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West Jordan, UT 84084
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Greetings,
Interesting; some folks go higher for portrait, but instead I go down to 50 for headshots. Carryover from my weak stabs at photography, which (in my fuzzy memory) indicated a high quality 50mm fixed lens for neck-up closeups. I don't do many close-ups though. My typical scenes are such that the default 65 is about right. I could probably inject a bit more...variation and realism into my scenes with a different ones.
I am pretty emphatic about setting the DoF appropriately for each scene, though, and that sometimes takes a lot of tweaking to get just right.
-- Morgan
Like will.barger.arts, my photography background using 35mm gear as a photojournalist makes selecting focal length in cgi feel natural. I use whatever focal length fits the subject and story I am telling. Due to my background I tend to move the default Daz camera well back from the scene and use long focal lengths sometimes as much as 400mm, other times its up close with a 15mm. This too is an art form and will give the same setups wildly different looks. Important point, I almost always turn on depth of field, and play around with the new distortion settings in the latest update of Daz.
Also, I have built and saved several camera set ups, including TV SitCom two and three camera sets with a neutral "studio" backwall and floor. These SitCom cameras are locked in place so they will only rotate around xyz and then I use focal length to get the 2-shot, head shot, wide shot etc. Experiments with camera position, settings or anything in Daz will be a useful learning experience.
Hope this gives folks a few ideas
Be thankful you owned a Hasselblad in the film days. Buying one now sets you back, oh, about $43,000. Yes, that's body only.
Of course, you never need film for it. That's their excuse for it costing more than THREE Toyota Yaris's. Well, that, and it would be the last camera you're likely to ever buy, or need.