#Smooth camera movement
12 messages in this thread
Hello Anybody,
I have been having for now months the same problem with camera flythroughs: I
just can't get the camera
to go smoothly from one keyframe to the other. It seems as though 3ds does its
best to interpolate smoothly
between keys, but it doesnt seem to do a great job. It is true that the keys
are not evenly placed in time,
but I've only had problems with 3ds (I'm more used to working with Softimage
and Wavefront). We've bought
the Tempo IPAS, but it doesnt do any good either, and I asure you we tried.
Could someone help me out with a trick
or some friendly advice?
Thanks in advance,
Pierre.
<<I just can't get the camera to go smoothly from one keyframe to the other.>>
Check your continuity at the keyframes and ensure that the frames on either
side have an equal spacing, i.e. with show paths on, look at the spacing of the
dots on either side of the key and ensure that they are the same. By ensuring
they are the same the camera will move with a constant velocity through the
key.
If you can be more specific with your problem, I can be more specific with a
solution <g>
DaviD "smooth, baby, smooth" GouID
>> I have been having for now months the same problem with camera flythroughs: I
>> just can't get the camera
>> to go smoothly from one keyframe to the other.
Pierre,
Camera paths are a little tricky to get smooth. I've been working on a maze
fly thru (67 separate camera paths!) and the following guidelines have
helped. Hopes it helps you a bit.
1. Link both the camera and target to a dummy and keyframe the dummy for
most moves and rotates. KF the camera target for looking up or down.
2. Keep those KFs to a minimun!!! If you can do the path from the KFer and
not inport the path from the shaper this will help.
3. Use the PATHS – SHOW/HIDE for the dummy and zoom in to the keys. You
will see _most_ discrepencies as unequal frames (dots) in and out of the
key.
There are a set of commands very useful for visually adjusting this spacing
under PATHS/ADJUST and PATHS/ADJUST TCB. *PATHS/ADJUST/KEY TIME* is invaluable
for this, as of course all the TCB settings are.
4. This depends on the project and I find maually adjusting (as above)
better in most cases… Try the SMOOTH button in the tracks info dialog box
but save your work before trying this.
Good Luck,
Ralph
Ralph,
>> I've been working on a maze fly thru (67 separate camera paths!) <<
Good luck with it 🙁 – Don't forget, this is the first Thursday of the month,
or are you to busy creating camera movements. <G>
Great news on the cast and crew screening of the new movie "Virtuosity". Good
job to Martin, yourself and the rest of the crew at MetroLight!! Looking
forward to seeing your work. Sorry to here about the (absence of) credits.
-Mike
>> Good luck with it 🙁 – Don't forget, this is the first Thursday of the month,
>> or are you to busy creating camera movements. <G>
Thanks Mike, and I will be at the Users Group tonight… albiet in a rush
again.
>> Great news on the cast and crew screening of the new movie "Virtuosity".
>> Good job to Martin, yourself and the rest of the crew at MetroLight!!
>> Looking forward to seeing your work. Sorry to here about the (absence of)
>> credits.
Thanks again, it was quite a rush doing the work and seeing the work on the
BIG SCREEN. Kind of a let down about the credit snafu… My 15 minutes of
fame came… and went!
Ralph
>>My 15 minutes of fame came… and went!
But you'll always have ASOFT ;^)!!! Congrats to you and Martin!
John Stetzer
JWS
>> But you'll always have ASOFT ;^)!!! Congrats to you and Martin!
…and ASOFT will always have me 🙂
Thanks, John!
🙂
>> My 15 minutes of fame came… and went! <<
Poof… Bum deal, dude!
Hey, did you have to drive up to (smel)L.A. all the time for the project or
were you able to work at home and telecommute a lot?
– Ernie Jackson, 73177,2354
03-Aug-1995 22:12:40 PDT
>> Hey, did you have to drive up to (smel)L.A. all the time for the project or
>> were you able to work at home and telecommute a lot?
Ernie,
In a production environment such as this was there was no way that
telecommuting would have been possible or even commuting back and forth to
for that matter. The schedule was 12 hours days 7 days a week for 4 weeks
straight!
I actually stayed in Hollyweird the whole time except for the 2 times I was
able to get out _early_ and go home to see the family sleeping. <G> Good
thing the wife is VERY understanding (course there was the clothes dryer
breaking down the day after I left… but that's another story <BG>)
Ralph
>> In a production environment such as this was there was no way that
telecommuting would have been possible or even commuting back and forth to for
that matter. The schedule was 12 hours days 7 days a week for 4 weeks
straight! <<
Ouch! That's pretty severe. We're talken heavy schedule here, fer shure.
I've heard many people talk about this kind of intense 3D production scene as
a "normal" type event. If it is the normal scene then I'm in _way-big_ trouble.
All these years of computer use has taken it's toll on me. I've just been
diagnosed w/ carpel tunnel. Way-drag. I haven't done much of anything
keyboard-wise of late. CTS bites. All I can say is that everybody that uses
computers a lot should look at the ergonomics of their workstation _VERY_
carefully. Bug your bosses to spring for the equipment and buy good stuff for
home. It may cost $500-$1000 for good chairs, articulating forearm supports,
etc. but it's worth it. CTS comes on fast and wastes your hands big time. [end
of whining session <g>]
– Ernie Jackson, 73177,2354
05-Aug-1995 09:26:08 PDT
>> I've heard many people talk about this kind of intense 3D production
>> scene as a "normal" type event.
In this business it is kinda normal on certain projects. The good news
is that it's not ALWAYS this way. I enjoy a project that consumes you, and
I also enjoy the less intense projects… as long as I can be creative and
push myself to learn more.
>> I've just been diagnosed w/ carpel tunnel. Way-drag.
I'm sorry to hear that, Ernie. Take care of that CTS.
Ralph