06-29-2016, 09:16 AM
Great to investigate this stuff like you are, makes me wanna try out my own experiments like that.
Didn't realise this was your goal, there is a specific terminology and theory around this stuff, it's called the 'Cone of Vision' - if you're really interested in this stuff I really recommend Scott Robertson's 'How to Draw', it will clear up so many of your perspective questions. Here's a few pages from it going over the cone of vision theory:
^ This stuff might be really confusing without reading the previous pages in the chapter, just to show that there is a technique to planning out this stuff (although it becomes hard / unnecessary to apply by plotting it all out, eventually you just get a 'feeling' over what feels right)
And here's those pages from Framed Ink I mentioned - adding background objects to your 3D scenes might be something worth investigating, since how much of those objects are seen along with the figure is also affected by the camera lens:
(The Framed Ink book is more about composition and visual storytelling than this technical stuff, Scott Robertson's book is definitely the one to go for to educate yourself on this stuff thoroughly)
Quote:the green block guy is just me attempting to get my head around perspective distortion and what it depends on.
Didn't realise this was your goal, there is a specific terminology and theory around this stuff, it's called the 'Cone of Vision' - if you're really interested in this stuff I really recommend Scott Robertson's 'How to Draw', it will clear up so many of your perspective questions. Here's a few pages from it going over the cone of vision theory:
^ This stuff might be really confusing without reading the previous pages in the chapter, just to show that there is a technique to planning out this stuff (although it becomes hard / unnecessary to apply by plotting it all out, eventually you just get a 'feeling' over what feels right)
And here's those pages from Framed Ink I mentioned - adding background objects to your 3D scenes might be something worth investigating, since how much of those objects are seen along with the figure is also affected by the camera lens:
(The Framed Ink book is more about composition and visual storytelling than this technical stuff, Scott Robertson's book is definitely the one to go for to educate yourself on this stuff thoroughly)