14-10: On the left, a smoke simulation rendered in Eevee. On the right i...
15 Chapter 15FIGURE 15-1: Blender’s 2D Animation start file gives you a super-comfortable en...FIGURE 15-2: The only primitives for Grease Pencil: Blank, Stroke, and Monkey (...FIGURE 15-3: Blender’s default Grease Pencil brushes are great, but it’s even b...FIGURE 15-4: Material Properties with a single Grease Pencil material added to ...FIGURE 15-5: Changing the Stroke properties of your Grease Pencil material give...FIGURE 15-6: A single Grease Pencil object with two materials on it, one a dott...FIGURE 15-7: With just a little bit of playing around with materials on Suzanne...FIGURE 15-8: Use the Layers rollout in the 3D Viewport’s Topbar to quickly chan...FIGURE 15-9: The Adjustments sub-panel for Layers lets you modify all the strok...FIGURE 15-10: A visualization of the levels of control Blender gives you of Gre...FIGURE 15-11: Blender gives you almost as many Grease Pencil modifiers as there...FIGURE 15-12: The first stages of a classic bouncing ball animation with Grease...FIGURE 15-13: Bouncing ball pencil test, complete!FIGURE 15-14: One bouncing ball animation, ready for render!FIGURE 15-15: One Grease Pencil rubber ball, ready to be bounced.FIGURE 15-16: It hasn’t been animated yet, but this ball now has a rig and can ...FIGURE 15-17: A hand-drawn ball, drawn once and bounced with technology from th...
16 Chapter 16FIGURE 16-1: To view your renders, choose Full Screen, Image Editor, or New Win...FIGURE 16-2: Use render slots to compare renders between changes.FIGURE 16-3: The Output panel in the Output Properties.FIGURE 16-4: Use the File Output node in Blender’s Compositor to automatically ...
17 Chapter 17FIGURE 17-1: The default Video Editing workspace for when you start a project.FIGURE 17-2: You can edit video and preview it all in the same space using Prev...FIGURE 17-3: Choose AV-sync to ensure that your audio plays back in sync with y...FIGURE 17-4: The Add menu in the Video Sequencer.FIGURE 17-5: You can swap the File Browser with a Graph Editor in the Video Edi...FIGURE 17-6: Common FFmpeg settings for container, video, and audio.
18 Chapter 18FIGURE 18-1: An assembly line approach, similar to layers in GIMP or Photoshop.FIGURE 18-2: Turning a simple assembly line into a complex assembly network.FIGURE 18-3: The Compositing workspace that ships with Blender is the preferred...FIGURE 18-4: Controls for your view layers are all along the right side of the ...FIGURE 18-5: View Layer properties with Eevee as your render engine (left) vers...FIGURE 18-6: Enabling passes adds corresponding output sockets on your view lay...FIGURE 18-7: Setting up the Cryptomatte node for picking your mattes.FIGURE 18-8: Just some objects I picked for making a matte to use elsewhere in ...FIGURE 18-9: Each node has icons at the top that control how you see it in the ...
19 Chapter 19FIGURE 19-1: A camera captures light bouncing off the environment with a lens a...FIGURE 19-2: An interlaced frame is assembled by interleaving neighboring frame...FIGURE 19-3: Start your motion tracking session with the VFX workspace template...FIGURE 19-4: With a video sequence loaded, the Movie Clip Editor has a lot more...FIGURE 19-5: A single tracking marker in Blender’s Movie Clip Editor.FIGURE 19-6: From the Track tab of the Movie Clip Editor’s Sidebar you can get ...FIGURE 19-7: Have Blender automatically detect features in your footage, and yo...FIGURE 19-8: With good tracking data on your video sequence, you may have all k...FIGURE 19-9: The Solve tab of the Movie Clip Editor’s Toolbar is where your 2D ...FIGURE 19-10: Use the Camera and Lens panels in the Track tab of the Movie Clip...FIGURE 19-11: Solving camera motion puts a lot of information in the 3D scene, ...FIGURE 19-12: A simple shot, tracked and solved, with Suzanne added for good me...
20 Chapter 20FIGURE 20-1: A customized workspace to give yourself a more flexible Quad View ...
Guide
1 Cover
2 Table of Contents
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