
our filter types I'm gonna turn off that infinite focus right now when we are
blurring things out if I set this focus offset and we're gonna just dial this
way back so we get that Siemens star out of focus take a look at exactly what's
happening and we're gonna zoom that in just so we can kind of see that a little
bit more clearer come back to my depth of field and let's talk about this
filter type right now it's set to Gaussian and really that's just a blur
there's not a lot of computation it's just taking the pixels and blurring them
but if I change this to ad focus now I get something really interesting
happening right now it's set to disk or I can set it to polygon and when I set
things to polygon I can actually set the number of sides in the polygon so this
works a lot like different kinds of lenses that will have a different number
of blades inside to create their bokeh blur if i zoom this in and zoom this out
we get a different kind of blur that we would normally not get using the
Gaussian blur the trade-off with this is that it's a little bit harder to compute
and takes a little bit more time to render but tends to look a little bit
more believable so let's go ahead and move on to the next section I'm gonna
turn off my depth of field camera close our depth of field turn that off and
we're gonna come down to our near and far fade so I'm just going to click on
my near and far fade I've just changed my perspective viewpoint here so I can
see this a little bit more clearer and I'm gonna go ahead and click my active
camera and I want to make sure that I turn on my infinity fade camera and I
turned on my infinity fade and here's what we see we have our depth of field
and I'm gonna just turn that off right now and we have a near fate and a far
fade and we have a little apple motion logo with the floor and some background
I'm gonna just zoom this back out so we can see that a little bit more clear and
in our Infinity fade we're back in our camera controls and we have our near
plane our far plane are near fade and far fade so what this means is exactly
how much you can see if something gets too close to the camera as an example
I'm just going to pull the camera back and pull it forward I'm still hitting
these letters that are kind of in my way it'd be great is if I could zoom in and
they would kind of just fade away or the background would fade in so let's turn
on our Infinity fade and let's turn on our near far camera right away my candle
looks like it was kind of in the same place here but it looks totally
different the big difference that we have here is we've set our near and our
far fade and our near and our far plane if I move this far plane back you can
see more is being revealed so if I pull this back to let's say 400 now if i zoom
in with my camera the background slowly fades in depending on the
position of the camera so as I get closer it starts to fade in and as I get
further away it fades out so how exactly do we set this up I have this near plane
and that's where we start seeing things so this is going to be about 945 pixels
away from the front of the camera that's when we start seeing things
it also takes into account how many pixels start fading away at 0 it starts
fading away at 200 or 400 it starts blurring out this is almost like a
feathered edge to our camera and so again if I take this near plane and I
pull this back 2,000 pixels from here out starts fading away and the same with
the back if I start pulling this back it's almost working in the opposite way
where it starts coming from the back forward and I can keep pulling this back
until everything gets kind of faded away if I take this far plane this is exactly
what it sounds like the further back we go the more we can see so if I want to
kind of hide something in the background like
this I can do that and then just fade into things so this is great especially
if I was doing a bit of a slideshow if I wanted to have text moving into my scene
and I had a lot of text in the background I don't want to be able to
see it all I want it to fade in and fade out kind of naturally let's take a look
at some special behaviors that some cameras can have right now I have a
camera focus and we have a zoom to behavior and a focus behavior let's turn
off the camera in our number-3 and we're gonna turn on the rest of the layer so
we still have our near far and our icon on our floor and our backdrop and I'm
gonna go to my zoom to behavior and let's just see what's happening so if I
select my zoom to behavior camera and I just play this back we can see what's
happening so let's do that one more time check out what's happening here in my
perspective window if I play this back it is moving on to the scene and then
zooming but notice it's really only the background that's changing the
foreground isn't changing so it's it's kind of like a Hitchcock zoom that we
have immediately and so that's really cool because otherwise what I would have
to do is manually change my angle of view and what I'm framing at the same
time it's extremely efficient when I want to get this kind of a look but I'll
be honest I don't really use it as often as I feel like I could be or I should be
another behavior that we have specialty two cameras is the focus behavior this
is probably one of my favorite behaviors as far as cameras I really like the
framing and sweeps but focus behavior does something really cool so I'm just
going to select my focus behavior camera and I'm making sure I have that selected
and we're gonna make sure that we have this fit to view and what I'm gonna do
is I'm just gonna play this back and see what's happening here and in my other
screen I'm gonna have to turn on my depth of field for this example and
right now I have my near fade out of focus and let's do a quick Ram preview
so we can see what this looks like okay so most of that's rendered out and I'm
just going to open up my focus behavior layers and we can see what's happening
so I have one focus behavior here and then a second one here so let's play
back this first one and what's happening is
our focus is moving from this far fade to our near fade and so what it's
automatically doing is I grabbed whatever layer I want and focus and then
it does that immediately if I want to change how fast it does it I can do that
with an ease ease-in ease-out accelerate and it's transition speed so this will
change how fast that it actually gets into focus so right now it's very very
quick gonna undo that and I also just copied this behavior by hitting command
D and I've got this one here and I just dragged that other layer directly into
it show you exactly what I did was I went into my near far focus I grabbed my
Apple icon and I just drag that right in there to show you what that looks like
first I have my far fade then my near fade then my motion icon if I want this
to slow down as it goes into that rack focus I can just extend that out and
this time we're going to ease both of these give its transition about 75% and
I'm just gonna rain preview that one more time so now that go is out of focus
very quickly and then it eases into that final focus there's lots of other things
that we can do with our cameras and behaviors if I wanted to give this a bit
of a camera shake just gonna turn down my quality turn off my reflections and
depth the field for right now and come on down to my behaviors and add
something called a regal I'm actually going to go into the inspector to change
this and I'm gonna dial this up to about 400 we're gonna change our frequency
down to let's say 0.5 what I want to do is I want to apply this to a specific
property in our position right now we're just gonna do X&Y right now if I play
this back you can see what's happening it's moving around quite erratically
maybe I don't want it to move around that fast I'll dial this down to point
two and instead change it to about 35 right and again maybe that's still a
little too much maybe I want to turn down my noisiness and maybe I want to
change this to point one we can see what's happening here
we're getting this really nice smooth motion and so this is great for creating
some realistic kind of movement and it's extremely useful to just be able to
throw that in there and give it some random parameters
my name is Stanislaw Robert Luberda with AV-Ultra and that is the end of cameras
part one in our next lesson we're going to be animating a camera in 3d space in
creating a little 15-second intro so be sure to come back and check that out as
always I hope you found this information
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