Dados de objeto


Mode:Object Mode
Editor:Properties ‣ Camera

As câmeras são invisíveis durante as renderizações, portanto elas não possuem quaisquer definições de texturas ou materiais. Contudo, elas possuem painéis de Objeto e Edição disponíveis os quais são exibidos quando uma câmera é o objeto ativo selecionado.



O painel de lentes de câmera.

As opções de lentes de câmera controlam como os objetos 3D são representados em uma imagem 2D.

Tipo de lentes

Existem três tipos diferentes de lentes:

  1. Perspectiva
  2. Ortográfica
  3. Panorâmica


This matches how you view things in the real world. Objects in the distance will appear smaller than objects in the foreground, and parallel lines (such as the rails on a railroad) will appear to converge as they get farther away.


A renderização de uma cena de linha de trem usando uma câmera do tipo Perspectiva.

As definições que permitem ajustar este tipo de projeção incluem:

Comprimento focal

A definição de comprimento focal controla a quantidade de ampliação, ou seja, quanto da cena estará visível pela abrangência da câmera como um todo. Comprimentos focais mais distantes resultam em um menor CV (ou FOV em Inglês) (maior ampliação), enquanto comprimentos focais mais próximos permitem que você veja mais da mesma cena como um todo (maior CV, menor ampliação).


A renderização da mesma cena apresentada acima, mas usando um comprimento focal de 210mm ao invés de 35mm.

Unidades das lentes
O comprimento focal pode ser definido para ser especificado tanto em termos de milímetros, quanto o atual Campo de visão especificado como um ângulo.


With Orthographic perspective objects always appear at their actual size, regardless of distance. This means that parallel lines appear parallel, and do not converge like they do with Perspective.


Render from the same camera angle as the previous examples, but with orthographic perspective.

Escala ortográfica

This controls the apparent size of objects in the camera.

Note that this is effectively the only setting which applies to orthographic perspective. Since parallel lines do not converge in orthographic mode (no vanishing points), the lens shift settings are equivalent to translating the camera in the 3D View.


Panoramic cameras are only supported in the Cycles Renderer. See the Cycles documentation.


The Shift setting allows for the adjustment of vanishing points. Vanishing points refer to the positions to which parallel lines converge. In this example, the most obvious vanishing point is at the end of the railroad.

To see how this works, take the following examples:


Render of a train track scene with a horizontal lens shift of 0.330.


Render of a train track scene with a rotation of the camera object instead of a lens shift.

Notice how the horizontal lines remain perfectly horizontal when using the lens shift, but do get skewed when rotating the camera object.

Using lens shift is equivalent to rendering an image with a larger FOV and cropping it off-center.


Clip Start and End
The interval in which objects are directly visible; Only objects within the limits are rendered.

For OpenGL display, setting clipping distances to limited values is important to ensure sufficient rasterization precision. Ray tracing renders do not suffer from this issue so much, and as such more extreme values can safely be set.

When Limits in the Display panel is enabled, the clip bounds will be visible as two yellow connected dots on the camera line of sight.


Changing the clipping value can have a serious impact on render performance. It is important to always set the Start and End values to a safe distance that is both not too extreme, nor too small to have the best possible render times.



O painel de predefinições de câmera.

Predefinições de câmera
Presets to match real cameras.
Tamanho do sensor
This setting is an alternative way to control the focal length, it is useful to match the camera in Blender to a physical camera & lens combination, e.g. for motion tracking.
Encaixar no sensor
Option to control which dimension (vertical or horizontal) along which field of view angle fits.

Profundidade de campo


Camera Depth of Field panel.

Real-world cameras transmit light through a lens that bends and focuses it onto the sensor. Because of this, objects that are a certain distance away are in focus, but objects in front and behind that are blurred.

The area in focus is called the focal point and can be set using either an exact value, or by using the distance between the camera and a chosen object:

Objeto de foco
Choose an object which will determine the focal point. Linking an object will deactivate the distance parameter. Typically this is used to give precise control over the position of the focal point, and also allows it to be animated or constrained to another object.

Sets the distance to the focal point when no Focus Object is specified. If Limits are enabled, a yellow cross is shown on the camera line of sight at this distance.


Hover the mouse over the Distance property and press E to use a special Depth Picker. Then click on a point in the 3D View to sample the distance from that point to the camera.

Alta qualidade
In order for the viewport to offer an accurate representation of depth of field (blur radius calculation), like a render, you must enable High Quality. Without it, you may notice a difference in shading. (Grayed out if not supported by the GPU).
Intervalos fracionais de abertura na porta de visão
Controls the real-time focal blur effect used during sequencer or OpenGL rendering and, when enabled, camera views in the 3D View. The amount of blur depends on this setting, along with Focal Length and Sensor Size. Smaller Viewport F-stop values result in more blur.
Add a number of polygonal blades to the blur effect, in order to achieve a bokeh effect in the viewport. To enable this feature, the blades must be set to at least 3 (3 sides, triangle).

The viewport bokeh effect with the blades set to 3.



Camera Display panel.

Shows a line which indicates Start and End Clipping values.
Toggles viewing of the mist limits on and off. The limits are shown as two connected white dots on the camera line of sight. The mist limits and other options are set in the World panel, in the Mist section.

Camera view displaying safe areas, sensor and name.

Displays a dotted frame in camera view.
Toggle name display on and off in camera view.
Size of the camera visualization in the 3D View. This setting has no effect on the render output of a camera. The camera visualization can also be scaled using the standard Scale S transform key.
Moldura de visão da câmera

This option darkens the area outside of the camera’s field of view.

Controls the transparency of the passepartout mask.

Guias de composição

Composition Guides are available from the menu, which can help when framing a shot. There are eight types of guides available:

Adds lines dividing the frame in half vertically and horizontally.
Centralizar diagonalmente
Adds lines connecting opposite corners.
Adds lines dividing the frame in thirds vertically and horizontally.
Regra de ouro
Divides the width and height into Golden proportions (about 0.618 of the size from all sides of the frame).
Triângulo áureo A
Draws a diagonal line from the lower left to upper right corners, then adds perpendicular lines that pass through the top left and bottom right corners.
Triângulo áureo B
Same as A, but with the opposite corners.
Triângulo A harmonioso
Draws a diagonal line from the lower left to upper right corners, then lines from the top left and bottom right corners to 0.618 the lengths of the opposite side.
Triângulo B harmonioso
Same as A, but with the opposite corners.

Áreas de segurança

Safe areas are guides used to position elements to ensure that the most important parts of the content can be seen across all screens.

Different screens have varying amounts of overscan (especially older TV sets). That means that not all content will be visible to all viewers, since parts of the image surrounding the edges are not shown. To work around this problem TV producers defined two areas where content is guaranteed to be shown: action safe and title safe.

Modern LCD/plasma screens with purely digital signals have no overscan, yet safe areas are still considered best practice and may be legally required for broadcast.

In Blender, safe areas can be set from the Camera and Sequencer views.


The Safe areas panel found in the camera properties, and the view mode of the Sequencer.

The Safe Areas can be customized by their outer margin, which is a percentage scale of the area between the center and the render size. Values are shared between the Video Sequence editor and camera view.

Mostrar áreas seguras


Red line: Action safe. Green line: Title safe.

Margens de segurança para títulos
Also known as Graphics Safe. Place all important information (graphics or text) inside this area to ensure it can be seen by the majority of viewers.
Margens de segurança para ações
Make sure any significant action or characters in the shot are inside this area. This zone also doubles as a sort of «margin» for the screen which can be used to keep elements from piling up against the edges.


Legal Standards

Each country sets a legal standard for broadcasting. These include, among other things, specific values for safe areas. Blender defaults for safe areas follow the EBU (European Union) standard. Make sure you are using the correct values when working for broadcast to avoid any trouble.



Cyan line: action center safe. Blue line: title center safe.

Center-cuts are a second set of safe areas to ensure content is seen correctly on screens with a different aspect ratio. Old TV sets receiving 16:9 or 21:9 video will cut off the sides. Position content inside the center-cut areas to make sure the most important elements of your composition can still be visible in these screens.

Blender defaults show a 4:3 (square) ratio inside 16:9 (wide-screen).