Original subtitles

Hello and welcome back everyone to Stylized Environments with Blender for Geometry Nodes.

In the last lesson, we left ourselves off with a nice setup for the well, for the scene

and now we're going to continue on with the overall progression in regards to finalizing

composition, getting a little camera just right. So we're going to start off by going

actually into the render view and we're going to actually work with the shader just a little

bit to get the right setup. So going back onto the shading, onto shading tab, going

to the world setup over here and getting the render setup on the top. We can talk a little

bit in regards to the sky texture. We talked about the size, the intensity, sun elevation

and rotation. There are a couple of other options. There is altitude, air, dust and

ozone.

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

look like it's in the sky or something because

it will bloom up the overall shift of the hue. Also

you can see the gradient to be going quite much lower

like this. So this is what it does. I usually tend to keep it at zero

and it looks alright. The air and the dust is going

to basically again affect the color basically and the gradient

on how it interacts with this environment.

Leaving this for now at one is going to give us

a nice default setup. Ozone on the other hand is going to

give that blue nice shift. So instead of just touching altitude

what I prefer to do is just increase this sometimes to get a nice stylized

look for the entire scene, to get a nicer lighting

and again just to let you know we did

touch it in the past in regards to the renderer but we do

use the renderer cycles. And I will tell you what

renderer cycles is. I will actually play basics video in the next lesson

but now though all you need to do is just simply make sure that cycles is set to

render engine is set to cycles and the noiser is

enabled. The noiser will just help you to just remove that noise

and for now that's all we need to know. So again going back to Ozone

we can leave this at a value of 5

5.6, 5.7. I think it's going to be quite alright.

There we go. We're going to get ourselves that nice blue

shift in the scene which I quite like.

Now in regards to the camera itself we now need to consider the exact angle

that we want to have the scene set up. So for that I recommend

you going to just a normal view like so and

grabbing ourselves a brand new camera. Let's go ahead and click shift and A

and there is something called camera component so this is what it's going to look like we're going

to see it like so and it's going to be pointing this way over here we can click zero to see

exactly what it's saying and this for some reason it's looking very very bizarre so let's see what's

going on with this i think let's see the focal length is what's causing this i'm going to

increase it to 90 that's usually a really nice setup and you can see the difference so before

it was just like this oh that's actually making it look more like just a high fov but yeah 90 to 120

is pretty standard for a camera view and it's going to give us this kind of view we can click

zero to go out of it and now we can see that the shape actually is based with in regards to the

focal view we're also making sure that it's set as perspective then we can drag it off to the side

and grab ourselves a nice setup

and what we're going to also do in regards to the setup of the camera the easiest way to set up is

if we click zero we can see the frame basically what the camera is seeing if you're not seeing

the same frame you can go on to this section over here onto the output resolution make sure it's 1920

by 1080 this is the default format that you'd usually see in the cameras to get like a video

format basically a widescreen type of an image that's most common on on internet to upload and

stuff like that and especially for videos so you make sure to have that and we can also zoom in

by the way so we can have a frame to be more in regards to our entire viewport and now the fun

part we're good we can click and we can go on to something called or to find it with the camera

selected that is we can click on view and there's something called lock to 3d cursor or sorry

lock to camera view that's the one we're going to select now with this selected we can zoom out and

you can see that this frame is not scaling the reason being is that we're actually we can now

move it around move it around and see that we're getting a real nice type of a setup

for the camera we can click zero and we can see that we actually just move the camera

so by simply clicking zero and having this option ticked on we can move our camera whichever way

we want and have ourselves a nice composition so something like this i reckon is going to be

quite all right yeah there we go something like that we can go on to render view just to see

just to check if it's actually looking all right and yeah i'm quite happy with this result

all right so now we can do final touches with in regards to composition we set ourselves up

with the camera we got ourselves a nice lighting already i'm going to just double check if

something like at the back is nice as well

And yeah, it is quite nice. Alright, so

yeah, that looks pretty good. I was thinking

whether or not we should include some backlighting over here, but

I'm going to focus on one shot, and I just realized we are

missing some vines going over here. Luckily, it's a super fast, super easy

thing to do, but I do think that splitting up the

lessons into two smaller lessons is going to be better. So we're going

to leave this lesson as is, and then in the next lesson we're going to include the vine

geometry, and then afterwards we're going to finalize it with

composition and rendering. So thank you so much for watching, and I will be seeing you

in a bit.