Foggy thoughts and misted outlooks cleared with 5.5's "1 to ∞" value in Fog Setting.
Talking of Mist and Distance Haze.... as I inevitably do from time to time often from behind compressed temper... I'm pleased to say that with Iclones Mist control returning to 99,999 at the infinite balancing planes and "quick fixing" global smoothing as it were is a lot easier now.
For rough example...
Pushing the bases of distant mountains into white is a lot easier now as the planes "ground collision" seems to soften with the addition of a global mass of universal mist using the IClone system.
Above is mistless & fogless.
Above we see the massive difference of being able to infinitize the mists distance level away from the camera. A smooth overall which disappears as we approach the landmass. Mist planes cannot do this. But.... it's still not enough and we see the mountains as kind of flat still.
Above I've started to use very short depthless and "white transition x mountain width" controlled planes to isolate the fall off into white bases. So the planes drift from 0% - 20% to 35% - 0% opacity from core to edge in very low / short ovals.
(ABOVE) Without the global IClone controlled mist the skies are too bold but because I can now add a global degree of haze without having to worry about rebalancing the mountain specific planes it saves extortions of time by simply adding volume haze rather than plane haze.
Above Which is what I've done here at 3000 - 78555. I don't want to get into overkill regarding Misting out elements but this is a Chinese Garden and I need the mountains to look as they do in the Chinese Paintings traditionally so out of respect the effort wont be missed.
The westerner wouldn't bother with it, but the traditionalist might enjoy its observation. So it stays.
And tooned (which is its first birth on screen which afterwards transitions into normal un-tooned mode) it makes me happy to see the above.
Each Mountain Range has its base-fog pulling the detail into white as mist which contrasts with the clouding above.
The above displaying one of the broad planes oblique to the lscape with the alpha threshold set to zero so's we can see its recessive curvature away from the lens. (which helps when there are many and AO being used.)
Probably doesn't mean much to many... but as with most peculiarities of animators, it means a lot to me.