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It's been a while since I did an alternate angle, and this one seemed like it would work really well. Once someone requested it on Discord I knew I had to, and I am very happy with how the floating camera's movement turned out. It really allows you to see more of the scene and give you contextual depth you would miss otherwise. This particular scene had me rethinking my work flow for lip syncing, so yet again I am redoing my workflow from scratch to allow for more immersive experiences in VR. Anyway, let me know if any of you have problems with the moving camera, or if you like it. If I don't hear anything, I am going to assume it's good and move forward with this new technique on camera work. Thanks, and enjoy!

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EDIT: As I was rendering this a friend asked me why Hitomi's legs are cut off. They're not. I repositioned them in SFM so that they cross between the male's legs for a doggy style/prone bone position. This removed fragmentation and creasing in the model, but from the front angle it looks weird. It's just the way the light falls. Don't worry, she's got legs still.

Comments

Ron Tron

The floating camera for contextual depth is good and served its purpose. The bounce at the end of the pan would be nicer if it was smoothed though. Analogies for clarification: as it is, the camera movement is like a hockey puck hitting the boards and bouncing back. I think it'd be more pleasant if it were like bouncing on a trampoline (decelerates then accelerates)