Creating a Chasing Camera Animation (in a Subway Tunnel) - In the Studio with Daz 3D

[Music] [Laughter] [Music] [Music] [Music] [Music] [Laughter] [Music] [Music] [Music] so [Music] [Laughter] [Music] [Music] [Music] [Music] foreign [Music] [Laughter] [Music] [Music] [Music] [Music] [Laughter] [Music] [Music] [Music] [Music] [Laughter] [Music] [Music] [Music] [Music] [Laughter] [Music] [Music] good afternoon everyone good morning and perhaps even good evening welcome everyone from all around the world on three different platforms all here to meet us for another exciting episode of in the studio with das 3d it is so wonderful to see such a large audience and it's so cool that we got into this weekly habit literally of of of doing this so just to give you all a bit of background who are not members of the season pass uh the the gang the season pass gang and i have been we're hanging out literally every week for the last three weeks every saturday around this time and it was absolutely amazing it was really good to get into this groove of doing something creative together learning from one another and it was absolutely amazing the webinars are still available to uh to watch for season pass members if you do want to join you still can there's a private section in the forum that we exchange you know anything from practical ideas to uh to uh operational bits and pieces there's a very very cool it's a great great habit to get into and so this is my fourth week streaming on the desk channel in a raw which is super super exciting so wonderful to see you all and today of course everything is about animations and i'm trying to get this um i'm trying to get us basically for these streams i'm trying to get us a little holding loop that looks better than the current uh black graphic that indicates something's moving something's happening but we'd like to see something more exciting so today it's all about animations and animations are a huge topic so i won't be able to show you the whole process and the and the many days probably around two weeks that it takes to set this whole thing up but i've prepared a little scene and i can show you how i arrive at values that will hopefully get us an exciting little exciting little animation that's the plan anyway before we begin my friends let us have a quick look at the des front page because there is for the next two hours mind you a live stream tutorial uh sale on that gets you eighty percent off three select items that all need to be in your shopping cart at the same time it is right here on the front page i believe brian and or julia are gonna post a link in the chat where you can see that because i had a look at it i didn't know this was happening but if you click on it you will see that there's 593 pages full of items available at a bargain and it literally ends in two hours so if you do want to snag a bargain if you do have a second screen that you can scroll through while i'm rambling on about animations this is your chance some exciting things i might miss the sale unless i do some shopping right now very cool there's also there's another sale on this is the summer blowout sale that won't end at 6 00 p.m eastern standard time so about two hours from now but still it's one of those things speaking of the season pass season pass members and platinum club plus members will have the option to enter into a funky little contest that is going on right now and that is uh that has been opened up from season pass members only to also include platinum club members so the theme is pirates it is open now there's i believe 10 pieces 10 places up for grabs look at that first place 150 store credits second place hundred dollar store credit third place 75 dollar store credit fourth to tenth place ten dollar store credit very cool might be worth entering if you have picked up the wolfgang bundle recently or any of the other pirate themed bundles there do jump in and you know get rendering contest is open until the end of the month i think all entries must be received yes september the 1st there we go if you've missed any of our previous live streams they are all neatly blocked together on a nice little page that das have created thank you travis and thank you your web designer who's done a good job i have rendered this little thumbnail this is how we're going to start this is where the camera is but the camera doesn't have any animation there this is a landing page on the desk website in which you can see all previous and future live streams so we're having look at that's me unbelievable i'm on the dash page that's amazing these are the links to the previous live streams here and future ones will be joining this page here so you can keep track of all the ones that you want to watch very cool so yes today i'm going to create something with this amazing bundle here this is well not so much the bundle but uh literally one item of the bundle the morning subway commute bundle which is also on sale so you know sales sell sales all around scene optimizer five bucks that would be rude not to pick that up we've been dealing with the scene optimizer in the season pass um stream there was literally i had a scene where you had two main characters the rest was fairly low res as well as billboards and my eight gigabyte vram couldn't handle it and i had to use it if you don't have it yet five dollar scene optimizer thank you so much brian that is very nice thank you for posting that link that is an amazing deal it's like an essential necessity really so this is the one this is a nice bundle and i'm going to use these two products here with it the subway pauses there's one pose i'm going to use but mainly star of the show let's have a look at the subway tunnel environment this is an also up for sale this is by decobon studio these are amazing people they make mainly game assets so if you've looked at their bits and pieces on the unreal or unreal or unity marketplace they do an unbelievable amount of stuff and i was inspired by this scene here and i thought that was quite cool this robot sitting in there there's one human and it's just a such a wonderful uh surrealistic kind of atmosphere and i wanted to recreate that and turn that into an animation so while i'm not using this exact robot here i'm going to use this kind of atmosphere that there's one person who's you know in the minority and that's human and then the rest of these people are you know scary robots who are probably just commuting to work you know one of those things so beautiful environment and it consists of the tunnel itself as well as the train inside the tunnel and that's what i will be animating so my idea was to animate the train through the tunnel and then have a camera chase the train enter the train go through the way through the train so we see what's inside then we pop out at the other end and go a little bit further and then at the end we see the daz logo that's where we're ending and then you know that's that's the animation and i'm thinking maybe i can do that once with robots and once with gorilla so let's see how that goes in fact i do have a little animatic prepared let me see if i can find that here in the many open windows that i thought i had up the scene is more or less a default scene that i've amended a little bit i'll show you i'll show you i'll show you subway tunnel renders there we go this is the animatic that i've made so animatic for those of you not quite familiar with with that terminology means that it's a rough rendered version of the animation so it's not a full res render but it's something that is lower resolution lower frame rate there's rough things around the edges animatics can consist of things like keyframes only so if you have the traditional onion skin animation then often animators will draw out things that are the keyframes which happen when a particular action changes in the in the in the story that you're telling and anything in between is something called a tweener and usually not the actual animators but uh tweener animators will deal with that so how does my hand get from here to my mouth that'll be like four or five frames in which i'm lifting my coffee mug and that's not something they would draw they would draw me holding the cup and then they would draw me drinking from the cup including you know maybe putting my head back and everything in between is a tweener and thankfully that studio can can do the tweening for us and that is literally anything that's interpolated between any keyframe that i said so i set something on keyframe one then i move my object and the playhead over to keyframe number whatever 30 and anything in between will be interpolated so what i like to do here is change the timing that we stay inside the train a little longer so i will say we'll start here for 10 seconds we're gonna get used to this environment and then around 10 seconds in we're going to go into the train so this is not not done well in the animatic this is a bit too fast i'd like to really relish the atmosphere here for about 10 to 15 seconds and then i'd like to come out at the other end of the train at around about right about here really at 20 seconds and then i have another 10 seconds on which i can settle in on my logo which might be just around the corner so this is kind of how i'm thinking about this so in order to do this i will first show you the scene and what i've made to amend this and then i will go and show you how i arrive at the exact keyframe values because i won't put those in straight in the hi-res scene i'm going to build a low-res proxy scene for that just so that i get a better feel it's it's much easier to move loras items around just so that i get a better feel for the scene so this is the scene that i've made it essentially consists of the default scene of the subway train but the the original scene has one bend at this end and then it has another bend uh can i zoom out that much come on i can i can i can i know i can and has another bend around this end so these are the two bends and it has one section in the middle and the train is also in the middle of that center section here that's straight so if i were to animate that it would mean that i don't have enough room here in the center section here's the train you can see the train here i'll show you a close-up of that in a minute everything is grouped together in the in the little um in the scene hierarchy here so i've got lights in one group then i have the subway train and another group here and then i have the tunnel the whole tunnel is in another group and of which there's a section missing now so we can see that we can look inside so what i've done then from the original scene i've taken the original straight out and made two instances of that which i've then bolted on one here and one here was it two instances or was it three instances i can't remember let's have a look i think it was two yeah so it's two instances of that center section and i've done it so that i have more time to move the train around in here just kind of thinking about the fact that uh it didn't have very much room and for still images you wouldn't need it but for animations i felt that was necessary so that's what i've done i've then botched the the end and the beginning pieces here so that they that they line up nice and smooth and that takes a couple of hours to do that so i thought i'm not going to do that on the stream here's that side wall if i go and close that up the tunnel is completely closed and i have a single camera but no keyframes these are all the lights by the way that come with the set this is my this is the scene that i've rendered the screenshot off slightly further to the front so that's kind of how i've i've been making that but there's no uh there's no uh moving animation in there right now so we'll start from here and we'll see how we go we'll animate the train we'll animate the camera and hopefully if we have a bit of time we'll go and try and get some motion into the person which is currently oh yes let me show you that as well there is a few people in here which are also made of instances so i've put those in already the train i've removed the walls and the roof for now and the doors and this all started off as a single person was it this guy here yes white phantom by jerry jang actually this is something season pass members got this free that was a nice surprise this is an outfit for genesis 8 mail and i thought hey that is really nice i'm going to give this to my only passenger and this is really the only real guy everyone else on the train is also an instance and i've made that with the multiple instances tool so that's that's how i got so many people in there but when when dash studio does this it just puts them in kind of in a row and i then had to go and move them into their places so that's a that's the first group of passengers here they've got this is the first group of instances and these are the second group of instances and yeah that studio will just reference those things so this is the real object and when i say instance then that means the memory doesn't have to load two objects at the same time it just has to load one object and it just goes and creates something like you could call it a shadow copy so no additional resources are necessary inside the vram so that's very that's very um that's very uh efficient memory wise so i did the same with the with the long stretchy tunnel sections there then i thought for our hero character which we're gonna create as well uh she is here she's not quite in the correct position so she would probably go and hug this uh this pole here and i'd like for her to just turn the head a little bit so that's that's kind of the plan as we then go out of the out of the other window she looks a little bit shifty like what's going on here and then we leave the train that's the idea intensify actually oh does it right okay um de val intensify let me refresh my memory i don't quite remember exactly what it does it there's there's one product and i think that's what it is it turns instances into real geometry or real geometry into instances i think that's the one i think that's the one there's two products that do more or less the opposite of one another and intensify is one of those things you can use there's there's a diner scene for example also by deco gone studios very very nice it has a lot of coffee cups stacked up on on tables and has a lot of tables but they're all real copies so that's very heavy on the on the on the memory so instance if i could go through and look at it and say hey i found this object about 12 times in your scene would you like me to create one real object and make 11 instances and put them in the same places so that's what that does can make your scene lighter there's another one this sometimes instances have issues sometimes when you export the set into a game engine like unreal engine and for the fact that instances don't really exist and sometimes when you export something it it gets confused by the fact that the instance doesn't actually exist as an empty placeholder object there or like an empty wall or something like that and when you use intensify sorry when you use this other script that's not in stanza 5 which i i'm so so sorry that i've forgotten about that and it will do the opposite it will essentially look at what's an instance in your scene and then swap that out for real geometry and that is good for export because in an export you have to have real geometry otherwise you know it's difficult for the target application to understand that oh it's by tottered of course it would be totter if you're watching hello very good to see you if you're not then your wife hasn't allowed you to um you know to be with us today to get the timings of our animation right i'm going to go and start with the brand new scene and i'm going to have a little fiddle around this the first thing i'm going to create is and i i recommend you use this workflow because it's one of those things animations are very you can get lost in animation so let's go and bring one primitive in which is a cube and that's going to be our train it doesn't look very exciting right now so i might give it a color so that we know this thing isn't just white or gray i might go and make that green there we go that's that's the green train this is our train i might also stretch it out so that we that we know that it is a train so this is you know this we can kind of kind of understand this as a train now i might even call that train in my scene hierarchy here i'm gonna change i'm going to create another thing which is a corn i could create a camera but i think a corn is easier to see visually so that lines that allows me to pick where what keyframe needs to be so let's do that that is available as a cone indeed there we go and i would imagine do we need y up i think we might we might do here's a cone cone is kind of buried inside the train uh here it is yeah i can i think i work with that can i work with that and just go and turn that over like so oh yeah let's do that that's cool it might need to be a little bit uh bigger i think we're i think we're gonna be all right i think we're gonna be able to see this is the camera kind of like this i'm just going to turn it around neat and tidy -90 and then i'll go and maybe just push this guy down a little bit so that he's he's on the center and he's also kind of on the center it doesn't really matter all that much it's just for me a visual indication of what is what so this i might make that blue so this one is my camera and it'll all become more clear as we as we see what i'm trying to do here so i'm going to go out a lot and the the actual placement of my items doesn't matter that much uh it's just indicative of the timing that i'm gonna try and create so with these guys in this place i might actually go and save my scene that is something i i do like to do i've mapped my own library up here i'm going to go and create a brand new directory here if i can find a create subfolder that's what i was talking about and i'll call that stream scenes just so that you don't get confused of what's something that i might have made earlier in the process so we'll just go and go make a couple of empty folders as stream scenes we'll need stream characters and we need stream pauses a little later on so this kind of a nice setup here oh yeah as i said save the scene duh good idea so i'll call this one timings just so that in case something untoward happens we can easily bring it back so um what i'll do now is i'll have a think about how long my animation needs to be like the real one not so much this one but i will use the same keyframe values for that so i'm envisioning something that will be between 20 and 30 seconds long it's kind of a good thing to think about it how long does your animation need to be how many frames per second are you shooting at and that gives you an indication of where every second the keyframe might be or where your timing needs to be so it's kind of you know one of those things you want to think about so i'm thinking it might not be entirely 30 seconds but there's always a little bit of pre-roll and a little bit of post roll that might be cut off in post-production so i'm envisioning 30 seconds and just for the record i'm going to think at 30 frames because that's fairly easy we don't have to render it at 30 frames we can render it at a higher frame rate if we wanted but for now let's go and think in 30 frames which means at 30 seconds that is around about 900 frames and that is the first thing that i need to tell that studio so that my timeline from left to right will will reach for that long so let's go and do that that's at the bottom left here this is on the regular timeline not the animate timeline and that studio has a habit of saying well if you want 900 frames that'll be frame 0 to frame 899 but i would like to really set a keyframe on frame 900 that's kind of that's just me so i'm gonna have to give this under total i'm gonna have to give this one extra frame so i'm gonna have to type in 901 and you can see that my timeline changes and now has 900 frames which is quite nice so this is how i can now think about where does what need to happen around around which roughly which which frame so i said before that i'd like my camera to go around for about 10 seconds and then enter the train so then mentally i know her mentally like in my mind in my mind's eye i know that at around uh 10 seconds in which is about let's say 300 300th frame around that time my camera needs to go and enter the train the train needs to move for the whole duration and the train needs to stop moving so that my camera can exit and do something else in the tunnel so as i said 10 seconds going into the train then i'll spend about 15 seconds inside the train then i exit the train and then i have say another 10 seconds outside the train so that means for my train object it needs to start moving on the first frame so on the first frame let me go and put a keyframe in here that's this little guy here that sets a keyframe at this position i'll go into parameters and have a look at my translational values here and now i'm going to go and say well the camera needs to be out off my train at around well let's just say around frame 650 700 so i'll say my train is going to stop moving at around this point six let's say let's say 600 we can always change the timing later but i think that's a good idea the train moves from there to about here it doesn't really matter how far but that should do the trick so first i've set a keyframe on the zero and then i've moved my playhead and now moving the train object forward so if i now go and move my playhead you can see that the train is now interpolating which is nice so this is kind of the this is the what the tweeners would do if this was a major hollywood uh production or probably more like these days a computer program but that used to be an actual job at disney you know tweener very cool there now let's go and see what the camera does in this linear motion i said at around frame 300 we want to go and enter the train i think i might make that a little bit earlier i might make that i might make that frame 250. so once again my camera also starts moving at frame 0. so with my camera object selected i'll go and set a keyframe here if i don't do that that studio doesn't recognize that these are values i'd like to save so even if i want to start here and i'm not moving my object if i want this to be a keyframe between which i can interpolate i need to set a keyframe manually so then i'll go and say maybe frame 200 maybe frame 250 something like that i'd like the train that i like the camera to enter so i'll park my playhead here and go and move the camera so that it meets the train so i can actually go and and make the train slightly translucent just so that we can see the camera inside it so i'll just drop its opacity down a little bit you know like this there this allows me to see the camera inside the train where exactly it is so the train has this little window that i like to pop through so and it's it's difficult to get that timing right so i'm just gonna go on this keyframe the camera's just entered then we'll go and stay inside the train for a while so currently my camera is moving but it's not moving further inside the train so i'll go and move things a little bit further and then maybe just before the train stops here i'd like my camera to exit that's right here maybe like at frame 500 perhaps something like that and i'll see if that gives me enough time inside the train so at that point i'd like my camera to just about exit the train but then of course i don't want my camera to stop at that point so now it goes into the train filming the inside of the train i would also i would not want it to stop there i'd like my camera to keep going to say frame 9 to frame 800 something along those lines so on here with the camera selected i would like for that to then go follow along until it reaches my next target which is the dash logo so this is speeding it up towards the end i'm not sure if that's going to look good or not if it doesn't we'll go and change the timings or the positions and this is what this exercise is for really we're going gonna we're gonna see how are these key how would these keyframes work in real life there we go let's go do this camera approaches train train also starts speeding up so train currently isn't moving in a linear fashion now cameras inside the train gives us a delicious look of what's happening inside and then camera goes and moves out and just does something else in the tunnel finds the daz logo somewhere here and ends up on the dash logo so in regards to timing i can already see this is actually much slower than i had expected it to be this is good to know so maybe we don't need all the 30 seconds that i had envisioned but this is what this animatic timing thing is gonna it's gonna show you unless i've made a you know that's it that's kind of 10 seconds we're in the train and then we're exiting the train and it's certainly much slower than it was in this in the cinematic in the animatic but also don't forget that once we see this all all this stuff happening then it'll be it'll be good to give it more time because we want to relish this moment but it looks like i'm going to be okay with 800 frames might even stop my camera slightly beforehand and make some mental notes of these values so that's kind of important i might even go and enter the train a little bit earlier so add frame 200 exiting is probably okay train stopping is also fine and i think i might stop the camera a little bit earlier than that as well so i might go and make that frame 700 let's do that that's you know that's good for render time as well so with moving keyframes is a is a tricky job and this is something that if you've looked into animations in that studio that might be really confusing so let me just let me just show you how i do it there is this keyframe here on the camera track this is the camera the yellow one i'm gonna go and drag this drag a little rectangle around it and just go and left click and drag this guy over that sometimes works sometimes like in this scenario it does not so it really depends on how that studio feels about you if it doesn't do what you expect it to do that's totally fine the specialty here about this triangle is that it's not actually one keyframe it's a group of keyframes this just tells you somewhere underneath me there's keyframes uh if i were to open my camera here in this track there i found that properties here and i find general and i find transforms and all these things have still have triangles and you think what's going on so if you go and open trend translation here and i've moved along the x translate you'll find that this is the actual keyframe so the thing that has currently got it's like a little circle that has a letter in the middle mine's currently got the letter t in it and that probably moves better than the triangle so sometimes the triangle moves as well but not all the time i don't really know why that is so this one if i left click and drag on this one then i can see that my camera is moving to a different position here that's not the only way you can move it you can also go and copy so if you had multiple keyframes underneath that little triangle that might be very cumbersome i mean you can if you had multiple you can go and just drag around multiple keyframes like here in the beginning i have the translation for x y and z so i can just go and left click and drag a little marquee around that that's possible but um you know sometimes there's so many that even this would be very difficult so at that point you can also go and uh use that triangle again and instead of dragging the triangle you can go and uh drag a drag a marquee around it and then right click on it and copy the selected keys so that'll copy all the keyframes underneath that triangle if i do that and then i go and move my playhead to another position say behind here let's say oh maybe just you know like 650. and then i go and do that again right click and paste my keys then you'll see that there's another little triangle now and that will have copied all the keyframes from here so if you can't left click and drag it do copy paste that'll that'll also be fine if you don't need the one behind it anymore you can just uh go and uh drag a marquee around it do not press delete very important hit right click and then delete the keys that'll do the trick i won't do that here because i'm kind of happy with this with them in place here right now so i'll go and delete this one instead delete keys all of them here there we go so that's kind of that's kind of what we kind of what we want here and to train stay in train go back there's something else we could play with and that is the interpolation of not so much the camera but of the train so currently the train accelerates gets to full speed and then decelerates and the result is that in the middle of it the motion is actually faster than at the beginning and at the end yet the middle bit is really what i'm interested in so i'd rather that wouldn't be as fast as it is right now so we can try to change the interpolation of these keyframes of the train so that it doesn't do this with acceleration deceleration that it actually goes and moves at a constant speed what this will also do is our entry and exit keyframes into and out of the train are going to be uh i need will need to be changed but i would like to try it out and see see what happens so that happens by um by now clicking on these little rectangle or triangles for the train you can do both at the same time if you're lucky or you can just go and drag and marquee around here like so i see sometimes you select more than you had bargained for let's try that it might be a bit difficult to see on the stream yeah it's a bit difficult so i'm going to go and just go there we go i think i've got them both and and i can either right click and change the interpolation here set key interpolation to linear so tcb is the logarithmic one the accelerate and then decelerate again constant is an immediate change from one to the other value literally there's no interpolation it just goes from zero to one there's no there's no interpolation there and linear is the one that goes like a line so there's no acceleration deceleration i can do that or i can go and use this little guy down here that's the interpolation menu that'll that'll have the same effect and you can also you can see that change on the actual keyframe so if i go and open this up now under general transforms and translation now my little keyframes here they don't have a t in it anymore they are no longer round either they now they look they look like um diamond shape and they have little l in the middle which means um linear so let's see what this looks like and take a look at the camera so the train is now gonna gonna not speed up and slow down this has an impact on what our camera does it still enters the train it stays in the train hopefully a little bit longer or it'll exit the train faster yes i see it'll exit the train faster look at that shouldn't really be out here it should should be out here so i think i might do that yeah so keep around frame 500 was when i wanted my camera to exit that's good to know this was that keyframe here it's not exactly frame 500 it is somewhere else so i got to make sure that if i wanted to change the position of this keyframe i need to be exactly on that keyframe and the easiest thing to do that is to change to select the object in questions to select your camera don't just be in front of it or behind it make sure you're on that keyframe so that the actual keyframe gets changed and then go use these little navigational bits and pieces at the bottom here this is skip to the next keyframe so this is play this is a step to the next frame like so but then this one after that this is skip to the next keyframe and that should go and put me right on the keyframe on the next one i can see that's another animation tip i can give you make sure you use as few keyframes for your interpolation as possible if you use too many then there's a lot of interpolation going on a lot of things can go wrong and you know it's not going to be pretty i'm not going to lie to you now that i'm on this keyframe i can just go move my camera back and say you're just exiting at that point and then hopefully that's gonna make my my motion a little bit um a little bit prettier once i've done all this i have to remember it and then apply it to my hi-res object but the good thing about doing it this way is that i have it's it's much easier for that city to give me that preview when joining the tunnel we're going into the train i see this could also be changed i think i need to be a little bit faster in the beginning and then um can i come in out and then that's it i'm happy to go faster now and end on the dash logo somewhere here that's cool camera i'm happy with it being logarithmic that's that's okay for me i'm okay with that yeah let's go and tweak the tweak the um the entrance into the train so i want to be in the train right now so once again with the camera selected go to the next keyframe here i am and that needs to be inside the train already so that'll now look like my camera is kind of speeding up but that's what we're doing the train is slower the camera is faster and hopefully at some point catches up there we go if it's not snappy enough we'll see that visually we'll cut that bit off or make that bit you know take that bit out once we see the animatic which i hope we will today that'd be quite nice so there we have it our basic motion done and this also i'm going to go and save this over this is a great little test piece if you're about to build your animation and you want to put a character in it for example and you have this difficulty that you say hey the character now needs to move with the train then you can build it outside the hi-res scene and go and put the import the character in with animations and all put it into a null and then take the null and move it into the position of the train parent it underneath the train and then all the animations of the character will happen inside the null which then will be moved by the train so you don't have any issues with um positions changing into something that you didn't that you hadn't expected so one of those things so i think the timing is kind of we can probably remember it here i don't know should i usually what i do is i take a i just take a text document and just write out where the key frames for which item need to be so that i'm absolutely happy and you want in fact i might just i might actually just do that i might just use my website for that that's where i often make notes and the the upside is i can also go and show you uh what um you know what's uh what if if i've written something up i can i can then share that with you so i might just go and do that go and grab myself a new post and call it a subway animation there so i'll say the train needs to go from frame 0 to frame 250 enters the train at 250 enters oh that's sorry that's the train isn't it sorry i meant the care the camera so enters train at 250. it's really important the moment you deal with the high-res assets you see so much stuff in your scene library starts at zero enters train at 250 exits train at 500 at 500 and then 600 is not its keyframe stops at 700 on the dash logo that's cool stops at 700 on dez logo or on on whatever you want to um on whatever you want to uh to portray so next week i'm gonna build a little animation for my buddy chris who streams over on twitch which is gonna be nice he's thinking of doing a youtube series and he needs a little like five six seconds sting and i'll animate that for him just basically like that so let's see then the camera that was the camera the train starts at zero and stops at 600 that's all i need to know here starts whoops hello starts at zero and stops at did i say 600 i think so right yeah there we go this might seem overly complex to make all these notes but it'll really save your life if you have characters if you have multiple objects moving you've got to have something in germany we used to call that a far plan which is essentially like like a timetable yes and i'm going to save that thank you linus let's apply this to a high-res scene oh yes total duration we don't need to go really behind beyond uh 700 so that's another good note to make total duration 700 frames oh and i'll show you something else that's uh that's quite nice about that studio and how it's uh how it thinks about animation so then i don't know if you're familiar with the with the um you're welcome i don't know if you're familiar with uh with the impact of frames per second on your animation higher frames per second mean you have to render more frames per second to be deployed displayed lower amount of frames per second means that your footage looks a little bit jittery like in my animatic that looked about um do i still have it here that was rendered with 15 frames a second so that's why you can see this this you know this shuttering motion going on there and that's the result of the of 15 frames a second but i did that for the animatic because it's much faster to render that way and for your for your final animation 24 and 30 frames are kind of good super extremely smooth stuff like game footage that is often uh displayed at something even higher than 60 frames a second so at the bottom left here that studio can can can interpolate this for you under fps this is kind of nice so i during the animation i think in 30 frames a second but if i want to render the final thing out for to look absolutely super top-notch i would render this in 60 frames a second and this is quite nice how dare studio interpolates it so if i switch this over to 60 frames a second look watch what happens to the position of the keyframe so if i go switch that to 60 now the keyframes themselves visually stay at the same position but you see a lot more black stuff around here in the middle and that is that studio essentially saying hey i'm gonna i'm gonna interpolate this over more frames so the motion becomes smoother but you don't have to worry about resetting keyframes so it is kind of odd to think that our camera now enters the train at frame 500 but that's okay because dash studio kind of worked that out so i can i can change this back to 30 and then we're back to the previous value here likewise if you're rendering an animatic you might think hey perhaps i'm actually okay with 10 frames a second so you have a lot less frames to render it'll look a little bit more jittery but it'll still give you good insight of um of the timing there so that's that's kind of important to remember so i go and plan this in 30 frames a second but that's not what i'm rendering at i'm going to go and do this here subway tunnel v6 i think that no subway start this is my starting scene i've just saved it so that's that's all good ps2 games were very good though yes could well be x201 that is absolutely possible because weirdly enough and to this date tv shows like drama shows that use that even use video to this date they're still shot at 24 frames a second because that's a look and feel we perceive as this is a movie whereas when something is shot at 50 or 60 frames a second then we associate that and this is totally by pure habit we associate that with this is news footage this is some cheap video and this is just the association that we have with it bizarrely but um that is why that's done so it's not because they can't do it they can very well shoot at 8k 120 frames a second these days but they choose not to distribute it that way because our viewing habit kind of says hey hang on a minute that doesn't look right and we bizarrely would prefer this jittery kind of 24 frames a second look there's something else that's quite interesting about this um about this technique there's something called um pull down i think if you think about 30 frames versus 24 frames a second if you're doing a telecine of a 24 frame a second movie to be broadcast in the us with like 30 60 frames a second you basically alternate how many times the first frame versus the second frame is displayed first frame two frames second frame three sec third frame two again it's it's complicated it's complicated okay let's go move out here and thankfully all my bits and pieces are kind of in place i said i need to have 701 frames in total at 30 frames a second and my train is gonna start kind of over here much like what my camera is where's my camera camera's over here that's that's good to know so let's go and park the train at our first frame we're going to go and animate the train first so this is the tunnel the subway train is here this is going to be the hall oh it's already here perfect is it yes it is perfect and my camera just so that i can see the two next to one another that's my camera is this really what i want want it to look like yeah so i want to i want to start kind of behind the train so i have all this way to catch up to the train okay let's get the train moving with the train and only the train selected and this is basically this is an empty which then has both the passengers and the train so that's how i've done it the passengers are part of this empty here and the train is its own you know it's its own entity there so i'm gonna i'm gonna select this whole top group here i'm gonna go and select i'm going to set a keyframe on it and because this is kind of how my mind works i've already forgotten where the train needs to be at which point so it needs to start obviously at frame 0 and stops at frame 600 that's kind of good to know and so how far it needs to move is literally only determined by the length of the uh of the tunnel so i'm gonna have it move to about here and then uh get the and then get the camera out so kind of about here but before i do that i need to go and park it on frame kind of was it 500 this is how my brain works i've already forgotten it stops at 600 really and then we only have 100 frames to get out really are we sure about this yes absolutely stops at 600 because camera exits at 500. how easily you can get yourself confused i can go and i've i've got frame 500 right here but if i if it's difficult to see you can just type this number in here so 500 it is and i'll go and move the train over to somewhere like here at which point i'd like the camera to be out of it there i think that's gonna be okay see if it moves it does but a lot less smooth than it did before because that studio has a lot of heavy geometry now to to move so okay it does that that is that is good number one excellent let's worry about the camera not so much rotationally where it's looking but where it's how it's gonna go so once again back here this we're done with that starts at zero enters train at 250. so that's good to know train at 250 leaves train at 500. okay so enter strain at 250. let me just go and type this in so that i'm on this exact frame here 250 trains already gone away ctrl f will bring my train into focus once once selected and i'll go and select my camera and because it's kind of far away i'm going to just use a parameter to dial it towards it and we're moving it in the x direction so x translate whoop sorry did i actually set a keyframe on this current position for the camera i don't remember i'm just going to do it again because a forgetful sort of fella at frame 250 let's park the current sorry what am i doing here range no range is still 700 isn't it use the wrong thing here that is supposed to be 250 perfect now camera x translate look at it go and come in at one point there it is that's my camera and it enters the train at this point so we need to change the the y and z position that's this is basically just getting the getting the x position right going right into the train okay then now it exits the train at 500 so let's go to frame 500 and go and focus in on the train here it is and go to the back of the train go to the camera again and go with the keyframe right here let's go and see where it is there it is perfect here's the camera and let's go and have it exit right there yes and the train should be set to linear thank you very good point why didn't i think of that mr brian thank you so much meet my team of moderators by the way it is brian that is aka zero kelvin then there's nathan aka dragonate and of course that's julia aka julia v1 so thank you so much for reminding me of that i appreciate that let's do this subway train it is the whole empty right here that is very valuable information there does it see now this is i might just do it one by one this here i just go click that little guy to linear and then i'll click this and it's important because it has an impact on where the train is at any given time so very important we might see it moving not right now but the moment i go and move the playhead back and forth it'll have an impact so it means we have to go and correct our first camera keyframe this camera go to the next keyframe you can also see how this can easily easily run quite a few hours this getting animations right you see this is exactly what brian was talking about we're in the train uh too fast actually it's are we okay here kind of are we kind of okay are we we're not actually in the train at all so we're gonna correct that in a moment but i think the just the x is probably fine go to here train just to frame up and there's the camera is just coming out now all right and then did we say and i will check if the train is actually set to linear in a moment i was i said it'll stop at 700 at which point we're going to see a daz logo so i haven't actually put that in that'll be in in here somewhere let's go and open that tunnel wall up as well so maybe just around the corner maybe i'll go and do i have anything i don't know if i have anything or i might have something like uh like one of the great box freebies that i've made for the season pass too that was that was kind of nice let's see if i can bring in one of those and that was that was under that's a blender project isn't it gray box kit freebie there we go that's it i'll just do this so that i can put a dummy object in here we're going to make it a a person but this is going to be the dash logo imagine this can be that logo on which our train needs to end up so camera needs to go and move on until kind of frame 700 and that's a straight linear action kind of two over here there we may introduce something like a like a rotational keyframe there but you know in in in principle in principle this should be that now let's see how this how this fares in in reality so it'll be tricky to to see this whole thing zooming in and out wise but uh bear with me here so i've got the camera from here to there i've got the uh the tunnel sorry the tunnel and the camera not the tunnel the like this bit here off the tunnel plus the camera plus the train and that should frame us all of this up okay let's see what this looks like so it's going to be it's going to be fairly rocky but we'll see if the theory is correct that the train so des can the death studio can barely do the can barely do the frame rates uh like maybe you know two frames a second we're staying in the train quite nicely and we're exiting the train quite nicely too so that should give us uh you know quite a bit of um quite a bit of uh spectating to do inside the train totally gonna save absolutely notice also as the how the frame rate uh improves the moment the train stops moving it's because the train is quite heavy geometry with all the uh people in there see now and boom it just goes and does it fairly fluently i might i might move the camera a little bit um further in the tunnel i think it'll be it'll be it's probably going to work it's probably going to work i think timing wise i'm good with this i'm timing-wise i'm okay with this so all we need to do next is i might just actually just switch off the passengers inside the train that might make it a bit faster because we're gonna this is the other thing about animations you're gonna have to look at this so many many times because now we're gonna the next thing we're gonna do is make sure the camera enters at the correct hole in the train so that's the same keyframes we just need to change the rotation and a bit of perspective there and as we travel along we need to go and have the camera kind of look left and right and hopefully if i if i can make it i'd like to animate the figure on the train as well come on let's do this thing so first of all save this save it all save it all perhaps on frame 0 and i'm going to call this stream scene so i'm going to make a new sub directory here just so that once again that we have oh that's time we've got that already stream seems perfect let's go and put that in a new scene and call it subway v1 there we go save then do the thing yes even better even better that's true we can do that that is a good idea a cube or null and that would then animate the cameras look at direction so that's a that's a very clever idea i might do that that's a very clever idea thank you control scs all the time i would love to see this clever implementation of of auto save i got to say inside that studio i can't wait for that uh if i mean if it is if it will be implemented i don't really know that you know like the one that unreal engine has where you go and uh well rather than it just going and auto saving and maybe interrupting your work for a few seconds on larger scenes i would love it if there's a pop-up that comes up and says hey i'm gonna save in you know 20 seconds are you okay with that then do nothing if you don't want this to happen dismiss that'd be good i also heard this this philosophy that we are the masters of our own save button look at that this is what this looks like now going into the train we're at completely the wrong uh angle this looked really nicer when we started but it's not going to look good when we enter the train so let's go and move my camera to the next keyframe it's very important to be on this keyframe and i'm not going to use the viewport adjustments to find my exact position here i'm going to use the parameters and the reason why i'm doing that is because sometimes the the manipulator type can change from local to world and that is sometimes a death sentence when you're when you're then animating over zero so all of a sudden you see your camera kind of turn around and spin around you have to even that out so i'm gonna go and uh and not touch this and just go and play with the translational and rotational values here so let's go translate first x is kind of fine i don't want to mess with that that's the forward motion visiting the train y is up and down and z is left and right so let's go and move this guy over to slightly further up i guess i also bring my passengers back in the train hello robots how you doing and then we go uh and then we go zed so it looks like we're already kind of inside the train a little uh a little too much i'm gonna have a look from the top where my camera where my camera is just so that i get that i get a little look-see over my oops i'm sorry rotation y just so that it looks straight ahead i'd like to just look straight into the into the train for now if i wanted to creatively turn left and right i'll do that later so that's there then inside the camera this is what it looks so i'm thinking perhaps we can go up a little bit fact i think i might also go back a little bit just so that i know that i'm hitting the window so this is now the position at which my which my um my camera hits for this i'm thinking of turning on the aspect frame so that i know exactly what'll be the what what i'll hit and also to really make it absolutely in the middle i'm going to go and turn on the thirds guide here so that i know this is kind of where i want to where i want to hit the train so let's go up this we're still on the same keyframe as we were before this is fairly in the middle i think the only thing that we want to change is a little bit of the the old x rotation so i'm going to try and hit it kind of this way like minus 180 is exactly what we want and then the z rotate is also minus 180 so it's just straight straight in there it's gonna look great yeah straighten the hole oops all right let's preview this with as as good frame rate as we can this is where filament really shines i think texture shaded is uh is kind of struggling with this there we go we're going in here and what i perceive to be a little bit too slow is already turning out to be the perfect timing actually and here we exit it so that's that's nice wow and we're still straight so that's that's cool yeah i think i'm gonna go and let the camera go a little bit further around the corner maybe i'll make it as full frame for you as i can so so far i'm i'm actually very happy and this is just the basic that we've done with a few key frames and clever planning it did take us just over an hour but you know it's it's nice i think i think it was worth the effort apricot dark hello how you doing good to see you it would be nice to make the final keyframe of the train at frame 600 that way the train won't stop as soon as the camera leaves it uh and it was planned that way but i don't actually see that though so the moment i have the train i've passed the train it doesn't really matter what happens to the train right because it doesn't noticeably slow down for me here i'm just gonna go and exit it and i don't see it stopping as such you know it stops behind me but i don't really see this as a viewer so i think i'm okay with that i think the only thing i might do is my end frame of the camera i might just move that forward a little bit forward a tiny bit just so that i can go and uh and turn into the corner here yeah i think it would be nice if the logo would be around the corner but that's something i might do that off the stream i think let's focus on uh getting saving first of all that is that's a good start isn't it saving this and then going and trying to get the our hero character in place and hoping that the camera is going to hit her give her some clothing and also try to make her move a little bit just subtly i would like to try that i think this for now is kind of a good basis i think this is you know sometimes simplicity is the key if you make things too complicated with too many key frames that could be a problem so this is now i'm going to call this one subway v2 right i get you zerba tell you what let's let's make that decision once we see the real once we see an animatic if we do find that weird then we can always you know change it at that point let me go and show you the the tentative position of my of my hero character so she she is but that's not really her final position so she would much be much better off uh clinging to this and also hopefully be a little bit out of the way so the camera kind of goes this way so then she is going to be she's going to be somewhere here but what i'd like for her to do is to well hold this first of all and then also maybe go and look around just turn her head a little bit so currently she's not going to do anything and we're going to leave her in place and do this in a sub scene in an empty scene and then we can we can have a look at an outfit and give her give a something to wear and we can also go and play around with the head movement and where that needs to be in the scene let's do that so we've saved this new scene i'm thinking the track is off the track ouch that would be terrible well the good thing is here the robots we're going to take care of it the robots are going to take care of it we're going to be out of the train when that happens so we're good i've noticed actually that that the size of the humans inside the train isn't so it's not quite a scale so when you go and um can you fix the train on the rails um well the the thing is i i don't really see a problem with it right now is it did was it in the beginning is that something that you saw there well i'm gonna i'm happy to have a look at that was it the same in the animatic because i don't remember it to be that way oh that you mean yes i see you i see you i see you it's it's just the left right position right you just want the train to be moved slightly to the right is that correct i think that's a that's a fix we can make thank you so much i appreciate that let's build our character and then we're gonna before we put her in we're gonna go and fix that because i think to be to be brutally honest we only need to i mean it's probably okay when we fix it overall it should be a global thing i've noticed that when you uh it might be a might be positional thing where that where that little guy runs so if it's just a simple tweak to the right then yes let's let's do that i didn't even spot that well spotted guys so what i've noticed about this set is that when you when you bring in let me see if i can find it here that's under environments uh something about subway tunnel there we go if when you go and and look at this there's the environment which has the preloaded scene so that's this that has the tunnel and the train and when you bring that in it actually fits onto one another but if you bring in the tunnel and the train separately it looks like the train is too large for the for the rail so i think what they've done is they shrunk the train down so that it kind of fits in the preload and the disadvantage of that is that also when you put a person inside the train that's inside the tunnel everyone is 20 too large so you have to kind of make that smaller so got to see how we can do that also remember that old 3d trick only fix what you can actually see so as long as we see the train on the rails for the first 10 seconds we're good if it goes off the rails after that we're not going to see it we're going to be okay with that let's go and build our hero character so i'm going to go and start with um i'm going to use avon actually i'm going to use the stream safe textures that are now available on the das store that let me load basically the genesis 8 male sorry female base character into the scene without getting into trouble for nudity i do like that i've me and darrell have been working really hard to work on that i'm gonna use an outfit called a pastel goth i've had that for a while i haven't really had i didn't really use it all that much it's a beautiful outfit it comes with separate textures i'm going to use the default textures here what i really like about it is that it comes with it's not a default outfit it comes with partial poses that pose your character as well as the clothing into place so i do i do like that might have to make some small adjustments on the jacket there but you know that's um we'll leave that until later i believe there's a bit of a foot pose going isn't there so these are all the fun the partial poses here i really like that so they're subtle and they're only you know for certain parts of the figure so you can you can pause your arms um individually and they're both for the clothing and for the figures i really really like that it's very very nice very nice thing too very nice thing i'm glad to hear it chris awesome i'm glad you tried them out that's that's really cool chris streams on twitch over on twitch so it's kind of uh he has this problem all the time remember you've made your own stream safe textures but you know it's all about how much how much work do you want to invest into that so yeah i'm glad you you find you find use for them let's go and put our custom character on that i always think it's a good idea to put the to put the custom character build everything in a separate scene and then you can just merge that into your kind of master scene who are say a von right with an e avon there we are cookie made her and i'll leave my stream safe materials on i'm just going to go and apply the whole morph to it in case we do need to take the take the jacket off and the clothing off and everything yeah so that that needs a little bit of a needs a little bit of a tweak here that jacket but we're not going to worry about this i just want to have her in the scene and if the the jacket needs needs fixing i'm going to do that later that's that let's go give her some hair while we're here she can't be bold i'm gonna use carla here because it's nice and short we don't have to worry about defaults because you know it all adds up time wise i think maybe she should have black hair we have two black options to choose from it'll look blacker in the final render i guess i might make it one more just for the jacket um i try that in marvelous designer or in in zbrush but that's you know that's not for today that's not for today this is our character i'm going to go and save her out just as a scene i might go and make myself a new subfolder for that stream characters and we're gonna call her a hero him heroine there we go that's not a bad word i'm going to save this as a scene subset hero in v1 and subscene means i'm going to save just what i've selected here so in my case it's only the figure and and nothing else so i haven't got the filament draw options i haven't got the render settings they're all kind of still determined by the master scene so brian gets carried away i appreciate it brian it's good because you know this there's always it's always good to have to have the products uh kind of displayed that we're talking about i might just shape the hair a little bit and make it a bit you know more lofty like this okay i might do that uh there's also there's another thing i've just realized and that is that the the pendulum that she's wearing here that's part of the goth outfit i just want to adjust that a little bit i think this here that's another pendulum i'm just going to make that invisible final adjustments when we have the pause cody so sub scene subset again great so that's our this is just a character in an apollos now to figure out what um how she's going to do the poles in the scene i'm going to go and grab the capsules digital inks poses that come with the whole bundle here that's called the cdi subway poses for genesis 8. that's quite nice there's one in which she is essentially grabbing the rail this one here i can't apply that because it goes directly into the position of the of where the train carriage would load so i'm not going to do that i'm going to go and hold down control while applying the poles and then this dialog comes up and that lets me eliminate the translation so i'd like for her to do this right here she's still kind of turning around here that's that's also okay i could now if i wanted to and i don't think i will because with you know i'm notoriously uh i'm notorious for running short i could interpolate between with puppeteers kind of if you want to follow along with uh with puppeteer i could go and interpolate between this pause and the mirrored version of that pause like so and another kind of idle pose and see if i wanted to have her move her whole body while she's on the train so shift from one foot to the other that's kind of nice so you can do that this is done um this is just mirroring a pose here i do this with the scene tools by 3d universe i kind of like that i like using that if there's a if there's a pose that would be better suited uh on the other side and this the pose isn't included in the post set then you know it's very easy to mirror things also mirrors your own bits and pieces so you know so um i will just use this and before i save her i might actually just go and save her now as a paused herring heroine paused because i will just leave her in place i don't want to you know this is this is where the time really eats he eats up i want to give her one expression as well i didn't do that either there is a kind of a concerned expression that we can use either with the face controls that's possibility we do this with face controls because uh i don't think i have anything currently that is that'll give kind of a concerned look let's do that then i'll use face controls and give a quick quick concerned look this here just because i really don't like that bland expression that we're seeing there so face controls is this rig that goes onto her face there it is i might make it invisible just so that we don't see it but the product also comes with an amazing variety of poses or so sorry expressions rather and if they're a little bit too strong i'm going to show you how to use puppeteer to kind of dim them down so i'll go and make myself kind of a little triangle fan and i'll go and make the neutral position here in the middle for now this is with the face control selected and now because i'm thinking she's she's a little concerned about what's happening on the train there's robots and she's the only human so she's you know she's a little afraid see if we can find something here even if it's exaggerated it doesn't really matter you can just dial it down um that could be interesting so this is uh this is very annoyed that i don't mean for it to be that annoyed these are kind of these are more like here fear there we go fear is kind of what i'm what i'm after fear not quite that much but that's okay dude that's that's too much that's also a different direction here that is that's nice we can use that so i might go and put another dot here uh this is could this be cool that's a bit too awkward fear number five yeah i'm not sure but that's cool i mean you know these these these three will be will be enough because if i go and uh go to the previous section now if i go to this zero position this is the neutral thing i had and now i can go either to the exaggerated position or go back and forth as i see fit you know it just has to be something a little bit a little bit little bit concerned not entirely sure what happened to her mouth there i might just open that up a little bit just see what i like yeah i think the mouth was was better when it was slightly open she said maybe she's just a bit miffed because you know it's a subway commute so maybe something like this what whatever your favorite subtle position is that plus a mouth open type thing i might do that with the regular pause controls under here mouth or even with the seam that's also an idea i might do that that's not really what i was after jaw opening i could try that jaw open don't know just a little bit i'm not sure and maybe it doesn't matter maybe it doesn't matter maybe this is maybe this is what i want to do so that's that's her expression now we'll use um eyes and heads we'll do that in situ when she's in the scene but let's go and save this with the face controls um selected as a pause for the face controls this you know there's a ton of other ways that you can do expression so i'll just call it expression one current frame only and it's just the face controls all right so we've got her pause we've got her expression let's see if we can load our original scene back in and you know correct the correct the train subway v2 i'm no uh this is i'm gonna show you how to do this it's um you put it into the first position of the train inside a null you parent the null to the train and then she'll just move with the train and then i'll animate her inside the knob that's the plan anyway so many things can always go wrong and you can't try to do this with any blocks as well you can try to add an expression or sorry a like a moving pause and use an any block to do this and then just loop that any block while she's on the train that's also a possibility so let's fix that train here subway train also keeping an eye on the timeline oh yeah that is off off track isn't it what happened here what happened here well spotted you guys it's also got a bit of a does it does is it okay height wise looks like heights okay but uh put the left right thing really is not there we go let me use the the sliders here there all right and let's just hope that by the time we get to to the trains frame 250 oops we probably don't see that anymore but just to be on the absolute safe side let's just hope it is a linear deviation now that happened all right let's check kind of halfway in what happens here yep halfway he's still on there okay 100 frames in this is more what we're what we're interested in oh see there he goes he goes off the rails then oh that's interesting so i wonder if there's a little kink somewhere in the in the hall in the whole bend there okay well let's have a look what happens if we go look through the camera and make ourselves actually let's make ourselves a new camera i'm gonna go and make a duplicate of this camera or just make it make a brand new camera just have it follow the train i might just do that so this can be like the camera the camera um what do we call it the track test cam and i'll go and parent that to the train and then when we go and look through it we'll see where this thing deviates while the camera is also moving so yep that's definitely that's already moved away i'm just trying to find out where that keyframe needs to be so look it comes good after that it kind of goes and goes wiggles around that's quite interesting so let me find a keyframe where it was okay again namely only here that's why it was okay again so then probably halfway through it somewhere here if we go and adjust the whole train now and then hopefully that'll solve our issues where they come from we don't already know do we do we care do we want to know now oh we're good got other fish to fry yeah looks like it needs another adjustment over here so it's okay here this is something i hadn't seen coming then here looks like we need another adjustment oops it's a rickety or train what do we expect these things happen it kind of stays on the tracks there's a little bit of fat saying going on but i think you know at this point i think are we in the train at this point no we're not are we gonna go and do another correction here this is also where you're where you're correcting yourself basically a to death and b it'll look crap at one point if you're not super super careful so if it's just a left right movement i think we're just about okay here yeah so here we're still off the off the track aren't we come on this is where another three hours of my life goes that we're not getting back but hey it's gonna look awesome later i'm not telling you what's happening here well in the interest of time i'm going to leave it like this and we'll fix it off the of the stream so i'm more interested in getting the uh getting the character on the train now into the position that we said we're going to use so let's let's leave the let's see if it tracks as they are for now and you know hope i can fix it later if that doesn't work i can always go and take the tracks and basically animate the tracks to match the train haha that's a possibility right let's go and have a look at the at the oh that's that at my passenger here there she is so currently she's not she's not moving and that's just this one character so what i'll do now is i'll try and bring my hero character into a position in which he kind of holds this this pole here let's see how that goes oh i should maybe also save my scene save save save subway v3 alrighty so stream characters here she is heroin posed i'll go and alt drag her into the scene kind of here and we'll already see that this isn't going to be the correct size so she's going to be a little bit taller than all the other characters because i do remember having to reduce everyone down a little bit could be biscuits could be could be that there was an issue with the duplication or the lining up process that's true actually i had to kind of line up the the extensions so that they would line up with the tracks otherwise i would have been a gap in the tracks very good point as long as we're on frame zero i'm good i'll go and close this down bring you up no not you you yeah so she is noticeably taller noticeably i say let's go and line up her feet and go move her over here she could be the giant woman and all the robots are afraid of her i like that part of the story or maybe not maybe let's go make a 20 smaller i think it was 20 on scale i think it was 80. okay better i like it so the skirt we'll take care of that later i think this the rotation is probably okay there is this okay here i think so skirt intersecting with the rail a little bit again i might not fix this now it's more about getting that um getting her to ride with the train and animate while she's on the train so that's that's kind of my my primary focus right now so you then here passenger woman you can go away you can probably actually you can go out of the scene let's go take her out completely and make sure this woman now goes and travels with us so before we animate her so it would be it would be tempting to just go and move her into the whole subway group but what could happen is that this is gonna freak out the scale because i've just changed the scale of the character if i were to do that it might have dire dire consequences she would travel with the train but she wouldn't she probably wouldn't look very good so as um to get out of that i find it helpful to create an empty or null rather with the default settings and in the null is going to be parented to the train and then our woman is going to be parented to the null so heroin heroine goes into the null and then the null itself is going to go onto the train group and that hopefully shouldn't do anything but it should still let us move the train and the woman with it if we go and zoom in onto yep she's still in more or less the same position she's she's changing a little bit i'm not entirely sure why that is uncool that shouldn't happen i tell you that and that also of course isn't exactly what i had planned for man that's terrible because in my tests this was working perfectly fine of course and now that we're trying it here it isn't what a shame so i'm gonna have to go make small adjustments as we travel with that but they're small so that's that's you know that's that's okay let's go and see when we actually see her with the camera and also let's let's see how much we uh we see on the on the tracks if there's anything we can see that the train is off the tracks now hopefully not oh yeah just before the camera hits i can see that the train is very much off the track so that needs to totally be adjusted so up until here i don't have to worry about my um about my uh about my character and from the moment we enter the train i will have to do that but that's cool we can we can make a small adjustment because i've moved the position of the train uh my entry gate is no longer as it should be which is a shame so i might go back to the version i've made before i've made that track change this might be far enough away that we don't really notice here i have to make this adjustment that she's in the position at that point when we see her i like kind of like where the camera is going here and we exit kind of in the same place though yeah cool but just the the entry into the into the train that needs to be changed let's do that let's do that we have we have a few more minutes yes and that i might just go and move the move the train tracks underneath the train to make that to make that look handsome let's adjust this first here so that with the camera with my aspect frame on and with my thirds guide on so this is z translate so here y is still okay oh it also helps you can use all kinds of funky things if you want to speed up this process in the viewport you can use decimator to make the train lower in geometry you can switch things off you can make you can literally use decimator to make these these people much lower resolution that'll speed things up but again it's all in the interest of time i might just not do that and then we exit out almost in the right position yeah i think i need to go and move the camera here just adjust that a little bit so once we're here we go slightly further back into here i think the only the only big tip i can really give you is make sure you're always on the keyframes that you had set and now we want that we want the camera to be out of here so that should do the trick and if you want to look around like if you're hitting something with the camera you want to you want to maybe not show that then at the very end you can have a little variation on where the camera pans so you can go and say uh you go in and then at one point you set a keyframe where the camera looks to the right a little bit and then slightly further down you make it go to the left a little bit but uh yeah that's that's something that that might make this um make the train ride even even more interesting so i think aside from aside from the track adjustment and the slight animation adjustment i'm thinking i might try and render a quick animatic out and then we can at least see this uh in a low resolution at a low frame rate and see if we're where we are in the ballpark and then you know i can make adjustments and it also means i can i can uh answer some more questions while this is rendering and then you know we get to that let's do that let's go and put this one will be seen four because i do like answering questions a lot while this is rendering i can always use a second instance of that studio if you know if there's anything that i wanna um that you guys wanna know that i can demonstrate in the second instance that will that will work so as i said before instead of 30 frames i'm going to maybe use 10 frames a second and then we only have 273 frames in total to render on my render settings here i'll go and use the viewport as a render engine so instead of nvidia ira or 3d light or whatever i'm just going to use the viewport which then will use filament that's the one i'm using 720 by 1280 should be okay and we're using frame 0 to frame 233 which is you know what it is right now i'll go and call this one animatic v4 i'll say and before i do that there's also i'm going to bring a few of these things back that are currently disabled so on the on the tunnel i think i'm going to go and bring the tunnel wall back the side wall there's on the train there's a few bits missing here so like the walls and the roof and i think there's also some doors missing if i remember correctly let's have a quick look i think the doors are switched off as well there are no doors so we can still see outside which might not be which might not be great but for an animatic probably forgivable so let's go leave that save and go have him render this thing this is always my favorite part seeing something um you know in the flesh later on let's go through that hey oh yeah as what do we want to save it i'm going to go and save it as a movie just so that we can watch it if it was a real render i would go and save this also select the camera that you want to render if this was a real render i would save it as an image sequence and then compose it in um in in premiere as an image sequence you can also use photoshop for that but the big benefit of that really is that you can go and re-render sections that may have gone awry whereas when you have a movie then it's difficult to drop things in there's also the compression that the that the movie brings so it's uh it's one of those things okay so my mods what my mods have done is while we were talking they have fished out some questions um and uh put them on a message board so i'm gonna have a look through them now i think duval okay cool i've already answered your question how do you get the train to slowly speed up um yes that's that's one way to do it this uh the with the um with changing from uh from um from the logarithmic to linear that's that's one way to do it you can also if you need it to speed up in increments you can also go and uh and try that i'll just use a second instance while this is rendering it should be okay you can also set multiple keyframes and uh and then adjust the position slightly so this um it's not an exact science if you blend with tcb which is this logarithmic or ease in ease out then you can you can blend keyframes with one another you can basically go from one to the other and just uh set your own set your own pc see if i can see if i can demonstrate that he says maybe maybe not but maybe i can do that so if i go with uh with a primitive here and maybe may i could make it a sphere just one meter in size here he is give them a little color and let's say we give this 300 frames then you could say so with the sphere selected first keyframe is where you start then the second keyframe is say at uh let's say a hundred and add a hundred you maybe want this guy to travel uh i don't know i'm just gonna make it up like minus five hundred or maybe minus minus uh minus 200 so now he travels from here to there at this speed and if you don't do anything else he kind of speeds up and then slows down again so what you could what you could do then is kind of try another key frame at which then from here to to 200 he would travel not another 200 he would then go and travel twice as twice as much plus the one that he had before that's than 600 so if you do that you'd see this this uh this kink here so moves moves here and then moves moves even speeds up so now it looks like if you do this in short enough intervals as if this guy is moving faster and faster so the next one is then at frame 300 where he would then go the the 600 that he's had before but uh plus plus two so it'll be minus twelve hundred so this would now make him visibly speed up from from one to the other and because of that logarithmic blending it would go and just just you know speed up increasingly and eventually just be you know extremely fast if you know what i mean so this uh this is a way that you can kind of fake it if you needed something to visibly accelerate beyond the point of what you had what the logarithmic thing can do for you sebastian yes very good question how do you render things i do render them in as image sequences and then i put them together i can actually show you what something like that uh looks like in premiere if your game there's something um there so you can use photoshop for this you can use davinci resolve for this you can use all kinds of other things for that but premiere is kind of my thing of choice and it allows you to go it allows you to import image sequences natively i i'm not sure if davinci resolve lets you do that um let's see my title sequence for my game stream for example that was something that i've just recently reject with new posters in the foyer and all that and let me see if i can show you what i might just go and import an image sequence like i normally would so i do this by going to import and then finding the folder in in which the the rendered images are so this is like this i think this is the public stream before for that this is literally for this stream i can go and select the first image and then there's this thing at the bottom that says is this an image sequence and as long as they're sequentially numbered which that studio will do for you as long as they're all in one folder they're sequentially numbered you can just select the first one hit open and then premiere or photoshop are going to work out what this is so this is now the footage and if i turn that into a clip sequence from clip then this is what it looks like and it plays back as if it was just a regular um you know as if it was regular footage but under the hood it's literally one frame at a time and the beauty of that is that you that you get to say well say between if we think in frames here between frame 270 and frame 300 one of my computers froze and this section needs to render again or at this close-up i can see something that isn't quite kosher and i need to go and you know redo these 30 frames then you can just go and do that make the change that you need and then drop it in um as a change and then the image sequence will pick it up so that's that's that's really nice it's a really nice way of working and if you have an m2 drive this was in blender by the way if you have an m2 drive then it goes relatively stutter free yes i always do that i also like rendering images out on multiple computers so that maybe one computer takes care of frames 1 to 300 then another computer parallel to that takes care of 301 to 600 once again i have a plan that i said um that that tells me what i'm rendering where so it's kind of it's important to do that marshall johnson and duval if it is a subscene can you update the character design in your master scene automatically no that's not how this works sadly um that studio isn't quite clever enough to do that it's not like a blender a blender link so blender has two versions of grabbing a scene or grabbing an object from another sub scene so to say in blender you can say would you like to import this as is this or would you like to just point to that original object and the advantage of that is that when you change the original object your next project that references it will also be automatically updated but that studio doesn't do that the moment you say either a file merge that's that's that or if you were to go into your content library and um and uh alt click and drag a scene in like this or you would go and double click a sub scene into that then it will be imported as it is and saved in that in that kind of frozen state so if you update the previous scene the next master scene that you've imported it in that it doesn't have any references to it uh sien fuegos i've i have actually scaled the characters down instead of the train the question was uh you said the train isn't to scale what scale did you set it to to correct it yes i've actually left the train as it was because it was let me show you this if i go and bring this into the second scene here um if you bring in the this master scene here and you bring in the uh the train prop individually i think the the scale for the genesis figures that's just for the train prop but the train inside the tunnel that the the train i think they've shrunk that down if i brought these two things in uh side by side it looks like this is actually what it looks like uh before here before i've meddled with it and probably got the got the track slightly misaligned um yeah so before before that happened uh if i go and put the put the where's the train here's the train yeah if i go and take the the subway train set prop and put that next to it i think we'll see that it's a different uh different size i think they've just done this to to make it fit into the tunnel yeah so the the one on the left is a little bit uh it's further away but it's also a different scale i think come on oh he doesn't want to do that he doesn't want to move oh looks like these are the same size maybe what which one did i grab then did i grab him out of the props could that be out of transportation that's the one i've grabbed let's have a few trains next to one another yeah i think this one is the one that's made for for the regular genesis scale but i guess it didn't quite fit into the into the tunnel so i just found it easier to scale the figures down uh other than rather than scale the tunnel up it's like you know mother train there javale shouldn't locking the scale of the figure help good question i don't really know is the is the honest is the honest answer where are we 130 frames okay no worries that's you know ticking along nicely you're welcome no problem you're welcome ascania yes to see honest answer oh that is nice look at that tux thank you so much for letting me know good to see you by the way yes i'm not i don't have davinci resolve i don't really use it but i know that it's a it's a big favorite of um for many people because it's free and you know it's uh yeah it's quite powerful it's a little bit uh difficult to get started with but i suppose that's true for so many editing applications i mean i kind of i wouldn't say i've grown up with premiere but i've used it for well over 20 years and it's kind of um it's i suppose when you when you learn a certain way like photoshop you know once you grasp photoshop you go i can't really see myself using something else now it's one of those things yeah if you have any other questions please um please let me know brian uses what do you use again brian you use uh for your videos you use um davinci resolve for editing but there was something else i think you tried wasn't there i can't quite remember i've tried vegas at one point and that wasn't for me vegas was not for me yeah scale is definitely off yeah it's one of those things which is so it's just kind of a shame dartenberg hello there how you doing sir i didn't see you there no it's because you know i'd say if i'm ignoring anyone this is not a deliberate attempt please uh you know don't don't get me wrong but if there's a lot of chat then it's very difficult for me to um to uh to spot your questions if you do have a question please let me know okay now i have the time it's good we have we have time which is rare because usually overrun by like 30 minutes to half an hour it's kind of 30 minutes to an hour even very good to see you i see you have a website now which is quite nice i've seen that recently dart and back and i go go back a few years where casual form acquaintances i think is this the correct term i've been a very avid uh carrara user back in the day i don't know do you still use carrara i do still use it occasionally but yeah not so much as as as i was one day so one of those things um howard shy i suppose i would i would scale the the thing that's in the minority rather than the things that are in the majority so if i were to scale up the train every piece of tunnel wall and anything that's inside the tunnel that that's more work than scaling down one thing so in in this case i only really scaled down two things i scaled down the hero character and escaped down i scaled down the one robot character all the instances follow so i didn't scale down 20 characters i just scaled down one and everything that was an instance of that character was also scaled down it's kind of that's kind of cool about instances if i go let me go and do uh let me go and remove all this and show you how this how this instancing thing works with multiple instances so i'll use a i'll use a primitive again maybe our favorite sphere here is i'll give him nice color again like so and he is he's not quite oriented correctly but that's that's quite cool that's quite cool so there's two ways of creating an instance in that studio the first one is under create and then you can go over here to new node instance that'll make exactly one duplicate and if i do that it'll it'll ask you what you want to do with it i would always suggest to copy it rather than apply the default settings i've had this in the past that with the default settings there's a slight offset to where your note instance is but sometimes you want the instance to be in the exact same spot so that you can then go and um move it like a you know the plane in the ocean that needs to kind of that needs to snap in place so you sometimes you want that in the exact same place i'll go and do that and then i see nothing apparently but that's because they're in the same place so i'll see my spheres here and my other instance is now that has this little ghosty icon here but it moves and it can be you know it's now it's now an independent object to a point so i can apply certain things to it like i can move its placement it's translation i can i can change its rotation and i can change its scale but there's certain things i can't do with an instance so i can't go and i can't put a different texture on it for example it has to be exactly the same as the master instance so this is my instance i can make that bigger and i can move it elsewhere but if i go and grab my regular sphere and scale that apple down then oh interesting usually that should happen to the instance it kind of didn't do that at this point very interesting very interesting you always learn something new maybe that happens in the multiple instance thing sometimes you need more than one instance so if i go and remove that or just scale the group i can't remember how i did it now the other option is to go and create a note instances so that's the second option here and the default that comes up here is how many you want to create so 10 is the default you can change it to whatever you like i'll go and uh and use apply default settings this time and then what that studio does is it goes and makes me multiple which is you know kind of nice and so each of these is now they're all in a in a group here and you can change them all around there's the scripts that take care of this uh functionality like howie fox ultra scatter very very cool thing so you can do that so this is essentially what i've done with the robot characters uh i had one guy and then i just made several instances and then just placed them into the correct sections but so the thing with an instance is now if i go and change the surface color of my main object to orange for example then all instances will follow that so there's no i can't have uh one instance this color one instance that color that doesn't work so this is uh this is how they're linked so it's um yeah that's that's kind of how it works i love ultra scatter absolutely and this is really cool if you have something so your ultra scatter uses this and then takes it to the next level by saying where would you like your instances to be replicated like do you want to replicate that over a plane does the plane have a distribution shader on it like you know clump things more here than there so it's awesome for grass and flowers for nature stuff you could draw out a pattern where there is uh where you have where you want trees to grow and then you can you know have trees along the side of uh you know of a of a path for example yes absolutely and yes absolutely that is the that is my recommendation for the instancing plug-in as well ultra scatter and um instantify absolutely dalton back did you have a question do please you know drop it in the chat and how are you keeping by the way how's my other instance of that studio keeping are we are we at the end of the render yes there we go cool so this has rendered myself a movie now which is nice and it asks me where how do i want to save it with this is fine until why uv codec is good i'll just go and save it there then it goes and compresses all my images so under the hood that studio has actually rendered an image sequence itself in its temp folder and now it's generating the movie from it it also applies compression because uncompressed uh image sequences that's gonna be it's gonna be a bit um drastic to play back for most for most things let me go and reveal that here that's the one animatic v4 no that's not the one yes that's the one this is our handiwork oh file isn't playable my god why not is that red x anything to go by think i've run out of cloud storage but that should really make a massive difference i mean so what it doesn't go into into one drive it should still go my local hard drive right have we just wasted valuable minutes extremely disappointed with my with one drive by the way like literally extremely man that is that is such a shame we have to do this again damn you one drive yes i'm literally this close to some but not really this close i'm basically signing up to dropbox this evening because this is driving me bananas it takes it doesn't sink via the um doesn't think violent so if i have multiple render nodes it sings everything via uh via the internet and you know two gigabyte scenes that's just gonna that's gonna be terrible so man that's terrible isn't it so i'm saving it to my desktop now there's enough space oh bear with me folks yes the sale ah you've missed it by two minutes the sale has ended two minutes ago if you were if you were good enough that is terrible isn't it my yes goodness you if you've missed it two minutes ago there's another sale going though so don't be disappointed there's always another sale the best thing to do is sequence yes absolutely in fact uh shall we do that let's do that let's exit exit no cancel no no no it's fine cancel it's fine let's do image sequence you're absolutely right and then we'll just use premiere to do this so i'll just call this animatic folder on my desktop don't worry about it onedrive and i'm going to go and say image series that's it oh good after going to put this in again that's fine i'm totally okay with it animatic and this is going to be a subway v4 oh okay sorry about this folks hey we have more time for questions which is good which is good usually we don't do that indeed julia absolutely we play a bit of you know um monsters expedition that's also good i'm definitely i'm kind of addicted to that game right now it's good stuff oh my goodness yes absolutely very cool so what else do you want to talk about i mean you know we have about like you know 10 minutes left here no actually i could just i could just render this out and then i might just go and post that animatic in the forum later how's that and i can also go investigate this whole scale thing where exactly things went off the rails so to speak let's do that let's let's bring it to an end here and i hope i will see you guys again soon so don't forget if you're a platinum club member you can go and uh enter the season pass contest i believe let's have a look at that that is that was very cool i didn't know this but uh there's the official rules state that if you have a pirate themed image that you want to submit you can do so from now until the end of the month it's very cool this was a platinum this was a season pass contest but platinum plus members can also enter now and you can grab first place hundred fifty dollars in store credit or second place hundred dollars in store credit third place 75 dollars in store credit fourth to tenth place ten dollars in stock credit the only thing it needs to be it needs to be pirate themed and submit it to the guest to the desk gallery with the hashtag season pass 2. there you go some more goodies up for grabs why not make full use of that my friends it was absolutely a pleasure and it's always a joy to see you and to speak to you maybe we can make this a weekly event and uh just you know play around we've currently scheduled this to be once a month uh on the das channel there's a little holding page about that brian's gonna post a link to now that you can catch up on past live streams so once a month until the end of the year and then we'll see what happens my friends it was a pleasure and a privilege i'll hope i'll see you again soon take care bye [Music] [Music] so [Music] do [Music] so [Music] do [Music] [Music] [Music] [Music] do [Music] [Music] [Music] you

Channel: Daz 3D

Views: 8,393

Keywords: Daz3d, Daz Studio, Daz 3d, 3dArt, 3dSoftware, FreeSoftware

Id: dMDTk8hDNrI

Length: 148min 7sec (8887 seconds)

Published: Sat Aug 28 2021