Original subtitles

Hey hey! Gleb here :) Let's have a look at stylized perspective, an integral part of creating stylized

3d art. to be clear, there is no lens that could make everything look stylized or realistic.

what various lenses do is that they define what is called visual flow or how the shapes and lines

in your image will... well... flow. this one is the orthographic view by the way, so the parallel

lines in the 3d space are truly parallel, there is no convergence and it looks a bit like a miniature,

something like that. one may argue that it looks cartoonish because of these properties and it will

be an okay assumption. there are different kinds of lenses and perspectives, this one is fisheye and

you can instantly tell that the lines and shapes kind of flow in this bulgy curved pattern so to

speak it's a totally different look compared to the orthographic view, but it also looks

cartoonish in its own way and obviously it depends on the contents of this scene so i invite you to

watch all other chapters of the course ;) tadam! okay and apart from the normal lens selection

there is such thing as artistically shaped perspective or impossible perspective like in

Day of the Tentacle game. you can expand the space or collapse it, create impossible perspectives

or create the perspectives that don't use straight lines. so many creative opportunities!

and we will be talking about some of them in this tutorial, so keep watching.

but first let's say a few words about how lenses work in Blender and other 3d

packages for that matter. the wider we go on the lens no matter if we use 2d or 3d tools,

the wider we go on the lens, the more depth and distortion we add to all lines

and conversely the longer we go on the lens the less "3d" the visual flow becomes, as a rule of thumb.

and on top of that there are such things as the panoramic lenses, for example the fisheye lens that

add a peculiar distortion to all the contours in the image, so the choice of the lens becomes

a part of the style in terms that it defines the composition, the impression of depth and other such

fundamental things. so let's have a look at this scene with a peer man, the peer person. here we have

a telephoto lens, i'm going to make it a little bit bigger to see it better, so it's 120 millimeters,

which is a longer lens in the photographer's lingo, the longer lenses tend to contract the space so...

the room looks a little bit more confined... uh... like a miniature, at least in my mind. that's the look

that you get when you use the longer lenses, for comparison the 50mm looks like this now there is

more dimension or depth to the room it's much less confined and we can feel the increased sense of

how the lines are converging into a certain point, even though we haven't changed anything within the

scene it looks quite differently and even more so if we choose a wider lens like 12 millimeters.

now the space recedes into the distance in a more dramatic way, so we can really feel the perspective,

the lines of the room now converge at more acute angles and in some sense we got further away from

the norm and into more stylized regions of the lenses so to speak uh because 50 millimeter was

how our eyes see the world roughly speaking and the extremes like 12 millimeters or on

the other end of the focal length range like 200 millimeters they give slightly more... how should

i put it... exaggerated impression of depth, either flattened or stretched like in this one, this is

the fisheye equisolid by the way. in addition to giving the impression of a really deep

space it also gives kind of interesting bulge to the lines, like pillow-shaped bulge. one can

argue that we're already giving a stylistic touch to all the shapes within the image thanks to the

perspective distortion, especially if we take it further by adjusting the geometry itself

to give it a heightened sense of perspective distortion caused by the lens. the bend and twist

that we can give to the geometry with the help of the proportional editing or lattice or other means

is yet another step in the direction of stylizing the perspective, giving its artistic touch.

we will talk about that and even do an exercise later in the tutorial of how we can... infuse

the perspective with artistic intention. but for now let me just say that the choice of the lens

and in more general terms the choice of the perspective is one of the fundamental

properties of your style and it's worth doing in 2d even before launching Blender

if you are used to sketching things out. sketches have one intriguing superpower,

the perspective in sketch doesn't have to be completely physically plausible, you can

experiment with your own vision of how the lines should converge, of how how the lines should flow,

speaking of the visual flow. it certainly isn't something that can be easily achieved in 3d due to

the flat nature of the 3d dimensions, x, y and z, but in sketch we're free to experiment and to try a

crazy crazy perspective decisions. but let's see the most basic example about visual flow

so here we have a basic landscape which looks ok but relatively flat, right? yeah the reason

why it looks a little bit flat it's because it uses a longer telephoto lens even though it's a

2d painting. this choice of the lens pre-defines a certain visual flow of lines and when you take the

sketch and go 3d you have already set the certain style by choosing the lens in the first place. but

even now in the painting process we can change the lens to something wider... like that for example.

i think this is much more pleasing to the eye, there is some kind of movement in the clouds

somehow you could describe visual flow as movement in a way we pretty much simulated the effect of

a fisheye lens which makes the perspective more deep and even adds extra distortion to the

lines, but that's not a usual fisheye lens that's something more interesting than that. there is no

such lens in photography that bends the image like that. that's a totally artistic decision to...

to create this kind of a force field if you wish that warps the space in the scene in such way

to create this flow. and later on if you will have to... say... recreate this scene in

3d, the objects that you will be placing within the scene will be conforming to the curvature

that we have already set up. they will naturally conform to this space. but in order to recreate

this warped space in 3d you would have to rely on your geometry twisting skills to get

into this perspective and flow. actually that's something that we will have a look in the moment ;)