- [Instructor] In this exercise,
we want to take a look over
at least a few of the controls that can be found
on the VRay Physical camera
with the first significant choice
open to us in the basic and display rollout
being the type of camera that we want to work with.
Changing this,
altering the way in which the camera shutter will work,
and some will mainly affect any in random motion blur
that we may be producing.
The still camera, for instance,
is a mode designed to simulate a still photo camera
and so makes use of a regular shutter speed value
denoting fractions of a second,
just as you would find on any digital SLR
or point and shoot camera.
Movie camera by contrast simulates a motion picture camera
and so makes use of a circular shutter,
which means we lose the shutter speed control,
and instead gain shutter angle and shutter offset options.
Both of which work using values in degrees of rotation.
Whilst with the video camera model,
we have something that simulates a shutterless video camera
using the CCD matrix.
And so the only extra control we have,
is that of the CCD matrices latency,
which he set using values in seconds.
Focus is of course another extremely important aspect
of any shot or render that we take.
If we produce shots that have the wrong parts of the image
either in or out of focus,
then we may find ourselves having to redo work
that was considered completed.
Thankfully though,
the V-Ray Camera does give us a couple of options
for specifying focal distance
that we will take a look at in our depth of field exercise.
Focal length is an important control
on any camera determining as it does of the framing,
and so the field of a shot.
With higher values,
such as 100 millimeters,
we find ourselves working in telephoto territory,
with perspective in the shot becoming much flatter,
and so distance between objects
that are much harder to judge,
whilst going the other way.
So using lower focal length values,
such as 25 millimeters,
will give us a wide angle effect
with the camera's field of view,
now becoming much wider,
and so able to take in or capture a much broader view
of the surrounding environment.
Again, to add a photographic field to our work,
we would want to use as much as possible focal length values
that match those commonly used by real-world photographers,
and cinematographers.
Perhaps becoming familiar
with what are known as prime lens values.
Although we do also need to keep in mind
the fact that the 36 millimeter film gate setting
on the camera means that 80 settle
by default to behaviors either a 35 millimeter film
or a full frame sensor digital camera.
A setting that will impact the behavior
of any focal length values
that we either read in or set.
An alternative to using the focal length parameter
would of course be to switch over
and frame shots using the field of view option instead.
As we will be looking at both depth of field,
and motion blur more closely later on in the chapter,
the final set of controls that we will look at here
are those governing white balance.
Found on most if not all digital cameras these days,
these options give us the ability to either neutralize
or deliberately alter the color cast
or color balance found in an image.
In our current render,
we're seeing the effect of the camera's default,
D65 white balance option.
If we save what we have to history though,
and then switch instead to the D75 option,
you can see as we take another render
and compare the two images,
that we are not getting a somewhat warmer looking tone.
One that gives quite a different feel
as compared to the initial render.
Besides using the named presets in the list,
we can also switch to the temperature option,
and manually set Kelvin temperature values.
If that is a workflow that will work better for us.
So if we try say 9,000 and render again,
we now warm things up even more.
We could even set the white balance option to custom
if we wanted,
and using the color swatch,
pick any color that we like,
which can produce some interesting results to say the least.
The more saturated the color we choose
in our white balance controls,
the more pronounced the effect
on our renderable be with strongly saturated colors
often producing some very alien looking lighting
which of course is fine,
if that is the effect that we are going for.