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Motion blur requires some judicious use, but in the right place can really enhance the look of a game. What motion blur does is to simulate the effect we see, well, originally in film, where the motion of an object was too fast to be captured in one frame of film and that object blurred across multiple frames. It's prevalent now, even in digital cameras, and digital cinematography, where we simply can't see fast enough, to catch an object still in one frame at one time. Without motion blur, things tend to look very crisp, especially as they're moving.
And actually blurring them out, degrading their quality, believe it or not, helps enhance the look. It makes things more believable and enhances the feeling of speed. So if you're making a driving or racing game, for example motion blur is probably high on your list. I'll add on motion blur to test out how it looks here in my scene. It may give me a little extra blur as I'm whipping around my gallery. And I'll see if that really holds. I'll go into the first person controller, into the main camera, and then add on that image effect. Clicking Add Component or choosing from the assets image effects folder.
In the standard assets here under image effect I'll pick camera motion blur and drag it over. In the camera base motion blur we got a couple of options as to how to do the blur, and how much blur to use. We can either Reconstruct, choose from a local blur, Direct X11, disc or camera motion. And these are available in detail in the Unity help. I'm going to leave it at Reconstruction for the moment, and just see what the default blur looks like. There's a velocity scale, how much blur is there.
And also a minimum and maximum velocity. This keeps the motion blur from getting excessive. Or from blurring out still objects. I'll start out by pressing play. And let's see what this motion blur does. As I move around the scene, I feel like I can see a little blur in the background objects. And this is good. As I dolley forward, there's not a ton of blur evident. But, panning around the scene definitely gets a little swimmy. It's almost there and just needs a little bit of tweaking. It definitely enhances the feeling of rapid movement around here, and that's really the thing to consider as I knock down the painting again.
How much movement is there and how much blur do you really need to see? What is it you're trying to tell your audience? Do you want them to focus on one particular thing? Look at those Emmas' move or should they be whipping around the scene or whipping around hard turns in the driving game, for example. I'll stop the play and just tweak the motion blur a little bit. I'll pull this velocity scale down. Putting in .25, we can exclude if we need. And what this means is, is this motion blur not affecting a certain layer? .
For example, if we're making a driving game, we could say, don't include the car, but include the background. I'll leave it alone, and just try that lower velocity scale, and see if this works any. I've got a little bit of blur. Just enough that as I move around rapidly, I notice a little bit of zooming going on, or not zooming, but, well, blur, motion blur. And it enhances the idea that I'm whipping my head around the game fast. Being that the control over the character is, well, as fast as we can move the mouse, a little motion blur actually tells people to slow down and look around.
Lest you get so blurred that you start to miss things. My game look is coming together. In addition to the lighting, I've got a really good series of blurs going, blurring out the images and telling the audience to focus in a particular area, keeping their focus close so they look at the art, and they try to find their way out. Hinting at what's going by gradually revealing things into focus in the background. So one important point on blurs here before we get into color correction. If you notice, when I look across my entire scene as far as I can, I'm dealing in, let's see if I can max this.
This is about as far as I can look in almost 2000 draw calls. So keep in mind that these kind of image effects do drastically jump up the number of draw calls your graphics card is making. When I turn on the terrain in the grass we're going to see an even more drastic jump. I'll turn on those layers and see how all the image effects start to hold together. I'll turn on my plane for my water, and then finally the terrain. Now I"ll play again, and we can really watch those draw calls kick up. At the most, with everything blurred out, I'm at 2500. And this may be a little much for some mobile applications, so we really need to watch, not only where we are publishing to, but what image effects are we using, and how much blur are we putting in.
I'll reduce that depth of field more, because I'd like it to be really clear on the buildings all the way back. It looks good though, inside, and I definitely get the idea of being inside and looking around close, and coming up to the windows and seeing things come into focus. If you'd like to go further with this, you can actually access all the dept of field parameters, for example, in scripting. And you can key them. For example, there have been games where that focal plane has been keyed to the scroll wheel on the mouse. This way, you can focus in and out.
Driving the character to look around, focusing off in the distance to see something, and coming back close for a small task or close operation. It can really enhance the natural look of the game. Because we, with our eyes, can focus in multiple places. Zooming in and out and really taking things in. Now add in some color correction. Getting on that final polish and the look of my game. And finally a little bit of glow as well, to make those sun beams and other hot areas pop out.
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