Hello, guys.
So let's start posing the character.
First, I wanted to do this one or this one, but I figured a search for some more poses.
And I figured this one might better suit for this.
It's much cooler.
And then we can make the break over here as well.
So.
So I'm going to do this one over here, but gather your references to whatever other poses that you
want.
It's up to you.
So, first of all, I did some tests over here for this.
I guess we're here to test.
There was a if you remember, there was a shoelace over here that it caused some problems.
So I want to do I want to go to that moment and I deleted this shoelace over here.
So I just want to go to edit mode and go on this one and make sure everything is selected.
All right.
And then I want to duplicate it.
So let's press shift the applicator, then go to.
Maybe.
Mesh mirror.
It's global.
That doesn't work.
Because I think because we have.
Because we have a.
Montreal's.
I think that's why it doesn't work.
So it doesn't matter.
We're going out and we pose this or not, right?
I'm not even going to be concerned about this.
But the best thing is that just after the posing with an ad, that then another thing that I'm concerned
with are these zippers.
They are very loose objects and I don't like that.
These are very loose objects.
They're really scary to me that they might cause some problems.
So I'm just going to select them, control I.
Okay.
These ones.
I think they're fine.
So it's on select still on this cell.
And this.
And then press control I think was selection.
So now we have only the zippers and then I'm going to delete them.
That it versus let's do the same thing for the jacket over here.
So until I until it's.
Okay.
Just make sure everything's fine, all right?
If you remember, if I go over here, I remember my backups.
Okay.
I have some backups over here.
Let's, uh, hide them all.
I have a zipper over here that we saved for later.
When?
Before joining these all together.
Right.
So let's select them, duplicate, and move them to our main collection.
And then we can just.
Disabled and disabled.
The whole back up over here.
So now see if we have the one here.
Yeah.
So now what I want to do, I want to, uh, let's first enable all of these.
Such things are here.
All right.
So we have a full armature now on what I'm going to do.
I'm going to tell blender or the rig in this case, Rectifier.
I'm going to tell Reify.
I want to tell Reified I want these objects or here to be connected to just one bone.
So I'm going to select these zippers over here and then select my armature control tab to go to pose
more.
And then I'm just going to select.
To spawn over here, which is.
Shift.
Born at the torso.
This is the torso.
It's going to rotate the torso.
So I'm going to tell Poland or that I just want this to be positive.
Response to control P and.
So now let's test that.
So make sure that it's the right one.
So let's rotate this bone.
Now.
Let's see.
Now.
Unfortunately, it doesn't work.
So let's test another pawn in this case.
So let's go back.
Select the zippers.
You like the zippers over here.
Make sure they don't have any vertex groups and make sure they're not parents or anything.
Think your parents because a scare.
Now let's shift.
Click control tap.
And now let's connect them to this one which is the whole torso over here and control p bond.
And now let's test this out.
All right.
Now, as you can see, it works much better.
It moves with the party.
Let's even test this out, because these bones are paired together.
Let's see if it works with this one as well.
It doesn't work with this one.
Let's see if we can connect to this phone as well.
It's a consumer pay phone.
Let's test this 1/1.
This one works.
And now this one.
This one doesn't work, unfortunately.
So we can use that one.
Seems.
Let's go back to where we.
All right.
So now he should be careful to not rotate the upper torso and just rotate the lower torso.
Let's see if we can do this for this one, this specific pose.
So we need to do something like this.
Then bring up the shoulders.
But we the shoulders as well.
We have a problem with the zipper.
Or just the police?
Well, it's a bit hard to do these kind of changes to a character.
We need to go to it, experience molds and within the versus principle.
But I wanted to find another way to do this.
Let's
select these two and connect them to the shoulder bones.
So this one and this phone GOP.
I'm Bill.
No, that was.
That doesn't work.
So seems we need to do some.
Additional walks and mixes some problems.
For example, even moving this one, it's going to make some problems.
So we're just going to set it to be following with this one only and.
Or actually true also.
And actually, that's.
Select them.
And disable any parents.
Your parents.
I will hear.
So we want to move the upper torso.
So select this func chop.
Let's look.
Select one happened relative to see if you don't see any changes.
And I was move that.
Yeah.
We have the same problem.
The lower part doesn't move.
Reaction does move.
So let's fix it.
This is the chest.
So let's fix this.
We can't go to waste point and fix this or we can do something like this.
And then later on just.
Directed this.
With the move brush.
We have a duplicate here as well seems.
I can do that.
I think was good, too.
All right.
I'm going to do that.
So let's not make it any longer.
I also added a subdivision level to the belt over here.
All right.
So.
And then applied that.
So that's all the things.
Let's go to the posing now.
The poisoned process, n'est ni?
You need to be patience.
Take your time.
Usually place songs.
And then just.
Start doing it.
So let's press on console s and now I take the ease and the errors and let's bring it ah up like this.
It's sticking to the wall.
So let's bring it up.
It gets closer with that.
She?
Oh, no, this is start.
I usually start with one person, then go to the other part.
So that's just disable all the things we have here.
Okay.
I want to start with the lake.
Let's turn on the lake.
Okay.
Only daqui.
And let's go to Portsmouth.
So now we have something very important for all of these.
Our kids are like it.
And I'm like, okay, we have a IKEA stretch.
It means if we go and do something like this, all right, it is going to stretch it.
All right.
But you mean don't want some.
So if you don't want to own that, set it to zero.
And even if you move it, it's not going to stretch.
All right.
But I think well, the of points, two or points one may help us just adjust the like.
So play around with this value so we may need some stretching to adjust it.
But I think points one looks fine.
I'll sit it to the other acres, other IKEA as well.
So if I have been using okay, the lake or the arm stretches, just bring down this stretch.
Now let's go ahead based on a reference
sheet.
The Met Justice.
Bring it here.
Okay.
So now let's press Jeanne and bring it up.
For the.
Okay, let's bring it back.
I'm trying to.
Bring it toward the wall.
This press or X, I think it's rotators and the x axis.
Make it like the reference.
And in the back of the foot, I think
the four foot is sticking to the ground and the back of the foot is up.
So we need to.
Do the same.
So I'm just going to.
Just that.
This came.
And then I'm going to grab this one over here and press R to bring the back of the foot up.
All right.
And then do the same thing for the other lake.
Other lake needs to be a little bit straight, so the knee should not bent that much.
And then Ruth had the foot.
All right, this bring the foot o is a bit towards the left side.
G x.
And bring it towards the left side to make the knee straight.
And then we can enable leg tweak.
So when I'm able to eat the right one and select the knee area and bring it back like that to make the
knee more straight to the knee, always have some angle though, even in a straight position.
So I should not overdo it.
So something like that.
All right.
Now, I want to now enable the tweet of the left leg and bring the knee of this area down or to pit.
And a little bit toward the left side.
So from the front view, this is the upper lake and this is all they did.
They would make an angle.
It will make make it more interesting.
Even in posing, we should avoid straight lines.
Giving some angle always makes it more interesting.
All right, now we're done with the leg was disabled then.
Let's go up to the arms.
Arms like this.
Enable them.
And that's the same thing.
And make the exchange two points.
One for both.
There's one for both.
Now.
Let's bring them to the wall.
Are you?
Okay.
They might stretch or not reach the wall area, but that's okay.
I'm going to click on both of them or actually when I click on one of them and in the post one also
we have x symmetry and now they both should go back.
Good morning.
Now express our.
And I'm pressing double R to go to free rotation for the safe and work.
And now just it just this is just position of the hand.
Okay.
So now, as you can see, it's not reaching the wall because the torso is too much front.
We can leave it as that, too.
So, for example, this looks like the character is jumping from the wall.
Right.
But just to show you how to see to the reference.
Let me show you.
Now let's disable the arm by case and enable torso.
And now select this one over here and bring it over.
It's a bit back so we can do that more precisely with pressing g y to making it go back.
This.
Okay.
Now, now, truth is.
Fabulous of it.
And we can even rotate it like this.
All right.
Now we can go to arm in case again.
Now, let's try to make it getting closer to the wall and stick to the wall.
Well this a break the symmetry to seven symmetry and this make this hand over with toward this area.
And that is fine.
And these are connecting to.
So that's fine.
Now we can rotate the.
Nick like this.
Bring it.
To look to other sites.
It's zoomed in too much so now.
Press double or to have free rotation.
It helps a lot when adjusting the rotation.
Okay.
Something like that is good.
But now I want to know this is too much.
The angle is too much.
So this rotated accordingly.
This.
Then we can bring out the hand.
Ritchie.
Why?
I know it's rooted, though.
It's a bit.
So another rotation is much more natural.
Uh, so not this, his stretching his hand right now.
But if you want to also add a little bit of flexion in the arm area, enable the arm to extend.
And we don't see it because it's inside inside the mesh.
So go to object properties and enable in fronts.
Now we see them.
So now we can click on the elbow.
So we are over here.
Let's click these two both together and to always a bit of function in this area.
So we don't look like.
So it appears, I think, a little bit.
So I make this kind of anger over here.
Okay.
This one can be swishing like this.
I'm going to leave it as that.
But I need to rotate the hand itself.
It's not rotate since it naturally.
Here is.
You can grab this one as well and maybe move it or rotated around to rotate the wrists.
Oh, I think that's fine.
So no one thing remains.
I need to tip the upper torso over here, the chest, and it'll bring it up.
But I'm afraid that these zippers are going to make some problems.
Let's just test it out to see whether they get.
So as you can see, this is making
some interesting moves that like making the shoulders a little bit higher than the other shoulder.
Like making the right shoulder higher and the left shoulder.
But the zippers are now the wrong direction and we can't fix it.
That's, I think, very rare.
The time is.
It could take a while.
And I don't want to bore you with that.
But if you want to fix that, you need to go to the vape pen more.
Just at the vertex.
Vertex groups.
This is a go to with the basic principles of mesh.
Okay.
With one of our mission.
And just make sure that only these areas are painted for these bonds.
But as you know, it takes a while.
And I'm just going to I'm just trying to achieve a pose to make it more interesting.
Let's go around and see if we need to adjust anything.
So I went a little bit.
It's just ankle in this area.
I want to make it a little bit go.
I like this a little bit more.
Exaggerated exaggeration doesn't hurt.
And this one.
I can grab this one and rotate it so we can rotate.
The four foot and now I think now we're done a nice very interesting some contrast between the.
Rotations over here.
Arms.
We need to do some fixings so on.
Doesn't look good to me.
The hand doesn't look good to me.
It starts in a straight line and this one too needs to go a bit outwards.
The stress of more.
Very nice, barely touching the wall.
But that's okay.
The next thing you can do.
We can adjust the fingers.
So finger details and if you want, can make them more straight like we have in that reference.
For reference.
So that these.
And make them straight or make them more flex.
It's up to you.
Remember, these also do tend to just increase in size and stretch.
So be careful when you're using these.
Since this area now it's it's curved.
It's.
I think the normal rotation of the time is enough.
Students can make this long rotating a bit more and even we can make it go a little bit inside like
this.
It's a bit of stretch, but that's okay.
This puts this rotate this one as well.
She?
He's.
I think thus far the rotation of the wrist is a little bit weird, but I think that's fine.
Give me a little bit more time, see if I can fix this.
Each.
Much appreciated.
Associated with shrinking these areas
are the cities through to zero.
And I was bringing back the y axis, the arm back then y axis, and that's now bring it towards the
wall like this.
And now the rotation of the wrist is fixed.
Let's, uh, let's focus and be careful that the wrist to not rotates excessively.
But I think I'm going to leave.
It's quite something like this to make it look like that he is jumping.
So now one hand is barely touching the wall and another hand is kinda touching the wall.
And now it looks like that he is about to jump.
Look at the save.
Now let's get it out of the way.
You are here.
And now we need to do some things.
Some.
Some chickens.
So let's get out of those molds.
And now is the height of risk.
Now let's turn on our Walter is and see what we get.
Okay.
That's quite good.
Stand on motorists here as well.
Let's check if we see any problems while doing the stretching and all.
Okay.
Let's see if I want to go to simplify over here and sit and.
Subdivision two four to make it go all the way high.
And now all of these are in subdivision before.
Now, see the problems, as you can see here and in the lake here have some problems, so let's fix
them.
So this select the shorts and go to Scopes mode.
But the thing is we that's we can't.
We can kind of
sculptors in the sculpt, mold or mold, sculpting or add more on what we need to do.
We need to apply this armature.
So if you are happy with your.
Armature.
Let me you know, I'm sure I want to do.
I want to see if I can
bring up the shoulder over here without affecting the.
These areas.
So maybe if I go over here and.
It's.
Hmm.
Mentioned.
We want to hear again and see we get with this.
So I want to make a little bit of contrast between the two shoulders as well.
It's the best way to do it is with this chess form.
But it's it's making a lot of
sense.
As you can see, this is a much more interesting, just one move.
It's so much interesting because the upper torso is now rotated.
Well, we had a problem here with the zippers, so
let's see if we can fix it quickly with the zipper.
So.
It's just about apology.
And so.
We can it
fix it fast.
Let's make it a little bit toward the right area.
So this link is up.
I'm going to make each operator wait a bit toward the right area like that.
And now he's leaning to look for a mother's side.
No, he's leaning.
Shh.
And also.
Sarah Tate.
The neck a little bit too or she's in France.
So it look that is looking in France even higher.
And that's good.
Shh, shh, shh.
All right, now this fix.
Zippers were here.
It's.
So, yeah, every carat, every case you make, every modeling.
It brings some mental work to do in the end.
So you have to just be patient and
try to fix problems that may occur or doing the model things.
I mean, then it is worth it.
Right now it's currency and now we have it.
Just the zippers pretty good.
Okay.
So now let's go and hide this and let's go and save our file and let's enable.
A modifier.
For this one.
And let's go to Scotland, as I said.
It doesn't work right now because we have our armature over here.
So I'm going to make another save.
Okay, another failsafe.
And now I'm going to fly all these armatures over here now that I'm happy with.
The.
Pose.
I'm going to apply the armature and start doing some fixes on the mesh, the supply, the armature for
this one.
Then go to scope smart and then go to smooth brush to make it go all the way high like that.
This is motors.
Let's bring down the sculpting the gold to something more and make the to be nuts front face all the
and and make sure the sculpt based mesh is off.
And now I think we can.
Yeah, which means we can smooth this.
Easily.
So.
1006 772 because now we don't have any cemetery people as our character we don't have any cemetery and
that of.
Let's bring down the strands now and not make any major changes.
And just as most this area or to a higher level like for.
And smooth gain.
It just seems.
So there's a swath.
This area is areas that are.
Stretched.
Okay.
See if you have any more problems.
I think so, yeah.
So there's fun with the shoes when you press shift each.
She scores as Scott fought first for the armature.
Schools won't.
Let's go to the highest level.
Let's fix some of these problems we have with state visits.
Unless Witherspoon's face is here, they're very stretched.
Then we can make some wrinkles or the surface of these thing, these shoelaces that are stretched.
Also over here, we need to smooth its first two.
Smith son, Christmas
Eve
and Chris Reeves when I make some quick summary, quick stretches.
Okay.
And then this area.
So this is kind of a figure of sculpting.
But the rotation is a bit of.
Supply.
This armature to.
So.
This issue is the rotators from this area.
All right.
So we need to
add a little bit of sprinkles and stretches into this area.
It just adds more.
And as I was saying, this is more like figurative sculpting.
So you should see what pose the character has and then just avoid it just for representing her.
So we finished our character in the when we made it in the A pose, but this is just for present and
it's because, as I said, it's just very boring when it's in the opposed.
Well, we finished the character in a pose and that's good enough so.
But right now we are trying to doing it for presentation.
I just want to show you how you can rake and pose a character and then do some fixes to the mesh for
making it look more believable and awesome.
She?
Well, the save and go.
Other things we have.
Is it a shoe to the party?
To the shorts.
She?
He's.
All right.
It's.
Let's leave that one as it is.
Supplied this warm.
Save.
It's.
With pinch brush.
I'm trying to make these areas that.
Lush or dense to be closer to each other.
It's about as smooth as.
Yes.
So Facebook will make these two services closer to and make it back in line like this.
To do this and smooth that.
She's.
Okay.
Let's go to the next one.
Jackets was.
Was.
It's.
Be.
It's.
These areas because of the stretch of the hand.
And it usually happens.
It's in the area.
The armpits and the vertices just go inside each other in very extreme poses we need to fix are usually
fixes these clay is safe to
draw with a clear safe secure something like this.
But you always get dense like this.
All right, careful.
So we can also use inflate because we will help us a lot to these cases for and these methods get back
the results so smooth that all the little bit.
Maybe hide it under the rug.
This is something that I think everyone does.
Something like this happens.
You just need to hide it under the rug.
Something so no one can see it.
That's obviously part of voice, but.
But sometimes you just have to.
At this point.
And it can just go back and through the pores again and adjust the way it pins.
Maybe because the if I wanted to do this properly, I had to just
do the rigging, like for hours, like the rigging itself through the proper way takes hours.
Right to adjust the weights, pants and all the but try to do it quickly so we can just get into presents
and it's and so it wouldn't be too boring.
All right.
She?
It's interesting because it's.
Okay.
Let's move on.
Let's do that.
Make sure we don't destroy
forms.
It's.
Shh, shh, shh.
Let's go back with what is making this much.
Aw, that's fun.
Those folds are the thing.
They're fun.
She's.
Which.
All right.
So I think we're done now.
Now, let's go to safe and go to the skinny lights.
Okay, well, we have the scene.
And now let's go to Rentable.
Let's wait for Blender to do its thing.
And if you remember, we switched to simplify.
Viewport two four is in the highest subdivision level.
We don't need to do that manually.
But do we know?
We don't think so.
Well, actually, we do.
So it's not in the house.
There is little.
But let's keep it down.
Let's keep it low and then let's disable simplify.
If I didn't do what I thought it would do.
Now let's go over here and the other new window.
I want to go to Shader Editor and I will to add the material to this one.
I want to add the material so we can call this brick.
So when I add this brick material, right.
So we can easily do that in Blender.
Because the texture and the Greek texture easily has that control to come.
The.
And also it's still.
I'd be on a collision.
All right, let's have it over here.
Let's connect these two together.
Color two factor analysis a controlled click to see what we get.
And if you want, we can bring up the scale.
Like that.
And they can sit.
The colors and all that can add multiple colors if you want to always go to ambience of material.
So we need to first.
The two here.
Color one.
And then let's do this.
Now we have collisions.
On the brick wall.
I'm going to make it exaggerated.
It's not very realistic like this, but I'm going to make it exaggerated.
See how it looks.
The last thing I want to do adds the bomb.
She added to the heights.
Bring down the stench added to normal.
Now let's see the end result.
Control shift.
Click.
And now we have this.
All right.
So it doesn't look like a prequel because we need to add color.
Let's select on this black color and change.
It's a certain voice color and change it to something brownish.
So over here, it's gonna change it.
Its brownish color.
Its cover posted here, too.
And now it's connect this one to Pascal as well.
We get Swiss football to this thing.
Now we have both color the same.
I want to slice on this color and bring it down and make it darker.
Now we have some variation in the colors on each and they round with these colors.
So.
To make the walls more glossy like this, we can change the roughness to near zero.
All right, I make it more policy.
That's not really cool.
We can add.
Simple noise texture though.
So other noise texture control to shift a color around connect the affected factory console shift click
to see what kind of grunge we're getting.
So I'm going to add some grunge to the surface and connect it to the.
Roughness not.
All right.
I remember the whites is going to be polite.
And now it's connected to roughness.
Now, consumers should click on personal stuff to see the combined results.
Now we have some variation in the roughness of this one over here, but I think it's too much.
So let's.
Make this flip these two.
I'm now.
I think it's looking better.
Can make it bigger to.
Like this.
But it's.
Kinda.
Yeah, it has blocked out our lights over here.
Okay, so we need to adjust our lights too.
But right now, I think the break is good enough.
Uh, I think we can increase the strategy to.
To be something like four and six or eight.
I don't see any difference.
We're.
As connect the brief texture itself to the heights.
Shh, shh, shh.
No fugitive will see anything.
That's.
Can you remove this one so you don't need it anymore?
Shh, shh, shh.
And we need to.
It's weird.
I don't see any bumptious.
So.
Thinking what could be?
The reason.
Oh, maybe because of this one.
Shh, shh, shh, shh, shh, shh.
Shh.
Shh, shh, shh.
As if it fixed this issue over here.
But if it doesn't, we're just going to move on.
So I don't see any bumpiness, though.
That's okay.
Maybe just to discuss and connect again.
Well, as far as fix the lights, I need to bring the rim lights forward.
Let's see if we can make it transparent, make it a that's a delight to go through.
It would act like a class.
So it.
It is.
Yeah.
Some of the ones.
So let's just get real.
It's.
And we need to just now.
Shh, shh, shh.
Shh, shh, shh, shh, shh, shh, shh.
All right.
Now we have a reimburse lights as those.
And now we have our scene.
We're here.
So yeah.
One other thing I want to show you is the let me close this.
We have our singer here.
We can add a wealth of things.
Let me show you some cool stuff.
Right.
Let's add let's add a plane over here.
All right.
And then let's go to me, sir, and let's bring up our timeline.
Okay.
Let's say first.
A mouse click.
Okay.
And as you can see, we have some something flowing from this thing over here so we can make it any
object that we want it to fold.
So I'm going to make it with the lowest possible subdivisions when I go to.
I know what I'm going to just adjust.
I want to make it a little bit more.
Look like a reindeer.
Let's say this is what it is.
And then go here to properties.
Go to render.
Set the render as to object and click on the object which is made.
There's a skillet down to us so we can get it to all right to bake, but we can set this scale over
here too.
So it's an okay, now the object is this one.
The skillet is a little bit too low and now we can set the material for this one, set it to any color
on to set it to something like blue.
So I want to make it just look like a little bit like rain in set, the roughness a little bit back
and this specular it'd be two or one to make it more shiny.
And now let's go from place we get.
I guess something like this can go to properties and set a lifetime to something more like 100 to rain
more.
And they can go to.
Physics and the change these values over here.
Okay.
Well, it's one of the cool things that you can do is you can add a wing so they'll be over here, rotated
towards our rain.
And then drag these toward this to make it more powerful.
So if you go over here to physics properties, you have this wrench it's going to make.
It's going to just this wrench now, every person.
Okay.
Now, as you can see, these rings are going this way, right?
We can adjust this change now.
Take it down and.
And as you can see, it is raining a little bit, right.
It's an angle like this can make it be easier to.
Okay.
And actually make the scale bigger.
So now a safe and go to.
I render.
And now we have all these particles in there.
I am not going to select a plate, although you had us do this.
So we have a little bit of rain I can bring it down to.
No, it's too shiny.
So let's make the material less shiny.
All right.
Now we can now also go over here.
And make that scale randomness the one it makes the randomness of these particles to be higher and make
the velocity randomness higher.
So now let's present.
Okay.
And bring up the number to something crazy, like five talents.
Let's save.
And we have some rain.
All right.
Or particulates or anything you want to call it.
Well, the thing is, we can always go and change the color of these particles.
So anytime you want to go and change the color from here.
Anything we want.
So if you want it to be yellow, you can make it be yellow.
Some particles, or we can make it be brown at some dirt, maybe.
But they prefer to be.
Very.
Little if it if it is a particle, I want it to be very little like that and then increase the number
to something like 10,000 and then let's just make it rain.
Let's bring down this range of this one.
Let's make it rain.
Their strategy was to load Sims.
Shh, shh, shh, shh.
I was being constrained so that this was done principally.
It's because we're in their mode.
Now we can see what's on the scene.
Right.
So you can also remove, make it a black, make this material pure black and make the roughness high
so it wouldn't bounce.
Lights.
This one.
Shh.
I mean, are you happy with the parts?
Because I can go over here and make instances real.
The past two years are now part of the mesh.
But they're too much, right?
They are too much.
You can go to edit mode and maybe deletes after.
I think that's not possible.
Let's go back.
I just have it as this is the other thing I want to show you is the camera.
So you want to make a camera?
All right, so let's go to the center of the world.
Let's go to Shade and you'll make a camera so you'll make some cinematic animation, right?
I showed you how to make a shot with one shot and composite it.
But you want to make a cinematic, cinematic shot.
So you would want to go to a curve and make a circle.
Could care.
Bring it up a little bit and then make your camera.
So this is our camera.
The first thing we want to do and press also to reset the rotation.
And then I'm going to select the camera and then select.
So select your camera and select your curve.
That's how it is playing right now.
Select a camera around and select the curve and then control P and then select on pass constraints.
Now this camera is constraints to this care.
It means it follows it and it goes.
And also it rotates around.
This rotates around this curve.
All right.
So let me turn it to zero.
The first thing we need to do, we need to adjust this camera.
So let's press our X 90 degree.
Now, this camera is adjusted.
If we go to the camera and what we see that we are in here.
But the good thing about this is that now watch closely.
I am selecting my camera here.
If I get the camera view, I can move around my camera with the curve so I can do something like this
and then I can get it to I'm going to press S to scale and now I'm scaling the camera, but I'm actually
moving the camera.
So this is a very good way to position the camera, too.
But the main thing I want to show you is that so now I want to animate the camera.
So I do that.
I showed you you can change the offset over here.
So we're going to use this of silver here to animate it.
Let's go to our time heals heels to zero I want to have 250 is good and now let's also also check this
box follow care.
So if we follow the cable over here, we need to make a little bit more adjustment.
So our set -20.
Or is that -90?
And now the camera is in the right direction.
It goes around.
All right.
So now I want to make.
Make fame over here in this location, off the camera.
I'm going to press on this over here, which makes keyframe animate.
All right.
And then now in this location, it is the cameras and images.
I'm going to go all the way to 100 to make a full circle.
And then I'm going to go all the way to 250.
And in 250, I'm going to animate it.
So when I change the mouse over to the timeline, animation timeline, reset the offset over here.
So you need to type in again 100.
So you do a full circle and then click on this icon over here again to animate this.
Now if I press play, it is kind of follow this curve around my character, right?
So if it were to come to you, you can see it's much better.
All right.
This is much more cinematic.
I can also go to camera properties and go to viewport display and crank this up to always see what is
in the camera.
Okay.
That's enough.
So now.
I want to show you some more cool tricks.
So we have an image in our camera.
All right.
You can animated yourself to see.
Maybe you wanted to
go to this position, right.
And then come back to this position like this.
Go in this.
You don't want to go back.
So you just have to do the same thing in this one, too.
In the frame one.
Do the click on this to make the keyframes and then go back and make the keyframes, if any frame all
of them you want.
All right.
So let's just do that now, actually.
So delete this one's delete and keyframe one.
I want it to be in zero, position zero and animate in keyframe 64.
Want it to go to this location?
Let's go to camera view to see what we have.
The dislocation.
Let's give this wall over here is some defined modifier that.
Something like this.
And right now, to camera like the camera, camera is in this location and in 60 frame.
I want animated.
Now in.
Like.
Like, let's double it and make it faster.
120 and 180.
So two sixes.
I want to go back.
To this view.
And subject.
I think Kiefer now, as you can see, we have made our animation.
Simple as that, with just one curve.
We made a cinematic.
We like this.
Okay.
And then let's go to 250 and make it.
That goes back to zero.
And animates.
So after here it goes back to the zero position.
Okay.
Well, the next thing you can do with this is that you can with this care, you can also animate this
care.
So you can go and go to, uh, camera view and a scaled down curve.
Move it up like this.
So I want to tell wonder that in frame zero.
And once my care.
If I'm selecting my care now.
Busy schedule or here.
I want to be animated, so I guess I am the location on a scale, the key frame.
Now, if you remember, we were in frame 60.
We were.
Changing the camera angle.
So you frame 60.
On top of that, it goes zoom out like this right then in the timeline, press eye, all channel to
do all channels.
Then if you go here to frame 180, you can make it that it is all zoomed out.
Maybe actually go here, go to the shoots.
Right.
So from the face we wanted to go to the shoots.
Like this.
Right.
And then I.
All the channels.
And then from 250, we want it to be a skill up and this position maybe, maybe, maybe even make some
composition like this springs this bigger and then the business circle kill all channels so all this
safe and go to random to see what we get in of simple animation like this.
Let's press on.
Okay.
Uh, let's.
Let's press play.
All right.
So now, as you know, the resolution of
each object is not that high.
Okay.
So keep that in mind.
We can also change these values if you want.
I'm going to bake indirect lighting.
So it would bake.
They enjoyed lighting and we made it clear what we were doing, the lighting.
So it's taken a lot of time and I'm not going to do that.
That's something that the press escape to that is forgivable.
Let's forget about that.
I want to see how we can change our looks so we can also play around with the field.
Add more.
And also if I press, I'll play right at the camera a little bit.
Jitters like it goes a little bit like this.
That's all right.
It's a bit like this, right?
It goes like this.
It's because of the resolution of a cab over here.
So the curve has a resolution.
Go over here and increase the resolution of the care.
They should rotate much nicer.
Now I want to.
I want to make the highest value of two subdivisions for each object's.
Shh.
She?
I might be too much now.
Now.
It might not work properly in the.
And Evie.
Well, let's check it out.
So.
Yeah, I thought I showed you how to get a single image from from blender and do the compositing and
the compositing type.
So now I just wanted to show you how to do a cinematic
presentation from your work.
And yeah, it would be really nice.
Next, you want to go to your scene or actually to hear this one.
This fender bender.
Complete this.
And it goes a bit more smoothly.
All right, go over here to this, tap out, pool its properties and set your output folder over here
and sets said if you want it to be pinned to your jpeg, if you want it to set impinges jpeg and set
your color depth to anything you want.
Set the compression.
Something like.
Uh, 30, 40.
It doesn't matter, but it makes it.
It makes the saving much faster.
And the fires are not going to be that big.
Then you go to render and they can render animation.
And it's going to render this animation for you.
But be careful if you save it.
That Pug is going to save 250 images on the folder you selected.
Okay.
If you want it to save it as a movie, you can select these and pick save it.
But I don't recommend that because maybe your computer can't handle that much geometry and doing all
that.
So you may want to image.
So maybe a blender crashes and then you don't get your fonts back.
But if you if you save saved a PND for example it goes and saves Europeans you until 125 frame and then
maybe crashes but you have all those one 125 frames right ones until five frames each.
So you just need to do rendering from one the 2526 frame to 253 to.
That's right.
So you can get your work back with spent it but if you save it ads and pick then if one there crashes
you have to do that rendering all over again and it's just not a guarantee that it's not going to crash
again.
So now, guys, I think this is the end of.
This video, and I hope you really enjoyed it as I did.
It was really, really, really cool.
We can always go and improve this to.
I think this needs improvement.
I don't think it's perfect.
Not at all.
This no improvement.
But the time of this course is limited, and I need to finish it sometimes.
Right.
So I'm just going to finish it right here.
But I am going to work on this more for myself and do some improvement later on.