Blender 3.3 Headphones Product Animation Tutorial

Welcome back to my channel. Today, we are going to do a cinematic scene with this headphones. Now this tutorial is going to be right on the spot is going to be an impro. So the cinematic that I am getting out of, it's just the right on the spot. First off, I'm going to do a preparation for the headphones as they have a mirror modifier. And if I move any object, it's going to be mirror. Now I'm going to pass apply the meter modifier for each of the objects. And after that, I'm going to come back

when the separation of the objects happen. So each of the objects, the left and right side, are separated at the back with some cool godrays around me. And now that they are separated, they can go into edit mode for each of them. I just can press a to select all. And by pressing B and going for my loose part now they're separated objects here. I don't need I don't need to do anything. It's just the solid part. But for each of the other objects, I am required to separate them by doing this. This

thing, and press them. Now, that's going to be for any object. From here, you just know that. But for the screws around here, I cannot do that. Because if I do, they are going to be separated. Also by this side. So you don't have more objects on this side and for objects on the other side. And we don't really need that separation. So I'm going to go to edit mode to select that. I'm going to enable seeing through and I just need to select them like this. So one part, it's the left and the right p

ath separated. For this, I can separate them by selection. Now know that they separated them by selection. All the four screws up here into base. They are not separated by by their island. So it's going to be the same the same approach for all the screws around here. I'm going to select them here. The selection, everything is solved. Now I am going to disable proportionality. No, but maybe. And also for the cable is just a simple thing to to begin with. Now have separated. I have this small part

here which still needs to be separated and this here. And I guess that's going to be like the last oh, I have this big item also to be separated. Now, I guess that's that was everything which I needed to do simply I have each of the objects separated as they should be. Now, there is not going to be a lot of movement in in the shapes of the pass, but therefore the muscle formed a cinematic scene. Maybe I'm going to have one scene with them folded and maybe unfold. So for the animation of this, b

ecause we are not just going to stay to animate the rotation for each of them do, that's just too much. So the thing which we can do, it's selection. So shift this could start to select them. And now by doing that I can I can bring an empty in and go with an empty tube. It's too big. So it's going to be just like that. As I said, mistakes were made. So what? They had to saw the sun out. The thing is, when I. When I am gonna fold the headphones, this car needs to adjust properly. So if I leave it

as a mesh, it's not too good for working around with it. So I created a curve with three points that just maybe I'm going to adjust it a little bit more on the z-axis some other round here. And I'm going to take a little bit. Of course, I need to change the pivoting point, but that's fine. And I've just made a bit on the other side. I just duplicated it and scaled on the x axis minus one. The the same shape. And it now it's much better. So let's carry on with our end. The way I created this emp

ty because with this empty, I can basically select everything from here. I'm just gonna select this and this. And the metallic part also needs to be that this little finger, this here, the assembly here with the jack port and everything. As I said, mistakes are made. Okay, so we put everything select and end the MP as the active object. I can press control p and then set buttons to object. Now if I rotated, as you can see, the whole thing it's suggesting by so I can fold it somewhere around here

. Now we can see all the details that are around here. That's why I put this two screws around here. I guess on the on the model, they're also there, but they're are more inside anyways. Now we need also to adjust by which is going to happen by going to edit mode and selecting the points control h. It was for the hook and now I can look to new object. What happened? Basically now I have an empty here and I've done a scale by and just gonna put it somewhere down here. Let's make it a sphere and m

aybe so it's more visible for the for the table. And this part is going to be this empty is going to be printed, let's say, by this object here. It's just fine. So select the activity so that object control the set parent to object. Now, if I'm rotating it, nothing happens because I have to add another, and that's going to happen right here in this point. Then you put in this point control h hook to new object and again we are having this bad boy around here. I'm going to go to it again. We are

having the sphere and this is going to be parented to let's say this object. So we are keeping it simple control p parent to object. I'm going to save and now i'm going to need also a hook around here. This is going to be controlled maybe when when we are seeing how how they are folding how the cable would would sit inside control h hook to new object. Okay that's just another sphere and maybe that's going to be hooked by maybe subject to set parent object. Now let's see the magic happened. As y

ou can see, they're folding. And that's why I am saying this needs to adjust, because if I'm repeating it to fold it all the way in, this empty needs to be adjusted in some way like that. So it sits comfortable there is not interfering with the other object and it it's getting on. I already have 10 minutes of recording. That's the time. It's passing too fast sometimes, but everything gets in its place. Now I'm gonna select. Let's say I'm gonna. I'm going to select this with this and that. I need

also to select those screws around the who they are selected. They're okay. I'm going to select parts of this object because they're they're unitary. They're they're all together. And after that, I'm going to select this best view control p Now everything is apparent and as you as you can see, if I'm moving it, the cable is going to stay right in in place. So that's just perfect. So I'm going to do the same on the other part. Okay. So one last thing which I can do. It's adding an on into right

here where I'm gonna move the 3D cassette around here and it's going to be an Arrow MP, let's say, and we are going to see better. I can get rid of this MP here and from from this empty and then I select this belt with this empty. And the last empty that I added is going to be the active contrast be set parental object. Now if I'm moving the empty, the whole object is moving with it. So there's that just perfect. So when I'm not having to select everything and move them, it's just better. And al

so they can be scaled or rotated however you want so that goes with the preparation of the objects. Now we are going to need also to try to get prepared with the scene so first of all, let me add this collection. So everything stays in place now and I, I will need to prepare something for, for the ongoing scene, of course, thing. I need to to move the cursor in the word origin. Let's take a look. So the computer in the cube can be bigger, let's say 50 centimeters or something like that is just p

erfect. If we are speaking a look, that's that's big enough. So what I'm going to do with this cube that's going to be critical shape, I'm going to add some edge. So I'll have four edge looks. Let's see here and already looks here. What I'm going to do with them, I will need a circle around what I what I that's about when I was thinking about this cinematic. It's by going to tools and tools and I guess look terms. Yes. No, I got it. No, I got the circle. Maybe I'm going to rotate it a little bit

circular. Just a little bit. Okay. So I'm going to select everything and from here I can insert the pieces, what they create. And now I have a circle here. You take in, go inside it like that. Maybe I'm going to separated like that. Now with this, I'm going to just create a little bit more detail. So now on this shape here, so extrude something like that, that's where the headphones are going to see this object. This object is going to be on Emissive object. Let me say everything's more and I'm

going to add a subdivide modify program. So subdivide, modify, yeah, just fine. Subdivision. It's just fine for of the, for the purpose of this object. So it's going to be left like that and then add an edge look around here. And so for this area, I cannot really add edge looks too good. So what I'm going to do and then I go to W okay, let's see how they're selected. Yes. So I'm going to select them like this. And now this I for the inclusion, I got a perfectly set on here. Now let's see, I am

getting with the smartness for the edges. Okay, so everything is perfect again. I'm gonna select this faces asset. Okay, everything looks pretty good. Now this is going to be also subdivided. Let's. That's subdivided now that's perfect and applied to subdivide my subject because the thing is I get an edge around here in the middle, which I don't really need is just unneeded geometry. Okay, so let's take a look with the headphones in place. I'm going to select that empty because that's what contr

ols the the headphones. Okay. I have them right into the interface. Let me try to allocate them 90 degrees and let's see how on the placing you'll go the middle part somewhere around here. Let me get them somewhere like that so that everything goes to and this subject sounds good. Maybe I'm gonna scale it a little bit, something like that. They don't need it that big. So it's just around the headphones area. Maybe I'm gonna go upwards. It would be subject. Now let's take a look into the material

. So that's going to be just a simple material. I'm going to leave the name like that and I need it for more things. So it's going to be on. It's a black, black color. And so we are going with something like that. And roughness, some of it on here. So it's a it's reflective, of course, for the moment because I have an HD, right? It's reflecting everything. But we are not going to have it. So the only thing reflected is going to be is going to be the headphones which have a flicker reflecting on

the on the plane here. Now that's going to be a light. So I'm going to bring on a mission chair shader perfectly white. That's that's fine. 50 for the string. Let's see. Now I'm gonna disable the HD array. Let's, let's remove it. I'm going to go all the way black. And if I disable from feeling transparent, we can take a look at what we are having. So that's the lighting with which only the circle around here being the light source. Of course we are going to need to add more lights. This is not e

nough for seeing exactly what's happened in here. But you just stop now. The consultant in the workplace. Okay, that's perfect. The best thing to do and this is going to be let me create nothing in this collection and that's going to be sin. So that's the collection of the scene. I'm gonna add on every alarm. Let me take it somewhere around here. The best thing to do when we are lighting an object, it's disable disabling any other light. So we are just having that light so we can see the effect

which it's created by the light just happened afterwards. You can take a look and for all the lights together, but you just need to to be sure what every single light is doing in a scene, talking to a particular, particular object. I can take a look here how this light, it's acting on my force. I can get it to a rectangle. So it's something like that. And let me take a look. We did not take in 19 degrees. Of course, that's too powerful. 3.5 watts. It's fine. Now I can go to color and choose a bl

ack body, so that's going to give me a real light color. So the lower volume means more light and let's see how it looks like 6000. That's that's been it's pretty much close to white. Of course, if I'm going with, let's say let's say 12,000, there's going to be more blue. Let's see how it looks with 8000. So that's just perfect. And now I'm gonna bring another light. Jeez, that's going to be somewhere around here. I'm going to rotate on X-axis by 90 degrees. Let's take a look. That's going to be

somewhere in light. Let's give it smaller when it's having follows g x, no rotate on. So text is somewhat around here. But of course I need to disable the other night. So that's the length created by by this zoom light. But that's too powerful. I'm going to go with 60. What you guys just put know it's going to be also black. Maybe let's let's test it with the 2000. So now if we are taking a look at every single light we see, that's just better. And of course I'm gonna need a small p light, whic

h is gonna be just suddenly is not going to be a lot more key. So let's start with one. What I'm going to get it somewhere around here that's going to be more around this area, something like that. Oh, of course, is going to be a big a big object. So we are getting some shadows out of it now. I can play with it. So let's try with two watts. That's right. Okay. Black body. And for this, I'm going to go with the water. More color. So let's say 4500, something like that. So that says let's take a l

ook with all the lights together. That's what we get. So that's a good lighting. We can we can see all the details that are around the object. And then it's emblematic of so everything else is prepared. It's that's the only thing that we are needing for the scene. I'm going to save. And now the camera player comes. Okay, so next up, what we're going to do, it's bringing a camera in. Let's go into collection, pressing M and I'm going to name this pre-made collection of great camera, okay? And I'm

going to move the camera around here. So every single camera that I have that I'm having is going to be there. I'm going to go on the third row here and check camera two. There's going to maybe I'm going to go a little bit further. So that's going to basically lock the camera into the into the view target. So now I can place the camera as I want and and the first placement of the camera is going to be something like that. And that's going to be by let's see, this is going to be also moved into

the scene. So every single light, it's going to be two zero. But most of all, let's get the camera movement right. I'm going to check this dot, which is going to automatically record every movement and it's going to put keyframes when whenever I move the object. So let's say something like 60 keyframes and I'm getting some of it around here. Let's see the movement, the basic movement. That's great. Let's take a look. The only light is going to be the the the light from underneath. So the moment

it's something like that, we don't need to reveal too much until now. And I think we took this camera with me, neighbor, every single night. I'm going to add a camera mark. So I'm going to marker, add the market. This basically added a marker. And in the in the keyframe, when I was and I can check bind camera to marker now this camera it's it's here for the moment is the only camera that I'm having. But you are going to start to see the changes when we are going to work with multiple, multiple c

ameras. So in the frame 60, the camera is going to be changed that I'm going to bring another camera. Let me make it also in the collection here for the cameras and I'm gonna select from here this camera is going to be the active one. So when I press this button, I'm going right into the new camera again, I can check camera to view and with this I can change that angle. So the angle is going to be something like that, a closeup which is going to be shown. I'm going to disable this. So only the t

op light is going to be visible in this moment. You know everything. And now I can add another marker. My camera to market it. And now we are going to start to see what this just made. So here we are with the first camera. And after that blend, that automatically changes the cameras. And for this camera, I'm going to go, let's say, to frame 90. And it's just going to be a slight movement, something like that. Perfect. Now you have another market. This keyframe would be for the other angle and th

at's going to be looking at the camera first. Look here. Okay, I'm going to go to camera and let's see what angle and I'm going to take because there's going to be still a closeup. Now, with this, I can play a little bit also with the focal length, I can have a difference in in focal lengths around the camera's. Of course, I need to make the clipping smaller and then getting this kind of perspective. So it's more accentuated the field of view. It's getting a taper around and for this camera and

then to go with. So we do that without this life and without this light. So that's going to be these are going to be the lights in this particular angle. Of course, don't forget when vine camera the market. Okay. And let's do a small animation also for us, probably so frame 120, I'm going to go with something like that and and the small rotation. And so it's revealing more of the object so we can take a look. Okay. Or maybe I can go the other way. I'm going to put it here. This keyframe here. An

d now if I take a look, I'm going the other way, because here in this camera, I'm getting closer. And then I go by the flow in the other way. So let's take a look. So it's having continuities like, okay, let's have another marker as a marker. Okay, that would have been fine. Uncheck this. I'm going to bring another camera into the camera. And this camera, I need to play a little bit with it for this camera and then I'll do that keyframe created because here I'm just going to go for a turn table.

Let's go into normal shading. I'm going to select this polygon here, circle selected. Okay. So here I can bring an empty. With this empty, I can control the position where the camera is going to point and I'm going to bring a circle from from curves. Let me scale it a little bit. Somewhere like that. It's fine for the moment. I'm going to adjust it later on. I'm going to go to to camera and here constraint and then add dump track and the target. It's going to be the empty that we just created.

Now if I change the track axis, let me see which one should be one. Okay, so minus Z, it's the, it's the tracking axis. Now if you, if you're, if we are taking a look, if I'm moving the camera and whatever axis, it's still tracking that point and that's perfect. Now more what we have to do is to adding follow path and the path is going to be what they just created. Of course, it's we are going to have to align the whole thing with zero. Okay, so everything is fine now let me move this first. Oka

y, so now so now the camera is following the curve. Okay. So I can start, let's say from zero, I'm going to also bind the camera to the market. And this turntable, it's going to be new. Let's go for 250. So it's a pretty good range. I have left like 130. So here is going to be zero. I'm selecting it and this insert keyframe all the way to do 50 here I'm going to go with to 100. So it's returning back on its place and I'm going to have another coupling. Now, let's take a look into the camera and

it's a bit of a mess. This thing's to be solved. It's inaccurate and okay, so by selecting follow curve, I somehow solved the issue. And now I'm just going to place the empty closer to where it needs to be. Something like that. Of course, the camera, it's having an angle. Maybe that's because it's having already an angle. It was in an angle before adding the constraints. And now it's all straight and good for these markers. I need the constant movement. I can press right click and from interpola

tion mode I can check linear. So the movement, it's going to be constant, it's going to be linear, it's not going to be like before with Messier. As you can see, it's starting slowly, it's accelerating, and then it slows down. And for the same answer I'm enabling. It's linear. So that's the moment. Perfect revealing of the object. Now for the whole thing, I'm going to go way to let's say it's going to be a cinematic for 20 seconds and to 50 it's small now the easiest way to to get it right let's

say we are not a week you're not having an exact number of frames while you are. You are needing you just say like me, I need 20 seconds. You can just press 20. You're right, 20, because that's going to be 2 seconds. Then I'm adding product 24, so it's 20 seconds multiplied by 24 frames per second. And there's going to be and that's going to just give us the result right away for 80. Okay. So now here I will have another market because we have just going to have another camera on. So let me tak

e a look. Maybe, maybe I'm going to do something with with animation for later for this camera. So here I'm going to have a keyframe for the curve with a curve selected the keyframe for location. And in the final place here at frame 252 to 50. Okay, I'm going to go somewhere like that. I press, I again instead of that keyframe for the location. Now let's take a look for the camera animation. So as you can see, it's getting up in the in the location. That's perfect. And what I can do, it's to pla

y a little bit also with the with the zoom factor. So I'm going to add the keyframe here. That's 50. Okay. And here I'm going to go slightly for a bigger focal range 70, 70 looks good. And now let's take a look. So that's perfect. Okay. We saw also this camera. Now, again, we are adding another camera and put it also in the camera collection here. I'm going to select the camera and of course, camera to view now for this animation. Let me first of by the camera, bring camera to market. Okay. And

now the headphones are going to fold and unfold the following and it's going to be slow and down. Fold is going to be right. We so for this first move, I'm going to do the animation for for the folding, which is going to be by selecting this to amp this, I'm going to press AI and I'm going to insert the keyframe for the rotation. So from front for the sense I only need this now let's rotate on light. Yes, it's not the global way. It's fine. Okay. I have keyframe already here, so. And then I'll g

o. Wait, let's see here. 50, 50 frames. That's pretty good. I'm going to go out of the general view because I need to see exactly how I'm holding them. And then. Then I'll just check the dot again. Rotate on. Why. And that's going to go somewhere around, you know, clipping issues. That's fine and after this this it's folded summit around let's to 85 no to 90 and going to another keyframe for the rotation so this part it's gonna rotate for up to 9050 frames is going to be at 340 so this part it's

gonna rotate afterwards and it's going to be summit like here one of them for the moment of course they need to rotate also from front you look I'm not I'm not going to do that. So they're going to stay like this. They are pretty that pretty good. And then I'm miss which one was the pattern? Okay. So this is going to be the pattern for every single object around this area. The origin is pretty, pretty good. It's right there. No control p objects control the object and keep transform. Now let me

take a look. It's still working. Okay, so now my that I can adjust the placing of this. So let's rotate on y let me see how much I can go with it. Some of the down here and for this let me see so this is going to be the last frame rotate on y and that's going a little bit too much. So somewhere around here, that's the maximum I can go from 3 to 320. I'm going to rotate on y like this and let me adjust on which this is going to become y something like that. So it's a small movement. Now let me c

heck also this cable here, because this needs movement this here on a good to 70 keyframe for location and in the final place here at frame 300 I'm gonna move it on X-axis six axes it's is just fine maybe a little bit on the Y axis also so I'm getting something like that now let's check the animation. All good. Of course, in the final place, we are going to have to adjust also the the curves for the animation. Maybe I can make those. And by doing that, we can do it bouncy. Let's let's say I sele

ct from here bouncy. So now if we take a look at a bouncing and I pretty much like a like the result but okay so with every animation now as I said that they are going to turn back into their place the smooth frame 360 that's going to kick back very close, something like that. And of course, this is also getting right into its place like that. Let me see as soon as this goes. The other one can go also. So frame 355, date Y. So I will do the rotation 370 and this is going to rotate back into its

place. And let me take look also at 360, I'm going to add the location for this and 370 that's going to go a little bit upwards like that. So let's take a look into the animation and that is just perfect. Now let's take a look into the camera. What we are getting out of the camera. I'm going to select and see the camera. Perfect. Now we are going to need also some some movement in into this camera. I took again the view from the camera, look, there's going to be the starting point here. Let's se

e what where it clips 340 that's going to just move a little bit like that summit around this point. Let's take a look. I'm going to need the headphones totally into the into the view of the camera for the part of the whole movement. So I, I just got in the frame, the 300, the camera motor backwards so I can ensure that the animation is keeping the headphones right into the frames. And then we turn away a little bit set now. Okay, let's take a look. Now, I'm going to change a little bit of the v

iew from here somewhere like that. Now let's see if I'm perfect. Let's take a look into the camera movement, you know, when they are going to explode back. So frame 370, I need the camera. Let's see some around here back again. But the movement needs to somehow explode. So I'm going to put the camera around here. And of course, I have to play a lot 30, something like that. Of course, I need to protect it also from here. Let me take a look at it's my read out of my headphones, something like that

, and I'm going away. But the candidates are thinking, let me get out of the camera viewport. I'm going to go to object motion back. Okay. Well, from 250 all the way to 370, I'm going to hit calculate the range. Okay. So now we can see the movement. There's a camera in the first place. And after that, every keyframe it's seen here. So I can adjust the camera by this keyframes. Okay, so I solved everything. Now let's look into the movement that's just perfect because it's. I forget to turn on the

camera. Okay, so that's just perfect. And then with the camera enabled, that was just perfect because the movement, it's explosive and is not perfectly circular. Now, if I go out of camera to view, that's looking at the data. So that does the best created for the camera, something like that. Let me look in today and different interpolations bring different modes of doing the path. As you can see this this is more straight and I needed bounce it's going to look something like that but I'm going

to leave it as it is. It's perfect. I'm going to say now I'm going to add another marker and I have just one 100 and then more points. I'm going to go to The View. I don't need to see any more the path. I'm going to bring another camera. A lot of cameras been brought into the scene because we have a lot of angles. And of course, that's going to be the camera for the view. Main camera two, marker coming up, the viewport. Okay, in this one, it's going to be a shot with the close. But of course, it

's clipping something like that. And that's going to be a camera with the closer details. So I'm going to go to 400. Let's see how how fast is moving because I need to reveal something like until here. So that's two too fast for 30. Let's see how 430 goes. Okay, that's perfect. Here. Another marker, of course, we are working with a lot of cameras. Until now I have six cameras, the camera and the camera. But I am in the new camera and for this one I'm going to go for a detail around around here i

nto the lower part of the of the headphone. I'm going just started from from here. And that's going to go all the way to of course, I messed up because I forgot to bind the camera in all the way through this point. But that's going to move something like that. Anything. It's visible. Now, let's see how fast is moving. That's perfect. For now, I'm thinking and I need more, more keyframes. So it is going to be longer than 20 seconds at the marker name going out from here. These are going to be als

o linear movements. Another cameraman to play by ten minute marker. And that's going to be like the final camera with the product all frame then. So it's going to go like that all the way back where the object is not visible. Let's add the let's say 70 more frames. So that's going to be like 500, 550 frames. So that's just going to be a slow move g way and then going all the way back and motor down. So let's see, something like that. Of course, it's a constant movement, a linear movement. So tha

t's the final product which which you're seeing. You can leave it like that. Or afterwards in editing, you can do a frame freeze. At the last frame and you can add more seconds. It's useless to stick, to render. Let's say if you want to add one extra second with this point of view, just for the product, for the headphones to stay more on the screen to render another second extract, we did not moving just thing like that. You can add that extra second line, bringing the frame. You don't need to r

ender 24 frames. And for those 24 frames, maybe you using like half an hour, one hour. It depends on how fast the machine is going to render each frame. So that's some efficiency in working around the frames. Now let's take a look this one, it's linear. This one needs to be linear also. So the camera 005, it's it's needing linear interpolation. Okay, so let's take a look from the start to finish. I'm going to disable editing. So we have seen just this. Of course, we still need to do a lot more w

ork with the lights because we need also to play with the lights. I'm going to disable this. Let me get the bigger maybe I can also add the materials. Okay. So now let's take a look at what we are having something strange. 10 minutes, zero for this year. Okay, so from here bam mechanism and now we are moving to some the things going with the frames because in this frame, from this frame on, I don't need any more this table. So I'm going to go to object and visibility. I can put a keyframe when i

t's visible and when it's not so in frame 249 is going to be visible to to the viewport and also to the render. So adding a keyframe here, but at frame 250, it's going to disappear also in the render. And I don't need it anymore. So I have a different here as you can see is that and that's that after 250 it disappears. And for the ring what I'm going to do because I still need the light from it, but I don't want to to show the ring in the in the render. So if I uncheck camera that I'm going to a

dd first of a keyframe at to 49 if I'm going to do 50 and uncheck the camera array visibility when I render, let's go for the end of year when I'm rendering, it's not visible anymore when the render is not going to be shown, but it's light animation is going to be still in the render. So that's just perfect. We not having the camera play. Let's take a look how the camera looks. We get some. So in this view, I need to really block the the object here. I need it until 250. After that is just going

to disappear. Okay, so everything, it's, it's right with that. Now I have to play with the lights, know the lights are coming into play. And by that I'm going to go to lights. This is going to be at zero. What's from the frame? From frame zero. As I said, I'm going 70 frame. Well from the same frame zero until the next camera I will have only the the light from, from the object here and the net. So every single light is going to be at zero and that's going to be also zero. I set the keyframe an

d the last area is zero and set for keeping. Okay, so here I'm going to change the camera now for this object which was this mission, I'm going to insert the key player instead of getting at frame 59 and you set another keyframe. And when then going to 60, it needs to be at zero. So is not shown is not getting any light into the scene now for this which one was the light. This one. So in this one. Yeah you are doing the same thing. 59 zero we said given that frame 60 it's going to put some, some

light on the object insert keyframe. And also I'm going to add from the sun, I guess this one is not the some of the but I think we still have zero you have it on which was 3.5. Okay, so let's replace keyframe but frame 59 zero. Okay, the camera is sending at 90 zero 90. I'm going to have this slide here which was at 6060 watts. And let's see if I have the other two ones. Two zero, which is going to be at zero and this is going to be still a two. What's something like that? Of course, with the

other camera, I don't need half, what, 89 to the light from here. It's going to stay at zero and this one zero and the other one, it's going to be 8.5, something like that. And yet I have the lights adjusted and a train 120 all the lights are going to be visible. So here I'm gonna put that 50 of course at 190 that's going to be still zero for let's see them. 120 okay, let's see here they have the frame I want since upon it 60 and that's going to be 3.5. It's so I need to adjust also this one zer

o. Okay, so let's take a look how the lights are acting, everything. It's moving. Perfect. Exactly. Perfect. All the lights visible. Now, here, I need to play with that from the camera. From camera zero three. I'm going to just get closer. It ain't going to go play with the depth of the shot. That's so there's this camera here and I'm going to enable the top field. So let's select an object here. I can go to these viewport. Let's see the object, the right object that I'm going to have an empty t

hat's there's just method to do so that is going to be around here I'm going to add another empty a lot of empties for it is camera zero two again so I'm selecting this empty which I can. Yes I guess I can maybe I'm going to get it also in the camera collection. Okay. And I'm going to name it, which that's going to be the focus for every single camera. So I'm going to animate its position. So I don't need to add an empty for each camera and this is just too complex. So I for location, I just do

that and I'm going to go to camera in zero two and let's play with the laptop. Of course, I'm going to add some blades to the camera. That's going to be let's see, I have 1.2. Let's see how it looks. So we are having enough difficulties. It's giving that to shut. It's having. Okay, so the point it's going to stay in the same place until it I location key if you want to remember for this one I'm not going to put that to film here it also is going to be used so for here I location then I'm going i

nto the other camera here and that's camera zero for simple. I salute the empty. I just drag and drop here the empty. Now I'm going to enable snapping to the to the face. I press g and that I'm snapping it exactly right on the spot where I need. Of course, from what I'm seeing, I that's a lot of the field. So again six blades and part of the X that's 5.2 maybe. That's good. That's too much. Let's go with nine. Maybe this smaller 7.6. 7.6. That's perfect. But of course, I didn't have the keyframe

and the focus just going, no, in the middle. Here's what I'm going to do. I'm going to put the focus point closer to the camera. Let me get some of that. If so, I can see it. So I'm going to put it close to the camera. So is going to be out of focus. Let me enable the block. I okay. We're having a deep frame here. What I don't need for the whole shape these to to go like that so be it at 390 I'm going to put the focus back in its place. So it's just going to move around this area, the focus it'

s going to stay on the object. Then object goes out of out of focus, then frames later. So for 410, the focus, it's going right where it needs to be. So the visibility and maybe it's going to be. Yes. So we can take a look out of focusing focus. Everything goes perfect. Camera zero six. Okay. It's coming from camera six. It's going to have the focus point here because I need to show up all the textures going, make some of the camera. Okay. Look to build. I like to look. Focus here six blades aga

in next eight it looks pretty good. So it's showing up the dilated area here it's showing the details on the leather also that takes us inside. The headphones are visible but we are having some the go on the film going on which is just but no I'm going down but for 69 and the focal point is going to move right to take but still on the on the texture here and now the final camera zero seven the the field of focus point let me get it somewhat like here I'm going to go to focus so let's take a look

going out and it's pretty much going focus when I reach enough point like here what I mean I want the focus. So then I want it right on the edge here. So it's moving with it. And you approach. But I don't need a hard the field it's see how then for the work stops look there's just perfect six blades everything is good let's take a look how much the film we're having is just the small bit. So that's the only animation we can take. A final, final look. I'm going to go here render region. So the v

iewport is going to render everything faster. I'm just going to select everything. And let's take a look at what we got. Okay. The perfect table and that's the animation. Now, I'm going to render I'm going to render that cinematic. And it's going to be in the beginning of the video that was the tutorial. The model is going to be available on my Cgtrade and I can also add this animation and the material all for free. And hopefully you enjoy the video, you learn something new, and please leave me

a like, subscribe if you found anything interesting in the video and comment if you have any questions until then. Bye.