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Depth of Field Blurring with Physical Defocus - Part 3 - Flame 2021

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Manage episode 262606677 series 1272072
内容由Grant Kay提供。所有播客内容(包括剧集、图形和播客描述)均由 Grant Kay 或其播客平台合作伙伴直接上传和提供。如果您认为有人在未经您许可的情况下使用您的受版权保护的作品,您可以按照此处概述的流程进行操作https://zh.player.fm/legal

In parts 1 and 2 of the Physical Defocus series, you learnt how to create depth of field blurring in an Action 3D composite as well as with CG render passes for final look development.

In both cases, the 3D depth was already provided since all the examples originated in a virtual 3D environment and the camera depth was provided in the form of Z-depth map.

In part 3, the situation is somewhat different when it comes to live action footage.

Unless the shooting camera is able to capture the depth of the scene, normally no depth information is provided.

So in order to use Physical Defocus with live action material in Flame, you can use machine learning to analyse the shot and produce the required Z-depth information.

  continue reading

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Artwork
icon分享
 
Manage episode 262606677 series 1272072
内容由Grant Kay提供。所有播客内容(包括剧集、图形和播客描述)均由 Grant Kay 或其播客平台合作伙伴直接上传和提供。如果您认为有人在未经您许可的情况下使用您的受版权保护的作品,您可以按照此处概述的流程进行操作https://zh.player.fm/legal

In parts 1 and 2 of the Physical Defocus series, you learnt how to create depth of field blurring in an Action 3D composite as well as with CG render passes for final look development.

In both cases, the 3D depth was already provided since all the examples originated in a virtual 3D environment and the camera depth was provided in the form of Z-depth map.

In part 3, the situation is somewhat different when it comes to live action footage.

Unless the shooting camera is able to capture the depth of the scene, normally no depth information is provided.

So in order to use Physical Defocus with live action material in Flame, you can use machine learning to analyse the shot and produce the required Z-depth information.

  continue reading

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