Join Brian Bradley for an in-depth discussion in this video Depth of field, part of V-Ray 3.0 for 3ds Max Essential Training.
- When it comes to adding a photographic depth of field effect to our renders, there are a number of options available to us while rendering the field. In this video, as we are in the V-Ray physical camera chapter, we will look at using camera options to both create and control an in-render depth of field effect. Now when looking to create effects such as depth of field with the V-Ray physical camera we do need to keep in mind that the choices we make such as focal length of the lens, placement of the camera, in-scene lighting and exposure can all affect what we are ultimately able to do with depth of field in the scene.
For this reason, I just need to state here that any numeric values we work with in this video really are specific to this scene and this shot, meaning if you are currently following along using a scene of your own, you will probably need to adapt the values you use in order to suit the requirements of your particular setup. That having been said then, the first thing we need to do here is make certain that we are viewing our scene through the depth of field camera that has been set up. To do this, we can click on the Viewport label and from the camera's flyout, choose the depth of field camera option.
To gain access to the relevant controls and parameters we will need to select our camera so from the Viewport label menu once again, let's use the "Select Camera" option, come across to the Command Panel and from the "Modify" tab, access all of our camera controls and parameters. To enable depth of field, we need to come down to the Sampling roll out and then simply put a check in the relevant box. In fact, before we go ahead and do that let's just take a quick render of the scene as it stands so that we can make some before and after comparisons.
Clearly, as of yet, we have no depth of field effect going on. Back in our camera controls then let's go ahead and enable the depth of field option. Now if you have used V-Ray prior to version three, you may be surprised to see that we no longer have a subdiv option with which to control the quality of our depth of field effect. This is because the same end result can be achieved by adjusting the settings of either the fixed or adaptive image samplers depending of course on which one we're using. The subdiv parameter is still accessible through Mac Script for our compatibility with all the scenes, and of course the adaptive subdivision image sampler now has its own depth of field and motion blur subdiv control.
What we currently need of course is a render of the scene in order to see how things are looking. What we get is a very clear depth of field effect showing up in our image. Now we have already mentioned in this course that the controlling parameter for a depth of field effect on the physical camera is its F-Stop or F-Number value. If we use the alt + w keys to switch to a four view and then frame up on the selected camera in the right viewport, we can see as I alter the F-Number option how this affects our depth of field representation on the V-Ray camera object.
This can be a very handy tool indeed to help us visually gauge where depth of field will have an effect in our renders. The point of focus in the scene is determined by default by the location of our camera's target. This, as you can see, is at the center of the depth of field area. If we need then to place our point of focus at a very specific location in our scene, then the camera's target will be the quickest and easiest way of doing this. We also, in the camera controls, have this "Specify Focus" option which if I just click, completely changes where the depth of field effect is being placed in the scene.
This is because our focus distance is now set to be just over 500 centimeters from the rendering camera. You can also see that the depth of field area itself is now much wider than was previously the case. We can of course alter the effect we are seeing here by altering the numeric focus distance value. Depth of field with a V-Ray physical camera then is easy to create and works exactly as per real world cameras with the F-Stop or F-number value controlling the amount or strength of our depth of field effect.
The only real difference here of course is that we have to deliberately enable depth of field in order to get it working. Next up, we will take a look at creating motion blur with the V-Ray physical camera.
- Using the new UI elements, Quick Settings, and revamped Frame Buffer
- Understanding color mapping modes
- Adding V-Ray light types
- Working with the V-Ray Sun and Sky systems and dome light
- Using irradiance mapping and light cache
- Working with diffuse color maps
- Making reflective materials
- Creating a translucency effect
- Using the new SSS and skin shaders
- Ensuring quality with image sampling
- Working with the adaptive subdivision engine
- Controlling the physical camera
- Working with FX tools such as VRayFur and VRayMetaball
- Stereoscopic 3D rendering
- Using Render Mask
Skill Level Intermediate
Q: This course was updated on 02/02/2016. What changed?
A: We added tutorials on the new 3ds Max camera tool, which replaces the defunct V-Ray Physical Camera. The author also includes a method for creating a V-Ray camera via scripting.
Q: This course was updated on 04/19/2018. What changed?
A: New videos were added that cover V-Ray 3.1 to 3.3 updates.
SketchUp: Rendering with V-Ray 3with Brian Bradley4h 15m Intermediate
V-Ray: Control Color Bleed in SketchUpwith Brian Bradley1h 2m Intermediate
Introduction and Important Information
V-Ray 3.1 to 3.3 Updates
V-Ray 3.4 to 3.6 Updates
1. Getting Ready to Render with V-Ray
2. Key Lighting Tools
3. Global Illumination
4. V-Ray Materials and Maps
5. Quality Control with Image Sampling
6. Working with Cameras: The V-Ray Physical Camera
7. Working with Cameras: V-Ray 3 & the 3ds Max Physical Camera
8. The V-Ray FX Tools
What's next?1m 47s
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