LIGHTING
For this blog I am just picking a few examples of how I constructed sets and then lit them, my workflow and construction of the scene. All of my character lighting is studio setup 3-5 point lighting pretty generic for people to research so not going to waffle on about it, the more interesting stuff I will re cap briefly here.
EARLY MORNING OR EARLY EVENING OUTDOOR COTTAGE SHOT
For this lightning setup I wanted to real utilise volumetric to create an almost eery mystical feel to the secluded cottage in the middle of the woods.
FIRST I USED SPOTS BUT ATTACHED GOBOS TO THEM WITH MESH FILTERS AND ALSO UTILISED TEMPERATURE ON THE BULB TO SEND OUT LIGHT STREAKS AS SEEN BELOW WITH REMOVAL OF MY SURROUNDING WOODLAND ASETTS.
(IPR VIEWPORT)
I ATTACHED A PHYSICAL SKY SHADER TO A DOME LIGHT TO CREATE A SUN SETTING OR RISING EFFECT WHICH I COULD CONTROL THE SUNS HEIGHT ON AND ALSO THE ATMOSPHERIC DUST AND HAZE IT CREATES AS SEEN BELOW IN THE BLEND ON THE HORIZON LINE
(IPR VIEWPORT)
IN ADDITION TO THE ABOVE I HAD TO USE DIRECTIONAL LIGHTING TO CREATE SOME SURFACE LIGHTING ON THE COTTAGE ITSELF SO IT DID NOT GET LOST IN THE HAZE, I ALSO HAD TO INTERNALLY LIGHT IT WITH POINT LIGHTS AND THEN WITH MESH LIGHTS FOR BEHIND THE FROSTED WINDOW GLASS. THERE ARE ADDITIONAL LIGHTS ABOVE THE TREE CANOPY FOR SHADOW CREATION AND ALSO OBJECT BASED MESH LIGHTS ALLOCATED AT FOCUS POINTS OF THE SCENE. ALL IN ALL THE SCENE UTILISES 17 LIGHTS INCLUDING THE PHYSICAL SKY AND VOLUMETRIC BASED LIGHTING. A LARGE ARRAY OF LIGHT BLOCKERS HAS ALSO BEEN USED TO DISPERSE SHADOWS WHERE I NEEDED THEM.
THE LIGHTING GIVES ME FULL CONTROL OF DAY OR NIGHT AND ALSO ENVIRONMENTAL CONTROL OF AIR TYPE AND DENSITY, BASICALLY I CAN ANIMATE ANY SCENE WITH THIS SET JUST BY ADJUSTING THE INDIVIDUAL SETTINGS OF EACH LIGHT WHICH IS PRECISELY NAMED AND ORGANISED IN GROUPS IN THE OUTLINER EG. CANOPY LIGHTS - SKY - HOUSE - LOW LEVEL - OBJECT_BASED....ETC ETC BASICALLY A CLEAN SET UPFOR ME TO USE FOR VARIOUS SCENES.
INDOOR COTTAGE SCENE
For this scene I utilised light portals, this technique creates some dramatic effects, in a nutshell I am creating outdoor lighting as in environmental lighting but then creating a portal into the interior scene where this light can enter. The beauty of this method is that no light can enter the scene from any angle or though any surface but through the portal itself, negating the need t create light blockers or using big domes to stop light flooding into the scene or any other number of ways to block escaping light from large natural light sources like skies. This method allowed me to get all the benefits of a physical sky yet the ability to direct it where I wanted. As for any other lighting in the scene I created per object mesh lights to crate subtle glows. In my final animation the fire is an emitter with dynamic properties, and the water is a container with an emitter inside within the cauldron again dynamic, but for these stills I have used mash nodes to create my water and bubbles and displacement shaders I made for the water surface.
For this scene I utilised light portals, this technique creates some dramatic effects, in a nutshell I am creating outdoor lighting as in environmental lighting but then creating a portal into the interior scene where this light can enter. The beauty of this method is that no light can enter the scene from any angle or though any surface but through the portal itself, negating the need t create light blockers or using big domes to stop light flooding into the scene or any other number of ways to block escaping light from large natural light sources like skies. This method allowed me to get all the benefits of a physical sky yet the ability to direct it where I wanted. As for any other lighting in the scene I created per object mesh lights to crate subtle glows. In my final animation the fire is an emitter with dynamic properties, and the water is a container with an emitter inside within the cauldron again dynamic, but for these stills I have used mash nodes to create my water and bubbles and displacement shaders I made for the water surface.
BELOW YOU CAN SEE HOW I CUT A HOLE IN A POLY WALL THAT IS NOT VISIBLE IN THE SCENE AND THEN PLACED A LIGHT PORTAL BEHIND THIS, I THEN ADDED A SPOT WITH VOLUMETRIC TO EMPHASISE THE LIGHT LEAKING INTO THE ROOM FROM THE WINDOW. THE LEVELS OF MY FAKE NATURAL SUNLIGHT CAN BE CONTROLLED EASILY THROUGH THE LIGHT PORTAL SETTINGS AND I CAN GO FROM DAY TO NIGHT VERY QUICK AND SIMPLY.
CHARACTER LIGHTING
No real tricks here just using photography tutorials on how to create good studio lighting, I would say 3 point but most these days are 5 point.
EXAMPLE RENDERS
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