1/16/2024 0 Comments Helios 44 2 bokeh![]() In this blog post I want to share with you why you should consider using vintage lenses on your digital camera. That’s why I’m using both Sony and Fujifilm for this photoshoot, and I can also adapt them to Canon EF or RF. All the vintage lenses I own I get in the M42 mount so I can adapt it to any system I use. The Helios is a lens made for film cameras, so it requires manual focus when used on a digital camera. I had a couple of questions during my last portrait photoshoot with a vintage lens. This is the only post-processing that I could think of, maybe someone else will think of more.The Helios 44-2 is a 58mm f2 lens and during this photoshoot I am using it on the Sony A7III and Fujifilm X-T4. Then just change it to constant and duplicate it for all the RGB channels. ![]() For the color ramp, just select a point and keep pressing the plus button to add more points halfway in between. I noticed that the blur seemed a little more oil painty than the results so I attempted to make the render a little more oil painty using this post-processing trick. ![]() Go to the render panel and turn on motion blur.Return to current frame by going back one frame.Then go foward one more frame and press r, type in 45 (this time its positive), press enter, press i and click rotation. Return to the current frame by going forward one frame.Go back one frame from the current, press r, type in -45, press enter, press i and click rotation.Select your camera and press i and click key frame rotation.Press 0 to open your camera view, stay in camera view for the rest of the steps.5 with F-Stop values of around 3 work well. Go to your camera and enable depth of field. You could also mess with the random transform values a bit, not a lot, but a bit.Īnd boom you have small bokeh dots! (I skipped this step in the render with the white balls and monkey heads because the white balls were the bokeh) Adding the Depth of Field & Motion Blur On the bottom left, change the randomize transform settings and click "Scale Even" and change the x scale value to a value around. ![]() Open search by hitting F3 (or space if you go legacy hotkeys) and type Randomize and click Randomize Transform.In Object Mode with all the circles selected, go to View->Set Origin->Origin to Geometry.Apply the Array Modifiers and then go into Edit Mode and press p and select separate by loose parts - separating them may take a while!.Add a Material to the Circle and set the surface node to a refraction node with a Roughness value of 0, IOR value of 1.2ish and set the color to as white as you can go.I find that the circle should be just big enough to fit 70 by 40 (array modifier values) on a 16:9 ratio camera. Look at the picture for guidance on how big the circles should be and how to set up the modifiers. Put the circle close to the camera in your scene as shown in the pic with two array modifiers.We will follow these steps in making this swirly bokeh effect: Here are a couple of example renders that I added the effect. Hopefully, this answer can serve as a good starting point for you to build off of or give someone else an idea to build off of as they form their answer.Įssentially I will just be using tiny refraction circles with traditional depth of field combined with motion blur to achieve the swirling effect. With that being said, this may work well enough for whatever project you are doing. The problem is I couldn't find a way to get the bokeh dots to 'light' up or contrast against the other ones more - essentially I couldn't get them to look more like bokeh dots. This answer will achieve a similar effect, not quite the same or as good as what you are probably looking for. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |