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in this was a really take a look at how we can at realistic camera type of text or renders
by using the depth of field shooter
so if you take a look inside the scene we have currently you can see really we have
just a very basic setup here we have three different guys
each of which is a different distance away from the camera
so what will see is how we can use this depth of field shooter as a way of calling attention
and really bringing the focus to very particular areas are seen
so to connect this what we first i do
goes view select camera
take a look inside the attributes
and we want to do is take a look inside the metal rate area
now this that the field chair is going to be connected as owens shaker
solis quick on our collection over here
it will take a look at inside the lens shooters
down toward the bottom
and will connect in the physical wins depth of field
so let's just take a quick render this to see what we have
let's save render for comparison
and that we can start to see that there is some definite blurring the that's happening
in our renters
so let's take a look at how we can start to control this a little bit better
now in order to focus the camera on a certain area
we have to adjust this plane
the goal is really not to just simply arbitrarily adjust this until we find some kind of value
that works
what we need to do is bites uncoupled good starting point or a preliminary value to go
with
so let's start
by going back to our perspective you here
now let's go to displaying
got a heads-up display enable the object details
now once we have all this with this will do is let's get some information about the object
so we currently have selected
one of which is that optics distance
from the camera
so let's elect this
dice in french right in the middle
so you can see right now this is just a little bit shy of being three units away from the
camera
so let's go back to an hour
take a look inside the depth of field trader
and for the plane
let's interval you of negative
which corresponds to roughly about three units away from the camera
we do i make sure that in maya two thousand nine that we're using in negative
in previous versions of maya we could always input a positive value
that now that's not the case
and now we can see that this period that's roughly about three units away from the camera
is relatively well in focus
sonar case it looks like these back quarters are the area that pretty closely correspond
to that value
so we can always come back
inserted showbiz back a little bit let's see if we want to bring this front went little
bit uh... more into focus
so it's a something like negative
two point five we'll see what that does boris
and there we go so now biden lowering that plane
that now brings the focal point back a little closer to the camera
and i was able to bring this
closest corner of this nice into nice sharp focus
now just below the plane actually we have the radius now this is controlling the amount
of blurring that happens
before or after the main focal point
so with this being anaheim your value
see something like point five
we should tell cm much higher amount of blurring on either part aren't either endif
rather of this focal point
so what c_b_s_
and you can see that that's exactly what we get so much much higher amount of blurring
before the focal point
and after
so that's a look at how we can use this physical depth of field lens shooter
as a way of calling attention to these very particular areas are rendered image