I want to do this 3D Model .... but do not show most of the details in the buildings or the equivalent of that can help me in the presence of such a place on the ground to explore that place
But anything on Cineversity in terms of Camera Mapping should be learned, if that is a direction you would like to go deeper with.
Many years ago, my JET series, along my awarded short, has a lot of camera mapping or interior projection for reflections in it.
The key is to split up the painting in objects and layers in 2D, to fill the parts that were obscured before. Example: while taking the figure out of the way in your image, it will leave a gap, which needs to be cloned/painted in again.
You also want to get used to the camera calibrator, to find the Point of view and Point of interest that was used in the painting, without that, you might have trouble to get anything done with a certain precision.
More about Camera mapping in the link below (in my signature)
Here is the file, I do have not ask the artist for permission, but I hope for educational purposes it will be fine. Before you invest time, ask her, so you might not run into a problem later on. Perhaps, she is willing to give you even more informations.
Note:
The lines in z are pretty obvious and easy to read: a wide angle lens. Where these lines meet, there is the eye-level, considering we have rectangular buildings and a flat floor. So, the eye level was a little bit over the girls head. The strong lines on the left and right indicate that the camera was close inside of the scene. If the buildings are parallel, then it should be around 16mm optic, considering a 36mmx24mm sensor. There is a lot of wrong information available about perspectives, as in a one point perspective has only one point, or 2 only 2, etc. That is just only a fraction of options, given in very certain cases. If you read something like this, get a different source.
Please note also, that a painting over an image, if that is the case here at all, the brushstrokes will take the precision out of the process.
To understand perspective—really—needs some time and a good teacher, most professors I met in life had only a starting knowledge about it and today the web is swamped with wrong or insufficient data. I learned after years, finally from “the master” Yadegar Assis Namini at the University of the Arts in Berlin. So, not said to brag, but it is essential to get it right, to make good progress. http://www.asisi.de/en/homepage.html
The staircase in the background will be guess work, as it is too abstract. But it seems pretty steep for sure - if the artist has not painted from memory, given that a wide angle lens would “illustrate” this other wise not as flat as presented.
No technical nor artistically question about C4D has ever bothered me. Any question which I have to figure out for myself is a win, if by chance I know the answer already, it is easy to share it.
Dr.sassi
Thank you very much for helping me. It’s great of you but I have the same problem when I tried to do another project. I do not know how I can adjust the angle of the camera with this height. I started modeling the models but I could not build it because of the camera angle.
This is not based on a practical or real Photo, perhaps a 3D scene, at least not in terms of any clean perspective that an image from a real scene would provide (straight lines indicate that lens distortion was not given or were taken out already).
Edit: see post below for a possible result /edit
The left wall has a different camera P.Y than the right wall. Given that the floor shows: it is not a rectangular set up to begin with.
If this had to be shot then a shift lens would have been employed, with a straight Y shift and combined with a tiny little bit of Tilt (or R.P if we have z as depth and Y as up) There might be a little tilt in that lens as well. Read up on “Scheimpflug Principle”! Again, if there was an image to begin with, the artistic power that the artist uses here to improve the feeling is certainly based on his use of shifting perspective rules around. As an result, this will not work well with the Camera Calibrator, as it was engineered to work with photographic content, not with artistic paintings. In any way, this is nice work.
Well, as it now, all I can suggest, start with a camera that has the P.Y value around the level of the door knob, a foot below. It seems to sit closer in the middle of the scene than it initially looks like, as the left wall is rotated outwards.
Place a plane in fornt of the camera and set “Lines” in the view port. The camera might be around 22 or 24 mm, just a wild guess. The R.P is slightly up, no tilt should be set on the Projection cam. How to solve it? With the idea that we talk about an painting or not a photo, take only lines, ignore the left wall completely, something is off there, but I might be proven wrong, perhaps it is just the “rotation”. However, if you just use the entrance wall and the right sided wall, you get a result. The left sided wall is then trial and error, P.H 13º rotation perhaps.
If you can line up the features of the image, for the “entrance wall” you are a step closer. Left and right from that findings, set up a Null, each time in the lower corner where the walls meet, three in total, as the floor needs one as well. This is the rotation point. Place a plane underneath, with a Position zero’d out while a chile and rotated kind of the wall’s or floor’s orientation, the polygon lines will help. Start with the floor as second element. Then the right wall. if that is good, set the left wall.
Protect the projection camera!
Now use a new camera and explore.
What you need to do: Take a camera and shoot! I mentioned that. If you have no camera, set up cubes in Cinema 4D and explore those spaces, with all kind of position, rotation and field of view settings. Learn perspective. I hope that is fun to do, because that is the core of the work.
Make sure these steps are understood and savvy, before you start the next one. Seriously. Basic knowledge is needed before taking complicated shots. If you strive to be good, with out the basics you go nowhere. You only burn out, as the constant hitting the wall will tear you down. Yes, there are tons of tips and tricks stuff available, but it doesn’t replace a good basic knowledge, there are no shortcuts in this field, even everyone tries to dream about that missing little thing, the missing link, plug in or what ever. So, set up scene and explore, make notes. Do that for a few weeks, and you will love it. Passion comes from doing, not the other way around.
If I had found any sources that would explain the perspective construction one time through to the end, with precision, I would love to do so. But well, I haven’t. They all stop at the point where it becomes more difficult. I mentioned that before. I went through so many books that I have nearly given up on that.
I had over a decade of technical education without meeting a drawing instructor who got it, not that I knew it better at any of that time. At the University of the Arts, Berlin (HdK) I met Yadegar Assisi finally, who was [is!] a master in this, and I have yet to meet someone who knows more about. I went trough a big pile of books and tutorials and it bugs me a lot, when people share half digested knowledge, which in return (again) I will avoid to share.
Just follow the simple rule: Parallel lines meet visually in the infinity, non-parallel lines don’t. (Write this down, put it on your desk, it will reveal its true power later, if you explore it deeply.
Which puts the naming convention of one, two or three point perspective into question. By doing so, you have the core of the problem.
Anyway, what you see in this little picture is based on knowledge, not on anything else. Give me a photo and a pen and I can do it there too. Hence why I stress to forgot about the aid of applications, plug-ins or the idea of a short cut. It leads only to dependencies and will limit your progress. Or just accelerate your burn out syndrome with it, which is serious. But yes, I know we live in a world of “Instant Gratification”, only to see that low levels of real and owned skills will lead to be replaceable in an instant. That is why I ask you to learn it or at least build some cubes and place a camera there. Explore it, learn what changes which each step. If that is not understood, you will keep your skills low in that area.
So, the lines are drawn on any edge that seems to be vertical or horizontal. The crossing point of all lines of the left wall should be on the same hight as the crossing point of the right; Given that the Entrance wall is vertical. It is not, and that indicates to me, someone understood his tools and worked with artistically freedom here. Which I admire, as it is great to see peoples skills used to change the expression in an image, but for the Camera Calibrator that breaks the usability for it. End of story to use any aid other than your manual/analytic work. To gain this, learn anything I have suggested. It will take a while, but if that is your target to know, then this is what you need to do.
Here is a little example of what I had in mind with: exploring. It is with planes and not with cubes. Render it as movie clip and keep in mind that camera work is always a combination of many things, but the distance and the field of view, besides the direction the camera is point to, are with no doubts one of the most crucial parts.
After you have explored this file, make a copy and set the camera in any way you like, adjust the the planes, use the Nulls. After a while you can see how the lines in the rendering are changing. Have an eye on the focal length. This exploration will give you an idea what to look at, and how to read the “perspective drawing” of lines in an image. It is a start, but I hope an efficient one.
To get a little bit of a start in that, please have a look here (links below), even if the Cinematography series had a different target. It is a multi awarded series, but it is of course just a basic introduction to Cinematography. I had hoped for more interest in this theme, to create a more in depth follow up series about one of my favorite themes, with many awards for my film work since 1994, I love to share of course this wonderful spectrum of art. But there you go, we stopped on that level.
Anyway, all of that said just to excuse the basic level only. If you have a few minutes, please enjoy these two episodes. If there is anything about lenses or camera work, I’m happy to answer!
As I hinted above some settings, regarding your second main question of thist thread, like focal length estimated 22º-24º, and how I would avoid the left wall, here is a sketch that showcases what I got out of the Camera Calibrator.
Clip for educational purposes only/fair use:
Edit: this clip has been updated, See next post /edit
This is a very quick set up, not precise and it goes a little bit to far for camera projection, given the low precision. Anyway, you get the idea.
Here is the updated version of the clip I posted last night.
Even if I would not say that the quality is above a sketch, the differences* are hopefully educational. To explore it and notice as much details as possible, will hopefully push your understanding.
*The last three clips are all done differently. There the focus should be.
Anyway, I think it is more advisable to start with simpler images, especially if you shoot them your self, you know at least the camera and the lens, the hight of the image and so much more. On the end, you can use the material in any way, as you have created it, if taken from the web, not so much.
You are really a very respectable person and a rare person You are trying to help others in a professional way ... Really when I open Forum Larry comments and on all the time wasted without the benefit of you are really a rare person to exist in this time
All the respect and appreciation to you, my teacher and teacher, I really hope to become like one day I have taken you as a higher really thank you for all your efforts the most wonderful .....
I hope all the little things I shared above will support your target. Thanks for your willingness to go though that material.
Always keep in mind, that when things look overwhelming, where was the step you felt well: Explore that specific step a little bit more, it certainly will support your patience and power for the next step. Never go too far at once.
So, how did it went with the Cat-Game image?
If you use only the right wall and the “entrance” wall, while leaving the left wall alone, do you get an result? If not, perhaps try something more simple. So, what is simple, certainly where everything is in a 90º angle or parallel to each other. Concrete buildings are mostly that way. Go from there, and when you feel good with the result and it becomes easy, do the next step.
Enjoy your weekend
BTW, just for fun, I did it this time in R19, pretty* much the same result.
*(The way I place the line have some tolerances of course, the app itself is precise.)
I tried to implement the design depending on the look I hope you look forward to it and if the angle of the camera is inaccurate I hope you can adjust to me to complete the design
