Join Paul F. Aubin for an in-depth discussion in this video Understanding camera settings, part of Revit: Rendering.
- In this movie, let's look at some of the fine tune adjustments we can make to a camera view. So I'm in a 3D view, looking at the exterior of the building. And if I scroll down here on the Project Browser, probably the very first thing that I wanna address here is the name of the view. When you first create the camera, Revit will just use a generic name. And in fact, that's true of any kind of view that you create in Revit, whether it's a section, a plan or a 3D view. It's always a good idea to rename those views. Now this isn't just for yourself, certainly, it's helpful for yourself. There's nothing more frustrating than coming into a file and seeing 3D views one through 27, very difficult to know which one is which, but also when you have a team of people working together, it's gonna be even more exascerbating because you'll have more and more people creating those views and it's just very difficult to find your way around.
So I always recommend that one of the very first things you wanna do is rename your view and name it as descriptively as possible. If you have some office standard, then by all means follow that office standard. So I'll give this a descriptive name and click OK. Now, the next thing that you might wanna do is to take note of some of the other settings under Extents similar to what we saw in the previous movie on axonometric views. Some of these settings here are similar. Now one thing that you can't do with a perspective view, is you can't actually disable the crop. In other words, this picture frame that we have out here can't be turned off.
Because that picture frame is actually determining the field of view of the camera. So it's grayed out, but you could hide it, if you wanted to. And sometimes that can create a nice effect but in this case I'm gonna leave it turned on. Probably a more important setting to address is the Far Clip Offset. Now the way that Far Clip Offset works is that it determines how deep into the view you're actually looking. Now, to kind of explain how that works, let me go back to the floor plan for a moment and remind you of what happened when we first created the camera.
Now I still have the camera view selected, that picture frame, so notice that when I do, it will actually display a little icon here, the shape of the cone and this little pink dot here. Now, if you deselect the camera, then all of that will disappear. So this object is only visible while the camera is selected. This pink dot is actually representing where the Far Clip Offset currently is. Now, if I look here in my Properties palette, it's telling me that's about 390.
So it's a little bit more than that. And where this came from is when I first created this camera, I clicked about here for my viewing position and I dragged in this direction and clicked again. That second click sets the Far Clip Offset, which also explains why the number is somewhat random here. Now, you could actually go back to the camera and adjust this number. So, if I had stopped short when creating that camera and only had gone in say about 50 feet, notice that I wouldn't be seeing anything at all.
because my Far Clip would be in front of the building. If I had gone to maybe about a hundred feet, well now I'm seeing just a little bit of the tower. If I was at 200, I'd see a little bit more of the building but you see I'm losing a little bit of the back here. And then, at about 400, is when we get back to seeing the entire building. 'Cause you remember initially it was at 390. So the Far Clip Offset is actually fairly important if you want to control how much of the building you want to see. Now if you don't wanna bother with it at all, you can actually uncheck the Far Clip Offset and then it will just view into infinity.
Okay so that's the other way you can deal with the issue of Far Clip Offset is to just simply disable it. Now, we talked about the Section box in the previous movie and I'm gonna explore some tips for how we can work with the Section box in the Perspective views in the next movie, but I just wanted you to know that it is actually something you can enable. But notice that the section box itself will render in perspective, so it might be a little bit difficult to work with it directly in the perspective view. So we'll manipulate that some in the next movie, so for now I'm gonna turn that back off.
So let's scroll a little bit further down here on the Properties palette and look specifically at some of the properties that are camera specific. For example, the Eye Elevation and the Target Elevation. Now notice that these are both at five foot six. Now you may recall when we created the camera that five foot six was up here on the Options bar and it was something we could type in. So if you had changed it there, it would have changed both of these numbers to the same. If you keep both of these numbers the same, you have a two point perspective.
Notice that all the verticals in this model are nice and straight up and down. They're all perfectly vertical. If you were to change one of these numbers, you only need to change it a little bit. Suppose I change the Target to four instead of five foot six. Well, let's try a little bit more than that, maybe two, okay. You might start to see a slight taper when you do that. If you make this really extreme, it'll start to become more obvious. Do you see how we're starting to get a taper there? Well, I moved my eye elevation up to 20 and my Target down to one.
So I'm actually up on a tall ladder now and I'm looking down towards my building. So when you start to change these numbers, you actually turn it into a three point perspective. Now, if you do this within reason, it can actually be quite a nice effect and some would argue a little bit more realistic. But if you wanna keep this as a two point perspective, just make sure that whatever you set one of these numbers to, you set the other one to the same amount. And then you see your verticals will go back to being parallel. So that's how you can work with the Eye and Target elevations.
The final thing is actually the crop itself. Now, we don't have any settings over here on the properties that determine the field of view. That's kind of surprising that Revit doesn't actually offer this. Well the only way you can really adjust the field of view in a Revit view is to actually use the grips right here and start to manipulate the width of this camera view. Now, if I make it much wider, what starts to happen is out toward the edges, it starts to distort a little bit. I don't know if you can see there, but this parking lot is kind of stretching out and becoming more of like a fish-eye effect.
So, within reason, you can go to a more wide angle without it becoming distracting but if you stretch it too wide, it starts to become a little bit distorted. It's even more obvious when you do that in an interior shot. So you can get away with a wider angle on an exterior shot than you can on an interior shot before it starts to appear distorted. So keep some of these various settings in mind, as you set up your camera views. You have a great deal of control over exactly how the view is cropped and what it shows and how deep it is and so on.
And it can really help you enhance the overall effect of that perspective view. So, there's another really interesting thing you can do with a perspective. After you've been fiddling around with it, you might decide that you wanna see what it would look like if you actually took the perspective out of it altogether. In other words, it's possible to toggle a perspective or a camera view into an axonometric. The way you do that is to locate your View Cube here and just simply right-click and then you can say Toggle to a Parallel 3D View.
Now you can see that's pretty dramatic effect that it has on the file. And then of course, I could zoom in or I could orbit and so forth. And at this point it's no different than if I had created it with my default 3D view. Now, if you decide you don't like that, you can toggle it back to a perspective view. Because I've tilted it slightly, it actually adjusted the camera. And then another thing you can do, if you kind of fiddle around with things and you wanna just sort of see, well, I don't really like that, there's actually button here to reset the Target and what that basically does is just kind of snaps it back in parallel to where it was.
Now in this case it was really subtle, 'cause I hadn't adjusted it too much. But in some cases if you've made a lot of adjustments, resetting the Target can be a little bit more dramatic than that. So you can that you have quite a bit of control over exactly how the perspective is oriented, how it's cropped, the eye height, the target height. So, just pay attention to those various settings in the properties in much the same way that you would with the axonometric view and fine-tune those perspective views to give you a really pleasing view to generate your renderings from.
- Creating 3D views and 3D cutaway views
- Adding details to the model
- Creating and editing materials
- Working with the sun system
- Working with lighting groups
- Configuring render settings
- Preparing a cloud render
- Creating a walkthrough
- Rendering a plan