![]() There are common unavoidable problems that all post processing depth of field solutions have. Of course both filters support 16bit image format. Lenscare doesn't produce any such artifacts. Stochastic or super sampled ray traced blurs suffer from artifacts if not enough samples are used. Please note that the After Effects version was honestly adjusted to look as good as possible. The artifacts described above can be seen pretty good in the After Effects version. Here is a comparison of the After Effects standard depth of Field filter compared to Lenscares. Usually this results in ugly glow effects in regions with great differences in depth. ![]() A common mistake for 'depth of field' filters is to 'blur' all the surrounding pixels without regards to their depth values. They are just methods that look nice in some situations but fail in others. They don't do their names justice because their algorithms are not physically based. Fortunately for us most don't simulate camera effects properly. Plenty depth of field and out of focus solutions are available. Of course Lenscare takes advantage of multiple cpus if present. Lenscares dof: 6 seconds + 4min no dof Brazil render). Check out this comparison of Brazils depth of field with Lenscares. This is a big advantage especially with high quality global illuminated renders. In a lot of situations you can save hours of render time for just a couple of seconds per frame in post processing. 'Depth of Field' is very fast for what it does. If you don’t have the money for Frischluft, Photoshop’s Lens blur has similar features.'Out of Focus' effects is a speedy 2d blur and can compete with any existing solution. ![]() If you look closely, you can see there are some edge halos that require touch-ups but that was pretty straightforward. Probably easier to see the focus if you look at it animated in Nuke: Our terrible photo, while still no Cartier-Bresson, has graduated to publishable. ![]() This served two purposes: you get to decide what the subject matter is by focusing on it and the high-quality bokeh blurring makes the photo sleeker and more film-like. The best (meaning the least terrible) option was one shot that still had big problems: it was an over-compressed JPEG and it wasn’t clear who the subject was, since everything was in focus.Īfter jacking up the saturation to give the photo more life, the solution to the subject and quality problems was to hand-paint a Z-depth pass to simulate the depth add then apply a depth of field blur (I’m using the amazing Frischluft Lenscare). The current magazine contract I’m on has one of these cases there is a story about a man who ran a marathon to raise money for cancer research and all the photos are pretty rough looking and we can’t shoot him because he has unfortunately passed away. When you work on a magazine that does a lot of stories about real people – not celebs who have nice photos – you often have terrible photos that you are forced to deal with. Using Frischluft Lenscare and Hand-painted Z-depth to Fix Photos
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