Using the rig function in camera set-up will allow your project to incorporate camera animations. After this video you will be able to apply the rig function to create a camera animation.
- [Narrator] Let's look at how we'd create, a simple camera animation, using the rig, we create in the previous movie. Now, I've got this animation set up here, and it was a lot of fun to create. Now, what we're going to do is pause the play back, and we'll bring in that camera rig, that we created. So, we merge the objects, you press command shift A, and we'll bring in that basic camera rig, and we're going to look through the camera. So, the camera is at -1920 units, and I'll just change that to 1500, just so we're a bit closer. So what we're going to do is, like we had that pivot point, if we just come out of the camera, there it is. And we want to rotate the camera, around that, so if we start to rotate the heading, you can see, we rotate the camera around that point. So, I'm going to go to -90, because if we rewind the play head, the particles start coming through there, so we want to pass through the camera. Let's just look through the camera, we can see what's going on. And also, I might just check the, no, I'll keep the focal length at 36, that's fine for now. So, back on the coordinates we set a key frame here, and just record that key frame, come over to somewhere around 107, then we'll just change that to zero. Now, I want to just check the F curves in the timelines, so shift + F3, to bring up the time line, scroll down our basic camera rig's rotation, in fact we just switch over to F curve mode. And, you know, if we want to we can make a tweak to this. If you have a start, just a slight adjustment, and we'll just play through, and we see what we got. So, looking pretty cool. Now there's a lot going on in this scene, with different volumetric lights, and particles flying by, and things like that, so it can be a little bit confusing to see all that, in the view port. Before we check out the final version that I created, I just want to talk about depth of field quickly, so we can just display that in the view port, if we turn depth of field on, come over to our camera, and we want to come over to physical, and we want to change this F stop value down to, something rather small, because of our scene scale. So I've just put in 0.35. And you'll see now, that we have a depth of field happening here. Now one thing we want to make sure of is, where our vocal distance is, so if we just come into the top view, and I might just use this picker to select. I can do it, in that view, might not let me. Usually you can just select an object here, and I can now come into there, I've clicked onto the Data Cloud Logo, to see that thee vocal distance is snapped to that area. And of course you can dial it in, as you like. Just by using the numbers here. So, 1490 is about right, and now when we look through, this view, my Data Cloud logo should be nice and crisp. And we'll get sort of depth of field happening. You can see on the path, as they're passing though. Lets just check out the final render, let it in to the picture viewer, and you can see what I came up with. So, I've rendered this, with the standard renderer, and I've actually used the Multi Pass Workflow, which allowed me to get this render out, way quicker than having all the bells, and whistles on a physical renderer. And we'll look at how we can set up Multi Pass renders, in a later chapter. So, have a play with this scene file, and don't forget to turn off the mo graph catch, if you want to adjust the effectors. We've created this really nice camera animation, using just our camera rig. It's so simple, but really effective.
- New features
- Core 3D and motion graphics concepts
- Creating and adjusting animations
- Working with Illustrator files in C4D
- Spline modeling tools
- Type tools in C4D
- Working with the camera
- Modeling with primitive objects and deformers
- Using Fields
- Building volume