Integrate REAL Camera Data in Your 3D Scenes!

solve it easily. I'll hide the floor for a second. We want to scale our scene from the center point so that everything scales proportionally, but before we do that, I simply want to place this on another null object. I'm going to hold down alt and select a null value and this is now our

camera

and I'm going to press l to enable our gizmo and I'm just going to zero the gizmo so that it's right there in the middle so that when we scale it, it scales from the ground from scratch. right zero, so to get this scene, to scale the scene proportionally, what we're going to do is we're going to go to the coordinates and we need to type in the numbers here, we can't scale it up or down.

Sorry, we can't use the scale tool because it will just go back to its original position, it won't work properly and you can see there that actually something happened where oh, that's the oh, never mind, that's the null object, okay? I use the scale tool you can see if I press play it will fall underground or wait it worked it works randomly yeah I'm underground basically underground now so we don't want to do that we want to scale it using these settings here in the attributes so we'll do 0.5 and then maybe a little bit like point maybe 0.35 something like that and we'll jump maybe it's a little bit big that feels good maybe 0.375 and now our scene is scaled proportionally and We're going to get our geometry back, just that's a guide, let's build it with those boxes, so what would be the best configuration?

So let's go back to the top view and adjust this as we go, so I just want to. so this hallway is as narrow as possible and we can actually adjust the

camera

like the orientation is a little weird, we can adjust that after the fact and I think I can get this wall a little bit closer, so I want to get it as close as possible. possible maybe like there oh that's good and that's

real

ly good so what we're going to do now we're going to adjust that little camera shake at the end we want to tilt it up so I think the best way to do that is maybe cast If we want adjust the camera, I'm wondering what's the best way to do it.

We need to tilt the camera up. Hmm, let's hide the geometry for now and figure out the best way to make some adjustments to the camera, the way we want. be tilted up a little bit more, so I'm wondering if it looks like the whole scene needs to be tilted up a little bit, so if we see, hit, get there and do something like that. I wonder if that will even things out a bit. Yeah, actually not bad, so all I did was grab the outermost null object that our camera is on and tilt it up so that this line is straight on the ground. as much as possible and I think it worked well, so the next step here we're going to turn these things on at the end first, we just want to place all our barrels and ammo boxes and stuff, okay, oh, let's definitely save our scene, yeah, this is. track well i need a mod yeah i need it oh yeah and um evolver you were right good to see you too um octane is free for blender 100 free for blender okay let's see here let's get out of view of the camera and let's configure. our scene we're going to set up all the barrels and the boxes so I'm going to copy this camera and this null this is going to be our uh we're just going to call this our lock scene here I'm going to grab this I'm going to grab everything actually, copy it and we're going to paste it into this window of asset project or in the project file.

Give it a second to load. It's okay, it's still loading. I guess we might fail, but okay, how long does this usually last? I usually do three or three. Four hours into the broadcast. I try to keep everything as consistent and accurate as possible. And I want to make sure you know that I finish a whole lesson at the end. I don't want to do a part one and a part two. too much so there's a lot we can do we can't do crazy things we can't do big

scenes

unless there's a part one in a part two um but for now you know, yeah, like about three four hours, sometimes they're five hours long. but today I'll probably finish around two of my time, so it looks like we're on ice, so let's go ahead and reopen the theater.

I'm glad I saved that project that was close, so for those of you just got here, so what we're doing, we're taking our uh, we're taking some images and we've tracked them in After Effects. I didn't mess with any settings. You just know, I put the default After Effects tracker on. A plane was made on the ground and I'm taking this tracking

data

and I'm using it to animate and navigate around a 3D scene that we're going to build in Cinema 4D, so it's a way to make

your

cg

scenes

and

your

sequences are a little bit more

real

istic because they're actually using real camera

data

and we just failed so we're back in so a quick tip for you guys if you want to improve the frame rate of your viewport here are a couple of tricks that use first. oh man okay here we go first what I do is I change my viewport method or my display method to just uh grout shading versus with lines so that's n a and n b those are your shortcuts so n a know get rid of the lines.

There's also n q and that will basically disable the textures only in the viewport and it takes a minute to catch up because I just opened the scene, but you'll see here on the left that the textures are loading and that takes a long time, you know? some memory in the viewport and if you want to hide that is n q and yes, I'm certainly going to render all of this. I want to try to get a render and at least get something we can see at the end of the lesson at the end of this stream so okay I guess it's still loading don't tell me it froze again yeah we're good these it's 8k textures again, I want to use this rtx 6000, the new quadro, so I actually have a deal with p and y and nvidia and it's in the works and it's very exciting and I think we have some plans in the works we have some plans they sent me this new quadro rtx 6000 um huge, huge, huge, thanks to nvidia and pny for working together to connect this um and uh yeah, there are some very interesting plans in the future.

I'm not going to give any details yet, there will be time for that. There will, there will be some time for that for more details, but I'm going to tell you now that you are going to benefit from it, okay, it's going to be very exciting, yes, you can follow any program, any renderer, anything that you want, okay, so just save this back to the queue, which will hide your textures and make it much easier and faster in the viewport, so let's go ahead and merge this with our tracking scene. Okay, now what we're doing is we can actually see what this is happening. the camera looks as it moves through 3D space with some barrels and boxes and stuff, oh and we need to extend our scene, we also need to make sure it's at 24 frames per second and I just want to make sure turn 3 is your timeline, we just want to make sure we're getting all those frames.

Yeah, we're good, so this is the fun part. It's when we build our scene so we can do it in multiple ways. We can create instances of all these objects. and duplicate them one by one, which is certainly one way to do it if you want full control over your scene. Another way to do it might be hmm, I wonder if we can set up like a dynamic situation where we just drop a bunch of things on top of each other, I wonder if that could work, okay, let me, let me, let me try this, let me try this, so if we're okay, instead of manually placing everything that is.

It's going to take a while, we might have to do that, that might be the best way to get the most control. It's certainly you know the way with more control, but I think what we can do is make, let's make a cube. we actually take the original geometry, set up our test geometry and let's take a look at this one more time and make sure it's right for us. I think what I'll do is have a crossroads here in the middle that way we can get There's a really interesting depth to our scene, so by crosswords I mean I'll open it up a little bit so you know a path that goes off into the distance. and we'll add some fog, it'll be like a fog. basement or something, um, so they look like they last forever, right, these boxes are stacked infinitely, that's the look we want to get, so I'm going to expand this.

I already feel like this is not the way to do it in terms of using dynamics to place everything on top of each other because it will fill the entire volume of this cube and that's a lot of wasted memory, so maybe what we can do is clone the boxes hmm Let's try that, let's try that. cloning the boxes inside these cubes maybe on the edges of the cube or something, so let's place the cubes on the ground. I'm going to grab all three or I'm going to grab just the full null and I'm going to go out of camera so you can see what I'm doing here, I want to get the anchor point at the bottom of these things, so I'm going to use the center tool of the axis with include children, I'm going to use all the objects and I just want to run it, so it's going to move the anchor point to the bottom of these cubes and now I can zero out the y and it's going to be right on the ground, so it's going to look like they're stacked infinitely . and infinitely high and I'll make a couple more adjustments here to make it look like we're going to get rid of the floor for a second, so I just want to scale this to give the impression of infinity here, actually, instead of doing that, I liked it. our angle, so I'm actually going to grab these edges here and make sure to only select the unchecked visible elements to get both and just move them out, we'll move it the same way for these guys.

We'll just move that around and then maybe there's just a little cube at the end so things can end up there and we can put a spot of light there to draw attention to the end, which will be nice and we'll do that. Same thing here, we'll put a box right at the end by holding down Ctrl to duplicate like this, awesome, so this is our rough scene here kind of reminds me of Dark Souls, kinda awesome, how's everyone spamming? in chat, I might have to kick you, I might have to and you wouldn't want that, so professional entertainer, you better relax, unless you want to get booted here because no one wants to see spam in chat. that's dumb, you can do it on any show you want, it'll be a good time, okay, so let's see here, let's take all these barrels and these boxes and throw them into a cloner, so I'm going to wait.

Ctrl Alt and place it in this cloner. Oh, that's a subdivision service. I definitely don't want to do that. Oh, oh, undo, undo. Okay, that's a close cloner. Yes, now here is the key ingredient. The secret sauce. Configure your clones to configure your clones on multiple instances. that will allow you to duplicate as many um iterations as you want and won't overload your system, so you can do it for free. That's the way we're going to be able to accomplish this here, so next what we're going to do What we're going to do is we're going to clone everything basically just on the floor.

Here we want to clone it through an object and that will be this null. We're going to clone it through the null, which is all of our geometry that forms our walls. and our runner here, so let's make a cloner and we want to set it as an object, we'll put the null value in the object and the iterations will be random and we want to see, let's get out of our camera view to see what's going on and I. I'm going to take these cubes and we're going to hide them in the viewport so it looks like we're not getting anything.

I don't know why it is because it crosses the null value or I need to do this individually. it happens individually unless you take all of this and you're trying to do a general duplication, let's go ahead and select all of that and we'll connect it and delete objects, so now it's just a piece of geometry and I'm going to hide this. null and let's go ahead and take our cloner and point it to this new null that we created so now it's duplicating across all of our geometry all these different boxes so we definitely need a lot more okay so what we're going to do is account okay , we'll set the count to 1 000. let's see what that looks like that's crazy and we wanted this we want this to be so dense that we can't see through any of these walls let's go ahead and change it from the surface I think the surface is what we want, yeah, the surface is definitely what we want, let's go from a thousand, let's try 5000 and give the cloner a random modifier to make sure the randomness is in the effectors there. uncheck the position, let's jump to our camera, wow, that's intense, okay, let's take it from five thousand, let's take it to ten thousand, let's take it to thirty thousand and you can see that we're actually still getting a good speed of frames, so this is like the covered version, this is how we just want to exploit it with the shortest time possible, but get some kind ofI congratulate. uh the night man is coming or the night man comment i don't know it's probably a nightmare congratulations to your winner of this week's weekly challenge and lastly the last winner of this week's weekly challenge is um, what is that strong aluminum taste?

Yes, with this image here it is very funny. a post-apocalyptic scene, here you have your nice wet terrain, a nice area destroyed by the battle in the middle of the terrain and a very intense cyclone in the background with rays that enter again with the color, you have the orange, you have the blue . I just know where the orange comes from, maybe putting some street lights in there would justify it. Yes, super creepy lightning. I'm not interested in this overlay you put on top. A subtle film grain would be nice, but I think. This is too much.

What else do you see? This is an eyeball. I can't really say what it is. I could clean it up a bit. Get rid of that, but I like your silhouette. It's a good silhouette. destroyed car, we have two destroyed cars here, um, but yeah, congratulations, oh, a strong taste of aluminum, you are the winner of this week's weekly challenge, you guys did a very good job, this message was difficult, it was very difficult, I know, so I really appreciate it. all the hard work you put in and let's talk about this week's weekly challenge because like I said I'm working together with p, y and nvidia and we're going to make something really cool together for you guys so definitely stay tuned. keep coming to these streams there's going to be some cool stuff coming up so this week's weekly challenge okay I'm open to suggestions let's start bringing them into the chat here and see what we're up to cuz I like taking requests from you guys.

This makes it a little bit easier for me, one less thing to do while I'm getting ready to stream, so I'll check that we're getting 30 second frames, which isn't bad. I'm excited, I'm really excited about this, hell yeah, um. We'll let this go. I'm going to go to Hollywood and take some photos with my friend Mark. I'll be on Instagram. He will leave you his photography tips. He is working on his new series. It's called Naked Hollywood. look up mark edward harris check him out he's an amazing photographer he inspired me a lot so it's really cool to have the opportunity to go down and shoot with him so catch me on Instagram it's Punisher underlining I'll underline I'll leave some things in my stories, so let's take a look, let's take a look at these. accessories cute oh cute that's not bad castle holograms floral we made flowers I think we made potted plants in the past robots we've done archery it's very specific pokemon hmm pokemon is good I'm a big fan of vintage pokemon technology oh that's good, damn that's good old tech, it's hard, yeah that sounds cool, ruin old electronics or something abstract, abstract could be interesting, I think right now it's between old tech and abstract, oh low poly too It's good, it's okay, I'll call it, let's vote. for abstract, come on, um, let's see if we can get a little vote, um, abstract is an ancient technology, two and three are, damn, what were three ancient abstract technologies and, uh, low poly, what do you think, no spam, this is the honor system, don't spam it, okay, lots of two, okay two, the challenge for this week is old technology, so what are the rules, um, wow, what old technology, What would ancient technology be?

I guess it could be something like the consequences. 3 style things um, it could be like type, I guess a typewriter counts as old technology, it's going to be difficult, so what we don't want to do is just download a resource from mega scans or turbosquid or whatever , turn it on and call it. something right, you actually want to try to build a scene out of it, you want to, if you can build your own, build your own thing, build your own old technology, render it, make it look really pretty, the quality of the lighting, basically, everything comes into play in the end. image and decide the final renders based on which ones look best if they have a bit of history that goes a long way, there are a lot of things that go into a render like the first thing I see when I look at it.

I'm looking for something that looks good, looks good, if it looks good, I look, I look deeper, I look deeper and that distinguishes, um, when you get there, when, when you basically get past the part where I get into, does it look good? telling a story, what kind of techniques are you using?, you know, what is your lighting like? I go into the details, but it has to look good, so make it look good, okay, vintage technology, yes, that's the way to go. Yeah, okay guys, so I'm going to post that on the Discord server, but I have to run here.

I have to meet with Mark and I'll see you next week. Okay, next week. Old technology, go for it, it will be fun. Guys, peace, I'll post this render on the Discord server when I get back, so definitely stay tuned or stay tuned. I've been talking for four hours straight. Guys, keep your eyes peeled for that, so I'll see you around. guys next time peace