Join Paul F. Aubin for an in-depth discussion in this video Understanding camera settings, part of Revit Architecture 2012: Rendering.
So continuing with the theme of the last few movies, we created two 3D views, both an axonometric and a camera view. In the last movie, we looked at the settings on the Properties palette for the default 3D view, or for really any axonometric view, and in this movie we are going to look at the properties that are available for camera views. So let's go ahead and get started with that. Now the first thing I want to point to you is I am in a file here called Camera Settings, and it's just a version of the file we started with. And the view we created got named 3D View 1 by default.
Now that may be fine, but for the most part, I think it's a really good idea to rename your views as you create them and choose something more descriptive. I am going to call this one Perspective at Tower, and I am going to click OK. And you can start to see that when the list of views becomes a little more lengthy, having descriptive names is going to be really helpful, not only to yourself, but to the other folks that are joining you on the project, as to finding the right view. Nothing more frustrating than views 1 through 50 numbered sequentially, and you have to open them all up to try and figure out which is which.
All right, so we now have the view named, and of course that name shows here as well, so we could've changed it here. And like our default 3D view, we have this Extents area here. And we have similar settings, but some of them are a little different. We do have the Crop Region Visible setting, but we do not have the Crop setting. It's not possible to turn off the crop on a camera view. But we could hide the rectangle, the picture frame if you will, if you don't want to see that. I am going to bring it back. So let's look at the section box next.
We talked about this in the previous movie for the default 3D views, and you can work with it here in perspective as well, but notice that the section box is actually rendered in perspective as well, so clicking on that and trying to manipulate the grips would become really challenging. So I've got a better approach to manipulating that that we can look at in the next movie. I just wanted you to see that section box is available. I am going to turn it off for now, but that can be a really neat feature if you are trying to do a sectional perspective.
So you can section through your building but look into the building in Perspective view. That's where the section box can really become handy. Let's talk about Far Clip Offset. Far Clip Offset is kind of important here. When I created the camera view--let me just take you back to Plan view here for a second and just so to remind you of the clicks--I clicked on the camera button and the first click was where I wanted to stand, and then we got this little pink dot, and the pink dot is where you want to look.
But also, if I were to click right here, that actually sets the Far Clip Offset. I am going to escape out of here and return to my Perspective at Tower and show you what would've happened had I actually stopped short there. So let me scroll down. Notice the Far Clip Offset has this number, 390 feet and some random fraction there. That's because I just clicked a point and it was just whatever it was. But what if the Far Clip Offset was only 50 feet? Well, suddenly I don't see any of the building at all, because I'm stopping way too short.
What if it was 100 feet? Well, now I am seeing just a little bit of the tower, but you can start to see how important the Far Clip Offset is. If it's 150 feet, we get a little bit more, and 400 feet ought to get us back to where we were, because it was 390 originally. And now we are seeing the entire building. So if you accidentally clicked too short of the back of the building, you might find yourself clipping out part of a scene. So the first thing you always want to look at is that Far Clip Offset. Now the other solution is to just simply disable it. So even if this was set back at 150 where I was only seeing part of the building, if I just uncheck this box, then it disables the whole thing altogether and you're seeing the entire view, so it's just sort of looks into infinity.
So those are the two approaches you can take to Far Clip Offset. I want to point out here the Eye Elevation and the Target Elevation. Now you may recall when we created the camera I pointed out to the Options bar that it was setting it at a 5' 6", which is about the average eye height for an average-height person. I set both the Eye Elevation and Target Height at that height, essentially giving us a two-point perspective. So if you look over here at the vertical lines in my perspective, they're all straight up and down. I have just a nice two-point perspective.
Well, what would happen if I change this Eye Elevation, for example, to something a little different, like maybe 20 feet? The effect that that has is the target stays at 5' 6", but I just basically climbed up on a ladder, or went up on a hill, and I am look down now into the scene. And if you look again at these edges, you'll see that now they have a slight taper to them. And sometimes that can add a little more realism to the scene, because now we have a true three-point perspective. So, obviously it's a matter of preference. If you prefer two-point, you can certainly do that.
You want to keep both of these numbers the same if you prefer a two-point perspective. So now I have just moved both up, and the lines are straight up and down again, but some would argue that this is a little bit more realistic here. So, one more thing is the field of view of the camera. Now this setting can only be done graphically on screen. If you click the rectangle here, what I am calling the picture frame, it's got four grips around the edges. You can start adjusting those grips to adjust the field of view and see more or less of the scene, but the wider you make it, it's essentially making a wider angle lens.
Unfortunately, Revit doesn't have a setting over here that you can dial in anywhere to actually put in the type of lens you're using. You can't say, I've got a 35-millimeter lens or a 50-millimeter lens. It doesn't have that setting. So you can start to do that with these grips here. You just want to be careful because if you drag them too far, it starts to distort out at the edges; you're essentially creating a fisheye lens. So, within reason you can push and pull these. And you can see it's pretty successful here on an exterior shot; where it actually might start to become problematic is in an interior shot where you will really notice the distortion if you are not careful.
So those are some of the key settings that you want to be looking for in perspective views. We can adjust the field of view, the Target Height, and, most importantly, that Far Clip Offset is going to have a big impact.
- Understanding camera view settings
- Developing approaches to modeling
- Constructing wall profiles
- Creating materials and textures
- Sharing materials between files
- Working with Sun Path
- Lighting a scene with lighting fixture families and lighting groups
- Understanding the rendering process
- Applying background settings
- Generating rendered output
- Experimenting with non-photorealistic render types