Full transcript
0:00by the end of this video you'll know
0:02everything you need about cameras in
0:04Unreal Engine 5 and then you'll also be
0:06able to learn how to move your cameras
0:08around how to track your cameras to an
0:11object and have a shot like this like
0:13check this out wait boom look at that
0:16look at how sweet this is you'll be able
0:18to do this right after this video so
0:20let's get to it what is up beautiful
0:22people we are here at chapter 16 and
0:25we're going to talk about
0:27cameras yes this is one of the most
0:30important chapters of our tutorial
0:31series because we are going to cover
0:33exactly what camera settings we are
0:35going to use we are going to talk about
0:37cranes rig rails F why do you like
0:39cameras so much well because this is the
0:41first part of this tutorial Series where
0:43you technically can bring in all of your
0:46skills from The Real World into 3D you
0:49do not need to know anything extra about
0:51these settings if you already know your
0:53way around cameras in real life and come
0:55on it's 2024 you use iPhones you know
0:58what aperture is right or FOC length no
1:00I don't you don't okay well I guess
1:02we're going to go through it all
1:03together well one more thing I'd like to
1:05say before we begin is that just like
1:08the post-process volume just like
1:10lighting cameras also have to be one of
1:12the first things you set up if you're
1:14creating a cinematic if you're creating
1:16a game it doesn't matter you have to
1:17make the entire world but if you're
1:18creating a cinematic and I'll just use
1:20an example right here and let's say you
1:22only need two shots one which is this
1:25and another one which is this angle then
1:27why the hell would you want to go Ahad
1:29and create all the this at the back you
1:30don't need all this detail so all of
1:32that time is wasted this is the most
1:34important tip always set your cameras
1:37your postprocess volume early on you
1:39know your shots then if you know your
1:42shots then you are only going to create
1:44what you need for that final result and
1:46not waste time creating everything else
1:48that might not end up in the final shot
1:50now I'll tell you one more thing there's
1:51a very high chance we won't be even
1:53looking at this guy right here or these
1:55guys right here because our shots are
1:57going to be somewhere here but for the
1:59sake of this course we've created all of
2:01this so that you understand how World
2:04Creation in Unreal Engine 5 works so how
2:06do we add a camera to a scene very good
2:08question so just like everything else we
2:10have to go to the top left side this
2:13right here and we can either bring the
2:15place actors panel to the left side and
2:17then bring the cameras from there or
2:18just go to cinematic and then look for
2:21cine camera actor so this is basically
2:24the camera you're going to use every
2:26single time when you want to bring in a
2:28new shot into your scene C camera actor
2:31now there's also another one which is
2:32camera actor I believe but don't don't
2:35get mistaken there's different kinds of
2:36cameras in onreal engine 5 I believe
2:38they were used for other purposes the
2:40one we're going to use for cinematics is
2:42C camera actor drag it drop it into your
2:44scene I can't see anything right now
2:46because I have my overlays disabled the
2:47shortcut for that was G so G and now I
2:51can see my camera hit F to go closer to
2:53it and this is beautiful it comes in
2:55real handy because Unreal Engine always
2:58has this mesh like a c in a camera that
3:00you can use to see where your camera is
3:02pointing and where it is in the scene so
3:05once you have your camera selected fire
3:06what is this at the bottom right this is
3:08what your camera will see yes this is
3:09the preview of your camera so if I were
3:11to drag my camera up I'm actually
3:14looking at what the camera is seeing I'm
3:16going to go ahead and hit e rotate my
3:17camera and see oh oh I can see
3:20everything now absolutely so I can go
3:22ahead and control my camera without
3:24actually being inside the camera so
3:26there are two ways you technically want
3:28to go ahead and control your camera one
3:31is by looking from the outside and
3:33having the preview on the bottom right
3:35and then trying to see where your camera
3:37should go and then like hit F maybe go
3:39closer maybe rotate it if you're trying
3:42to look at one of these Storm Troopers
3:44another way to do it is to actually go
3:46ahead inside the view of the camera now
3:49there are many ways you can do that far
3:51do you remember one of those ways one of
3:52them is right click pilot absolutely so
3:55I can go right click so click my camera
3:57or even here in the outline both of them
4:00work right click and then there's an
4:02option that says pilot C camera actor
4:05and then you'll go inside the camera now
4:06you have these black bars at the top
4:08right because depending on the camera
4:09settings the width and height of your
4:12sensor is different so right now I can
4:14just navigate exactly the same way as I
4:16did before and I can go around but this
4:18time around I actually have my camera
4:20and you know that this is your camera
4:22for two reasons number one notice the
4:23depth of field we didn't have blurriness
4:26when we were building our scene but
4:27right now we do so we are in our camera
4:29view another way you can tell this that
4:31this is your camera view is looking at
4:33the top left under your perspective you
4:35have this airplane icon which says your
4:37piloting your camera now two important
4:40buttons on the right side one of which
4:41is to eject so you're getting out of the
4:44pilot mode so now I have the camera here
4:46again I'm back into the normal
4:48navigation mode and I can see the
4:50preview or if I go back into to the
4:52pilot another one is here so technically
4:55this one is going to toggle showing the
4:57exact camera view if you toggle this off
5:00and if you move and then eject look at
5:02what happens you've actually moved but
5:04then you're piloting the camera but you
5:06don't have that black bar the camera
5:08settings if you will sometimes it's
5:11confusing but I always like to just keep
5:13it on so that I'm not confused and then
5:15I just either eject so there was another
5:17method faros just did that was a second
5:19method beside the pilot which is going
5:21through the perspective and then you can
5:23select the camera that's actually my
5:25favorite way of piloting the camera I
5:27don't like to go ahead and hit right
5:28click I like to just go perspective and
5:31then go down to place cameras go to C
5:33camera actors so we know about
5:35perspective far we know about these
5:37orthographic views but once you add a
5:39cine camera actor to your scene you'll
5:41have this extra option down here so if I
5:44were to go ahead and hit alt duplicate
5:47this two times one more time duplicate
5:50so I have three camera actors look at
5:52what happens here you can go inside each
5:54and every one of them absolutely so I
5:56can go to C camera actor 3 and then
5:59right click click move it eject I can go
6:01to C camera 2 move it here eject and now
6:05I have three cameras placing three
6:07different positions right so there's
6:10again multiple ways you can control your
6:12cameras so as long as you work enough
6:15times with the cameras you'll get really
6:17buttery smooth when it comes to
6:19navigating with the cameras it's
6:20honestly really really easy now I'm
6:22going to go ahead and delete our two
6:23extra cameras let's just stick to one
6:26let's now talk about one more option on
6:28our viewport and then we're going to
6:29head to the details panel and change
6:31some of our camera settings one thing
6:33that you can do is let's say I have my
6:35camera here and then I want to see what
6:38my Stormtroopers are doing go ahead and
6:40move them but still be able to have the
6:42preview the problem is right now I can
6:44see my camera but then if I go ahead and
6:46click on something else I lose the
6:48preview far do you know what we can do
6:49here there is a pin button where you can
6:51pin your preview here right here bottom
6:53left if I pin it then I can move around
6:55the scene go all the way back here and
6:58let's say I want to bring the ti fight
7:00I still clicked on this TV fighter but I
7:02haven't lost my preview so now I can
7:04bring this guy here and exactly see
7:06what's happening in my scene super duper
7:08handy you can actually go ahead and
7:10preview multiple cameras but just
7:12understand one thing when you have an
7:13extra screen technically you're
7:15rendering another scene with a different
7:17angle so that's why our FPS is getting a
7:20hit so make sure your computer can
7:22handle having previews now we're going
7:25to unable this pin and now it's time to
7:27look at some of the camera settings at
7:29the details panel okay so we have the
7:31camera we're going to go inside the
7:33camera and I'm going to go all the way
7:35to one of these guys right here okay
7:37cool so this is a really cool view
7:38there's already a couple of problems I
7:40want the Stormtroopers to be in Focus
7:41but they're not so again this is where
7:43camera details come in handy so let's
7:46pull this up and let's take a closer
7:49look at what we have there's a lot of
7:50settings we're only going to cover the
7:52ones that you're going to use the most
7:53right look at track settings basically
7:55talks about tracking so object tracking
7:57with your camera if an object is is
7:59moving we're going to talk about that
8:01when our object is actually moving so
8:02not now let's go to filmb back filmb
8:04back is literally your camera sensor
8:07settings you have some defaults here the
8:09sensor width and height is already
8:11chosen based on the lens and sorry the
8:13camera that you're choosing so if you
8:15want to go for an IMAX 70 it is going to
8:17give the exact width and height for an
8:19IMAX 70 M now can we adjust the height
8:22and width absolutely so if I were to
8:23create my own version I can just go
8:25ahead and do that now mind you Unreal
8:27Engine 5 is used for virtual production
8:29in far we talked to Felix on our podcast
8:31yes and Felix worked on the Mandalorian
8:33yes all the Star Wars series on Disney
8:35basically do remember what he said about
8:36cameras he mentioned that the cameras
8:38exactly replicate the real cameras in
8:40life there you go so that means
8:42everything here is according to real
8:44life so you can emulate real cameras
8:46which is so sweet so we're just going to
8:48go back to the default which is 16x9
8:51digital film this is the one we're going
8:53to go for you can even make this wide
8:55screen by going I'm just going to go for
8:56random R like 34 now it's even more wide
8:59if you want to do that by all means go
9:01ahead and then you have lens settings so
9:03lens settings pretty self-explanatory if
9:06you have Universal Zoom okay I'm going
9:08to bring your attention to down here
9:10where we have focal length focal length
9:13this is the most common setting that you
9:15probably have even on your iPhone the
9:17remember the wide angle lens the
9:18telephoto lens all of these have to do
9:20with your focal length and the depth of
9:22field has to do with your aperture so
9:24these two settings right here so focal
9:25length is now on 35 which is pretty
9:27standard you want to go wider you're
9:29going to slide this down right this is
9:32now a wide angle lens and then you can
9:34go all the way in to have that really
9:36nice flat image which usually is used
9:39for portrait shots right but this is
9:42like way too close right 130 focal
9:44length is like too much but I'm going to
9:46pull this back to something like
9:4850 and the reason why we talked about
9:51Universal Zoom is because on default you
9:53can control the focal length and
9:55aperture but you can go for some of
9:56these settings let's say a 30 m prime
9:59lens 1.4 aperture if you choose this
10:03prime lens means you cannot change the
10:05focal length so right now the focal
10:06length is locked I cannot change it
10:08because by default it's a prime lens
10:10right and the aperture is at 2.8 right
10:13now supposed to be 1.4 sorry my bad it's
10:15at 2.8 but you get the point right it
10:18changes some of your settings based on
10:20that we usually like to go for Universal
10:22Zoom so that we have full control
10:23ourself so right now you know that focal
10:26length is going to be controlling this
10:28exact setting we're going to change it
10:29to 50 and F aperture controls our depth
10:32of field so the lower that number the
10:34more blurriness we can get in our shot
10:36and the more Focus we can have on a
10:38specific object so let's bring this down
10:40to the lowest number which should be 1.2
10:44cuz that's our minimum F stop so 1.2
10:47let's bring it all the way down and see
10:49it's even more blurred now now F what is
10:51the next thing that we got to do with
10:52this Focus setting yes right we got to
10:55change where our focus is and that's
10:57under Focus settings so right now it's
10:59on manual which is perfect cuz we want
11:00to manually change it and we can change
11:02our Focus settings with these numbers
11:05with this number right here and in order
11:07to see where it is at we can use the
11:09debug Focus plane by hitting this check
11:12mark it's not visible right now cuz it's
11:14way too far but it spawns a plane with
11:16this exact color and tells you exactly
11:18where your focus is so we're going to go
11:19ahead and drag this all the way down
11:22until we see that plane there you go
11:24it's visible now and pay close attention
11:26to what happens to our Focus
11:30boom you see that I'm going to disable
11:32the debug and look at how beautiful this
11:36okay honestly we're done with the
11:37tutorial series like look at how cool
11:40this is guys if you're doing exactly the
11:42same thing you're probably just like wow
11:45this looks beautiful and it's real time
11:47at the same time right now far there's
11:49another way we can change the Focus
11:50right here we can select by the eye
11:53dropper there there you go so you don't
11:55have to manually go ahead and change the
11:57slider I'm going to select the eye
11:58dropper tool and just select maybe this
12:00Stormtrooper right here and look at the
12:02Focus changing look at how cool that is
12:04I'm going to move my camera to the right
12:06and this guys is exactly the reason why
12:09you started this Unreal Engine tutorial
12:11series because if you were to do this in
12:13any other software well I don't want to
12:16discriminate against all the other
12:17softwares but pretty much a lot of the
12:19other softwares and you wanted to go
12:20ahead and navigate around the scene like
12:22this with hundreds of Stormtroopers with
12:25all of these lights parro it wouldn't be
12:27possible it would be very noisy and it
12:29would take a lot of time so right now
12:30we're doing this and one more thing I
12:33wanted to cover really quickly Farah do
12:35you see the bokeh at the back yes do you
12:38remember the reason why we told
12:39everybody please listen to us yes those
12:42emissive lights that we created with JS
12:44placement might not look super great
12:46right now but but look at them now look
12:48at them now do you see the boka that
12:50we're getting from those emissive lights
12:51looks so good okay so what is the next
12:55thing we have to cover okay I think
12:57aperture we already cover covered right
12:59we we did say that if we change let's
13:01say our Focus here of course if we go
13:04ahead and bring up our aperture
13:06basically we'll have more we have less
13:09focus on the subject everything else is
13:11going to be less blurry right and the
13:14depth of field is going to change so
13:15we're going to increase this number and
13:17look at what happens to the background
13:19you see that F what is a squeeze Factor
13:22very good question so if you hover over
13:23squeeze Factor it says squeeze factor
13:25for anamorphic lenses now if you're a
13:27film Maniac you would probably already
13:28know about anamorphic lenses a lot of
13:30people are crazy about them we need to
13:32get one we don't have an anamorphic lens
13:33we don't have used in the latest Batman
13:35right yes it was used in the Batman
13:36series it used in a lot of movies but
13:39very specifically I believe Batman used
13:41it and the shots were so nice with
13:43anamorphic lenses you get this really
13:45cool sort of blurry edges to your screen
13:50and then the focus is sort of right in
13:51the middle and then your bokeh effects
13:54of the spherical shapes that you see at
13:56the back because of our emissive lights
13:58turn into a an oval shape right and so
14:00we can actually sort of emulate an
14:03anamorphic lens not exactly to the dot
14:05here but the squeeze factor helps so
14:07let's go ahead and increase the number
14:08to Two and let's see what happens to the
14:10book you see it's now spherical do you
14:12see that do you see the the shape so if
14:15I were to go ahead and change my my lens
14:19and just bump this up to something like
14:2024 okay just temporarily I'm not saying
14:23this is the lens uh sensor width and
14:25height that you should go for but if you
14:27look closely now our shot does emulate
14:31sort of an anamorphic lens Plus in post
14:34in Da Vinci you can go ahead and add
14:36some of those blurs in the edges maybe
14:38some chromatic aberration whatever you
14:40think would be right for you to get that
14:41anamorphic effect but the squeeze Factor
14:43actually gets you one step closer to
14:45that anamorphic look so far as what if I
14:48need help moving my camera I want to use
14:50Crane I want to use rig rig rail or I
14:53came from the real V film making
14:55industry and I'm so used to these tools
14:57how can I use them in
14:59absolutely so we haven't talked about
15:01animation yet cuz we don't have
15:02timelines but we do have to cover all
15:05the animations with cameras because then
15:07how would you know how to move your
15:09cameras the basic way of course is just
15:11like anything else we'll hold the camera
15:13and then just move it like so but if you
15:15want to be more precise as farad
15:17mentioned there are tools in on your
15:18Ling that help you to do that wait a
15:21second we're teaching you guys all of
15:22these techniques like modeling and
15:24texturing but frankly there are faster
15:26Alternatives like photogrametry that's
15:28when you use your phone to take a bunch
15:30of photos of a real life object and then
15:33turn that object into 3D within minutes
15:35and then bring it into Unreal Engine so
15:37we use polyam for our photo gometry and
15:40they actually sponsored this course so
15:43that you guys get 30% off their Pro Plan
15:45we have all of the details and the promo
15:47code in the description back to the
15:49course so in order to do that we're
15:50going to go to our add button right here
15:52go to cinematic and the first one that
15:54we're going to use is the camera rig
15:56rail now this might be conf infusing in
15:59the very beginning if you've never done
16:003D but a camera reg rail works like a
16:03basier curve if you come from a 3D
16:05software and the first time me and fart
16:08saw it and heard about it we tried it
16:10and we forgot after a while how it
16:11worked so even if you do don't worry
16:14whenever the need for it comes you're
16:16going to probably search for this
16:17tutorial again and find out how to use
16:18it but right now we've memorized how
16:20it's done so when you have a camera
16:22regail first of all let's try to create
16:24the path for our camera I want to go
16:26ahead and start my camera here and I'm
16:28going to go in a u shape and come back
16:31here and in order to do that I'm going
16:33to place my rig rail in the origin point
16:35that I want to begin with and then I'm
16:37going to hit this little white dot to
16:39start my shape so I'm going to hit it
16:41once it's selected I will see my Gizmo I
16:43can then goad and pull my shape and now
16:47this is a curve but in order to enable
16:49the curve I need to go ahead and add
16:51more points to my curve right now it's
16:53just one point right from the beginning
16:55to the end I'm going to go ahead and use
16:57duplicate so holding alt I'm going to
17:00pull on this arrow to the direction that
17:02I want and I'm going to go ahead and
17:04extend this Rick Rail and then I'll do
17:08another pull this is my custom shape
17:11down here because I want it to be a u-
17:12shape so I'm going to hold alt pull it
17:15again to extend it as you can see it's
17:16creating new points and it's already
17:18created but far what's really cool about
17:21basier curves is that now you have
17:22control full control using handles so
17:26I'm just going to go ahead and click
17:28this this point right here this is one
17:29of my points and I have these two extra
17:31handles so I can let's say bring this
17:33higher so right now it's like a roller
17:35coaster and then I can hit this handle
17:37and I can move this to control my shape
17:41I can even rotate on on some of the axis
17:43so not actually sorry not this one I can
17:45rotate this guy right here yes and I can
17:48move these handles to create a unique
17:52shape for my camera now this guy just
17:54went below the ground which is not good
17:56going to bring this guy up and just just
17:58like that we have created our rig rail
18:01so far how do we go ahead and actually
18:03attach our camera so that it follows the
18:05rig rail we need to make the camera a
18:07child of a rig rail so in order to make
18:09the camera a child of the rig rail we
18:11have to go to our outliner right here so
18:12let's close all of these drop downs
18:14there's too many we're going to find our
18:16camera and then we're going to drag it
18:18and drop it under the rig rail so right
18:21now it is connected but it's not
18:24following the exact origin you need to
18:26reset the location yes just like the gun
18:28to the Storm Trooper to reset location
18:31dependent on the r rail so go to the
18:34camera make sure the camera selected
18:35here there's some values reset both of
18:38these values and you can see it comes to
18:40the origin Point as long as it's a child
18:42of the rig rail now I'm going to raise
18:44this guy up I'm going to point it
18:45towards the right direction and then if
18:48I go to my rig rail select it in the
18:51details panel there's a current position
18:53on rail which is at zero so if you go
18:55ahead and slide it you will see that our
18:58camera is now following the path of the
19:00rig rail perfectly faras what if I want
19:03the camera to track a single
19:04Stormtrooper along the way through this
19:06rail that's a very good question cuz
19:08right now it looks weird right it's
19:09following the path but it's not
19:11controlling its tracking so in order to
19:14do that we're going to go back to the
19:15original setting that we didn't talk
19:16about in our camera so hit our camera
19:19and at look at track settings at the
19:21very top we have an option which says
19:24enable look at tracking that's just to
19:25enable it so let's go ahead and enable
19:27that and now it's facing forward because
19:29it doesn't have an object to track so
19:32the option we're looking for is actor to
19:34track and we need to define the object
19:37it need to track so far who should we
19:39track the Stormtrooper we can but
19:42there's just one issue if you go and
19:43track the Storm Trooper because if you
19:45select them there's so many of them I
19:47don't even know where the origin point
19:48is I think the camera is going to be
19:49confused as to which one to look at so
19:52we're going to fake one of our objects
19:54by just bringing something just any
19:57shape like a sphere spere right this is
19:59going to be the object that we're going
20:00to track we're going to raise it up
20:02right here okay and we're going to make
20:04it super small just like that like tiny
20:08okay we can go ahead and even hide this
20:10later on but I'm just going to keep it
20:11here so that we know what we're tracking
20:13but later on we can even hide this so
20:14this is going to be our fake tracker
20:16we're going to rename the sphere to
20:18tracker and then on top of the camera if
20:21you go to the look at track settings we
20:23can either use the eye dropper tool or
20:25just search
20:26tracker once we have you can see that
20:29it's tracking the object so let's go
20:31ahead can we track the focus too
20:33absolutely let me just show you what the
20:35tracking looks like and then we're going
20:36to do the focus as well so I'm going to
20:38go to my rig and then I'm going to use
20:40the current position on Rail and look at
20:42what happens o that looks beautiful that
20:45looks really cool looks amazing all
20:46right this is not cinematic at all this
20:48is not the perfect camera motion we're
20:49just teaching you the ways to use the
20:51software so farad asked for Focus right
20:55yes so we're going to go cuz right now
20:56the ball is out of focus let's first go
20:58ahead and really zoom into this so let's
21:00go increase a focal length first and
21:02really notice that our focus is off and
21:05for our Focus yes we can go ahead and
21:07set this to manual right but the problem
21:09is as we move on our track we're going
21:12to change the focus the focus because
21:15the focus is stuck in one position so
21:17we're going to track it how do we do
21:18that far the eye drop her absolutely so
21:21first we need to change our Focus method
21:23from manual to tracking and then open
21:26the drop down of tracking focus and as
21:28farat said this time around we'll
21:29actually use the eye dropper tool and
21:31select the sphere the tracker and just
21:34like that it's done now that the focus
21:36is tracking we can go ahead and click
21:38our camera rig Rail and pay close
21:39attention to what happens here we're
21:41going to go all the way to one o and
21:44look at that focused and tracked focused
21:47and tracked now we can go here and this
21:50looks perfect so if you want to go ahead
21:52and hide the tracker you can just go
21:53ahead and do it it's still going to
21:54track
21:56nonetheless beautiful how can can we use
21:58the crane tool okay so we use the camera
22:01regil there's another tool that you can
22:02use and just like in real life it works
22:04exactly the same way we're going to go
22:06to cinematics we're going to bring the
22:08camera rig crane oh and fart remind me
22:12how do I attach my camera to this makate
22:14the child of crane so I'm going to drag
22:16it and take it out of the camera reg
22:18Grail I'm going to take it to my crane
22:20instead reset location and rotation
22:22reset location and rotation boom boom
22:25okay and guess what it's already
22:27tracking
22:28the sphere right from the beginning so
22:30all I have to do is now go ahead to my
22:33camera R range settings and then now I
22:35have to play with these values the pitch
22:38the yaw and the arm length let's see
22:40what they do so the pitch does this wow
22:43look at that shot do you see it yeah the
22:46ya doeses the rotation wow and then the
22:49arm length which is even cooler I mean
22:52dude look at the shots we're creating
22:54here is going to take it higher wow so
22:56we can go above and beyond and there are
23:00no limits within the engine oh look at
23:02No Limits look at this Wow Wow in the
23:06next chapter we are going to animate all
23:07of this using sequencer and it's going
23:10to be smooth oh my God I just I'm sorry
23:12I I like I really like to play around
23:14with this so guys you learned now how to
23:17use the camera the rig Rail and the
23:19crane and we showed you all the
23:21parameters but the most important part
23:22is how we animate this and use it in our
23:25timeline so the next chapter we are
23:27going to talk about sequencer and we're
23:28going to show you how to animate cameras
23:30how to animate objects this is going to
23:32be an amazing chapter S check this out
23:34look at how cool this looks oh my God
23:36you're going to animate it in the next
23:37chapter dude look at this shot dude you
23:39guys can do this now congratulations for
23:41making it thus far guys we cannot wait
23:44to see you in the next video until then
23:46chiao