Show your design in its best form using Sketchup - Part 3

1. Intro - Show your design in its best form using Sketchup: showing your design professionally, proudly and persuasively. Does that sound like something you want to achieve? Maybe you're kind of frustrated with the gap between what you have in mind versus how your mother looks like or maybe wanna learn how to really optimize your seen at its best before jumping into your Regnery process. Or you might not be totally aware of schedules potential and your couriers about it. Poor. You just want to put your skills. You're awesome. Hi, I'm These are then I'm an architect and I've been using sketch up for a decade, so you could say I manipulated like my favorite video game. This course is a complete, comprehensive course about the exciting topic off the visual aspect. First thing I have a question for you. In your opinion, where would you find the best references for showcasing an architecture project? Well, the answer is an architectural photography. Just think about it for a second. The essence off architectural photography is precisely to show architectures in the most appealing way and in its best form. And here's the thing. Besides being an architect, I just happened to be a photographer as well, and I've been practicing our protection photography for so many years. So I'm going to share with you the most valuable substance of my experience in sketch of and in photography combined, I would be going through simple photographic notions that we will apply directly inside of sketch, and you learn how to get into the mindset of a photographer to choose the best angle of view for showing your brother. And to make this combo even more powerful, I'm going to dive into how you can create your own personal visual style for presenting your projects, from conceptual styles to diagrams to more realistic styles. There are many ways to showcase your model, each one with a different purpose and character. You'll also learn how to create much more believable models on how to make your projects more convincing by adding life to them and using components in very specific ways Way and I'm also going to show you how you can literally play with textures and add that to your design exactly as you wish. And if you're a designer, I think you're gonna love the part where I show you how you can get creative. Put it and I'll be going through all this easy to follow. Step by step videos that would be organized on the three main chapters. One text churning and playing around with materials to adding life to your model. Three. Achieving the captivating perspective if you so staging with me this unique and exciting course where you gonna learn how to have fun, making your projects more professional, precise and impact enroll and see you in a minute. 2. Visual Styles Editing: hi and welcome to the first lesson off achieving captivating perspective, you and then this lesson. We're going to talk about visual styles and how you can customize and edit them in order to reach the look that really fits your purpose. The very first thing I want to suggest you is the activating the edges, and there are two reasons for that. 1st 1 is that the edges here in black actually do not exist in real life. So they're just lines of construction for our three D model, but in reality, they do not exist. You don't see black edges like that around your building, and the second reason is because you lose lots of details in your components and in your model. If it's detailed enough. So as you can see here, this plant here, you don't see the all the details of it anymore. And actually, the furthest it is, the less you can see the details and all these black edges are completely hiding the details. So there we have two reasons why you should deactivate the edges. And to do that you go to view edge style and click on edges. See now how much details. We were missing with the edges when the edges were activated. See, now the plant. You can see the colors and you see everything. So that's something I think you should try to do if you have a detailed model now, if you want to keep the edges for whatever reason. But maybe because you have a much more basic model and that indeed doesn't really work very well if you deactivate the edges with a basic model. So let's say you you want to keep them okay? And I'm going to remove the plants here from our scene. Okay, so let's concentrate on the building itself. So now it's much more basic. Okay, so my second suggestion, if you're working with edges, is to go to styles edit and you have the here are a whole bunch of things. You can add it and customize. So where you go here, it's go toe edge settings and actually can activate or deactivate the edges from here to from this menu and in the bottom. Here we have color. Somebody defaults. Ketchup puts black for the edges, but in my experience, if you play around with this, you can create an impression off thinner lines. See, actually, the lines do not get thinner there, just lighter. It's just a light gray action instead of black and ah, it really helps. Ah, lot in a lot of cases. So if I put that back to black, see how much strong it is and it's to present. So in my experience, if I want to keep the edges, I always put grey edges and it makes it lighter. So it's kind of a middle way between black edges and no edges. So, yeah, that's what a second thing you can play around with. Now let's see what else we can do with the edit menu here off the styles. So if you go to face settings, you see here you have display. She hated using textures. This is what we're using right now. And as you can see here, you have displaying shaded mode without textures, actually, so it makes the textures disappear, but it keeps the colors, so that's another mold. And you have here displaying hidden line mode and this one. Basically, it makes everything disappear. All the colors and textures, and it's only keeps the edges. It's keeps the edges and as a color, it puts the background color. Now you can change this further here in the background settings and as against you have the background and you can have the sky and ground. So the background color. Let's say we're gonna put some white okay and let's deactivate the sky. So now we have a much simpler visual style, which can be useful in many cases with the or crafts or whatever. Okay, so let's get back here to our face settings. As you can see, you can also change the transparency, so you have two qualities off transparency, faster and nicer. But I want I want to suggest here. Just to give you some ideas is to disable the transparency when you're using such a simple style so that you don't see all those details inside of the house. Maybe it's not that important. And for for such a simple visuals tied, I think it can be a good idea to deactivate the transparency. So there we have a little bit off tools you can play around with to edit and customize your visual style, but actually have a lot of presets. You can choose from inside the select tab. So you go here and you have all these different sighs. Actually there just category. So if you click on color sets, you see here you have all the presets inside the color sets, and then you can go to, for instance, sketchy edges. And this one I want to talk about a little bit because you can find something interesting here for creating your own style. So let's say I'm gonna click on Penn Black, and what's going to do is it's going to replace the edges so that it looks as if it was hand drawn. And actually, you can still added this further if you go to the edit menu and we go to the edge settings here, As you can see, you have different things you can take or antic, and you can put some values here. So if I put 40 here just to show you what it does as you can see, the lines extend beyond the boundaries, and this is something that can happen when your hand drawing. Actually, this is why it exists. Maybe it's not that extreme, but that was just to show you so maybe it's can be something around eight or something. And you have to test this so that you reached the point you're you're happy with. So this is about the extensions. You also have halo, and again I'm going to show you just what it does. So I'm going to put 40 here and, as you can see, creates a white halo around the edges and some things. Some information disappear and makes it simpler. But sometimes if the values would be too high, the drawing becomes a little bit confusing. So you can play around with all these effects in order to reach the results you're looking for. And after that you can save it as a preset as your own preset. And the way to do it is you go here, create new style and boom. Now it named it again Penn Black one. It added the number one. And you can name this however you want. And if you decide to make a modification to the start, he can still updated so that it overrides the perimeters with the newest ones. So, for instance, here we already created this tide. We named it and we decide to disable the transparency, which I really suggest with this time because all these lines makes it kind of heavy, you know, to the model. So if I deactivated transparency, see now it's much, much simpler and the model is much clearer. So once you make the modification, you can just hit updates tied with changes. So now it recorded the changes we just made. And if we change toe another style and we come back to our own style, you see, it kept changes and you can go back to it whenever you want. There you go. Now you can create your own visual style, either starting from scratch from the default style, or you can pick up a preset that inspire you and you can really customize it as you wish. So have fun with it. 3. Visual Styles Inspiration: hi. In this video, I just want to show you a few visuals Ties on Just created, actually, for the purpose of the course. Just to give you some inspiration and ideas, you can apply to create your own visuals type. So let's start with this one here where I just added the night sky in the background and tweaked a little bit the colors off the edges. So if we go here in the edges settings, we find that the colors you see our gray. But I gave it a little bluish a tent to fit the scene. OK, it's just a little example here, and I activated the shadows to create the illusion that the moon is lighting up the scene. Okay, lets see our setting second example here. So the sun is a completely different example where we're not trying to be realistic or anything. It's just a texture for the background, and actually, I don't know if you can see it on the video, but we can also see the texture on top off the model itself so that it gives it ah, whole atmosphere, you know. And what I did with this one is I went to add background. But I also added the second image, which is actually the same than the 1st 1 But this one is in overlay mode. So if I go into the settings, you see that you know, I I just added a no ah, transparency to the image seem on top of it, uh, so that it gives it this little effect. And I started this one from the sketchy collection from sketch up. You know, he and Sketchy Edges selection and I changed the colors off the edges and changed the colors of the background and everything. That's it. So let's check our third example here, okay. And this one, I wanted the pain to defect, you know, as if it was painted or hand drawn, you know. So I picked up components that were actually painted and drawn into the model. I started it with a sketchy edges style, and even this guy in the background I added a painted sky. So the whole thing now looks as if it was a painting, and I even added on top of it so that the same technique than the previous one here, this image in overlay mode but with it transparency. You know, all these like painting blotches. So, uh, yeah, just to give it that effect, Let's see now our last example. Okay. As you can see, this one is very different to it's a very neat style with only edges and everything in black. I used it actually in one of my presentations, and it really turned out very well. So yeah, that's that's a very basic style. You just have to activate this mode displaying hidden online mode, and and that's it is just playing with the colors and the background is black. So you really have all these little parameters you can play around with to create many different styles. So this is why you can create your own or create something that really suits what you want to show for your project. 4. Adding Sky: in this video, I'm going to show you how to add a realistic sky in the background. Actually, there are several ways to do this, but the method I'm going to show you is the simplest and in my experience, the most efficient way to do it. So let's get started. You know it's ketchup. You have the ability to add an image on top or in the background of your model. So the way to do that is you go to the edit menu and you hit watermark settings. And basically, what you can do with this is add like, for instance, your logo that appears on every image you export. That's one of the purposes off the watermarks. Now we're going to use the same technique to add a sky in the background. So what you have to do is go click on the little plus sign and you go find your image. Once you have your image, click open, and now, as you can see, it names its so you can put wherever you want. Here it just leave the default name and you have the choice between background and overly. And basically, that's what I was talking about is that you can put it on top of the image or in the background. What we're going to do here is put it in the background and click next. Now, you even have the ability to add transparency or have control over the opacity of it so that it just very subtle. Or you can just have it 100% opaque on top off your blue gray didn't offs ketchup. Okay, so I'm gonna click next. And now you can either stretch it off Thailand or position it in the screen stretching. It basically is going to stretch it until it reaches the edges off your view finder here offs, ketchup. And the problem with this is that it's not going to stretched over. Stretch it so that it goes beyond the boundaries. So it's going to stop here because image is probably somewhere here, okay, and doesn't extend to this end off the frame. So what you can do is tile it and changed the scale of it. Okay, that's one way to go about it. Or the simplest way in my experience is just position it on top and then you go 100% in the scale hit finish and they go, You have your sky know what this does is that it's there all the time, whatever the angle of view. So if I navigate orbit, as you can see, the images there all the time as it is, is just there as a background. I see. So it's very easy to add in the model, but you just have to make sure that depending on your angle of view, it works Fine. Okay, so let's take another example to illustrate this issue, you may come across okay. Now, I used an image, which is kind of a panoramic view of the sky. But the problem with this one is, as you can see, it only covers this area. That's that's the JP ahead. So, ah, for this kind of image, what you have to make sure of is that you choose a point of view where you don't see the edge of the image. So, for instance, if you go this high now, it works. But you have the trees here that covers the edge, and it works fine. But if you go nowhere, then you start seeing the edge here so yeah, you just have to make sure that the angle works with the image you're using and that's it, otherwise is very, very simple to add this car in the background. What I suggest, however, is choose the right image depending on the lighting of your scene. So, for instance, my shadows in here in my scene are dropping this way, as you can see. So the sun comes from the left here, so I'm not going to choose him in an image where I can clearly see the sun here in the sky . It doesn't work, so keep that in mind and go at the rial six guy in your model. 5. Adding Background: So we just added a realistic sky. We chose our field of view to fit the scene, and we can still do something else. And this is a little tip I'm going to give you is to add a little bit death. Adding a little background here can really add an extra touch to your scene. So basically, all you have to do is go to Windows to the three D warehouse, and all you have to do is type in background. Okay, Now you're gonna find all sorts of stuff. But that kind of background were looking for our this kind here, here. Okay, but I'm going to search for them on Lian collections so that we have a collection off backgrounds, Okay? And I'm gonna just try this one here so you can see you have all different backgrounds you can add in your model, and I'm going to pick one in 360 degrees. This is really nice, because it's very easy to use, and I'm gonna choose this one here and just put it right here. So just to show you how it looks, actually, so as you can see, just an image. But the cat out is really well done. And all we have to do now is diving our view and we can just select it and rotated from the center where we've just added it. So as you can see, we can very easily add a backdrop and give it more depth. So go use. This step is very easy and it really can add an extra touching your scene. 6. Importance of Field of View: Hi. In this video, I'm going to talk about an extremely important subject when it comes to choosing the best angle of view and presented your project in the best possible way and are subject. Here is the field of view. So what's the field of view? I found this illustration on sketch Apps website and it really makes things clear. The human eye covers a field of view off 60 degrees. However, it can only focus on 35 degrees. Okay, so 60 degrees is what you have in front of you, but you can really just focus on 35. So how does this apply in our sketch of model by default? Sketch up uses a field of view 35 degrees Okay, which corresponds to this view. And we can change it by clicking in a camera field of view and directly typing here the degrees. Now, just to show you how much it can affect your view, I'm going to click here on my other scene so that you can see the transition between 35 degrees and 60 degrees. You see how much it really affects our scene, right? And that's why it's very important to take it into consideration. Now, the higher the field of view is, the more dynamic the model fields. And if I go even higher, you see what I mean becomes more dynamic. However, you start having extreme distortions when you go really crazy with the value here. Okay, so you really have to be careful with it. Don't go too much above 60 degrees. Okay? Have to keep it reasonable. And you can really experiment with its going between 35 60 degrees. Okay, maybe you'll find it could compromise around maybe 45 degrees. And that really suits you. Okay, but yeah, Now you have to take this into consideration and choose the best way to deal with it. In my own experience, I tend to always use a higher field of view around 55 or 60 so that I see the most off the project. Even if I have to crop it afterwards so that I can just focus on one part of it. 7. Choosing the best time of day and year: Hi again, guys. So in this video, I'm going to talk about how to choose the best time of day and year for an optimum lighting off our scene. And first, I'm just gonna start with the basics. Okay, So this little drawing illustrates the some path during different times of year and throughout the day, okay. And by the way, this applies for the Northern Hemisphere. If you're living in the South and hemisphere, this is actually the opposite. So even if this sounds obvious to you, I think it's important to just remember and keep this in mind for our exercise just afterwards. So, as you know, during summertime, the days are longer and during wintertime, the days are shorter. But the most important thing for us here to know is that the sun is much higher Drink, summertime and much lower during winter time. So let's see now our model Why this is important. If we take this little block that I actually just made for the sake of this exercise, a very abstract and very basic. Okay, I'm taking it planned view and I'm activating the shadow. So we're around noon now and we're around October okay if I take the sun much earlier. Well, as you know, the sun rises in the east and the shadow was much longer. And the shadow gets much shorter around noon because the sun goes higher and same thing. By the end of the day, shadows goes longer sunsets in the West. All this is pretty obvious. But what's very important to notice is that in this time of year, this facade right there is never receiving light. So I'm gonna move the sliders again. This is the earliest you can get. And as you can see, only these facades are in the light. Okay? And as we moved throughout the day and get to the latest, only these facades are in the light. So, as I said, this one is never receiving light and the old The option you have in this case is go around summer time because you know that the days are longer and the sun actually rises further north in this case. So if you take a nearly son now this facade is receiving light. Let's see this just in the taxonomy tree and again if you're around October, activate the shadow. The earliest Miss Facade is still in the dark. And if we choose summertime in early morning, the facade is receiving light. Okay, so that's the very first important thing to know. And I believe it's very important because you really want to show your model in its best form. And sometimes you really wanna emphasize a particular facade, and you'd better put it in the sun, you know. So let's see the second most important thing, and I'm choosing this elevation. This facade here. And as you may have noticed, the wooden part is not in the same plane than this bars, and we have balconies and so on. So this time I'm choosing a time during summer time and let's see what happens if we travel throughout the day. And as you can see, the wooden facade is never receiving light, and this is obviously because of the balconies that are dropping shadows. Okay, as you can see because the sun is higher, remember, the sun is higher in summertime, so the angle off the shadows are also more vertical, so this visit is never receiving light. So in this case, in this scenario, what you can do is is not choosing a different time of day, but using a different time of year as well. And now, as you can see, if you choose a winter time where the sun is much lower now you can get some lighting on your facade. Okay, So when you're gonna choose your angle of you, what you want to do is emphasize the features off your design, right? And if, like, this facade here in this example is an important feature than it will make a big difference if it's in the sun are in the shadow. See. So to me, these other two most important points to keep in mind when choosing the best time of day and year and in one of my next videos what I'm going to show you is how to apply this in a more complex and contextualized model and how to deal with more tricky situations and taking the right decisions. So see you right afterwards, 8. Geolocation and Solar North: hi, guys. And this, would you? I'm going to show you just a couple of things for getting a more realistic lighting and how to do it with more efficiency. So basically the two subjects, I'm gonna talk about our geo location and true North. Okay, so first thing sketch up, made you location Pretty easy to do and you alway have to do is go to model info in the window menu. So, as you can see, there are many types off information here, and one of them is geo location. So all you have to do is add location, or you can do that manually. We'll get into that in just in a minute. So when you add allocation basically takes you to Google maps and all you have to do is start in the city off where your project is supposed to be, and that's it. You don't have to be, like, extremely precise to get the exact street and so on. To me, this is not important just to get the lighting off that area. Okay, so you select region and you see grab Now, as you can see, it added here image and it also recorded here the right latitude and longitude. So now our model is located in that specific region, and we're getting the sun path off that specific region. Okay, but actually, what I personally do is I never keep this image in the background. Okay, Andi. As you can see, there is a red outline. So all you have to do is on lock it and erase it. And it's not because we raised this, that we lost our geolocation. As you can see in mother info, geolocation here is still in the right location. Okay, so that's one thing you can do, and the other way is just set it manually if you know the exact latitude and longitude, But well, to me, it's much simpler to use the ad location tool and just for illustration purposes. I'm going to show you how much the lighting can change. Just based on your geolocation, if we keep this exact time of day and this exact time of year, and we just choose another location, So I'm gonna clear this location and I'm gonna add a new one on. Let's say we want to put it in Iguazu, which is somewhere in Argentina. Okay, Which select the region. Grab IDs. I'm going to unlock it and erase it. And as you can see here for the exact time of day, an exact time of year, the lighting is completely different. So this is pretty important to do, actually, if you wanna show realistic lighting, Okay, Now, the next point is how to choose their true north. So if your model is implemented like that in your sketch of file for sketch up by default, the North is pointing up. Okay, But it could be that the true north off your project is not putting up. But it's like putting down on the left. Okay, So how to remedy that? You have basically two options. Either you select your whole project, apply rotation until you get the right orientation, which can really be a hassle if you have a complex model and so on. But what you can also do is use this very useful plugging off sketch up called Solar North , and it's a free plug in. It's very easy to install. Basically, just go to extension warehouse in the window menu he tied in solar north, and here it is. So just download it and install it. And once it's installed, here's the little menu. Okay, so you have three little logos, and to me, all you need is this set north tool. So basically, as you can see by default, the North is pointing up. But you can say that the North is actually there for your project. And as you can see, it instantly changed the lighting. Okay. And if you lost track of where you know this, you can just click on this little sign and it will show you where the North is pointing. Now, if you know the exact angle in reference to this scene, you can just tap it in right there, which is pretty uncommon to me. So basically, just set your north and you're all done and you don't have to retreat your whole model, so it really makes it easy. 9. Choosing the best lighting - examples: All right. So let's see now how to choose the best lighting for a specific scene with a more complex project. So just to give you an idea, I'm gonna show you hear the context off this model, which was a master plan I had to work on, actually, and come up with an architectural suggestion just to see how it could look like. And basically, we have, like, just a few buildings, okay. And the other side, the buildings are pretty far away, so it doesn't really matter. And let's see where the north is with the North Solar north tool. Okay, As you can see, it's this orange line. So the son, the path of the sun would be something like this, starting from east to west. And this is located near Brussels. So we're in the Northern Hemisphere, so it's going. The sun is traveling south in our scene. Let's get back to our angle of you. So for the 1st 1 here, I'm gonna activate the shadows. And as you can see already, I have a morning light and the reason is this is the eastern facade, so it could only get light in the morning. and the result is that we have, if Assad in the light and this other one which is the main one in the shadow. But I still like it actually, because it creates this nice contrast as you can see no between one very bright and the other one pretty dark. It's a nice contrast because we still have these plants and trees in the sun, so it still works. You know, it's not like everything here is in the shadow is just the facade, and everything else here is in the sun, actually, so it's kind of works. And for me there's another detail here that is interesting to look at is that the trees here are receiving son with this lighting, and let's compare now with the other option where I put the main facade in the sun. So let's activate the shadows, and you can already see here how the trees are all in the shadows, so there's not as much texture as the previous view. And there's also something new here appearing is that the building just on the right side here is not projecting shadows, and I chose an angle off son that doesn't give here. A big shadow drop and still keeping everything here in the light, mainly. So, as you can see, even if I narrowed it down to just two options, Sometimes you just have to make a decision between two. Because, as in this example, either I show the main facade in the light. But we have these trees that are not as nice as in the other view. And we have this shadow dropping, which is not a big deal, actually. Or the other one where the main facade is in the shadow. But we still have nice contrast with the other one here in the light and a nice and texture here over the trees. Now, let's see another example. Okay, for this one, which is actually just the building beside that other one we were just looking at, Okay, I'm just gonna zoom in here and show you how this one is made. So it's made off wooden elements, okay? And it's like doing a curve here. It was really fun to model, actually. So, as you can see, we have this little face over here and that other one perpendicular and depending where the sun is This could look completely different. So if I'm picking an early son, as you can see, there is a strong contrast between the facing surface and the other one. And as the sun goes in the day at some point, both are in the sun and there's no contrast anymore. And if I go even further at some point, everything is in the shadows, so it doesn't make sense. So this is the reason why I chose an early son for this view, where we can still clearly see these lines on the facade. And here goes the view with shadows activated. So as you can see, sometimes it's in very small details, but it could really make a difference. Let's jumped over next example here and in this one. As you can see, we still have this building with these wooden elements, but it's a completely secondary subject in our view, so I don't really care if everything's in the shadow and so on. My main subject here is this building, and the particularity of this building, as you can see, is that the facade is doing zigzag, so it's not completely linear. And what I precisely wanted here is to really feel the six egg, and there's really just a sweet spot where we could really feel it. So if I taken early son, for instance, all the fuss out here is in the sun, so we don't feel that zigzag anymore. We don't see these parts in the shadows slightly, and if I take a later son, everything's in the shadow, so it doesn't really make sense. So really, there's is the sweet spot that we have to look for. As you can see, it's somewhere over here. At some point, we start seeing shadows on these surfaces, but not too far, because otherwise this one is getting darker. So, as I said, there's really just a sweet spot, and that was the one I was looking for. And here goes the view with shadows activated. So what I would say is that you really have to know what you want to emphasize in your model and pick the best light accordingly without losing your common sense. Of course, because it, for instance, in this example, the only way I could get this little vibration in my facade is by having everything else in the shadows that doesn't work, of course. So really, you have to experiment a bit, and the more you practice that and focus on the little details, the easier it will be for you to instantly know approximately where the best lighting should be, so have fun with it. 10. Photographic notions: So when it comes to choosing the best angle of you to show on architecture project is certainly a lot of matter of hazard just picking up any random view. It's actually very precise and thoughtful decision that can really affect the impression we have in the building. And the best way to understand this process is to look at architectural photography. In fact, the purpose of architectural photography is precisely to showcase architecture in its best form, and this is exactly what we're trying to do without three D models. So as architectural photographer myself, I can I will show you some photographic aled principles that we will later apply in our model. Well, then, clearly see how you can apply these photographically notions to extract the most appealing views off your own projects. So let's get right into it, all right. The first idea I want to talk about is how how to choose a dynamic view of your building on the way to do this is choosing a view where the vanishing point off your perspective is inside off your frame so that the lines here are much more dynamic. There's no rule about this, actually, so If your vanishing point is just a little bit outside of your friend, it really doesn't matter. It's just about a feeling how your image feels like. And this is something that I try to do sometimes to get a very dynamic look off my building . So the vanishing point here is like somewhere over there, maybe. And yeah, it really helps giving this more dynamic feeling. Or you can also do the opposite, which is shooting very frontal views. So there is no perspective into this, and by doing this you can achieve very graphical compositions. It's really interesting, depending on your design, so you can try that as well, you know, because things are aligned and, ah, you know, you can really express something different from shooting the frontal view compared to shooting with, you know, high dynamic perspective. Okay, so this is something else you can try depending on your design as well. And by the way, you can also achieve very symmetrical compositions by shooting this way. You know, this is really the middle and is very symmetrical, and it can really add something as well again, depending on your design. So the other idea I want to talk about is really knowing which crop. Your picture. Okay. And, um what did you imagine that? But what you're seeing here are only shapes only geometrical shapes. There are no buildings. There's no bridges, no water there only purely shapes. When you're getting to this minds that you really getting into the mindset of a photographer. Actually, if you look at this shape, for instance, here I intentionally didn't crop it. I wanted the whole shape and a little bit of space before cropping the picture. Um, another thing here is this perfect circle, which is the windows. What? But we're only seeing it as a circle. I avoided to crop it as well. I went a little bit further in order to have it complete. So it's really in the details here, but sometimes it's more than that. So, for instance, here I again did the same thing with those buildings. I chose an angle of view, not by accident. So I really remember I wanted this picture to be cropped further here without cropping this building here or without showing the beginning off another building over there. So, yeah, it's really in the details, but it really makes a difference when you add up all those little details. So another example here about cropping. So, for instance, this tree here, the photographer chose to not crop it obviously. And what it doesn't the same time it balances the picture. If we cropped it right there, the picture would have looked kind of unbalanced. You know, we have a lot of empty space and nothing is happening over here. But by choosing crop like that, framed like that, this tree here helps, you know, balancing the empty space over there. And you know, it creates a nice sense off balance. Another thing you can try to do is natural frames. Basically, what it means is that you frame your subject with components inside off your frame. So here, for instance, there was this wooden barrier that I chose to integrate into my frame. But just as a tool to reframe really, my main subject and you'll see in schedule, you can play around with components like this in order to achieve such a result. I talked a little bit about balance, but really I think we can push things a little bit further. We might be a little bit too focused on our design or our project. And we forget about what are the other possibilities to make this'll look even better, you know, in in context, maybe are in this example we use the sky to balance our picture. There are so many things happening actually, in this image below and the sky just adds a little bit a sense of balance with this empty space contrasting with this very busy image below. Okay, here's another example. A little bit extreme, but it really makes you think outside of the box. Like if our project is the box, we really starting to think outside of it and how to play with this company's composition tools to help showcasing our project in its best form. So another idea want to talk about here is about the lighting, you know, in sketch up were in total control of the lighting with, you know, the shadow sliders and what we can do is really choose the exact a time of day and year to light up our scene. So what I noticed and this is something very personal. I never heard someone talk about this before and with the way you light up your scene can really change the impression you have on your building. So here, for instance, both facades here and there are in the sunlight, and I think it kind of makes picture flat. So the best thing I think to do in some cases, not all the cases but in some cases is to light up just one facade and the other one stays in the shadow. So really, I think bridging things in contrast in our own projects can be interesting. Here's another example. So you clearly see that this facade is in the in the light and the other one in the shadow , and it would have bean completely flat if both facades were in the light. One last thing I want to talk about is color balancing your image. And I'm not talking about white balance. And if you're familiar with photography, I'm really talking about balancing the whole feeling in the whole atmosphere off your image . So, for instance, in this picture, if the tram wasn't there, the image would have looked rather cold. So I remember I intentionally waited for the tram to come in this frame just to counter balance, the rather called atmosphere of the picture. You know, everything is green and brew here, in the in the windows and so on. So this touch of color really plays a nice role in this image balancing the whole picture and it's ketchup. You're in total control of this because he can choose whatever components to put their and can even choose the colors you want to use. So, yeah, give it a try. And I think it can add a little something to your perspective. Views. So to synthesize. We first talked about how to achieve a dynamic perspective by incorporating the vanishing point inside our frame to shooting frontal views and how to achieve a more graphical composition by doing so. Three. Paying close attention to how we crop our image for natural framing by using components inside our scene to reframe our main subject. Five. Banishing the scene, using empty spaces and balancing the whole image. Six. Not using a uniform lighting on the whole project and rather having contrasts using parts in the light and parts in the shadows. Seven. Color balancing the whole atmosphere by just using a touch of color. So there you go. You have some specific photographic notions now, and what I'm going to do is show you how I'm going to apply these in a sketch of model so that you can apply them to on your own projects. 11. Outdoors angles of view - Part 1: All right, So now let's apply the photographic notions we just talked about inside our project so that we choose the best angle of view. So the first thing I'm gonna do is dive into this scene so that I'm really immersed inside of the project. What I often see is people choosing else all angles of you like this one to show their project, which really doesn't make any sense. Because who's going to see the project from that angle of view? Unless you're on a chair, which is on the table, which is on the horse. Well, so it really doesn't make sense. So the best thing to do is diving into it as if you're standing there. Okay, that's very important. And I'm gonna choose an ankle few where I really want to show that the project is inside a very green area. And the context here is very important. So we're gonna use is the natural framing technique that we talked about and using this tree here to, you know, draw the attention towards the building here, you know, were naturally framing this. Okay, so that's one thing. The other thing is making sure where to crop our image. So as we talked about, I don't wanna crop the street halfway. I wanted to be complete inside over my frame, okay. And from the other side, I could, like, zoom out and try to do the same thing with the second tree or more like zooming because there's too much empty space over here. I don't really like this. Um, so I'm gonna zoom in a bit more like that. I'm really into the project and again here. It's a bit imbalanced here. I like having something to end the frame. So what I'm gonna do is move the kids here further way so that he occupies more of the space here. And maybe you noticed, but added the people here so that I create an interaction between them. So there's this tension because the two kids are looking into each other, and it really adds some realism into the scene. So that's another important point as well. And now I'm quite happy with the image. You know, I have very nice foreground with the flowers. Have the street framing the scene have these plants filling up the white wall. I have this interaction going on There's this guy stretching this guy. I have nice foliage here and leaves to end the frame. So it's It's really dynamic. I really like it. And the last thing we have to do is correcting hours perspective. And what does that mean is if you can see here, all the vertical lines are not perfectly vertical. They are slightly, you know, falling off. So what we can do is just click on two point perspective from the camera menu and boom. All the vertical lines are perfectly vertical now, but it's kind of reset the few a bit the height of the view, so we can just move a bit on top, and that's it. Okay, Another thing that did is, as you can see, there's this blue sky and this blue shirt that have quite a presence in the scene, plus all these green areas. So what I did is specifically choose a plant with red flowers here to counterbalance this blue and green presence. And that's the color balancing I talked about in the photographic notions. So here's another thing I just did, and also with this little part here, and sometimes it's just the little detail that add up and make a difference. So now let's choose another point of perspective in the next video 12. Outdoors angles of view - Part 2: So for our second ankle of you, I'm going to go the other way around and choose one over here, Okay? The thing is, there are so many things on the way. Right, Cleary? So what I'm gonna do is actually hide all these components for now and just focus on the building. So I'm gonna put all these on the same layer a tree layer. Andy, activate my tree layer. Have to put this one here as well. Let's even add that one as well. Okay, so now we have much more space and we can really focus just on the architecture. So there's something you may have to keep in mind. And it's the idea that you don't have to show all off the building at once every single time. So you don't have to show all of you bringing because let's get real in your project or design every part of it is not necessarily interesting to show. So it's like here friends, since that's the rear part. And you know, it is not as interesting as some other parts. And what we want to do is just focus on the most important or most intelligently designed aspect. So, like, this wall here is not very interesting. There's not much going on, right? And so what I want to do is just focus on this shape over here and show that it opens up on the sky in searching away. So I'm gonna crop somewhere over there, Okay? And I want to show this metallic door. And, you know, my client liked these Oriental shapes or rental drawings. Eso incorporated this, which is the door that slides over here. But anyway, so I want to show this door, and I want to focus more on this part over here. Okay. And as I said, I wanted to to open up to the sky. Okay, so this ankle over here seems interesting to me, and again we're immersing ourselves inside of the scene. Okay, so that looks very interesting. I'm going to correct the perspective, checking two points perspective and going higher. So s so that we have more of this guy. Okay, now let's reactivate our trees. Boom. Everything's on the way. Right? So what I'm gonna do is just save this scene and I'm going to move around these trees in a way that do not distract us from the main subject. Okay, so this try something like that. But I don't want them to be too much. Present it just slightly so that we feel there's, you know, a green presence around us, and we can even, like, choose to just completely high some parts. It doesn't really matter with some components. You really freaked wherever you want. So like, for this one, I like how open and how the images breathing here. Okay, which is very different from the previous one, which is very rich in composition. Okay, so that's one thing. And let me just focus on small details like these birds. I don't like the conflict here between the birds and the tree, so I want them to be just in the middle of the sky somewhere here, that looks much better. And well, now, if you notice there's a huge empty space here, just grass, okay? And what we can do with their with that is maybe just bringing this table and chair closer . So, like, somewhere here, maybe? Yeah, that's not bad. Okay, I took the cat with me. Well, we don't have to see every component in every image in the same way. So I'm just gonna put it back there somewhere, okay? Going back to my scene. And so when you hide something, you have to update your scene again. Otherwise it's gonna come back. So I'm gonna hide it and update. Okay, so that looks much better now. And I like the tree here, But what I don't really like is the fact that this here is completely empty s So what I'm gonna do, he's go here to the plants and make this one bigger, for instance, and move. It's closer here. Maybe. Take that. One more people. So here, as well, Let's see, you know. Yeah, that's much better. Um, okay. And I like how these leaves are just sneaking into the frame. What I'm not totally convinced off is this area here. Obviously, the kid now is walking outside of the frame, which I usually avoid doing. I like how people entering to the frame not going out of them are just incorporating them in a different way. Again weaken. You re create this interaction between the kids, and that's not bad, actually, but I want to daily stables, this table and chairs a bit further here so that they kind of close the frame that I like. As I said in the last video, like having something to finish with frame. Okay, so that's not bad. I just have to adjust the height of them. They were going deep into the ground. Okay, Going back to my scene, there's no bad. Now, you know, we have to adjust something. Sometimes when you move components, there are no we don't see the kids anymore with their going back to my scene. And I'm going to, you know, that's not bad. There's some conflict going on over there. You have to sometimes avoid details where there a lot of conflict. Too many things to many information in the same spot. So I'm going to put my cat somewhere over there. Okay, So very go. I'm quite happy with this image now, And let's activate the shadows, which we didn't do in the last video. We see what we can do with it, how to improve the image. Okay. As you can see, there's this huge area in the shadow, which is not really great. So what we're gonna do is putting the sun obits higher so that the shadows are not that present over here. Okay, that's already much better, because all this now is again in the sun, and it's okay to have some parts in the shadow, you know, you're not gonna get rid off all the shadows. That's actually something that adds something to your scene. So it's okay to have some shadows. But what we can do also is moved slightly higher to have a bit less shadow in this part in the foreground and bit more sky. And I think it looks nice now. So either said in the photographic notions, there's the lighting of the facade that can also play an important role in the feeling of the image. So here, for instance, the facade here is in the sun, and that one here is in the shadow. So that creates an interesting contrast. And I'm quite happy with the result. So I'm going to say this one, and we can even play a bit with the luminosity of the shadows. So if they're too dark, we can just that and make them a bit lighter and we can do the same thing with the highlights. So they're on 80. Let's put 100 and see how the contrast is stronger. Okay, to me, this image now is ready to be exported. And there's something very important to keep in mind that you saw me doing, and that is allowing yourself the freedom to move some components around to achieve the best possible result. See in the next video where I'm going to choose a front of you. 13. Frontal angles of view: Okay, Now let's choose a frontal angle of you to show the project as I'm moving around from here . As you can see, this wall is blocking the view. So either I can hide it or I can come to the other side and the closest possible against the wall like that and turn around. Okay. So, again, even for frontal views, I look for an immersion. So no ankle view like that. I'm going down here on a realistic I level. Okay? And first, we're going to just focus on the architecture. Afterwards, we can just move the components around. Okay, So I want to show this part of a here until there and like, how this is coming. Go. And I like seeing is, well, these plants over here. So something like that seems interesting to me now, how do we make sure that I'm perfectly aligned? You know I'm not twisted a bit. What I do is I push. Okay. The geometry just at the edge off my my window. Ok, so that I can see you know, as against here, the blue sky is my reference. Now, now I can clearly see that I'm not perfectly parallel, and I can adjust that quite precisely. Okay, now it's perfectly parallel. So the way I'm gonna move my head, I try to keep it just perfectly vertical and not go on the side because I already adjusted the horizontal lines. No, me. Just go a bit further away and not getting me to my wall. Yep. That's right. And think that I think that's that's good. Now I'm gonna correct my perspective, and I'm going to go much higher now. That looks interesting. Okay, Now we can get into moving the components and making sure how to crop everything. So the first thing I want to do is just move these birds into the sky and I actually have that other birds is not necessarily necessary, actually. So I like how the leaves here of the of the tree are coming into the frame, but let's incorporate them a bit more. All the birds further on that looks pretty nice to me. We just need, like maybe a single other touch. We might not need the whole table and chairs, so I'm going to save this scene. I'm gonna look for the cat, okay? And obviously, I don't want to crop the cat. I want to incorporate it in the frame completely. Something like that. That's not bad. And you know what I the cat is like. It's looking somewhere, but it's looking in just in the empty space. So what I want is just had something to create a realistic interaction between the cat and something else. So what I'm gonna do is look up for something in the three d warehouse that I can add in the scene. And here we go just found this tennis ball, and I think it's much more interesting now that the Cats is looking at something. So I really like being intention to these small details to make the same more realistic. It's like even small things like this one here, where the birds are kind of flying exactly in the same direction. And I want to avoid that, you know, and that's already a bit better now, going back to the lighting off the facades. As you can see, I'm using the sun for shading. So wherever the sun is here in the timing, I'm using it for the shading, but without the rial son. So I know approximately where the sun is when I'm moving this around. So what's nice is that there's this facade and this facade are in the shadow. And these one, the frontal warms are in the light, which which is much better than having all of the facades here and there in the sun. And we wouldn't have this interesting contrast. So that's to me an important point as well. And again, I tried to incorporate some photographic notions that I talked about, like you know where to crop here. I made sure that I'm not cropping inside the door here. I made sure that the colors overall are well regulated. We have this blue sky. We have this blue poster and we have these red flowers that are complementary. We have the lighting of the facade that creates some contrast and so on, you know? So you really have to play around with all these notions as well as paying attention to small details regarding the components. So, yeah, you can really have fun with it. But now we're gonna choose an ankle of you indoors. So see you in the next video 14. Indoors angles of view - Part 1: hi again, guys. So we just applied our photographic notions to choose the best angle of view from outdoors . But now we're gonna apply this from indoors and see how it's different and how we can get the best of our seen. So let's get right into it. The very first thing I want to mention is that, and I do this every time in architecture, photography, when have to shoot from inside. I tend to go directly to the corners, and the reason is that's the spot where I have the most distance from the middle of the room. So what that means is that that's the spot where you gonna get the widest angle of view, and that's where you can show most off your design or your space. So, like if you get to the middle of the room and try to show your project, there's always a part that's not gonna be there. So read of the best choice usually is to go to the corner, and the way I do it is like it just keeps coming in until I crash into the wall. And then I turned around, so that's the very first thing and it's pretty easy to do now. The second thing is we're gonna crop from the sides where to crop from the side. We're gonna choose that because we have to anticipate the fact that we're going to correct our perspective later on. And only then we gonna choose the height off our frame. So before that, we have to choose how we gonna crop it from the sides. And the one of the first things I noticed that we have this reddish Curtin over here, which plays quite an important role in balancing the overall colors. So I like I'd like to incorporate that curtain clearly. Okay, I'm gonna zoom out. I was already at the maximum, actually. Okay, and actually incorporated other elements to balance the whole scene. Like the spot over here and these little pink flowers. Because the overall tent here is mostly brownish and skin scene. You know, the would hear this monochrome photography this would over there. So I like how these little more vivid colors re balance in the overall image. So let's say we just it shows how we crop it from the size. I like how this shape here is incorporated into a frame. I don't like that, you know. So I think it's nice, incorporated all and we can still see the curtains, so that's perfect. So let's say that's okay, but I'd like to mention something else here, and this is really in the details. When you have lines that are not on the same plane that are completely lied, that can be disturbing. So what I'm talking about here is, for instance, you see the line of the carpet and the line off the table, their lines, although they're not on the same plane. So what I suggest is try to pay attention to these kinds of lines and disassociate them, you know, because they can, because they can be confusing in some some scenes. So I pay attention to that, and I disassociate that by orbiting vertically Abed's and that's it. No, let's correct our perspective. And as you can see, the door here is completely cropped, and I like to show how the spaces open vertically, so I'm moving higher at the same time. I incorporate the door completely my frame, and for me, that is about right. So I'm gonna save the scene and let me just mention something about how to make the scene more realistic. And the point here don't want to make is that you sometimes have to incorporate tiny little elements off imperfection. Let me explain what it means. So the fact that this door here is open or this sliding doors also left half open. You know, this is like the kind of thing that give the impression that the space is being lived. There's life inside of the space and we can play with small elements, even like this magazine over here, which doesn't fit in the frame. So we're gonna move it somewhere over there. I'm gonna even turn it so that I know I just feel like turning it something like that and not not aligning it with the table or wherever it's. It's a bit, you know, like it's a bit random. I'm going to go back to my scene, see how that fits. That's nice and see that this is the kind of thing that give the impression that the spaces lived. As I said, I called these tiny elements of imperfection. So not everything is like, just perfect, not things perfectly alive. And so on, so these little elements can add some realism to your scene. Now let's say we're not totally happy with this poster over here. The poster itself. It is nice, but let's say we don't want, um, that much going on in the scene. So if we hide this element to me, this there's too much empty space over here, and it doesn't necessarily mean that we have to fill up every time it's base we find. But rather I'd like to try something else. And we can really experiment sometimes. And the idea wanna try is putting a plant. But that goes more vertically instead of these ones. So I'm gonna hide thes. And actually, I went to the three D warehouse and picked one, which is right here. I unhygienic it. And as you can see, this, you know, fills a bit better the space without adding more colors to the scene. So to me that this looks pretty interesting. So now let's activate the shadows, and you have to know that shadows and lighting for indoors is a bit trickier than outdoors , and you'll see why. First, let me just put the by default settings off of the shadows. Let's say like it's something over there and I activate thumb. So the complete scene is in the darkness. So the very first thing in a gonna do is finding a Nangle off the sun that starts getting inside of your scene. And usually what I do for interiors is always choose a very early morning sun or late evening sun, because that's where it's the lowest. And that's where the the sun rays enter the most into the room. So that's the first thing. The second thing, as you can see, like most of the scene, is still in the darkness, like you can't do anything about it unless you start playing with the luminosity off your shadows. So let's put like something much higher. Maybe not that much. Okay, now the scene is much better lit, and I can even Bush this to the maximum the highlights. And now this any much is much better lit. But still, as you can see in this kitchen, there's absolutely no sun and everything is completely flat. Well, that's also because there's no kitchen. Actually, if I the activate the shadows, I'm gonna update my scene to save these settings. Um, there's not much going on here. There's no geometry, there's no model. So what I'm gonna do is incorporate the kitchen and see how things can look differently. Okay, so now I completed the model of the kitchen, and I even incorporated here a little kid to add some colors and life. And if we reactivate the shadows now, well, now it looks much better. Okay, so you have to keep this in mind. He don't have to activate the shadows for your interior views. If you're happy with this and you can play a bit with you, son for shading and the luminosity and so on in order to achieve the best results. But if you do want to use the shadows, then you can't leave like empty rooms with very little details in the darkness. Otherwise, it would be completely flat. So keep that in mind. And I see you in the next video. Where we gonna choose other ankles of views and see how we can play around with them? 15. Indoors angles of view - Part 2: Okay, so now we're going to choose the next angle of view for our interior scene, and I'm directly going to the other corner here pretty easy. I turned around and here I am. Let's say I'm on something that way, okay? And okay, so again, we gonna first crop from the side, choose where to crop from the side, so we get it's just gonna turn our head left and right. And as you can see now, if I turn my head on the left side, there's this poster. Okay? Which is, by the way, a photo I shot in Gran Canarias. Absolutely amazing place to visit. So this is what's happening now. If we turn our head on the left side, we can see it. But if we turn our head on the right side, there's something else here happening that we might want to show is Well, that's this glass door. And like, there's someone over there walking, which is interesting. Bring some movement into the scene. But we can't have both at the same time. So either we have to choose one of the two, or you can still play with the field of view and increase, you'll feel the view. Let's say to 70 gonna zoom out, and now we can see both of them. Now, the field of view is wider, so we can see both. But sometimes you get feel a bit too much distorted now. Okay? So I'm going to stick with the previous field of view, which was about 60 and just choose where I think is the best. And I think this option looks a bit better where we can see here the movement, because, Okay, the image is nice, but we don't actually see much of it, so I'm just going to focus on turning towards that side. Okay. All right. So now that we chose how we crop it from the size, we're gonna correct our perspective. And now what's important for me to show is that there this nice height, nice vertical space here breathing, you know? So I'm gonna move higher because that's one of the main features off this space. Actually, the Smithsonian and this considerable height, So yeah, that's when I want to show and focus on Okay. To me, that looks pretty nice. We can activate the shadows to see how it looks and increase the luminosity of the shadows very enough. But again, we don't have to activate them. Eso We can still play around with these sliders. Okay, so that's our second perspective. But now let's say that we want to go back toe our previous configuration here, which was with a nice photo hanging here and these interior plants. I'm gonna hide this. And I think it works pretty well for this perspective. So let's that we're gonna keep this one here. Now we're gonna choose another angle of view, but more like frontal or graphical. Okay, so something around here. Okay. But as I explained in one of my previous videos, I want to really make sure that my horizontal Z are perfectly horizontal. And when I make sure off, that is, I want to find a piece of geometry that should be perfectly horizontal. And I use the edge on my window as a reference. So something like that. Okay, now all I can do is just tell my head vertically and move around so that I don't lose this horizontal line. Okay? It's pivot orbit like that. And what I think is really nice in a frame that there's a beginning of a frame and unending of the frame. So here, for instance, the beginning would be like this poster here and the other end off the frame is with this other photo. So, yeah, you can also play with you, son for shading. I'd like to active, deactivated sometimes so that I see things a bit clearer and like these lines here hanging , I'm not perfectly centered. So I'm gonna move them here a bit and yeah, that looks pretty nice. I'm gonna correct my perspective. Come a bit. Oh, something like that. And let's see, with the shadows. So you have seen Looks pretty nice with shadows activated. And in my next video, I'm going to show you some more advanced angles of views and how to get creative a bit more with it and even show you how to get vertical points of views. So it's you in the next video 16. Creative composition and vertical framing: Okay, So in this video, I'm gonna talk to you about how to get more creative with more advanced ankles, the views. But I'm going to give you some ideas how you can work that out. OK, so the first idea is adding depth to your scene, and the way you can do that is focusing on an element in the foreground and having, like, the rest of the scene in the background. Well, for that, you have to have a pretty well detailed ah component due to having your foreground in order for this to work. Well, so for instance, I'm gonna use this. These plants in the foreground kind of focus on them but still keep them on this side and not making them the main subject. But I still want to show the space, right. That's the most important thing. But by doing that, you can really add some depth into your composition. Okay, so I'm just gonna correct my perspective again. And there we go. I think it looks pretty nice. So I'm gonna save this one here and let me show you another example. So let's say we can come over here and we have this magazine. I moved it to the side of the table and we can get really close to it. And we can a bit forget about having a realistic eye level and so one like we're standing there now. We're really getting into the mindset of a photographer, actually. So let's really get really close to that. But at the same time, we're really focusing also on the space here. Okay, so to me, that looks pretty nice. I'm gonna correct my perspective and adjust the height off the image. So as you can see now, we have something really different from our first angles of views where we were just standing there in the corner and just showing the whole space, which is pretty good, actually. But now we're really getting more creative in playing around with the components of our scene. Now, that's a skill I acquired by practicing photography for so many years. So it's kind of automatic for me now, So let me show you, like a bad example Off off. This idea is that you're focusing on your secondary subject that much, and we don't focus on the space anymore, Actually. So, like, that's a bad example of it. So you really have to keep in mind that your main subject still has to be the architecture or your space or your design. And you're just using this as a bonus, you know, to add an interesting dynamics to your view. But it's never the main subject off your image. Okay, so I'm gonna say this one over here as well. Things pretty nice. And let me show you still another example. I'm gonna come over here. I think these plants are look really good, and I'm gonna focus on them a bit. But not, but not like that, much like this way, Like the main subject is, it's clearly the plants and that's not what we want to do. We still want our main subject to be the space and putting this component just really on the side and almost in the corner, off the image, but still creating this depth we're looking for. So this is the kind of example that I think work pretty well Now. The second idea I want to talk about is vertical framing, and actually, there is a way in sketch up to frame, not horizontally by default like that, but also vertically. And I'll show you right now how it works. It's something that I haven't seen many do is pretty rare. Actually, I don't think so. Many know about it, But there's a way you can orbit around your view like that. And the way do that is you just press commander control and you orbit around. It can be very tricky if you're not used to it. And I myself are not very used to because I don't use it that much. But at least you know it exists. And now you can even crop your model vertically. So this can be really handy with some types of designs. Or like when you have such a space vertical space, it can really be very useful. And all you have to do after that is just export your image, okay? And once you're exported, we have to do is rotated back, okay. But really have to practice this because it can. It can get really messy because there are some spots where you can, uh, just move around in a in a circle and their other spots where is just moves all the way around and you can really start getting dizzy, actually, so yeah, you really have to practice a bit, See how it works. But I think it's gonna be very useful. So try it. Have fun with it. And actually, if you if you if you don't want this anymore as soon as you don't press on control and orbit again, it automatically comes to the horizontal view. Okay? So, yeah, have fun with the experiment a lot. And you can probably even invent your own style of images by using these different elements of composition.