All language subtitles for 05_fundamentals_vii_lighting

Hello there and welcome back

In this video wearing a tackle or 7 composite in fundamental and go over the theory of lightning and how it

Composite

By far the biggest impact that lighting will have

Is 1

2 elements

This can be a CG render could be a

Give me a video

Any element that were composite into a shower

Needs to have the exact same lightning characteristics as your foot

If these do not match

Your shot is not going to feel

What's look at the characteristics of light that we need to match your selection

We have the light Direction

Equality

Turn the light in 10

And this West

Is applied to every single light

You can see

In Forfar

What's diving in start looking at these more closely

We'll start with

Now white Direction is exactly what it sounds like you need to make sure that your lights are facing the right way and arpas

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Correct relative to the object

A lot of times you'll be able to tell this by the direction of the shed

In this instance I watch up the RA

In the foreground in the bottom left of frame and I saw that shadow was going

Mostly horizontally it was going up a little bit

And so I roughly match that in 3D to make sure that my light was going in the car

Direction

But you noticed that

The Shadows shift a little as we go from there

Right in The Fray

All of those rocks on a right

Are being very fat

And we know there's only one sun

What is this mean is all lighting incorrect

What's take a look at this Spear under eyes

You'll see that on the left side or seem much more of the shadow side of her up

We're on the right side it's entirely front

The directionality of your lighting not only depends on the overall scene lighting but also

Placed

Because objects in this instance mood for the

Some more of the side that the sun was here

Making it feel more from

For the sake of example I made a duplicate of the Statue in 3D space and moved it back

Which appear to be more Frank

And you can see our render appears to be more

As well

It's not because we've moved the light or made an additional one it's just a matter of 18 more of the side that

Head by the sun

I want to take a look at how the steps you feel done when it's lit

Incorrect

Direction is very wrong

Clearly this doesn't feel realistic this looks like a top-down spotlight sort of a

It doesn't match the letter right nature

Of our plate

And

The only thing I changed in this

Was the lighting

Everything else was

Exactly the same so we can see just how big the sliding direction in

Take a look at another x

Now this is starting to look old

Butter

We still have a major problem with this friend

The light is facing the

Direction

It's still going

But instead of a shadow being cast from left to right

It's being cast from

I see a lot of Newark compositors making this mistake

And it's an easier one to make because if you're just looking at a glance at it

It doesn't feel

Horrible

There's something weird

And you may have a hard time

Your finger on

What was weird in this instance is certainly

The light

And in this instance we have a reminder that is way too

It looks like it

Potentially be more appropriate if I was on the back

Right section of a screen

I'm looking at a foreground rock and comparing the direction of a shadow on her arm

This is certainly

I'll try pushing it back a little bit now and see what are said she looks like with a

Behind it

You look at the shadow that's been cast It's in the same

Relative Direction as R4 ground rock guide there

What does stud does it

You're right

And why is there

Because eyeshadows

Daily clips

What if you look at the rocks that are in our foreground just beyond that practical shadow

You can see that they're still a good and

Front light happy

We're getting way more shadow on the right side of our statue in Racine in the

So we're going to need to make this not quite so bad

And now here we have the final version of our shot

We have that nice front lighting back the shadow Direction

Still match

Is pretty accurate

And I think this looks really good

And so once you have this

Orange corrector lighting

Some people will play with it in CG to make it a little more

Please it's OK to cheat at a look

If you start doing too much cheating is going to

If you're can't

And unrealistic

So it's just something to be aware

And that wraps up lighting

Go ahead and start talking about

Koala

When were talking about like holiday

A really talking about the quality of the Shadows

That a given light

Cast

How sure

Or hard wildas Shadows

And that shortness of your shadow is determined by these two

The size of your life

Distance of your

Cubis

And why are these the two factors that affect our like quality

What's take a look at this

Graph here we have a very small light

And a large

The sharpness of a Shadows has everything to do

With how parallel rays of light are

Letter heading

For our pipeline

There is not any other place that are rays of light can be coming from it's one single

In space

And so we don't have any overlap in rays of light

Inside the shadow is very harsh because it's either been obstructed from all the rays

Or being hit by older

In the case of our area light

We have a much larger surface area that are raised can be a made from

Again will assume more casting

In all directions from a source

And I'll see that there's a larger size introduces more variation

In the direction of the light rays

That reach RR

There are areas that light rays from a can illuminate

That point Beacon

And also areas that might be CD

Appoint

List asperity in what the individual raise

In illuminate

Creates that gradient

In our softshell

Let's take a look at this in 3D just so it's a little more

So we have an aerial like here in 3D and this is going to be a good way division

Is this

And so you'll notice that has we grow

Car lights

Are shadow continues to get softer

And as we shrink

Turn lights

You can see that's after noon start to go away

Very smart very sure

There's a couple of things you can

Notice how much harsher the line

Here

Then it is back here you can see the

Gradual

Because as the distance between your Archer

And the object

Casting a shadow on increases

He's after the shadow

The closer they are

Shortbread

And like we said

The size of our light is not

The only fair

Let's go ahead and Zoo

Way

And we can compare

Distance

Lights off

The quality of their care

This example I have to light that are the exact same size

But there are two very different distances

To our son

The Shadows

Buried

Despite these being

Exact

Just like that is near

Is very sore

When the light of the exact same size

Is suddenly

Very harsh

And again this has everything to do with help parallel or like crazy

Because were centrally changing the amount of overlap

Happened

Between I like crazy as we move our light source

Brother away

This is why the sun's shadow is so sharp when it's not been

By clouds

Because obviously the sun is

You

Huge source of light but it's so far away

Baby Shadows

Very

If the sun was closer not only would we all be in scenery

Overshadow

But also

Let's take a look at our example

Here again

We've matched the quality of the light in the shadow hardness is

Consistent

I'll take a look at what they said look like if we had an overly soft light in the exact same position

So you can see this doesn't really make sense within our seen or lighting Direction is correct

But this feels like it was in a more overcast

Environ

And it just doesn't read Israel

Because I like quality is

What is the setting up eternity to talk about diffusion a little bit because we just talk about how hard

Sun's Shadows

Or when it goes through clouds I want a movie like goes to any store

Diffusion

Shelter

What is travelling through

Essentially becomes a new light source and Scatter

All of the rise of

So they are no longer moving in a pair

Direction

And therefore it softens for sure

Something else to note when you're dealing with the CG in particular

Is that your dog

White can have 11 quality of very harsh Shadows very soft shell

The indirect light that is bouncing off different sources

Is always sore

Like in the 60

You'll never see a horse

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Indirect

Source

And again this is because when the light

Hit the ground

The rays are scared

Annapurna

Creating that

And finally removing

Lightning

Light intensity is very straightforward if that are lights need to match the appropriate

Levels of brightness

In the sentence we only have one life

And obviously this looks very wrong

And this is typically

The light

Bet for CG render

Composite doors have the most control

CG renderers can be split out into different light groups and you can very easily

Fine-tune the intensity

Each of your end

Where is the light Direction

Cheryl Cole

Is very difficult if not impossible to me

1 CC

Anders

In this example

Our main killer

Has an appropriate level of brightness but there was a secondary like

Added

It's a bit of a back light

And

Play really there is no secondary source of light in the spillage and so we need to turn it off

In order for

Correct

And modify the intensity of that 0

Make the sit very nice

I've been mostly looking at lydian in regards to 3

And we done that just because it's a little easier to show the nuances of the lighting characteristics when we have a

Distance shot to be compared

But I cannot stress enough how important lighting is

When it comes to matching your various elements

In 2D

You've already actually done this a little bit

Free when we were selecting a back

Green screen

Are we made sure you're a matching all the lighting characters

6

How to take a look at some examples that are maybe not so great and we can talk about

Why they feel wrong

And before we get into these not so great examples I just want

Disclaim

I'm not rushing these artists were

What are the times when this happened

There are outside factors

Contribute to Shotts getting rushed and just trying to get something out there to hit it

So not ripping on his artist I'm just trying to show some

Real examples of shops that made

Television

I think could be improved

Through better lighting

And so in this instance we have a shot from The Walking Dead

And the number one thing

Jumps out to me is that

Equality of lighting is very

Between

54 grand

This is very clear

Play a green screenshot

You can see the horse Shadows on that map

Painting in the background

Dean Castle

And the types

Clouds that are up there seems to imply that

Is Alan is a bright sunny day but if you look at our main character here he is no

Shadow

And he doesn't really have any Shadows but if you look at her back on please you can see the right side is clearly

Buy white

And the left side isn't sure

But he's just a uniform

My front

What is a speculum

Play top 1

Of his forehead

And I see

Amongst other things that's the biggest reason that the shop

Doesn't work

And here we can see a still from one of my favourite movies the room

And you can see that the lighting from before going to the background

Is

Wet

The light is coming

From right to left in our background but it's coming from

And the quality of light also doesn't seem

Quite a line it feels like it could be a little bit harsh

In the background

You could get away with it if you're saying that it sounds like

There's nothing in the scene that's brightly illuminated that we bouncing this

So again and when were selecting elements for accounts we need to make sure it

These

Factors are in place inconsistent

From a background to a 4 Grand Tour m

Everything are pulling together

Needs to have cancer

And if you have an element that has maybe two of the three of these characteristics

You need to ask yourself if you're going to be able

That laugh

In terms of light Direction and like quality

Honestly it's pretty difficult to do depending on exactly

What the

So that's just

Light intensity

Is probably the easiest but it's still can be tricky if you're trying to make a very Overexposed

Image

Very dark

And that wraps up or compositing fundamentals of lighting

Thank you very much for listening

And I'll catch you in the