v2.

1​ ​User​ ​Manual
What​ ​is​ ​Cinemachine?
Cinemachine​ ​is​ ​a​ ​suite​ ​of​ ​‘smart’​ ​procedural​ ​modules​ ​which​ ​allow​ ​you​ ​to​ ​dene​ ​the​ ​shot​ ​and
they’ll​ ​dynamically​ ​follow​ ​your​ ​direction.​ ​ ​Setup​ ​shots​ ​which​ ​track​ ​and​ ​compose​ ​motion​ ​in
realtime,​ ​like​ ​AI​ ​camera​ ​operators.​ ​ ​The​ ​procedural​ ​nature​ ​makes​ ​them​ ​bug-resistant​ ​as​ ​they
always​ ​work​ ​to​ ​make​ ​the​ ​shot​ ​based​ ​on​ ​your​ ​direction.​ ​That’s​ ​great​ ​for​ ​gameplay,​ ​but​ ​they’re
also​ ​amazingly​ ​fast​ ​for​ ​cutscenes.​ ​ ​Change​ ​an​ ​animation,​ ​a​ ​vehicle​ ​speed,​ ​ground​ ​terrain​ ​-
whatever​ ​-​ ​and​ ​Cinemachine​ ​will​ ​dynamically​ ​make​ ​the​ ​shot.​ ​ ​You​ ​can​ ​use​ ​really​ ​telephoto
lenses​ ​and​ ​not​ ​have​ ​to​ ​update​ ​the​ ​cutscene​ ​if​ ​things​ ​change

History
Cinemachine​ ​has​ ​been​ ​in​ ​development​ ​over​ ​a​ ​number​ ​of​ ​years​ ​across​ ​multiple​ ​projects​ ​We’ve
been​ ​designing​ ​camera​ ​systems​ ​for​ ​almost​ ​20​ ​years​ ​and​ ​have​ ​shipped​ ​millions​ ​of​ ​AAA​ ​titles
across​ ​numerous​ ​genres.​ ​ ​The​ ​Cinemachine​ ​team​ ​has​ ​an​ ​award​ ​winning​ ​cinematographer​ ​and
a​ ​senior​ ​engineer​ ​with​ ​heavy​ ​math​ ​skills.​ ​ ​Also,​ ​we​ ​love​ ​this​ ​stuff​ ​to​ ​bits.

Mission
Our​ ​mission​ ​with​ ​Cinemachine​ ​is​ ​built​ ​to​ ​be​ ​an​ ​entirely​ ​unied​ ​camera​ ​system​ ​bridging
gameplay,​ ​cutscenes,​ ​from​ ​fully​ ​procedural​ ​cameras​ ​to​ ​entirely​ ​canned​ ​sequences​ ​and
everything​ ​in​ ​between.

1
Example​ ​Scenes
Please​ ​have​ ​a​ ​look​ ​at​ ​our​ ​example​ ​scenes.​ ​ ​They​ ​are​ ​shipped​ ​with​ ​the​ ​package​ ​under
Assets/Cinemachine/Examples.​ ​ ​This​ ​folder​ ​also​ ​includes​ ​some​ ​handy​ ​noise​ ​presets​ ​that​ ​you
can​ ​use​ ​as​ ​a​ ​starting​ ​point​ ​for​ ​implementing​ ​camera​ ​noise.

Forums
We​ ​have​ ​a​ ​busy​ ​discussion​ ​area​ ​on​ ​the​ ​forums.
[Link]

Frequently​ ​asked​ ​questions

Do​ ​we​ ​have​ ​to​ ​replace​ ​our​ ​camera​ ​system​ ​with​ ​Cinemachine?
No,​ ​Cinemachine​ ​can​ ​work​ ​alongside​ ​your​ ​existing​ ​camera​ ​system​ ​and​ ​you​ ​can​ ​seamlessly
blend​ ​back​ ​and​ ​forth​ ​between​ ​both​ ​systems.​ ​ ​ ​If​ ​you​ ​wrote​ ​some​ ​camera​ ​tech​ ​you​ ​love​ ​but​ ​want
Cinemachine​ ​for​ ​something​ ​else,​ ​no​ ​problem,​ ​mix​ ​the​ ​two​ ​together.

Isn’t​ ​having​ ​all​ ​these​ ​cameras​ ​around​ ​kind​ ​of​ ​heavy?

No,​ ​in​ ​fact​ ​it’s​ ​incredibly​ ​light.​ ​ ​Each​ ​virtual​ ​camera​ ​has​ ​a​ ​super​ ​low​ ​overhead​ ​-​ ​make​ ​as​ ​many
as​ ​you​ ​want.​ ​ ​ ​If​ ​you​ ​are​ ​hypersensitive​ ​to​ ​performance​ ​you​ ​can​ ​disable​ ​all​ ​the​ ​cameras​ ​and​ ​just
enable​ ​the​ ​ones​ ​you​ ​wish​ ​to​ ​have​ ​running​ ​at​ ​any​ ​given​ ​moment​ ​for​ ​extreme​ ​performance

How​ ​does​ ​it​ ​all​ ​work?

Cinemachine​ ​works​ ​a​ ​bit​ ​like​ ​a​ ​marionette​ ​system​ ​for​ ​your​ ​existing​ ​Main​ ​Camera.​ ​ ​ ​It​ ​doesn’t
create​ ​any​ ​new​ ​cameras,​ ​only​ ​new​ ​virtual​ ​ones.​ ​ ​The​ ​Cinemachine​ ​‘Brain’​ ​component​ ​is
automatically​ ​added​ ​to​ ​the​ ​Main​ ​Camera​ ​in​ ​your​ ​scene​ ​and​ ​Cinemachine​ ​works​ ​with​ ​all​ ​its
camera​ ​blending,​ ​priority,​ ​mixing​ ​magic​ ​to​ ​deliver​ ​a​ ​set​ ​of​ ​transforms​ ​to​ ​your​ ​Main​ ​Camera.
Because​ ​it’s​ ​a​ ​completely​ ​unified​ ​system,​ ​you​ ​can​ ​blend​ ​from​ ​any​ ​camera​ ​type​ ​to​ ​any​ ​other.
Seamlessly​ ​go​ ​from​ ​an​ ​in-game​ ​freelook​ ​system​ ​to​ ​a​ ​keyframed​ ​cutscene​ ​camera​ ​and​ ​back.
Any​ ​combination​ ​is​ ​possible​ ​and​ ​the​ ​options​ ​are​ ​limitless.

Can​ ​I​ ​really​ ​save​ ​all​ ​my​ ​tunings​ ​in​ ​Play​ ​mode?
Yes!​ ​ ​Almost​ ​everything​ ​in​ ​Cinemachine​ ​saves​ ​in​ ​play​ ​mode​ ​so​ ​jump​ ​in​ ​and​ ​tune​ ​some​ ​cameras
while​ ​the​ ​game​ ​is​ ​running.​ ​ ​When​ ​you​ ​think​ ​about​ ​it,​ ​it’s​ ​really​ ​the​ ​only​ ​way​ ​to​ ​do​ ​it.​ ​ ​We​ ​want
you​ ​to​ ​get​ ​right​ ​into​ ​the​ ​zone​ ​and​ ​massage​ ​cameras​ ​at​ ​any​ ​point​ ​in​ ​your​ ​game​ ​-​ ​while​ ​you’re​ ​in
there​ ​playing​ ​it.

Our​ ​engineer​ ​spent​ ​a​ ​long​ ​time​ ​on​ ​our​ ​camera​ ​system​ ​and​ ​doesn’t​ ​want​ ​to​ ​change​ ​it.
We​ ​hear​ ​this​ ​a​ ​lot.​ ​It’s​ ​never​ ​fun​ ​to​ ​throw​ ​code​ ​away​ ​but​ ​you​ ​need​ ​to​ ​think​ ​about​ ​the​ ​big​ ​picture
of​ ​your​ ​project.​ ​If​ ​you​ ​can​ ​get​ ​up​ ​and​ ​running​ ​really​ ​quickly​ ​creating​ ​and​ ​tuning​ ​cameras​ ​without
further​ ​bothering​ ​your​ ​engineer,​ ​isn’t​ ​that​ ​an​ ​advantage?​ ​It’s​ ​doubtful​ ​your​ ​existing​ ​system
behaves​ ​exactly​ ​as​ ​desired​ ​in​ ​every​ ​scenario​ ​so​ ​there’s​ ​yet​ ​more​ ​coding​ ​to​ ​be​ ​done​ ​anyway.

Cameras​ ​are​ ​such​ ​a​ ​huge​ ​part​ ​of​ ​your​ ​project​ ​and​ ​good​ ​cameras​ ​can​ ​make​ ​the​ ​difference
between​ ​an​ ​OK​ ​game​ ​and​ ​an​ ​amazing​ ​one.​ ​ ​ ​Try​ ​running​ ​Cinemachine​ ​next​ ​to​ ​your​ ​existing
cameras​ ​and​ ​see​ ​what​ ​it’s​ ​like.​ ​ ​ ​If​ ​that​ ​engineer​ ​is​ ​still​ ​reluctant​ ​share​ ​this​ ​idea​ ​with​ ​them​ ​-
Rockets​ ​eject​ ​perfectly​ ​great​ ​booster​ ​sections​ ​to​ ​get​ ​into​ ​space.​ ​ ​ ​That​ ​camera​ ​code​ ​helped
push​ ​you​ ​into​ ​orbit!​ ​ ​Great​ ​scenes​ ​are​ ​often​ ​left​ ​on​ ​the​ ​editing​ ​room​ ​floor.​ ​ ​Make​ ​the​ ​decision
that’s​ ​best​ ​for​ ​your​ ​project.

Can​ ​I​ ​mix​ ​between​ ​gameplay​ ​and​ ​cutscene​ ​cameras?

You​ ​can​ ​mix​ ​between​ ​any​ ​cameras.​ ​ ​ ​Seamless​ ​transitions​ ​from​ ​gameplay​ ​to​ ​cutscene​ ​and​ ​back
are​ ​as​ ​easy​ ​as​ ​turning​ ​on​ ​a​ ​camera​ ​or​ ​playing​ ​a​ ​Timeline​ ​with​ ​CM​ ​clips​ ​on​ ​it.

How​ ​do​ ​you​ ​typically​ ​configure​ ​the​ ​cameras​ ​for​ ​a​ ​project?
Instead​ ​of​ ​one​ ​big​ ​ball-of-code​ ​camera​ ​trying​ ​to​ ​do​ ​everything,​ ​you​ ​make​ ​lots​ ​of​ ​custom​ ​vcams
for​ ​every​ ​given​ ​moment​ ​and​ ​turn​ ​them​ ​on​ ​when​ ​needed.​ ​ ​Blending​ ​or​ ​cutting​ ​to​ ​a​ ​new​ ​camera​ ​is
as​ ​easy​ ​as​ ​turning​ ​one​ ​on.​ ​ ​If​ ​the​ ​priority​ ​is​ ​the​ ​same​ ​or​ ​higher,​ ​CM​ ​will​ ​use​ ​the​ ​new​ ​camera​ ​and
blend​ ​to​ ​it​ ​based​ ​on​ ​how​ ​you’ve​ ​defined​ ​the​ ​default​ ​blend​ ​or​ ​any​ ​other​ ​blends​ ​in​ ​the​ C ​ ustom
Blends​ ​section​ ​of​ ​the​ ​CM​ ​‘Brain’​ ​on​ ​the​ ​Main​ ​Camera.

I​ ​don’t​ ​want​ ​to​ ​drastically​ ​change​ ​the​ ​camera​ ​in​ ​X​ ​scenario,​ ​I​ ​just​ ​want​ ​a​ ​little​ ​tweak
Camera​ ​changes​ ​can​ ​be​ ​really​ ​subtle.​ ​ ​You​ ​can​ ​duplicate​ ​your​ ​main​ ​camera,​ ​only​ ​change​ ​the
FOV​ ​or​ ​Composition​ ​and​ ​then​ ​blend​ ​to​ ​that​ ​camera​ ​just​ ​when​ ​a​ ​player​ ​enters​ ​a​ ​trigger​ ​volume.
You​ ​can​ ​turn​ ​on​ ​vcams​ ​with​ ​only​ ​the​ ​subtlest​ ​of​ ​differences​ ​to​ ​get​ ​exactly​ ​the​ ​behavior​ ​you​ ​want
in​ ​whatever​ ​situation.​ ​ ​ ​Projects​ ​can​ ​have​ ​many​ ​vcams​ ​all​ ​with​ ​only​ ​minor​ ​changes,​ ​ready​ ​and
waiting​ ​for​ ​whatever​ ​game​ ​scenario​ ​demands​ ​them.

When​ ​would​ ​I​ ​use​ ​the​ ​State​ ​Driven​ ​Camera?​ ​ ​Why​ ​have​ ​so​ ​many​ ​camera​ ​rigs?
The​ ​SDC​ ​makes​ ​it​ ​super​ ​easy​ ​to​ ​link​ ​animations​ ​and​ ​states​ ​to​ ​different​ ​cameras.​ ​ ​Picture​ ​your
character’s​ ​local-motion​ ​system​ ​and​ ​orbit​ ​camera.​ ​ ​It​ ​makes​ ​your​ ​game​ ​feel​ ​so​ ​much​ ​more​ ​alive
when​ ​the​ ​camera​ ​shakes​ ​a​ ​bit​ ​more​ ​when​ ​your​ ​character​ ​is​ ​running,​ ​when​ ​the​ ​camera​ ​pulls
back​ ​to​ ​a​ ​larger​ ​orbit​ ​when​ ​they​ ​go​ ​outside,​ ​when​ ​the​ ​camera​ ​gets​ ​all​ ​close​ ​when​ ​the​ ​character
is​ ​sneaking​ ​around.​ ​The​ ​SDC​ ​allows​ ​you​ ​to​ ​craft​ ​the​ ​cameras​ ​to​ ​best​ ​suit​ ​what​ ​your​ ​player​ ​is
doing.

For​ ​example,​ ​one​ ​project​ ​in​ ​dev​ ​had​ ​20+​ ​different​ ​camera​ ​rigs​ ​all​ ​listening​ ​to​ ​animations​ ​and
game​ ​events.​ ​ ​Stand,​ ​walk,​ ​sprint,​ ​jump,​ ​attack,​ ​>3​ ​enemies​ ​arrive,​ ​inside,​ ​outside,​ ​trigger
volumes​ ​in​ ​particular​ ​areas​ ​of​ ​the​ ​map,​ ​health​ ​<20%,​ ​etc.​ ​So​ ​much​ ​control​ ​is​ ​easily​ ​possible.
Table​ ​of​ ​Contents
What​ ​is​ ​Cinemachine? 1
History 1
Mission 1
Example​ ​Scenes 2
Forums 2
Frequently​ ​asked​ ​questions 2

Table​ ​of​ ​Contents 4

Overview 6
Cinemachine​ ​Virtual​ ​Camera 6
Cinemachine​ ​Brain 6

Installation​ ​and​ ​Getting​ ​Started 7

User​ ​Guide 8
Basic​ ​Virtual​ ​Cameras 9
CinemachineVirtualCamera 10
LensSettings 11
CinemachineComposer 12
CinemachineTransposer 14
CinemachineBasicMultiChannelPerlin 16
NoiseSettings 18
[Link] 18
[Link] 19
Brains​ ​and​ ​Blending 20
CinemachineBrain 20
CinemachineBlendDefinition 22
CinemachineBlenderSettings 22
[Link] 23
Follow​ ​Cams​ ​and​ ​Player​ ​Input 24
CinemachineOrbitalTransposer 24
[Link] 26
[Link] 27
CinemachineFreeLook 28
Tracked​ ​Dolly 31
CinemachineTrackedDolly 32
[Link] 33
 CinemachinePath 34
[Link] 34
CinemachineSmoothPath 35
[Link] 35
[Link] 35
State-Driven​ ​Camera 36
CinemachineStateDrivenCamera 40
Collision​ ​Avoidance​ ​and​ ​Shot​ ​Evaluation 41
CinemachineCollider 41
CinemachineConfiner 42
CinemachineClearShot 43
Multiple​ ​Target​ ​Objects 44
CinemachineTargetGroup 44
[Link] 45
CinemachineGroupComposer 46
2D​ ​Environments 48
CinemachineFramingTransposer 48
Post-Processing​ ​Stack​ ​V1 51
CinemachinePostFX 51
Post​ ​Processing​ ​Stack​ ​V2 54
CinemachinePostProcessing 54
And​ ​the​ ​Rest 55
CinemachineFollowZoom 55
CinemachineDollyCart 55
CinemachineMixingCamera 56
CinemachineExternalCamera 56
SaveDuringPlay 57
Timeline​ ​Integration 58
Special​ ​Environments 60
Top-Down​ ​Games 60
Split-screen 60
Scripting 61
Overview
Cinemachine​ ​is​ ​a​ ​modular​ ​suite​ ​of​ ​camera​ ​tools​ ​for​ ​Unity​ ​which​ ​give​ ​AAA​ ​game​ ​quality​ ​controls
for​ ​every​ ​camera​ ​in​ ​your​ ​project.​ ​ ​It’s​ ​an​ ​easy​ ​to​ ​install​ ​plugin​ ​which​ ​lets​ ​you​ ​add​ ​functionality​ ​to
cameras​ ​you’ve​ ​already​ ​got,​ ​or​ ​make​ ​new​ ​ones​ ​with​ ​amazing​ ​behaviors.

Cinemachine​ ​has​ ​been​ ​designed​ ​to​ ​be​ ​the​ ​entire​ ​unified​ ​camera​ ​system​ ​in​ ​your​ ​project​ ​but​ ​can
be​ ​used​ ​alongside​ ​your​ ​existing​ ​cameras​ ​as​ ​well.​ ​If​ ​you​ ​have​ ​a​ ​bunch​ ​of​ ​camera​ ​stuff​ ​working
already​ ​and​ ​just​ ​want​ ​to​ ​use​ ​Cinemachine​ ​for​ ​cutscenes​ ​or​ ​something​ ​specific,​ ​ ​no​ ​problem​ ​at
all.​ ​However​ ​when​ ​you​ ​use​ ​it​ ​across​ ​your​ ​project​ ​it​ ​allows​ ​you​ ​to​ ​blend​ ​any​ ​camera​ ​to​ ​any​ ​other
camera​ ​in​ ​a​ ​gameplay-to-cutscene-and-back-seamlessly​ ​kind​ ​of​ ​way.

The​ ​heart​ ​of​ ​Cinemachine​ ​is​ ​two​ ​components;​ ​everything​ ​else​ ​builds​ ​on​ ​those.​ ​ ​They​ ​are:

Cinemachine​ ​Virtual​ ​Camera

The​ ​Virtual​ ​Camera​ ​is​ ​a​ ​shot,​ ​a​ ​single​ ​camera.​ ​It​ ​has​ ​child​ ​modules​ ​which​ ​you​ ​can​ ​turn​ ​on​ ​to
make​ ​it​ ​do​ ​things​ ​like​ ​procedurally​ ​track​ ​and​ ​compose​ ​objects,​ ​follow​ ​things​ ​and​ ​shake​ ​with
procedural​ ​noise.​ ​ ​ ​Together​ ​they​ ​are​ ​a​ ​very​ ​powerful​ ​combination​ ​and​ ​can​ ​yield​ ​an​ ​unlimited
number​ ​of​ ​results.

These​ ​modules​ ​have​ ​been​ ​designed,​ ​re-designed​ ​and​ ​re-designed​ ​again​ ​to​ ​offer​ ​the​ ​widest
range​ ​of​ ​possibilities​ ​with​ ​the​ ​least​ ​number​ ​of​ ​controls.​ ​ ​The​ ​math​ ​driving​ ​these​ ​camera
behaviours​ ​is​ ​complex​ ​and​ ​sophisticated,​ ​having​ ​gone​ ​through​ ​many​ ​different​ ​scenarios​ ​across
all​ ​sorts​ ​of​ ​games.

The​ ​reason​ ​for​ ​the​ ​‘virtual’​ ​camera​ ​scenario​ ​is​ ​because​ ​Unity​ ​renders​ ​from​ ​the​ ​main​ ​camera.
Out-of-the-box​ ​Unity​ ​is​ ​limited​ ​to​ ​only​ ​one​ ​camera​ ​being​ ​active​ ​camera​ ​at​ ​a​ ​time​ ​–​ ​which​ ​makes
the​ ​blending​ ​of​ ​two​ ​shots​ ​effectively​ ​impossible.​ ​Cinemachine​ ​is​ ​engineered​ ​to​ ​solve​ ​this​ ​and
provide​ ​a​ ​wealth​ ​of​ ​simple,​ ​powerful​ ​functionality​ ​at​ ​the​ ​same​ ​time,​ ​allowing​ ​unsurpassed
camera​ ​behaviors​ ​which​ ​are​ ​fast​ ​and​ ​easy​ ​to​ ​setup.

Cinemachine​ ​Brain
This​ ​is​ ​the​ ​central​ ​Cinemachine​ ​component​ ​that​ ​does​ ​all​ ​the​ ​magic.​ ​ ​It’s​ ​a​ ​component​ ​attached
to​ ​the​ ​Unity​ ​camera​ ​and​ ​it​ ​monitors​ ​all​ ​the​ ​Virtual​ ​Cameras​ ​in​ ​the​ ​scene​ ​and​ ​drives​ ​the​ ​Unity
camera​ ​using​ ​the​ ​shot​ ​it​ ​likes​ ​best.
Installation​ ​and​ ​Getting​ ​Started
Installing​ ​Cinemachine​ ​is​ ​easy.

1. Drag​ ​the​ ​Cinemachine​ ​unitypackage​ ​onto​ ​your

assets​ ​folder​ ​in​ ​Unity,​ ​OR​ ​Install​ ​it​ ​directly:
Assets->Import​ ​Package​ ​->Custom​ ​Package…
and​ ​point​ ​to​ ​the​ ​Cinemachine​ ​unitypackage.

2. Setup​ ​the​ ​Cinemachine​ ​Virtual

Cameraenvironment​ ​Cinemachine->​ ​Create
Virtual​ ​Camera.​ ​ ​This​ ​is​ ​also​ ​the​ ​way​ ​to​ ​create
additional​ ​Cinemachine​ ​shots.

3. That’s​ ​it!​ ​ ​You​ ​now​ ​have​ ​Cinemachine​ ​installed

on​ ​your​ ​machine.

You​ ​will​ ​notice​ ​two​ ​changes​ ​to​ ​your​ ​scene:

1. The​ ​main​ ​camera​ ​has​ ​a​ ​little​ ​icon​ ​next​ ​to​ ​it​ ​in​ ​the​ ​scene
hierarchy.​ ​ ​This​ ​indicates​ ​that​ ​your​ ​camera​ ​has​ ​been
Cinemachine-enabled​ ​using​ ​a​ ​new​ ​component:​ ​the
CinemachineBrain.
2. A​ ​new​ ​GameObject​ ​CM​ ​vcam1​ ​with​ ​a
CinemachineVirtualCamera​ ​component,​ ​which​ ​is​ ​a​ ​single
camera​ ​or​ ​shot.

There’s​ ​more​ ​info​ ​below​ ​on​ ​how​ ​to​ ​use​ ​these​ ​new​ ​things.​ ​ ​Don’t​ ​forget​ ​to​ ​check​ ​out​ ​the​ ​example
scenes​ ​included​ ​in​ ​Cinemachine/Examples/Scenes,​ ​and​ ​please​ ​visit​ ​our​ ​user​ ​forum​ ​at
[Link]
User​ ​Guide
This​ ​guide​ ​is​ ​organized​ ​in​ ​logical​ ​sections​ ​that​ ​cover​ ​the​ ​ground​ ​from​ ​simple​ ​basic​ ​setups​ ​all​ ​the
way​ ​through​ ​to​ ​advanced​ ​cinematic​ ​features​ ​of​ ​ ​Cinemachine.​ ​ ​Each​ ​of​ ​the​ ​classes​ ​and
behaviours​ ​that​ ​make​ ​up​ ​Cinemachine​ ​are​ ​described​ ​in​ ​detail.

Cinemachine​ ​is​ ​by​ ​no​ ​means​ ​limited​ ​to​ ​the​ ​classes​ ​and​ ​behaviours​ ​described​ ​here.​ ​ ​It​ ​has​ ​an
open​ ​pipeline​ ​architecture,​ ​and​ ​we​ ​look​ ​forward​ ​to​ ​seeing​ ​the​ ​exciting​ ​new​ ​behaviours​ ​and
intelligence​ ​that​ ​our​ ​users​ ​will​ ​build​ ​into​ ​the​ ​system.
Basic​ ​Virtual​ ​Cameras
Each​ ​virtual​ ​camera​ ​is​ ​a​ ​‘shot’,​ ​or​ ​a​ ​single​ ​camera.​ ​You​ ​can​ ​animate​ ​them​ ​directly​ ​or​ ​blend​ ​two
together​ ​to​ ​create​ ​camera​ ​moves.​ ​The​ ​reason​ ​they​ ​are​ ​‘virtual’​ ​cameras​ ​is​ ​to​ ​allow​ ​for​ ​blending,
camera​ ​selection​ ​based​ ​on​ ​priorities​ ​and​ ​the​ ​ability​ ​to​ ​have​ ​Cinemachine​ ​hold​ ​multiple​ ​cameras
in​ ​memory​ ​with​ ​the​ ​final​ ​product​ ​being​ ​presented​ ​to​ ​the​ ​current​ ​active​ ​Unity​ ​camera(s)​ ​which​ ​are
rendering.

Cinemachine​ ​allows​ ​you​ ​to​ ​create​ ​an​ ​unlimited​ ​number​ ​of​ ​virtual​ ​cameras,​ ​blend​ ​them​ ​together
with​ ​the​ ​result​ ​being​ ​presented​ ​to​ ​the​ ​single​ ​Unity​ ​camera.​ ​ ​ ​It​ ​does​ ​all​ ​this​ ​automatically.

Key​ ​components​ ​of​ ​the​ ​Virtual​ ​Camera​ ​are:

● Priority:​ ​ ​The​ ​priority​ ​of​ ​this​ ​shot.​ ​ ​Equal​ ​or​ ​Higher​ ​value​ ​camera​ ​priorities​ ​compared​ ​to
the​ ​current​ ​camera​ ​priority​ ​will​ ​be​ ​activated.​ ​ ​This​ ​allows​ ​for​ ​camera​ ​state​ ​machine
setups​ ​where​ ​cameras​ ​are​ ​called​ ​based​ ​on​ ​trigger​ ​volumes,​ ​animations,​ ​health​ ​states,
etc.​ ​ ​Important​ ​cameras​ ​will​ ​trigger​ ​over​ ​lower​ ​priority​ ​ones.

● Lens​ ​Settings​:​ ​ ​What​ ​kind​ ​of​ ​lens​ ​to​ ​use​ ​for​ ​this​ ​shot:​ ​FOV,​ ​clipping​ ​planes,​ ​and​ ​dutch
(camera​ ​roll).​ ​ ​Post-processing​ ​effects​ ​can​ ​also​ ​be​ ​included​ ​here.

● Body:​​ ​Where​ ​the​ ​camera​ ​is​ ​placed​ ​in​ ​your​ ​scene,​ ​and​ ​procedural​ ​ways​ ​to​ ​‘mount’​ ​your
camera​ ​to​ ​any​ ​object​ ​and​ ​move​ ​the​ ​camera​ ​with​ ​it.

● Aim:​ ​ ​What​ ​the​ ​camera​ ​looks​ ​at,​ ​and​ ​procedural​ ​ways​ ​to​ ​track​ ​and​ ​compose​ ​any
subject.

● Noise:​ ​ ​Procedural​ ​Perlin​ ​multi-layered​ ​noise​ ​system​ ​for​ ​handheld​ ​behaviors,​ ​shakes,
 and​ ​vibrations.

● Extensions:​​ ​ ​These​ ​are​ ​add-ons​ ​to​ ​the​ ​basic​ ​Cinemachine​ ​pipeline.​ ​ ​Post-Processing
and​ ​Collision​ ​Avoidance​ ​are​ ​examples​ ​of​ ​standard​ ​extensions​ ​shipped​ ​with
Cinemachine.​ ​ ​The​ ​API​ ​is​ ​open,​ ​so​ ​that​ ​you​ ​can​ ​author​ ​your​ ​own​ ​extensions​ ​as​ ​well.

The​ ​Solo​ ​Button​​ ​in​ ​the​ ​Virtual​ ​Camera​ ​inspector​ ​panel​ ​will​ ​make​ ​the​ ​virtual​ ​camera​ ​temporarily
Live​ ​so​ ​that​ ​you​ ​can​ ​have​ ​immediate​ ​visual​ ​feedback​ ​in​ ​the​ ​game​ ​view​ ​when​ ​tweaking​ ​the
behavioural​ ​parameters​ ​of​ ​the​ ​camera.

The​ ​Game​ ​Window​ ​Guides​​ ​checkbox​ ​toggles​ ​the​ ​visibility​ ​of​ ​any​ ​screen​ ​compositional​ ​guides
that​ ​the​ ​virtual​ ​camera​ ​might​ ​want​ ​to​ ​display​ ​in​ ​the​ ​game​ ​window.​ ​ ​This​ ​toggle​ ​is​ ​a​ ​static​ ​global,
and​ ​applies​ ​to​ ​all​ ​virtual​ ​cameras.

The​ ​Save​ ​During​ ​Play​​ ​checkbox​ ​enables​ ​the​ ​Cinemachine​ ​feature​ ​of​ ​taking​ ​camera​ ​settings
tweaks​ ​made​ ​while​ ​in​ ​Play​ ​mode,​ ​and​ ​propagating​ ​them​ ​back​ ​to​ ​the​ ​scene.​ ​ ​This​ ​allows
in-game​ ​fine​ ​tuning​ ​of​ ​cameras​ ​without​ ​having​ ​to​ ​do​ ​a​ ​whole​ ​lot​ ​of​ ​copy/pasting.​ ​ ​After​ ​you​ ​exit
play​ ​mode,​ ​the​ ​scene​ ​will​ ​be​ ​updated​ ​to​ ​reflect​ ​the​ ​changes​ ​made​ ​during​ ​play.​ ​ ​Pressing​ ​Undo
will​ ​revert​ ​those​ ​changes.

The​ ​following​ ​sections​ ​describe​ ​the​ ​behaviours​ ​and​ ​classes​ ​that​ ​make​ ​up​ ​the​ ​Cinemachine
Virtual​ ​Camera,​ ​and​ ​some​ ​of​ ​its​ ​standard​ ​procedural​ ​components.

CinemachineVirtualCamera
This​ ​behaviour​ ​is​ ​intended​ ​to​ ​be​ ​attached​ ​to​ ​an​ ​empty​ ​Transform​ ​GameObject,​ ​and​ ​it​ ​represents
a​ ​Virtual​ ​Camera​ ​within​ ​the​ ​Unity​ ​scene.

The​ ​Virtual​ ​Camera​ ​will​ ​animate​ ​its​ ​Transform​ ​according​ ​to​ ​the​ ​rules​ ​contained​ ​in​ ​its
CinemachineComponent​ ​pipeline​ ​(Aim,​ ​Body,​ ​and​ ​Noise).​ ​When​ ​the​ ​virtual​ ​camera​ ​is​ ​Live,​ ​the
Unity​ ​Camera​ ​equipped​ ​with​ ​a​ ​CinemachineBrain​ ​will​ ​assume​ ​the​ ​position​ ​and​ ​orientation​ ​of​ ​the
virtual​ ​camera.

A​ ​virtual​ ​camera​ ​is​ ​not​ ​a​ ​camera.​ ​Instead,​ ​it​ ​can​ ​be​ ​thought​ ​of​ ​as​ ​a​ ​camera​ ​controller,​ ​not​ ​unlike
a​ ​cameraman.​ ​It​ ​can​ ​drive​ ​the​ ​Unity​ ​Camera​ ​and​ ​control​ ​its​ ​position,​ ​orientation,​ ​lens​ ​settings,
and​ ​PostProcessing​ ​effects.​ ​Each​ ​Virtual​ ​Camera​ ​owns​ ​its​ ​own​ ​Cinemachine​ ​Component
Pipeline,​ ​through​ ​which​ ​you​ ​provide​ ​the​ ​instructions​ ​for​ ​dynamically​ ​tracking​ ​specific​ ​game
objects.

A​ ​virtual​ ​camera​ ​is​ ​very​ ​lightweight,​ ​and​ ​does​ ​no​ ​rendering​ ​of​ ​its​ ​own.​ ​It​ ​merely​ ​tracks
interesting​ ​GameObjects,​ ​and​ ​positions​ ​itself​ ​accordingly.​ ​A​ ​typical​ ​game​ ​can​ ​have​ ​dozens​ ​of
virtual​ ​cameras,​ ​each​ ​set​ ​up​ ​to​ ​follow​ ​a​ ​particular​ ​character​ ​or​ ​capture​ ​a​ ​particular​ ​event.

A​ ​Virtual​ ​Camera​ ​can​ ​be​ ​in​ ​any​ ​of​ ​three​ ​states:

● Live​:​ ​The​ ​virtual​ ​camera​ ​is​ ​actively​ ​controlling​ ​the​ ​Unity​ ​Camera.​ ​The​ ​virtual​ ​camera​ ​is
 tracking​ ​its​ ​targets​ ​and​ ​being​ ​updated​ ​every​ ​frame.

● Standby​:​ ​The​ ​virtual​ ​camera​ ​is​ ​tracking​ ​its​ ​targets​ ​and​ ​being​ ​updated​ ​every​ ​frame,​ ​but​ ​no
Unity​ ​Camera​ ​is​ ​actively​ ​being​ ​controlled​ ​by​ ​it.​ ​This​ ​is​ ​the​ ​state​ ​of​ ​a​ ​virtual​ ​camera​ ​that​ ​is
enabled​ ​in​ ​the​ ​scene​ ​but​ ​perhaps​ ​at​ ​a​ ​lower​ ​priority​ ​than​ ​the​ ​Live​ ​virtual​ ​camera.

● Disabled​:​ ​The​ ​virtual​ ​camera​ ​is​ ​present​ ​but​ ​disabled​ ​in​ ​the​ ​scene.​ ​It​ ​is​ ​not​ ​actively
tracking​ ​its​ ​targets​ ​and​ ​so​ ​consumes​ ​no​ ​processing​ ​power.​ ​However,​ ​the​ ​virtual​ ​camera
can​ ​be​ ​made​ ​live​ ​from​ ​the​ ​Timeline.

The​ ​Unity​ ​Camera​ ​can​ ​be​ ​driven​ ​by​ ​any​ ​virtual​ ​camera​ ​in​ ​the​ ​scene.​ ​The​ ​game​ ​logic​ ​can
choose​ ​the​ ​virtual​ ​camera​ ​to​ ​make​ ​live​ ​by​ ​manipulating​ ​the​ ​virtual​ ​cameras’​ ​enabled​ ​flags​ ​and
their​ ​priorities,​ ​based​ ​on​ ​game​ ​logic.

In​ ​order​ ​to​ ​be​ ​driven​ ​by​ ​a​ ​virtual​ ​camera,​ ​the​ ​Unity​ ​Camera​ ​must​ ​have​ ​a​ ​CinemachineBrain
behaviour,​ ​which​ ​will​ ​select​ ​the​ ​most​ ​eligible​ ​virtual​ ​camera​ ​based​ ​on​ ​its​ ​priority​ ​or​ ​on​ ​other
criteria,​ ​and​ ​will​ ​manage​ ​blending.

Setting Type Description

Look​ ​At Transform The​ ​object​ ​that​ ​the​ ​camera​ ​wants​ ​to​ ​look​ ​at​ ​(the​ ​Aim​ ​target).​ ​If
this​ ​is​ ​null,​ ​then​ ​the​ ​vcam’s​ ​Transform​ ​orientation​ ​will​ ​define​ ​the
camera’s​ ​orientation.

Follow Transform The​ ​object​ ​that​ ​the​ ​camera​ ​wants​ ​to​ ​move​ ​with​ ​(the​ ​Body​ ​target).
If​ ​this​ ​is​ ​null,​ ​then​ ​the​ ​vcam’s​ ​Transform​ ​position​ ​will​ ​define​ ​the
camera’s​ ​position.

Lens LensSettings Specifies​ ​the​ ​lens​ ​properties​ ​of​ ​this​ ​Virtual​ ​Camera.​ ​This
generally​ ​mirrors​ ​the​ ​Unity​ ​Camera’s​ ​lens​ ​settings,​ ​and​ ​will​ ​be
used​ ​to​ ​drive​ ​the​ ​Unity​ ​camera​ ​when​ ​the​ ​vcam​ ​is​ ​active.

Priority Int32 The​ ​priority​ ​will​ ​determine​ ​which​ ​camera​ ​becomes​ ​active​ ​based
on​ ​the​ ​state​ ​of​ ​other​ ​cameras​ ​and​ ​this​ ​camera.​ ​Higher​ ​numbers
have​ ​greater​ ​priority.

LensSettings
Describes​ ​the​ ​FOV​ ​and​ ​clip​ ​planes​ ​for​ ​a​ ​camera.​ ​This​ ​generally​ ​mirrors​ ​the​ ​Unity​ ​Camera’s​ ​lens
settings,​ ​and​ ​will​ ​be​ ​used​ ​to​ ​drive​ ​the​ ​Unity​ ​camera​ ​when​ ​the​ ​vcam​ ​is​ ​active.

Setting Type Description

Field​ ​Of​ ​View Single This​ ​is​ ​the​ ​camera​ ​view​ ​in​ ​vertical​ ​degrees.​ ​For​ ​cinematic
people,​ ​a​ ​50mm​ ​lens​ ​on​ ​a​ ​super-35mm​ ​sensor​ ​would​ ​equal​ ​a
19.6​ ​degree​ ​FOV.

Orthographic Single When​ ​using​ ​an​ ​orthographic​ ​camera,​ ​this​ ​defines​ ​the​ ​half-height,
Size in​ ​world​ ​coordinates,​ ​of​ ​the​ ​camera​ ​view.

Near​ ​Clip Single This​ ​defines​ ​the​ ​near​ ​region​ ​in​ ​the​ ​renderable​ ​range​ ​of​ ​the
Plane camera​ ​frustum.​ ​Raising​ ​this​ ​value​ ​will​ ​stop​ ​the​ ​game​ ​from
drawing​ ​things​ ​near​ ​the​ ​camera,​ ​which​ ​can​ ​sometimes​ ​come​ ​in
handy.​ ​Larger​ ​values​ ​will​ ​also​ ​increase​ ​your​ ​shadow​ ​resolution.

Far​ ​Clip​ ​Plane Single This​ ​defines​ ​the​ ​far​ ​region​ ​of​ ​the​ ​renderable​ ​range​ ​of​ ​the​ ​camera
frustum.​ ​Typically​ ​you​ ​want​ ​to​ ​set​ ​this​ ​value​ ​as​ ​low​ ​as​ ​possible
without​ ​cutting​ ​off​ ​desired​ ​distant​ ​objects.

Dutch Single Camera​ ​Z​ ​roll,​ ​or​ ​tilt,​ ​in​ ​degrees.

CinemachineComposer
This​ ​is​ ​a​ ​CinemachineComponent​ ​in​ ​the​ ​Aim​ ​section​ ​of​ ​the​ ​component​ ​pipeline.​ ​Its​ ​job​ ​is​ ​to​ ​aim
the​ ​camera​ ​at​ ​the​ ​vcam’s​ ​LookAt​ ​target​ ​object,​ ​with​ ​configurable​ ​offsets,​ ​damping,​ ​and
composition​ ​rules.

The​ ​composer​ ​does​ ​not​ ​change​ ​the​ ​camera’s​ ​position.​ ​It​ ​will​ ​only​ ​pan​ ​and​ ​tilt​ ​the​ ​camera​ ​where
it​ ​is,​ ​in​ ​order​ ​to​ ​get​ ​the​ ​desired​ ​framing.​ ​To​ ​move​ ​the​ ​camera,​ ​you​ ​have​ ​to​ ​use​ ​the​ ​virtual
camera’s​ ​Body​ ​section.

The​ ​vcam’s​ ​LookAt​ ​target​ ​is​ ​the​ ​Composer’s​ ​target.​ ​ ​Common​ ​Composer​ ​targets:​ ​include​ ​bones
on​ ​a​ ​character​ ​like​ ​the​ ​upper​ ​spine​ ​or​ ​head​ ​bone,​ ​vehicles,​ ​or​ ​dummy​ ​objects​ ​which​ ​are
controlled​ ​or​ ​animated​ ​programmatically.
Once​ ​you’ve​ ​set​ ​the​ ​vcam’s​ ​LookAt​ ​target​ ​and​ ​are​ ​tracking​ ​something,​ ​you​ ​need​ ​to​ ​define
where​ ​you’d​ ​like​ ​it​ ​to​ ​be​ ​on​ ​the​ ​screen​ ​and​ ​how​ ​aggressively​ ​you’d​ ​like​ ​to​ ​camera​ ​to​ ​track​ ​it.​ ​The
degree​ ​of​ ​lag,​ ​or​ ​how​ ​tightly​ ​the​ ​camera​ ​follows​ ​the​ ​subject​ ​is​ ​defined​ ​by​ ​the​ ​two​ ​controls:

Horizontal/Vertical​ ​Soft​ ​Damping​:​ ​Setting​ ​these​ ​values​ ​to​ ​zero​ ​means​ ​the​ ​camera​ ​will​ ​hard
track​ ​the​ ​subject​ ​and​ ​the​ ​blue​ ​regions​ ​above​ ​will​ ​act​ ​as​ ​rigid​ ​barriers​ ​locking​ ​the​ ​camera
movement​ ​to​ ​keep​ ​the​ ​target​ ​inside​ ​those​ ​values.​ ​Setting​ ​the​ ​larger​ ​will​ ​allow​ ​the​ ​target​ ​to
‘squish’​ ​into​ ​the​ ​blue​ ​regions,​ ​giving​ ​you​ ​some​ ​really​ ​nice​ ​camera​ ​weight​ ​and​ ​lag.​ ​This​ ​is​ ​what
real​ ​camera​ ​operators​ ​do!.​ ​The​ ​vertical​ ​and​ ​horizontal​ ​values​ ​are​ ​separated​ ​so​ ​you​ ​can​ ​let​ ​the
camera​ ​squish​ ​more​ ​left​ ​to​ ​right​ ​or​ ​follow​ ​tighter​ ​up​ ​and​ ​down,​ ​etc.

SoftZone/DeadZone​:​ ​Tune​ ​these​ ​to​ ​define​ ​where​ ​you​ ​want​ ​the​ ​subject​ ​to​ ​be​ ​onscreen.​ ​These
controls​ ​are​ ​incredibly​ ​versatile.​ ​The​ ​blue​ ​areas​ ​are​ ​the​ ​‘squishy’​ ​areas​ ​based​ ​on​ ​how​ ​much
horizontal/vertical​ ​damping​ ​you​ ​have,​ ​and​ ​the​ ​red​ ​areas​ ​define​ ​the​ ​‘no​ ​pass’​ ​limits​ ​where​ ​the
camera​ ​will​ ​always​ ​track​ ​the​ ​subject.​ ​Opening​ ​up​ ​the​ ​soft​ ​areas​ ​to​ ​create​ ​a​ ​‘dead​ ​zone’​ ​in​ ​the
middle​ ​allows​ ​you​ ​to​ ​make​ ​areas​ ​of​ ​the​ ​screen​ ​immune​ ​to​ ​target​ ​motion,​ ​handy​ ​for​ ​things​ ​like
animation​ ​cycles​ ​where​ ​you​ ​don’t​ ​want​ ​the​ ​camera​ ​to​ ​track​ ​the​ ​target​ ​if​ ​it​ ​moves​ ​just​ ​a​ ​little.

Setting Type Description

Tracked​ ​Object Vector3 Target​ ​offset​ ​from​ ​the​ ​target​ ​object’s​ ​center​ ​in​ ​target-local​ ​space.
Offset Use​ ​this​ ​to​ ​fine-tune​ ​the​ ​tracking​ ​target​ ​position​ ​when​ ​the
desired​ ​area​ ​is​ ​not​ ​the​ ​tracked​ ​object’s​ ​center.
Lookahead​ ​Time Single This​ ​setting​ ​will​ ​instruct​ ​the​ ​composer​ ​to​ ​adjust​ ​its​ ​target​ ​offset
based​ ​on​ ​the​ ​motion​ ​of​ ​the​ ​target.​ ​The​ ​composer​ ​will​ ​look​ ​at​ ​a
point​ ​where​ ​it​ ​estimates​ ​the​ ​target​ ​will​ ​be​ ​this​ ​many​ ​seconds​ ​into
the​ ​future.​ ​Note​ ​that​ ​this​ ​setting​ ​is​ ​sensitive​ ​to​ ​noisy​ ​animation,
and​ ​can​ ​amplify​ ​the​ ​noise,​ ​resulting​ ​in​ ​undesirable​ ​camera​ ​jitter.
If​ ​the​ ​camera​ ​jitters​ ​unacceptably​ ​when​ ​the​ ​target​ ​is​ ​in​ ​motion,
turn​ ​down​ ​this​ ​setting,​ ​or​ ​animate​ ​the​ ​target​ ​more​ ​smoothly.
Horizontal Single How​ ​aggressively​ ​the​ ​camera​ ​tries​ ​to​ ​follow​ ​the​ ​target​ ​in​ ​the
Damping screen-horizontal​ ​direction.​ ​Small​ ​numbers​ ​are​ ​more​ ​responsive,
rapidly​ ​orienting​ ​the​ ​camera​ ​to​ ​keep​ ​the​ ​target​ ​in​ ​the​ ​dead​ ​zone.
Larger​ ​numbers​ ​give​ ​a​ ​more​ ​heavy​ ​slowly​ ​responding​ ​camera.
Using​ ​different​ ​vertical​ ​and​ ​horizontal​ ​settings​ ​can​ ​yield​ ​a​ ​wide
range​ ​of​ ​camera​ ​behaviors.
Vertical​ ​Damping Single How​ ​aggressively​ ​the​ ​camera​ ​tries​ ​to​ ​follow​ ​the​ ​target​ ​in​ ​the
screen-vertical​ ​direction.​ ​Small​ ​numbers​ ​are​ ​more​ ​responsive,
rapidly​ ​orienting​ ​the​ ​camera​ ​to​ ​keep​ ​the​ ​target​ ​in​ ​the​ ​dead​ ​zone.
Larger​ ​numbers​ ​give​ ​a​ ​more​ ​heavy​ ​slowly​ ​responding​ ​camera.
Using​ ​different​ ​vertical​ ​and​ ​horizontal​ ​settings​ ​can​ ​yield​ ​a​ ​wide
range​ ​of​ ​camera​ ​behaviors.
Screen​ ​X Single Horizontal​ ​screen​ ​position​ ​for​ ​target.​ ​The​ ​camera​ ​will​ ​rotate​ ​to
position​ ​the​ ​tracked​ ​object​ ​here.
Screen​ ​Y Single Vertical​ ​screen​ ​position​ ​for​ ​target,​ ​The​ ​camera​ ​will​ ​rotate​ ​to
position​ ​the​ ​tracked​ ​object​ ​here.
Dead​ ​Zone​ ​Width Single Camera​ ​will​ ​not​ ​rotate​ ​horizontally​ ​if​ ​the​ ​target​ ​is​ ​within​ ​this
 range​ ​of​ ​the​ ​position.
Dead​ ​Zone​ ​Height Single Camera​ ​will​ ​not​ ​rotate​ ​vertically​ ​if​ ​the​ ​target​ ​is​ ​within​ ​this​ ​range​ ​of
the​ ​position.
Soft​ ​Zone​ ​Width Single When​ ​target​ ​is​ ​within​ ​this​ ​region,​ ​camera​ ​will​ ​gradually​ ​rotate
horizontally​ ​to​ ​re-align​ ​towards​ ​the​ ​desired​ ​position,​ ​depending
on​ ​the​ ​damping​ ​speed.
Soft​ ​Zone​ ​Height Single When​ ​target​ ​is​ ​within​ ​this​ ​region,​ ​camera​ ​will​ ​gradually​ ​rotate
vertically​ ​to​ ​re-align​ ​towards​ ​the​ ​desired​ ​position,​ ​depending​ ​on
the​ ​damping​ ​speed.
Bias​ ​X Single A​ ​non-zero​ ​bias​ ​will​ ​move​ ​the​ ​target​ ​position​ ​horizontally​ ​away
from​ ​the​ ​center​ ​of​ ​the​ ​soft​ ​zone.
Bias​ ​Y Single A​ ​non-zero​ ​bias​ ​will​ ​move​ ​the​ ​target​ ​position​ ​vertically​ ​away​ ​from
the​ ​center​ ​of​ ​the​ ​soft​ ​zone.

CinemachineTransposer
This​ ​is​ ​a​ ​CinemachineComponent​ ​in​ ​the​ ​Body​ ​section​ ​of​ ​the​ ​component​ ​pipeline.​ ​Its​ ​job​ ​is​ ​to
position​ ​the​ ​camera​ ​in​ ​a​ ​fixed​ ​relationship​ ​to​ ​the​ ​vcam’s​ ​Follow​ ​target​ ​object,​ ​with​ ​offsets​ ​and
damping.

The​ ​Tansposer​ ​will​ ​only​ ​change​ ​the​ ​camera’s​ ​position​ ​in​ ​space.​ ​It​ ​will​ ​not​ ​re-orient​ ​or​ ​otherwise
aim​ ​the​ ​camera.​ ​To​ ​to​ ​that,​ ​you​ ​need​ ​to​ ​instruct​ ​the​ ​vcam​ ​in​ ​the​ ​Aim​ ​section​ ​of​ ​its​ ​pipeline.

Transposer​ ​is​ ​a​ ​component​ ​which​ ​mounts​ ​a​ ​camera​ ​to​ ​any​ ​object.​ ​It​ ​has​ ​a​ ​number​ ​of
advantages​ ​over​ ​just​ ​putting​ ​the​ ​camera​ ​under​ ​the​ ​object​ ​you​ ​want​ ​to​ ​have​ ​the​ ​camera​ ​follow.
Hood​ ​Cam,​ ​Door​ ​Cam,​ ​POV​ ​Cam,​ ​Missile​ ​Cam​ ​-​ ​if​ ​you​ ​want​ ​to​ ​mount​ ​the​ ​camera​ ​to​ ​something,
use​ ​Transposer.

Using​ ​Transposer​ ​for​ ​your​ ​camera​ ​body​ ​motion​ ​has​ ​advantages:

● The​ ​position​ ​tuning​ ​is​ ​kept,​ ​even​ ​if​ ​the​ ​game​ ​is​ ​running.​ ​Tune​ ​a​ ​regular​ ​camera​ ​in​ ​game
mode​ ​and​ ​the​ ​position​ ​is​ ​lost​ ​once​ ​you​ ​quit,​ ​not​ ​with​ ​Transposer.​ ​Tune​ ​it​ ​up​ ​while​ ​the
game​ ​is​ ​running​ ​and​ ​you’re​ ​done.
● Add​ ​damping​ ​to​ ​the​ ​camera​ ​-​ ​if​ ​your​ ​camera​ ​follows​ ​something,​ ​the​ ​damping​ ​values​ ​can
give​ ​you​ ​some​ ​‘weight’​ ​to​ ​the​ ​camera​ ​so​ ​they​ ​feel​ ​smoother.
● Organization:​ ​Put​ ​all​ ​your​ ​cameras​ ​in​ ​one​ ​place,​ ​instead​ ​of​ ​having​ ​them​ ​hidden​ ​under​ ​all
sorts​ ​of​ ​assets​ ​in​ ​your​ ​project​ ​-​ ​you​ ​pick​ ​their​ ​targets​ ​vs.​ ​put​ ​the​ ​camera​ ​under​ ​them​ ​in
the​ ​hierarchy.

Follow​ ​Offset​:​ ​The​ ​camera​ ​will​ ​go​ ​to​ ​the​ ​centre​ ​of​ ​the​ ​object​ ​you’re​ ​targeting​ ​in​ ​the​ ​Transposer
Camera​ ​Target,​ ​so​ ​if​ ​you​ ​want​ ​the​ ​camera​ ​to​ ​be​ ​further​ ​behind,​ ​put​ ​in​ ​some​ ​offsets.​ ​We​ ​default
at​ ​-10​ ​so​ ​the​ ​camera​ ​is​ ​behind​ ​whatever​ ​you’re​ ​targeting.

Damping​:​ ​Per​ ​channel​ ​damping​ ​which​ ​will​ ​cause​ ​the​ ​camera​ ​to​ ​lag​ ​behind​ ​the​ ​target.​ ​ ​You​ ​can
control​ ​both​ ​the​ ​position​ ​damping,​ ​and​ ​the​ ​orientation​ ​damping.
Binding​ ​Mode​:​ ​There’s​ ​options​ ​in​ ​the​ ​relationship​ ​between​ ​the​ ​camera​ ​and​ ​the​ ​target​ ​object.

● Lock​ ​To​ ​Target​ ​interprets​ ​the​ ​camera​ ​offset​ ​in​ ​target-local​ ​coords.​ ​ ​As​ ​the​ ​target​ ​rotates,
the​ ​camera​ ​rotates​ ​around​ ​it​ ​to​ ​maintain​ ​the​ ​offset.
● Lock​ ​to​ ​Target​ ​With​ ​World​ ​Up​ ​is​ ​the​ ​same​ ​as​ ​the​ ​above​ ​but​ ​it​ ​keeps​ ​the​ ​camera​ ​pointing
up.​ ​Handy​ ​if​ ​your​ ​target​ ​flips​ ​over.
● Lock​ ​to​ ​Target​ ​On​ ​Target​ ​Assign​ ​mounts​ ​the​ ​camera​ ​relative​ ​to​ ​the​ ​target’s​ ​local
coordinate​ ​system​ ​at​ ​the​ ​time​ ​the​ ​camera​ ​is​ ​initialized.​ ​This​ ​offset​ ​remains​ ​constant​ ​in
world​ ​space,​ ​and​ ​the​ ​camera​ ​will​ ​not​ ​rotate​ ​along​ ​with​ ​the​ ​target
● World​ ​Space​ ​offsets​ ​positions​ ​the​ ​camera​ ​relative​ ​to​ ​the​ ​target​ ​in​ ​world​ ​coords​ ​no​ ​matter
what​ ​direction​ ​the​ ​target​ ​object​ ​is​ ​facing.
● Simple​ ​Follow​ ​this​ ​will​ ​follow​ ​the​ ​target​ ​at​ ​the​ ​desired​ ​distance​ ​and​ ​height​ ​while​ ​moving
the​ ​camera​ ​position​ ​as​ ​little​ ​as​ ​possible.​ ​ ​This​ ​is​ ​quite​ ​similar​ ​to​ ​what​ ​a​ ​human​ ​camera
operator​ ​would​ ​do​ ​when​ ​instructed​ ​to​ ​follow​ ​a​ ​target.

These​ ​different​ ​modes​ ​do​ ​incredibly​ ​different​ ​things,​ ​so​ ​try​ ​them​ ​out​ ​and​ ​one​ ​should​ ​work​ ​well
for​ ​whatever​ ​your​ ​requirements​ ​are.​ ​The​ ​‘Door​ ​Cam’​ ​or​ ​‘Hood​ ​Cam’​ ​ideas​ ​would​ ​use​ L ​ ocal
Space​ ​Locked​ ​To​ ​Target​.

Setting Type Description

Binding​ ​Mode BindingMode The​ ​coordinate​ ​space​ ​to​ ​use​ ​when​ ​interpreting​ ​the​ ​offset​ ​from
the​ ​target.​ ​This​ ​is​ ​also​ ​used​ ​to​ ​set​ ​the​ ​camera’s​ ​Up​ ​vector,
which​ ​will​ ​be​ ​maintained​ ​when​ ​aiming​ ​the​ ​camera.
Possible​ ​Values:
-​ ​Lock​ ​To​ ​Target​ ​On​ ​Assign​:​ ​Camera​ ​will​ ​be​ ​bound​ ​to​ ​the
Follow​ ​target​ ​using​ ​a​ ​frame​ ​of​ ​reference​ ​consisting​ ​of​ ​the
target’s​ ​local​ ​frame​ ​at​ ​the​ ​moment​ ​when​ ​the​ ​virtual​ ​camera​ ​was
enabled,​ ​or​ ​when​ ​the​ ​target​ ​was​ ​assigned.
-​ ​Lock​ ​To​ ​Target​ ​With​ ​World​ ​Up​:​ ​Camera​ ​will​ ​be​ ​bound​ ​to​ ​the
Follow​ ​target​ ​using​ ​a​ ​frame​ ​of​ ​reference​ ​consisting​ ​of​ ​the
target’s​ ​local​ ​frame,​ ​with​ ​the​ ​tilt​ ​and​ ​roll​ ​zeroed​ ​out.
-​ ​Lock​ ​To​ ​Target​ ​No​ ​Roll​:​ ​Camera​ ​will​ ​be​ ​bound​ ​to​ ​the​ ​Follow
target​ ​using​ ​a​ ​frame​ ​of​ ​reference​ ​consisting​ ​of​ ​the​ ​target’s​ ​local
frame,​ ​with​ ​the​ ​roll​ ​zeroed​ ​out.
 -​ ​Lock​ ​To​ ​Target​:​ ​Camera​ ​will​ ​be​ ​bound​ ​to​ ​the​ ​Follow​ ​target
using​ ​the​ ​target’s​ ​local​ ​frame.
-​ ​World​ ​Space​:​ ​Camera​ ​will​ ​be​ ​bound​ ​to​ ​the​ ​Follow​ ​target
using​ ​a​ ​world​ ​space​ ​offset.
-​ ​Simple​ ​Follow​:​ ​Offsets​ ​will​ ​be​ ​calculated​ ​relative​ ​to​ ​the
target,​ ​using​ ​Camera-local​ ​axes.
Follow​ ​Offset Vector3 The​ ​distance​ ​vector​ ​that​ ​the​ ​transposer​ ​will​ ​attempt​ ​to​ ​maintain
from​ ​the​ ​Follow​ ​target.
X​ ​Damping Single How​ ​aggressively​ ​the​ ​camera​ ​tries​ ​to​ ​maintain​ ​the​ ​offset​ ​in​ ​the
X-axis.​ ​Small​ ​numbers​ ​are​ ​more​ ​responsive,​ ​rapidly​ ​translating
the​ ​camera​ ​to​ ​keep​ ​the​ ​target’s​ ​x-axis​ ​offset.​ ​Larger​ ​numbers
give​ ​a​ ​more​ ​heavy​ ​slowly​ ​responding​ ​camera.​ ​Using​ ​different
settings​ ​per​ ​axis​ ​can​ ​yield​ ​a​ ​wide​ ​range​ ​of​ ​camera​ ​behaviors.
Y​ ​Damping Single How​ ​aggressively​ ​the​ ​camera​ ​tries​ ​to​ ​maintain​ ​the​ ​offset​ ​in​ ​the
Y-axis.​ ​Small​ ​numbers​ ​are​ ​more​ ​responsive,​ ​rapidly​ ​translating
the​ ​camera​ ​to​ ​keep​ ​the​ ​target’s​ ​y-axis​ ​offset.​ ​Larger​ ​numbers
give​ ​a​ ​more​ ​heavy​ ​slowly​ ​responding​ ​camera.​ ​Using​ ​different
settings​ ​per​ ​axis​ ​can​ ​yield​ ​a​ ​wide​ ​range​ ​of​ ​camera​ ​behaviors.
Z​ ​Damping Single How​ ​aggressively​ ​the​ ​camera​ ​tries​ ​to​ ​maintain​ ​the​ ​offset​ ​in​ ​the
Z-axis.​ ​Small​ ​numbers​ ​are​ ​more​ ​responsive,​ ​rapidly​ ​translating
the​ ​camera​ ​to​ ​keep​ ​the​ ​target’s​ ​z-axis​ ​offset.​ ​Larger​ ​numbers
give​ ​a​ ​more​ ​heavy​ ​slowly​ ​responding​ ​camera.​ ​Using​ ​different
settings​ ​per​ ​axis​ ​can​ ​yield​ ​a​ ​wide​ ​range​ ​of​ ​camera​ ​behaviors.
Pitch​ ​Damping Single How​ ​aggressively​ ​the​ ​camera​ ​tries​ ​to​ ​track​ ​the​ ​target​ ​rotation’s
X​ ​angle.​ ​Small​ ​numbers​ ​are​ ​more​ ​responsive.​ ​Larger​ ​numbers
give​ ​a​ ​more​ ​heavy​ ​slowly​ ​responding​ ​camera.
Yaw​ ​Damping Single How​ ​aggressively​ ​the​ ​camera​ ​tries​ ​to​ ​track​ ​the​ ​target​ ​rotation’s
Y​ ​angle.​ ​Small​ ​numbers​ ​are​ ​more​ ​responsive.​ ​Larger​ ​numbers
give​ ​a​ ​more​ ​heavy​ ​slowly​ ​responding​ ​camera.
Roll​ ​Damping Single How​ ​aggressively​ ​the​ ​camera​ ​tries​ ​to​ ​track​ ​the​ ​target​ ​rotation’s
Z​ ​angle.​ ​Small​ ​numbers​ ​are​ ​more​ ​responsive.​ ​Larger​ ​numbers
give​ ​a​ ​more​ ​heavy​ ​slowly​ ​responding​ ​camera.

CinemachineBasicMultiChannelPerlin
As​ ​a​ ​part​ ​of​ ​the​ ​Cinemachine​ ​Pipeline​ ​implementing​ ​the​ ​Noise​ ​stage,​ ​this​ ​component​ ​adds
Perlin​ ​Noise​ ​to​ ​the​ ​Camera​ ​state,​ ​in​ ​the​ ​Correction​ ​channel.

The​ ​noise​ ​is​ ​created​ ​by​ ​using​ ​a​ ​predefined​ ​noise​ ​profile​ ​asset.​ ​This​ ​defines​ ​the​ ​shape​ ​of​ ​the
noise​ ​over​ ​time.​ ​You​ ​can​ ​scale​ ​this​ ​in​ ​amplitude​ ​or​ ​in​ ​time,​ ​to​ ​produce​ ​a​ ​large​ ​family​ ​of​ ​different
noises​ ​using​ ​the​ ​same​ ​profile.

The​ ​Noise​ ​is​ ​a​ ​multi-layered​ ​Perlin​ ​noise​ ​function​ ​which​ ​is​ ​applied​ ​after​ ​the​ ​Composer​ ​and​ ​adds
additional​ ​transforms.​ ​It​ ​has​ ​controls​ ​for​ ​Position​ ​and​ ​Orientation.​ ​You​ ​can​ ​add​ ​as​ ​many​ ​layers
as​ ​you​ ​want​ ​by​ ​increasing​ ​the​ ​profile’s​ ​Size​ ​value.
Procedural​ ​noise​ ​is​ ​a​ ​complex​ ​thing​ ​to​ ​make​ ​look​ ​real.​ ​Convincing​ ​hand-held​ ​motion​ ​is​ ​a
mixture​ ​of​ ​low,​ ​medium​ ​and​ ​high​ ​frequency​ ​wobbles​ ​which​ ​together​ ​combine​ ​to​ ​create
something​ ​believable.

Position​ ​/​ ​Orientation​ ​Size​:​ ​This​ ​is​ ​how​ ​many​ ​noise​ ​functions​ ​you’d​ ​like​ ​to​ ​blend​ ​together​ ​for
the​ ​Position​ ​or​ ​Orientation​ ​or​ ​both.​ ​Mix​ ​at​ ​least​ ​3​ ​Orientation​ ​channels​ ​together​ ​for​ ​some
realistic​ ​hand-held​ ​motion.

Amplitude​ ​defines​ ​the​ ​amount​ ​of​ ​noise​ ​in​ ​degrees.​ ​Wider​ ​lenses​ ​will​ ​need​ ​larger​ ​degree​ ​values
in​ ​order​ ​to​ ​‘see’​ ​the​ ​shake.​ ​Telephoto​ ​lenses​ ​use​ ​smaller​ ​values​ ​as​ ​that​ ​small​ ​setting​ ​appears
amplified​ ​through​ ​narrower​ ​FOV​ ​lenses.

Frequency​ ​defines​ ​the​ ​speed​ ​of​ ​the​ ​noise​ ​in​ ​Hz.​ ​Typically​ ​a​ ​‘low’​ ​frequency​ ​value​ ​might​ ​be
around​ ​0.1.​ ​Consider​ ​that​ ​your​ ​game​ ​is​ ​running​ ​at​ ​30​ ​or​ ​60hz,​ ​so​ ​settings​ ​higher​ ​than​ ​that​ ​will
be​ ​‘on​ ​the​ ​other​ ​side’​ ​of​ ​the​ ​Nyquest​ ​frequency​ ​meaning​ ​that​ ​they​ ​will​ ​not​ ​be​ ​directly​ ​tracked.​ ​A
setting​ ​of​ ​100​ ​will​ ​be​ ​higher​ ​than​ ​what​ ​the​ ​camera​ ​can​ ​‘follow’​ ​as​ ​your​ ​game​ ​is​ ​only​ ​running​ ​at
say​ ​60hz.​ ​It​ ​can​ ​look​ ​kind​ ​of​ ​choppy​ ​since​ ​the​ ​camera​ ​can’t​ ​track​ ​something​ ​which​ ​is​ ​sampling
faster​ ​than​ ​what​ ​the​ ​game​ ​is​ ​running​ ​at.​ ​It​ ​can​ ​also​ ​look​ ​kind​ ​of​ ​cool,​ ​but​ ​rarely.​ ​Experiment.
Typically,​ ​for​ ​most​ ​hand-held​ ​setups,​ ​the​ ​low​ ​is​ ​around​ ​0.1-0.5,​ ​the​ ​mid​ ​maybe​ ​.8-1.5​ ​and​ ​the
high​ ​around​ ​3-4.​ ​That’s​ ​3-4​ ​shakes​ ​back​ ​and​ ​forth​ ​per​ ​second.

The​ ​most​ ​convincing​ ​camera​ ​shakes​ ​are​ ​typically​ ​done​ ​with​ ​Orientation​ ​noise​ ​as​ ​that’s​ ​where
the​ ​camera​ ​is​ ​aiming.​ ​Handheld​ ​camera​ ​operators​ ​tend​ ​shake​ ​more​ ​rotationally​ ​than​ ​they​ ​do
positionally,​ ​but​ ​of​ ​course​ ​feel​ ​free​ ​to​ ​mix​ ​in​ ​some​ ​Position​ ​noise,​ ​just​ ​remember​ ​it’s​ ​probably
best​ ​to​ ​start​ ​with​ ​the​ ​Orientation.

We’ve​ ​included​ ​a​ ​number​ ​of​ ​presets​ ​to​ ​get​ ​you​ ​going,​ ​under
Assets/Cinemachine/Examples/Presets/Noise​ ​and​ ​of​ ​course​ ​you​ ​can​ ​add​ ​as​ ​many​ ​of​ ​your​ ​own
as​ ​you​ ​wish,​ ​just​ ​right​ ​click​ ​in​ ​the​ ​Asset​ ​window​ ​Create->Cinemachine->Noise,​ ​and​ ​drag​ ​that
asset​ ​into​ ​the​ ​Noise​ ​Settings​ ​window​ ​under​ ​that​ ​Virtual​ ​Camera.​ ​You​ ​can​ ​also​ ​animate​ ​the
Noise​ ​through​ ​the​ ​Amplitude​ ​Gain​ ​and​ ​Frequency​ ​Gain​ ​settings​ ​to​ ​ramp​ ​the​ ​effect​ ​up​ ​and​ ​down.

Setting Type Description

Noise​ ​Profile NoiseSettings The​ ​shared​ ​asset​ ​containing​ ​the​ ​Noise​ ​Profile.​ ​Define​ ​the
frequencies​ ​and​ ​amplitudes​ ​there​ ​to​ ​make​ ​a​ ​characteristic​ ​noise
profile.​ ​Make​ ​your​ ​own​ ​or​ ​just​ ​use​ ​one​ ​of​ ​the​ ​many​ ​presets.

Amplitude Single Gain​ ​to​ ​apply​ ​to​ ​the​ ​amplitudes​ ​defined​ ​in​ ​the​ ​NoiseSettings
Gain asset.​ ​1​ ​is​ ​normal.​ ​Setting​ ​this​ ​to​ ​0​ ​completely​ ​mutes​ ​the​ ​noise.

Frequency Single Scale​ ​factor​ ​to​ ​apply​ ​to​ ​the​ ​frequencies​ ​defined​ ​in​ ​the
Gain NoiseSettings​ ​asset.​ ​1​ ​is​ ​normal.​ ​Larger​ ​magnitudes​ ​will​ ​make
the​ ​noise​ ​shake​ ​more​ ​rapidly.
NoiseSettings
This​ ​is​ ​an​ ​asset​ ​that​ ​defines​ ​a​ ​noise​ ​profile.​ ​A​ ​noise​ ​profile​ ​is​ ​the​ ​shape​ ​of​ ​the​ ​noise​ ​as​ ​a
function​ ​of​ ​time.​ ​You​ ​can​ ​build​ ​arbitrarily​ ​complex​ ​shapes​ ​by​ ​combining​ ​different​ ​base​ ​perlin
noise​ ​frequencies​ ​at​ ​different​ ​amplitudes.

The​ ​frequencies​ ​and​ ​amplitudes​ ​should​ ​be​ ​chosen​ ​with​ ​care,​ ​to​ ​ensure​ ​an​ ​interesting​ ​noise
quality​ ​that​ ​is​ ​not​ ​obviously​ ​repetitive.

As​ ​a​ ​mathematical​ ​side-note,​ ​any​ ​arbitrary​ ​periodic​ ​curve​ ​can​ ​be​ ​broken​ ​down​ ​into​ ​a​ ​series​ ​of
fixed-amplitude​ ​sine-waves​ ​added​ ​together.​ ​This​ ​is​ ​called​ ​fourier​ ​decomposition,​ ​and​ ​is​ ​the
basis​ ​of​ ​much​ ​signal​ ​processing.​ ​It​ ​doesn’t​ ​really​ ​have​ ​much​ ​to​ ​do​ ​with​ ​this​ ​asset,​ ​but​ ​it’s​ ​super
interesting!

Setting Type Description

Position TransformNoiseParams[] These​ ​are​ ​the​ ​noise​ ​channels​ ​for​ ​the​ ​virtual​ ​camera’s
position.​ ​Convincing​ ​noise​ ​setups​ ​typically​ ​mix​ ​low,
medium​ ​and​ ​high​ ​frequencies​ ​together,​ ​so​ ​start​ ​with​ ​a
size​ ​of​ ​3.

Orientation TransformNoiseParams[] These​ ​are​ ​the​ ​noise​ ​channels​ ​for​ ​the​ ​virtual​ ​camera’s
orientation.​ ​Convincing​ ​noise​ ​setups​ ​typically​ ​mix​ ​low,
medium​ ​and​ ​high​ ​frequencies​ ​together,​ ​so​ ​start​ ​with​ ​a
size​ ​of​ ​3.

[Link]
Describes​ ​the​ ​behaviour​ ​for​ ​a​ ​channel​ ​of​ ​noise.

Setting Type Description

Amplitude Single The​ ​amplitude​ ​of​ ​the​ ​noise​ ​for​ ​this​ ​channel.​ ​Larger​ ​numbers​ ​vibrate
higher.

Frequency Single The​ ​frequency​ ​of​ ​noise​ ​for​ ​this​ ​channel.​ ​Higher​ ​magnitudes​ ​vibrate
faster.
[Link]
Contains​ ​the​ ​behaviour​ ​of​ ​noise​ ​for​ ​the​ ​noise​ ​module​ ​for​ ​all​ ​3​ ​cardinal​ ​axes​ ​of​ ​the​ ​camera.

Setting Type Description

X NoiseParams Noise​ ​definition​ ​for​ ​X-axis.

Y NoiseParams Noise​ ​definition​ ​for​ ​Y-axis.

Z NoiseParams Noise​ ​definition​ ​for​ ​Z-axis.

Brains​ ​and​ ​Blending
The​ ​CinemachineBrain​ ​is​ ​the​ ​central​ ​Cinemachine​ ​component​ ​that​ ​does​ ​all​ ​the​ ​magic.​ ​ ​It’s​ ​a
component​ ​attached​ ​to​ ​the​ ​Unity​ ​camera​ ​and​ ​it​ ​monitors​ ​all​ ​the​ ​Virtual​ ​Cameras​ ​in​ ​the​ ​scene
and​ ​drives​ ​the​ ​Unity​ ​camera​ ​using​ ​the​ ​shot​ ​it​ ​likes​ ​best.

When​ ​it’s​ ​time​ ​to​ ​transition​ ​from​ ​one​ ​shot​ ​to​ ​another,​ ​you​ ​can​ ​choose​ ​how​ ​this​ ​transition​ ​is
accomplished.​ ​ ​It​ ​can​ ​be​ ​a​ ​camera​ ​cut,​ ​or​ ​a​ ​Cinemachine​ ​blend.​ ​ ​Cinemachine​ ​Blends​ ​are
special:​ ​they​ ​are​ ​not​ ​fades,​ ​or​ ​wipes,​ ​or​ ​dissolves.​ ​ ​Rather,​ ​they​ ​are​ ​an​ ​interpolation​ ​of​ ​one
camera’s​ ​settings​ ​to​ ​another.​ ​ ​Think​ ​of​ ​a​ ​blend​ ​more​ ​as​ ​if​ ​one​ ​cameraman​ ​smoothly​ ​passed​ ​the
camera​ ​to​ ​another​ ​cameraman​ ​in​ ​a​ ​different​ ​position,​ ​to​ ​elegantly​ ​transition​ ​the​ ​shot​ ​without​ ​a
cut.

CinemachineBrain
CinemachineBrain​ ​is​ ​the​ ​link​ ​between​ ​the​ ​Unity​ ​Camera​ ​and​ ​the​ ​Cinemachine​ ​Virtual​ ​Cameras
in​ ​the​ ​scene.​ ​It​ ​monitors​ ​the​ ​priority​ ​stack​ ​to​ ​choose​ ​the​ ​current​ ​Virtual​ ​Camera,​ ​and​ ​blend​ ​with
another​ ​if​ ​necessary.​ ​Finally​ ​and​ ​most​ ​importantly,​ ​it​ ​applies​ ​the​ ​Virtual​ ​Camera​ ​state​ ​to​ ​the
attached​ ​Unity​ ​Camera.

The​ ​CinemachineBrain​ ​is​ ​also​ ​the​ ​place​ ​where​ ​rules​ ​for​ ​blending​ ​between​ ​virtual​ ​cameras​ ​are
defined.​ ​Camera​ ​blending​ ​is​ ​an​ ​interpolation​ ​over​ ​time​ ​of​ ​one​ ​virtual​ ​camera​ ​position​ ​and​ ​state
to​ ​another.​ ​If​ ​you​ ​think​ ​of​ ​virtual​ ​cameras​ ​as​ ​cameramen,​ ​then​ ​blending​ ​is​ ​a​ ​little​ ​like​ ​one
cameraman​ ​smoothly​ ​passing​ ​the​ ​camera​ ​to​ ​another​ ​cameraman.​ ​You​ ​can​ ​specify​ ​the​ ​time
over​ ​which​ ​to​ ​blend,​ ​as​ ​well​ ​as​ ​the​ ​blend​ ​curve​ ​shape.​ ​Note​ ​that​ ​a​ ​camera​ ​cut​ ​is​ ​just​ ​a​ ​zero-time
blend.

The​ ​Brain​ ​hold​ ​the​ ​following​ ​key​ ​settings:

● Blend​ ​Settings:​ ​ ​This​ ​is​ ​the​ ​array​ ​which​ ​defines​ ​how​ ​any​ ​shot​ ​blends​ ​to​ ​any​ ​other​ ​shot.
You​ ​can​ ​have​ ​a​ ​4​ ​second​ ​blend​ ​from​ ​CameraA​ ​to​ ​CameraB,​ ​but​ ​a​ ​1​ ​second​ ​blend​ ​from
CameraB​ ​back​ ​to​ ​CameraA.​ ​ ​This​ ​is​ ​very​ ​powerful​ ​when​ ​used​ ​in​ ​a​ ​state​ ​machine​ ​type
setup.​ ​ ​If​ ​a​ ​specific​ ​blend​ ​between​ ​two​ ​cameras​ ​isn’t​ ​defined,​ ​it​ ​uses​ ​the​ ​Default
Blend​​ ​which​ ​by​ ​default​ ​is​ ​a​ ​smooth​ ​2-second​ ​blend​ ​(but​ ​you​ ​can​ ​change​ ​this).

● Layer​ ​Filter:​​ ​ ​The​ ​Brain​ ​will​ ​only​ ​notice​ ​those​ ​virtual​ ​cameras​ ​that​ ​pass​ ​its​ ​Unity
Camera’s​ ​culling​ ​mask.​ ​ ​You​ ​can​ ​set​ ​up​ ​split-screen​ ​environments​ ​by​ ​assigning​ ​different
Virtual​ ​Cameras​ ​to​ ​different​ ​layers,​ ​and​ ​using​ ​the​ ​culling​ ​mask​ ​to​ ​filter​ ​them.

● Event​ ​Dispatching​:​ ​ ​The​ ​brain​ ​will​ ​fire​ ​events​ ​when​ ​the​ ​shot​ ​changes,​ ​in​ ​case​ ​you​ ​need
to​ ​monitor​ ​this.​ ​ ​There​ ​in​ ​an​ ​event​ ​for​ ​whenever​ ​a​ ​Virtual​ ​Camera​ ​goes​ ​live,​ ​and​ ​another
event​ ​for​ ​when​ ​the​ ​camera​ ​cuts​ ​(so​ ​that​ ​temporal​ ​post​ ​effects​ ​can​ ​be​ ​reset).
Setting Type Description

Show​ ​Debug​ ​Text Boolean When​ ​enabled,​ ​the​ ​current​ ​camera​ ​and​ ​blend​ ​will​ ​be
indicated​ ​in​ ​the​ ​game​ ​window,​ ​for​ ​debugging.
Show​ ​Camera Boolean When​ ​enabled,​ ​the​ ​camera’s​ ​frustum​ ​will​ ​be​ ​shown​ ​at​ ​all
Frustum times​ ​in​ ​the​ ​scene​ ​view.
Ignore​ ​Time​ ​Scale Boolean When​ ​enabled,​ ​the​ ​cameras​ ​will​ ​always​ ​respond​ ​in
real-time​ ​to​ ​user​ ​input​ ​and​ ​damping,​ ​even​ ​if​ ​the​ ​game​ ​is
running​ ​in​ ​slow​ ​motion.
World​ ​Up​ ​Override Transform If​ ​set,​ ​this​ ​object’s​ ​Y​ ​axis​ ​will​ ​define​ ​the​ ​worldspace​ ​Up
vector​ ​for​ ​all​ ​the​ ​virtual​ ​cameras.​ ​This​ ​is​ ​useful​ ​for
instance​ ​in​ ​top-down​ ​game​ ​environments.​ ​If​ ​not​ ​set,​ ​Up​ ​is
worldspace​ ​Y.​ ​Setting​ ​this​ ​appropriately​ ​is​ ​important,
because​ ​Virtual​ ​Cameras​ ​don’t​ ​like​ ​looking​ ​straight​ ​up​ ​or
straight​ ​down.
Update​ ​Method UpdateMethod Use​ ​FixedUpdate​ ​if​ ​all​ ​your​ ​targets​ ​are​ ​animated​ ​during
FixedUpdate​ ​(e.g.​ ​RigidBodies),​ ​LateUpdate​ ​if​ ​all​ ​your
targets​ ​are​ ​animated​ ​during​ ​the​ ​normal​ ​Update​ ​loop,​ ​and
SmartUpdate​ ​if​ ​you​ ​want​ ​Cinemachine​ ​to​ ​do​ ​the
appropriate​ ​thing​ ​on​ ​a​ ​per-target​ ​basis.​ ​SmartUpdate​ ​is
the​ ​recommended​ ​setting.
Possible​ ​Values:
-​ ​Fixed​ ​Update​:​ ​Virtual​ ​cameras​ ​are​ ​updated​ ​in​ ​sync​ ​with
the​ ​Physics​ ​module,​ ​in​ ​FixedUpdate.
 -​ ​Late​ ​Update​:​ ​Virtual​ ​cameras​ ​are​ ​updated​ ​in
MonoBehaviour​ ​LateUpdate.
-​ ​Smart​ ​Update​:​ ​Virtual​ ​cameras​ ​are​ ​updated​ ​according
to​ ​how​ ​the​ ​target​ ​is​ ​updated.
Default​ ​Blend CinemachineBle The​ ​blend​ ​that​ ​is​ ​used​ ​in​ ​cases​ ​where​ ​you​ ​haven’t
ndDefinition explicitly​ ​defined​ ​a​ ​blend​ ​between​ ​two​ ​Virtual​ ​Cameras.
Custom​ ​Blends CinemachineBle This​ ​is​ ​the​ ​asset​ ​that​ ​contains​ ​custom​ ​settings​ ​for​ ​blends
nderSettings between​ ​specific​ ​virtual​ ​cameras​ ​in​ ​your​ ​scene.
Camera​ ​Cut​ ​Event BrainEvent This​ ​event​ ​will​ ​fire​ ​whenever​ ​a​ ​virtual​ ​camera​ ​goes​ ​live
and​ ​there​ ​is​ ​no​ ​blend.
Camera​ ​Activated VcamEvent This​ ​event​ ​will​ ​fire​ ​whenever​ ​a​ ​virtual​ ​camera​ ​goes​ ​live.​ ​If
Event a​ ​blend​ ​is​ ​involved,​ ​then​ ​the​ ​event​ ​will​ ​fire​ ​on​ ​the​ ​first
frame​ ​of​ ​the​ ​blend.

CinemachineBlendDefinition
Definition​ ​of​ ​a​ ​Camera​ ​blend.​ ​This​ ​struct​ ​holds​ ​the​ ​information​ ​necessary​ ​to​ ​generate​ ​a​ ​suitable
AnimationCurve​ ​for​ ​a​ ​Cinemachine​ ​Blend.

Setting Type Description

Style Style Shape​ ​of​ ​the​ ​blend​ ​curve.

Possible​ ​Values:

-​ ​Cut​:​ ​Zero-length​ ​blend.

-​ ​Ease​ ​In​ ​Out​:​ ​S-shaped​ ​curve,​ ​giving​ ​a​ ​gentle​ ​and​ ​smooth​ ​transition.

-​ ​Ease​ ​In​:​ ​Linear​ ​out​ ​of​ ​the​ ​outgoing​ ​shot,​ ​and​ ​easy​ ​into​ ​the​ ​incoming.

-​ ​Ease​ ​Out​:​ ​Easy​ ​out​ ​of​ ​the​ ​outgoing​ ​shot,​ ​and​ ​linear​ ​into​ ​the​ ​incoming.

-​ ​Hard​ ​In​:​ ​Easy​ ​out​ ​of​ ​the​ ​outgoing,​ ​and​ ​hard​ ​into​ ​the​ ​incoming.

-​ ​Hard​ ​Out​:​ ​Hard​ ​out​ ​of​ ​the​ ​outgoing,​ ​and​ ​easy​ ​into​ ​the​ ​incoming.

-​ ​Linear​:​ ​Linear​ ​blend.​ ​Mechanical-looking.

Time Single Duration​ ​(in​ ​seconds)​ ​of​ ​the​ ​blend.

CinemachineBlenderSettings
Asset​ ​that​ ​defines​ ​the​ ​rules​ ​for​ ​blending​ ​between​ ​Virtual​ ​Cameras.
The​ ​From​ ​and​ ​To​ ​settings​ ​are​ ​name-based,​ ​which​ ​means​ ​that​ ​cameras​ ​are​ ​found​ ​by​ ​matching
their​ ​names​ ​to​ ​the​ ​settings.​ ​ ​They​ ​are​ ​not​ ​linked​ ​to​ ​specific​ ​game​ ​objects.

Blender​ ​supports​ ​wildcards​​ ​called​ ​**ANY​ ​CAMERA**,​ ​which​ ​you​ ​can​ ​use​ ​on​ ​the​ ​input​ ​or
output​ ​of​ ​blends​ ​so​ ​that​ ​no​ ​matter​ ​what​ ​camera​ ​you’re​ ​in,​ ​you​ ​only​ ​have​ ​to​ ​specify​ ​one​ ​blend​ ​to
a​ ​particular​ ​shot​ ​if​ ​you​ ​always​ ​want​ ​to​ ​blend​ ​into​ ​or​ ​out​ ​of​ ​that​ ​shot​ ​the​ ​same​ ​way.

Setting Type Description

Custom CustomBlend[] The​ ​array​ ​containing​ ​explicitly​ ​defined​ ​blends​ ​between​ ​two
Blends Virtual​ ​Cameras.

[Link]
Container​ ​specifying​ ​how​ ​two​ ​specific​ ​Cinemachine​ ​Virtual​ ​Cameras​ ​blend​ ​together.

Setting Type Description

From String When​ ​blending​ ​from​ ​this​ ​camera.

To String When​ ​blending​ ​to​ ​this​ ​camera.

Blend CinemachineBlend Blend​ ​curve​ ​definition.

Definition
Follow​ ​Cams​ ​and​ ​Player​ ​Input
In​ ​the​ ​previous​ ​sections​ ​of​ ​the​ ​manual​ ​we​ ​discussed​ ​basic​ ​virtual​ ​cameras.​ ​ ​They​ ​are​ ​great​ ​for
cinematics​ ​and​ ​composition,​ ​but​ ​it’s​ ​hard​ ​to​ ​set​ ​up​ ​a​ ​camera​ ​that​ ​follows​ ​in​ ​the​ ​path​ ​of​ ​a​ ​moving
target,​ ​and​ ​up​ ​to​ ​now​ ​there​ ​has​ ​been​ ​no​ ​consideration​ ​of​ ​cameras​ ​that​ ​position​ ​themselves​ ​in
response​ ​to​ ​player​ ​input.

Because​ ​Cinemachine​ ​is​ ​a​ ​modular​ ​system,​ ​it’s​ ​easy​ ​to​ ​replace​ ​the​ ​Transposer​ ​in​ ​the​ ​Body
section​ ​with​ ​a​ ​different​ ​component​ ​-​ ​one​ ​that​ ​considers​ ​the​ ​velocity​ ​of​ ​the​ ​Follow​ ​target,​ ​and
player​ ​input​ ​coming​ ​from​ ​various​ ​HIDs.​ ​ ​One​ ​such​ ​component​ ​is​ ​the​ O ​ rbitalTransposer​.

Building​ ​on​ ​the​ ​OrbitalTransposer,​ ​the​ ​CinemachineFreeLook​ c​ amera​ ​is​ ​a​ ​complex​ ​rig​ ​that
allows​ ​the​ ​player​ ​to​ ​position​ ​the​ ​camera​ ​in​ ​2​ ​dimensions:​ ​horizontally​ ​using​ ​the
OrbitalTransposer,​ ​and​ ​vertically​ ​using​ ​a​ ​super-powerful​ ​custom​ ​blending​ ​of​ ​3​ ​interrelated​ ​child
rigs.

Player​ ​input​ ​is​ ​accomplished​ ​either​ ​by​ ​setting​ ​up​ ​axes​ ​in​ ​the​ ​Unity​ ​Input​ ​Manager,​ ​or​ ​you​ ​can
drive​ ​the​ ​values​ ​directly​ ​using​ ​any​ ​custom​ ​or​ ​proprietary​ ​input​ ​system.

CinemachineOrbitalTransposer
This​ ​is​ ​a​ ​CinemachineComponent​ ​in​ ​the​ ​the​ ​Body​ ​section​ ​of​ ​the​ ​component​ ​pipeline.​ ​Its​ ​job​ ​is​ ​to
position​ ​the​ ​camera​ ​in​ ​a​ ​variable​ ​relationship​ ​to​ ​a​ ​the​ ​vcam’s​ ​Follow​ ​target​ ​object,​ ​with​ ​offsets
and​ ​damping.

This​ ​component​ ​is​ ​typically​ ​used​ ​to​ ​implement​ ​a​ ​camera​ ​that​ ​follows​ ​its​ ​target.​ ​It​ ​can​ ​accept
player​ ​input​ ​from​ ​an​ ​input​ ​device,​ ​which​ ​allows​ ​the​ ​player​ ​to​ ​dynamically​ ​control​ ​the​ ​relationship
between​ ​the​ ​camera​ ​and​ ​the​ ​target,​ ​for​ ​example​ ​with​ ​a​ ​joystick.

The​ ​OrbitalTransposer​ ​introduces​ ​the​ ​concept​ ​of​ ​Heading​,​ ​which​ ​is​ ​the​ ​direction​ ​in​ ​which​ ​the
target​ ​is​ ​moving,​ ​and​ ​the​ ​OrbitalTransposer​ ​will​ ​attempt​ ​to​ ​position​ ​the​ ​camera​ ​in​ ​relationship​ ​to
the​ ​heading,​ ​which​ ​is​ ​by​ ​default​ ​directly​ ​behind​ ​the​ ​target.​ ​You​ ​can​ ​control​ ​the​ ​default
relationship​ ​by​ ​adjusting​ ​the​ ​Heading​ ​Bias​ ​setting.

If​ ​you​ ​attach​ ​an​ ​input​ ​controller​ ​to​ ​the​ ​OrbitalTransposer,​ ​then​ ​the​ ​player​ ​can​ ​also​ ​control​ ​the
way​ ​the​ ​camera​ ​positions​ ​itself​ ​in​ ​relation​ ​to​ ​the​ ​target​ ​heading.​ ​This​ ​allows​ ​the​ ​camera​ ​to​ ​move
to​ ​any​ ​spot​ ​on​ ​an​ ​orbit​ ​around​ ​the​ ​target.​ ​ ​You​ ​can​ ​configure​ ​the​ ​OrbitalTransposer​ ​to​ ​take​ ​its
input​ ​from​ ​any​ ​axis​ ​previously​ ​set​ ​up​ ​in​ ​the​ ​Input​ ​Manager,​ ​or​ ​you​ ​can​ ​control​ ​the​ ​value​ ​directly
using​ ​any​ ​custom​ ​input​ ​system.

Another​ ​feature​ ​of​ ​the​ ​OrbitalTransposer​ ​is​ ​automatic​ ​recentering.​ ​ ​When​ ​enabled,​ ​it​ ​will
automatically​ ​move​ ​the​ ​camera​ ​back​ ​to​ ​the​ ​default​ ​target​ ​heading​ ​after​ ​is​ ​has​ ​detected​ ​no​ ​user
input​ ​for​ ​a​ ​specified​ ​time.
Setting Type Description

Heading Heading The​ ​definition​ ​of​ ​Forward.​ ​Camera​ ​will​ ​follow​ ​behind.
Recenter​ ​To Recentering Automatic​ ​heading​ ​recentering.​ ​The​ ​settings​ ​here​ ​defines​ ​how​ ​the
Target camera​ ​will​ ​reposition​ ​itself​ ​in​ ​the​ ​absence​ ​of​ ​player​ ​input.
Heading
X​ ​Axis Heading​ ​Control.​ ​The​ ​settings​ ​here​ ​control​ ​the​ ​behaviour​ ​of​ ​the
AxisState
camera​ ​in​ ​response​ ​to​ ​the​ ​player’s​ ​input.
Binding​ ​Mode BindingMode The​ ​coordinate​ ​space​ ​to​ ​use​ ​when​ ​interpreting​ ​the​ ​offset​ ​from​ ​the
target.​ ​This​ ​is​ ​also​ ​used​ ​to​ ​set​ ​the​ ​camera’s​ ​Up​ ​vector,​ ​which​ ​will
be​ ​maintained​ ​when​ ​aiming​ ​the​ ​camera.
Possible​ ​Values:
-​ ​Lock​ ​To​ ​Target​ ​On​ ​Assign​:​ ​Camera​ ​will​ ​be​ ​bound​ ​to​ ​the​ ​Follow
target​ ​using​ ​a​ ​frame​ ​of​ ​reference​ ​consisting​ ​of​ ​the​ ​target’s​ ​local
frame​ ​at​ ​the​ ​moment​ ​when​ ​the​ ​virtual​ ​camera​ ​was​ ​enabled,​ ​or
when​ ​the​ ​target​ ​was​ ​assigned.
 -​ ​Lock​ ​To​ ​Target​ ​With​ ​World​ ​Up​:​ ​Camera​ ​will​ ​be​ ​bound​ ​to​ ​the
Follow​ ​target​ ​using​ ​a​ ​frame​ ​of​ ​reference​ ​consisting​ ​of​ ​the​ ​target’s
local​ ​frame,​ ​with​ ​the​ ​tilt​ ​and​ ​roll​ ​zeroed​ ​out.
-​ ​Lock​ ​To​ ​Target​ ​No​ ​Roll​:​ ​Camera​ ​will​ ​be​ ​bound​ ​to​ ​the​ ​Follow
target​ ​using​ ​a​ ​frame​ ​of​ ​reference​ ​consisting​ ​of​ ​the​ ​target’s​ ​local
frame,​ ​with​ ​the​ ​roll​ ​zeroed​ ​out.
-​ ​Lock​ ​To​ ​Target​:​ ​Camera​ ​will​ ​be​ ​bound​ ​to​ ​the​ ​Follow​ ​target
using​ ​the​ ​target’s​ ​local​ ​frame.
-​ ​World​ ​Space​:​ ​Camera​ ​will​ ​be​ ​bound​ ​to​ ​the​ ​Follow​ ​target​ ​using​ ​a
world​ ​space​ ​offset.
-​ ​Simple​ ​Follow​:​ ​Offsets​ ​will​ ​be​ ​calculated​ ​relative​ ​to​ ​the​ ​target,
using​ ​Camera-local​ ​axes.
Follow​ ​Offset Vector3 The​ ​distance​ ​vector​ ​that​ ​the​ ​transposer​ ​will​ ​attempt​ ​to​ ​maintain
from​ ​the​ ​Follow​ ​target.
X​ ​Damping Single How​ ​aggressively​ ​the​ ​camera​ ​tries​ ​to​ ​maintain​ ​the​ ​offset​ ​in​ ​the
X-axis.​ ​Small​ ​numbers​ ​are​ ​more​ ​responsive,​ ​rapidly​ ​translating
the​ ​camera​ ​to​ ​keep​ ​the​ ​target’s​ ​x-axis​ ​offset.​ ​Larger​ ​numbers​ ​give
a​ ​more​ ​heavy​ ​slowly​ ​responding​ ​camera.​ ​Using​ ​different​ ​settings
per​ ​axis​ ​can​ ​yield​ ​a​ ​wide​ ​range​ ​of​ ​camera​ ​behaviors.
Y​ ​Damping Single How​ ​aggressively​ ​the​ ​camera​ ​tries​ ​to​ ​maintain​ ​the​ ​offset​ ​in​ ​the
Y-axis.​ ​Small​ ​numbers​ ​are​ ​more​ ​responsive,​ ​rapidly​ ​translating
the​ ​camera​ ​to​ ​keep​ ​the​ ​target’s​ ​y-axis​ ​offset.​ ​Larger​ ​numbers​ ​give
a​ ​more​ ​heavy​ ​slowly​ ​responding​ ​camera.​ ​Using​ ​different​ ​settings
per​ ​axis​ ​can​ ​yield​ ​a​ ​wide​ ​range​ ​of​ ​camera​ ​behaviors.
Z​ ​Damping Single How​ ​aggressively​ ​the​ ​camera​ ​tries​ ​to​ ​maintain​ ​the​ ​offset​ ​in​ ​the
Z-axis.​ ​Small​ ​numbers​ ​are​ ​more​ ​responsive,​ ​rapidly​ ​translating​ ​the
camera​ ​to​ ​keep​ ​the​ ​target’s​ ​z-axis​ ​offset.​ ​Larger​ ​numbers​ ​give​ ​a
more​ ​heavy​ ​slowly​ ​responding​ ​camera.​ ​Using​ ​different​ ​settings
per​ ​axis​ ​can​ ​yield​ ​a​ ​wide​ ​range​ ​of​ ​camera​ ​behaviors.
Pitch Single How​ ​aggressively​ ​the​ ​camera​ ​tries​ ​to​ ​track​ ​the​ ​target​ ​rotation’s​ ​X
Damping angle.​ ​Small​ ​numbers​ ​are​ ​more​ ​responsive.​ ​Larger​ ​numbers​ ​give
a​ ​more​ ​heavy​ ​slowly​ ​responding​ ​camera.
Yaw​ ​Damping Single How​ ​aggressively​ ​the​ ​camera​ ​tries​ ​to​ ​track​ ​the​ ​target​ ​rotation’s​ ​Y
angle.​ ​Small​ ​numbers​ ​are​ ​more​ ​responsive.​ ​Larger​ ​numbers​ ​give
a​ ​more​ ​heavy​ ​slowly​ ​responding​ ​camera.
Roll​ ​Damping Single How​ ​aggressively​ ​the​ ​camera​ ​tries​ ​to​ ​track​ ​the​ ​target​ ​rotation’s​ ​Z
angle.​ ​Small​ ​numbers​ ​are​ ​more​ ​responsive.​ ​Larger​ ​numbers​ ​give
a​ ​more​ ​heavy​ ​slowly​ ​responding​ ​camera.

[Link]
Axis​ ​state​ ​for​ ​defining​ ​how​ ​this​ ​CinemachineOrbitalTransposer​ ​reacts​ ​to​ ​player​ ​input.​ ​The
settings​ ​here​ ​control​ ​the​ ​responsiveness​ ​of​ ​the​ ​axis​ ​to​ ​player​ ​input.
Setting Type Description

Value Single The​ ​current​ ​value​ ​of​ ​the​ ​axis.

Max​ ​Speed Single The​ ​maximum​ ​speed​ ​of​ ​this​ ​axis​ ​in​ ​units/second.
Accel​ ​Time Single The​ ​amount​ ​of​ ​time​ ​in​ ​seconds​ ​it​ ​takes​ ​to​ ​accelerate​ ​to​ ​MaxSpeed
with​ ​the​ ​supplied​ ​Axis​ ​at​ ​its​ ​maximum​ ​value.
Decel​ ​Time Single The​ ​amount​ ​of​ ​time​ ​in​ ​seconds​ ​it​ ​takes​ ​to​ ​decelerate​ ​the​ ​axis​ ​to
zero​ ​if​ ​the​ ​supplied​ ​axis​ ​is​ ​in​ ​a​ ​neutral​ ​position.
Input​ ​Axis String The​ ​name​ ​of​ ​this​ ​axis​ ​as​ ​specified​ ​in​ ​Unity​ ​Input​ ​manager.​ ​Setting
Name to​ ​an​ ​empty​ ​string​ ​will​ ​disable​ ​the​ ​automatic​ ​updating​ ​of​ ​this​ ​axis.
Input​ ​Axis Single The​ ​value​ ​of​ ​the​ ​input​ ​axis.​ ​A​ ​value​ ​of​ ​0​ ​means​ ​no​ ​input.​ ​You​ ​can
Value drive​ ​this​ ​directly​ ​from​ ​a​ ​custom​ ​input​ ​system,​ ​or​ ​you​ ​can​ ​set​ ​the
Axis​ ​Name​ ​and​ ​have​ ​the​ ​value​ ​driven​ ​by​ ​the​ ​internal​ ​Input​ ​Manager.
Invert​ ​Axis Boolean If​ ​checked,​ ​then​ ​the​ ​raw​ ​value​ ​of​ ​the​ ​input​ ​axis​ ​will​ ​be​ ​inverted
before​ ​it​ ​is​ ​used.

[Link]
Controls​ ​how​ ​automatic​ ​orbit​ ​recentering​ ​occurs.

Setting Type Description

Heading HeadingDefinition How​ ​‘forward’​ ​is​ ​defined.​ ​The​ ​camera​ ​will​ ​be​ ​placed​ ​by​ ​default
Definition behind​ ​the​ ​target.​ ​PositionDelta​ ​will​ ​consider​ ​‘forward’​ ​to​ ​be
the​ ​direction​ ​in​ ​which​ ​the​ ​target​ ​is​ ​moving.
Possible​ ​Values:
-​ ​Position​ ​Delta​:​ ​Target​ ​heading​ ​calculated​ ​from​ ​the
difference​ ​between​ ​its​ ​position​ ​on​ ​the​ ​last​ ​update​ ​and​ ​current
frame.
-​ ​Velocity​:​ ​Target​ ​heading​ ​calculated​ ​from​ ​its​ ​Rigidbody’s
velocity.​ ​If​ ​no​ ​Rigidbody​ ​exists,​ ​it​ ​will​ ​fall​ ​back​ ​to
[Link].
-​ ​Target​ ​Forward​:​ ​Target​ ​heading​ ​calculated​ ​from​ ​the​ ​Target
Transform’s​ ​euler​ ​Y​ ​angle.
-​ ​World​ ​Forward​:​ ​Default​ ​heading​ ​is​ ​a​ ​constant​ ​world​ ​space
heading.
Velocity Int32 Size​ ​of​ ​the​ ​velocity​ ​sampling​ ​window​ ​for​ ​target​ ​heading​ ​filter.
Filter This​ ​filters​ ​out​ ​irregularities​ ​in​ ​the​ ​target’s​ ​movement.​ ​Used
Strength only​ ​if​ ​deriving​ ​heading​ ​from​ ​target’s​ ​movement​ ​(PositionDelta
or​ ​Velocity).
Heading​ ​Bias Single Where​ ​the​ ​camera​ ​is​ ​placed​ ​when​ ​the​ ​X-axis​ ​value​ ​is​ ​zero.
This​ ​is​ ​a​ ​rotation​ ​in​ ​degrees​ ​around​ ​the​ ​Y​ ​axis.​ ​When​ ​this
value​ ​is​ ​0,​ ​the​ ​camera​ ​will​ ​be​ ​placed​ ​behind​ ​the​ ​target.
Nonzero​ ​offsets​ ​will​ ​rotate​ ​the​ ​zero​ ​position​ ​around​ ​the​ ​target.
CinemachineFreeLook
The​ ​FreeLook​ ​is​ ​a​ ​Cinemachine​ ​Camera​ ​geared​ ​towards​ ​a​ ​3rd​ ​person​ ​camera​ ​experience.​ ​The
camera​ ​orbits​ ​around​ ​its​ ​subject​ ​with​ ​three​ ​separate​ ​camera​ ​rigs​ ​defining​ ​rings​ ​around​ ​the
target.​ ​Each​ ​rig​ ​has​ ​its​ ​own​ ​radius,​ ​height​ ​offset,​ ​composer,​ ​and​ ​lens​ ​settings.​ ​Depending​ ​on​ ​the
camera’s​ ​position​ ​along​ ​the​ ​spline​ ​connecting​ ​these​ ​three​ ​rigs,​ ​these​ ​settings​ ​are​ ​interpolated​ ​to
give​ ​the​ ​final​ ​camera​ ​position​ ​and​ ​state.

Player​ ​input​ ​is​ ​supplied​ ​along​ ​2​ ​axes:​ ​the​ ​X​ ​axis​ ​which​ ​controls​ ​the​ ​orbital​ ​position​ ​(see
CinemachineOrbitalTransposer),​ ​and​ ​the​ ​Y​ ​axis​ ​which​ ​controls​ ​the​ ​vertical​ ​position​ ​on​ ​the​ ​spline
connecting​ ​the​ ​3​ ​child​ ​rigs.

Each​ ​child​ ​rig​ ​can​ ​have​ ​its​ ​own​ ​Lens​ ​settings,​ ​or​ ​common​ ​shared​ ​values​ ​can​ ​be​ ​used.
Additionally,​ ​each​ ​child​ ​rig​ ​can​ ​have​ ​its​ ​own​ ​Composer​ ​and​ ​Noise​ ​settings.
Setting Type Description

Look​ ​At Transform Object​ ​for​ ​the​ ​camera​ ​children​ ​to​ ​look​ ​at​ ​(the​ ​aim​ ​target).
Follow Transform Object​ ​for​ ​the​ ​camera​ ​children​ ​wants​ ​to​ ​move​ ​with​ ​(the​ ​body
target).
Common​ ​Lens Boolean If​ ​enabled,​ ​this​ ​lens​ ​setting​ ​will​ ​apply​ ​to​ ​all​ ​three​ ​child​ ​rigs,
otherwise​ ​the​ ​child​ ​rig​ ​lens​ ​settings​ ​will​ ​be​ ​used.
Lens LensSettings Specifies​ ​the​ ​lens​ ​properties​ ​of​ ​this​ ​Virtual​ ​Camera.​ ​This
generally​ ​mirrors​ ​the​ ​Unity​ ​Camera’s​ ​lens​ ​settings,​ ​and​ ​will​ ​be
used​ ​to​ ​drive​ ​the​ ​Unity​ ​camera​ ​when​ ​the​ ​vcam​ ​is​ ​active.
Y​ ​Axis AxisState The​ ​Vertical​ ​axis.​ ​Value​ ​is​ ​0..1.​ ​Chooses​ ​how​ ​to​ ​blend​ ​the​ ​child
rigs.
X​ ​Axis AxisState The​ ​Horizontal​ ​axis.​ ​Value​ ​is​ ​0..359.​ ​This​ ​is​ ​passed​ ​on​ ​to​ ​the
rigs’​ ​OrbitalTransposer​ ​component.
Heading Heading The​ ​definition​ ​of​ ​Forward.​ ​Camera​ ​will​ ​follow​ ​behind.
Recenter​ ​To Recentering Controls​ ​how​ ​automatic​ ​recentering​ ​of​ ​the​ ​X​ ​axis​ ​is
Target​ ​Heading accomplished.
Binding​ ​Mode BindingMode The​ ​coordinate​ ​space​ ​to​ ​use​ ​when​ ​interpreting​ ​the​ ​offset​ ​from
the​ ​target.​ ​This​ ​is​ ​also​ ​used​ ​to​ ​set​ ​the​ ​camera’s​ ​Up​ ​vector,
which​ ​will​ ​be​ ​maintained​ ​when​ ​aiming​ ​the​ ​camera.
Possible​ ​Values:
-​ ​Lock​ ​To​ ​Target​ ​On​ ​Assign​:​ ​Camera​ ​will​ ​be​ ​bound​ ​to​ ​the
Follow​ ​target​ ​using​ ​a​ ​frame​ ​of​ ​reference​ ​consisting​ ​of​ ​the
target’s​ ​local​ ​frame​ ​at​ ​the​ ​moment​ ​when​ ​the​ ​virtual​ ​camera
was​ ​enabled,​ ​or​ ​when​ ​the​ ​target​ ​was​ ​assigned.
-​ ​Lock​ ​To​ ​Target​ ​With​ ​World​ ​Up​:​ ​Camera​ ​will​ ​be​ ​bound​ ​to
the​ ​Follow​ ​target​ ​using​ ​a​ ​frame​ ​of​ ​reference​ ​consisting​ ​of​ ​the
target’s​ ​local​ ​frame,​ ​with​ ​the​ ​tilt​ ​and​ ​roll​ ​zeroed​ ​out.
-​ ​Lock​ ​To​ ​Target​ ​No​ ​Roll​:​ ​Camera​ ​will​ ​be​ ​bound​ ​to​ ​the​ ​Follow
target​ ​using​ ​a​ ​frame​ ​of​ ​reference​ ​consisting​ ​of​ ​the​ ​target’s​ ​local
frame,​ ​with​ ​the​ ​roll​ ​zeroed​ ​out.
-​ ​Lock​ ​To​ ​Target​:​ ​Camera​ ​will​ ​be​ ​bound​ ​to​ ​the​ ​Follow​ ​target
using​ ​the​ ​target’s​ ​local​ ​frame.
-​ ​World​ ​Space​:​ ​Camera​ ​will​ ​be​ ​bound​ ​to​ ​the​ ​Follow​ ​target
 using​ ​a​ ​world​ ​space​ ​offset.
-​ ​Simple​ ​Follow​:​ ​Offsets​ ​will​ ​be​ ​calculated​ ​relative​ ​to​ ​the
target,​ ​using​ ​Camera-local​ ​axes.
Spline Single Controls​ ​how​ ​taut​ ​is​ ​the​ ​line​ ​that​ ​connects​ ​the​ ​rigs’​ ​orbits,
Curvature which​ ​determines​ ​final​ ​placement​ ​on​ ​the​ ​Y​ ​axis.
Orbits Orbit[] The​ ​radius​ ​and​ ​height​ ​of​ ​the​ ​three​ ​orbiting​ ​rigs.
Priority Int32 The​ ​priority​ ​will​ ​determine​ ​which​ ​camera​ ​becomes​ ​active
based​ ​on​ ​the​ ​state​ ​of​ ​other​ ​cameras​ ​and​ ​this​ ​camera.​ ​Higher
numbers​ ​have​ ​greater​ ​priority.
Tracked​ ​Dolly
If​ ​you​ ​need​ ​your​ ​camera’s​ ​position​ ​to​ ​be​ ​confined​ ​to​ ​a​ ​dolly​ ​track,​ ​this​ ​can​ ​be​ ​done​ ​with​ ​a
combination​ ​of​ ​a​ ​CinemachinePath​ ​for​ ​the​ ​track,​ ​and​ ​a​ ​TrackedDolly​ ​for​ ​the​ ​Body​ ​component​ ​of
the​ ​virtual​ ​camera.​ ​ ​There​ ​is​ ​a​ ​shortcut​ ​for​ ​creating​ ​this​ ​pair​ ​in​ ​the​ ​Cinemachine​ ​menu:

The​ ​path​ ​itself​ ​is​ ​defined​ ​by​ ​positioning​ ​waypoints.​ ​ ​The​ ​CinemachinePath​ ​inspector​ ​provides​ ​a
simple​ ​interface​ ​for​ ​doing​ ​this.​ ​ ​The​ ​waypoints​ ​are​ ​connected​ ​using​ ​a​ ​bezier,​ ​and​ ​you​ ​can
control​ ​how​ ​the​ ​interpolation​ ​occurs​ ​by​ ​manipulating​ ​the​ ​curve​ ​tangents​ ​at​ ​the​ ​waypoints.​ ​ ​The
result​ ​of​ ​this​ ​is​ ​a​ ​camera​ ​track,​ ​drawn​ ​in​ ​the​ ​scene​ ​view​ ​in​ ​a​ ​manner​ ​resembling​ ​a​ ​railroad​ ​track.
It​ ​will​ ​not​ ​be​ ​drawn​ ​in​ ​the​ ​game​ ​view.
CinemachineTrackedDolly
A​ ​Cinemachine​ ​Virtual​ ​Camera​ ​Body​ ​component​ ​that​ ​constrains​ ​camera​ ​motion​ ​to​ ​a
CinemachinePath​ ​or​ ​a​ ​CinemachineSmoothPath.​ ​The​ ​camera​ ​can​ ​move​ ​along​ ​the​ ​path.

This​ ​behaviour​ ​can​ ​operate​ ​in​ ​two​ ​modes:​ ​manual​ ​positioning,​ ​and​ ​Auto-Dolly​ ​positioning.​ ​In
Manual​ ​mode,​ ​the​ ​camera’s​ ​position​ ​is​ ​specified​ ​by​ ​animating​ ​the​ ​Path​ ​Position​ ​field.​ ​In
Auto-Dolly​ ​mode,​ ​the​ ​Path​ ​Position​ ​field​ ​is​ ​animated​ ​automatically​ ​every​ ​frame​ ​by​ ​finding​ ​the
position​ ​on​ ​the​ ​path​ ​that’s​ ​closest​ ​to​ ​the​ ​virtual​ ​camera’s​ ​Follow​ ​target.

Setting Type Description

Path Cinemachine The​ ​path​ ​to​ ​which​ ​the​ ​camera​ ​will​ ​be​ ​constrained.​ ​This​ ​must​ ​be
PathBase non-null.
Path​ ​Position Single The​ p ​ osition​ ​along​ ​the​ ​path​ ​at​ ​which​ ​the​ ​camera​ ​will​ ​be​ ​placed.
This​ ​can​ ​be​ ​animated​ ​directly,​ ​or​ ​set​ ​automatically​ ​by​ ​the
Auto-Dolly​ ​feature​ ​to​ ​get​ ​as​ ​close​ ​as​ ​possible​ ​to​ ​the​ ​Follow
target.​ ​The​ ​value​ ​is​ ​interpreted​ ​according​ ​to​ ​the​ ​Position​ ​Units
setting.
Position​ ​Units PositionUnits How​ ​to​ ​interpret​ ​Path​ ​Position.​ ​If​ ​set​ ​to​ ​Path​ ​Units,​ ​values​ ​are
as​ ​follows:​ ​0​ ​represents​ ​the​ ​first​ ​waypoint​ ​on​ ​the​ ​path,​ ​1​ ​is​ ​the
second,​ ​and​ ​so​ ​on.​ ​Values​ ​in-between​ ​are​ ​points​ ​on​ ​the​ ​path​ ​in
between​ ​the​ ​waypoints.​ ​If​ ​set​ ​to​ ​Distance,​ ​then​ ​Path​ ​Position
represents​ ​distance​ ​along​ ​the​ ​path.
Possible​ ​Values:
-​ ​Path​ ​Units​:​ ​Use​ ​PathPosition​ ​units,​ ​where​ ​0​ ​is​ ​first​ ​waypoint,
1​ ​is​ ​second​ ​waypoint,​ ​etc.
-​ ​Distance​:​ ​Use​ ​Distance​ ​Along​ ​Path.​ ​Path​ ​will​ ​be​ ​sampled
according​ ​to​ ​its​ ​Resolution​ ​setting,​ ​and​ ​a​ ​distance​ ​lookup​ ​table
will​ ​be​ ​cached​ ​internally.
Path​ ​Offset Vector3 Where​ ​to​ ​put​ ​the​ ​camera​ ​relative​ ​to​ ​the​ ​path​ ​position.​ ​X​ ​is
perpendicular​ ​to​ ​the​ ​path,​ ​Y​ ​is​ ​up,​ ​and​ ​Z​ ​is​ ​parallel​ ​to​ ​the​ ​path.
This​ ​allows​ ​the​ ​camera​ ​to​ ​be​ ​offset​ ​from​ ​the​ ​path​ ​itself​ ​(as​ ​if​ ​on
a​ ​tripod,​ ​for​ ​example).
X​ ​Damping Single How​ ​aggressively​ ​the​ ​camera​ ​tries​ ​to​ ​maintain​ ​its​ ​position​ ​in​ ​a
direction​ ​perpendicular​ ​to​ ​the​ ​path.​ ​Small​ ​numbers​ ​are​ ​more
responsive,​ ​rapidly​ ​translating​ ​the​ ​camera​ ​to​ ​keep​ ​the​ ​target’s
x-axis​ ​offset.​ ​Larger​ ​numbers​ ​give​ ​a​ ​more​ ​heavy​ ​slowly
responding​ ​camera.​ ​Using​ ​different​ ​settings​ ​per​ ​axis​ ​can​ ​yield​ ​a
wide​ ​range​ ​of​ ​camera​ ​behaviors.
Y​ ​Damping Single How​ ​aggressively​ ​the​ ​camera​ ​tries​ ​to​ ​maintain​ ​its​ ​position​ ​in​ ​the
path-local​ ​up​ ​direction.​ ​Small​ ​numbers​ ​are​ ​more​ ​responsive,
rapidly​ ​translating​ ​the​ ​camera​ ​to​ ​keep​ ​the​ ​target’s​ ​y-axis​ ​offset.
Larger​ ​numbers​ ​give​ ​a​ ​more​ ​heavy​ ​slowly​ ​responding​ ​camera.
Using​ ​different​ ​settings​ ​per​ ​axis​ ​can​ ​yield​ ​a​ ​wide​ ​range​ ​of
 camera​ ​behaviors.
Z​ ​Damping Single How​ ​aggressively​ ​the​ ​camera​ ​tries​ ​to​ ​maintain​ ​its​ ​position​ ​in​ ​a
direction​ ​parallel​ ​to​ ​the​ ​path.​ ​Small​ ​numbers​ ​are​ ​more
responsive,​ ​rapidly​ ​translating​ ​the​ ​camera​ ​to​ ​keep​ ​the​ ​target’s
z-axis​ ​offset.​ ​Larger​ ​numbers​ ​give​ ​a​ ​more​ ​heavy​ ​slowly
responding​ ​camera.​ ​Using​ ​different​ ​settings​ ​per​ ​axis​ ​can​ ​yield​ ​a
wide​ ​range​ ​of​ ​camera​ ​behaviors.
Camera​ ​Up CameraUpM How​ ​to​ ​set​ ​the​ ​virtual​ ​camera’s​ ​Up​ ​vector.​ ​This​ ​will​ ​affect​ ​the
ode screen​ ​composition,​ ​because​ ​the​ ​camera​ ​Aim​ ​behaviours​ ​will
always​ ​try​ ​to​ ​respect​ ​the​ ​Up​ ​direction.
Possible​ ​Values:
-​ ​Default​:​ ​Leave​ ​the​ ​camera’s​ ​up​ ​vector​ ​alone.​ ​It​ ​will​ ​be​ ​set
according​ ​to​ ​the​ ​Brain’s​ ​WorldUp.
-​ ​Path​:​ ​Take​ ​the​ ​up​ ​vector​ ​from​ ​the​ ​path’s​ ​up​ ​vector​ ​at​ ​the
current​ ​point.
-​ ​Path​ ​No​ ​Roll​:​ ​Take​ ​the​ ​up​ ​vector​ ​from​ ​the​ ​path’s​ ​up​ ​vector​ ​at
the​ ​current​ ​point,​ ​but​ ​with​ ​the​ ​roll​ ​zeroed​ ​out.
-​ ​Follow​ ​Target​:​ ​Take​ ​the​ ​up​ ​vector​ ​from​ ​the​ ​Follow​ ​target’s​ ​up
vector.
-​ ​Follow​ ​Target​ ​No​ ​Roll​:​ ​Take​ ​the​ ​up​ ​vector​ ​from​ ​the​ ​Follow
target’s​ ​up​ ​vector,​ ​but​ ​with​ ​the​ ​roll​ ​zeroed​ ​out.
Pitch​ ​Damping Single How​ ​aggressively​ ​the​ ​camera​ ​tries​ ​to​ ​track​ ​the​ ​target​ ​rotation’s
X​ ​angle.​ ​Small​ ​numbers​ ​are​ ​more​ ​responsive.​ ​Larger​ ​numbers
give​ ​a​ ​more​ ​heavy​ ​slowly​ ​responding​ ​camera.
Yaw​ ​Damping Single How​ ​aggressively​ ​the​ ​camera​ ​tries​ ​to​ ​track​ ​the​ ​target​ ​rotation’s
Y​ ​angle.​ ​Small​ ​numbers​ ​are​ ​more​ ​responsive.​ ​Larger​ ​numbers
give​ ​a​ ​more​ ​heavy​ ​slowly​ ​responding​ ​camera.
Roll​ ​Damping Single How​ ​aggressively​ ​the​ ​camera​ ​tries​ ​to​ ​track​ ​the​ ​target​ ​rotation’s
Z​ ​angle.​ ​Small​ ​numbers​ ​are​ ​more​ ​responsive.​ ​Larger​ ​numbers
give​ ​a​ ​more​ ​heavy​ ​slowly​ ​responding​ ​camera.
Auto​ ​Dolly AutoDolly Controls​ ​how​ ​automatic​ ​dollying​ ​occurs.​ ​A​ ​Follow​ ​target​ ​is
necessary​ ​to​ ​use​ ​this​ ​feature.

[Link]
Controls​ ​how​ ​automatic​ ​dollying​ ​occurs.
Setting Type Description

Enabled Boolean If​ ​checked,​ ​will​ ​enable​ ​automatic​ ​dolly,​ ​which​ ​chooses​ ​a​ ​path
position​ ​that​ ​is​ ​as​ ​close​ ​as​ ​possible​ ​to​ ​the​ ​Follow​ ​target.​ ​Note:
this​ ​can​ ​have​ ​significant​ ​performance​ ​impact.
Position​ ​Offset Single Offset,​ ​in​ ​position​ ​units,​ ​from​ ​the​ ​closest​ ​point​ ​on​ ​the​ ​path​ ​to​ ​the
follow​ ​target.
Search​ ​Radius Int32 How​ ​many​ ​segments​ ​on​ ​either​ ​side​ ​of​ ​the​ ​current​ ​segment.​ ​Use
 0​ ​for​ ​Entire​ ​path.
Search Int32 We​ ​search​ ​a​ ​segment​ ​by​ ​dividing​ ​it​ ​into​ ​this​ ​many​ ​straight
Resolution pieces.​ ​The​ ​higher​ ​the​ ​number,​ ​the​ ​more​ ​accurate​ ​the​ ​result,
but​ ​performance​ ​is​ ​proportionally​ ​slower​ ​for​ ​higher​ ​numbers.

C​inemachinePath
Defines​ ​a​ ​world-space​ ​path,​ ​consisting​ ​of​ ​an​ ​array​ ​of​ ​waypoints,​ ​each​ ​of​ ​which​ ​has​ ​position,
tangent,​ ​and​ ​roll​ ​settings.​ ​Bezier​ ​interpolation​ ​is​ ​performed​ ​between​ ​the​ ​waypoints,​ ​to​ ​get​ ​a
smooth​ ​and​ ​continuous​ ​path.

Setting Type Description

Resolution Int32 Path​ ​samples​ ​per​ ​waypoint.​ ​This​ ​is​ ​used​ ​for​ ​calculating​ ​path
distances.
Appearance Appearance The​ ​settings​ ​that​ ​control​ ​how​ ​the​ ​path​ ​will​ ​appear​ ​in​ ​the​ ​editor
scene​ ​view.
Looped Boolean If​ ​checked,​ ​then​ ​the​ ​path​ ​ends​ ​are​ ​joined​ ​to​ ​form​ ​a​ ​continuous
loop.
Waypoints Waypoint[] The​ ​waypoints​ ​that​ ​define​ ​the​ ​path.​ ​They​ ​will​ ​be​ ​interpolated​ ​using
a​ ​bezier​ ​curve.

[Link]
A​ ​waypoint​ ​along​ ​the​ ​path.

Setting Type Description

Position Vector3 Position​ ​in​ ​path-local​ ​space.

Tangent Vector3 Offset​ ​from​ ​the​ ​position,​ ​which​ ​defines​ ​the​ ​tangent​ ​of​ ​the​ ​curve​ ​at
the​ ​waypoint.​ ​The​ ​length​ ​of​ ​the​ ​tangent​ ​encodes​ ​the​ ​strength​ ​of
the​ ​bezier​ ​handle.​ ​The​ ​same​ ​handle​ ​is​ ​used​ ​symmetrically​ ​on
both​ ​sides​ ​of​ ​the​ ​waypoint,​ ​to​ ​ensure​ ​smoothness.

Roll Single Defines​ ​the​ ​roll​ ​of​ ​the​ ​path​ ​at​ ​this​ ​waypoint.​ ​The​ ​other​ ​orientation
axes​ ​are​ ​inferred​ ​from​ ​the​ ​tangent​ ​and​ ​world​ ​up.
CinemachineSmoothPath
Defines​ ​a​ ​world-space​ ​path,​ ​consisting​ ​of​ ​an​ ​array​ ​of​ ​waypoints,​ ​each​ ​of​ ​which​ ​has​ ​position​ ​and
roll​ ​settings.​ ​Bezier​ ​interpolation​ ​is​ ​performed​ ​between​ ​the​ ​waypoints,​ ​to​ ​get​ ​a​ ​smooth​ ​and
continuous​ ​path.​ ​The​ ​path​ ​will​ ​pass​ ​through​ ​all​ ​waypoints,​ ​and​ ​(unlike​ ​CinemachinePath)​ ​first
and​ ​second​ ​order​ ​continuity​ ​is​ ​guaranteed.

Setting Type Description

Looped If​ ​checked,​ ​then​ ​the​ ​path​ ​ends​ ​are​ ​joined​ ​to​ ​form​ ​a​ ​continuous
Boolean
loop.
Waypoints Waypoint[] The​ ​waypoints​ ​that​ ​define​ ​the​ ​path.​ ​They​ ​will​ ​be​ ​interpolated​ ​using
a​ ​bezier​ ​curve.
Resolution Int32 Path​ ​samples​ ​per​ ​waypoint.​ ​This​ ​is​ ​used​ ​for​ ​calculating​ ​path
distances.
Appearance Appearance The​ ​settings​ ​that​ ​control​ ​how​ ​the​ ​path​ ​will​ ​appear​ ​in​ ​the​ ​editor
scene​ ​view.

[Link]
A​ ​waypoint​ ​along​ ​the​ ​path.

Setting Type Description

Position Vector3 Position​ ​in​ ​path-local​ ​space.

Roll Single Defines​ ​the​ ​roll​ ​of​ ​the​ ​path​ ​at​ ​this​ ​waypoint.​ ​The​ ​other​ ​orientation
axes​ ​are​ ​inferred​ ​from​ ​the​ ​tangent​ ​and​ ​world​ ​up.

[Link]
This​ ​class​ ​holds​ ​the​ ​settings​ ​that​ ​control​ ​how​ ​the​ ​path​ ​will​ ​appear​ ​in​ ​the​ ​editor​ ​scene​ ​view.​ ​The
path​ ​is​ ​not​ ​visible​ ​in​ ​the​ ​game​ ​view.

Setting Type Description

Path​ ​Color Color The​ ​color​ ​of​ ​the​ ​path​ ​itself​ ​when​ ​it​ ​is​ ​active​ ​in​ ​the​ ​editor.
Inactive​ ​Path Color The​ ​color​ ​of​ ​the​ ​path​ ​itself​ ​when​ ​it​ ​is​ ​inactive​ ​in​ ​the​ ​editor.
Color
Width Single The​ ​width​ ​of​ ​the​ ​railroad-tracks​ ​that​ ​are​ ​drawn​ ​to​ ​represent​ ​the
path.
State-Driven​ ​Camera
The​ ​State-Driven​ ​Camera​ ​is​ ​an​ ​implementation​ ​of​ ​a​ ​simple​ ​yet​ ​powerful​ ​concept:​ ​activate
specific​ ​shots​ ​when​ ​the​ ​subject​ ​enters​ ​specific​ ​animations​ ​states.

Even​ ​better,​ ​the​ ​blending​ ​between​ ​shots​ ​within​ ​the​ ​state-driven​ ​rig​ ​can​ ​be​ ​customized​ ​and
tuned​ ​to​ ​maximize​ ​the​ ​emotional​ ​punch​ ​of​ ​the​ ​transitions.

Using​ ​Cinemachine​ ​it’s​ ​possible​ ​to​ ​set​ ​up​ ​world-class​ ​3rd​ ​person​ ​action​ ​adventure​ ​camera
systems.​ ​For​ ​example,​ ​you​ ​can​ ​create​ ​a​ ​unique​ ​Free-Look​ ​camera​ ​for​ ​events​ ​like​ ​this:​ ​Stand​ ​/
Walk,​ ​Run,​ ​Sprint,​ ​etc.​ ​Link​ ​the​ ​appropriate​ ​Cinemachine​ ​Free-Look​ ​camera​ ​up​ ​to​ ​that
animation​ ​state,​ ​so​ ​when​ ​the​ ​animation​ ​state​ ​is​ ​triggered​ ​it​ ​turns​ ​on​ ​that​ ​Cinemachine​ ​camera.

The​ ​idea​ ​is​ ​to​ ​simply​ ​blend​ ​into​ ​the​ ​right​ ​Free-Look​ ​camera​ ​for​ ​each​ ​animation​ ​state.​ ​Your
‘Sprint’​ ​Free-Look​ ​gets​ ​in​ ​closer,​ ​the​ ​lens​ ​is​ ​wider​ ​and​ ​there​ ​is​ ​a​ ​ton​ ​of​ ​handheld​ ​noise.​ ​Boom,
you​ ​now​ ​have​ ​a​ ​‘Roadie​ ​Run’​ ​camera.​ ​This​ ​concept​ ​has​ ​been​ ​used​ ​to​ ​set​ ​up​ ​a​ ​complex​ ​camera
rig​ ​that​ ​had​ ​over​ ​40​ ​Free-Look​ ​cameras​ ​for​ ​a​ ​character’s​ ​local-motion​ ​and​ ​combat​ ​system,​ ​all
set​ ​up​ ​so​ ​quickly​ ​and​ ​all​ ​tuneable​ ​in​ ​real-time.

You​ ​first​ ​start​ ​with​ ​an​ ​animated​ ​target,​ ​i.e.​ ​something​ ​that​ ​has​ ​an​ ​Animator​ ​component
controlled​ ​by​ ​an​ ​FSM:
You​ ​then​ ​create​ ​a​ ​CinemachineStateDrivenCamera​ ​and​ ​connect​ ​the​ ​FSM​ ​to​ ​its​ ​Animated​ ​Target

Once​ ​you​ ​have​ ​set​ ​the​ ​Animated​ ​Target​ ​setting​ ​to​ ​point​ ​to​ ​a​ ​target​ ​object​ ​that​ ​has​ ​animation
states,​ ​the​ ​inspector​ ​editor​ ​will​ ​scan​ ​the​ ​target​ ​object​ ​for​ ​animation​ ​states​ ​and​ ​populate​ ​its
menus​ ​so​ ​that​ ​you​ ​can​ ​quickly​ ​and​ ​easily​ ​map​ ​available​ ​animation​ ​states​ ​to​ ​child​ ​vcams.

Next,​ ​create​ ​some​ ​state-to-camera​ ​mappings.​ ​You​ ​do​ ​that​ ​by​ ​clicking​ ​on​ ​the​ ​little​ ​+​ ​icon​ ​in​ ​the
state​ ​list:

This​ ​will​ ​add​ ​an​ ​entry​ ​in​ ​the​ ​state​ ​list,​ ​and​ ​you​ ​can​ ​then​ ​choose​ ​the​ ​state​ ​you​ ​want​ ​to​ ​handle,​ ​and
the​ ​virtual​ ​camera​ ​child​ ​to​ ​map​ ​it​ ​to.
The​ ​available​ ​cameras​ ​are​ ​the​ ​virtual​ ​camera​ ​children​ ​of​ ​the​ ​StateDrivenCamera.​ ​Create​ ​as
many​ ​as​ ​you​ ​like,​ ​of​ ​whatever​ ​variety​ ​you​ ​need.​ ​You​ ​can​ ​use​ ​the​ ​hierarchy​ ​view​ ​to​ ​reparent
externally-created​ ​vcams​ ​to​ ​the​ ​StateDrivenCamera,​ ​if​ ​you​ ​like,​ ​or​ ​just​ ​press​ ​the​ ​little​ ​+​ ​on​ ​the
camera​ ​list​ ​to​ ​create​ ​a​ ​standard​ ​one.​ ​When​ ​you​ ​do,​ ​those​ ​cameras​ ​will​ ​become​ ​available​ ​for
mapping.​ ​ ​​ ​ ​These​ ​virtual​ ​cameras​ ​will​ ​only​ ​be​ ​visible​ ​to​ ​the​ ​State-Driven​ ​Camera​ ​parent,​ ​and
will​ ​consume​ ​no​ ​processing​ ​resources​ ​until​ ​they​ ​are​ ​activated​ ​by​ ​the​ ​parent.
You​ ​will​ ​end​ ​up​ ​with​ ​something​ ​like​ ​this:

So​ ​now,​ ​when​ ​the​ ​states​ ​in​ ​the​ ​list​ ​become​ ​active,​ ​the​ ​associated​ ​child​ ​cameras​ ​will​ ​also
become​ ​active.​ ​They​ ​will​ ​blend​ ​in​ ​using​ ​the​ ​default​ ​blend​ ​setting​ ​defined​ ​in​ ​the
StateDrivenCamera.​ ​You​ ​can​ ​also​ ​create​ ​custom​ ​blends​ ​for​ ​specific​ ​pairs​ ​by​ ​creating​ ​a​ ​custom
blend​ ​asset​ ​on​ ​the​ ​StateDrivenCamera.
CinemachineStateDrivenCamera
This​ ​is​ ​a​ ​virtual​ ​camera​ ​“manager”​ ​that​ ​owns​ ​and​ ​manages​ ​a​ ​collection​ ​of​ ​child​ ​Virtual​ ​Cameras.
These​ ​child​ ​vcams​ ​are​ ​mapped​ ​to​ ​individual​ ​states​ ​in​ ​an​ ​animation​ ​state​ ​machine,​ ​allowing​ ​you
to​ ​associate​ ​specific​ ​vcams​ ​to​ ​specific​ ​animation​ ​states.​ ​When​ ​that​ ​state​ ​is​ ​active​ ​in​ ​the​ ​state
machine,​ ​then​ ​the​ ​associated​ ​camera​ ​will​ ​be​ ​activated.

You​ ​can​ ​define​ ​custom​ ​blends​ ​and​ ​transitions​ ​between​ ​child​ ​cameras.

In​ ​order​ ​to​ ​use​ ​this​ ​behaviour,​ ​you​ ​must​ ​have​ ​an​ ​animated​ ​target​ ​(i.e.​ ​an​ ​object​ ​animated​ ​with​ ​a
state​ ​machine)​ ​to​ ​drive​ ​the​ ​behaviour.

Setting Type Description

Look​ ​At Transform Default​ ​object​ ​for​ ​the​ ​camera​ ​children​ ​to​ ​look​ ​at​ ​(the​ ​aim​ ​target),​ ​if
not​ ​specified​ ​in​ ​a​ ​child​ ​camera.​ ​May​ ​be​ ​empty​ ​if​ ​all​ ​of​ ​the​ ​children
define​ ​targets​ ​of​ ​their​ ​own.

Follow Transform Default​ ​object​ ​for​ ​the​ ​camera​ ​children​ ​wants​ ​to​ ​move​ ​with​ ​(the
body​ ​target),​ ​if​ ​not​ ​specified​ ​in​ ​a​ ​child​ ​camera.​ ​May​ ​be​ ​empty​ ​if​ ​all
of​ ​the​ ​children​ ​define​ ​targets​ ​of​ ​their​ ​own.

Show Boolean When​ ​enabled,​ ​the​ ​current​ ​child​ ​camera​ ​and​ ​blend​ ​will​ ​be​ ​indicated
Debug in​ ​the​ ​game​ ​window,​ ​for​ ​debugging.
Text

Enable​ ​All Boolean Force​ ​all​ ​child​ ​cameras​ ​to​ ​be​ ​enabled.​ ​This​ ​is​ ​useful​ ​if​ ​animating
Child them​ ​in​ ​Timeline,​ ​but​ ​consumes​ ​extra​ ​resources.
Cameras

Animated Animator The​ ​state​ ​machine​ ​whose​ ​state​ ​changes​ ​will​ ​drive​ ​this​ ​camera’s
Target choice​ ​of​ ​active​ ​child.

Layer Int32 Which​ ​layer​ ​in​ ​the​ ​target​ ​state​ ​machine​ ​to​ ​observe.
Index

Instruction Instruction[] The​ ​set​ ​of​ ​instructions​ ​associating​ ​virtual​ ​cameras​ ​with​ ​states.
s These​ ​instructions​ ​are​ ​used​ ​to​ ​choose​ ​the​ ​live​ ​child​ ​at​ ​any​ ​given
moment.

Default CinemachineBl The​ ​blend​ ​which​ ​is​ ​used​ ​if​ ​you​ ​don’t​ ​explicitly​ ​define​ ​a​ ​blend
Blend endDefinition between​ ​two​ ​Virtual​ ​Camera​ ​children.

Custom CinemachineBl This​ ​is​ ​the​ ​asset​ ​which​ ​contains​ ​custom​ ​settings​ ​for​ ​specific​ ​child
Blends enderSettings blends.

Priority Int32 The​ ​priority​ ​will​ ​determine​ ​which​ ​camera​ ​becomes​ ​active​ ​based​ ​on
the​ ​state​ ​of​ ​other​ ​cameras​ ​and​ ​this​ ​camera.​ ​Higher​ ​numbers​ ​have
 greater​ ​priority.

Collision​ ​Avoidance​ ​and​ ​Shot​ ​Evaluation

When​ ​characters​ ​move​ ​around​ ​in​ ​complex​ ​environments,​ ​sometimes​ ​obstacles​ ​in​ ​the​ ​scene​ ​can
come​ ​between​ ​a​ ​camera​ ​and​ ​its​ ​subject.​ ​ ​Similarly,​ ​it​ ​can​ ​also​ ​happen​ ​that​ ​scene​ ​obstacles​ ​will
inconveniently​ ​find​ ​themselves​ ​to​ ​be​ ​exactly​ ​where​ ​a​ ​camera​ ​wants​ ​to​ ​be.​ ​ ​Cinemachine
provides​ ​a​ ​mechanism​ ​to​ ​handle​ ​these​ ​situations.

The​ ​Collider​ ​module​ ​can​ ​be​ ​added​ ​to​ ​any​ ​Cinemachine​ ​Virtual​ ​Camera​ ​(including​ ​complex
camera​ ​types​ ​such​ ​as​ ​FreeLook,​ ​State-Driven-Camera,​ ​and​ ​ClearShot).​ ​ ​It​ ​does​ ​some​ ​or​ ​all​ ​of
several​ ​things:

● Pushes​ ​the​ ​camera​ ​out​ ​of​ ​intersecting​ ​obstacles​ ​in​ ​the​ ​scene.
● Puts​ ​the​ ​camera​ ​in​ ​front​ ​of​ ​obstacles​ ​that​ ​come​ ​between​ ​the​ ​camera​ ​and​ ​its​ ​LookAt
target.
● Evaluates​ ​shot​ ​quality​​ ​(has​ ​the​ ​camera​ ​been​ ​moved​ ​away​ ​from​ ​where​ ​it​ ​wants​ ​to​ ​be?
does​ ​the​ ​camera​ ​have​ ​a​ ​clear​ ​view​ ​of​ ​its​ ​target?​ ​ ​is​ ​the​ ​camera​ ​at​ ​a​ ​desirable​ ​distance
from​ ​its​ ​target?).​ ​ ​This​ ​shot​ ​evaluation​ ​becomes​ ​part​ ​of​ ​the​ ​state​ ​information​ ​of​ ​the​ ​vcam,
and​ ​is​ ​available​ ​for​ ​use​ ​by​ ​modules​ ​that​ ​perform​ ​actions​ ​based​ ​on​ ​shot​ ​quality​ ​(see
ClearShot,​ ​for​ ​example).
● Gaussian​ ​smoothing​ ​of​ ​camera​ ​position.

The​ ​collider​ ​uses​ ​Physics​ ​Raycasts​ ​to​ ​do​ ​these​ ​things,​ ​hence​ ​obstacles​ ​in​ ​the​ ​scene​ ​must​ ​have
collider​ ​volumes​ ​in​ ​order​ ​to​ ​be​ ​visible​ ​to​ ​the​ ​CinemachineCollider.​ ​ ​Furthermore,​ ​there​ ​is​ ​an
associated​ ​performance​ ​cost​ ​related​ ​to​ ​this.​ ​ ​If​ ​your​ ​game​ ​is​ ​such​ ​that​ ​the​ ​cost​ ​of​ ​using​ ​physics
is​ ​prohibitive,​ ​then​ ​you​ ​might​ ​prefer​ ​to​ ​implement​ ​this​ ​functionality​ ​in​ ​a​ ​different​ ​way.

CinemachineCollider
An​ ​add-on​ ​module​ ​for​ ​Cinemachine​ ​Virtual​ ​Camera​ ​that​ ​post-processes​ ​the​ ​final​ ​position​ ​of​ ​the
virtual​ ​camera.​ ​Based​ ​on​ ​the​ ​supplied​ ​settings,​ ​the​ ​Collider​ ​will​ ​attempt​ ​to​ ​preserve​ ​the​ ​line​ ​of
sight​ ​with​ ​the​ ​LookAt​ ​target​ ​of​ ​the​ ​virtual​ ​camera​ ​by​ ​moving​ ​away​ ​from​ ​objects​ ​that​ ​will​ ​obstruct
the​ ​view.

Additionally,​ ​the​ ​Collider​ ​can​ ​be​ ​used​ ​to​ ​assess​ ​the​ ​shot​ ​quality​ ​and​ ​report​ ​this​ ​as​ ​a​ ​field​ ​in​ ​the
camera​ ​State.

Setting Type Description

Collide​ ​Against LayerMask The​ ​Unity​ ​layer​ ​mask​ ​against​ ​which​ ​the​ ​collider​ ​will​ ​raycast.
Minimum​ ​Distance Single Obstacles​ ​closer​ ​to​ ​the​ ​target​ ​than​ ​this​ ​will​ ​not​ ​be​ ​seen.
From​ ​Target
Avoid​ ​Obstacles Boolean When​ ​enabled,​ ​will​ ​attempt​ ​to​ ​resolve​ ​situations​ ​where​ ​the​ ​line
 of​ ​sight​ ​to​ ​the​ ​target​ ​is​ ​blocked​ ​by​ ​an​ ​obstacle.
Distance​ ​Limit Single The​ ​maximum​ ​raycast​ ​distance​ ​when​ ​checking​ ​if​ ​the​ ​line​ ​of
sight​ ​to​ ​this​ ​camera’s​ ​target​ ​is​ ​clear.​ ​If​ ​the​ ​setting​ ​is​ ​0​ ​or​ ​less,
the​ ​current​ ​actual​ ​distance​ ​to​ ​target​ ​will​ ​be​ ​used.
Camera​ ​Radius Single Camera​ ​will​ ​try​ ​to​ ​maintain​ ​this​ ​distance​ ​from​ ​any​ ​obstacle.
Try​ ​to​ ​keep​ ​this​ ​value​ ​small.​ ​Increase​ ​it​ ​if​ ​you​ ​are​ ​seeing
inside​ ​obstacles​ ​due​ ​to​ ​a​ ​large​ ​FOV​ ​on​ ​the​ ​camera.
Strategy ResolutionSt The​ ​way​ ​in​ ​which​ ​the​ ​Collider​ ​will​ ​attempt​ ​to​ ​preserve​ ​sight​ ​of
rategy the​ ​target.
Possible​ ​Values:
-​ ​Pull​ ​Camera​ ​Forward​:​ ​Camera​ ​will​ ​be​ ​pulled​ ​forward​ ​along
its​ ​Z​ ​axis​ ​until​ ​it​ ​is​ ​in​ ​front​ ​of​ ​the​ ​nearest​ ​obstacle.
-​ ​Preserve​ ​Camera​ ​Height​:​ ​In​ ​addition​ ​to​ ​pulling​ ​the​ ​camera
forward,​ ​an​ ​effort​ ​will​ ​be​ ​made​ ​to​ ​return​ ​the​ ​camera​ ​to​ ​its
original​ ​height.
-​ ​Preserve​ ​Camera​ ​Distance​:​ ​In​ ​addition​ ​to​ ​pulling​ ​the
camera​ ​forward,​ ​an​ ​effort​ ​will​ ​be​ ​made​ ​to​ ​return​ ​the​ ​camera​ ​to
its​ ​original​ ​distance​ ​from​ ​the​ ​target.
Maximum​ ​Effort Int32 Upper​ ​limit​ ​on​ ​how​ ​many​ ​obstacle​ ​hits​ ​to​ ​process.​ ​Higher
numbers​ ​may​ ​impact​ ​performance.​ ​In​ ​most​ ​environments,​ ​4​ ​is
enough.
Damping Single The​ ​gradualness​ ​of​ ​collision​ ​resolution.​ ​Higher​ ​numbers​ ​will
move​ ​the​ ​camera​ ​more​ ​gradually​ ​away​ ​from​ ​obstructions.
Optimal​ ​Target Single If​ ​greater​ ​than​ ​zero,​ ​a​ ​higher​ ​score​ ​will​ ​be​ ​given​ ​to​ ​shots​ ​when
Distance the​ ​target​ ​is​ ​closer​ ​to​ ​this​ ​distance.​ ​Set​ ​this​ ​to​ ​zero​ ​to​ ​disable
this​ ​feature.

CinemachineConfiner
An​ ​add-on​ ​module​ ​for​ ​Cinemachine​ ​Virtual​ ​Camera​ ​that​ ​post-processes​ ​the​ ​final​ ​position​ ​of​ ​the
virtual​ ​camera.​ ​It​ ​will​ ​confine​ ​the​ ​virtual​ ​camera’s​ ​position​ ​to​ ​the​ ​volume​ ​specified​ ​in​ ​the
Bounding​ ​Volume​ ​field.

This​ ​is​ ​less​ ​resource-intensive​ ​than​ ​CinemachineCollider,​ ​but​ ​it​ ​does​ ​not​ ​perform​ ​shot
evaluation.

Setting Type Description

Bounding​ ​Volume Collider The​ ​volume​ ​within​ ​which​ ​the​ ​camera​ ​is​ ​to​ ​be​ ​contained.
Damping Single How​ ​gradually​ ​to​ ​return​ ​the​ ​camera​ ​to​ ​the​ ​bounding​ ​volume
if​ ​it​ ​goes​ ​beyond​ ​the​ ​borders.​ ​Higher​ ​numbers​ ​are​ ​more
gradual.
CinemachineClearShot
Cinemachine​ ​ClearShot​ ​is​ ​a​ ​“manager​ ​camera”​ ​that​ ​owns​ ​and​ ​manages​ ​a​ ​set​ ​of​ ​Virtual​ ​Camera
GameObject​ ​children.​ ​When​ ​Live,​ ​the​ ​ClearShot​ ​will​ ​check​ ​the​ ​children,​ ​choose​ ​the​ ​one​ ​with​ ​the
best​ ​quality​ ​shot,​ ​and​ ​make​ ​it​ ​Live.

This​ ​can​ ​be​ ​a​ ​very​ ​powerful​ ​tool.​ ​If​ ​the​ ​child​ ​cameras​ ​have​ ​CinemachineCollider​ ​extensions,
they​ ​will​ ​analyze​ ​the​ ​scene​ ​for​ ​target​ ​obstructions,​ ​optimal​ ​target​ ​distance,​ ​and​ ​other​ ​items,​ ​and
report​ ​their​ ​assessment​ ​of​ ​shot​ ​quality​ ​back​ ​to​ ​the​ ​ClearShot​ ​parent,​ ​who​ ​will​ ​then​ ​choose​ ​the
best​ ​one.​ ​You​ ​can​ ​use​ ​this​ ​to​ ​set​ ​up​ ​complex​ ​multi-camera​ ​coverage​ ​of​ ​a​ ​scene,​ ​and​ ​be
assured​ ​that​ ​a​ ​clear​ ​shot​ ​of​ ​the​ ​target​ ​will​ ​always​ ​be​ ​available.

If​ ​multiple​ ​child​ ​cameras​ ​have​ ​the​ ​same​ ​shot​ ​quality,​ ​the​ ​one​ ​with​ ​the​ ​highest​ ​priority​ ​will​ ​be
chosen.

You​ ​can​ ​also​ ​define​ ​custom​ ​blends​ ​between​ ​the​ ​ClearShot​ ​children.

Setting Type Description

Look​ ​At Transform Default​ ​object​ ​for​ ​the​ ​camera​ ​children​ ​to​ ​look​ ​at​ ​(the​ ​aim​ ​target),​ ​if
not​ ​specified​ ​in​ ​a​ ​child​ ​camera.​ ​May​ ​be​ ​empty​ ​if​ ​all​ ​children
specify​ ​targets​ ​of​ ​their​ ​own.

Follow Transform Default​ ​object​ ​for​ ​the​ ​camera​ ​children​ ​wants​ ​to​ ​move​ ​with​ ​(the
body​ ​target),​ ​if​ ​not​ ​specified​ ​in​ ​a​ ​child​ ​camera.​ ​May​ ​be​ ​empty​ ​if​ ​all
children​ ​specify​ ​targets​ ​of​ ​their​ ​own.

Show Boolean When​ ​enabled,​ ​the​ ​current​ ​child​ ​camera​ ​and​ ​blend​ ​will​ ​be
Debug​ ​Text indicated​ ​in​ ​the​ ​game​ ​window,​ ​for​ ​debugging.

Activate Single Wait​ ​this​ ​many​ ​seconds​ ​before​ ​activating​ ​a​ ​new​ ​child​ ​camera.
After

Min Single An​ ​active​ ​camera​ ​must​ ​be​ ​active​ ​for​ ​at​ ​least​ ​this​ ​many​ ​seconds,
Duration unless​ ​a​ ​higher-priority​ ​camera​ ​wants​ ​to​ ​activate.

Randomize Boolean If​ ​checked,​ ​camera​ ​choice​ ​will​ ​be​ ​randomized​ ​if​ ​multiple​ ​cameras
Choice are​ ​equally​ ​desirable.​ ​Otherwise,​ ​child​ ​list​ ​order​ ​and​ ​child​ ​camera
priority​ ​will​ ​be​ ​used.

Default CinemachineBle The​ ​blend​ ​which​ ​is​ ​used​ ​if​ ​you​ ​don’t​ ​explicitly​ ​define​ ​a​ ​blend
Blend ndDefinition between​ ​two​ ​Virtual​ ​Cameras.

Priority Int32 The​ ​priority​ ​will​ ​determine​ ​which​ ​camera​ ​becomes​ ​active​ ​based
on​ ​the​ ​state​ ​of​ ​other​ ​cameras​ ​and​ ​this​ ​camera.​ ​Higher​ ​numbers
have​ ​greater​ ​priority.
Multiple​ ​Target​ ​Objects
If​ ​you​ ​have​ ​multiple​ ​LookAt​ ​targets​ ​and​ ​you​ ​want​ ​to​ ​keep​ ​them​ ​all​ ​in​ ​the​ ​frame,​ ​Cinemachine
can​ ​do​ ​this​ ​too.​ ​ ​It’s​ ​a​ ​2-step​ ​process:

1. Define​ ​a​ ​target​ ​group.​ ​ ​This​ ​is​ ​a​ ​list​ ​of​ ​target​ ​objects,​ ​each​ ​with​ ​a​ ​weight​ ​and​ ​radius.​ ​ ​The
weight​ ​says​ ​how​ ​important​ ​the​ ​group​ ​member​ ​is,​ ​and​ ​the​ ​radius​ ​is​ ​a​ ​rough​ ​indication​ ​of
its​ ​physical​ ​size.
2. Create​ ​a​ ​vcam​ ​with​ ​a​ ​GroupComposer,​ ​and​ ​assign​ ​the​ ​LookAt​ ​target​ ​to​ ​the​ ​target​ ​group.
The​ ​GroupComposer​ ​will​ ​make​ ​sure​ ​that​ ​all​ ​group​ ​members​ ​remain​ ​in​ ​the​ ​frame.

There​ ​is​ ​a​ ​shortcut​ ​in​ ​the​ ​Cinemachine​ ​menu​ ​to​ ​set​ ​this​ ​up​ ​and​ ​get​ ​you​ ​going.

CinemachineTargetGroup
Defines​ ​a​ ​group​ ​of​ ​target​ ​objects,​ ​each​ ​with​ ​a​ ​radius​ ​and​ ​a​ ​weight.​ ​The​ ​weight​ ​is​ ​used​ ​when
calculating​ ​the​ ​average​ ​position​ ​of​ ​the​ ​target​ ​group.​ ​Higher-weighted​ ​members​ ​of​ ​the​ ​group​ ​will
count​ ​more.​ ​The​ ​bounding​ ​box​ ​is​ ​calculated​ ​by​ ​taking​ ​the​ ​member​ ​positions,​ ​weight,​ ​and​ ​radii
into​ ​account.

Setting Type Description

Position​ ​Mode PositionMode How​ ​the​ ​group’s​ ​position​ ​is​ ​calculated.​ ​Select​ ​GroupCenter​ ​for
the​ ​center​ ​of​ ​the​ ​bounding​ ​box,​ ​and​ ​GroupAverage​ ​for​ ​a
weighted​ ​average​ ​of​ ​the​ ​positions​ ​of​ ​the​ ​members.
Possible​ ​Values:
 -​ ​Group​ ​Center​:​ ​Group​ ​position​ ​will​ ​be​ ​the​ ​center​ ​of​ ​the
group’s​ ​axis-aligned​ ​bounding​ ​box.
-​ ​Group​ ​Average​:​ ​Group​ ​position​ ​will​ ​be​ ​the​ ​weighted​ ​average
of​ ​the​ ​positions​ ​of​ ​the​ ​members.
Rotation​ ​Mode RotationMode How​ ​the​ ​group’s​ ​rotation​ ​is​ ​calculated.​ ​Select​ ​Manual​ ​to​ ​use
the​ ​value​ ​in​ ​the​ ​group’s​ ​transform,​ ​and​ ​GroupAverage​ ​for​ ​a
weighted​ ​average​ ​of​ ​the​ ​orientations​ ​of​ ​the​ ​members.
Possible​ ​Values:
-​ ​Manual​:​ ​Manually​ ​set​ ​in​ ​the​ ​group’s​ ​transform.
-​ ​Group​ ​Average​:​ ​Weighted​ ​average​ ​of​ ​the​ ​orientation​ ​of​ ​its
members.
Update​ ​Method UpdateMethod When​ ​to​ ​update​ ​the​ ​group’s​ ​transform​ ​based​ ​on​ ​the​ ​positions
of​ ​the​ ​group​ ​members.
Possible​ ​Values:
-​ ​Update​:​ ​Updated​ ​in​ ​normal​ ​MonoBehaviour​ ​Update.
-​ ​Fixed​ ​Update​:​ ​Updated​ ​in​ ​sync​ ​with​ ​the​ ​Physics​ ​module,​ ​in
FixedUpdate.
-​ ​Late​ ​Update​:​ ​Updated​ ​in​ ​MonoBehaviour​ ​LateUpdate.
Targets Target[] The​ ​target​ ​objects,​ ​together​ ​with​ ​their​ ​weights​ ​and​ ​radii,​ ​that
will​ ​contribute​ ​to​ ​the​ ​group’s​ ​average​ ​position,​ ​orientation,​ ​and
size.

[Link]
Holds​ ​the​ ​information​ ​that​ ​represents​ ​a​ ​member​ ​of​ ​the​ ​group.

Setting Type Description

Target Transform The​ ​target​ ​objects.​ ​This​ ​object’s​ ​position​ ​and​ ​orientation​ ​will
contribute​ ​to​ ​the​ ​group’s​ ​average​ ​position​ ​and​ ​orientation,​ ​in
accordance​ ​with​ ​its​ ​weight.

Weight Single How​ ​much​ ​weight​ ​to​ ​give​ ​the​ ​target​ ​when​ ​averaging.​ ​Cannot​ ​be
negative.

Radius Single The​ ​radius​ ​of​ ​the​ ​target,​ ​used​ ​for​ ​calculating​ ​the​ ​bounding​ ​box.
Cannot​ ​be​ ​negative.
CinemachineGroupComposer
This​ ​is​ ​a​ ​CinemachineComponent​ ​in​ ​the​ ​Aim​ ​section​ ​of​ ​the​ ​component​ ​pipeline.​ ​Its​ ​job​ ​is​ ​to​ ​aim
the​ ​camera​ ​at​ ​a​ ​target​ ​object,​ ​with​ ​configurable​ ​offsets,​ ​damping,​ ​and​ ​composition​ ​rules.

In​ ​addition,​ ​if​ ​the​ ​target​ ​is​ ​a​ ​CinemachineTargetGroup,​ ​the​ ​behaviour​ ​will​ ​adjust​ ​the​ ​FOV​ ​and
the​ ​camera​ ​distance​ ​to​ ​ensure​ ​that​ ​the​ ​entire​ ​group​ ​of​ ​targets​ ​is​ ​framed​ ​properly.

Setting Type Description

Group​ ​Framing SingleThe​ ​bounding​ ​box​ ​of​ ​the​ ​targets​ ​should​ ​occupy​ ​this​ ​amount
Size of​ ​the​ ​screen​ ​space.​ ​1​ ​means​ ​fill​ ​the​ ​whole​ ​screen.​ ​0.5
means​ ​fill​ ​half​ ​the​ ​screen,​ ​etc.
Framing​ ​Mode FramingMode What​ ​screen​ ​dimensions​ ​to​ ​consider​ ​when​ ​framing.​ ​Can​ ​be
Horizontal,​ ​Vertical,​ ​or​ ​both.
Possible​ ​Values:
-​ ​Horizontal​:​ ​Consider​ ​only​ ​the​ ​horizontal​ ​dimension.​ ​Vertical
framing​ ​is​ ​ignored.
-​ ​Vertical​:​ ​Consider​ ​only​ ​the​ ​vertical​ ​dimension.​ ​Horizontal
framing​ ​is​ ​ignored.
-​ ​Horizontal​ ​And​ ​Vertical​:​ ​The​ ​larger​ ​of​ ​the​ ​horizontal​ ​and
vertical​ ​dimensions​ ​will​ ​dominate,​ ​to​ ​get​ ​the​ ​best​ ​fit.
Frame​ ​Damping Single How​ ​aggressively​ ​the​ ​camera​ ​tries​ ​to​ ​frame​ ​the​ ​group.​ ​Small
numbers​ ​are​ ​more​ ​responsive,​ ​rapidly​ ​adjusting​ ​the​ ​camera
to​ ​keep​ ​the​ ​group​ ​in​ ​the​ ​frame.​ ​Larger​ ​numbers​ ​give​ ​a​ ​more
heavy​ ​slowly​ ​responding​ ​camera.
Adjustment AdjustmentMo How​ ​to​ ​adjust​ ​the​ ​camera​ ​to​ ​get​ ​the​ ​desired​ ​framing.​ ​You​ ​can
Mode de zoom,​ ​dolly​ ​in/out,​ ​or​ ​do​ ​both.
Possible​ ​Values:
-​ ​Zoom​ ​Only​:​ ​Do​ ​not​ ​move​ ​the​ ​camera,​ ​only​ ​adjust​ ​the​ ​FOV.
-​ ​Dolly​ ​Only​:​ ​Just​ ​move​ ​the​ ​camera,​ ​don’t​ ​change​ ​the​ ​FOV.
-​ ​Dolly​ ​Then​ ​Zoom​:​ ​Move​ ​the​ ​camera​ ​as​ ​much​ ​as​ ​permitted
by​ ​the​ ​ranges,​ ​then​ ​adjust​ ​the​ ​FOV​ ​if​ ​necessary​ ​to​ ​make​ ​the
shot.
Max​ ​Dolly​ ​In Single The​ ​maximum​ ​distance​ ​toward​ ​the​ ​target​ ​that​ ​this​ ​behaviour
is​ ​allowed​ ​to​ ​move​ ​the​ ​camera.
Max​ ​Dolly​ ​Out Single The​ ​maximum​ ​distance​ ​away​ ​the​ ​target​ ​that​ ​this​ ​behaviour​ ​is
allowed​ ​to​ ​move​ ​the​ ​camera.
Minimum Single Set​ ​this​ ​to​ ​limit​ ​how​ ​close​ ​to​ ​the​ ​target​ ​the​ ​camera​ ​can​ ​get.
Distance
Maximum Single Set​ ​this​ ​to​ ​limit​ ​how​ ​far​ ​from​ ​the​ ​target​ ​the​ ​camera​ ​can​ ​get.
Distance
Minimum​ ​FOV Single If​ ​adjusting​ ​FOV,​ ​will​ ​not​ ​set​ ​the​ ​FOV​ ​lower​ ​than​ ​this.
Maximum​ ​FOV Single If​ ​adjusting​ ​FOV,​ ​will​ ​not​ ​set​ ​the​ ​FOV​ ​higher​ ​than​ ​this.
Minimum​ ​Ortho Single If​ ​adjusting​ ​Orthographic​ ​Size,​ ​will​ ​not​ ​set​ ​it​ ​lower​ ​than​ ​this.
Size
Maximum​ ​Ortho Single If​ ​adjusting​ ​Orthographic​ ​Size,​ ​will​ ​not​ ​set​ ​it​ ​higher​ ​than​ ​this.
Size
Tracked​ ​Object Vector3 Target​ ​offset​ ​from​ ​the​ ​target​ ​object’s​ ​center​ ​in​ ​target-local
Offset space.​ ​Use​ ​this​ ​to​ ​fine-tune​ ​the​ ​tracking​ ​target​ ​position​ ​when
the​ ​desired​ ​area​ ​is​ ​not​ ​the​ ​tracked​ ​object’s​ ​center.
Lookahead​ ​Time Single This​ ​setting​ ​will​ ​instruct​ ​the​ ​composer​ ​to​ ​adjust​ ​its​ ​target
offset​ ​based​ ​on​ ​the​ ​motion​ ​of​ ​the​ ​target.​ ​The​ ​composer​ ​will
look​ ​at​ ​a​ ​point​ ​where​ ​it​ ​estimates​ ​the​ ​target​ ​will​ ​be​ ​this​ ​many
seconds​ ​into​ ​the​ ​future.​ ​Note​ ​that​ ​this​ ​setting​ ​is​ ​sensitive​ ​to
noisy​ ​animation,​ ​and​ ​can​ ​amplify​ ​the​ ​noise,​ ​resulting​ ​in
undesirable​ ​camera​ ​jitter.​ ​If​ ​the​ ​camera​ ​jitters​ ​unacceptably
when​ ​the​ ​target​ ​is​ ​in​ ​motion,​ ​turn​ ​down​ ​this​ ​setting,​ ​or
animate​ ​the​ ​target​ ​more​ ​smoothly.
Horizontal Single How​ ​aggressively​ ​the​ ​camera​ ​tries​ ​to​ ​follow​ ​the​ ​target​ ​in​ ​the
Damping screen-horizontal​ ​direction.​ ​Small​ ​numbers​ ​are​ ​more
responsive,​ ​rapidly​ ​orienting​ ​the​ ​camera​ ​to​ ​keep​ ​the​ ​target​ ​in
the​ ​dead​ ​zone.​ ​Larger​ ​numbers​ ​give​ ​a​ ​more​ ​heavy​ ​slowly
responding​ ​camera.​ ​Using​ ​different​ ​vertical​ ​and​ ​horizontal
settings​ ​can​ ​yield​ ​a​ ​wide​ ​range​ ​of​ ​camera​ ​behaviors.
Vertical​ ​Damping Single How​ ​aggressively​ ​the​ ​camera​ ​tries​ ​to​ ​follow​ ​the​ ​target​ ​in​ ​the
screen-vertical​ ​direction.​ ​Small​ ​numbers​ ​are​ ​more
responsive,​ ​rapidly​ ​orienting​ ​the​ ​camera​ ​to​ ​keep​ ​the​ ​target​ ​in
the​ ​dead​ ​zone.​ ​Larger​ ​numbers​ ​give​ ​a​ ​more​ ​heavy​ ​slowly
responding​ ​camera.​ ​Using​ ​different​ ​vertical​ ​and​ ​horizontal
settings​ ​can​ ​yield​ ​a​ ​wide​ ​range​ ​of​ ​camera​ ​behaviors.
Screen​ ​X Single Horizontal​ ​screen​ ​position​ ​for​ ​target.​ ​The​ ​camera​ ​will​ ​rotate
to​ ​position​ ​the​ ​tracked​ ​object​ ​here.
Screen​ ​Y Single Vertical​ ​screen​ ​position​ ​for​ ​target,​ ​The​ ​camera​ ​will​ ​rotate​ ​to
position​ ​the​ ​tracked​ ​object​ ​here.
Dead​ ​Zone​ ​Width Single Camera​ ​will​ ​not​ ​rotate​ ​horizontally​ ​if​ ​the​ ​target​ ​is​ ​within​ ​this
range​ ​of​ ​the​ ​position.
Dead​ ​Zone Single Camera​ ​will​ ​not​ ​rotate​ ​vertically​ ​if​ ​the​ ​target​ ​is​ ​within​ ​this
Height range​ ​of​ ​the​ ​position.
Soft​ ​Zone​ ​Width Single When​ ​target​ ​is​ ​within​ ​this​ ​region,​ ​camera​ ​will​ ​gradually​ ​rotate
horizontally​ ​to​ ​re-align​ ​towards​ ​the​ ​desired​ ​position,
depending​ ​on​ ​the​ ​damping​ ​speed.
Soft​ ​Zone​ ​Height Single When​ ​target​ ​is​ ​within​ ​this​ ​region,​ ​camera​ ​will​ ​gradually​ ​rotate
vertically​ ​to​ ​re-align​ ​towards​ ​the​ ​desired​ ​position,​ ​depending
on​ ​the​ ​damping​ ​speed.
Bias​ ​X Single A​ ​non-zero​ ​bias​ ​will​ ​move​ ​the​ ​target​ ​position​ ​horizontally
away​ ​from​ ​the​ ​center​ ​of​ ​the​ ​soft​ ​zone.
Bias​ ​Y Single A​ ​non-zero​ ​bias​ ​will​ ​move​ ​the​ ​target​ ​position​ ​vertically​ ​away
from​ ​the​ ​center​ ​of​ ​the​ ​soft​ ​zone.
2D​ ​Environments
Cinemachine​ ​supports​ ​Orthographic​ ​cameras.​ ​ ​When​ ​you​ ​set​ ​the​ ​Unity​ ​Camera’s​ ​style​ ​to
Orthographic,​ ​Cinemachine​ ​will​ ​adjust​ ​to​ ​accommodate​ ​it.​ ​ ​FOV​ ​will​ ​be​ ​replaced​ ​by
Orthographic​ ​Size​ ​in​ ​the​ ​Lens​ ​settings.​ ​ ​Note​ ​that​ ​settings​ ​related​ ​to​ ​FOV​ ​and​ ​certain
FOV-oriented​ ​behaviours​ ​such​ ​as​ ​FollowZoom​ ​will​ ​not​ ​have​ ​any​ ​effect​ ​if​ ​the​ ​camera​ ​is
orthographic.

In​ ​orthographic​ ​environments,​ ​it​ ​doesn’t​ ​usually​ ​make​ ​sense​ ​to​ ​rotate​ ​the​ ​camera.​ ​ ​Accordingly,
Cinemachine​ ​has​ ​a​ ​special​ ​transposer​ ​that​ ​handles​ ​framing​ ​and​ ​composition​ ​without​ ​rotating
the​ ​camera.

CinemachineFramingTransposer
This​ ​is​ ​a​ ​Cinemachine​ ​Component​ ​in​ ​the​ ​Body​ ​section​ ​of​ ​the​ ​component​ ​pipeline.​ ​Its​ ​job​ ​is​ ​to
position​ ​the​ ​camera​ ​in​ ​a​ ​fixed​ ​screen-space​ ​relationship​ ​to​ ​the​ ​vcam’s​ ​Follow​ ​target​ ​object,​ ​with
offsets​ ​and​ ​damping.

The​ ​camera​ ​will​ ​be​ ​first​ ​moved​ ​along​ ​the​ ​camera​ ​Z​ ​axis​ ​until​ ​the​ ​Follow​ ​target​ ​is​ ​at​ ​the​ ​desired
distance​ ​from​ ​the​ ​camera’s​ ​X-Y​ ​plane.​ ​The​ ​camera​ ​will​ ​then​ ​be​ ​moved​ ​in​ ​its​ ​XY​ ​plane​ ​until​ ​the
Follow​ ​target​ ​is​ ​at​ ​the​ ​desired​ ​point​ ​on​ ​the​ ​camera’s​ ​screen.

The​ ​FramingTansposer​ ​will​ ​only​ ​change​ ​the​ ​camera’s​ ​position​ ​in​ ​space.​ ​It​ ​will​ ​not​ ​re-orient​ ​or
otherwise​ ​aim​ ​the​ ​camera.

For​ ​this​ ​component​ ​to​ ​work​ ​properly,​ ​the​ ​vcam's​ ​LookAt​ ​target​ ​must​ ​be​ ​null.

If​ ​the​ ​Follow​ ​target​ ​is​ ​a​ ​CinemachineTargetGroup,​ ​then​ ​additional​ ​controls​ ​will​ ​be​ ​available​ ​to
dynamically​ ​adjust​ ​the​ ​camera’s​ ​view​ ​in​ ​order​ ​to​ ​frame​ ​the​ ​entire​ ​group.

Although​ ​this​ ​component​ ​was​ ​designed​ ​for​ ​orthographic​ ​cameras,​ ​it​ ​works​ ​equally​ ​well​ ​with
persective​ ​cameras​ ​and​ ​can​ ​be​ ​used​ ​in​ ​3D​ ​environments.

Setting Type Description

X​ ​Damping Single How​ ​aggressively​ ​the​ ​camera​ ​tries​ ​to​ ​maintain​ ​the​ ​offset​ ​in​ ​the​ ​X-axis.
Small​ ​numbers​ ​are​ ​more​ ​responsive,​ ​rapidly​ ​translating​ ​the​ ​camera​ ​to
keep​ ​the​ ​target’s​ ​x-axis​ ​offset.​ ​Larger​ ​numbers​ ​give​ ​a​ ​more​ ​heavy
slowly​ ​responding​ ​camera.​ ​Using​ ​different​ ​settings​ ​per​ ​axis​ ​can​ ​yield​ ​a
wide​ ​range​ ​of​ ​camera​ ​behaviors.
Y​ ​Damping Single How​ ​aggressively​ ​the​ ​camera​ ​tries​ ​to​ ​maintain​ ​the​ ​offset​ ​in​ ​the​ ​Y-axis.
Small​ ​numbers​ ​are​ ​more​ ​responsive,​ ​rapidly​ ​translating​ ​the​ ​camera​ ​to
 keep​ ​the​ ​target’s​ ​y-axis​ ​offset.​ ​Larger​ ​numbers​ ​give​ ​a​ ​more​ ​heavy
slowly​ ​responding​ ​camera.​ ​Using​ ​different​ ​settings​ ​per​ ​axis​ ​can​ ​yield​ ​a
wide​ ​range​ ​of​ ​camera​ ​behaviors.
Z​ ​Damping Single How​ ​aggressively​ ​the​ ​camera​ ​tries​ ​to​ ​maintain​ ​the​ ​offset​ ​in​ ​the​ ​Z-axis.
Small​ ​numbers​ ​are​ ​more​ ​responsive,​ ​rapidly​ ​translating​ ​the​ ​camera​ ​to
keep​ ​the​ ​target’s​ ​z-axis​ ​offset.​ ​Larger​ ​numbers​ ​give​ ​a​ ​more​ ​heavy
slowly​ ​responding​ ​camera.​ ​Using​ ​different​ ​settings​ ​per​ ​axis​ ​can​ ​yield​ ​a
wide​ ​range​ ​of​ ​camera​ ​behaviors.
Screen​ ​X Single Horizontal​ ​screen​ ​position​ ​for​ ​target.​ ​The​ ​camera​ ​will​ ​move​ ​to​ ​position
the​ ​tracked​ ​object​ ​here.
Screen​ ​Y Single Vertical​ ​screen​ ​position​ ​for​ ​target,​ ​The​ ​camera​ ​will​ ​move​ ​to​ ​position
the​ ​tracked​ ​object​ ​here.
Camera Single The​ ​distance​ ​along​ ​the​ ​camera​ ​axis​ ​that​ ​will​ ​be​ ​maintained​ ​from​ ​the
Distance Follow​ ​target.
Dead​ ​Zone Single Camera​ ​will​ ​not​ ​move​ ​horizontally​ ​if​ ​the​ ​target​ ​is​ ​within​ ​this​ ​range​ ​of
Width the​ ​position.
Dead​ ​Zone Single Camera​ ​will​ ​not​ ​move​ ​vertically​ ​if​ ​the​ ​target​ ​is​ ​within​ ​this​ ​range​ ​of​ ​the
Height position.
Dead​ ​Zone Single The​ ​camera​ ​will​ ​not​ ​move​ ​along​ ​its​ ​z-axis​ ​if​ ​the​ ​Follow​ ​target​ ​is​ ​within
Depth this​ ​distance​ ​of​ ​the​ ​specified​ ​camera​ ​distance.
Unlimited Boolean If​ ​checked,​ ​then​ ​then​ ​soft​ ​zone​ ​will​ ​be​ ​unlimited​ ​in​ ​size.
Soft​ ​Zone
Soft​ ​Zone When​ ​target​ ​is​ ​within​ ​this​ ​region,​ ​camera​ ​will​ ​gradually​ ​move
Single
Width horizontally​ ​to​ ​re-align​ ​towards​ ​the​ ​desired​ ​position,​ ​depending​ ​on​ ​the
damping​ ​speed.
Soft​ ​Zone Single When​ ​target​ ​is​ ​within​ ​this​ ​region,​ ​camera​ ​will​ ​gradually​ ​move​ ​vertically
Height to​ ​re-align​ ​towards​ ​the​ ​desired​ ​position,​ ​depending​ ​on​ ​the​ ​damping
speed.
Bias​ ​X Single A​ ​non-zero​ ​bias​ ​will​ ​move​ ​the​ ​target​ ​position​ ​horizontally​ ​away​ ​from
the​ ​center​ ​of​ ​the​ ​soft​ ​zone.
Bias​ ​Y Single A​ ​non-zero​ ​bias​ ​will​ ​move​ ​the​ ​target​ ​position​ ​vertically​ ​away​ ​from​ ​the
center​ ​of​ ​the​ ​soft​ ​zone.
Group FramingM What​ ​screen​ ​dimensions​ ​to​ ​consider​ ​when​ ​framing.​ ​Can​ ​be​ ​Horizontal,
Framing ode Vertical,​ ​or​ ​both.
Mode Possible​ ​Values:
-​ ​Horizontal​:​ ​Consider​ ​only​ ​the​ ​horizontal​ ​dimension.​ ​Vertical​ ​framing
is​ ​ignored.
-​ ​Vertical​:​ ​Consider​ ​only​ ​the​ ​vertical​ ​dimension.​ ​Horizontal​ ​framing​ ​is
ignored.
-​ ​Horizontal​ ​And​ ​Vertical​:​ ​The​ ​larger​ ​of​ ​the​ ​horizontal​ ​and​ ​vertical
dimensions​ ​will​ ​dominate,​ ​to​ ​get​ ​the​ ​best​ ​fit.
-​ ​None​:​ ​Don’t​ ​do​ ​any​ ​framing​ ​adjustment.
Adjustment Adjustmen How​ ​to​ ​adjust​ ​the​ ​camera​ ​to​ ​get​ ​the​ ​desired​ ​framing.​ ​You​ ​can​ ​zoom,
Mode tMode dolly​ ​in/out,​ ​or​ ​do​ ​both.
Possible​ ​Values:
-​ ​Zoom​ ​Only​:​ ​Do​ ​not​ ​move​ ​the​ ​camera,​ ​only​ ​adjust​ ​the​ ​FOV.
-​ ​Dolly​ ​Only​:​ ​Just​ ​move​ ​the​ ​camera,​ ​don’t​ ​change​ ​the​ ​FOV.
 -​ ​Dolly​ ​Then​ ​Zoom​:​ ​Move​ ​the​ ​camera​ ​as​ ​much​ ​as​ ​permitted​ ​by​ ​the
ranges,​ ​then​ ​adjust​ ​the​ ​FOV​ ​if​ ​necessary​ ​to​ ​make​ ​the​ ​shot.
Group Single The​ ​bounding​ ​box​ ​of​ ​the​ ​targets​ ​should​ ​occupy​ ​this​ ​amount​ ​of​ ​the
Framing​ ​Size screen​ ​space.​ ​1​ ​means​ ​fill​ ​the​ ​whole​ ​screen.​ ​0.5​ ​means​ ​fill​ ​half​ ​the
screen,​ ​etc.
Max​ ​Dolly​ ​In Single The​ ​maximum​ ​distance​ ​toward​ ​the​ ​target​ ​that​ ​this​ ​behaviour​ ​is​ ​allowed
to​ ​move​ ​the​ ​camera.
Max​ ​Dolly Single The​ ​maximum​ ​distance​ ​away​ ​the​ ​target​ ​that​ ​this​ ​behaviour​ ​is​ ​allowed
Out to​ ​move​ ​the​ ​camera.
Minimum Single Set​ ​this​ ​to​ ​limit​ ​how​ ​close​ ​to​ ​the​ ​target​ ​the​ ​camera​ ​can​ ​get.
Distance
Maximum Single Set​ ​this​ ​to​ ​limit​ ​how​ ​far​ ​from​ ​the​ ​target​ ​the​ ​camera​ ​can​ ​get.
Distance
Minimum Single If​ ​adjusting​ ​FOV,​ ​will​ ​not​ ​set​ ​the​ ​FOV​ ​lower​ ​than​ ​this.
FOV
Maximum Single If​ ​adjusting​ ​FOV,​ ​will​ ​not​ ​set​ ​the​ ​FOV​ ​higher​ ​than​ ​this.
FOV
Minimum Single If​ ​adjusting​ ​Orthographic​ ​Size,​ ​will​ ​not​ ​set​ ​it​ ​lower​ ​than​ ​this.
Ortho​ ​Size
Maximum Single If​ ​adjusting​ ​Orthographic​ ​Size,​ ​will​ ​not​ ​set​ ​it​ ​higher​ ​than​ ​this.
Ortho​ ​Size
Post-Processing​ ​Stack​ ​V1
If​ ​you​ ​have​ ​Unity’s​ ​Post-Processing​ ​Stack​ ​as​ ​an​ ​asset​ ​in​ ​your​ ​project​ ​(and​ ​if​ ​you​ ​don’t,​ ​you
should,​ ​because​ ​this​ ​is​ ​an​ ​amazing​ ​tool​ ​that​ ​gives​ ​world-class​ ​results),​ ​you​ ​can​ ​easily​ ​assign
custom​ ​post-effects​ ​to​ ​any​ ​shot​ ​in​ ​your​ ​scene,​ ​even​ ​though​ ​it’s​ ​a​ ​virtual​ ​camera​ ​and​ ​not​ ​a​ ​real
one.

This​ ​section​ ​describes​ ​the​ ​use​ ​of​ ​Post​ ​Processing​ ​stack​ ​V1.​ ​ ​If​ ​you​ ​have​ ​Post​ ​Processing​ ​V2,
see​ ​the​ ​section​ ​below.

Just​ ​define​ ​a​ ​Post-Processing​ ​profile​ ​for​ ​your​ ​vcam,​ ​and​ ​connect​ ​it​ ​by​ ​attaching​ ​a
CinemachinePostFX​ ​component​ ​to​ ​your​ ​vcam.​ ​ ​To​ ​complete​ ​the​ ​connection,​ ​you​ ​will​ ​also​ ​need
a​ ​CinemachinePostFX​ ​component​ ​on​ ​the​ ​Unity​ ​camera,​ ​alongside​ ​the​ ​CinemachineBrain.
That’s​ ​all​ ​you​ ​have​ ​to​ ​do.​ ​ ​Now,​ ​whenever​ ​the​ ​vcam​ ​is​ ​activated,​ ​its​ ​custom​ ​Post-Processing
profile​ ​will​ ​be​ ​applied​ ​to​ ​the​ ​Unity​ ​camera.

CinemachinePostFX
This​ ​behaviour​ ​is​ ​a​ ​liaison​ ​between​ ​Cinemachine​ ​with​ ​the​ ​Post-Processing​ ​module.​ ​You​ ​must
have​ ​the​ ​Post-Processing​ ​Stack​ ​unity​ ​package​ ​installed​ ​in​ ​order​ ​to​ ​use​ ​this​ ​behaviour.

It’s​ ​used​ ​in​ ​2​ ​ways:

● As​ ​a​ ​component​ ​on​ ​the​ ​Unity​ ​Camera:​ ​it​ ​serves​ ​as​ ​the​ ​liaison​ ​between​ ​the​ ​camera’s
CinemachineBrain​ ​and​ ​the​ ​camera’s​ ​Post-Processing​ ​behaviour.​ ​It​ ​listens​ ​for​ ​camera​ ​Cut
events​ ​and​ ​resets​ ​the​ ​Post-Processing​ ​stack​ ​when​ ​they​ ​occur.​ ​If​ ​you​ ​are​ ​using
Post-Processing,​ ​then​ ​you​ ​should​ ​add​ ​this​ ​behaviour​ ​to​ ​your​ ​camera​ ​alongside​ ​the
CinemachineBrain,​ ​always.

● As​ ​a​ ​component​ ​on​ ​the​ ​Virtual​ ​Camera:​ ​In​ ​this​ ​capacity,​ ​it​ ​holds​ ​a​ ​Post-Processing​ ​Profile
asset​ ​that​ ​will​ ​be​ ​applied​ ​to​ ​the​ ​camera​ ​whenever​ ​the​ ​Virtual​ ​camera​ ​is​ ​live.​ ​It​ ​also​ ​has
the​ ​(temporary)​ ​optional​ ​functionality​ ​of​ ​animating​ ​the​ ​Focus​ ​Distance​ ​and​ ​DepthOfField
properties​ ​of​ ​the​ ​Camera​ ​State,​ ​and​ ​applying​ ​them​ ​to​ ​the​ ​current​ ​Post-Processing​ ​profile.

Setting Type Description

Profile PostProcessingProfile When​ ​this​ ​behaviour​ ​is​ ​on​ ​a​ ​Unity​ ​Camera,​ ​this​ ​setting
is​ ​the​ ​default​ ​Post-Processing​ ​profile​ ​for​ ​the​ ​camera,
and​ ​will​ ​be​ ​applied​ ​whenever​ ​it​ ​is​ ​not​ ​overridden​ ​by​ ​a
virtual​ ​camera.​ ​When​ ​the​ ​behaviour​ ​is​ ​on​ ​a​ ​virtual
camera,​ ​then​ ​this​ ​is​ ​the​ ​Post-Processing​ ​profile​ ​that
will​ ​become​ ​active​ ​whenever​ ​this​ ​virtual​ ​camera​ ​is
live.
Focus​ ​Tracks Boolean If​ ​checked,​ ​then​ ​the​ ​Focus​ ​Distance​ ​will​ ​be​ ​set​ ​to​ ​the
Target distance​ ​between​ ​the​ ​camera​ ​and​ ​the​ ​LookAt​ ​target.

Focus​ ​Offset Single Offset​ ​from​ ​target​ ​distance,​ ​to​ ​be​ ​used​ ​with​ ​Focus
Tracks​ ​Target.
Post​ ​Processing​ ​Stack​ ​V2
Just​ ​define​ ​a​ ​Post-Processing​ ​profile​ ​for​ ​your​ ​vcam,​ ​and​ ​connect​ ​it​ ​by​ ​attaching​ ​a
CinemachinePostProcessing​ ​extension​ ​to​ ​your​ ​vcam.​ ​ ​To​ ​complete​ ​the​ ​connection,​ ​you​ ​will
also​ ​need​ ​a​ ​PostProcessingLayer​ ​component​ ​on​ ​the​ ​Unity​ ​camera,​ ​alongside​ ​the
CinemachineBrain.​ ​ ​Make​ ​sure​ ​that​ ​the​ ​PostProcessingLayer​ ​is​ ​configured​ ​to​ ​see​ ​the​ ​layer​ ​that
the​ ​vcams​ ​are​ ​on.

That’s​ ​all​ ​you​ ​have​ ​to​ ​do.​ ​ ​Now,​ ​whenever​ ​the​ ​vcam​ ​is​ ​activated,​ ​its​ ​custom​ ​Post-Processing
profile​ ​will​ ​be​ ​applied​ ​to​ ​the​ ​Unity​ ​camera.​ ​ ​If​ ​the​ ​camera​ ​is​ ​blending​ ​with​ ​another​ ​vcam,​ ​then​ ​the
blend​ ​weight​ ​will​ ​be​ ​applied​ ​to​ ​the​ ​Post​ ​Processing​ ​effects​ ​also.

CinemachinePostProcessing
This​ ​behaviour​ ​is​ ​a​ ​liaison​ ​between​ ​Cinemachine​ ​with​ ​the​ ​Post-Processing​ ​V2​ ​module.​ ​You
must​ ​have​ ​the​ ​Post-Processing​ ​Stack​ ​V2​ ​unity​ ​package​ ​installed​ ​in​ ​order​ ​to​ ​use​ ​this​ ​behaviour.

As​ ​a​ ​component​ ​on​ ​the​ ​Virtual​ ​Camera,​ ​it​ ​holds​ ​a​ ​Post-Processing​ ​Profile​ ​asset​ ​that​ ​will​ ​be
applied​ ​to​ ​the​ ​camera​ ​whenever​ ​the​ ​Virtual​ ​camera​ ​is​ ​live.​ ​It​ ​also​ ​has​ ​the​ ​optional​ ​functionality
of​ ​animating​ ​the​ ​Focus​ ​Distance​ ​and​ ​DepthOfField​ ​properties​ ​of​ ​the​ ​Camera​ ​State,​ ​and
applying​ ​them​ ​to​ ​the​ ​current​ ​Post-Processing​ ​profile.

Setting Type Description

Profile PostProcessingProfile When​ ​this​ ​behaviour​ ​is​ ​on​ ​a​ ​Unity​ ​Camera,​ ​this​ ​setting
is​ ​the​ ​default​ ​Post-Processing​ ​profile​ ​for​ ​the​ ​camera,
and​ ​will​ ​be​ ​applied​ ​whenever​ ​it​ ​is​ ​not​ ​overridden​ ​by​ ​a
virtual​ ​camera.​ ​When​ ​the​ ​behaviour​ ​is​ ​on​ ​a​ ​virtual
camera,​ ​then​ ​this​ ​is​ ​the​ ​Post-Processing​ ​profile​ ​that
will​ ​become​ ​active​ ​whenever​ ​this​ ​virtual​ ​camera​ ​is
live.

Focus​ ​Tracks Boolean If​ ​checked,​ ​then​ ​the​ ​Focus​ ​Distance​ ​will​ ​be​ ​set​ ​to​ ​the
Target distance​ ​between​ ​the​ ​camera​ ​and​ ​the​ ​LookAt​ ​target.

Focus​ ​Offset Single Offset​ ​from​ ​target​ ​distance,​ ​to​ ​be​ ​used​ ​with​ ​Focus
Tracks​ ​Target.
And​ ​the​ ​Rest

CinemachineFollowZoom
An​ ​add-on​ ​module​ ​for​ ​Cinemachine​ ​Virtual​ ​Camera​ ​that​ ​adjusts​ ​the​ ​FOV​ ​of​ ​the​ ​lens​ ​to​ ​keep​ ​the
target​ ​object​ ​at​ ​a​ ​constant​ ​size​ ​on​ ​the​ ​screen,​ ​regardless​ ​of​ ​camera​ ​and​ ​target​ ​position.

Setting Type Description

Width Single The​ ​shot​ ​width​ ​to​ ​maintain,​ ​in​ ​world​ ​units,​ ​at​ ​target​ ​distance.

Damping Single Increase​ ​this​ ​value​ ​to​ ​soften​ ​the​ ​aggressiveness​ ​of​ ​the
follow-zoom.​ ​Small​ ​numbers​ ​are​ ​more​ ​responsive,​ ​larger​ ​numbers
give​ ​a​ ​more​ ​heavy​ ​slowly​ ​responding​ ​camera.

Min​ ​FOV Single Lower​ ​limit​ ​for​ ​the​ ​FOV​ ​that​ ​this​ ​behaviour​ ​will​ ​generate.

Max​ ​FOV Single Upper​ ​limit​ ​for​ ​the​ ​FOV​ ​that​ ​this​ ​behaviour​ ​will​ ​generate.

CinemachineDollyCart
This​ ​is​ ​a​ ​very​ ​simple​ ​behaviour​ ​that​ ​constrains​ ​its​ ​transform​ ​to​ ​a​ ​CinemachinePath.​ ​It​ ​can​ ​be
used​ ​to​ ​animate​ ​any​ ​objects​ ​along​ ​a​ ​path,​ ​or​ ​as​ ​a​ ​Follow​ ​target​ ​for​ ​Cinemachine​ ​Virtual
Cameras.

Setting Type Description

Path CinemachinePath The​ ​path​ ​to​ ​follow.

Base
Update​ ​Method UpdateMethod When​ ​to​ ​move​ ​the​ ​cart,​ ​if​ ​Velocity​ ​is​ ​non-zero.
Possible​ ​Values:
-​ ​Update​:​ ​Updated​ ​in​ ​normal​ ​MonoBehaviour​ ​Update.
-​ ​Fixed​ ​Update​:​ ​Updated​ ​in​ ​sync​ ​with​ ​the​ ​Physics
module,​ ​in​ ​FixedUpdate.
Position​ ​Units PositionUnits How​ ​to​ ​interpret​ ​the​ ​Path​ ​Position.​ ​If​ ​set​ ​to​ ​Path​ ​Units,
values​ ​are​ ​as​ ​follows:​ ​0​ ​represents​ ​the​ ​first​ ​waypoint​ ​on
the​ ​path,​ ​1​ ​is​ ​the​ ​second,​ ​and​ ​so​ ​on.​ ​Values​ ​in-between
are​ ​points​ ​on​ ​the​ ​path​ ​in​ ​between​ ​the​ ​waypoints.​ ​If​ ​set​ ​to
Distance,​ ​then​ ​Path​ ​Position​ ​represents​ ​distance​ ​along
the​ ​path.
Possible​ ​Values:
-​ ​Path​ ​Units​:​ ​Use​ ​PathPosition​ ​units,​ ​where​ ​0​ ​is​ ​first
waypoint,​ ​1​ ​is​ ​second​ ​waypoint,​ ​etc.
 -​ ​Distance​:​ ​Use​ ​Distance​ ​Along​ ​Path.​ ​Path​ ​will​ ​be
sampled​ ​according​ ​to​ ​its​ ​Resolution​ ​setting,​ ​and​ ​a
distance​ ​lookup​ ​table​ ​will​ ​be​ ​cached​ ​internally.
Speed Single Move​ ​the​ ​cart​ ​with​ ​this​ ​speed.​ ​The​ ​value​ ​is​ ​interpreted
according​ ​to​ ​the​ ​Position​ ​Units​ ​setting.
Position Single The​ ​position​ ​along​ ​the​ ​path​ ​at​ ​which​ ​the​ ​cart​ ​will​ ​be
placed.​ ​This​ ​can​ ​be​ ​animated​ ​directly​ ​or,​ ​if​ ​the​ ​speed​ ​is
non-zero,​ ​will​ ​be​ ​updated​ ​automatically.​ ​The​ ​value​ ​is
interpreted​ ​according​ ​to​ ​the​ ​Position​ ​Units​ ​setting.

CinemachineMixingCamera
CinemachineMixingCamera​ ​is​ ​a​ ​“manager​ ​camera”​ ​that​ ​takes​ ​on​ ​the​ ​state​ ​of​ ​the​ ​weighted
average​ ​of​ ​the​ ​states​ ​of​ ​its​ ​child​ ​virtual​ ​cameras.

A​ ​fixed​ ​number​ ​of​ ​slots​ ​are​ ​made​ ​available​ ​for​ ​cameras,​ ​rather​ ​than​ ​a​ ​dynamic​ ​array.​ ​We​ ​do​ ​it
this​ ​way​ ​in​ ​order​ ​to​ ​support​ ​weight​ ​animation​ ​from​ ​the​ ​Timeline.​ ​Timeline​ ​cannot​ ​animate​ ​array
elements.

Setting Type Description

Weight​ ​0 Single The​ ​weight​ ​of​ ​the​ ​first​ ​tracked​ ​camera.

Weight​ ​1 Single The​ ​weight​ ​of​ ​the​ ​second​ ​tracked​ ​camera.
Weight​ ​2 Single The​ ​weight​ ​of​ ​the​ ​third​ ​tracked​ ​camera.
Weight​ ​3 Single The​ ​weight​ ​of​ ​the​ ​fourth​ ​tracked​ ​camera.
Weight​ ​4 Single The​ ​weight​ ​of​ ​the​ ​fifth​ ​tracked​ ​camera.
Weight​ ​5 Single The​ ​weight​ ​of​ ​the​ ​sixth​ ​tracked​ ​camera.
Weight​ ​6 Single The​ ​weight​ ​of​ ​the​ ​seventh​ ​tracked​ ​camera.
Weight​ ​7 Single The​ ​weight​ ​of​ ​the​ ​eighth​ ​tracked​ ​camera.
Priority Int32 The​ ​priority​ ​will​ ​determine​ ​which​ ​camera​ ​becomes​ ​active​ ​based​ ​on
the​ ​state​ ​of​ ​other​ ​cameras​ ​and​ ​this​ ​camera.​ ​Higher​ ​numbers​ ​have
greater​ ​priority.

CinemachineExternalCamera
This​ ​component​ ​will​ ​expose​ ​a​ ​non-Cinemachine​ ​camera​ ​to​ ​the​ ​Cinemachine​ ​system,​ ​allowing​ ​it
to​ ​participate​ ​in​ ​blends.​ ​Just​ ​add​ ​it​ ​as​ ​a​ ​component​ ​alongside​ ​an​ ​existing​ ​Unity​ ​Camera
component.

Setting Type Description

Priority Int32 The​ ​priority​ ​will​ ​determine​ ​which​ ​camera​ ​becomes​ ​active​ ​based​ ​on
the​ ​state​ ​of​ ​other​ ​cameras​ ​and​ ​this​ ​camera.​ ​Higher​ ​numbers​ ​have
 greater​ ​priority.

SaveDuringPlay
Cameras​ ​need​ ​to​ ​be​ ​tweaked​ ​in​ ​context​ ​-​ ​often​ ​that​ ​means​ ​while​ ​the​ ​game​ ​is​ ​playing.​ ​ ​Normally,
Unity​ ​does​ ​not​ ​propagate​ ​those​ ​changes​ ​to​ ​the​ ​scene​ ​once​ ​play​ ​mode​ ​is​ ​exited.​ ​ ​Cinemachine
has​ ​implemented​ ​a​ ​special​ ​feature​ ​to​ ​preserve​ ​parameter​ ​tweaks​ ​made​ ​during​ ​game​ ​play.​ ​ ​It
won’t​ ​save​ ​structural​ ​changes​ ​(like​ ​adding​ ​or​ ​removing​ ​a​ ​behaviour),​ ​but​ ​it​ ​will​ ​keep​ ​the​ ​tweaks.
Cinemachine​ ​behaviours​ ​have​ ​a​ ​special​ ​attribute​​ ​[SaveDuringPlay]​​ ​to​ ​enable​ ​this​ ​functionality.
Feel​ ​free​ ​to​ ​use​ ​it​ ​on​ ​your​ ​own​ ​scripts​ ​too​ ​if​ ​you​ ​need​ ​it.

It​ ​works​ ​by​ ​scanning​ ​the​ ​scene​ ​after​ ​Play​ ​exits​ ​and​ ​applying​ ​any​ ​changed​ ​parameters​ ​back​ ​to
the​ ​scene.​ ​ ​This​ ​kicks​ ​in​ ​a​ ​second​ ​or​ ​so​ ​after​ ​exit.​ ​ ​You​ ​can​ ​always​ ​hit​ ​Undo​ ​to​ ​revert​ ​the
changes.

If​ ​there​ ​are​ ​specific​ ​settings​ ​within​ ​a​ ​behaviour​ ​that​ ​you​ ​want​ ​to​ ​exclude​ ​from​ ​Play-Mode​ ​save,
you​ ​can​ ​add​ ​the​​ ​[NoSaveDuringPlay]​​ ​attribute​ ​to​ ​them,​ ​and​ ​they​ ​will​ ​be​ ​skipped.

This​ ​feature​ ​can​ ​be​ ​enabled​ ​by​ ​checking​ ​the​ ​Save​ ​During​ ​Play​​ ​checkbox​ ​on​ ​any​ ​Virtual
Camera​ ​inspector.​ ​ ​This​ ​is​ ​a​ ​static​ ​global​ ​setting,​ ​not​ ​per-camera,​ ​so​ ​you​ ​only​ ​need​ ​to​ ​check​ ​it
once.
Timeline​ ​Integration
1. Drag​ ​a​ ​Cinemachine-enabled​ ​Unity​ ​camera​ ​(i.e.​ ​one​ ​with​ ​a​ ​CinemachineBrain
component)​ ​onto​ ​the​ ​timeline,​ ​select​ ​Create​ ​Cinemachine​ ​Track​​ ​from​ ​the​ ​popup​ ​menu.
2. The​ ​Cinemachine​ ​track​ ​is​ ​an​ ​enable/disable​ ​style​ ​track,​ ​which​ ​means​ ​that​ ​the​ ​clips​ ​will
enable​ ​Cinemachine​ ​Virtual​ ​Cameras​ ​while​ ​they​ ​are​ ​active​ ​in​ ​the​ ​timeline.
3. Overlapping​ ​Cinemachine​ ​Shot​ ​Clips​ ​will​ ​produce​ ​blends.
4. Create​ ​a​ ​Cinemachine​ ​shot​ ​by​ ​right-clicking​ ​on​ ​the​ ​Cinemachine​ ​Track​ ​and​ ​selecting
Create​ ​Cinemachine​ ​Shot​ ​Clip​.
5. Drag​ ​a​ ​virtual​ ​camera​ ​from​ ​the​ ​scene​ ​onto​ ​the​ ​Cinemachine​ ​Shot​ ​Clip​ ​inspector.​ ​ ​That
will​ ​associate​ ​the​ ​shot​ ​clip​ ​with​ ​the​ ​virtual​ ​camera.
6. The​ ​virtual​ ​camera​ ​does​ ​not​ ​need​ ​to​ ​be​ ​enabled​ ​in​ ​the​ ​scene.​ ​ ​While​ ​the​ ​clip​ ​is​ ​active​ ​in
the​ ​timeline,​ ​that​ ​camera​ ​will​ ​become​ ​enabled.

The​ ​following​ ​slides​ ​will​ ​serve​ ​as​ ​a​ ​brief​ ​introduction​ ​to​ ​get​ ​you​ ​started.
Special​ ​Environments

Top-Down​ ​Games
Cinemachine​ ​Virtual​ ​Cameras​ ​are​ ​modeled​ ​after​ ​human​ ​camera​ ​operators.​ ​ ​As​ ​such,​ ​they​ ​have
a​ ​sensitivity​ ​to​ ​the​ ​up/down​ ​axis,​ ​and​ ​will​ ​always​ ​try​ ​to​ ​avoid​ ​introducing​ ​roll​ ​into​ ​the​ ​camera
framing​ ​-​ ​unless​ ​you​ ​deliberately​ ​introduce​ ​it​ ​via​ ​such​ ​settings​ ​as​ ​dutch.​ ​ ​Because​ ​of​ ​this
sensitivity,​ ​virtual​ ​cameras​ ​do​ ​not​ ​like​ ​to​ ​look​ ​straight​ ​up​ ​or​ ​down​ ​for​ ​extended​ ​periods.​ ​ ​They
will​ ​do​ ​it​ ​in​ ​passing,​ ​but​ ​if​ ​the​ ​LookAt​ ​target​ ​is​ ​often​ ​straight​ ​up​ ​or​ ​down,​ ​they​ ​will​ ​not​ ​always​ ​give
the​ ​desired​ ​results.

If​ ​you​ ​are​ ​building​ ​a​ ​top-down​ ​game,​ ​the​ ​best​ ​practice​ ​is​ ​to​ ​redefine​ ​the​ ​up​ ​direction,​ ​for​ ​the
purposes​ ​of​ ​the​ ​camera.​ ​ ​You​ ​do​ ​this​ ​by​ ​setting​ ​the​ ​World​ ​Up​ ​Override​​ ​in​ ​the
CinemachineBrain​ ​to​ ​a​ ​game​ ​object​ ​whose​ ​local​ ​up​ ​points​ ​in​ ​the​ ​direction​ ​that​ ​you​ ​want​ ​the
Camera’s​ ​up​ ​to​ ​normally​ ​be.​ ​ ​ ​This​ ​will​ ​be​ ​applied​ ​to​ ​all​ ​virtual​ ​cameras​ ​connected​ ​to​ ​that​ ​brain.

Split-screen
You​ ​can​ ​set​ ​up​ ​a​ ​multi-camera​ ​split-screen​ ​with​ ​Cinemachine​ ​2.0:

1. Make​ ​2​ ​Unity​ ​Cameras,​ ​give​ ​each​ ​one​ ​its​ ​own​ ​CinemachineBrain,​ ​and​ ​set​ ​up​ ​their
viewports.
2. Now​ ​make​ ​2​ ​virtual​ ​cameras​ ​to​ ​follow​ ​the​ ​players.​ ​Assign​ ​those​ ​virtual​ ​cameras​ ​to
different​ ​layers.​ ​We’ll​ ​call​ ​them​ ​layer​ ​A​ ​and​ ​layer​ ​B.
3. Go​ ​back​ ​to​ ​the​ ​two​ ​Unity​ ​cameras,​ ​and​ ​set​ ​their​ ​culling​ ​masks​ ​so​ ​that​ ​one​ ​camera​ ​sees
layer​ ​A​ ​but​ ​not​ ​layer​ ​B,​ ​and​ ​the​ ​other​ ​camera​ ​does​ ​the​ ​opposite.
4. That’s​ ​it!​ ​ ​Camera​ ​A​ ​will​ ​be​ ​driven​ ​by​ ​virtual​ ​cameras​ ​on​ ​layer​ ​A,​ ​and​ ​camera​ ​B​ ​will​ ​be
driven​ ​by​ ​virtual​ ​cameras​ ​on​ ​layer​ ​B.​ ​They​ ​will​ ​do​ ​their​ ​blending​ ​etc​ ​independently.
5. Add​ ​as​ ​many​ ​layers​ ​and​ ​cameras​ ​as​ ​you​ ​like.
Scripting
Cinemachine​ ​is​ ​a​ ​pure-csharp​ ​implementation​ ​and​ ​is​ ​completely​ ​accessible​ ​to​ ​scripting.​ ​ ​All​ ​of
the​ ​settings​ ​visible​ ​in​ ​the​ ​inspector​ ​have​ ​corresponding​ ​fields​ ​in​ ​the​ ​csharp​ ​classes.​ ​ ​In​ ​addition
there​ ​is​ ​a​ ​full​ ​scripting​ ​API​ ​which​ ​you​ ​can​ ​discover​ ​either​ ​by​ ​examining​ ​the​ ​well-commented
sources​ ​in​ ​the​ ​implementation,​ ​or​ ​by​ ​looking​ ​at​ ​the​ ​scripting​ ​scene​ ​in​ ​the​ ​examples,​ ​or​ ​by
consulting​ ​the​ ​API​ ​documentation​ ​shipped​ ​with​ ​Cinemachine​ ​and​ ​available​ ​online.