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Khi mô phỏng chạy, hàng trên cùng của đỉnh vải sẽ thực hiện theo những định vị tại chỗ của họ trên các đường cong đính kèm. Để cho váy để treo lên xung quanh mô hình, bạn phải báo cho người giải quyết hàng may mặc nên va chạm chống lại Làm mô hình đối tượng va chạm | Re-Creating Advanced Camera Motion 71 sure that the Timeline is at frame 49 when you paste . Tone down the amplitude of the shake. The following values seem to work well Keyframe Value 49 -.06 51 .02 54 -.025 57 .01 61 0 15. If you d like to animate the camera moving into the danger zone simply change the global translations on the camera1_group. You can initially move the camera1_group back a bit on the Z axis to about 5.5 units. Set a key at frame 1. Also set a key on the X axis at -0.2 so our moving camera won t eventually intersect the car model. At frame 90 move the camera1_group forward to about 0.5 units on the Z axis and set a keyframe. 16. If you want you can also add a bit of extra camera shake on the secondary bounces of both cars just a tiny bit compared with the initial shake . This can help add weight to the bouncing cars. All CG animation benefits from a little motion blur otherwise the images appear too crisp and clean too CG. For the example movie generated from this exercise I rendered with the default motion blur settings using the mental ray for Maya renderer. Experiment with how much motion blur works for you in your animations. The final version of this camShake_end.mb is available in the Chapter 3 folder on the k CD. You can also navigate to the Chapter 3 Movies folder to see the final rendered version camShake.mov. Creating a Handheld Camera Although there are a number of options to keep a camera steady during film production such as a dolly rig or a steadicam many cinematographers and directors use handheld or shoulder-held cameras instead. The choices are evident in such films as Saving Private Ryan Collateral and Schindler s List and can even be seen in TV series such as NYPD Blue and 24. The handheld camera definitely brings a certain documentary style to a film or a specific scene within that film but most of the time the decision to use this effect has more to do with intention than with style. The jerky movements of a handheld camera
