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Depth of field: perspective viewport

From: V-Ray 2.0 for Maya Essential Training

Video: Depth of field: perspective viewport

Let's take a look now at how we would create an in-camera depth of field effect when rendering from a Standard Maya Camera. Now this could be a camera we have added to the scene or one of Maya's Standard Perspective viewport cameras. Firstly, we need to be certain that we are viewing through our Depth of Field camera, which we are but let's just go and make certain of that by checking that option. And of course we do want to select our current rendering camera, it is a V-Ray Physical camera at this moment in time, but we're going to want to change that and essentially we will turn it to its original state which was just that of Standard Maya camera.

Depth of field: perspective viewport

Let's take a look now at how we would create an in-camera depth of field effect when rendering from a Standard Maya Camera. Now this could be a camera we have added to the scene or one of Maya's Standard Perspective viewport cameras. Firstly, we need to be certain that we are viewing through our Depth of Field camera, which we are but let's just go and make certain of that by checking that option. And of course we do want to select our current rendering camera, it is a V-Ray Physical camera at this moment in time, but we're going to want to change that and essentially we will turn it to its original state which was just that of Standard Maya camera.

Now there are couple of ways we could do this inside of our Extra V-Ray Attribute rollout, we could just uncheck the Treat as V-Ray Physical camera option if we were going to come back to it. If we want to get rid of it altogether, we just come up to our Attributes dropdown, come to the V-Ray section, and uncheck V-Ray Physical camera. Now we are rendering, once again, with just a Standard Maya camera. Of course, that present a little bit of a problem and that we have now killed our Exposure Control Mechanism. We were compensating for the lighting levels in the scene by using the V-Ray Physical cameras Exposure Settings.

In fact, if we were to take a render at this moment in time, let's just pull Maya's Render View for ourselves. We are here working with some pre-rendered images. Depth of Filed is a render intensive effect of course, so we are just going to step you through the renders that result from the changes we will make in our parameters and options. Now as you can see, with our Exposure Control Mechanism removed from the scene, we have a very overbright render indeed. We really need to make some changes to make our lighting levels a little more acceptable. So let's come to our Window menu, let's come down and open up the Outliner for ourselves, of course, make certain that you are filtering by Lights and Light Sets and you should see all of the light elements in the scene.

First of all, select our V-Ray Dome light, we are just going to drop the Intensity multiplier down to a value of 0.1. Now we can go and grab a V-Ray OverHead Direct light, and we are just going to set its multiplier down to a value of 25. We can close the Outliner now, and if I show you the render we would get, you can see we have a much more acceptable level off illumination in the scene. What we need to do now, of course, is enable our Depth of Field effect. So we want to pull up our Render Setting window. So let's choose the icon on the toolbar to do that for ourselves.

Into the V-Ray tab, let's close up the Image Sampler rollout and come instead to our Camera rollout. In here, you can see we have a number of Camera Effect options, one of which is Depth of field. So if we just put a check in the On box, that system now becomes active and the parameters are available for editing. Three particular parameters are of greatest interest tools. First of all, the Aperture setting, this is the equivalent of the F-stop in a real camera or the F-Number value in the V-Ray Physical camera.

We do need to be aware that the values will work differently. If the lower the values in this Aperture setting, we will get a smaller aperture; if increase them, we will get a larger aperture. That of course it is the opposite way around to our F-stop values. The Focus Distance, of course, will determine the focal point in the scene. It is working in scene units, so we are working at a centimeter value here so whatever distance from the rendering camera our perspective viewport this value is set, that is the focal point of the scene. And of course we have our Subdivs value that will work to control the quality of our final Depth of field effect, of course, working along with the Image Sampling and DMC Sampler controls.

So let's work with some settings and see what kind of effect we can get using this system. So I will just set an Aperture Setting of 1 centimeter, we will set Focus Distance 40 centimeters, and we are just going to set a Subdivisions parameter of 12 in there, just so that we can get a little bit of quality out of the system. With those settings in there, we would get this Depth of field effect for ourselves. So as you can see, we have a very nice Depth of field effect, very narrow. As we go up towards this yellow ball, it is out of focus, our first row of pool balls are coming back towards the camera out of focus, but we can see that the effect is working cleanly and nicely in the scene for us.

What though if we wanted to change the focal point in the scene? Well again, we just need to work with our Focus Distance parameter. So this time, if I set a value of 115 centimeters in here, we would go from this to this render, which as you can see, it changes the point of focus towards the top of the table. You may notice though that we have deepened our Depth of field effect as we have shifted the focus. If we want to recreate a shallow of Depth of field effect off to that top end of the table, we may have to adjust our Aperture settings as well.

Okay, what about finally increasing the Blur Effect inside of our Depth of field effect? Well to do that, we just want to work with these Aperture control, in fact, what we will do is we would double the value in here from 1 to 2 centimeters and we would go from this to this, but as you can clearly see, it is a greatly increased blur effect. You may also notice that there is a lot more grain apparent in the effect now. Well, that is because we have to increased the amount of blurring taking place but we haven't increased the quality of sampling.

So you may need to increase your Subdivision levels or you may have to work with V-Ray's Image Sampling and DMC Sampler controls to clean this up a little bit as we have increased the Aperture setting. So between this particular system and V -Ray Physical camera, we've seen that there are two very easy to control methods for creating an in-render depth of field effect using V-Ray. Naturally, there is a third option available tools, this is by means of render elements, but we will look cover that Chapter 9. Now though let's move on to recreating another photographic effect that of Motion Blur.

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This video is part of

Image for V-Ray 2.0 for Maya Essential Training
V-Ray 2.0 for Maya Essential Training

54 video lessons · 2228 viewers

Brian Bradley
Author

 
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  1. 4m 28s
    1. Welcome
      59s
    2. What you should know before watching this course
      51s
    3. Exercise files
      40s
    4. Workflow recommendation
      1m 58s
  2. 11m 32s
    1. Installing V-Ray
      4m 25s
    2. Setting up V-Ray
      3m 14s
    3. Locating V-Ray's tools and features
      3m 53s
  3. 24m 41s
    1. Image sampling explained
      3m 19s
    2. Understanding subdivs
      3m 49s
    3. Using the DMC Sampler
      6m 54s
    4. Overview of color mapping
      4m 45s
    5. Understanding the color-mapping modes
      5m 54s
  4. 27m 55s
    1. Dealing with lighting problems
      9m 26s
    2. Adding a spherical fill light
      8m 50s
    3. Creating a mesh light
      2m 43s
    4. Creating a skylight effect
      3m 18s
    5. Working with the dome light
      3m 38s
  5. 44m 25s
    1. Global illumination (GI) explained
      3m 55s
    2. Understanding primary and secondary bounces
      3m 34s
    3. How irradiance mapping works
      5m 30s
    4. Using irradiance mapping, part 1
      4m 35s
    5. Using irradiance mapping, part 2
      5m 44s
    6. How light cache works
      3m 48s
    7. Using light cache
      7m 58s
    8. Understanding brute force GI
      2m 18s
    9. Using brute force GI
      7m 3s
  6. 40m 3s
    1. Introduction to V-Ray-specific materials
      2m 22s
    2. Creating diffuse color
      8m 31s
    3. Making reflective materials
      5m 40s
    4. Blurring reflections
      8m 31s
    5. Making clear and colored glass
      8m 49s
    6. Creating a translucency effect
      6m 10s
  7. 24m 15s
    1. Introduction to image sampling
      2m 56s
    2. Using the Fixed-Rate sampler
      5m 57s
    3. How to use the Adaptive DMC sampler
      5m 21s
    4. Working with the Adaptive Subdivision sampler
      7m 7s
    5. Comparing image-sampling renders
      2m 54s
  8. 17m 23s
    1. The physical workflow explained
      2m 37s
    2. Working with VRaySun and VRaySky
      7m 39s
    3. Controlling the VRayPhysicalCamera
      7m 7s
  9. 45m 0s
    1. Depth of field: VRayPhysicalCamera
      5m 45s
    2. Depth of field: perspective viewport
      5m 49s
    3. Creating a motion blur effect
      9m 30s
    4. Generating caustic effects
      7m 51s
    5. Using VRayFur
      6m 2s
    6. Setting up render-time displacement effects
      10m 3s
  10. 34m 17s
    1. Render elements workflow
      6m 47s
    2. Preparing to composite
      2m 22s
    3. Compositing V-Ray elements
      7m 8s
    4. Putting extra elements to work
      6m 20s
    5. Post-lighting a scene
      11m 40s
  11. 11m 47s
    1. Overview of V-Ray RT
      5m 27s
    2. Demonstrating the RT workflow
      6m 20s
  12. 1m 8s
    1. What's next?
      1m 8s

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