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Camera Item

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The Camera Item is a virtual lens into the 3D world inside modo. Everything rendered is seen from this point of view, as such, these settings determine how your camera sees your 3D world. Much like how a real camera operates, the camera captures your image, and works in conjunction with the 'Render Item' making your virtual snapshot viewable in the 'Render Display'. What is displayed depends on your 'Render Output(s)', which acts as virtual developer determining what actually gets rendered when 'F9' is pressed (or any render command is invoked). While the Camera Item contains the properties related to the projection, frame aspect ratio, DOF, etc., the actual frame resolution is set within the 'Render Item' under the 'Frame' properties.

Each new modo scene by default has a single camera item, additional cameras may be added to the scene with the menu bar command 'Item > Create Camera' or within the 'Item List' viewports 'Add Item' function; LMB-click the add item button and select 'Camera' from the popup menu. Additional cameras are helpful in providing alternate views of a scene, easing navigation, or for providing close-up views of a particular area, especially in situations where the hero camera is animated and locked, avoiding accidental changes. Only a single camera may be 'rendered' from at a time, the particular camera used is specified in the 'Render Item's 'Frame' subtab under the 'Render Camera' option. Additionally, alternate camera may be selected within the 'Render Preview' viewport using the select camera option available, without affecting the 'Render Camera' used for final rendering.

Working with the Camera

The cameras attributes, such as Position and Rotation, can be modified in the properties panel whenever the camera item is selected in either the 'Item List' or the 'Shader Tree'. By default, the camera icon is only visible in the 'Animate' and 'Render' 3D viewports, but by changing the visibility in the viewport options, they can be made viewable in any viewport; hover the mouse pointer over the 3D viewport you wish to modify, and press 'o' on the keyboard to open the visibility options panel.

Rollover for handle titles

The camera item may also be interactively modified in the 3D viewport while in 'Items' mode (camera items have no editable components). Use the standard transform tools to move (W) and rotate (E) the camera. When making fine adjustments, users may find it easier to see how the camera is viewing the scene. This can be done by changing the viewport view button in the upper left to 'Camera'. When set as such, black bars may be drawn over the viewport if the aspect ratio of the 'Frame Size' is different from the viewports aspect ratio; the area inside the bars represents the area of the scene that will render when a render command is invoked. To position the camera while in this view mode, various keyboard/mouse options are available--

Shift+Alt+LMB Drag
Shift+Alt+RMB Drag
Alt+LMB Drag
Alt+RMB Drag
Ctrl+MMB Drag
Ctrl+Alt+LMB Drag
Ctrl+Alt+RMB Drag
Roll Mouse Wheel


Move camera item
Move Up/Down direction only
Rotate around Target Distance
Rotate around Camera center
Rotate around 'Z' axis
Move Forward/Backward only
Adjust Focal Length
Move Forward/Backward only

When tool handles are set to 'Advanced' (within the 'Preferences' or 'Tool Pipe'), additional handles become visible allowing users to interactively adjust camera setting in the viewport (mouse over the above image for handle reference). The handles are--
1.) Adjust 'Focal Length'/'Field of View'.
2.) Adjust F-Stop for Depth of Field.
3.) Adjust 'Convergence Distance'.
4.) Adjust 'Focus Distance'.
5.) Parallax Offset Difference value (distance between items for left & right eye in final rendered frame) expressed as percentage of frame width. Users can drag the handle around the scene to get an idea how far apart elements will appear on the screen when rendered as a stereo image. Generally speaking, for comfortable viewing users will want to keep the sum of the values for the closest elements in frame to the farthest elements 5% and under. Adjustments can be made to 'Interoccular Distance' and the 'Convergence Distance' options to help in obtaining this result.

Tip icon

TIP: User will likely find it more intuitive to adjust the camera when the 'Action Center' is set to 'Local', keeping the transform handles aligned to the camera item itself.

On occasion, users may wish to modify the size of the camera icon within the 3D viewport, this can be accomplished with the 'Size' setting in the 'Display' viewport, which offers additional settings for modifying the cameras iconic representation including the ability to label the item, enable the 'Safe Area' display and toggle the display of the 'Stereo Volume'. Users may also adjust the 'Scale' option of the cameras in the 'Properties' panel. Note that changing the size of the camera icon in no way affects the rendering outcome or the overall scale of the scene.


Camera View

Camera ItemPanelName: This data field displays the current item name. Users may easily change it by LMB-clicking within the field and typing the new name.


Position: An Item transform that allows the user to numerically position the camera item in XYZ space. By default, Position transforms originates from the items center position.

Rotation: An Item transform that allows the user to numerically set the rotation of the camera item. By default, Rotation transforms originates from items center position.

Order: Allows the user to set the order that rotations are applied to the camera item. Changing the order that rotations are applied can sometimes help to reduce or eliminate gimbal lock.

Scale: An item transform that determines the size of the icon in the 3D viewport. Scale otherwise has no effect on the final rendered image.

Reset: Resets the selected transform values to (0,0,0) returning the items back to their default state.

Zero: Returns the camera items Center position to the world space center (0,0,0) without changing the position of the camera item itself.

Add: The 'Add' function will add the selected set of transforms to the channel list. Useful when animating complex motions, providing a layered approach to the transforms.

Set Target: The 'Set Target' option allows users the ability to target specific items in a scene, automating the rotation of an item, so that it continuously points toward the targeted item. To use, make sure you are in 'Items' mode, and select the Camera item (and only the camera item), then, holding down the 'Ctrl' key, select a single additional item in the 'Items' list viewport that you wish to target (such as a locator), in that order; as the selection order is important. Next, press the 'Set Target' button under the 'Camera View' options subtab to enable the function. Remember though, that the camera will look directly at the item's center position regardless of the location of geometry within the target layer. Once activated, additional options appear--
Remove Target: Removes the target link between the two items.
Enable: Toggling this option off temporarily disables the targeting function while retaining the link between the items.
Set Focus Distance: This option sets the focal distance for DOF when targeting camera items to other item.
Roll: Provides the ability to offset the items rotation angle away from the target.

Target Distance: This value defines the point around which the camera will orbit. Note that when you start a fresh project the camera is back 4M on Z and the Target distance is 4M. That is why it orbits around 0. This value is reset automatically when the user performs a zoom. modo fires a ray out from the camera and automatically sets the target distance based on the first surface the ray intersects.

Sync to View: This command will change the position and orientation of the currently selected Camera item to match the currently selected 3D viewport as closely as possible. There are some caveats in that the Cameras view scale is dependent upon the focal length and image resolution (for aspect) and therefore cannot be matched precisely.


Projection Type: modo can render traditional perspective cameras as well as orthographic cameras and spherical cameras. This popup allows you to choose the desired camera type. Perspective cameras will show perspective distortion where the scale of an element appears to diminish in the distance. This traditional perspective view is what most artists would expect when rendering; similar to what a real world camera might capture. Orthographic cameras do not exhibit any perspective distortion as all rays are fired from the camera in parallel lines. Spherical cameras capture the entire 360 degree view of a scene. The Cylindrical projection captures the entire 360 view from the perspective of a tube, removing the polar areas of the projection.
Perspective cameras are found most often in visual FX, product and architectural visualization and/or anywhere artists are trying to mimic reality. Orthographic rendering is very useful in news/info graphics and architectural plan rendering. Spherical cameras are useful in capturing images that can be later applied as image based lighting and reflection maps, among other things.

Perspective Projection
Perspective Camera


Perspective Projection
Orthographic Camera


Perspective Projection
Spherical Camera

  Cylinder Projection
Cylindrical Projection

Focal Length: The Focal Length setting controls the amount of zoom just as it would with a real world camera. The actual definition of Focal Length is the distance between the lens and the point where the rays converge after having been refracted by the lens. Wide angle lenses (those with short focal lengths) capture more of a given scene than their telephoto counterpart. Lower focal lengths will exhibit more perspective distortion, conversely, longer focal lengths will minimize the effect of perspective. To zoom out you should decrease the focal length and to zoom in you will increase the value. This control is set in real world metric units to match physical cameras.
Focal Length can be adjusted on the Camera property form or interactively in the 3D viewport. If you are looking through the Camera (and 3D Viewport set to 'Camera') you can use Ctrl+Alt+RMB to adjust the Focal Length interactively (Ctrl+Alt+LMB moves the camera itself forwards and backwards).

Angle of View: In some instances, it may be easier to specify an angle of view instead of a Focal Length. This setting allows one to specify the 'Angle of View' as a number of degrees horizontally, once set, the Focal Length will be updated to reflect the new value.

Lens Distortion: In a real world camera, light rays are bent through a spherical lens element resulting in a slightly distorted image. 3D rendered images don't pass through a lens and likewise don't exhibit the distortions we're accustomed to in photography. The Lens Distortion setting can be used to introduce these familiar distortions in a realistic way. Positive values create an increasing 'Barrel' distortion, and negative value create increasing 'Pincushion' distortion effects.

No Distortion
Standard CG Wide Angle View


Lens Distortion
Same view w/ Lens Distortion applied

Film Back--
In the real world, every camera has certain attributes that are a fixed physical size, in the analog days, this was based on the film size (i.e. 35mm, 70mm etc.), with digital cameras, it is the sensor size (i.e. 1/3, 1/2, APS etc.). The size of this fixed capture area works in conjunction with the focal length to control the field of view that is captured. modo offers the ability to modify the virtual capture area to any conceivable size. Should one wish to compose 3D rendered elements together with images from a camera, for the most convincing results, matching the real-life sizes and aspect ratios of the original camera is highly recommended. Many popular preset sizes are provided for convenience, but users may also define custom values with the Width and Height settings. The Film Fit setting allow users to control modo's behavior when the frame size specified in the render item, is a different aspect ratio than the film back settings.

Film Back Preset: The 'Film Back Preset' allows you to choose from a number of available preset real world cameras. Choosing a preset will automatically set the Film Width and Height, and the corresponding Frame Size (in the Render Items Frame Tab). You can also save your own preset by selecting "(new preset)" from the bottom of the list. When selecting this option, a dialog will popup asking you to name your preset. You're new preset is saved in modo's config file and is available immediately for selection.

Camera FrustumFilm Width/Height: 'Film Width' and 'Film Height' correspond to the exposed region of the film negative in a real camera set in real world measurements. In some applications this is known as the Film Gate. One way to visualize this is to imagine the camera frustum as a pyramid whose base dimensions are the Film Width and Height and terminating at the apex. The distance from the base to the apex is the Focal Length (The apex being the position of modo's virtual aperture and the position where the camera rotates which incidentally is also the nodal point). The base of the pyramid can be shifted around within its plane (shearing the pyramid) by using the Film Offset controls.

Film Offset X/Y: The 'Film Offset' function allows users the ability to offset the position of the Film Back without changing the position of the camera item itself providing unique perspective views not otherwise possible. The function is especially useful when rendering architectural type images that prefer two point perspective as opposed to three. By rotating the camera on the X axis to 0° (eliminating the vertical perspective), the offset may be adjusted to modify the cameras view (framing the subject properly) while retaining the perspective of the cameras original position.
The three images below illustrate the differences between film offset and simply moving the camera. A.) the camera standard perspective view with the subject centered in the frame. B.) rotates the camera X-axis to 0° and uses a 'Film Offset' to frame the subject eliminating the vertical perspective. C.) is the default perspective camera again with no offset, but the camera was rotated to 0° on the x-axis again and the cameras position was modified upward to frame the subject producing a dramatically different perspective than that offered by 'B'.

Normal Offset (O,0)
A.) Normal Perspective Camera


B.) 0° X-axis rotation w/ Film Offset


Camera Move Only
C.) 0° X-axis rotation w/ camera offset

Film Fit: 'Film Fit' only matters when the camera item's film gate (defined by the Film Width and Height above) has a different aspect ratio than the Render Item's resolution gate (defined by the actual Frames Width, Height and Pixel Aspect Ratio). In that case, the two possibilities are that the horizontal borders coincide, or the vertical borders coincide. The Fill and Overscan options automatically select whether to match the horizontal or vertical borders in order to make the resolution gate fit within the film gate or vice versa.
You can think of the film gate (Film Width and Height) as the size of the film in the camera in real world units, with the film being analog (not divided into pixels). Then you take the exposed film frame and lay it on a digital scanner (the resolution gate), which is divided into pixels, and which might have a different shape (wider or taller). It's the resolution gate that gets saved to the output image file.


Camera Effects

Distant DOF
Distant Chair in Focus


Near DOF
Near Chair in Focus

Camera Item Panel 2Depth of Field--

Depth of Field (DOF), as it relates to photography, is the area of acceptable focus in an image; any area outside gets increasingly blurry as it recedes from the focal plane. The softening of edges as they recede from the plane is highly dependant on the 'F-Stop' setting. Smaller values represent larger apertures producing softer blurs, conversely, higher values represent smaller apertures producing less blurriness. Users must first enable DOF in the Render Item properties under the settings subtab to see its effect.

Focus Distance: When rendering with 'Depth of Field', this value sets the distance out from the camera center at which the image will be perfectly in focus. To quickly set the focus distance for the camera you can use the 'Autofocus' command or by pressing Ctrl-A with the mouse over the Camera viewport. You can also set this value interactively with the Item Transform tool ("Y") when the Camera item is selected.

Autofocus: This command sets the Focal Distance to whatever geometry is at the direct center of the current camera view. Setting the Focal Distance is only useful when rendering with Depth of Field active. You can also use the keyboard shortcut 'Ctrl-A' when the mouse is over a 3D Viewport set as 'Camera' or any Render Preview window.

F-Stop: The F-Stop control on the modo camera is only effective when Depth of Field is enabled. In this case lowering the F-Stop will decrease the depth of field (apparent area of focus) just as it would in real-world cameras. Note that F-Stop does not effect exposure of light since the modo camera captures real world radiance values as they are striking the virtual CCD. This provides linear light values to the final image which provides an opportunity for post processing the exposure for maximum flexibility.

Iris Blades: The 'Iris Blades' setting controls the way the blurriness looks in images with shallow depth of field, generally referred to as "Bokeh". Bright areas, when out of focus tend to take on the shape of the cameras Iris, smaller numbers of blades make more obvious geometric patterns to the bokeh shapes, while larger values look more circular. A setting of '0' makes a perfectly circular shape.

Iris Blades 0 (default)
Iris Blades 3
Iris Blades 5
Iris Blades 7
Iris Blades 9

Iris Rotation: This option changes the rotation angle of the virtual Iris when rendering shallow depth of field in images, which in turn rotates the bokeh shapes in the final rendered output.

Edge Weighting: When modo calculates Depth of Field, rays are fired in a pattern that simulates the iris blades producing the bokeh effect shapes. The edge weighting option concentrates those rays toward the center or edges of the iris, depending on the value. A value of '0%' concentrates all the values at the center of the iris, while a setting of '100%' concentrates the rays to ward the outer edge. A value of '50%' evenly distributes the rays. A light tends to be stronger in the outer edge of the iris in the real world, setting around 60% to 70% tend to produce the most realistic results.

Edge Weight 0%
Edge Weight 25%
Edge Weight 50%
Edge Weight 75%
Edge Weight 100%

Motion Blur--
Real cameras don't freeze time, but capture brief moments, causing moving objects to blur in the frame. This natural motion blur that our eyes are accustomed to can be simulated in modo. Users must first enable 'Motion Blur' in the Render Item properties under the settings subtab to see its effect. Once set, modo will now take 'time' samples forward and backward from the rendered frame blending them together to create the blur effect. Depending on the strength of the effect or the speed of motion in your frame, you may find it necessary to increase the number of anti-aliasing samples. Adjustments to Blur Length (like adjusting the exposure time for more or less blur) and Blur Offset can be found in the Camera Items properties.

No Motion Blur
Animated Ball, Motion Blur Disabled


Motion Blurred
Animated Ball, Motion Blur Enabled

Blur Length: The Blur Length control will affect the length of the motion blur effect when rendering animations. The default value of 50% would be similar to a real-world camera set with a 180 degree shutter. In modo the 50% value will result in the shutter being open for half of the exposure time of that frame. The motion blur effect is calculated by taking time samples both forwards and backwards from the current frame time and blending them together for the final blurred result. As such, it may be necessary to increase the level of anti-aliasing to produce a smooth result.

Blur Offset: The blur offset value lets you control the center position in time where modo samples its motion blur from. A setting of zero centers the motion blur on the current rendered frame, while a setting of -100% moves the position backwards one entire frame and a setting of 100% moves the position forward one entire frame.

We see with two eyes, each slightly offset form the other, providing our brains with enough information to create a sense of depth to the world around us. modo scenes are likewise 3D with depth, but the monitors we view scenes with are two-dimensional, as are the renders modo creates. Activating the stereoscopic function in modo will bring back that missing depth information by rendering 2 offset images that when viewed in tandem reveals the depth present in your original scene. The stereoscopic function, when enabled, will render two separate frames, one appended 'L' for left and 'R' for right noting which eye the frame was rendered for. Note that when activated, the Stereoscopic function is rendering 2 completely separate frames, so increased render times are to be expected. If applicable, only a single Irradiance Cache is calculated for stereoscopic renders.

Stere Anaglyph Image

Stereoscopic Enable Toggle: This setting is the global toggle to enable/disable the 'Stereoscopic' function when rendering. When enabled, modo will render two frames slightly offset from each other (like our eyes). The resulting images can them be combined a variety of way that when properly viewed reveal the depth present in your original scene.

Stereo Eyes: When 'Stereoscopic' rendering in enabled, users can use this option to choose which eye is rendered, choosing to render either only the 'Left' eye, only the 'Right' eye or rendering 'Both' simultaneously. When rendering Both, users can additionally choose a 'Stereo Composite' option to determining how modo will combine the resulting stereo images for final output.

Stereo Composite: modo offers a variety of options for composing stereo images into a single image for viewing. Which option you choose is largely based on how the resulting image will be viewed.
Anaglyph Red-Cyan- This method replaces the red channel or the right image with the red channel from the left image.
Anaglyph Grayscale- This method makes both frames into grayscale (luminance) images, then puts the left one in the Red output channel and the right one in the Green and Blue channels.
Anaglyph Red-Cyan Half Color- This method basically converts the left image to grayscale and puts it into the Red channel, and uses the right frame's Green and Blue channels for the output Green and Blue channels. This technique reduces 'retinal rivalry' which is a disturbing phenomenon caused by differing brightness of what should be the same objects seen by either eye.
Anaglyph Red-Cyan Optimized- This method further combats retinal rivalry by discarding the red channel from both images, keeping the right frame's cyan component, and mixing the left frame's Green and Blue channels at 70%/30% ratio to use in the output red channel.
Anaglyph Red-Blue Least Squares- This algorithm was invented by Eric Dubois. He used the optical properties of standard red and blue filters used for anaglyph glasses and derived magic numbers for blending stereo pairs into color anaglyphs by minimizing the error using a "least squares" method.
Side-by-Side- Half-width frame is rendered and composed side by side into a full width regular frame, with Left on Left and Right on Right.
Side-by-Side Full Width- Full sized frames are rendered separately and composed side by side in a double width frame, with Left on Left and Right on Right.
Side-by-Side Cross Eyed- Half-width frame is rendered and composed side by side into a full width regular frame, with Left on Right and Right on Left.
Side-by-Side Cross Eyed Full Width- Full sized frames are rendered separately and composed side by side in a double width frame, with Left on Right and Right on Left.

Interocular Distance: The 'Interocular Distance' technically means the distance between the center point of a persons two pupils, but here it is the measured offset between the two rendered images in modo. The default setting of 65mm is the average distance between the eyes of an adult. For scenes modeled to real world values, this is an appropriate setting that produces good results. Scenes of varying scale will likely require this distance to change as will renders of exceptionally close or exceptionally far objects.

Convergence Distance: The convergence distance is the point within 3D space where the 2 offset images converge. In front of this point, objects appear to come forward, and behind this point, object appear to recede. It is easily understood by imagining it as the focal point of your scene, much like with DOF where the focal distance is the position in space where all objects are in focus, objects in front or behind this position gradually blur, the Convergence Distance is the point in the scene you wish to direct your viewers eyes, as it will be the most comfortable to view. This is exactly how your eyes work as well. If you were sitting in a restaurant and your eyes were focused on your glass of water on the table, this would effectively be the convergence point of your two eyes, your dinner plate would be in front of the glass coming forward, and your guest would be further away on the other side of the table.

Clipping Plane--
Clipping refers to the removal of part of a scene from a rendered image while leaving the actual scene geometry intact. Users can define a distance where all (or selected) surfaces will be clipped, by enabling the 'Clipping Plane' option and then defining a 'Clipping Distance'. Users can disable clipping on a per-material basis by disabling the 'Enable Surface Clipping' option in the Material item. Users should note that a similar effect can be obtained through the use of 'Render Booleans' that is not camera view dependant.

Enable: When enabled, any scene items within the bounds of the camera position and the clipping plane will be clipped from the scene, removing them from the rendered image while retaining the actual scene geometry.

Clipping Distance: Defines the distance away from the camera where items will be clipped.


Camera Safe Overlay

Camera Safe OverlaySafe Area Overlay--
Overscan was a display technique used in older tube-type televisions sets, because of this overscanning of the screen, the final size of the displayed image was unreliable, so a 'Safe' area was determined that would allow content creators to design within a reliable boundary to ensure visibility of elements on the screen. Users can enable the 'Safe Area Overlay' option in the 'Display' viewport displaying guide elements on the GL viewport. Once the option has been enabled, additional camera properties become visible when the 'Camera' item is selected providing users a means to adjust the default values.

Action Safe Visible: The action safe area is the space determined to be where important action of a scene would be clearly visible, but the bounds could possibly be against the edges of the screen. The 'Action Safe Visible' option toggles the visibility of the outer guide of the Safe Area overlay.

Horizontal/Vertical Margin: The Horizontal and Vertical margins determine the distance away from the edge where the guide is actually drawn in the viewport.

Title Safe Visible: The title safe area is the space where all on screen text and graphics would be guaranteed to be visible, ensuring clear legibility. The 'Title Safe Visible' option toggles the visibility of the inner guide of the Safe Area overlay.

Horizontal/Vertical Margin: The Horizontal and Vertical margins determine the distance away from the edge where the guide is actually drawn in the viewport.

Tip icon

TIP: The Camera Safe Overlay guidelines will only appear when a viewport is set to the 'Camera' view type. Also the Camera must be set to 'Visible' within the viewport (check the 'Display > Options' to ensure 'Show Camera' is enabled.

Overlay Opacity: The 'Overlay Opacity' option determines the strength of the guides when drawn in the viewport, a higher opacity value would mean the guide lines were more apparent, and a lower opacity would be more subtle.


Stereo Camera Volume
The separation of matching pixels in left and right stereo images is referred to as parallax. The Camera's convergence plane, which corresponds to the TV/Movie screen as far as the audience is concerned, there is no parallax. Objects at that distance appear to be in the same plane as the screen. Objects further than the convergence plane appear to be pushed back into the screen. The farther back they are, the greater the separation (parallax) between those pixels. Things in front of the convergence plane appear to be in front of the screen, and also have increasing parallax, though the images are shifted in the opposite direction.

If a scene exceeds a certain parallax amount, this will cause discomfort for the viewer, or ruin the effect entirely. Conversely, if the scene doesn't have enough volume, then the stereo effect is barely noticeable.  Thus the amount of parallax into and out of the screen are critical to monitor when setting up a shot. Directors are even starting to plot depth scores so they can keep the parallax in a safe range, using it as a storytelling element as well as to catch sharp jumps which can be disturbing to viewers.

The Stereo Volume 'package' on the camera lets users define their stereo volume by setting the front and back parallax amounts. You can then either use it to make sure the objects stay in range, or it could be used to measure shots by setting keyframes so it always matched the nearest and farthest elements in the scene. To get the 'Depth Score', just screen capture the 'Graph Editor'.

Stereo VOlume SettingsStereo Volume--
This refers to the amount of depth of your scene between the frontmost element and backmost. It is an important quantity for designing a stereo image. It is referred to as a volume because it includes the entire space- width, height and depth of the frame. It is also related to the stereo budget which is yet another way of saying the amount of depth used by the scene. Users can activate the display of this important visual guide in the 3D viewport by enabling the 'Show Stereo Volume' option in the 'Display' viewport. Once enabled, the following options appear in the 'Properties' panel when the 'Camera' Item is selected.

Front/Back Parallax: This parameter sets the desired front/back parallax amount(s). It is given as the separation distance's percentage of the screen width. When you set this, modo computes the distance from the convergence plane where objects will have that parallax amount, and draws the front or rear plane there.  There are also two circles drawn with centers that are separated by the parallax amount.

Solid: When enabled, draws volume as filled quads, instead of outlines making its apparent area more obvious.

Opacity: Determines the opacity of the drawn volume guides.


comment balloon Comments (2) RSS Icon

Dino Zanco April 13, 2012 at 1:43 AM

Quick Tips for Depth of Field:

Boxel Interactive February 26, 2013 at 9:05 AM

how to export stereoscopic camera to Nuke or to another compositing pakage


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