As our cameras are going to be animated for these shots, and may also need adjusting at some point as we work through our project, it would be good at this point in time, to set up a simple and easy to use camera rig. Using point helpers and dummy objects we can make any camera adjustments that are needed much simpler to handle.
- [Voiceover] Now whilst we won't be able to completely sign off on our camera animation until after we have finished the staging of our dolls, we have enough of the pieces in places already in our scene to at least begin the animation process. Now, whilst we could, for the sake of speed, simply go ahead and animate the camera objects themselves, in a genuine production environment where clients, art directors, and animation supervisors can all request changes to an assets animation, it makes sense to try and make things as easy as possible for ourselves.
For this reason, then, we're going to take just a few minutes out here and build for ourselves a simple and yet very effective camera rig. Let's maximize our top view port using the ALT and W keys, and then middle mouse scroll and pan so as to focus in on the cameras and dolls in the scene. Again, we want to keep the scene as easy to work with as possible, and so let's come over to the scene explorer, create a new empty layer, and call it camera rigs. Now by default, they should've automatically been set to be the active layer, as denoted by the blue color of the layer stack icon, which means we can come over to the command panel, jump into the helper section, and then click to enter create mode for the dummy object.
A simple left click and drag in the view port now will create one of those for us, which we can draw out to about the size of one grid square. We can then right click in the view port in order to exit create mode. Let's come back to the helper section in the command panel again, and this time enter create mode for the point option, which only needs a simple left click in the view port to be created. Again, using right click to finish. Let's rename these helpers according to the job that they are going to be doing, so with the dummy selected, let's call this NOL Cam translation dolly, and then selecting the point helper, we can call this NOL Cam rotation dolly.
Using these helpers means that we can easily keep all of our translation and rotation key frames separated, which can oftentimes make it much, much easier to both keep track of and work with. Now, seeing as we already have our camera positions roughly blocked out, we really want to move our help objects to them, rather than doing things the other way around. And so with our point helper selected, let's enable the align tool, and click on the dolly shot camera entry over in the scene explorer.
We need to make certain that all three of the position and rotation axes are enabled, and that we are using the pivot point to pivot point option. Once we have all of that set up, we can click okay. We then need to repeat the process for the dummy object, so let's select that. Enable the align tool. Click on the dolly shot camera, and again, make certain that all three position and rotation axes are enabled, and that we are using the pivot point to pivot point option. Of course, we will need a rig for our truck shot camera as well, so let's grab the two helpers.
And then whilst holding down the Shift key, drag a copy of those off to one side, making certain that it is the copy option that we choose in the clone options dialogue. Let's rename these NOL Cam translation truck, and NOL Cam rotation truck, and then align them to the truck shot camera. All we need to do now is link all of our rig parts together into a usable hierarchy, and we are good to go.
With the dolly camera selected then, let's zoom in, grab the link tool, and then left click in order to link our camera to the point helper. We then want to select the point helper, and in turn link that to the dummy object, meaning that if I engage the move tool now, and then select and move the dummy object, I can take both the point helper and the camera along with it in just a single move operation. Let's just right click there in order to cancel that out. To finish with, we of course need to walk through those same steps for our truck shot camera, which, once done, means we are good to go.
Let's move on to our next exercise then, where we can start to put our camera rigs to good use, and block in the camera animation that we want.
- What is V-Ray RT?
- Using RT as an ActiveShade renderer
- Taking the options further
- Setting up a V-Ray RT project in 3ds Max
- Adding geometry and cameras
- Creating animation with V-Ray RT
- Setting up a particle system and deflectors
- Adding lighting
- Texturing and adding materials
- Adding render elements
- Adjusting render element parameters
- Compositing in After Effects