Introduction

3D materials are very convenient, but there are times when I don't know how to use them and end up avoiding them, or I see situations where I can't take full advantage of their advantages, so I think it would be great if we could become friends with 3D materials and make background drawing more efficient. I would like to write something that may be helpful for that purpose.

 

This time, I will explain how to adjust the background angle, such as camera operation, to the ideal condition.

I would like to be able to convey an image of camera movement in an easy-to-understand manner using diagrams.

I also write down solutions when I run into problems.

 

An official guide has been published for detailed operations.

https://help.clip-studio.com/ja-jp/manual_jp/660_3d/Editing 3D materials.htm

When pasting a 3D material on a canvas, it will be displayed on the canvas like the image.

This chair seems to be placed in an infinite white space, but the space is not chaotic.

The material has an origin set.

It will be the gray spherical part at the center of the manipulator.

 

There is also an origin in the space of the 3D layer where the 3D material is placed.

Although it is not actually displayed, the origin is where the red line, blue line, and green line intersect in the diagram above.

When pasting a 3D material onto the canvas, it will approximately appear around this origin (it will be different if you drag and drop it onto a 3D layer).

The light purple plane primitive part of the image is the floor position.

However, as actual visual information, it is just a white space, so it can be like floating in outer space without knowing where to go, up, down, left, or right.

In such a case, if you lay a flat primitive on the floor surface, the standard of the floor surface will be visualized and it will be a little different.

 

If you search for ``3D grit,'' you may be able to find materials that make it difficult to get lost in space.

https://assets.clip-studio.com/ja-jp/search?word=3D,grid&order=dl

 

Having said that, I often use 3D materials for backgrounds that have floors, ceilings, and walls and are hard to get lost in, so I don't use the ones mentioned above...

It means that it is better to be aware of this.

make the angle look good

Now on to the main topic.

To get the angle the way you want it, you can do the following.

 

・Moving manipulator (camera related)

・Watch the editing target

・Perspective

·roll

・Move layer

・Clipping plane

・Lens settings

・Overhead view/tilt adjustment

 

It's hard to grasp what's displayed on the canvas just by looking at it, but if you understand where the camera that captures it is, where it's facing, and what movements it's making as it moves, it will become easier to operate the camera.

 

In EX, you can use the all-side view palette, making it easier to check.

We hope you will take advantage of it.

https://help.clip-studio.com/ja-jp/manual_jp/660_3d/Four side view palette [EX].htm

 

 

Moving manipulator (camera related)

Here is an explanation of how each of the moving manipulators moves.

The three items ① to ③ on the left side are for operating the camera.

The remaining steps ④ to ⑧ are for moving objects.

This time I will explain only the camera.

 

When determining the angle, we strongly recommend using the moving manipulator only for camera-related items ① to ③.

If you use ④ to ⑧ on the right side, the following problems will mainly occur.

 

・If you combine multiple materials, it may fail (this can be handled with the latest Crysta ver2)

・Difficult to add accessories later

• There is a problem with copying and pasting and arranging (it can be solved with the latest Crysta ver2)

• Misaligned with perspective ruler

• Grounding cannot be used

 

However, depending on how you use suction movement ⑧, I think there is no problem in using it when determining the angle.

I think I'll go into more detail on another occasion.

For now, I just hope people remember that it's safer to decide the angle just by operating the camera.

 

Before explaining each camera operation, there are things you should definitely keep in mind.

 

・Camera position

・Position of gaze point

 

It is two points.

↑This is the camera item of the sub tool.

It looks like this when drawn as a diagram.

The pink circle in the image is the camera, and the point of interest is the black circle.

The tip of the pink spine is where the camera is looking.

In other words, the camera is always looking at the point of interest.

The light blue sphere shows the range of movement when moving the camera using "rotation".

①Rotate the camera

The camera (the pink circle in the image above) literally rotates.

The image above is an image of the movement.

This rotation means that the camera rotates around the point of interest.

It feels like you are sliding on the light blue sphere shown in the figure.

If you are not careful with this operation, it is easy to end up blown away from the area you want to capture on camera to an area that is completely unrelated.

 

Let me explain with an example.

 

 

↑The color scheme is toxic, but it is a 3D material for the hallway.

A drawing doll is placed on the right end.

 

3D conference room and hallway

https://assets.clip-studio.com/ja-jp/detail?id=1985817

 

This material is used in the hallway.

↓It can be used as a background material.

The above was an advertisement for the material.

 

↓From this state

↓Suppose you want to do this angle, which is the opposite direction.

Let's move it.

For some reason, the person has gone far away.

If there are no windows or walls or buildings in between, you may lose sight of the person.

 

This problem occurs with background materials in large areas such as buildings.

Especially the edges of the material are easy to wake up.

 

I wanted to do an angle like this, but it doesn't work...!

The camera has gone far away! That can happen.

 

This is due to the distance between the camera and the point of interest.

 

↓If you want the camera to move near the person...

↓This is because the actual trajectory of the camera was completely different.

As the distance between the camera and the point of interest was long, the movement of the camera was also large.

The solution will follow after explaining the rest of the camera operations.

②Parallel movement of camera

This moves the camera and the point of interest entirely.

It moves as if it were crawling on a wall (the yellow plane primitive in the image above).

 

 

This wall is perpendicular to the line connecting the camera and the point of interest.

The camera moves up, down, left and right.

Unlike "rotation" and "move forward/backward", this is the only camera operation that allows you to move the position of the gaze point.

③ Move the camera back and forth

The camera moves back and forth toward the point of interest.

This changes the distance from the camera to the point of interest.

As you can see from the light blue sphere becoming larger or smaller in the image above, this operation will affect the range of movement when you "rotate" the camera later.

If the distance from the camera to the point of interest is long, the movement will be large when the camera is "rotated."

The shorter it is, the smaller it will be.

 

I'm sorry that the position of the point of interest is a bit shaky in the image above.

In reality, the point of interest does not move.

 

There are three moving manipulators that move the camera.

 

 

Keep an eye on the editing target

Now, let's go back to the solution to the problem of the camera moving a lot.

 

↓First, try to solve the problem by moving the camera closer to the person from the previous situation.

I use the camera's "parallel movement" and "back and forth movement".

In the second half, there is almost no movement in the image, but although I am trying my best to move with "parallel movement" and "back and forth movement," the camera is in a state where it almost does not move.

By the way, although it is not shown in the diagram above, you can "rotate" the camera at this time.

 

Some of you may have found yourself in this situation.

 

What this situation means is that the camera and the point of interest are quite close.

↑When you check the numbers, it looks like this.

As shown in the diagram above, even if you move the same angle, the farther the camera is from the point of interest, the longer the distance the camera will move, and the closer it is to the point of interest, the shorter the distance it will move.

If the camera is very close to the center (where the point of interest is), it will move very little distance.

If the camera is located close to this point of interest, the effect of movement will be so small that it will hardly move.

Please note that if the distance between the camera and the point of interest is too far or too close, it will be difficult to move.

As shown in the image above, the point of interest was in front of the person you wanted to capture on camera, so you were caught by it, and the camera was unable to move.

The point of interest is what the camera is looking at, so if there is a point of interest between the place you want to take and the camera, moving the camera forward means that the camera will move toward the point of interest, so you can't just operate the camera. I can't move and get stuck.

 

This is where "watching the editing target" come in handy.

It is the red frame part in the figure below.

As the name suggests, the editing target is watched = the position of the gaze point changes.

When executed with a drawing doll selected, the drawing doll will be displayed in the center of the canvas.

At this time, the positions of the camera and the point of interest are changed.

Since the point of interest is placed on the drawing figure, you can operate the camera without the problem that occurred earlier.

 

Therefore, when using a background material with a wide range, first place a drawing doll or primitive in the area where you want to take a picture, then perform ``focus on the editing target'' and then manipulate it to get the angle you want to take the photo. It goes smoothly.

Please be careful to hide or delete 3D materials placed for "Gaze on editing target" during LT conversion.

 

Of course, you can also deal with this by changing the position of the gaze point in the four-view view.

 

There is actually an advantage to the problem of the camera and gaze point being at the same position.

 

Select the head of the drawing doll and perform "Gaze on editing target".

Copy and paste the value of the gaze point position to the camera position.

The camera and point of interest will be in exactly the same position.

The camera will then be fixed at the position of the drawing doll's head.

Therefore, if you rotate the camera in that state, the angle will be from the perspective of the drawing doll.

Therefore, you can create a background from the character's perspective.

convenience!

Layer movement → Substitute for camera “parallel movement”

 

Changing the perspective value → Substitute for “moving forward and backward” of the camera

(There will be distortion, so please adjust accordingly)

 

I think there are more quirks than when operating the camera, but I think you can adjust the angle by moving it as described above.

 

・Perspective “Move camera forward/backward in conjunction”

・"Adjust the gaze point distance to the editing target"

 

Please turn off the above two points as they will cause the camera and gaze point to move.

When you want to draw a picture looking at the person next to you, it is convenient to set the height of the drawing doll so that the height difference will be accurately reflected in the display.

perspective

Next, let's talk about perspective.

I think the perspective is an image of a change occurring in the camera lens.

I'm not familiar with real cameras, so please excuse me if I'm wrong.

 

↓There is an explanation in the official guide.

https://help.clip-studio.com/ja-jp/manual_jp/810_subtools/Ka line.htm#1363287

 

My personal impression is that it's like the process of seasoning food, so please adjust the values to suit your taste and situation.

↑Changes when “Move camera forward/backward in conjunction” is on

The higher the value, the more dynamic the sound will be, but the distortion will also be greater.

I think the amount of spooning is important.

 

 

↑If "Move camera forward/backward in conjunction" is on, the camera will move.

 

 

↑Changes when "Move camera forward/backward in conjunction" is off

↑If "Move camera forward/backward in conjunction" is off, the camera will not move.

 

↓This is an example of changing the 3D perspective values of the background.

↑Changes when “Move camera forward/backward in conjunction” is on

↑Changes when "Move camera forward/backward in conjunction" is off

roll

The camera always remains parallel to the floor even if it is moved by "rotation", "parallel movement", or "back and forth movement" (probably).

You can rotate the camera itself by changing the roll value.

↓For the movement image, I'm using a smartphone camera and rotating the smartphone for now.

So, by adjusting the roll value, you can easily create a slightly tilted camera angle.

convenience!

 

 

Move layer

It is similar to "parallel movement" in camera operation, but since layer movement moves the 3D layer space itself, the camera and point of interest values are not affected.

 

However, if you think that camera operation is moving the inside of the 3D layer, moving the layer feels like moving the outside of the 3D layer, which can be a little confusing.

 

For example, if you move a 3D layer by moving the layer, the center of the layer defined by the 3D layer will also move by moving the layer, so if you execute "Watch Editing Target", the editing target will be at the center of the layer instead of the center of the canvas. will be placed.

Therefore, it is possible that the item you are editing may move outside the canvas.

 

For that reason, it is safer to do things that can be handled by camera operation.

I don't think there is any particular problem in using it when you want to move it a little during the final position adjustment.

 

↑It seems to have been a problem in Crysta ver2, and it seems to have been fixed in the current latest version.

If you want to move without changing the angle, use layer movement to move it.

 

Below is the difference in movement between "layer movement" and camera operation "parallel movement".

Both are moved by the same amount by dragging from x to x.

↑Move layer

This is good when you want to move only the position while keeping the angle the same.

↑“Parallel movement” of camera operation

The angle will change slightly.

 

 

clipping plane

To be honest, I don't know much about the detailed mechanism of clipping plane, but it is a useful feature that can solve problems you may encounter with 3D materials.

You can change the numerical value from the lettering settings.

 

Have you ever had a problem with not being able to hide something you want to erase in a 3D material?

In the case of the image below, if the desk and chair are grouped together as one object, you may have trouble hiding only the chair, as shown on the right.

↓For example, in the situation shown below

Even if the camera angle is ideal

↑ Something like this can happen.

I want to make the person in the foreground and the chair invisible, but if the desk and chair are made of one piece of material, it is not possible to hide only the chair.

If you perform LT conversion as is, you will need to make some minor corrections, which is a bit troublesome.

Clipping planes come in handy in such cases.

When I changed the nearplane value, the backrest of the chair in the foreground disappeared.

convenience!

I think it probably works like the diagram above.

When you want to adjust the near plane, it depends on the situation, but I think it's a good idea to try a value of around several hundred to a thousand.

 

If the wall in the foreground is in the way, but if you hide it in the object list, the other wall that is integrated with it will also disappear, so you may find it helpful to adjust the near plane values.

 

However, during LT conversion, in some cases, extra lines may appear for objects in delicate positions that may or may not disappear, so please handle this with care.

 

In the far plane, the back side is erased, contrary to the near plane.

I think it works like the diagram above.

This is useful when you want to divide the background.

In the example above, it is divided into three parts: the back background, the train, and the front background.

When creating the background for the foreground, I erased the back side using the far plane.

 

Only the train part is converted into a speed line, and it is very convenient to divide the background when you want to process only a part like this.

↑The back background is erased with a far plane.

I think it can be used to divide the background and insert pictures of plants or people in between.

I think it would be fine if you could get away with showing/hiding from the object list, but if you have a bunch of objects and can't erase them properly, or you need to manage the display/hide of multiple objects and it's complicated, using the far plane will make it easier. It is convenient to be able to divide it into

 

Near plane is when you want to erase the front

 

Far plane is used when you want to divide the background

 

It seems good to use it.

 

 

The above materials are used to create speed lines for trains.

This material allows you to easily convert line drawings into speed lines.

If you use it on a background created with LT conversion, you can create a speedy background without drawing.

Recommended for those who want to draw action scenes.

 

 

vertical perspective

Ver2 has a lens item.

For vertical perspective, click "Correct vertically" to make the vertical lines vertical.

 

I will also write about workarounds that can be done with ver1 later.

↓

If you want to make vertical lines straight and vertical, such as when the perspective is tight, just click "Correct vertically" and it will make it look nice.

convenience!

 

Although this function is not available in ver1, the same effect can be obtained by changing the value of Y at the gaze point position.

The following is how to do it in ver1.

First, even though I executed "Correct vertically", when I checked the Y values at the camera and gaze point positions, they were the same.

In other words, if the numbers here are the same, the vertical lines will be vertical.

 

Therefore, in ver1, you can make the line vertical by copying and pasting the Y value at the camera position to the Y value at the point of interest.

However, if you change the value of the gaze point position Y, the position will shift.

In the image above, the pink part is the initial state, and the blue part is the "vertically corrected" state.

 

Those that simply change the gaze point position are shifted downward.

 

When you perform "Vertical correction", the lens shift value will also change as shown in the upper right.

In the image, Y is -0.14, which corrects the positional deviation.

 

This function is not available in version 1, so please use the layer movement tool to manually adjust the position.

↑By the way, if you change the lens shift value, it will move like this.

 

 

Overhead view/tilt adjustment

When you want to adjust the bird's-eye view or tilt, it is convenient to change the Y value of the camera and point of interest.

It moves as shown below.

I think it would be a good idea to make adjustments while also using layer movement.

 

 

end

If you keep the above in mind, you will be able to decide on the angle smoothly.

 

However, in reality, I may have misunderstood some of my explanations.

I'm sorry if I'm wrong.

I think 3D materials can be very useful for creation if used properly, so I would be happy if people who are not good at 3D materials or feel that they are difficult to use can think that using 3D materials may not be a bad idea.

 

It took a lot of energy and effort to write it, so I don't know when I'll finish it, but if I have the energy, I'd like to be able to explain steps 4 to 8 of the mobile manipulator.