So far, the cameras that we've been dealing with are this default perspective view and the orthographic views. The perspective view is great for working in, but it's not a good choice for your final shot cameras or animated cameras, for that matter. For that we're going to create new cameras. So to do this I'll head up to Create, Cameras, and I'm going to choose the Two Node Camera or Camera and Aim. The Camera and Aim, if I take a closer look here. I'm going to increase the scale of this just so the icon is a bit bigger in the screen, a little easier to see. And now I'm going to move that camera back and take a look through it by changing one of these views. Let me resize these panels by clicking one of the horizontal lines and now click on Panels, Perspective, and instead of just the choice as I had before, I now got camera 1. So that's what this camera here, the new camera, is seeing. So I can adjust that by pulling back or by switching over to that aim object. Let me get a little closer in there, pick that little aim object and lift that up. So that's the center of interest of the camera. The camera's always going to look at that aim. So I can frame up the scene and now choose my camera icon and push in and out. Anywhere I move that camera it's going to look at its aim. Another trick I want to show you at this point has to do with the way geometry is displayed. As I pull this camera back I'm going to run through that wall, and now I can't see inside the room. So to create a magic wall that's invisible from one side but visible from the other, I can select this piece of geometry. Let me zoom up on my perspective view here for a moment, and I'm going to open up the Attribute Editor by pressing Control A. In the shape node, which is what comes up by default in the Attribute Editor; if I open up the render stats, this object is displayed as double-sided right now. I'm going to turn that off and you can see that one side of the shading is now invisible, or see-through. So this is a single-sided object that's facing inward. So back to the camera now. If I select that camera icon and I'm watching in this camera view as I pull back, I'm no longer going to pop through that wall. Now this camera, since it's what I'm going to render through, I want to have a good idea of what's actually in frame. So through this camera 1 view, I'm going to click on View, Camera Settings, and I'm going to turn on the resolution gate. So these white lines here, it indicates at the top, are 640 by 480. That's the pixel size of the render I'm going to get. So right now, I'm chopping off; I have the wall isn't very high, so I'm going to see through to the background. So I might want to reframe this, pull up a little, and I'm going to select that aim object, drop it down. So now I know when I do a render, I have the wall in the frame. Oh, I've rendered through the wrong view. I'm going to close that. And this is a good time to point out, when I hit this Render Frame button the current view that's highlighted is what's going to get rendered. So right now, I'm just clicking in each of my views and I see a little highlight shows up around the view. So with camera 1 highlighted, now if I go and render I'll get that frame exactly as we see in the resolution gate. Close that now, and a few other things to know about that camera. If I head to the Attribute Editor by pressing Control A, I can adjust either the angle of view or the focal length. This focal length is expressed in the same units as a 50 millimeter film camera, so if I want to go something that's a telephoto, let's say 100 focal length, this zooms into the scene. If I want to go very wide angle, let's say a 20 millimeter, you get a really wide view. And you'll see that the icon itself actually indicates what that is, what kind of lens I have on there. So as I get a telephoto versus a wide angle, so I can push the camera physically forward and maintain that wide angle.