[flow_default] Transcription for audio/AITJJSORT/Blender Course - Advanced Interior Visualization Training/11 - Animation/4 - Depth of Field.wav

audio_AITJJSORT_Blender Course - Advanced Interior Visualization Training_11 - Animation_4 - Depth of Field.json

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+{
+  "file": "4 - Depth of Field.wav",
+  "transcription": {
+    "audio_file": "4%20-%20Depth%20of%20Field.wav",
+    "text": "In this lesson, we will create an animation with the variable depth of field. To do this, I created a new camera which I labeled frame 11 and positioned it to focus on my faucet by the sink. I slightly adjusted its parameters because I set a higher focal length. This is because, in the case of close-ups, as I mentioned before, the focal length should be set to values around 60, 80, 100, and so on. Generally, the values are higher than in normal visualizations. To set up variable depth of field, we need an object that will draw our camera's attention, and whose location will change over time. We will add such an object using an empty, and then a plain access. This is an object that won't be visible in our render, and it will draw our camera's attention and change its location over time. I set this object at the height of my faucet. Next, in frame number 0, I'm placing it somewhere far away, away from the faucet, somewhere around here in the corner of the kitchen. I'll add it to the collection, camera, animation, and after selecting this object in the menu on the right side, I choose the location and assign a keyframe by pressing the key. Next, I move my frame to the final value of the animation, which is 250. And at this moment, I'm changing the position of my plane access. I'm changing it so that it's roughly in the location of the faucet. Let's say this will be the spot. After setting the final location, I assign it again. Okay? Frame. Now I need to change the option in the camera settings. Depth of field. At this point, I select the object that my camera is supposed to focus on. This will be an object called empty, which is exactly this plane in XE that we added a moment ago. In close-up we can see that in the final position of plane.XE, which is how our animation will end, our faucet is clearly sharp and visible. Everything else is blurred. I can change the f-stop value to a lower value so that the blur is more noticeable. For example, to a value of 2.0, at this moment we can turn on the preview in our viewport. We'll see how the depth of field changes and how it evolves over time. We can see that we've set everything up correctly and achieved the effect we were looking for. At this moment we can render either a preview of our viewport, just like we did in the first lesson, view and viewport camera, viewport render animation, or we can render a test animation. I'll do both of those things. I'll render a preview, but in this shade mode, which is what you see now. And I'll also render a test animation using the same settings and parameters as in the previous lesson. I'll stop the recording and show you the final effects. I've rendered the animations and now I'll present them to you. We'll start with the viewport animation. It looks like this. You can notice clear differences in the blurse at the beginning and the end of the animation. The animation? Let's call it the proper one, in the test version. Of course, it's better because it contains all the materials. However, due to the low resolution and low number of samples, its quality is not impressive. But as I mentioned in the previous lesson, when it comes to tests, this quality is more than enough. You can see everything. That needs to be visible. I think it turned out pretty nice. That's all the information I wanted to share with you in this lesson.",
+    "language": "en",
+    "duration": 251.38,
+    "timestamp": "2025-12-10T17:33:08.923029"
+  },
+  "timestamp": "2025-12-10T17:33:08.926400",
+  "processing_time_seconds": 78.92028999328613
+}