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Schärfentiefe im 3D-Raum: Problem mit zusammengesetzten Ebenen

Depth of field in 3D space: Problem with composite layers



Frage von Medienmacher:
Juni 2010

Hey people.

S.sich I have built a simple 3D space, consisting of a floor and a wall, the 90-degree angle to it is at. The wall in the background consists of several individual Precomposing, the floor is a single precompose. In the room itself are other Precomposing "floating" arranged.

Construction see Screenshot:
zum Bild

Es gibt Lichter and eine Camera with Tiefenschärfe "Ein". Die Fokusentfernung berechne ich mittels Expressions über einen Raumvektor, wobei die Entfernung zwischen Kameraposition and einem Null-Objekt berechnet wird. Das Nullobjekt bewege ich einfach s.die Positionen die sharp sein sollen and gut ist. An sich ne simple Sache.

BUT:
As seen in screenshots below are the places where the different background compositions are composed, too clearly, once the camera has depth of field. The higher the aperture value or blur, the more glaring the result.

Screenshot 1:
zum Bild

Screenshot 2:
zum Bild

An sich ist das für mich synonymous verständlich, da wohl einfach die Schärfe bzw. Unschärfe für jedes Element im Raum einzeln berechnet wird, and dementsprechend synonymous die Ränder weichgezeichnet werden.

Nevertheless, the question:
Is there any way to prevent or solve any different?

do not like to complete backing of a graphic, create the first, since it is considerably (approximately 10,000 gross pixels wide) and I think I want the option open, blocks "of different background to animate" or with some content to fill.

Someone ideas?

Thanks and greetings
Media Makers



Antwort von B.DeKid:

So if I understand correctly now.

- The transition edges of the background and / or its elements are visible. when the depth decreases. -

So I guess it is s.deiner mapped texture.
Did the fill pattern itself to the as PS and then created as a texture?

Yes, if you have the pattern filling the move tick tick down to the right. Then you will see minimal Linen - that you have wegstempeln with a soft brush. So you will get a tileable texture that are not "diamonds" is .... when creating skin textures then needs to be paid to such details.

This could be one of the error.

Another could be the prob s.einander gereiten the surfaces of the background is not with each other "baked" are. This occurs when synonymous quickly on clay modeling of floors or walls on the edges then s.fangen the flicker that you can get a handle if one arranges the land transferred easily - after the case on the Z axis of approximately 0.01 unit behind

It will look something like this

A Z = 0.00> W = Z-0.01> C = Z 0.00> Z = -0.01 D> E = Z 0.00>>

I perso. Tip 2 times the error and time would enable the land.
Only then will I go once a weak point of the texture from.

MfG
B. DeKid

Creating Via Google you will find "Seamless pattern (texture) (INPS) 'if you do not know what I'm gesproochen grad.

As a next possibility would be to render the space sepperat s.zuwenden via mask and the depth of field / softening effect, and to render the text layer shown here as an image with alpha channel and then combine the two levels with each other.



Antwort von Debonnaire:

Sit down together but each individual "Wall" level of the final image in a separate 2D-Comp (sub-Comps from as many as necessary) and precompose these individual comps. Then you take this Precomps and puts them together again in another comp, your final 3D-Comp, in which you hantierst then with Camera, sharpness and shift lights. In this way, "sees" the camera back and only ONE ONE floor, but which actually (is within the precomposeten Comp) for each x from individual elements (sub-comps). I would imagine that you will get no visible edges between the sub-comps more.









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