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In this video we're going to be talking about framing. I want to give you some examples

of how would I approach framing of an object like this and hopefully this is going to give

you some ideas for creating really awesome renders. Now what I want you to understand

is instead of following me frame by frame, try to listen to what I'm saying. Try to listen

to why am I placing a camera in this position or the other, on this angle or the other,

because the reasoning behind what I do will give you the tools to actually get anything

done, right, and render. Whereas when you're going to copy what I do, it's just, you know,

it's not going to help you, okay, because you will not understand why it's happening.

So the whole idea behind this video is to explain you the reason behind certain framings,

okay? So now in this case, this is our render that we created, right, and it's an orthographic

render kind of, right, it's compressed because we're using a long focal length, 135mm, that's

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a, you know, that's a telephoto lens which means it compresses the image, right, compresses

the angle, so everything looks a bit more orthographic. Now, if I change that for example

to 35, right, we're going to get a very different feel of the image, okay? Also, you'll need

to have a larger background because the camera actually sees more, okay, it's a wider field

of view, so I'm going to have to, you know, make it really large. Now, this is not the

best position for this because there is too much headroom here and not enough ground.

Now imagine that you are shooting a human being, okay, every time I'm shooting something

I'm imagining either a face or a human being, okay? So let's say this is a head, imagine

this device here is a head, this is going to be a face, this is going to be the top

of the head, this is going to be the back of the head, right? So when you learn how

to shoot something, think about whatever you're shooting as a face or a human, it's going

to be easier, okay? Even a building, a mountain, it doesn't matter, everything has a face,

right? So let's just move this, right, a little bit like that, okay? Now you see that this

looks a bit better, but maybe we can change the angle a little bit to maybe show a bit

more of the, you know, of the top, maybe something like this, okay? To fill the frame a bit better,

right? Zoom it in, okay? And, you know, this would be a fairly decent, okay, fairly decent

wide angle shot, right? Fairly decent. So you get a bit more room on the bottom to give

it a standing ground, you want to give it a standing ground, more room on the left side

to give it a bit more of a breathing room, right? And slightly tighter on the top and

here on the right side, okay, in the back. So when you frame something, you always need

to think where the attention is going to go, right? Attention is going to go probably mainly

here, right? Because there's a lot of contrast, you see the contrast here, dark elements and

bright elements, and also there's a lot of detail, okay? So there's a lot of, kind of

like a local contrast, right? Whereas here, the detail is a bit more scattered, and the

contrast is less pronounced. So, you know, we do have text here, which is going to pull

attention and the colors, but this is going to be the main feature. So make sure that

the main feature is nicely framed, okay? Another way of framing this would be to go from the

front, right? To go and, you know, shoot something like that. This also be cool, because that

shows all the details of this model, you know, from the front. Now, maybe because now

it's a bit narrower, okay? So this is quite long, and this is a bit narrower, we don't

really need this kind of a framing. So always remember that you can adjust your framing

to your needs, okay? 2560, and we can make it a little bit larger. Now, it's going to

be difficult to, you know, let me just enable my screencast keys. It's going to be a bit

difficult to extend this background, you know, to the distance, because it's really, it's

going to be really, really far, since the camera catches this space here on the top.

So what I'm going to do instead, is I'm going to create an infinite background, okay? So

we're going to rotate this plane like this, so this edge here is parallel to the edge

of the camera. Grab this edge here in the back, right? And we're going to, you know,

extrude it up, okay? So easy, and extrude it up, okay? Here, like that. Can you see

that? And we're going to move it, so G, X, X, O, Y, Y, there we go, and kind of move

it like this here. Grab this edge here, and let's just bevel this, okay? Now, you want

this bevel to start behind the bottle, okay? And we also need to sharpen it. Now, press

0 on the numpad, and you see that now we have this beautiful infinite background. So a background

that seamlessly kind of falls out, you know, into nothingness, okay? Here, we're going

to zoom it in a bit, and now, you know, we could go with this kind of a wide-angle feel

here, right? That's nothing wrong with it, you know, something like this. So again, you

see, this is the same principle, guys. Look, there's a bit more room on the bottom, because

standing ground, a bit more room on the right-hand side, because breathing space here, right?

And a bit tighter on the top, and this is also quite fine. I would actually move it

a little bit closer to this edge here, or just maybe rotate it like this and zoom it

in, you know? This would also be fine, okay? So you got still room here, on the top, on

the left, a bit more than on the right, and on the bottom, right? And you could just experiment

maybe with different lengths. I mean, you could, you know, you could go here, and you

could try, for example, 85, which is a kind of a standard portrait focal length, right?

So a bit more compressed, okay? A bit more compressed, but still fine. So, you know,

this could also work, right? Something like this, okay? Right? Maybe a bit higher, right?

You want to give it ground, guys. Don't do this, okay? This looks awful. It looks like

it's choking. Imagine there's a neck here, right? And you're just going to cut it under

the chin. It looks like someone is drowning, okay? You can, you have to try to learn how

to feel the image, okay? How to feel the framing. So if you imagine that the bottom of the frame

is a water level, and you're going to do that, they're almost drowning. Do you see what I

mean? You just have to envision this, okay? And that's quite decent. But now, look what

happened to our lighting. If we're going to unlock this from the view, and go here, let

me just see what happened to our lighting. So let's go to render, and let's go to, where

is this? Film transparent. Let me see where the light is coming from. Yeah, light is coming

from over there, and camera is literally aligned with the light. This is not good, okay? Because

you're going to get a flat lighting. The reason being is that if the light is coming more

or less from the camera direction, okay? It's parallel to the lens direction, the lighting

is going to be very flat, because you have no dimension. Imagine sunset or sunrise. The

reason why they're beautiful shadows is because of the angle of the light, okay? That's what

creates this beautiful texture, very vibrant colors and drama, okay? And then imagine an

image shot with a compact camera, which has a flash above the lens. It's just going to

be completely flat, okay? So what you want to do is you want to angle that light. So

if camera is aligned here, you want light to be coming from this direction, not this

direction. So what we're going to do is we're going to rotate it, okay? So we're going to

go here to Shader Editor, and we're going to rotate this angle here, okay? So let's

grab this here, okay? And rotate it to the right side. So now the light is coming from,

you know, over there, and the camera is pointing that way. So zero the numpad, and you see

how much better it looks. It's just more dramatic. And if you want to put more light

on it, simply, you know, rotate the light a little bit to put a bit more light on it,

a bit from the front. And this is really nice. You get this dimensional light with beautiful

shadows. So this is really cool, yeah? So always remember to play with your lighting,

okay? And if the lighting is too weak, you can always bump it up, right? And now in our

case, the background also melts with the object. So we could technically change this,

you know, this plane, the color a little bit, okay? So go here, and maybe we can make it a

bit darker, right? You know what I mean? See? Now it pops. See, the object pops now,

because the plane is darker. And of course, the whole background is too big, so we can scale it

down. And look, when I do that, how much more light is being introduced to the object. You

see in this? Look, it's getting brighter and brighter and brighter, because we are literally

removing the light that's being blocked, okay? Because you need to remember that light bounces

from everywhere, okay? And it will bounce from the walls, from the clouds, from the, you know,

from everywhere, okay? So when you have things in the way of light, you're going to obstruct it.

You see, this is much brighter, much more, much more lit, and it looks really cool, okay? So this

would be also not a good shot. Another way of framing this, right, would be to, you know, put

two of them in the frame, okay? You could do that too. So let's grab this one and, you know, lock it

to view and put it in here, and then unlock it. And what I'm going to do is I'm going to select

all these elements here, so select the camera, right? Select the background with the shift

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ctrl i to invert it, press m, and move all these things here to this collection, right? So we're

going to move all the elements, decals, everything to this collection. So when I'm going to turn it

on and off, you see everything is in collection, right? So what we're going to do now is we're

going to add an empty here, right? Like this. And we're going to select the collection here,

right click, and select objects. Let me just move this in here, you can see better.

Deselect is empty with a shift, and select it with a shift again, right? So reselect it here,

okay? So we got this selected, and we're going to press ctrl p and object keep transform. Now

you're going to be able to move that, all of these objects, right? By simply moving this empty,

same with the scaling, okay? So we're going to press g shift z and move it somewhere here,

and we're going to rotate it, maybe actually, maybe let's move it in here,

rotate it like this. Now we're going to create the instance. So let's go here, and

collection instance, and g shift z, and now what you can do here, you can show the other side of

it, right? Like this, see what I mean? You could do something like that, okay? Maybe like this,

all right? We could grab the camera here, and lock the view, and we could now just try to frame it,

okay? So you need to understand a few things here, right? First of all, remember that this object is

a main object, right? So this one is just a filler of the frame. So you're framing this,

not this, but it's important how you frame this, okay? So for example, what you can do,

you can crop it, you see? Like I'm cropping here, a bit of this object, that is fine,

but there are certain rules to it, okay? First of all, you don't want to crop on lines like here,

you know, or here. You don't want to cut people, or objects on joints, like neck, elbows, knees,

hips, okay? You want to cut them half the limb, or half the torso, okay? The same here with object,

you want to cut through an object here, through this element, not on the line, okay? This is

important. Then position it in a frame, in a way that's going to look pretty decent, right? Then

let's just unlock it, okay? Second thing that we're going to need to pay attention to is a

separation between objects in a frame. So for example, this could be moved a little bit here,

like that, okay? Like this. And this is also not a bad framing, you know? You get some space on the

top, space on the bottom, you could even move this frame slightly higher, right? Or you could

angle it lower, so you could angle the camera like this, which will fill more of the frame

on the top, because you will need to move it up, like this, right? This one can also be sliced,

because you know how this front looks here, so you don't need to see it, okay? You see what I mean?

You could do something like this, yeah? And this also works, right? So you could do something like

that in the frame. This is also fine, okay? This could be a little bit closer to us, so let's grab

that, right? And then G, Shift, Z, and move it closer here. G, Shift, Z, closer here. The other

object will move, because it's actually, you know, it's an instance, so you'll have to fix that,

right? And then G, Shift, Z, and move it closer, right? Somewhere here, maybe, like that. Maybe

let's rotate it. And you see, maybe even closer here on our X-axis, so we can have some space

here on this side. So you get this, you know, break here, you got this spacing here, you got crop here,

and crop here, so it kind of corresponds, and you know, this will be a decent framing. Now you need

to check the lighting. Always remember, you need to always check the lighting, okay? And unlock your

camera, because when you move it, you're going to mess up your image. Now, if you look at the lighting

again, you know, it aligns almost with the, you know, with the camera, right? So we need to move

it a little bit. So what we can do is move it just a little bit to the side, okay? Maybe somewhere

here, right? Then press 0 on a numpad, and you know, you're good to go. And this is also an interesting

framing, right? And you're showing back and front of your object, you see? So now, this is way too

big, we're going to scale it down, because we're losing some light here on this object in the back.

We're going to remove this entire area here, and boom, you see how we gained some brightness here?

This one opened up a little bit as well, and we can, you know, grab a knife here, and cut this off,

and off here, press space. Now, if you don't want to redo these things for every single scene,

what you can do is create duplicate scene in here. So if you go here and click on full copy,

you're going to have two scenes in your image, okay? You're going to have scene one and scene two.

So if I'm going to here click on this one and change the scene, that's my main scene, right?

And if I'm going to switch to scene two, okay, that's my scene two. So if I change the lights

in scene two, they will not change in scene one, and vice versa, okay? So you can have multiple

scenes, just remember it's going to bloat the size of your file, so be careful, right? And this

is, you know, this is a decent render. Now, this is a little bit dark, so I'll show you a little

nifty trick, okay? What you want to do in this case, I mean, this is actually an instance,

it's going to be a bit difficult, but what we could do is actually select this part here in

the back, this one, right? This exhaust. So the reason why it's so dark is because material is

dark, okay? So if I place the reflector here to reflect the light back, I'm going to make this

one brighter as well, so I can't do it. So what I can do instead is brighten the mud, okay? So I'm

going to click here to unlink the mud from other materials in the scene, and I'm going to literally

brighten this mud up, and look what happens, how much more visible it becomes, you see what I mean?

So instead of pumping more light, sometimes what you can do is brighten the material,

and it's going to do the trick, okay? And now, this looks a bit darker, right, than this one,

right? So you're going to first look here, then you're going to move here, and then you're going

to be bouncing here and back here. So you're going to be looking at this triangle, which is a very

powerful feature, sort of like an element in composition, you know, in this image, right? And

you've got beautiful space here, a bit space for the logo, maybe something here at the top as well,

and this is a really nice, you know, sort of a balanced render. So you can see that there are

multiple framings that you can create of your models, and don't be, you know, afraid to experiment.

Remember that everything needs to follow certain rules. Now for instance, you know, I like the crop

here, but I'm not crazy about this crop here. I think I'm going to move this element a bit closer.

So if I move this element a bit closer, right, it's going to be touching, it's going to be touching

this line here, see what I mean? So look, if I grab that and go G and Shift-Z to move this in,

I'm going to be touching here. So I have two choices, right? Either move this one to the right,

or make this one smaller, right? I can make this one smaller, watch. G, Shift-Z, no one's going to

notice, okay? Just a little bit smaller, right? A little bit. You can even put the whole thing in

the frame, right, without cropping. Just make it a little bit smaller, right? You know, and you're

good to go, and watch. Render that, and it's going to be fine. See? It's fine. So that's how I would

approach this render here. And remember, spacing between elements, the air flows nicely here. You

can kind of glide through between them. You don't want to have things overlapping, although it

depends, because sometimes it makes you look good. And make sure that the lighting is properly set,

so your object is lit from an angle to create some nice shadows, that the render is not too dark,

right? And that the focus of the viewer goes to where you want it to go first. So you know,

here, and then bounce here, and then bounce here, okay? Now the last thing we're going to talk about

is lighting. Now, you can choose different kinds of lighting, okay? You can choose different kinds

of HDRIs here, but I would recommend starting with something simple. The reason why we are

using Abandoned Slipaway is because it's a diffused light. Diffused light produces light

from literally everywhere. So yes, there is a main light source over there, but it's diffused,

which means it just shines through the clouds, and the clouds shine back onto the object,

kind of like a massive softbox. But you do have directional lights from over there.

Now, if you're going to use something a bit more aggressive, like for example,

let me just change it here and show you, okay? So we're going to go to my HDRI collection, and

let me just unlock this here, open, go to HDRI, and I'm going to grab something with the sun,

okay? This Piaggia HDRI. See, that one is directional sunlight, okay? So it's a little

bit more aggressive, right? So if you do that, you're going to have really harsh highlights,

and really harsh shadows. So if you do not know how to control lighting like this,

you might be struggling. So, you know, you need to be careful, okay? Be careful with it, okay?

So, you need to really learn how to control this kind of lighting. Like, for example, look,

if I set lighting like this, my top is brighter than this front, and front is where I want them

to go. So I need to adjust and do something like this. But if I do that, now my top is really

reflective, and this one is kind of dim, right? So, I'm not saying it's a bad render, but this

is a difficult light to control when you have multiple elements and multiple angles in your

object, right? Also, you have very, very deep shadows, right? This is a massive contrast,

okay? So you gotta be careful. Now, what I would recommend you do is go to GAMRO,

and get yourself the Alex Sensual Studio HDRIs. They're fantastic. Two packs over there,

Studio HDRI 2 and 1, and they're really, really good, okay? And you can get some seriously great

lights over there. They're very controlled. They're all Studio HDRIs, and you can get some

really interesting lighting going on. You need to play with them and see which one is fitting.

For example, this one doesn't really fit because the light comes from the top. We want something

from an angle, so maybe a gun gradient would be better here from this pack here. So, something

like that, maybe. Then, of course, you need to rotate the lights and see, you know, which

direction you would want it from. Like, for example, this looks really decent. And like I said,

these are very high quality renders, I mean, HDRIs, okay? So, if I render this one now,

this is gonna look pretty decent. So, what you want is you want a quality lighting to work with.

You know, you just get yourself quality HDRIs because lighting is the most important. Now,

in this case, we have a bit of a problem because you see that the foreground here is much brighter

than this one, right? What you want to do is you want to render, again, just the models,

the cutouts, and the whole scene. So, you can select the models in Photoshop, and you can

brighter or darken down these areas using curves and other tools, okay? Now, this is not a

Photoshop tutorial, so I'm not gonna be, you know, showing everything, but I'm just giving you the

methods, okay? So, you select these in Photoshop, and you darken the outside areas to balance it,

okay? You can even replace the whole floor, right? Because what you can do is you can render

just the shadows without the floor. Because if you select the floor here, press the period and

numpad here to jump here, and grab this plane, go to this data, and go to visibility, and turn on

shadow catcher, you'll be able to render just the shadows, not the background. Because if I

turn it off here, so go to film and transparent, you see now I can see the shadows, but I can't

see the background. So, you can replace the background in Photoshop with whatever you want.

So, there are many tricks that you can use for, you know, creating precision renders, right? But in

this case, what I would do, I would render just the objects without the background, so I would do that,

right? And then render them with the background, select this in Photoshop, and darken the foreground,

so the foreground here looks a bit, you know, looks a bit better, okay? So, there you go, guys. Anyway,

hope it helps you out. Just remember, like I said, you need to think when you're framing

something. I would recommend studying portraiture and portrait photography, because that will teach

you a lot about lighting and framing. Like I said, you can treat your models as faces or humans,

and if you want to go really deep into the subject, we have a fantastic course on that called

Rendering University, which will teach you a great deal about lighting, framing, composition, because

the whole course is literally devoted to this subject, and I'm offering you, you know, my entire

expertise on that, and over two decades of it, so if you really want to go deep and learn how to

properly frame your stuff, grab this course, because it's phenomenal, right? It's going to teach you a lot.

By the way, this should give you like a, you know, kind of like an understanding of what to look for,

how to frame your stuff, and how to create decent renders for your portfolio. Thanks for watching,

and I'll see you in the next video.