Daz 3D is part of 
Connect
DAZ Productions, Inc.
7533 S Center View Ct #4664
West Jordan, UT 84084
Licensing Agreement | Terms of Service | Privacy Policy | EULA
© 2024 Daz Productions Inc. All Rights Reserved.
Comments
These are no longer "no longer available"
dB Animation Kits
I have a demonstration planned on using that Genesis 1 MorphForms + for breathing and correcting joints, etc.,
In the works but still down the road a bit.
was thinkin, shuld render some screen tests for what i want to use.
not just character screen tests, but audition the sets too
some sets cant render in a long sweep, like the mystic gorge. its separate pieces.
somr hdri works better than others.
different ambiences, like tatooine, ireland celtic mists
read somewhere not to let the camera cross the line of sight, it disorients the audience.
but sometimes disorienting the audience is fun
That's the 180 degree rule.
At 26 seconds into this, I do a sweep into Mystic Gorge, but being the noob that I was, I had already changed a lot of the elements in the gorge, like remove the islands, added my own lighting, etc., etc.,
The trick is to not film the parts that might not jive, like some of the different parts.
But I do as you were thinking all the time.
I build my scenes, light them, save them. When I consider using them in a scene, much like a previz session in Hollywood, I'll run some simple tests using the camera angles and moves I'm envisioning for that particular scene.
When I light my scenes now, I most often light them with a particular camera angle in mind, and save that camera with the scene for reference. Back then, I built my scenes as if they were an entire location, so I could film anywhere from any angle.
Taking a Filmmaker's course along with reading and watching tutorials and demonstrations regarding filmmaking has taught me to really only focus on what's in my head for a particular scene - making a huge coontrast in how I used to work compared to now.
Example:
When I'd light a scene to look good from "any angle", there is truly no way to make the lighting as dramatic as it is when I light my scenes now - for a specific scene at specific angles. Now I look for ways to create shadows that will help make my action (most often characters now, but also vehicles or whatever the focal point will be - even a specific piece of landscape, etc., stand out nicely from the rest of the scene - because as storytellers, it's our job to help the audience "See" what we're trying to tell them.
sometimes that rule of thirds just cant work.
theres an airport in the native content, cant line it up. doh
i love that there is a sleigh in the aircraft folder, lol
Using the rule of thirds, we don't fit 'everything' into a third, but the focal point that we want the audience to see, and if that's going to move, it should move toward the opposite side of the screen.
So if we want to show just the airport itself without any other such point of interest object, instead of sticking it in a third, center it.
It is also nice to pick a point of interest within the airport and zoom in a bit - even just a little, enough to fill the scene with the airport, letting some of it be off-screen. And if we want to show the whole airport, pan slowly from one side of it to the other, then switch to another shot altogether from another angle, either zoomed in or out, depending on what you're doing with the scene. Like pan across the airport once, slowly and then switch to a view of an aircraft on the runway or being boarded, for example - and use the same rule: don't show the whole plane, but let parts of it go off screen to give it the large sense of scale it deserves.
I thought I'd put in that last part about scale, because it's fine to let small objects be completely scene within the camera view - ignoring the idea of letting part of it go off screen.
However, watch some TV or a movie. Most of the time we Never see a whole person, and that's considered a small object. In fact, more times than not we're either seeing just part of the head, the scene centered on the eyes, or back showing from the waist to the top of the head, or the other common one being from just below the neckline to the top of the head.
I'm sorry if I sound like I'm preaching... just passing along what I've been learning in studying cinematography. There's a bunch of free videos and reading available on this stuff. I've even watched a few series on Amazon Prime Video that are free to members.
setting up the camera motion takes mucho practice.
3 hours ago, all i wanted was to turn 360 degrees.
359 degree ended with a -1 degree spin
changing the rotation to angle changed the positioning. OscarMikeGulf LimaOscarLima
was gonna add a ninja sprite to the scene, but too tired naos.
just rememberd the power pixie.
He's a fun little guy!
I don't do much animating, but I have found that you can get weird results doing a 360 degree rotation. Things rotate backwards or flip over. The best wat to do it is to rotate 120 degrees three times. That usually fixes things.
Bezier tweeners can also play havoc with large differences like that - other times, however, they're exactly what we need.
Another trick if we need to do full rotations like that is to plant a Target Helper object onto what we want to rotate the camera around, parent the camera to it, and give it a spin modifier on the z axis and adjust the speed and timing accordingly. Works like a charm for a simple 360 degree rotation, but any amount of rotation as well.
We can even use the spin modifier for non-constant rotation, by changing the speed setting along the timeline, like start off realy slow in the beginning, g just past the last frame of the animation and set the speed faster. This will Really get your audience dizzy!
Mystiarra -
Sorry for your frustrations. When you switched the Rotation Controller for the Camera to 'Angles' did it change Position or just Rotation? Or both?
When I switch the Camera to Angles all the Rotation values will zero out, which turns the Camera facing straight down. You should be able to re-dial in the correct Rotation you want, then keyframe a 360 degree spin, or 720, or 1520... or whatever and should spin as expected.
So Cool!
i'm in the 'Watering Hole set.' camera 10
i set an hdri and wanted a 360 view to see how the hdri looks at different camera shots.
when i changed the camera 10 to angles, i lost the view of the water.
then i tried to copy the camera keyframe from 1 to the last frame, thinkin it would end the rotation at the beginning, but the copy option was grayed out.
i should've been practicing this stuff from the beginning. >.<
render is up to frame 42 of 600, thinkin about aborting it tho, need the time to work on the pbr shaders.
Simple solution:
Sometimes after doing this, we may need to go to the Zoom drop-dowm (lower left of window) and set to default zoom.
Awesomely elegant solution.
I had one other along simlilar lines that I use on and off that works for all objects (again, your Camera solution is perfect!)
If I want to match both postion and rotation quickly without writing down a bunch of PITA values I'll throw a Track Modifier on the object I want to track. Check 'X' 'Y' and 'Z' and check Tarck Rotation, check Enabled, click the big 'Choose an object' button and and your object should snap into place. Discard the Modifier or uncheck 'Enabled' if you think you need to tweek your setup later.
thanks.
thinkin modifier could create the illusion of the water moving. mebbe the ripple
the witcher3 does good water movement.
lol he looks up to no good. need that harry potter spell, pesky pixie
That Rocks!!!
A common technique used today in games and movies is to use an animated, tiling procedural noise to displace a plane, which is what I think Carrara's Ocean primitive does.
Speaking of Carrara's Ocean, it can do a quite a bit when we play around with the settings, but as we increase the definition, it tends to slow the working view, so it's good to find your sweet spot, note it down with test in the Ocean's name (or side note, like how I use an empty group in EnvironKits) and then reduce it back down until render time.
For smaller, river-like waves, have a look at the replicated water included in either Badlands or Woodlands. I have the definition dialed down on that to keep the interface friendly - and I personally keep it that way, but increase it at render time to get higher level details in the displacement.
Is Power Pixie even Not up to no good?
just remembered carrara has motion blur, in the tweeners i think
Nope. Motion Blur is a collection of options on the bottom of the first page of the Render room.
thought there was something in phil's tutts about motion blurrng an arm? not sure, been a while since i watched it
the pixel frenzy happened in this animation too.
i don't know how to avoid it?
should i avoid certain shaders?
is it too many lights mebbe?
i shoulda had only 1 light casting shadows
Yep. Object Accuracy of .5 almost completely gets rid of that at the cost of render time. The Bump channel will accentuate that effect, so turning down bump and using less detail in the distance can help to keep that at bay for renders at Object Accuracy of lower quality values, like 1 or 2
I discovered that when making Starry Sky for Carrara, which is why the default scenes, if loaded on their own have the render quality set to Object Accuracy = 0.5
Anything lower (higher numbers) causes the stars to flicker, which can also be fun, but unpredictable.
there some render settings i've never touched.
do you use the storyboard tab for anything? i have no imagination of how to make use of it.
It doesn't really do anything for me. I tried using it for Storyboarding, but it doesn't really work that way. It does give us the opportunity to see many frames at once in an animation, if that's helpful to someone. I am more comfortable seeing the frames go by... um... in frame ;) So I just use the assemble room.
i just noticed the animation menu has 3 filters.