January 31, 2007
Depth of Field
You may have seen a movie, television show, or even a still picture where one object is in focus and another is not. This has to do with the depth of field of the camera. Depth of field, sometimes called DOF, is the distance in front and behind a focal point that appears in focus. The Depth of Field in LightWave v9.2 includes many great improvements.
A real camera depends on a device called an aperture to help control depth of field. LightWave has controls to replicate a physical aperture. Some of the controls are animatable. Even using a small amount of depth of field can significantly improve a render.
LightWave v9.2 can also replicate lens effects, such as exposure blooms and lighting artifacts, also known as Bokeh effects. Bokeh is derived from the Japanese word “bo-ke” which means blur, but this does not refer to any type of motion blur. Bokeh is the out-of-focus area outside of the depth of field.
LightWave v9.2 also has the ability to preview DOF in OpenGL in real-time, which is a big time saver.

Image courtesy Bo Hansen
Photoreal Motion Blur
Motion blur has been kicked up a level with a new Photoreal, true 3D blur, which mimics the blur captured on live-action film.
When a moving object is captured on film, a blur occurs. Many things factor into the blur, including the speed of the object in relation to the camera and the rate at which the film captures the light.
Much like a film camera, you must factor in some of the variables. Animatable controls are available in LightWave to control the amount of blur that is captured, such as shutter speed and blur length.
Photoreal motion blur is a leaps-and-bounds improvement over previous implementations of motion blur.
One way we have improved motion blur is the timing of how the blur is captured. For example, say you have a ball sitting still from Frame 0 to Frame 5, then at frame 15 the ball has moved to a different location and stops again. Movement occurs between Frames 5 and 15. So what this means for blur in the animation is between frames 0 and 4, there is no blur, because there is no movement at all. At Frame 5, while the ball still has not moved as far as the animation of the ball, there is anticipation of movement for frame 6, so there will be a blur of the ball. Frames 6 to 14 will have blur because the ball is still moving. At frame 15, the ball has stopped, so at the moment of render no movement is occurring and no blur is captured.

Image courtesy Yazan Malkosh
Global Illumination and Final Gather
Global Illumination and Radiosity have been significantly improved to provide faster and higher quality renders. NewTek has achieved this with optimizations of existing technology and introducing state-of-the-art technology.
Final Gather is one of the state-of-the art technologies used in LightWave 9.2. Final Gather works by gathering luminosity information from the surfaces in a pre-process algorithm to calculate the direct and indirect illumination used for the final render.
Why is Global Illumination important?
Global Illumination, sometimes referred to as GI, is used to easily create photorealistic renders. When light bounces off a surface, any rays that are not absorbed are projected onto the next surface it hits, and continues to do so until it reaches your eye or is captured on film.
For example, if you have a red ball sitting on a white surface, and depending on the lighting, the red from the surface of the ball will spill onto the white surface. Add a green box and the green will spill onto the white surface, and if they are close enough the spill on the white surface from the green box and red ball will mix into a shade of yellow.
GI simulates the way real light works by bouncing virtual rays off a surface and using special algorithms to determine surface illumination, which is information like color and brightness. GI settings can be changed by the user including the number of ray bounces, how close together ray calculations are, and the intensity of the radiosity.
Renders without Global Illumination do not calculate the spill from surfaces and will only render rays that directly hit a surface from a light source.
Final Gather has also been integrated with the Interpolated mode for radiosity, which means first a Final Gathering pass is performed and is then combined, or interpolated, with the render pass.
The Backdrop and Monte Carlo modes do not use Final Gather but have been further optimized for increased speed and quality.

Image courtesy Phil Nolan and CGSphere.com
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