View > Camera Attribute Editor
Opens the camera’s Attribute Editor.
See Maya camera types for information about the type of cameras: Camera; Camera and Aim; and Camera, Aim, and Up.
For more information on angle of view and how it’s affected by the focal length of the camera, see Angle of view (focal length).
See Focal Length.
See Camera Scale.
For Maya software only. If this is on, the near and far clipping planes are automatically set so they enclose all objects within the camera’s view. (For the hardware renderer and mental ray for Maya renderers, you must set the near clip plane and far clip plane manually. You can set the planes manually for Maya software rendering too.)
All objects render and depth precision problems are eliminated. Clipping planes are not visible in the views.
If off, the near and far clipping planes are set to the Near Clip Plane and Far Clip Plane attribute values.
Auto Render Clip Plane is on by default.
Turn off Auto Render Clip Plane (and set the Near Clip Plane and Far Clip Plane) in the following cases:
The sections Stereo, Stereo Adjustments, and Stereo Display Controls contain the attributes for the stereoscopic camera (stereoCameraCenterCamShape node):
Stereo
Select the method for computing the zero parallax plane from one of the following modes:
Computes the zero parallax plane by toeing in the cameras. You can compare this effect to our focusing on an object by rotating our pupils inwards. However, a dangerous side effect may occur where you get a keystone effect on the pairs of render images, causing visual confusion in other elements in the scene. In a rendered image, our focus tends to saccade over the entire image and we are not focusing on a single object, which is not true in real life. You should only use Converged when an object is at the center of the screen with no scene elements at the render borders on either the left or right camera frustum.
Distance on the camera view axis where the zero parallax plane occurs, in other words, the point where objects appear off screen. If an object is in front of the zero parallax plane, it has negative parallax and if an object is behind the zero parallax plane, it has positive parallax.
In general, your object should be behind the zero parallax plane. in other words, the camera distance should be greater than the zero parallax plane value. The zero parallax value, the camera separation, and focal length are all used to determine the shift that must be applied to film back on the respective left and right cameras. The zero parallax distance is only applicable when in Off-Axis or Toe-In modes.
Display method for frustum. See Display Near Clipfor valid values.
The Film Back attributes control the basic properties of a camera (for example, the camera’s film format: 16mm, 35mm, 70mm).
The height and width of the camera’s Film Gate setting, measured in inches. The default values are 1.417 and 0.945. This setting has a direct effect on the camera’s angle of view (see Angle of view).
See Lens Squeeze Ratio.
Vertically and horizontally offsets the resolution gate and the film gate relative to the scene. Changing the Film Offset produces a two-dimensional track. Film Offset is measured in inches. The default setting is 0.
| 1 | The view guide fills the view. The edges of the view guide may be exactly aligned with the edges of the view, in which case the view guide is not visible. |
| > 1 | The higher the value, the more space is outside the view guide. |
Use the Shake attributes to apply some amount of 2D translation to the filmback. A curve or expression could be connected to the Shake attribute to specify a realistic shaking effect. The Shake Enabled toggle can be used to turn the effect of the shake on and off.
The Shake and Shake Overscan attributes duplicate and combine functionality with the Film Offset attributes and API. They are off by default.
Shake Enabled allows the Shake attribute setting to be factored into the camera calculation. By default it is off.
Shake specifies a translation on the filmback. The value is specified as a separate horizontal and vertical shake field, both of which default to zero, and are only utilized in the camera calculations when the Shake Enabled attribute is enabled. For camera calculation purposes, Shake and Film Offset provide the exact same effect. Shake provides an additional set of filmback translation inputs on the camera, with the additional feature that Shake can be turned on and off via the Shake Enabled attribute.
Use the following MEL command to turn on Shake Enabled:
setAttr perspShape.shakeEnabled 1;
Use the following MEL command to set the Shake attribute:
setAttr perspShape.shake 0.5 0.5;
Shake Overscan Enabled allows the Shake Overscan attribute to be factored into the camera calculation. It is disabled by default.
Shake Overscan specifies a multiplier to the film aperture. This overscan is used to render a larger area than would be necessary if the camera were not shaking. This attribute will affect the output render. The Shake Overscan attribute is only used when the Shake Overscan Enabled attribute is set to true. By default, Shake Overscan is set to one.
Use the following MEL command to turn on Shake Overscan Enabled:
setAttr perspShape.shakeOverscanEnabled 1;
Use the following MEL command to set the Shake Overscan:
setAttr perspShape.shakeOverscan 1.25;
The horizontal pivot point from the center of the film back. The pivot point is used during rotation of the film back. The pivot is the point where the rotation occurs around. This double precision parameter corresponds to the normalized viewport. This value is a part of the post projection matrix.
Vertical pivot point used for rotating the film back. This double precision parameter corresponds to the normalized viewport. This value is used to compute the film roll matrix, which is a component of the post projection matrix.
These attributes provide control over the camera’s focus.
For more information on depth of field, see Aperture determines Depth of Field (DOF).
The range of Camera Aperture settings which affect the Depth of Field. The lower the fStop (for example, f4) the lower amount of Depth of Field. The higher the fStop value (for example, f32) the greater amount of Depth of Field.
For more information about fStop, see fStop (aperture) and shutter speed/angle.
Controls whether the camera generates an image during rendering, and what types of images the camera renders.
If on, the camera can create an image file, mask file, and, or depth file during rendering; that is, it is able to render. By default, Renderable is on for the default perspective camera, and off for all other cameras.
This option is affected by the Renderable Camera option in the File Output section of the Render Settings window. For more information on the Render Settings window, see Render Settings window.
If on (and Renderable is on), the camera creates a mask during rendering. A mask is an 8-bit channel (the alpha channel) in the image file that represents objects in shades of gray. Black areas represent areas where there are no objects (or fully transparent objects), and white areas represent areas where there are (solid) objects. Masks are used primarily for compositing.
For image formats that do not support mask channels, the mask is stored as a separate image.
For more information on mask channels, see Mask and depth channels.
If on (and Renderable is on), the camera creates a depth file during rendering. A depth file is a type of data file that represents the distance of objects from the camera.
Depth files are used primarily for compositing. When on, the Depth Type attributes (next) are enabled.
For image formats that do not support depth channels, the depth is stored as a separate image.
For more information on mask channels, see Mask and depth channels.
Use this attribute for Toxik pre-compositing. You can specify a pre-compositing template for each render layer in the Passes tab of the Render Settings window. See Toxik pre-compositing template for <layer> and Exporting the multi-render passes for compositing in Toxik for more information.
The pre-compositing template on a layer assembles the passes. The pre-compositing template on a camera, however, assembles the layers. The default behavior, if no template is specified, is to stack the layers in a linear chain of blend nodes that follow the order and blend nodes in Maya.
Control the appearance of the scene’s background as seen from the camera. Different cameras can use different backgrounds.
For Maya software and mental ray for Maya rendering.
Creates an image plane and attaches it to the camera. Clicking the Create button automatically changes the focus of the Attribute Editor to include attributes for an image plane.
For more information on image planes, see Create, edit, or position an image plane in the Shading guide.
Controls the blurriness of motion blurred objects. In a real-world camera, the shutter is actually a metal disk that is missing a pie-shaped section. This disk sits between the lens and the film, and rotates at a constant rate. When the missing section is in front of the film, it allows light from the lens to pass through and expose the film. The larger the angle of the pie-shaped section, the longer the exposure time, and moving objects are more blurred. Shutter Angle is measured in degrees. The valid range is 1 to 360. The default value is 144.
See Shutter Anglefor more information.
Controls the display of view guides in the camera’s view, and provides options for moving the camera. You can also access most of these attributes in any panel’s View > Camera Settings menu.
Displays a rectangle that indicates the area of the camera’s view that renders. The dimensions of the resolution gate represent the rendering resolution. The rendering resolution values are displayed above the resolution gate. See Resolution Gate for more information.