Tutorial: Making a Physics-Based FPV Camera Rig in Blender

big thanks to skillshare for sponsoring this video in this video we will be making realistic fpv Drone footage here you can see a drone is flying around and just whip panning around it just feels so alive this motion of moving around in the forest like that and here's another example so this is what we'll be creating today this drone flying around following a curve being really heavy and just moving around in nature so I'll be working in blender version 3.6 and we're going to start out by deleting the cube and the light and we'll be keeping the camera because we're going to add animate this camera using a curve so let's view this from the top and let's go shift a and let's make a curve B are if you like and you can press tab to go to edit mode and X to delete the vertices and then over here you can click draw and now you can just draw the path of your draw so just draw something like this yeah that's good now let's move this on the z-axis so let's press G and then Z and now this will be the path of our drone so let's have a look at our camera if it's going to be an fpv camera it needs to be a lot more wide angle so let's go to object dat properties and let's set the focal length to something really wide like yeah 17 mm is good and now we want to make the camera follow the curve but if you were to just use a constraint on the camera like this and then you just move the camera around maybe even you make it follow the curve like this hang on let me just make a ground plane here so you can see the texture look at this there's no fpv camera that moves like this you can obviously tell that this is made with 3D software right there's no weight to it there's no intention there's no pilot here trying to figure out where to navigate so we want to add some weight to this camera and we're going to do that using a physic simulation so let's go shift a and let's make an empty object and let's set this to sphere and this will be our camera point of Interest so let's take this empty object and let's give it the object constraint called follow path and let's set the target to be the curve so now we can change this offset and it's following the curve so let's select the camera and let's delete the follow path and let's add a track two constraint and set it to the camera point of Interest so now our camera is always pointing towards the point of Interest so we'll animate the camera later so let's just press h to hide the camera and now let's take the camera point of interest and animate it so let's set the offset to zero and let's go to the first frame and let's click this little key frame icon and based on the amount of turns here I think we should do 500 frames so let's set it to frame 500 you can press contrl end to set end frame and now if you click and drag on the offset you can see that the lowest value value is minus 100 so now click this little icon to animate the property and now when you scrub through the timeline you can see that it's moving but right now this has a best year curve so we want to change this to be linear so hold your mouse down here and press a to select both key frames and you can go shift e for example and go linear extrapolation so now this will have an even speed at all times and it will even keep going after animation if you need that so let's bring back our camera by pressing alt H and now if you move the timeline you can see that the camera is always point pointing towards this point of interest and that's exactly what we want so now let's turn our point of Interest into a force field so let's go to physics properties and let's click force field and now nothing happens because we have to add a rigid body object so let's go shift a and let's make a mesh Cube and this Cube doesn't really have to be a solid so if you go to object properties and you go down to viewport display you can change it to wire so now the cube will always just be in wire frame and now let's select our camera point of interest and go shift s s cursor to selected and now you can select your Cube and go shift s selection to cursor and let's actually bring the camera as well so select the camera go shift s selection to cursor and now you can see that the camera the cube and the point of Interest all share the exact same location so now we want to take the camera hold down shift and select the cube and then go contrl p parent to object so now what you can do is you can move the cube behind a little bit like this so now you can still move the cube around and the camera will always be looking at the point of Interest so now we're going to use blender's amazing rigid body tools to add some weight to our camera big thanks to skillshare for sponsoring this video skillshare is an online learning community with thousands of online classes and members who come together to find inspiration and take their next step in their creative journey and what's really cool about skillshare is that there are surprising amount of blender creators there for example Derek Elliott the furniture Legend has got some amazing classes on product animation interior design and 3D modeling you know I already love his YouTube content and I got to say his classes on skillshare is some seriously high quality stuff so highly recommend checking that out and also bad normals has some great classes on skillshare as well he's got some really interesting geometry notes project where you can learn how to make raspberry or a medieval castle all fully procedural really impressive and cool stuff I've also been taking this class called chat GPT for creatives by Peggy Dean because I want to learn how to get more out of chat GPT as a Creator and how I can speed up the boring parts of my workflow using Ai and that's been really valuable actually so the first 500 people to use my link will get a one-month free trial of skillshare so check out the link in the description to learn more now let's get back to the video so select the cube and let's go object rigid body add active but if you press play now it just Falls right to the ground so let's go to scene properties and let's just disable gravity and now if you press play something really cool happens look at that do you see that if we zoom in here this cube is being pushed away by the force field and this is because the force field has a positive force so if you select the force field and you go to physics now you can see the strength is set to one but if you set it to minus one and you zoom really far in now you can see we are following the force field so from here on out this becomes a tweaking exercise of getting these values right so I recommend starting at a strength of minus 300 and now you can see this is following okay nice but this feels a little bit like it's on really slippery ice so to make this physics animation feel less slippery we can select the force field and you can increase this flow value so let's try and set this to one for example it's still not behaving exactly how I want it to be so we're going to have to tweak this a little bit further let's try and uh increase the strength to maybe 450 and let's set the flow to 1.2 or something one way to get a little bit of a smoother motion is select the path and press tab to go to edit mode press V and set the handle type to automatic so now all these points are a lot smoother and they will also stay smooth if you tweak them so let's get back to object mode and press play I think maybe the force field is too strong let's do minus 200 okay nice now we we might actually be getting somewhere oh you see that it's stops at frame 250 and that's because that's the default range of the rigid body cache so if you go to the scene properties and under rigid body world and cash you can increase the cash end so let's do 500 for example so so now it will keep going after frame 250 you know I think the problem here is that the force field isn't moving fast enough like our point of interest is moving too slow so I want to select our point of interest and under here on the timeline you can select just one of the key frames at the end here and then press G and move it to maybe frame 300 instead yes so now it's moving a lot faster which I think I like that so now we can try and increase the strength again so let's do minus 300 maybe yeah look at that if I select the camera now so you can see yeah now we're getting this really cool whipping back and forth and then if you like you can easily just keep tweaking this so I want to view this from above and you can select one of the points in edit mode and you can press G and move them around now we have a little bit of a bigger Loop here yeah look at that yeah I think I want this to be bigger as well I want it to go out here a little bit yeah that's cool let me bring back this plane I added just so we can see what this looks like yeah this feels a lot more like a drone movement and I feel like I can feel the heaviness of the Drone I think I actually want to make it a little bit more slippery so let's set the flow to maybe 1.1 yeah and let's increase the strength a little bit more maybe 380 okay so why I think this method is just so brilliant and I've been thinking a lot about this when you have like a WR Direction Like A Flat Line like this it will go really fast look at this the motion is fast on these straight lines but then once you get around the corner it slows down and then you get these slow rotations and then it will speed up again on the long lines that is such a cool way to just get some natural motion okay so now I think this is starting to come together oh you see that this movement feels yeah look at that it feels a little bit Jagged and that is because yeah here you can see you have these lines these curves are actually quite low poly so if you go to the object data properties you can change the resolution preview to for example 32 and now we have more data so it will be a smoother curve now there's one really important thing missing for this drone's movement and that's the motion on the z-axis so let's select our point of Interest and let's right click vertical split and let's set this editor type to graph editor and let's press n to bring up this panel and now you can see you can manipulate the z-axis the Z location and we want this to move up and down like this so let's right click and go insert single key frame and now in this editor let's open up this and here you can see you have the Z location and now we can select this and you can go to modifiers add modifier noise and now if you press play you can see that this goes crazy up and down and that's exactly what we want but we don't want it to be that fast let's see set the scale to maybe 18 now you can see it's like going up and forth like that 30 or something is good look at this look at how much more alive it looks right now because it's going up and down a little bit more like someone is struggling to keep this drone flying I really like this and remember this is just with a 2d plane on the ground so this effect gets a lot more interesting when you actually add some objects that it can be whipping around okay so I really think this animation is coming together look at that it actually feels like there's this heavy drone following something or it's actually flying around this scene yeah I really like it so I want to save this animation I want to I want to bake the physics simulation so let's select our physics objects and let's go to scene properties and under rigid body world and cache let's just click bake so now all our animation you can see it changed the color here now we can move this around and scrub on our timeline as much as we want and we won't lose our animation okay so now at this point in the video if you want to you can just use cubes and cylinders and make this sort of an AB ract render but I really want to go for photo realism today so I'm going to use some photo realistic assets and I got this really nice add-on called botanic by polygon it has a library of a bunch of trees and grass and everything so I'll be using this there'll be a link in description if you want to check it out okay so I'm just going to click spawn aset and under category I'm going to go coniferus coniferus yeah there's a lot of Latin names there so I'm going to mess this up but uh this one looks really cool I think it has some nice density at the bottom which I really like so let's click this and let's go okay and now we have this tree in our scene so now to move this around you can press G and then shift Z you can also just view it from above and place the trees like this so if we move over here you can see I want the tree here and then I'm just going to make a bunch of copies I'm just going to go shift d and move one over there and then maybe here yeah I'm basically just trying to make it not crash into these trees you know maybe I should actually open up my viewport here and have the camera in this one so I can see duplicating this here here okay nice I want it to be I want it to like go around it like that yeah that's cool and I'm just going to be keep duplicating this and then over here yeah I want it to go around another tree like that oh yeah look at that then it's oh and it's just passing by yeah that's cool it looks like someone is actually trying to dodge this and now you might be thinking all these trees are just so uniform if you select one of them you can go select select pattern just search for the tree name like this now you got all the trees selected if you bring up the add-on again you can go random transform and then randomize variant oh that's uh all of big ones maybe we can scale it down is that cheating oh yeah look at that when it goes under like that that looks really impressive but no it might actually be too big I want to yeah randomize it so it's smaller we just want to get some really close like you're you're getting so close that you're like watching this and thinking wow that's that's really impressive you know that's the goal with this is it possible to May oh maybe yeah we're going just through the oh no it's a lot wider ah I was zoomed in hang on let me just let me enable the this one yeah okay so now I got the whole camera here I think we're actually going to just stop the animation when we got over there let's just control end it at uh 3155 yeah okay so now what we want to do is we want to just add some more stuff another type of three maybe a bigger one this one oh it's low oh that's a big one okay nice yeah let's just uh place a bunch of these around here I guess that might actually work let's just uh let's just have a look these are some big trees yeah that helps that's going to help with the Horizon okay look at that something smaller maybe this thing is that that's good yeah let's do some of these let's also do some of these hang on I just want to do everything except for this so I want to hide this and now I can select all and uh random transform and randomiz variant right maybe one more yeah these are too big okay so we're getting a nice Forest here and let's bring these back and we also want them to be open a little bit because we want the sunlight to come in from one angle like maybe in here or something but we'll come back to that oh these are the big ones aren't they oh these are really big ones are they too big or do we get like a really nice look at that huge one there I want to try this one summer oh oh this this is Autumn oh these are all Autumn so we have to be in the right this one is Autumn yeah let's do this one oh that's so big ah yeah that's cool I guess let's do there's a pattern here I wow that is I mean when you're looking at from it here it looks very like constructed but when you're in here it it like it feels for some reason it makes sense that they are bigger the further way they are it looks like a really big Forest yeah or at least so I'm told I haven't touched grass since uh let's go random transform randomiz variant yeah those a little bit smaller I like that okay nice let's just get rid of this one and let's move this in here yeah let's do one more of these and I think I want to do yeah let's try this one this seems to be like a nice Bush size and I feel like I feel like the Drone will fly over this if we place it here yeah look at that that's important I have no idea if these even grow on the same continent but uh I guess someone in the comment will let me know let's go select select pattern uh this one is called tree and then you can just search for this okay now we got all of these and the random transform randomize variant yeah look at that a oh wait what has happened here what's this oh oh it's a tall one I didn't know that okay let's maybe place it here then oh yeah let's place it even closer let's get this out of the way oh yes this drone operator is getting really Pro oh that's too close where is this one should it go left or right yeah it should go here oh look at that it's flying through this place that's amazing oh oh it's getting so close all the time okay now for the cherry on top let's go shift a and make a plane ground plane scale this up I'm going to scale this up a lot I think this is going to be good oh it's a 60 M plane so we are going to get a lot of grass so now let's select the plane and uh under scatter here we're going to click plus and we're going to set it to grass and then just a basic grass and then let's go okay and now we just have a lot of grass in our scene and and my computer is starting to uh tell me that it's getting hot in a but which is okay I think I want to have some more particles because now it says it's 71,000 particles and according to my previous attempts it's possible to have a lot more particles than just 71,000 so I want to increase the particles per square meter to maybe 14 yeah how many particles is it now uh what 40 oh no wait it should be more yeah let's do 35 okay recalculate nice now we're capped at 100,000 hang on this is getting too slow let's just disable this okay I want to add some just some Randomness so let's right click subdivide uh and let's include let's do some fractal just a little bit let's do maybe 25 okay that's good okay I think we're getting ready to start rendering this so let's go to render View and oh we have to change it to cycles and it's completely black because we have no lights so let's set this editor type to Shader editor and let's set it to to world and now here we have our background and we're going to go shift a and we're going to search for Sky texture and let's click and drag this into the color wait why isn't it oh yes it's completely black because we have a cube surrounding our camera that's why so if we zoom out yeah here we can see we have this stupid Cube flying around so we want to see through this Cube go to object properties and under visibility you can just disable all of these so yeah it's nothing anymore yeah okay so now set it to camera view we can actually see it from the camera okay nice it's so open I thought it would it would be more closed because of all these trees let's just duplicate uh I'm just making a circle around us and you know the worst part is it's going to work yeah we're just closing up this entire thing with just trees and let's randomize variant and R transform here for example we have to close this area I just want to make like a forest because it's just yeah see this it's just so ugly by the way to figure out the empty places you can just scrub through like this and you can see ah it's empty there and then you can hold on shift and right click to place the 3D cursor and now you will see oh that's the 3D cursor ah I can see the camera so that's where it's open so now we can just close up this area okay and there's another area which is uh where there it is okay so look at this here you can see oh there's an open area but look at that oh there's another one oh there's a big one place them here oh there it is more okay so let's view this from above here and let's uh select our Sky texture and now we can lower the sun elevation so let's change our sun elevation to maybe 7° oh look at this beautiful sunset that we're getting and now we can adjust the rotation and I basically I want as much light as possible on the ground so I want to find like an open area um maybe maybe there because then you get these beautiful highlights on the leaves and if you ask me that just helps with the mood and the photo realism okay now let's turn on the grass again and this is going to look amazing yes look at that look at these beautiful light rays coming in and look at this area this just looks so real yeah that is I'm getting really really excited about this but there's one more thing that we're missing because this camera is still not like an fpv camera we need the fish eye effect so let's select our camera and let's go to object data properties and under lens let's change the type From perspective to panoramic so now we can increase the lens size here and you might notice that it stops at 15° is but that's just a soft lock so you can manually type in 18 for example maybe you know maybe 19 because it's not that cool if it's too wide angle okay now let's do a steel frame yeah let's go ahead and go uh F12 to render a steel frame a that is just so cool okay we're at 300 samples I think that at maybe 250 samples that's good enough by the way I forgot to say I have enabled motion blur which I can highly recommend it's going to increase the render time just a little bit but it's definitely worth it look at this beautiful uh yeah look at that that just looks amazing but I think it's too much motion blur so let's lower it a little bit let's do a 25 which is like a 90° shutter angle okay so now let's render this out as an animation but I don't want to do like a cinematic render today I just want to do a garbage quality render I want it to be like a dirty low resolution not even HD so let's go to Output properties and let's set our resolution to 640 by 480 which is like this oldfashioned not even HD it's I think it's VGA or something yeah but this just gives This truly vintage quality okay let's do a test render here okay so two things I want to turn off the denoiser because it feels a little bit too artificial and I also want to lower the sample count because 512 is too much so let's just do 256 and now let's run this okay so now the D is disabled but there's going to be a problem let me just go and Advance one frame and let's set this to render slot to and let's do another render and now let me show you something really interesting Cycles is actually using the same noise pattern for both of these renders so if you go back and forth between one and two you can press one and two it's a little bit difficult to see here but this is the same noise pattern so if you were to render this out as an animation right now it would look like there was some sort of film on top of this noise and we don't want that we want it to be a new noise every frame so in our render properties let's go down to Advanced head over to this seed parameter and let's just enable this little stopwatch icon so now every frame let me show you is going to have a new seed value for the noise here you can see and this just gives a really beautiful noise very similar to the digital noise that you get in these fpv cameras so we don't have to emulate our own noise we can just use the noise in lunder which is really cool okay so now let's go ahead and render this out as an animation but there's one thing that I want to do I want to add a lot of glow and I want to add a lot of sharpening now you might be thinking to get this really old fashion vintage fpv look we need to use the compositor and that is correct but if we were to use the compositor right away like in this project file the sharpening would look a lot different and that's a little bit difficult to explain but it just boils down to that the white values in this scene are currently too bright so we have to render this out as a PNG sequence in order to just flatten all the bright areas because if not the sharpening will just not look the same so to render this out I'm just going to make a folder on my desktop I'm just going to call this fpv raw version one and then let's call this fpv version one and then let's go accept so I'm now just going to leave the file format as PNG because we don't want these really bright highlights oh one tip before we render let's go to render properties and under performance you want to enable persistent data because that's going to keep all this data from these large trees and all these assets around in the scene and it's going to make the render a lot faster but if you're crashing you should disable it okay so the render has started and I'm going to pause the recording and I'll see you when it's finished okay so the runer has finished and the temperature in my room has increased significantly it took roughly 25 minutes with the RTX 4090 I rendered at 640x 480 and 3155 frames now I'm going to make a new blend file so I'm going to go control end and just go General and then I'm just going to go to compositing up here so now we're going to use these nodes click use nodes and we're going to use this compositor to give this digital low quality look to this render so I'm going to delete this render layers and I'm going to go shift a input image and then here you can see I'm going to click open and I'm going to go to my desktop I'm going to find the sequence I'm going to click the first frame and press a and then open image so now here is our image sequence and I'm going to click this image and drag it into image and now we can't see anything so I'm going to hold on control and shift and then left click on this and that will create a viewer node okay so if you're new to the compositor these nodes will transfer the data from here into here so this composite is where our final render will be saved and then we're using this viewer to just view whatever we want so you can hold on control and shift and click on what you want to see okay so now our colors are all wrong and that's because by default the color management is set to filmic and we should have it as standard because we're working with the PNG sequence so now this look correct and you can hold on alt and middle Mouse click to move this around and to make it bigger or smaller you can press V or alt V but you can also go to view and change the zoom to for example 1.5 okay so here we have our animation and the animation is 315 frames long so let's go to our end and set this to 350 and then let's zoom out so we can see okay so I want to use the compositor to make it look like this was shot on a really old digital sensor so first what we need to do is we need to lower the dynamic range and a really nice way to do that is to add some glare so let's go shift a and let's add some glare and let's place it in between the image and the composite node and now you can see we can't really see any difference and that's because the viewer is what we see so if you want to see the node you have to hold on control and shift and then click on the glare node if we lower the mix and we lower the threshold now you can see you got this clear effect so I want to start out by making it into a fog glow let's do a threshold of yeah maybe 0 2 and let's set the mix to minus point4 is good and I want to duplicate this by pressing shift d and let's do another one where we set it to low so now it looks like the highlights here are a little bit blown out and I want to do one more over here and I want to set this to high and I want to set the size to nine and I want the threshold for this one to be zero and I want the mix to be really low something like this yeah these are the three glare nodes I want to use yeah you can take a screenshot if you like so now I want to add a vignette like a um like an area that goes darker around the corner and it's I want it to be bright in the center and dark towards the corner so to do this we're going to make a mask so let's click this little plus icon up here and go VFX masking and then we're going to have to open our image sequence again so let's click open and let's just find our image sequence let's import this and now we're going to make a mask so let's go add and then click Circle and now we have a circle here I'm just going to place it in the center I'm going to scale it up and then you can go to mask displayer and turn on overlay and you're going to hold on alt s and we're just going to feather this and you can press s to scale it down and you can feather it with alt s and you get this really smooth feather that's what I want and now let's call this mask for vignette let's go back to compositing and let's go shift a input mask so let's select the mask node and let's ch change this to vignette and now if you hold on control shift to change the viewer you can see that the mask is really big it's a lot bigger than our footage so to make our mask the same size as our footage let's head over to Output properties and let's change our resolution to be the render resolution of our sequence which is 640 by 480 and now let's go shift a distort scale and now we can set this to render size so now we can see that these have the same size okay so now we have our vignette and there are many ways to turn turn this into an actual vignette for our footage and I like to use just a simple exposure node so let's go shift a color exposure and let's place it after the first glow and let's just click and drag this into the exposure and now you can see it gets a lot brighter in here uh which is probably too bright so let's duplicate it and let's just go minus. 6 is probably good for now maybe minus one so it's like a little bit underexposed almost and now what I want to do is that I want to add some smudge just a spot at the side here like some smudge over here so to do that we're going to make another mask so let's go over to masking again and now we're in the vignette mask again but let's just click X to close this and now let's click new and we're going to call this smudge and now everything is black and that's because we have to disable overlay again and now I just want to draw a smudge here so let me just find a good place doesn't yeah okay here so I want to just hold on control and click and drag and then just draw like a smudge shape just imagine that someone has touched the lens of the camera you know okay and now let's uh head over to the mask display and enable the overlay again and now select the mask and press alt s and increase the Feathering and you can actually change the Feathering for each point which is really powerful then you can press G and R to rotate and move these points around yeah so I just want to make this really small smudge thing over here so now let's set this back to Overlay by the way remember to save your compositing BL file since it's a new blend file okay so now we got our smudge mask so let's go back to compositing let's just duplicate this mask setup up here and let's make some space and I want to duplicate one of these glare nodes and I want to go shift a color mix and I want to just mix one version of just the render and then one version of the render with glare so here you can see you have one with glare and one without and then let's set this glare to streaks and I want to increase the iterations let's set it to medium maybe let's lower the threshold oh let's lower the color mode as well and then let's set the strings to two and then let's set the angle offset to 90° but they are all over the place so we want to limit the smudge to just be on our smudge mask so let's use this mix color node and here you can see we have our oh no it's the vignette we have to change this to smudge yeah so if you change this to smudge here you can see you have our smudge mask and now smudge mask and and now if you click and drag it from here over to the factor of the mix node now you can see we have a little bit of smudge just right over here and it's not much but it doesn't have to be much it's just a little bit I want to increase it a little bit in strength Let's uh find the mix here let's actually set the mix to maybe zero okay so now you can see it's not that much it's just a little bit okay so these are the settings I have for this H smudge glare okay but now for the big trick which is essentially this entire effect and that is a lot of sharpening and I mean a lot of sharpening so let's go shift a filter filter and then let's place it in between the compositing node and let's press contrl shift and then let's have a look at it and now let's change this from soften to Diamond sharpen and look at that now we have this extremely sharpened image and when you export this as a video this sharpen will be like reduced a little bit because of the video compression and that just it just really makes this an amazing effect I want to do a little bit of color correction let's go color RGB curves and I want to just Place one here and just lift the Shadows just a little bit yeah I want the Shadows to be just a little bit flat you know okay so the sharpening looks absolutely insane right now I agree but once we export this as a video the video compression will get rid of a little bit of that noise and sharpening hang on one idea I got now maybe we should just desaturate this a little bit May no maybe a little bit more subtle just a little bit of subtle desaturation okay so let me just take you through what we did we took our footage which looks like this and then we applied just a basic glare node to it oh wait we forgot something really important we need to add just a lens Distortion node this will add some chromatic aberration to the edges here so let's set the dispersion to yeah look at that that just looks really that's yeah I can't believe I forgot that okay nice okay so now let me take you through this and then we have just this default fog glow that I always use maybe like this okay and then we have our vignette which brightens it a little bit at the center and then we make it darker again because we have so much glow and then we add a smudge this smudge is not like a real lens flare it's just a little bit of smudge like someone touched the lens you know before for filming when maybe when they were adjusting the Drone you know okay and then we have the first clear node which is just designed to make it a little bit lower dynamic range or just to show that the sensor has some cheap glass you can maybe even increase the size a little bit more here and then the second one yeah let's increase the size more on this one as well and then we have just a little bit of color correction just to lift the Shadows a little bit and we have a really subtle desaturation and then we have this hard hard sharpen so that is the note setup so now we're going to runer this out this video and it's really important to not choose the highest bit rate because we want that video compression to do a little bit of work for us so let's go to Output properties and let's change our file format from PNG to FFM video and then under encoding let's change the container to M4 and then let's keep the quality at medium quality and you want to increase the key frame interval so maybe do like 30 then you get a little bit of longer duration between each time the video compression sort of refreshes which is a really cool effect I think okay so let's set our output folder to desktop fpv drone version one and now let's just press contrl F12 and it will be rendered as a video okay so the render is finished let's have a look nice that looks so real oh my God yeah I'm so happy about that that looked even better than I thought he would and I Pro you know I probably should have added the shadow of the Drone I forgot that this just looks so cool you know the video compression here is just doing a lot of the heavy lifting that is yeah I just really like and the smudge as well look at this up here that's like yeah okay so that's it now if you don't have the botanic add-on don't worry I've made this abstract project file available for free download in the description of this video it's going to have the camera following the path with the rigid body system that we set up and if you don't have the botanic addon and want to check it out it's going to be an affiliate Link in description I can highly recommend this add-on and I also did an HD render of this project where I added some buildings in the background just to get rid of that infinite Horizon look and for these buildings I used an add-on called real city which is this geometry node setup that allows you to make these really customizable buildings and I wouldn't say these work like completely up close but that's okay because this is just some great background buildings I think so the scene that we ended up making today was pretty much the same that I did for my blender conference presentation which is out on YouTube I was really happy about talking to so many enthusiastic blender artist at this conference it was really amazing but yeah I'm really excited about this drone flying animation technique these days and I'm really excited to see what you'll create with this thanks for watching [Applause]

Channel: Polyfjord

Views: 332,233

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Id: 6_3gvsA6nQo

Length: 35min 37sec (2137 seconds)

Published: Thu Nov 16 2023