These docs describe Fixed Angles and Blendshot, the next update, in development: everything in 1.3 and what it adds. 1.3 is in testing: read its docs.

A point of interest is a camera hint you place in a level. Come near one, look its way or step into its volume, and it takes a share of the shot: it turns the view towards something, moves the camera, changes the lens or the focus, or plays a shake, then gives the shot back as you leave. Any number can act at once, each by its own weight, and the camera blends what they ask for. Add the Blendable Point Of Interest component to an actor, or place the Blendable Point Of Interest actor, and give it a Point Of Interest Preset.

Points of interest and the lock-on#

A point of interest belongs to a place or a thing in the level, and anyone who passes gets it. A lock-on belongs to the player: it's who they're fighting.

Use a point of interest for the moments a level designer places: a vista that turns the view as you come over a hill, a corridor that frames the door at its end, a security camera, an earthquake zone, a quiet room that settles the handheld. Use the lock-on for a fight.

Turning the view#

Turns To Look is how hard the camera turns towards the point of interest's look-at point at full strength, and Holds Against The Stick how firmly it holds the view against you turning away. They're the lock-on's Turns To The Target and Holds Against The Stick, and work the same way: standing still, any strength turns all the way round, sooner the higher it is, and on the move the camera's own follow keeps a share. Glides To A New Target Over is how long the look-at takes to move to something new.

The Character Faces asks your character to turn, as a Rig and a Lock-On Preset can. A point of interest's request wins over a Rig's, once it's at least Asks Once This Strong.

Reach and timing#

Proximity is at full strength inside Inner Radius and fades to nothing at Outer Radius, or, with the Shape falloff, full strength inside the actor's own collision shape and fading over Shape Falloff Distance beyond it. Look At is at full strength while you look within Look At Full Angle of the point and fades out by Look At Cutoff Angle. Volume is at full strength inside a shape on another actor, so the area can sit away from the point of interest. Dwell Time makes you hold the trigger a moment before it starts.

Max Activations of 1 makes it a one-off moment, the first time you notice the thing and never again; Activation Cooldown spaces repeats out; Active Duration lets go on its own after a while. Blend In Time and Blend Out Time are how it arrives and leaves.

Moving the camera#

A point of interest bends the shot you have: an offset along the world's axes, the point of interest's or the camera's, and the lens. Suppress Camera Collision lets a framed shot look through the scenery in the way.

Putting the camera somewhere else entirely, a held angle in a room or a security feed, is a fixed camera's job. Points of interest used to do it themselves, with the Camera Modes From The Target and From The Point Of Interest. Those two are hidden from new points of interest now, and one already using them keeps working: Convert To Fixed Camera on its actor turns it into a fixed camera standing where it put the camera.

While a fixed camera has the shot, points of interest ease off, and they come back as it hands over.

Focus#

Focus On is the same list a lock-on's is, in the same words: Nothing, You, The Target (what it looks at), The Point Of Interest (its own position), A Set Distance (At so many centimetres), Both Of You, Whichever Is Nearer and Whichever Is Further. A lock adds The Camera's Own, which leaves focus to the camera, and has no position of its own to focus on. Where several points of interest want the focus, the one with the most say gets it.

With a lock#

A lock-on turns the camera with a point of interest of its own, out of sight, when its preset's two-shot is off: the preset's Turns To The Target and Holds Against The Stick are that point of interest's. It looks at the target's lock point, as the two-shot frames it. While a two-shot frames the shot, no point of interest turns the view, yours included, though their lens, focus and shakes still apply.