DOF PRO (Depth Of Field Generator PRO) is the undisputed leader in photorealistic depth of field effects for Adobe Photoshop. Backed by over a decade of research and development since its first release in 2005, DOF PRO has become the industry’s professional choice for unparalleled and sophisticated depth of field effects quickly and efficiently as a post process. DOF PRO’s state-of-the-art featureset provides innovative and cutting-edge technology not available elsewhere, resulting in one of the most powerful and advanced depth of field processors in the industry.
DOF PRO v5.0 GUI
Depth of field is the amount of distance between the nearest and furthest objects that appear in acceptably sharp focus as seen by a camera lens. This field varies with the focal length of the lens, its f-stop setting, and the object distance from the camera.
DOF PRO Artists: Jason Lee
Depth of field is a critical component of camera lenses. It is heavily used in photography, film and computer graphics as a creative element, in typical examples ranging from portraiture to macro photography. Depth of field is governed by three factors: aperture, lens focal length and shooting distance. Many consumer class cameras, however, do not provide sufficient and independent control of these parameters. Digital cameras, in particular, usually show a wide depth of field – i.e. they are more tolerant to defocus effects. While this may be welcome in some instances (e.g. snapshot applications), it is often a serious deficiency in others (e.g. portraiture/macro photography).
DOF PRO Artists Left: Mark LaFrenais, Right: Adrian Jackson
In 3D computer graphics, physically accurate depth of field can be generated using complex raytracing techniques that tend to increase rendering times exponentially. As a result, 3D computer generated content often lacks depth of field as a consequence of the lengthy calculation times, or it is performed as a post-process using a specialized plugin such as DOF PRO.
DOF PRO Artists: Daniel Danrich
The term Bokeh, which in Japanese literally means blurring, has been introduced into the film, photography and computer graphics industries to describe these particular out-of-focus blur characteristics. It is determined mainly by the shape of the camera lens and can be best seen on out-of-focus highlights which assume the shape of the lens aperture. A lens with few aperture diaphragm blades, say 5, tends to produce pentagonal highlights, whereas a lens with more aperture blades, say 7-8, tends to produce rounder heptagonal/octagonal highlights. Ultimately, a higher number of aperture blades will produce more circular highlights.
Real-world aperture size examples – Wikipedia
DOF PRO features circular aperture shapes, polygonal aperture shapes ranging from 3 to 16 aperture blades, blade notching with variable notch scale and positive and negative notch angle, custom apertures that allows the loading of aperture maps, astigmatic featuring both sagittal and tangential astigmatism, aspect ratio selection including industry standard presets, optical vignetting (also known as Cat’s Eye) with vignette scale control, catadioptric (Mirror, Reflex) lenses, and much more.
A small selection of DOF PRO’s aperture shapes
DOF PRO Artists: Andrew Averkin
DOF PRO features various modes of operation to suit virtually any requirement. In its most powerful mode, DOF PRO uses a specified depth map to derive an accurate depth of field effect. A depth map is a greyscale image where the grey level at any given point represents the distance of the object from the camera at the same point in the original image. Most 3D computer graphics applications are easily capable of producing depth maps along with the rendered image. For photographic images, the user can create the depth map manually which can be greatly facilitated through the use of the filter’s powerful built-in gradient features.
DOF PRO source image, Depth Map and rendered result
Why DOF PRO? Naturally occurring depth of field has extremely complex optical characteristics. It cannot be simply simulated through the use of a standard blur filter. Lens size, subject distance, aperture shape, lens curvature, film grain, spherical aberration, chromatic aberration, vignetting, transparency, light refraction, motion blur and much more must be taken into account in order to achieve an accurate and convincing depth of field effect. In addition, a capable depth of field filter must also provide additional features for dealing with unavoidable post-processing artefacts such as edge management controls, depth map aliasing tools, and highlight enhancement functions. DOF PRO carefully takes into consideration all of these aspects in order to produce the highest quality depth of field output possible.
DOF PRO Artists Left: Hatch Studios, Right: Redrover Studios
DOF PRO comes with an impressive featureset ready to meet today’s demanding creative industry requirements. Highlight preservation and bokeh visibility enhancement algorithms deliver cutting-edge output. Various automatic depth map generation and modification tools are available to assist artists in the creation of hand-made depth maps. Numerous aperture shapes are available (including the Cat’s Eye), each with the ability to control its size, angle, curvature and even aberration characteristics such as spherical and chromatic aberrations combined with edge offset, thickness and softness control. Custom aperture maps have been implemented in DOF PRO (along with a massive online aperture map library) allowing artists to create his or her own aperture shapes thus providing unlimited flexibility and control over the bokeh appearance. Support for depth maps through externally loaded files or embedded image channels allow DOF PRO to be easily integrated into your studio pipeline. Aspect ratios can be set to accommodate a wide variety of broadcast standards such as NTSC, PAL, IMAX, widescreen, anamorphic and more. A powerful noise generation engine has been developed to assist in the realistic simulation of today’s digital imaging pixel noise effects often present in both photographic and 3D raytraced images. The DOF PRO interface has been greatly improved and all effects now offer realtime visualization including a live aperture display and noise representation. The dialog can now be interactively resized thus allowing larger preview displays for high resolution monitors. The aperture size limit has been significantly extended to further assist high resolution print and film studio production houses. A highly advanced rendering console provides the artist with detailed status messages, concise progress meters and processing time-frames. Multicore rendering technology and gigabyte memory management boasts significantly improved performance. 8 bits / channel and 16 bits / channel color support is now available for professional high color workflows, especially crucial for photographers and retouchers. All of these code implementations produce depth of field camera effects that are extremely accurate and precise in simulating real-world phenomena.
DOF PRO Artists: Bertrand Benoit
DOF PRO Artists: MM-Vis
DOF PRO offers fully adjustable aspect ratio features, allowing for precision matching to any existing film format. DOF PRO ships with presets for commonly used aspect ratios such as NTSC, PAL, IMAX, PARAMOUNT, WIDESCREEN, CINEMA, ANAMORPHIC and PANAVISION. In addition, a custom aspect ratio value can be entered for matching to non-standardized formats.
DOF PRO Aspect Ratio
Custom Aperture Maps
DOF PRO features the ability to load custom aperture maps thereby offering unlimited bokeh customization. Any bokeh can be cropped from any image, easily prepped and quickly loaded into DOF PRO. Additionally, the DOF PRO homepage provides a large database of custom aperture maps for quick and easy access.
DOF PRO can load custom aperture maps – Matthew Gunn
Custom aperture maps opens an entire new world of possibilities for creative aperture design where heart shaped apertures, for instance, can be easily created and applied to any image.
Depending on the shape of the aperture blades and the f-stop, blade notching may become visible. If the aperture is opened wide enough so that the ends of the blades come into view, notching will become apparent in the shape of the bokeh. The shape is dependent on the lens and how the blades have been designed.
Left: Lens with visible blade notching – Wikipedia, Right: DOF PRO blade notching
DOF PRO fully supports blade notching. The amount of blade notching is adjustable, as is the angle. The notching angle can be negative or positive, thereby providing the ability to match virtually any possible real-world blade notching example.
DOF PRO’s blade notching features are 100% integrated with all other features and will therefore work with any number of aperture blades specified and will respect all other features such as spherical and chromatic aberration, optical vignetting, etc.
Spherical Aberration is a common optical problem that occurs when light rays passing through the spherical lens ends up focusing at different points.
Spherical Aberration Diagram
DOF PRO fully supports spherical aberrations, a particular effect that occurs when an increased refraction of light strikes the lens edge as opposed to the center. While a perfect lens focuses all incoming rays to a point on the optical axis, a real lens with spherical surfaces suffers from spherical aberration: it focuses rays more tightly if they enter further from the optical axis than if they enter closer to the axis, thereby not producing a perfect focal point. When the focus is closer to the lens than the axial focus, it is called over-corrected spherical aberration and is often exhibited by a brighter halo around the focus point. Conversely, when the focus is located further than the axial focus, it is called under-corrected spherical aberration and is often exhibited by a brighter core and faint halo around the focus point.
Focused beam with Left: Negative Spherical Aberration, Center: None Spherical Aberration, Right: Positive Spherical Aberration – Wikipedia
Spherical aberration is widely seen in photography and is inherent in all kinds of aperture shapes, including circular, polygonal, vignetted and notched. Spherical aberration will vary from over-corrected to under-corrected when in front of the focal plane vs the back.
DOF PRO can handle positive and negative spherical aberration for any of the predefined aperture shapes. It supports aberration scale and offset in order to achieve precise and stunningly realistic bokeh effects. DOF PRO also provides an impressive and unique feature that allows the use of positive or negative spherical aberration for foreground bokeh and its inverse spherical aberration for background bokeh, thereby differentiating between foreground and background bokeh, and simulating exactly how a real lens behaves (see Spherical Aberration in Front vs Back Bokeh).
Left: DOF PRO without spherical aberration, Right: DOF PRO with positive spherical aberration
Spherical Aberration in Front vs Back Bokeh
Due to the nature of spherical aberration, bokeh are influenced differently in front of the focal plane vs behind the focal plane. Since the wavelengths traverse the focal point and flip, the spherical aberration also inverses. If a bokeh is under-corrected in front of the focal plane, it will be over-corrected behind it. Likewise, if a bokeh is over-corrected in front of the focal plane, it will be under-corrected behind it. DOF PRO takes this into account and correctly handles spherical aberration differently in front of the focal plane than behind the focal plane.
Real-world example of under-corrected bokeh on the front of focal plane vs over-corrected bokeh in back of focal plane
DOF PRO example of under-corrected bokeh on the front of focal plane vs over-corrected bokeh in back of focal plane
Left: DOF PRO without spherical aberration front vs back bokeh differentiation, Right: DOF PRO with spherical aberration front vs back bokeh differentiation
Additionally, this feature can be easily disabled so as to feature the same spherical aberration in front and behind the focal plane.
DOF PRO Artists: Daniel Lieske
Chromatic Aberration is the result of the inability of a lens to focus all wavelengths to the same convergent point. The result is visible red, green and blue color fringing. Chromatic aberration can occur longitudinally, laterally or both.
In many instances, color fringing isn’t caused by the lens but rather by the sensor’s inability to correctly capture high-contrast areas. This is why it is often seen on the edges of intense white.
Longitudinal (axial) Chromatic Aberration Diagram
Lateral (transverse) Chromatic Aberration Diagram
Longitudinal and lateral chromatic aberration of a lens is seen as ‘fringes’ of color around the subject since each color in the optical spectrum cannot be focused at a single point on the optical axis.
Real-world Chromatic Aberration – Top Left: Donovan Henneberg-Verity, Top Right: Claudio Matsuoka, Middle Right: Jkk, Bottom Right: Gordon Pritchard, Bottom Left: WikiHow, Middle Left: Tony & Marilyn Karp
DOF PRO fully supports both longitudinal (axial) and lateral (transverse) chromatic aberration, a unique effect caused by a lens having a different refractive index for different wavelengths of light.
DOF PRO allows both types of chromatic aberration to be used independently or together, just like real-world chromatic aberration phenomena. Chromatic aberration can be applied positively or negatively, thereby providing full control over the effect. DOF PRO also provides an impressive and unique feature that allows the use of positive or negative chromatic aberration for foreground bokeh and its inverse for background bokeh, thereby differentiating between foreground and background bokeh, and simulating exactly how a real lens behaves. DOF PRO’s chromatic aberration features produce spectacular optical imperfections rarely seen in any commercial depth of field filter.
Left: DOF PRO Longitudinal Chromatic Aberration, Right: DOF PRO Lateral Chromatic Aberration
Achromatic Aberration is the result of using an achromatic lens to focus two of the three (typically red and blue) wavelengths to the same convergent point. This minimizes the effects of chromatic aberration. Because the red and blue wavelengths are corrected, the result is visible magenta and green color fringing. Achromatic aberration can occur longitudinally, laterally or both.
The most common type of achromat is the achromatic doublet, which is composed of two individual lenses made from glasses with different amounts of dispersion. One element is usually a concave (negative) element constructed from flint glass which tends to have relatively high dispersion values. The other is a convex (positive) element made of crown glass, which has lower dispersion. Both lens elements are mounted beside each other and shaped so that the chromatic aberration of one is counterbalanced by that of the other.
Longitudinal (axial) Achromatic Aberration Diagram
Lateral (transverse) Achromatic Aberration Diagram
Longitudinal and lateral achromatic aberration of a lens is seen as ‘fringes’ of magenta and green color around the subject since each color in the optical spectrum cannot be focused at a single point on the optical axis. In many instances, color fringing isn’t caused by the lens but rather by the sensor’s inability to correctly capture high-contrast areas. This is why it is often seen on the edges of intense white.
DOF PRO fully supports both longitudinal (axial) and lateral (transverse) achromatic aberration.
DOF PRO allows both types of achromatic aberration to be used independently or together, just like real-world achromatic aberration phenomena. Achromatic aberration can be applied positively or negatively, thereby providing full control over the effect. DOF PRO also provides an impressive and unique feature that allows the use of positive or negative achromatic aberration for foreground bokeh and its inverse for background bokeh, thereby differentiating between foreground and background bokeh, and simulating exactly how a real lens behaves (See Longitudinal Chromatic / Achromatic Aberration in Front vs Back Bokeh).
DOF PRO’s achromatic aberration features produce spectacular optical imperfections rarely seen in any commercial DOF filter.
Left: DOF PRO Longitudinal Achromatic Aberration, Right: DOF PRO Lateral Achromatic Aberration
Longitudinal Chromatic / Achromatic Aberration in Front vs Back Bokeh
Just like spherical aberration, chromatic and achromatic aberration are also influenced differently in front of the focal plane vs behind the focal plane. Since the wavelengths traverse the focal point and flip, the color fringing also inverses. DOF PRO takes this into account and correctly handles chromatic / achromatic aberration differently in front of the focal plane than behind the focal plane.
Real-world example of achromatic aberration influencing front vs back bokeh differently – Todd Vorenkamp
Left: DOF PRO without chromatic aberration front vs back bokeh differentiation, Right: DOF PRO with chromatic aberration front vs back bokeh differentiation
Additionally, this feature can be easily disabled so as to feature the same chromatic / achromatic aberration in front and behind the focal plane.
DOF PRO achromatic aberration with front vs back bokeh differentiation – Richard Rosenman (Source image: Jamesbondwatches.com)
Optical Vignetting (Cat’s Eye)
Optical Vignetting, also known as Cat’s Eye, is the result of when obliquely incident light is confronted with a smaller lens opening than light approaching the lens head-on. Aperture shapes take on the shape of the oblique opening which results in a bokeh shaped similar to that of a cat’s eye.
Optical Vignetting Diagram
The white openings in the example below illustrate how and why optical vignetting occurs. In the f/5.6 lenses, the aperture is small enough that when light enters it is unobstructed by the lens barrel. Therefore, obliquely incident light sees the same aperture as normally incident light. In the f/1.4 lenses, the entry pupil is partially shielded by the lens barrel; the rims of the front element and rear element. As a result, less light enters for off-axis points than for on-axis points thereby shaping the bokeh into a cat’s eye.
Optical Vignetting as seen through the aperture
Optical vignetting tends to be stronger in wide angle lenses and large aperture lenses, but it can also be seen with most photographic lenses. Zoom lenses also tend to produce a fair amount of optical vignetting.
DOF PRO fully supports optical vignetting. Because the shape of an out-of-focus highlight mimics the shape of the clear aperture, an increasing distance from the optical axis results in out-of-focus highlights progressively narrowing and beginning to resemble a cat’s eye. The larger the distance from the image center, the narrower the cat’s eye becomes.
Left: DOF PRO circular aperture without optical vignetting, Right: DOF PRO circular aperture with optical vignetting
DOF PRO features positive and negative optical vignetting, complete with intensity control. While optical vignetting is usually positive, DOF PRO provides negative optical vignetting to mimic the optical vignetting produced by mirrors in catadioptric lenses (See Catadioptric Lens).
Left: Real-world optical vignetting with Canon EF100mm f2.8 Macro USM – Jon Mitchell, Right: DOF PRO Optical Vignetting
Although polygonal bokeh optical vignetting is rare, it does occur in some instances. The example below on the top left panel shows real-world optical vignetting on a circular bokeh as it increasingly approaches the frame edge. On the bottom left you can see the DOF PRO generated bokeh – almost a perfect match. The example below on the top right panel shows real-world optical vignetting on a polygonal bokeh as it increasingly approaches the frame edge. On the bottom right you can see the DOF PRO generated bokeh – again, almost a perfect match.
Left: Real-world circular optical vignetting vs DOF PRO, Right: Real-world polygonal optical vignetting vs DOF PRO
Optical vignetting produces a symmetrical cat’s eye shape only if the aperture size is relatively the same size as the lens barrel. However, when a small aperture becomes affected by a lens barrel much larger than its size, certain characteristics take hold. The vignetting, instead of starting from the center, will start much closer to the frame edge, thereby revealing cat’s eye bokeh only near the edge and unaffected bokeh in the middle. Additionally, the occluded part of the bokeh will have a straighter edge due to the larger lens barrel occlusion shape.
Left: Real-world example of small aperture with large aperture optical vignetting – Ntscha, Right: DOF PRO generated bokeh with optical vignetting scale
These subtle but crucial characteristics resulted in DOF PRO’s optical vignetting scale feature that allows for the adjustment of optical vignetting size. Together with optical vignetting intensity, DOF PRO can produce virtually any type of real-world optical vignetting effect found in film and photography.
DOF PRO’s optical vignetting scale feature
Tilt-Shift lenses allow lens movement. The rotation of the lens plane relative to the image plane is called tilt while the movement of the lens parallel to the image plane is called shift. Tilt is used to control the orientation of the plane of focus whereas shift is used to adjust the position of the subject in the image area without moving the camera back.
Tilt-shift lenses were popularized due to their unique effect of making subjects appear miniaturized in wide shots. However, lenses are expensive and many of these effects are now being done digitally with specialized software, such as DOF PRO.
DOF PRO fully supports tilt photography using the built-in linear gradient. Position, brightness, contrast, rotation and gamma provide total control over the degree of tilt. An invert toggle even allows for negative tilt resulting in defocusing in the center with sharp details at the edges.
Left: DOF PRO no tilt, Right: DOF PRO tilt
DOF PRO Tilt-Shift – Richard Rosenman (Source image: Pixabay.com)
Field Curvature (also known as Petzval Field Curvature) is the result of a lens focusing oblique rays slightly in front of the sensor thereby yielding a curved image. Since lenses are curved and sensors are flat, there will always be some degree of aberration in this field.
Field Curvature Diagram
There are curved sensors that have been developed such as the Kepler Space Laboratory Image Array Sensor which compensates for field curvature. Conversely, there are lenses, such as the Petzval lens which deliberately produces field curvature.
Field curvature always reveals itself as a progressive defocus increasing from the center of the image. Field curvature is very closely related to astigmatism.
DOF PRO fully supports field curvature using the built-in radial gradient. Position, brightness, contrast, and gamma provide total control over the degree of field curvature. An invert toggle even allows for negative field curvature resulting in defocusing in the center with sharp details at the corners.
Left: DOF PRO no field curvature, Right: DOF PRO field curvature
Astigmatism is the result of a lens not focusing on the same point in tangential and sagittal orientations. Astigmatism never occurs in the center of an image but rather towards the edge of the image, depending on whether it is tangential or sagittal. Astigmatism can be decreased by stopping down.
Tangential astigmatism creates a defocus effect similar to a spin blur, while sagittal astigmatism creates a defocus effect similar to a zoom blur.
Real-world sagittal astigmatism – Roel Wijtmans
DOF PRO fully supports both tangential and sagittal astigmatism, complete with intensity control.
Left: DOF PRO tangential astigmatism, Right: DOF PRO sagittal astigmatism
Catadioptric lenses, also known as Mirror Lenses or Reflex Lenses, combine refraction and reflection in an optical system through the use of lenses (dioptrics) and curved mirrors (catoptrics).
Catadioptric Lens Diagram
Catadioptric lenses can feature focal lengths from 250 mm up to and beyond 1000 mm that are much shorter and compact than their long focus or telephoto counterparts. Additionally, chromatic aberration, a major problem with long refractive lenses, and off-axis aberration, a major problem with reflective telescopes, is almost completely eliminated by the catadioptric system.
Catadioptric Lenses – Wikipedia
The drawback with catadioptric lenses is that they produce donut-shaped bokeh due to the obstruction from the secondary mirror. This is unique to these types of lenses.
Several companies produced catadioptric lenses throughout the later part of the 20th century such as Nikon, Canon, Tamron, Samyang, Vivitar, and Opteka. Sony also produced a catadioptric lens that had the distinction of being the only reflex lens manufactured by a major brand to feature auto-focus.
Real-world catadioptric lens – Top Right: Daita Saru, Middle Right: Dave L., Bottom Right: Takashi Hososhima, Bottom Middle: Jes, Bottom Left: Daita Saru, Middle Left: Lee Seonghak, Top Left: Takashi Hososhima
DOF PRO fully supports catadioptric lenses, with the ability to adjust the secondary mirror size. In addition, the use of negative optical vignetting allows catadioptric bokeh to realistically occlude as they approach image corners, thereby behaving exactly like a real catadioptric lens does.
Left: Real-world catadioptric lens – Kamen Kunchev, Right: DOF PRO catadioptric lens with optical vignetting
Any post depth of field processor will produce artefacts. This is because parts of the image that require defocusing need to have missing information reconstructed and, since that image is two-dimensional, this missing information needs to be guessed.
Additionally, a side effect of computer generated depth maps is that they are antialiased. Unfortunately, this yields incorrect information as the antialised edges imply that that any given object lies on multiple focus planes. Paradoxically, an aliased depth map will produce hard edges against an antialiased image.
Left: DOF PRO without edge management, Right: DOF PRO with edge management
DOF PRO gets around this by providing tools to take an antialiased depth map, and alias it. An edge selection tool is then used to specify an edge tolerance followed by a blur tool that is used to soften the image edge. After extensive research, this treatment was found to produce the best results with minimal image quality degradation.
DOF PRO provides sophisticated highlight enhancement tools, critical to producing bright, sharp and vivid bokeh. Due to the limited dynamic range of images, highlights are usually clipped as a trade-off to a reasonable overall exposure. When highlights are out of focus, this truncated light intensity may be restored using these tools as the light is distributed over a larger area.
Left: DOF PRO without highlight enhancement, Right: DOF PRO with highlight enhancement – Wallpapersafari.com
DOF PRO offers total control over highlights by specifying a threshold that determines the onset of highlights. Image areas with brightness values above this threshold will be enhanced in order to restore their original (unclipped) brightness. Moreover, DOF PRO offers tinting and saturation controls for unparalleled highlight adjustment.
DOF PRO introduces a killer new feature called Aperture Textures. Given enough time, dirt and dust accumulate on the front and rear element of the camera. Although not immediately visible in photographs, this noticeably reveals itself in the bright bokeh. In keeping with photorealistic depth of field phenomena, DOF PRO has implemented such features. Any image map can now be used as an aperture texture. Furthermore, since DOF PRO uses aperture textures from image channels, multiple textures can be stored and easily selected.
DOF PRO aperture textures allow the use of any image to be used as a bokeh texture
Even the smallest particles of dust and dirt on the camera element will reveal themselves in bright bokeh.
Real-world examples of dirty bokeh due to front / rear element dirt – First from top: Brendan C, Second from top: Lostandtaken.com, Third from top: Syuqor7, Fourth from top: Lostandtaken.com, Bottom Right: Alan Levine, Bottom Left: T-bau
Once the aperture texture is specified, it can be inverted and the intensity can be adjusted. Sampling controls allow for speed over quality or vice-versa. DOF PRO aperture textures also provide an offsetting feature that allows the texture to be offset according to on-screen bokeh position much like a real camera does.
Left: DOF PRO Aperture Texture without offsetting, Right: DOF PRO Aperture Texture with offsetting
DOF PRO introduces a new feature called matte box. A matte box is a device mounted on the end of a lens to block outside light in order to prevent glare and lens flare. Matte box and a lens hood are essentially the same thing but a matte box uses adjustable fins called French flags. A lens hood also tends to be circular (Conical lens hood) although there are semi-square shaped ones too (Chopped petal lens hood).
Matte boxes, lens hoods and any other mounts in front of the lens may affect the image. Although in most cases there is no visible interference, bokeh are often more susceptible to these devices. The french flags will often crop the bokeh, depending on the angle of the flag. Even mirror boxes when used with heavy depth of field can affect bokeh. This is especially evident in anamorphic bokeh.
DOF PRO’s matte box affects bokeh exactly the same way real matte boxes do. They increasingly crop bokeh as they near image edges. Each individual top, bottom, left and right fins has its own slider for 100% creative control over the cropping. DOF PRO’s matte box is for those looking to match exactly how real bokeh are influenced under these real-world conditions. It is also ideal for matching plates not otherwise possible with any other depth of field processor.
Left: DOF PRO left & right matte box flags, Right: DOF PRO top & bottom matte box flags
DOF PRO includes an extremely powerful pixel noise rendering engine for producing even more realistic depth of field effects. Noise is an inherent naturally-occurring byproduct of most 3D raytraced engines and digital CCD cameras. The re-introduction of noise in defocused image areas is crucial in producing a realistic depth of field effect as this is almost entirely eliminated through the processing. This is often difficult to achieve due to varying degrees of defocusing throughout the image which therefore requires varying degrees of pixel noise.
DOF PRO noise recovery – Bago Games
DOF PRO provides sophisticated noise tools for dealing with this. Noise can be applied in an animated or non-animated fashion and in monochromatic or color. It can be applied uniformly, photometrically (luma-sensitive), and can be distributed in a fixed manner, or even through the use of the focus map or blur amount which effectively allows the user to recover lost grain of varying intensity. The noise can be tinted in color and a realtime GUI window displays a preview of your currently selected noise attributes. DOF PRO’s powerful noise rendering engine takes your images from a realistic to a photorealistic level.
DOF PRO Artists: Tom Larson
Photometric Burnout is a specific effect that occurs when a subject is photographed in front of an intense backlight (natural or artificial). This produces overexposed image areas in which the subject appears to be silhouetted against the background and its edges become corroded and contracted. Burnouts are quite different than blurs because the corroded edges of the subject(s) remain sharp and faithfully represent the camera’s aperture shape. Since DOF PRO uses optically-correct depth of field algorithms, photometric burnouts can be easily simulated with virtually no setup time involved.
DOF PRO photometric burnout
Additionally, photometric burnout creates high-contrast boundaries which are particularly difficult for sensors to capture correctly, and often result in visible color fringing. This too can be easily replicated through the use of DOF PRO’s chromatic and achromatic aberration features.
DOF PRO recognizes that the beauty is in the details and that’s why a new region rendering system has been implemented into its core rendering technology. Region render allows the artist to focus only on a specific area of the image for a faster and more thorough workflow.
DOF PRO Region Render – Wallpapersafari.com
Region rendering is very easy to use in DOF PRO. Simply adjust the size by dragging the corners and move the region by dragging the edges. Region rendering has become a standard-issue speed optimization technology in all 3D applications and it is with great pride that DOF PRO can now offer it as well.
DOF PRO Artists: Jan-Ove Rust
DOF PRO is a production tested plugin currently being used by customers worldwide demanding the very best in depth of field effects. Users range from digital artists and photographers to major broadcast, film and print production studios. DOF PRO has been developed with quality output being the number one priority – to produce the most sophisticated and photorealistic depth of field effects possible as a post process thus providing a faster alternative to computationally-intensive traditional 3D raytracing techniques. For photographers and retouchers, it is an alternative to already-captured photography lacking sufficient depth of field, or for those wishing to emphasize it further. It has been developed closely with users and production studios in an effort to meet the digital community’s creative demands. DOF PRO has been reviewed by numerous publishers world-wide, always receiving outstanding reviews, honorary mentions and feature publications. Most important of all, DOF PRO has become the chosen tool for uncompromised, photorealistic depth of field effects.
DOF PRO is 100% multi-threaded capable of using an unlimited number of cores for ultimate speed.
DOF PRO supports both 8 bits / channel and 16 bits / channel color modes for professional workflows.