Apple Motion Cameras PART 1 - Apple Motion Professional Training 12 by AV-Ultra

my name is Stanislaw Robert Luberda with AV-Ultra and today we're going to be talking all about cameras. in part one we're gonna be working with viewpoint cameras framing cameras depth of field near and far fade thickest and zoom to behaviors if you're comfortable with cameras I recommend jumping right into part two where we actually create a whole project from beginning to end using cameras drop zones and a bunch of other exciting things and it's gonna look a little something like this so let's go ahead and let's get started when you open up 12a you're gonna be greeted with something like this and I just have a 3d layer here in space and a few other things in Apple motion we really have two different kinds of cameras we have a framing camera and a viewpoint camera and right now I have these two in my oh one camera types and if I turn one off and I turn the other one on it doesn't really look like we're seeing much difference and that's okay cuz to really see the difference between these two cameras we're gonna have to change our perspective so let's go ahead and change from a framing camera to our perspective and right away we can see a few different things you can see I have my 2d background I have some other things going on we're gonna ignore that for right now and let's talk about our framing camera I'm gonna zoom out just a bit and our framing camera does exactly what it sounds like all our camera control is based upon what is being framed into our scene so if I go under my framing camera and I go under my properties we have our rotation XY control etc let's just jump right down into the rotation controls and if I turn any of these things see what's happening our locus of control is based upon what is being framed into the scene if I'm rotating anything it's rotating around the object that is really being framed when we're talking about animation and how we're actually animating that's pretty intuitive but that's not really the way cameras tend to work if I turn off my framing camera and I turn on my viewpoint camera our controls now are big based upon our camera so imagine you are a camera person and you are sitting next to your camera typically the way you're rotating them is like this and you'll notice what happens if I do that in my scene my viewpoint control is a little bit more natural it can be admittedly a little tough to animate with so if we're actually animating I like to use the framing camera if we're moving a virtual camera through a scene that contains a lot of video footage that we're stacking in 3d space that's where I'm gonna be using my viewpoint camera an example would be if I had some text like my Eevee ultra camera tests and I really wanted to frame that up and so if I use my controls here to frame this up go to our viewpoint camera and change this to a fit here I can back away and it feels a little bit more natural as I'm animating so that is the main difference between the framing camera and a viewpoint camera the main difference is where exactly that control is coming from one more important thing to be aware of with our framing and our viewpoint cameras is what happens when we change our angle of view for example if I change my framing camera here from a 45 degree to something like a hundred degree you can see what's happening in our framing camera preview it is moving back but really that disc in the back our Siemens star isn't really changing at all if I scroll all the way back to about 10 degrees now you can actually see my text layer and what's happening is our camera is moving really far back in space I'm gonna turn off that other layer in the background for right now and if I go back to my framing camera and I just start scrolling this back and forth our view is changing based upon our angle here if I turn that off and I turn on my viewpoint camera check out what happens this works a little bit more like a real camera would if I'm changing that angle of view to something very very narrow it's almost like doing a zoom in everything is becoming very compressed so I come up to my HUD I can see a focal length so this is a pretty close approximation but it still doesn't give me that same kind of control-r I would have my f-stop in after-effects so be aware of that that it's not really a true representation of focal length so those are the main differences between framing and viewpoint cameras let's go ahead and move on to our depth of field so I'm going to turn off this camera here and that's pretty important make sure these two top cameras are off and we're gonna turn on our depth of field camera I'm just gonna select my depth of field and I'm gonna hit F and what F does is that zooms in to the view of this layer so this layer is comprised of this disc and this text layer and it is showing me everything to fit into my screen and I'm just gonna zoom that out just a little bit and select my depth of field camera our depth of field camera has some different things first of all it's a framing camera and that's what we're gonna be using by default we have these three different squares we got this front square this middle square and off in the back we've got this bar square spike zoom around here we can kind of see that a little bit clearer and this really denotes what is in focus and what's out of focus and where is like the furthest kind of focus that we have if I use my HUD to kind of zoom in and zoom out by the way this is the same kind of controls that we have in the top right corner I'm not really getting any kind of depth of field at all really I'm just seeing what I would normally see and the reason for that is we need to turn on our depth of field in our renderer if I turn that on and now i zoom in you'll notice that things are really getting out of focus and if I pull back my text is coming into focus and then resting right about there and that's in focus well I can see that right now my text is falling in between these two squares and off in the distance that's still in focus and that's somewhere in this square here - if i zoom in and get this within those two squares now this is in focus and if I keep going beyond that you'll notice that it's getting out of focus again so let's talk about how we're setting this focus I'm gonna just zoom out really far for right now just so we have our text in focus and our background out of focus let's go ahead and take a look through our active camera this is what we saw on our front and middle square in the background though this was all the way out past that third square maybe to illustrate this better we're gonna turn on two views right now I have a few different things happening I have a depth of field blur amount that I can actually turn down or dial up the higher this goes the more blurry that background is going to be or anything that's not in focus we also have our focus offset so if I scrub this back and forth pay attention to what's happening here I'm really taking that okis and racking it between these two different points and if I keep scrolling forward that now this isn't focused and this is really out of focus so this is telling me that the focus here is pretty shallow only things between these two areas are in focus well if I want to change that I can actually dial this all the way forward and back and this is my near focus this is saying hey this is the closest thing that's gonna be in focus to the camera and notice I can take this all the way up and now I have a very wide depth of field so right now everything between this point and this point is in focus I can change that offset and change that so as soon as things move past that near focus they're becoming out of focus and the same with this back plane for when I move this all the way back and once that hits that threshold of moving this all the way out of focus well now everything is unreadable so let's go ahead and put that back we also have a far focus and our far focus will let us set that really far path so we talked about our near focus and that's setting how wide our focus is and then our far focus lets us set the maximum focus value I can crank this back up beyond it to pull everything in focus now maybe I just want infinite focus in the back I don't want to worry about what's in between here and this middle section and that front section with my focus offset I really just want this and this and that's where we have this infinite and as soon as I click that it does exactly what it sounds like it's going to extend out that cameras rear focus forever so now all we have to worry about is setting our near focus and our near focus works a little bit more what you would imagine a real camera to work like so let's go ahead and move on to our filter types I'm gonna turn off that infinite focus right now when we are blurring things out if I set this focus offset and we're gonna just dial this way back so we get that Siemens star out of focus take a look at exactly what's happening and we're gonna zoom that in just so we can kind of see that a little bit more clearer come back to my depth of field and let's talk about this filter type right now it's set to Gaussian and really that's just a blur there's not a lot of computation it's just taking the pixels and blurring them but if I change this to ad focus now I get something really interesting happening right now it's set to disk or I can set it to polygon and when I set things to polygon I can actually set the number of sides in the polygon so this works a lot like different kinds of lenses that will have a different number of blades inside to create their bokeh blur if i zoom this in and zoom this out we get a different kind of blur that we would normally not get using the Gaussian blur the trade-off with this is that it's a little bit harder to compute and takes a little bit more time to render but tends to look a little bit more believable so let's go ahead and move on to the next section I'm gonna turn off my depth of field camera close our depth of field turn that off and we're gonna come down to our near and far fade so I'm just going to click on my near and far fade I've just changed my perspective viewpoint here so I can see this a little bit more clearer and I'm gonna go ahead and click my active camera and I want to make sure that I turn on my infinity fade camera and I turned on my infinity fade and here's what we see we have our depth of field and I'm gonna just turn that off right now and we have a near fate and a far fade and we have a little apple motion logo with the floor and some background I'm gonna just zoom this back out so we can see that a little bit more clear and in our Infinity fade we're back in our camera controls and we have our near plane our far plane are near fade and far fade so what this means is exactly how much you can see if something gets too close to the camera as an example I'm just going to pull the camera back and pull it forward I'm still hitting these letters that are kind of in my way it'd be great is if I could zoom in and they would kind of just fade away or the background would fade in so let's turn on our Infinity fade and let's turn on our near far camera right away my candle looks like it was kind of in the same place here but it looks totally different the big difference that we have here is we've set our near and our far fade and our near and our far plane if I move this far plane back you can see more is being revealed so if I pull this back to let's say 400 now if i zoom in with my camera the background slowly fades in depending on the position of the camera so as I get closer it starts to fade in and as I get further away it fades out so how exactly do we set this up I have this near plane and that's where we start seeing things so this is going to be about 945 pixels away from the front of the camera that's when we start seeing things it also takes into account how many pixels start fading away at 0 it starts fading away at 200 or 400 it starts blurring out this is almost like a feathered edge to our camera and so again if I take this near plane and I pull this back 2,000 pixels from here out starts fading away and the same with the back if I start pulling this back it's almost working in the opposite way where it starts coming from the back forward and I can keep pulling this back until everything gets kind of faded away if I take this far plane this is exactly what it sounds like the further back we go the more we can see so if I want to kind of hide something in the background like this I can do that and then just fade into things so this is great especially if I was doing a bit of a slideshow if I wanted to have text moving into my scene and I had a lot of text in the background I don't want to be able to see it all I want it to fade in and fade out kind of naturally let's take a look at some special behaviors that some cameras can have right now I have a camera focus and we have a zoom to behavior and a focus behavior let's turn off the camera in our number-3 and we're gonna turn on the rest of the layer so we still have our near far and our icon on our floor and our backdrop and I'm gonna go to my zoom to behavior and let's just see what's happening so if I select my zoom to behavior camera and I just play this back we can see what's happening so let's do that one more time check out what's happening here in my perspective window if I play this back it is moving on to the scene and then zooming but notice it's really only the background that's changing the foreground isn't changing so it's it's kind of like a Hitchcock zoom that we have immediately and so that's really cool because otherwise what I would have to do is manually change my angle of view and what I'm framing at the same time it's extremely efficient when I want to get this kind of a look but I'll be honest I don't really use it as often as I feel like I could be or I should be another behavior that we have specialty two cameras is the focus behavior this is probably one of my favorite behaviors as far as cameras I really like the framing and sweeps but focus behavior does something really cool so I'm just going to select my focus behavior camera and I'm making sure I have that selected and we're gonna make sure that we have this fit to view and what I'm gonna do is I'm just gonna play this back and see what's happening here and in my other screen I'm gonna have to turn on my depth of field for this example and right now I have my near fade out of focus and let's do a quick Ram preview so we can see what this looks like okay so most of that's rendered out and I'm just going to open up my focus behavior layers and we can see what's happening so I have one focus behavior here and then a second one here so let's play back this first one and what's happening is our focus is moving from this far fade to our near fade and so what it's automatically doing is I grabbed whatever layer I want and focus and then it does that immediately if I want to change how fast it does it I can do that with an ease ease-in ease-out accelerate and it's transition speed so this will change how fast that it actually gets into focus so right now it's very very quick gonna undo that and I also just copied this behavior by hitting command D and I've got this one here and I just dragged that other layer directly into it show you exactly what I did was I went into my near far focus I grabbed my Apple icon and I just drag that right in there to show you what that looks like first I have my far fade then my near fade then my motion icon if I want this to slow down as it goes into that rack focus I can just extend that out and this time we're going to ease both of these give its transition about 75% and I'm just gonna rain preview that one more time so now that go is out of focus very quickly and then it eases into that final focus there's lots of other things that we can do with our cameras and behaviors if I wanted to give this a bit of a camera shake just gonna turn down my quality turn off my reflections and depth the field for right now and come on down to my behaviors and add something called a regal I'm actually going to go into the inspector to change this and I'm gonna dial this up to about 400 we're gonna change our frequency down to let's say 0.5 what I want to do is I want to apply this to a specific property in our position right now we're just gonna do X&Y right now if I play this back you can see what's happening it's moving around quite erratically maybe I don't want it to move around that fast I'll dial this down to point two and instead change it to about 35 right and again maybe that's still a little too much maybe I want to turn down my noisiness and maybe I want to change this to point one we can see what's happening here we're getting this really nice smooth motion and so this is great for creating some realistic kind of movement and it's extremely useful to just be able to throw that in there and give it some random parameters my name is Stanislaw Robert Luberda with AV-Ultra and that is the end of cameras part one in our next lesson we're going to be animating a camera in 3d space in creating a little 15-second intro so be sure to come back and check that out as always I hope you found this information

Channel: AV-Ultra

Views: 25,106

Keywords: AV ULTRA, Stanislaw Robert Luberda, Stanislaw, Apple Motion, Motion 5, Motion graphics, Mograph, VFX teacher, Professional Training, Apple Motion Cameras, Viewpoint camera, Framing Camera, Motion Depth of Field, Near fade, Far fade, Motion 5 tutorial, Motion tutorial, Apple Motion tutorial, rack focus motion, focus behavior, motion camera tricks, motion, apple, training, cameras, tutorial, apple motion camera, apple motion camera tracking, apple motion 5 camera tutorial

Id: FEd0fgxcb24

Length: 18min 19sec (1099 seconds)

Published: Mon Sep 04 2017