Sunny Afternoon - Twilight - Moonlight - Electrical Candlelight - Underwater
3D environment
lighting
‘3D Environment Lighting’ is a 6-part tutorial series. Over the course of the six chapters, this series will be detailing techniques on lighting an environment under a number of different conditions. Each chapter we will cover a step-by-step guide to setting up lights, aimed at portraying the scene in a specific manner. The various chapters will be tailored to specific software packages and each will aim to show a comprehensive and effective way of lighting an interior of a ship that includes both natural and artificial light. These will include a sunny afternoon, sunset, moonlight, electric light, candle light, and finally a submerged submarine light. The schedule is as follows: Chapter 01 Natural Exterior Lighting
Sunny Afternoon Chapter 02 Natural Exterior Lighting
Twilight Chapter 03
Natural Exterior Lighting
Moonlight Chapter 04
Artificial Interior Lighting
Electrical Chapter 05
Artificial Interior Lighting
Candlelight Chapter 06
Artificial Interior Lighting
Underwater
Chapter 01
Natural Exterior Lighting
Sunny Afternoon
Chapter 01 Sunny Afternoon
Natural Exterior Lighting
Fig 01
Sunny Afternoon
Welcome to the first part of this new set of tutorials. This chapter, we’ll take a look at how to set up “sunny afternoon” lighting for our 3D environment. Before we start, I suggest we find some good reference material for our project. In Google, simply Search Images for “sunny afternoon” to discover some pictures which will give you an idea as to how light behaves at this time of the day. Even better, why not just go outside and examine how the light is behaving in the real world? ... 1. Let’s start by taking a look at our scene.
Fig 02
Open the Ship Cabin_Part1_Starting.max scene (download can be found at the end of this tutorial; click on the Free Resources logo) (Fig01). 2. Examining the 3D scene, we can see that there are three main light sources (Fig02); the large opening in the ceiling, the small circular window, and the rectangular window on the back wall. We won’t consider the artificial lights in the scene for this part, as this will be covered in following parts of the tutorial.
3. We will use the Mental Ray renderer for our scene, so let’s start by activating it before we
Fig 03
get to work on the lighting in our scene. Open the Rendering panel (use the F10 short-cut key), scroll down into the Common tab, and click on the button with the three dots in the Assign Renderer roll-out menu. A browser window will open; select Mental Ray Renderer and click the OK button (Fig03).
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Environment Lighting
Sunny Afternoon Chapter 01 Fig 04
4. Since we’ll be doing a lot of rendering tests in this project, we can’t wait too long for each render. We therefore need faster feedback to make any adjustments and changes. So let’s set the rendering size to 320 x 240 - this way it will render faster. We’ll increase the resolution only for the final renders. Open the Rendering panel again and set the Output Size to 320 x 240 (Fig04).
Fig 05
5. If we render the scene now, we’ll see just the default lighting since there are currently no lights in the scene (Fig05).
Fig 06
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6. Create a Target Direct light and position it as shown in Fig06.
Environment Lighting
Chapter 01 Sunny Afternoon 7. Enable Shadows and set its type to Ray
Fig 07
Traced Shadows. Set the light Multiplier to 2 and change the colour to something like R=255, G=246, B=218. You will also need to copy the parameters for Hotspot and Falloff from those detailed in Fig07.
8. Render the scene again (Fig08). Now we can see our main light source (the Sun) coming
Fig 08
from above and casting shadows into the ship’s cabin. The scene is almost totally black, so we need to create at least one other light source coming in from the two windows on the back wall.
9. Create an Omni light and position it as shown in Fig09, right between the two windows.
Fig 09
Make sure that the light is inside the cabin, as we need it to light that area slightly. Set the Multiplier to a low value, like 0.15, and its colour to R=255, G=242, R=208. Make it cast Ray Traced shadows and enable the Use and Show options for the Far Attenuation. Also, set the Start to 1,92 and the End to 9,44.
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Environment Lighting
Sunny Afternoon Chapter 01 Fig 10
10. Render the scene again (Fig10). Now there is much more light, especially at the back of the cabin, but the scene is still way too dark. We need some bounces of light over the entire scene.
Fig 11
Fig 12
11. Create a sphere that surrounds the whole scene (Fig11).
12. Make the sphere an Editable Poly object, and then select the lower half’s polygons and delete them (Fig.12).
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Environment Lighting
Chapter 01 Sunny Afternoon 13. Select all of the polygons (Ctrl + A) and flip
Fig 13
them using the Flip command in the Command Panel (Fig13). We’ll assign a self-illuminated material to the sphere, so we need its polygon to point inwards.
14. Open the Material Editor and create a new Standard material. Name it “Dome” and change
Fig 14
its Diffuse colour to something like R=255, G=245, B=203 (Fig14). Also, set its SelfIllumination value to 100 (Fig14).
15. Open the Rendering panel and switch to the Indirect Illumination tab and enable Final
Fig 15
Gather. Set the Preset to Draft and render the scene. This time the render will take a little longer, since we enabled the Final Gather feature of Mental Ray. This option takes care of the secondary bounces of light, or indirect illumination. We have some more bounces of light in the scene, but it’s still too dark (Fig15).
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Environment Lighting
Sunny Afternoon Chapter 01 Fig 16
16. Set the Final Gather Multiplier to 3 and render again. Now we have some more light, but we need to tweak the FG parameters a little (Fig16).
Fig 17
17. Set the Diffuse Bounces to 10 and render again. Now there’s a fair amount of light in the cabin, and we start to see objects that were much too dark before, like the seat on the left (Fig17).
Fig 18
18. Set the Diffuse Bounces to 20 and increase the Direct Target light’s Multiplier to 4. Render the scene again (Fig18).
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Environment Lighting
Chapter 01 Sunny Afternoon 19. Since we increased the light’s Multiplier,
Fig 19
it is now “over-burning” the areas where it directly hits the surfaces. So let’s change the light’s colour to something warmer and more saturated, like R=255, G=231, B=159. Also, make sure that H=32, S=96, and V=255. Render the scene again. Now it looks better (Fig19).
20. To add another little bit of light, we can add some value to the Ambient light. Open the
Fig 20
Rendering/Environment tab and set the Ambient value to a very dark colour, as shown in Fig20. The brighter this value, the more over-exposed the rendering will be, so do not exaggerate the effect.
21. Now we can start making some test renders with a higher resolution. Set it back to 640 x 480
Fig 21
and render the scene (Fig20).
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Environment Lighting
Sunny Afternoon Chapter 01 Fig 22
22. Since we are getting close to our final render, we now need to increase the level of detail and quality. Let’s start from the AntiAliasing filter. Open the Rendering panel and go to the Renderer tab. Set the Filter to Mitchell and the Min/Max to 16/64. Also, lower the Threshold values as shown in Fig.22. This time it will take a little longer to render the scene, but you will see a lot of details that were lacking in previous renders.
Fig 23
23. Now let’s raise the quality of the Final Gather. Set the Preset to High and render again. It will take even longer to render than before, but the final image will be much better in terms of its quality and detail (Fig23).
Fig 24
24. Now that we have a pretty good lighting setup for our scene, we can start to tweak the final render with 2D software, like Photoshop. Open the rendered image in Photoshop, duplicate the original layer and Desaturate it, as shown in Fig24.
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Environment Lighting
Chapter 01 Sunny Afternoon 25. Adjust the Levels until you get something
Fig 25
similar to Fig25. We just need to extract the areas of the image with more light.
26. Change the Blending mode for the top layer to Screen and apply a fair amount of Gaussian
Fig 26
Blur (Fig26).
27. Set the top layer’s opacity to a lower value, and change the Hue & Saturation to something
Fig 27
warmer (Fig27).
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Environment Lighting
Sunny Afternoon Chapter 01 Fig 28
28. Go back to 3DS Max now and reset the Renderer to the Default Scanline. Create a new Standard material in the Material Editor and set its Diffuse colour to pure black. Assign this material to every object in the scene. Select the main Spot light, go to the Environment menu and add a Volume effect. Pick the Spot light and render the scene. You should get something similar to Fig28.
Fig 29
29. Import this new render into Photoshop and put it right between the top and bottom layer. Also, set its Blending mode to Soft Light and its Opacity to 69 (Fig29).
Fig 30
30. If you want, you can improve the exposure of the picture with the Exposure tool in Photoshop.
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Environment Lighting
3D Environment Lighting Chapter 01 Natural Exterior Lighting Sunny Afternoon Originally designed and modelled by:
Richard Tilbury Tutorial by:
Luciano Iurino For more from this artist visit: www.pmstudios.it Or contact them: iuri@pmstudios.it
Chapter 02 Twilight
Chapter 02
Natural Exterior Lighting
Twilight
Twilight Chapter 02 Natural Exterior Lighting
Fig 01
Twilight
1. This chapter, we’ll set up our lighting scene to make it resemble a moody sunset. As usual, we’ll use Mental Ray renderer to accomplish this task. Open the Ship Cabin_Sunset_Start.max scene included with this tutorial (download can be found at the end of this tutorial; click on the Free Resources logo) (Fig01)
2. First of all, let’s assign Mental Ray as our
Fig 02
renderer. Open the Rendering panel (you can use the F10 shortcut key), switch to the Common tab and go to the Assign Renderer rollout (Fig02). Click on the button with the three dots and select mental ray Renderer from the list. Click OK to close the browser window.
3. Select the Walls and Ceiling objects and
Fig 03
hide everything else. This will help us achieve a better visualisation whilst we create the lights that we need for the scene (Fig03).
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Environment Lighting
Chapter 02 Twilight Fig 04
4. Create a simple Omni light and position it as shown in Fig04, just above the opening in the ceiling. This Omni light will simulate light entering from the ceiling. It is not our key light, so its intensity will be quite low.
Fig 05
5. Select the Omni light and change its parameters, as shown in Fig05. Activate the Shadows option, and set it to Ray Traced Shadows. Set the Multiplier to something like 0,5 and it’s colour to R=254 G=190 B=146. Also, enable the Use and Show options for the Far Attenuation, and set them respectively to 0,0m and 3,213m.
Fig 06
6. Now create another Omni light. This time, it has to be a mental ray Area Omni, since we need soft area shadows for our sunset. Position this new light as shown in Fig06, on the back wall area close to the windows. This Omni light will be our main light, since it will simulate the sun. Its intensity will be greater than the other light, and together with the shadows it will give our scene the mood we desire.
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Environment Lighting
Twilight Chapter 02 7. Select the mental ray Area Omni light and
Fig 07
change its parameters, as shown in Fig07. Enable the Shadows and set them to Ray Traced. Set the Multiplier to 1,2 and its colour to R=255 G=199 B=150 (Fig07).
8. Open the Area Light Parameters rollout. Make sure that On is checked and set the Type to
Fig 08
Sphere. Change the Radius value to something like 0,54m and the Samples to U=10 V=10 (Fig08).
9. Before we start rendering the scene, we need to change another small thing. Open the
Fig 09
Environment panel (use the <8> shortcut key) and change the Background Colour to R=247 B=176 G=98 (Fig09).
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Environment Lighting
Chapter 02 Twilight Fig 10
10. Now we can do a quick test render (Fig10). As you can see, the two lights are not enough to create our moody sunset lighting. We need some light bounces all over the scene to improve the general quality of the lighting...
Fig 11
11. Open the Rendering panel once again and switch to the Indirect Illumination tab. Enable Final Gather and set the Preset to Draft (we donâ&#x20AC;&#x2122;t need high quality at the moment, itâ&#x20AC;&#x2122;s just for testing). Set the Multiplier to 1 and its colour to R=1,0 G=0,71 B=0,494. Also, set the Diffuse Bounces value to 20 (Fig11).
Fig 12
12. Render the scene again. This time it will take longer, which is because of the Final Gather calculation that mental ray needs in order to create the bounces of light (Fig12).
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Environment Lighting
Twilight Chapter 02 13. Now we have a nice lighting situation, with
Fig 13
a key-light, a fill-light and some light bounces. We can now set up our final render with higher values. Open the Rendering panel and set the Preset to High. Change the Rays per FG Point value to 350 (the default for ‘High’ is 500, but we don’t need such a high value; you can always try other values if you wish). Switch to the Renderer tab and set the Minimum and Maximum values for Samples per Pixel to 16 and 64 (Fig13). Change the Filter type to Mitchell and the Spatial Contrast R, G, B and A to 0,02. Also, switch to the Common tab and set a higher resolution for the rendering, for example 640x480 (or even higher if you wish - just keep an eye on the rendering times; the bigger the resolution, the longer it will take to render the final image).
Fig 14
14. Render the scene again, and save the final picture to use it later in Photoshop for postproduction (Fig14).
15. Now we need to render an Ambient Occlusion pass to composite it with the rendered
Fig 15
image. Open the Ship Cabin_AO.max scene file, included with this tutorial. A new material was created (AO_Shader) and assigned to every object in the scene. This material has an Ambient/Reflective Occlusion shader in the Surface slot. You can take a look at Fig15 to see the shader’s parameters.
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Environment Lighting
Chapter 02 Twilight Fig 16
16. Render the scene to create the Ambient Occlusion pass that we need (Fig16). Donâ&#x20AC;&#x2122;t forget to render the AO pass with the same size as the previously rendered picture.
Fig 17
17. Start Photoshop and import both the original rendering and the Ambient Occlusion pass (Fig17).
Fig 18
18. Switch to the Ambient Occlusion image. Select all (Ctrl + A) and Copy (Ctrl + C). Switch to the Original rendering and Paste the AO pass above it (Ctrl + V) (Fig18).
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Environment Lighting
Twilight Chapter 02 19. Change the AO Pass blending mode to
Fig 19
Colour Dodge and its Opacity to about 58% (Fig19).
20. Now select both layers and use Ctrl + E to flatten them together (Fig20).
21. Duplicate the background layer and desaturate the newly created layer (Fig21).
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Fig 20
Fig 21
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Environment Lighting
Chapter 02 Twilight Fig 22
22. Change the Levels until you expose the brightest areas of the image (Fig22).
Fig 23
23. Apply a fair amount of Gaussian Blur to this layer and colourise it (Hue & Saturation), as shown in Fig23.
Fig 24
24. Change the Blending Mode for this layer to Linear Dodge and set its Opacity value to 56% (Fig24).
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Environment Lighting
Twilight Chapter 02 25. Select both layers and flatten them together
Fig 25
(Ctrl + E). Create a new, empty layer and fill it with a pure black colour. Use the Filter / Render / Lens Flare effect to create something similar to Fig25.
26. Set the blending mode of the top layer to Linear Dodge and adjust the Levels until you get
Fig 26
the desired effect (Fig26).
27. Finally, you can adjust the exposure to slightly change the overall feel of the image
Fig 27
(Fig27).
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Environment Lighting
Originally designed & modelled by:
Richard Tilbury Tutorial by:
Luciano Iurino For more from this artist visit: www.pmstudios.it Or contact them: iuri@pmstudios.it
Chapter 03
Chapter 03
Natural Exterior Lighting
Moonlight
Moonlight
Moonlight Chapter 03 Natural Exterior Lighting
Fig 01
Moonlight
This time we’ll create a typical moonlight setup for the ship cabin scene, for which we’ll use the Mental Ray renderer... 1. Open the Ship Cabin_Moon_Start.max scene included with this tutorial (download can be found at the end of this tutorial; click on the Free Resources logo) (Fig01).
2. If you try to render the scene, you will get
Fig 02
something similar to Fig02, as there are still no lights in the scene (Fig02).
3. First of all, let’s assign Mental Ray as the
Fig 03
renderer. Open the Rendering panel (F10) and click on the button with the three dots in the Assign Renderer roll-out. Select “mental ray Renderer” in the window that appears, and click OK (Fig03).
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Environment Lighting
Chapter 03 Fig 04
Moonlight
4. Create a mental ray Area Omni light and position it as shown in Fig04, just above the opening in the ceiling (Fig04). This will be our Key light (the moon).
Fig 05
5. Enable the Shadows option (Ray Traced Shadows) and leave the other parameters as they are for the moment. In the Area Light Parameters, make sure that the On option is checked; set the Type to Sphere, the Radius value to 0.1m, and the Samples to 10/10 (Fig05).
Fig 06
6. Letâ&#x20AC;&#x2122;s make a quick test render (Fig06). The amount of lighting seems to be OK, and the shadows too, but the colour is not right as it should be something more blueish.
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Environment Lighting
Moonlight Chapter 03 7. Go back to the mental ray Area Omni
Fig 07
parameters and change its colour to something like that shown in Fig07.
8. Render the scene again (Fig08). It looks better, now.
9. Let’s change the Environment Background colour (using the ‘8’ shortcut key) to the same
Fig 08
Fig 09
colour that we just gave to the Omni light, and let’s render the scene again (Fig09).
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Environment Lighting
Chapter 03 Fig 10
Moonlight
10. Now we need some bounces of light all around the scene. Letâ&#x20AC;&#x2122;s enable Final Gather in the Indirect Illumination tab of the Rendering panel. Set the Preset to Draft and render the scene again (Fig10).
Fig 11
11. Since we need more light and bounces, we have to increase the FG Mutliplier value to 2. Also change the Mutliplier colour to something blueish, as shown in Fig11. Increase the Diffuse Bounces value to 20, or even more if needed.
Fig 12
12. Now thereâ&#x20AC;&#x2122;s much more light. Select the mental ray Area Omni and lower the Multiplier to a value of about 0,85. Also enable the Use and Show options for Far Attenuation and set their parameters to respectively 1.41m and 11.032m (Fig12).
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Environment Lighting
Moonlight Chapter 03 13. The Key light seems to be OK. We now
Fig 13
need some more light in the back of the room, near the windows. Create a simple Omni light and position as shown in Fig13. Also enable Shadows (Ray Traced); set the multiplier to 0,09 and its colour to a bright blue. Enable Far Attenuation Use and Show, and set their values to 1.41m and 7,.392m. Render the scene again.
14. Now we have to set up a higher quality render... Go back to the Indirect Illumination tab
Fig 14
and set the Preset to High. Set the Rays per FG Point value to 350. Switch to the Renderer tab and copy the parameters shown in Fig14. Increase the image resolution (for example, to 640x480 or even more) and render the scene. Save the picture to use it later on in Photoshop for post-production work.
15. We also need an Ambient Occlusion pass for compositing. Open the Ship Cabin_AO.max
Fig 15
scene and render it. The AO_Shader material was assigned to every object in the scene, and its parameters were set up to achieve a nice AO solution (Fig15).
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Environment Lighting
Chapter 03 Fig 16
Moonlight
16. Render the scene and save this picture, too (Fig16).
Fig 17
17. Start Photoshop and import both the original render and the AO pass. Select the AO pass, copy it, and paste it on the original rendered picture (Fig17).
Fig 18
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18. Change the blending mode for the AO pass to Overlay (Fig18).
Environment Lighting
Moonlight Chapter 03 19. Use the Levels tool to adjust the levels until
Fig 19
you are happy with overall look (Fig19).
20. Lower the Fill value to 52% (Fig20).
21. Collapse the two layers together and create a copy of the Background layer. Desaturate it
Fig 20
Fig 21
(Fig21).
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Environment Lighting
Chapter 03 Fig 22
Moonlight
22. Adjust the Levels to expose the brightest areas (Fig22).
Fig 23
23. Use the Gaussian Blur filter to blur this layer, and then change its colour to something blueish (Fig23).
Fig 24
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24. Change the blending mode to Screen and the Opacity value to about 47% (Fig24).
Environment Lighting
Moonlight Chapter 03
25. Flatten the two layers together and use the Shadow/Highlight tool to improve the mood of the picture (Fig25).
26. Also use the Exposure tool as a final touch (Fig26).
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Environment Lighting
Originally designed & modelled by:
Richard Tilbury Tutorial by:
Luciano Iurino For more from this artist visit: www.pmstudios.it Or contact them: iuri@pmstudios.it
Chapter 04 Electrical
Chapter 04
Artificial Interior Lighting
Electrical
Electrical Chapter 04 Artificial Interior Lighting
Fig 01
Electrical
This Chapter we’ll see how to create an artificial lighting situation for our ship cabin scene. As usual, we’ll use 3ds Max and Mental Ray. Before we can start, we need a little information about how artificial light works. I suggest you do a quick search in Google for reference images; you’ll notice that large spaces are lit by a fair number of light bulbs, which usually give general lighting a strong, greenish component. 01. Open the ShipCabin_Part4_Start.max scene file (download can be found at the end of this tutorial; click on the Free Resources logo) (Fig01).
Fig 02
02. The two main light sources will be the light bulbs on the ceiling (Fig02).
03. Since we’ll be placing the lights right in the
Fig 03
bulbs, we need them not to cast any shadows. Select the three objects (the light bulb, the guard and the base) and right click on them. In the menu that appears, click on Object Properties. Then disable the Cast Shadow option in the Rendering Control area (Fig03).
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Environment Lighting
Chapter 04 Electrical Fig 04
04. Now we can create the first Omni light which will act as a light bulb. Create a mental ray Area Omni light and position it as shown in Fig04.
Fig 05
05. Leave the colour of the light as pure white and its Multiplier at 1,0. Enable Shadows and change the type to Ray Traced Shadows. In the Decay section, set the type to Inverse and the Start value to 0,8. Also enable the Show option to have a visual aid in your scene. In the Far Attenuation section, enable both Use and Show and set the Start/End values to 1 and 8. Open the Area Light Parameters roll-out and make sure that On is selected. In the Type roll-out, pick Sphere and set its radius to 0,14. Finally set the Samples values to 5 (Fig05).
Fig 06
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06. Now simply clone the Omni light and position it right in the second light bulb (Fig06).
Environment Lighting
Electrical Chapter 04 07. Open the Rendering panel and assign
Fig 07
mental ray Renderer in the Production slot (Fig07).
08. Render the scene to see how the two Omni lights are behaving (Fig08).
09. The amount of light in the front is quite good,
Fig 08
Fig 09
but the back of the room is completely dark. We therefore need to create another Omni light over there (Fig09).
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Environment Lighting
Chapter 04 Electrical Fig 10
10. Modify the light parameters as shown in Fig10. The important thing here is to lower the intensity of the light (to about 0,25), and give it a darker colour (Fig10).
Fig 11
Fig 12
11. Render the scene again. Now thereâ&#x20AC;&#x2122;s some light in the back, too (Fig11).
12. Open the Rendering panel and switch to the Indirect Illumination tab. Enable Final Gather and set its Multiplier to 5. Also change its colour to a fairly dark green. Set the Bounces to 10 and leave the Rays to 50 (this is just a test rendering and weâ&#x20AC;&#x2122;ll increase the quality later) (Fig12).
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Environment Lighting
Electrical Chapter 04 13. Render the scene again. Now thereâ&#x20AC;&#x2122;s much
Fig 13
more light in the scene (Fig13).
14. Now we can increase the Rays to 500 to have a better quality for the FinalGather solution
Fig 14
(Fig14).
15. Open the Rendering panel again and switch to the Renderer tab. Set the Minimum/Maximum
Fig 15
values to 16/64 and the Filter type to Mitchell. Also set the values for Spatial Contrast to 0,02 (Fig15).
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Environment Lighting
Chapter 04 Electrical Fig 16
16. Now we can render the scene with full quality and save it as a picture (Fig16).
Fig 17
17. As usual, we also need an Ambient Occlusion pass to composite it over the original render in Photoshop. Open the ShipCabin_ Part4_AO.max scene file. In Fig17, you can see the AO shader that was created and assigned to every object in the scene.
Fig 18
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18. Render the AO scene and save it as a picture, too (Fig18).
Environment Lighting
Electrical Chapter 04 19. Open both pictures (the original render and
Fig 19
the AO pass) with Photoshop (Fig19).
20. Select the AO pass, copy it and paste it over the original rendered image (Fig20).
21. Change the AO pass layerâ&#x20AC;&#x2122;s blending mode to Overlay (Fig21).
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Fig 20
Fig 21
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Environment Lighting
Chapter 04 Electrical Fig 22
22. Use the Levels tool to adjust the contrast of the AO pass over the original image (Fig22).
Fig 23
23. Flatten all the layers together, then create a copy of the Background layer and desaturate it (Fig23).
Fig 24
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24. Adjust the Levels to expose the areas with more light (Fig24).
Environment Lighting
Electrical Chapter 04 25. Change the blending mode to Linear Dodge
Fig 25
and set the Opacity to 38% (Fig25).
26. Flatten all the layers together. Create another blank layer and fill it with pure black.
Fig 26
Apply a Lens Flare filter, as shown in Fig26. Move the flare over the light bulb on the furthest left (Fig26).
27. Change the Blending mode for the Flare layer to Screen and set its Opacity to about 90%
Fig 27
(Fig27).
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Page 49
Environment Lighting
Originally designed & modelled by:
Richard Tilbury Tutorial by:
Luciano Iurino For more from this artist visit:: www.pmstudios.it Or contact them: iuri@pmstudios.it
Fig 28
28. Duplicate the Flare pass and position it over the second light bulb (Fig28).
29. Finally, you can use the Exposure tool and Fig 29
the Shadow/Highlight tool to enhance the image as you wish (Fig29).
Chapter 05 Candlelight
Chapter 05
Artificial Interior Lighting
Candlelight
Candlelight Chapter 05 Artificial Interior Lighting
Fig 01
Candlelight
This time weâ&#x20AC;&#x2122;ll see how to light the ship cabin with some candles. Only one candle will be visibile, on the left of the room; the other two will just light the scene and cast shadows, but will be out of view (one on the right, and one in the back of the room). 01. Open the 3DENV_Part5_Candle_Start.max scene file. (Fig01)
02. First of all, we need to create a soft, ambient
Fig 02
lighting for our scene, which will resemble a night time situation. Create a polygonal sphere which surrounds all the scene. Select the lowe half of the sphere and delete it. Select all the remaining polygons and flip them to make them point inward. (Fig02)
03. Open the Mat. Editor and create a new,
Fig 03
self-illuminated blueish material. Assign it to the sphere. (Fig03)
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Environment Lighting
Chapter 05 Candlelight Fig 04
04. Set Mental Ray as main renderer, and open the Rendering panel. Switch to the Indirect Illumination tab, enable Final Gather and set the Multiplier to 5. Also, set the Multiplier color to a dark blue and the Bounces to 10. (Fig4)
Fig 05
Fig 06
05. Render the scene. Now we have a basic night lighting. (Fig05)
06. Letâ&#x20AC;&#x2122;s create the first candle light. Create a mr Area Omni light and position it just above the candle, on the left of the scene. (Fig06)
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Environment Lighting
Candlelight Chapter 05 07 .Modify the lightâ&#x20AC;&#x2122;s parameters as shown in Fig07. Enable Shadows and make sure that itâ&#x20AC;&#x2122;s set to Ray Traced. Set the Multiplier to 0,8 and the color to a bright yellow/orange. Set the Decay type to Inverse and the Start value to about 1,4. Also, copy the parameters for Attenuation from Fig07.
08. In the Area Light Parameters rollout, enable area shadows , set the type to Sphere, the
Fig 08
radius to 0,1 and U/V samples to 10/10. (Fig08)
09. Render the scene. The candle lighting now looks pretty good. Now we need to add the other
Fig 09
two candle lights. (Fig09)
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Environment Lighting
Chapter 05 Candlelight Fig 10
10.Create another mr Area Omni and position it near the seat on the right of the scene. Make sure that itâ&#x20AC;&#x2122;s just out of the view. (Fig10)
Fig 11
11.Modify its parameters as shown in Fig11. The important thing here is the color (a darker orange) and the Multiplier (0,75). Make it cast shadows (Ray Traced), enable area shadows and copy the parameters for the Attenuation from Fig11.
Fig 12
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Page 56
12. Render the scene again to check this new light, too. (Fig12)
Environment Lighting
Candlelight Chapter 05 13. Now create a third mr Area Omni and
Fig 13
position it in the back of the room, just behind the stairs. (Fig13)
14. Copy the parameters for this light from Fig14.
15. Render the scene again. (Fig15)
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Fig 14
Fig 15
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Environment Lighting
Chapter 05 Candlelight Fig 16
16. The back light is too low, so we need to increase its multiplier and set a brighter color. (Fig16)
Fig 17
Fig 18
17. Render the scene. Now the back light seems to be ok. (Fig17)
18. The room is still too dark, so we need to increase the general ambient light. Open the Environment panel and set the Env. Color as shown in Fig18. Render the scene again.
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Environment Lighting
Candlelight Chapter 05 19. Now we can set the parameters for the final
Fig 19
rendering. Open the Rendering panel and switch to the Indirect Illumination tab. Set the Rays value to 350. Switch to the Renderer tab and copy the parameters for the sampling quality from Fig19.
20. In Fig20 you can see the final rendererd image. Save it as a picture.
21. We also need an Ambient Occlusion pass to composite it over the original rendering. This
Fig 20
Fig 21
will help to enhance the details of the rendering. Open the 3DENV_Part5_Candle_AO.max scene file. In Fig21 you can see the parameters of the AO shader that was created and assigned to every object in the scene.
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Environment Lighting
Chapter 05 Candlelight Fig 22
22. Render the AO pass and save it as a picture, too. (Fig22)
Fig 23
Fig 24
23. Now open both the original rendering and the AO pass with Adobe Photoshop. (Fig23)
24. Select the AO pass, copy it, and paste it over the original rendering. (Fig24) Change its blending mode to Multiply and use the Levels tool to adjust its contrast.
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Environment Lighting
Candlelight Chapter 05 25.Select the Background (original rendering)
Fig 25
layer and duplicate it. Desaturate it and adjust its Levels to expose the brightest areas. (Fig25)
26.Apply a fair amount of Gaussian blur to this new layer; use the Hue & Saturation tool to
Fig 26
colorize it with a yellow/orange color and change its blending mode to Overlay. Also, decrease its Opacity value to about 69%. (Fig26)
27.Flatten all the layers together. If you wish you can use the Exposure tool to improve the
Fig 27
exposure of the final image. (Fig27)
Originally designed & modelled by:
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Environment Lighting
Richard Tilbury Tutorial by:
Luciano Iurino For more from this artist visit:: www.pmstudios.it Or contact them: iuri@pmstudios.it
Chapter 06 Underwater
Chapter 06
Artificial Interior Lighting
Underwater
Underwater Chapter 06 Artificial Interior Lighting
Fig 01
Underwater
In this last 3D Environment tutorial we’ll set up a nice underwater scene for the ship cabin. Just imagine it sunk and laying on the ocean bed. You can find a lot of references all around the web (for example, the “Titanic” movie) to see how light behaves underwater, and most of all the colours that you will need to use to give your scene more realism. 1. First of all, let’s open the 3DENV_Part6_ Underwater.max scene file (Fig01).
2. We need to set up a basic lighting, and
Fig 02
then we can concentrate on obtaining a nice underwater scene. Open the Rendering panel (F10) and in the Common tab scroll down to the Assign Renderer rollout and assign mental ray Renderer as shown in Fig02.
Fig 03 3. Create a polygonal sphere, select its lower half and delete it. Select all the remaining polygons and flip them to make them point inward.
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Environment Lighting
Chapter 06 Underwater Fig 04
4. Open the Material Editor (M) and create a new Standard material of a blueish color. Also, set its Self-Illumination parameter to 100%. (Fig04)
Fig 05
5. Open the Rendering panel again and switch to the Indirect Illumination tab. Enable Final Gather and set its Mutliplier to 10. Also change its color to a nice green. Set the Rays per FG Point to 100 for now (we’ll increase it later for the final rendering).
Fig 06
6. If we render the scene now (Fig06), you’ll notice that it’s way too bright and greenish. It’s because we don’t have any “real” light source in the scene, so all the lighting is up to the Final Gather solution we just created.
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Environment Lighting
Underwater Chapter 06 7. Create a mr Omni Light and position it
Fig 07
anywhere in the scene. Make sure that itâ&#x20AC;&#x2122;s disabled (uncheck the On option).
8. Render the scene again. As you can see, now itâ&#x20AC;&#x2122;s much too dark. We can now start working
Fig 08
on this solution to create our desired lighting situation.
9. Move the mr Omni Light in the right position (just above the opening in the ceiling, as shown
Fig 09
in Fig09) and copy the parameters from the picture in the middle of Fig09.
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Environment Lighting
Chapter 06 Underwater Fig 10
10. Render the scene. Now it looks much better, and the colors start to look fine. The shadows are just too sharp, we need to blur them a little with the Area Light feature.
Fig 11
11. Reach for the Area Light Parameter rollout in the Light properties, make sure that itâ&#x20AC;&#x2122;s set to On. Also check if the Type is set to Sphere. Increase the Radius value up to 0,25m and the Samples values (both U and V) to 10.
Fig 12
12. Render the scene again. This time we can increase the rendering resolution to 640x480 to have a better feedback on the overall quality of the picture.
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Environment Lighting
Underwater Chapter 06 13. Now weâ&#x20AC;&#x2122;re ready to set the parameters for
Fig 13
the final rendering. Open the Rendering panel and pump up the Rays per FG Point value to 500. Switch to the Renderer tab and copy the parameters from the right picture in Fig13.
14. Here is our final rendering pass. We can save it for later use in Photoshop.
15. Now open the 3DEnv_Underwater_Volume. max scene file.
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Fig 14
Fig 15
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Environment Lighting
Chapter 06 Underwater Fig 16
16. This scene was created to render the Volume Light effect. There are different ways to get this task done; we could use Mental Rayâ&#x20AC;&#x2122;s own volume effect, but it would require longer rendering times. So I choose to use the standard volume light effect of 3dsmax. In this scene a pure black material was assigned to every object in the scene.
Fig 17
17. Open the Environment panel (8 shortcut key). As you can see, a new Volume Light effect was created and both the Directional lights present in the scene were assigned to it. (Fig17). Have a look at all the other parameters marked in red in Fig17 and copy them in your scene.
Fig 18
18. Render the scene. Everything is pure black and here is our Volume effect. Save this rendering as a picture for later use in Photoshop.
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Page 70
Environment Lighting
Underwater Chapter 06 19. We also need an Ambient Occlusion (AO)
Fig 19
pass to enhance the details in the rendering. Open the 3DEnv_Underwater_AO.max scene file and refer to Fig19 to see the AO shader that was created assigned to every object in the scene.
20. Here is the AO Pass rendering. Save this picture, too. Weâ&#x20AC;&#x2122;ll composite it later in
Fig 20
Photoshop over the original rendering.
21. Lastly, we need one more pass to composite the final image. We need some particles and
Fig 21
bubbles all over the scene, otherwise it wonâ&#x20AC;&#x2122;t look like an underwater scene. Open the 3DEnv_Underwater_Particles.max file. In this scene a pure black color material was assigned to everything (just like before with the Volume pass), and some particle systems were created and put here and there in the scene.
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Environment Lighting
Chapter 06 Underwater Fig 22
22. If you select the particle systems and open their Object Properties, you will notice that the Motion Blur effect is enabled; this was done to give the bubbles and particles some motion effect, since weâ&#x20AC;&#x2122;re doing a static rendering and not an animation.
Fig 23
Fig 24
23. You can also check the material that was created and assigned to the particles.
24. Render this last pass and save it as a picture. (Fig24) Now weâ&#x20AC;&#x2122;re ready to composite all the passes together in Photoshop or similar 2D applications.
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Environment Lighting
Underwater Chapter 06 25. Letâ&#x20AC;&#x2122;s start with the AO Pass. Open the
Fig 25
original rendering and the AO Pass.
26. Copy the AO Pass and paste it over the original rendering. Change the Blending Mode
Fig 26
for the AO Pass to Multiply and set its Opacity value to 70. (Fig26)
27. Flatten the two layers together. Import the Volume pass and paste it over the Background
Fig 27
layer. (Fig27). Change the Blending Mode to Linear Dodge and set the Opacity value to 79%.
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Environment Lighting
Chapter 06 Underwater Fig 28
28. Flatten the layers again. Import the Particles pass and paste it over the Background layer. Change the Blending mode to Linear Dodge and change its opacity until youâ&#x20AC;&#x2122;re happy with the result. You can make the bubbles and particles more or less evident; itâ&#x20AC;&#x2122;s really up to you.
Fig 29
29. Flatten everything once again, and create a copy of the Background layer. Desaturate it and use the Levels tools to adjust its levels like shown in Fig29.
Fig 30
30 .Apply a fair amount of Gaussian Blur to the top layer and change the Blending Mode to Linear Dodge. Also change the Opacity value to 83%.
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Environment Lighting
Underwater Chapter 06 31. You can also colorize the top layer with a
Fig 31
blue colour.
32. Finally, use the Exposure tool to enhance the exposure of the picture (Fig 32).
Fig 32
This concludes our environmental lighting series. I hope you found it of some use.
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Environment Lighting
3D Environment Lighting Part 6 - Underwater Originally Designed & Modelled by
Richard Tilbury Tutorial by:
Luciano Iurino For more from this artist visit: www.pmstudios.it Or contact them: iuri@pmstudios.it
Introduction:
The aim of our training DVD’s is to provide the artist with the most comprehensive set of lessons available. This is achieved by presenting the training material in the form of: - step-by-step tuition. - on-screen visual and audio instructions. - ongoing forum support from the author. - full-screen resolution flash movies. All aspects of creating the finished projects are taught in a way that artist of all levels will be able to learn at their own pace. Once these techniques have been learnt , they can be equally applied to all your future modelling and texturing projects.
- Section 1: The Basics - Using the Interface. - Section 2: Modelling - Head, Nose, Horns & the Eyes. - Section 3: Mapping & Unwrapping. - Section 4: Texturing - Painting Skin, Eyes & the Horns. - Training by in-house 3D Artist Richard Tilbury. - Over 3hrs 30mins of comprehensive training. - Printable step by step PDF. - Suitable for all levels of artist.
- Section 1: The Basics - Using the Interface. - Section 2: Modelling - Head, Nose, Horns & the Eyes. - Section 3: Mapping & Unwrapping. - Section 4: Texturing - Painting Skin, Eyes & the Horns. - Training by Julian Sarmineto - Sony Picture Imageworks. - Over 3hrs 30mins of comprehensive training. - Printable step by step PDF. - Suitable for all levels of artist.
- Section 1: Modelling. - Section 3: Mapping & Unwrapping. - Section 4: Texturing. - 8hrs 30mins of comprehensive training. - Suitable for all levels of artist.
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: volume 2
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Features 58 of the finest digital 2d and 3d artists working in the indusrty today, from the likes of: Philip Straub Jonny Duddle Alessandro Baldasseroni Benita Winckler Fred Bastide James Busby Marek Denco Patrick Beaulieu Jonathan Simard
Buy the book to see just how they create their incredible imagery! for more products in our range visit http://www.3dtotal.com/shop
Hardback 21.6cm x 27.9cm in size 288 Full Colour premium paper pages
Introduction:
The ‘Eva Wild Series’ – Our aim in this series is to provide comprehensive lessons to produce a complete fully rigged, textured and anatomically correct female character. This series fits well into 3 DVDs with 3 separate professional 3ds Max instructors taking you through each if their specialties in very detailed step by step processes making this training suitable for artists of all levels.
Part 1 - Modelling:
- Complete step by step modelling of the Eva Wild character. - Teaches the importance of studying human anatomy. - Provides clear diagrams showing muscle flow and bone structure. - 14 hours of comprehensive training. - Suitable for artist of all levels.
Part 2 - Texturing, Mapping & Clothing:
- Complete step by step texturing process of the Eva Wild character. - Modelling and Texturing of Eva Wild garments. - Lighting the character. - 4 hours and 47 mins of comprehensive training. - Suitable for artist of all levels.
Part 3 - Rigging & Animation
- Complete step by step of setting up a fully animatable rig for the Eva Wild character. - Creating a walk Cycle. - Creating a simple face morph. - 7 hours and 43 mins of comprehensive training. - Suitable for artist of all levels.
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Introduction:
Michel Roger’s famous ‘Joan of Arc’ tutorial re-written for Maya by Taylor Kingston, Cinema 4D by Giuseppe Guglielmucci & Nikki Bartucci, Lightwave by Vojislav Milanovich and Softimage by Luciano Iurino and 3DCreative Magazine.com. If there has been one single tutorial that has educated and inspired more budding 3d artists than anything else, this complete step by step project by Michel’s must be it. The community is in debt to him.
These 120 plus page, Downloadable PDF’s are designed for ease of use to help beginners and intermediate level of artist alike in the creation of a female character. The tutorial takes you through the process of modelling, texturing and mapping to finally adding bones.
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Image by Michel Roger
Chapter 1: Modeling of the Body - Body Chapter 2: Modeling of the Head - Head, Ear & Assembly Chapter 3: Modeling of the Accessories - The Sword & Armour Legs Chapter 4: Modeling of the Accessories - Armour Bust, Hair & Glove Chapter 5: Modeling of the Accessories - Accessories & UVW Mapping Chapter 6: UVW Mapping - Sword, Clothing, Armour & Body Chapter 7: Texturing & Hair - Eyes, Skin & Hair Chapter 8: Bones & Skinning - Bases, Hierarchy & Skinning
Introduction:
A Collection of the ďŹ nest independent animated movies and commercial trailers. The DVD includes work from a whole number or different sources, such as students, independents animators and commercial studios. We want people to be able to view this wealth of elite animation in one convenient high resolution package whilst generating much exposure for these talented artists at the same time.
- Running Time: 3hrs 8 mins - 27 Shorts movies - 6 Clips & Trailers - Region Free, NTSC & PAL versions - Shorts & trailers from artist and studio like: Blur Studios Brian Taylor Marco Spitoni Patrick Beaulieu & Alex Mateo
- Running Time: 3hrs 8 mins - 27 Shorts movies - 3 Trailiers - Region Free, NTSC & PAL versions - Shorts & trailers from studios such as: Blur Studios Keytoon Animations Studios Redrover Studios & Platige Image - Loads of extra including images and storyboards
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Downloadable Tutorial EBook
Introduction:
The original character of the Swordmaster was created by Seong-wha Jeong and we had 3DTotalâ&#x20AC;&#x2122;s in-house 3d artist Richard Tilbury, re-create the character in 3dsmax as well as create the textures in Photoshop, in our new precise, step-by-step tutorial for highly polished, low polygon game character with detailed texturing for real-time rendering. We have also converted the tutorials into Cinema 4D, Maya, Lightwave and Softimage platforms. Even if you are not a user of one of them, the principles should be easily followed in nearly all other 3D applications. The Swordmaster tutorials is spread over 8 Chapters which outline, in detail, the process for creating the Swordmaster below are the details.
image by Seong-wha Jeong
Chapter 1: Modelling the Head Chapter 2: Modelling the Torso Chapter 3: Modelling the Arms & Legs Chapter 4: Modelling the Clothing & Hair Chapter 5: Modelling the Armour Chapter 6: Mapping & Unwrapping Chapter 7: Texturing the Skin & Body Chapter 8: Texturing the Armour & Clothing
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