FOREGROUND FOG DENSITY

[coilbook]

PLEASE! Add foreground fog density so we can have very foggy backgrounds and almost no fog near a camera. Currently trying medium radius,density in the material, etc is not the same.
In small scenes everything looks too foggy.
Can you please add?

[pegot]

+1

[coilbook]

PLEASE! Add foreground fog density so we can have very foggy backgrounds and almost no fog near cameras. Currently trying medium radius,density in the material, etc is not the same.
In small scenes everything looks too foggy.
Can you please add?

[promity]

+1.

[coilbook]

Hi Otoy,
Can you comment on this feature? Can we get it?

[frankmci]

Hi Otoy,
Can you comment on this feature? Can we get it?

Is the technique discussed back in September not working for you?
viewtopic.php?f=9&t=72603&p=369098&hilit=pixar#p369098

[pegot]

Is the technique discussed back in September not working for you?
viewtopic.php?f=9&t=72603&p=369098&hilit=pixar#p369098

That technique works great for still shots. But once you animate the scene or camera it quickly breaks.

[dynaraton]

This is the technique that I use and is very easy. It is very controllable :

1) Attach the Octane fog volume to your camera.
2) Slide the fog volume back away from the camera to your liking. The further back, the further the fog will start to effect the scene. You can have the foreground clear to any distance you desire. Resize/reshape your fog volume to suit your scene.
3) Adjust the settings for the fog volume. I always set the edge feather to maximum. It gives a nice feathered look. I typically always have the absorption and scattering to pure white. You have to play with the density to get your desired amount of fog.
I don't do animations but I move my camera constantly. My fog volume is always at a fixed distance away from my camera. In animations, the octane fog volume will follow your camera so this should work.
This renders fast for me and works great.
Below is a quick example, the foreground doesn't have any fog...it starts to build up about 10 meters away from my camera. The edge of my fog "box" starts at 10 meters away from the camera.

[jimho]

This is the technique that I use and is very easy. It is very controllable :

1) Attach the Octane fog volume to your camera.
2) Slide the fog volume back away from the camera to your liking. The further back, the further the fog will start to effect the scene. You can have the foreground clear to any distance you desire. Resize/reshape your fog volume to suit your scene.
3) Adjust the settings for the fog volume. I always set the edge feather to maximum. It gives a nice feathered look. I typically always have the absorption and scattering to pure white. You have to play with the density to get your desired amount of fog.
I don't do animations but I move my camera constantly. My fog volume is always at a fixed distance away from my camera. In animations, the octane fog volume will follow your camera so this should work.
This renders fast for me and works great.
Below is a quick example, the foreground doesn't have any fog...it starts to build up about 10 meters away from my camera. The edge of my fog "box" starts at 10 meters away from the camera.

It is true that there is solutions, as you have kindly mentioned,
Yet the default one that Otoy has provided is a long been criticized as hard to use, but they just not to change...
I think it is a big problem that Otoy's not listioning to user's voice, this is one example from so many of them.

[frankmci]

It is true that there is solutions, as you have kindly mentioned,
Yet the default one that Otoy has provided is a long been criticized as hard to use, but they just not to change...
I think it is a big problem that Otoy's not listioning to user's voice, this is one example from so many of them.

As a business, Otoy, like any other, has to prioritize effort. You can be sure they know there are features that could use some work, including this one, but others have higher priority. While this may be an important issue to you, it may not be a problem for others who have found solutions that work for them.

Any tool of this complexity is going to have problems and weaknesses. This has always been true. Exactly what those weaknesses will be shifts over time, but they never go away. That is the price of rapid progress. If you want to stick with Alias Poweranimator's tool set and keep refining them for 15 or 20 years, you might get close to perfection, but then you'd be working with 30 year old technology and at a significant disadvantage in most segments of the industry.

There's nothing wrong what that, of course. I'm a lifelong woodworker, and I tend to used chisels and hand planes and saws and cabinet scrapers, tools that have been incrementally refined over literally thousands of years. I do have modern machinery, too, but I generally choose to use the more elegant tools. I don't make my living as a furniture maker, however. If I did, I'd have to accomodate the tear-out of the mortising machine, the snype of the thickness planer, the occasional burning of the table saw, none of which are problems with my hand tools, but it would be easier to turn a profit.