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Hello and welcome back everyone to Stylized Environments with Blender for
Geometry Nodes.
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In the last lesson, we left ourselves off with a nice setup for the well, for
the scene
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and now we're going to continue on with the overall progression in regards to
finalizing
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composition, getting a little camera just right. So we're going to start off by
going
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actually into the render view and we're going to actually work with the shader
just a little
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bit to get the right setup. So going back onto the shading, onto shading tab,
going
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to the world setup over here and getting the render setup on the top. We can
talk a little
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bit in regards to the sky texture. We talked about the size, the intensity, sun
elevation
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and rotation. There are a couple of other options. There is altitude, air, dust
and
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ozone.
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This will affect the overall gradient basically. The altitude will affect how
high, for example,
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a section is. If it's like a thousand meters above, it's going to
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look like it's in the sky or something because
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it will bloom up the overall shift of the hue. Also
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you can see the gradient to be going quite much lower
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like this. So this is what it does. I usually tend to keep it at zero
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and it looks alright. The air and the dust is going
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to basically again affect the color basically and the gradient
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on how it interacts with this environment.
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Leaving this for now at one is going to give us
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a nice default setup. Ozone on the other hand is going to
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give that blue nice shift. So instead of just touching altitude
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what I prefer to do is just increase this sometimes to get a nice stylized
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look for the entire scene, to get a nicer lighting
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and again just to let you know we did
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touch it in the past in regards to the renderer but we do
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use the renderer cycles. And I will tell you what
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renderer cycles is. I will actually play basics video in the next lesson
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but now though all you need to do is just simply make sure that cycles is set to
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render engine is set to cycles and the noiser is
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enabled. The noiser will just help you to just remove that noise
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and for now that's all we need to know. So again going back to Ozone
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we can leave this at a value of 5
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5.6, 5.7. I think it's going to be quite alright.
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There we go. We're going to get ourselves that nice blue
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shift in the scene which I quite like.
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Now in regards to the camera itself we now need to consider the exact angle
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that we want to have the scene set up. So for that I recommend
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you going to just a normal view like so and
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grabbing ourselves a brand new camera. Let's go ahead and click shift and A
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and there is something called camera component so this is what it's going to
look like we're going
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to see it like so and it's going to be pointing this way over here we can click
zero to see
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exactly what it's saying and this for some reason it's looking very very bizarre
so let's see what's
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going on with this i think let's see the focal length is what's causing this i'm
going to
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increase it to 90 that's usually a really nice setup and you can see the
difference so before
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it was just like this oh that's actually making it look more like just a high
fov but yeah 90 to 120
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is pretty standard for a camera view and it's going to give us this kind of view
we can click
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zero to go out of it and now we can see that the shape actually is based with in
regards to the
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focal view we're also making sure that it's set as perspective then we can drag
it off to the side
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and grab ourselves a nice setup
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and what we're going to also do in regards to the setup of the camera the
easiest way to set up is
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if we click zero we can see the frame basically what the camera is seeing if
you're not seeing
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the same frame you can go on to this section over here onto the output
resolution make sure it's 1920
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by 1080 this is the default format that you'd usually see in the cameras to get
like a video
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format basically a widescreen type of an image that's most common on on internet
to upload and
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stuff like that and especially for videos so you make sure to have that and we
can also zoom in
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by the way so we can have a frame to be more in regards to our entire viewport
and now the fun
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part we're good we can click and we can go on to something called or to find it
with the camera
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selected that is we can click on view and there's something called lock to 3d
cursor or sorry
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lock to camera view that's the one we're going to select now with this selected
we can zoom out and
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you can see that this frame is not scaling the reason being is that we're
actually we can now
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move it around move it around and see that we're getting a real nice type of a
setup
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for the camera we can click zero and we can see that we actually just move the
camera
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so by simply clicking zero and having this option ticked on we can move our
camera whichever way
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we want and have ourselves a nice composition so something like this i reckon is
going to be
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quite all right yeah there we go something like that we can go on to render view
just to see
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just to check if it's actually looking all right and yeah i'm quite happy with
this result
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all right so now we can do final touches with in regards to composition we set
ourselves up
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with the camera we got ourselves a nice lighting already i'm going to just
double check if
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something like at the back is nice as well
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And yeah, it is quite nice. Alright, so
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yeah, that looks pretty good. I was thinking
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whether or not we should include some backlighting over here, but
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I'm going to focus on one shot, and I just realized we are
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missing some vines going over here. Luckily, it's a super fast, super easy
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thing to do, but I do think that splitting up the
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lessons into two smaller lessons is going to be better. So we're going
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to leave this lesson as is, and then in the next lesson we're going to include
the vine
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geometry, and then afterwards we're going to finalize it with
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composition and rendering. So thank you so much for watching, and I will be
seeing you
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in a bit.
8788
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