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Hello, guys.

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So let's continue let's continue with lighting our scene.

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But before that, let's let's go over here.

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I notice an issue here, as you can see in the in or here we have some floating geometry right here.

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This happens when you pause your character and some part of the white paint is not correct.

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So let's go to let's go to pose more.

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So it's control tower.

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We go to Beaumont and then let's go to item over here.

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Let's make it bigger.

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Let's go to the item over here and enable the lakes control or here.

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I think in the last deal, we we changed the rotation with this one over here.

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So this is as you can see.

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As you can see, really being up the foot like this.

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The the shoelaces don'ts don't follow correctly.

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So let's just reset this form.

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It's old or old or we'll reset the rotation and also you reset the location.

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So we just reset the one right here and what we can do.

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We have the we have some some solutions.

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We can separate these shoelaces as separate objects and then use that method I showed you to to parents

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this with the bone itself.

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Or we can go to waistbands more and change the weighting of this bone over here of the of the vortex

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group.

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Or we can use another bone over here.

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I think with the eye over here we can reach the same results.

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Let's go back and see over here and a thing.

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If I rotated like this, maybe I'm.

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And then bring it up with Jay-Z.

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It's good.

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The camera revealed the two zero.

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Yeah.

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I think we can really see the same results over here.

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And we don't have the problem now with the shoelaces.

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So let's make sure the shoe is on the ground.

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And that's all right.

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We can a little bit rotate this over here.

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And I think that.

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SPITZER Let's move it forward.

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That's why we're down until it reaches the ground.

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And that's all right.

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All right.

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I think we wish the same result without using this one over here and the shoelaces.

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Right now.

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But if you want to, let me show you the other way.

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So let's go to a waistband over here.

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Let's stop.

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Spend.

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Let's go to where it is group.

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Find the words this group of this point or here I think it's the shin bone.

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So let's go over here and find the shin wall here.

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Shin left.

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She writes.

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Yeah.

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So yeah, as you can see with, with this one over here, the shin.

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Right.

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Uh, these, these shoelaces follow along because they're in red, all right?

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But these shoelaces in blue, they don't follow along that bone.

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So all you had to do is to just go to over here, go to white and brush the lights and make this part

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red as well.

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So these two shoelaces to be red.

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And that was a, I think, fixable problem.

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Let's go to let's go back to object not.

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And now we that we fix this issue to save it console us and then let's go to our render.

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And as you can see, it's not very interesting or now.

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So what you can do with it is to the the rendering the samples is not that important in it doesn't make

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that much of a difference whether you can increase it to 32, maybe I'm going to keep to the 16.

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I think that's enough.

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But you can change it to 32 if you want.

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Other options that makes it seem much better is ambient occlusion, so make sure to turn it on.

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You can change the settings as well.

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And Bloom also will make a lot of difference when it comes to lighting and all that.

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So you can turn on or off.

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It depends too much and I'm going to leave it on a space.

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The Reflections.

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It's very good when we have shiny things in the scene, for example, now the eyes.

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So I recommend that you turn it on and we can turn the refraction on here as well.

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I'm just going to keep it off.

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And then another setting over here.

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If you go all the way down, we have color management, so go here and be sure to set it to filmic so

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you transform to make.

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All right.

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I believe it's on standards.

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I think it's in standard default.

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So set it to film make.

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As you can see, this standard is always a bit flat color.

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All right.

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But if you change it to fill me with the image and they'll look when the look is non, it's cool, it's

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not going to look good.

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But if you change the look to something like medium contrast now all of a sudden the contrast is very

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interesting.

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They usually keep it as high contrast or high contrast, but, you know, you can always change the

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contrast in the composition.

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All right.

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Just so this look much more lovely.

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I want to keep it as high.

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Contrast the exposure.

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You can change the whole exposure of of the scene.

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I'm going to leave it out as it is.

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We can change exposure in the compositions, which I'm going to show you.

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So let's set another mute transform that is very useful is false color.

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So fossil shows the areas that are very lit and shows areas that are not a bit as much.

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So blue means that these areas are dark, these areas are not getting enough light and red means these

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areas are getting a lot of lighting.

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All right.

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So if I go to my lights, maybe, and if I change the strange over here, as you can see, the the color

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changes over here and shows how it is affecting the scene.

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With this option, you can adjust your color maybe to see which areas are getting more adjust in the

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light.

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I'm sorry, which areas are getting more light and which areas are not getting lights.

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So it's changing back to filmic and yeah.

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So yeah, I think that's all the things in the area you need to know in cycles.

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Make sure it is in GPA if you have a GPA.

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And the c-max samples for viewport is 22 is enough.

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Make sure to turn on the dino is.

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I use up I use optics.

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If you have an end with your graphical, I think it's good to use objects by default.

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It's on automatic and the render.

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I use the first one to an eight and then you can go up to 256 and then 512.

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I recommend not to go up then this amounts anything more than 1000 all make rendering your scene so

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it takes so long to render your synth.

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So keep in mind our thing here is underperformance is tile size and tie size it's it improves your renders

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fun I keep it's something like 128 so you need to search that on the instrument tested yourself like

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make a scene and test yourself and see how it will change during this time.

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All right.

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And we have also color management in cycles as well, if you want.

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That's it for Circus.

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Circus, there's not very much anything to change or hear, and it usually gives a very realistic look.

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So usually you need to change things.

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And yeah, so in the light things, let's, let's go to the lighting of our scene or here.

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All right, let me first hide this ring.

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Your hero has possession to hide it.

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Now it's how it is hidden as we are kind of done with the posing.

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Well, let's see.

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Will lied to me.

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We have a son.

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We have an aerial.

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You have a point like this?

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Look, delete this one.

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So I want to show you how to light your scene.

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Much more efficient.

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So there's a technique that everyone uses, especially for characters.

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It's very good to showcase.

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Your car has got three points lighting.

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So to the two point lighting you need, you need one key light and two is.

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Feel light and she is a rim lights.

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You need three lights by these names.

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So the key light is the main light that is going to show the most important parts of your character.

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What you're seeing, the feel light will then make other parts of your scene or your character more

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clear.

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You don't want some parts to be there.

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It's also black, so you need to make some light to make that make those areas clear and clear to see.

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And the rim light is the light that goes to the back of the character or the back of the scene you're

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showing to give some give some light, to show the silhouette of the character.

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I want to show you how to use these lights.

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First of all, there is an Adam blend that if you could edit preference and search for tree there's

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a lot an them here tree lighting if you add it over here and if you go over here she shift and go to

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the light.

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There's a tree pushed lighting over here and if you press on it, it'll automatically make 3.2 lighting.

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As you can see over here, these three lines that you can change, the head shows the height, this

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distance and the angles and all that.

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I don't like it that much, so I usually tend to do it manually because it gives me more idea about

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how my lights are working in the scene.

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So let's keep let's actually delete this sun as well.

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And if you go to shading and go to objects, we have a background over here.

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All right.

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We can add an issue or a later on, so let's do that later.

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But for now, I want to light my scene because as you can see, this is quite a dark arena and the only

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light you're getting is from the background.

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And so if I turn it to zero here, everything is going to be dark.

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So this is the word properties and this is how the background is lighting my scene.

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But as you can see, this lighting is very flat and is no good to me.

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All right.

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So this gives you that one just some default value for making the character clearer.

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And then we can just disable this.

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Then let's make our first lights.

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Let's press shift a go to lights and we have all these lights I discuss about them in the fundamentals.

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I usually work with aerial lights.

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So this is let's bring up the area lights and then let's go to the top view.

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It's seven and what you want to do with key light, you want to make a 45 degree, something like this

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and put it in this area.

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All right.

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It doesn't have to be exactly in the 45 degree, but you need to have it in these area, not too straight,

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like in front of the character.

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This is not right.

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Or in this in the in the side of the character, the degree like this will look the best.

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All right, so let's move, move.

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To move the light to just g.

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And what you can do with lights and I usually do is go into object properties, go to the display and

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show that they are a nice area light.

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And now let's change two key lights.

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And now here is our key line and I can see it over here with the name.

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So let's press g y bring it like here and that's plus g x to bring it here.

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All right.

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Now, if you rotate, as you can see, the light is in the location that I like.

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So it's over here, but it is facing the wrong direction.

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All right.

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So it is facing here, too.

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The thing that area of light is that you have to set the direction of the light, and you can do that

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with this sphere over here.

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So if you drag it over here and then you go, you make that direction over here, then the direction

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of the Y will be here.

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All right.

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The shortcut for this is shift T, so the shortcut is shift.

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So if I press shift T and move around my mouse, as you can see, the light direction will move as well.

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So the other thing you need to keep in mind is that the size of this matter.

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So if you increase the size over here.

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So I mean in the light properties, object data properties of this light and then over here I can change

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the shape and change.

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To cite the science matters for the lighting and also the rotation.

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Do matter when it comes to aerial lights.

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All right.

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So let's so that the lighting like this and then as you can see, we can see the light right now.

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So we need to increase the power.

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So it's increase the power.

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All right.

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Let's bring it a little bit closer.

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So g, y, g, x and shifty.

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And all of a sudden, we have a little bit light over here.

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All right, so this we can increase the lights over here, the key lights.

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And because we don't have an issue, your eye, this light is doing hard times to light this scene,

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or we need light or hover over here.

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So we need another light with and this is our fuel light.

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So let's suppress shift D And then we have duplicated this light less press g x and this is going to

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be our film lights.

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So this right feel lights and now we have our fill not with the film light the same or the key light.

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We need to we need to

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bring the 45 degree over here.

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All right.

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So something like this in this area, and then we can change the location of the light.

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So let's press on the field, light on the shift T and then bring it over here.

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I want to make some areas over here, to be clear.

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All right.

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And then the power should be less than the key lights.

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As you can see over here, we have some shadows, some nice shadows on the other side of the character.

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But things are clear.

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So like that.

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And if I what they usually do, I set the set each light alone.

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So I'm going to hide the key light over here and I'm going to see how the light is affecting the scene

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like this.

239
00:18:34,770 --> 00:18:39,870
All right, then we can press shifting to duplicate this line as well.

240
00:18:39,990 --> 00:18:43,920
That's g y and this is going to be our rim lights.

241
00:18:44,910 --> 00:18:51,240
Shifty, shifty to change the direction of the line.

242
00:18:51,240 --> 00:18:54,810
And let's change the name of this light to green lights.

243
00:18:57,390 --> 00:18:57,720
All right.

244
00:18:57,900 --> 00:19:01,380
Now we have our rim light over here again with the rim light.

245
00:19:01,380 --> 00:19:09,570
We don't you shouldn't make it to the exactly to the back of the character or exactly to the side of

246
00:19:09,570 --> 00:19:10,170
the character.

247
00:19:10,410 --> 00:19:12,270
You need to have it in a degree.

248
00:19:12,270 --> 00:19:16,350
So you should could you be like this or you wouldn't like this?

249
00:19:16,700 --> 00:19:18,510
The rim light is different.

250
00:19:18,750 --> 00:19:19,560
It depends.

251
00:19:19,560 --> 00:19:26,550
And usually even you make two rimless look over here and over here to have rimless.

252
00:19:26,550 --> 00:19:28,860
But what are rim lights over here?

253
00:19:28,860 --> 00:19:31,740
So let me show you.

254
00:19:33,600 --> 00:19:36,330
Yeah, let's make it closer to the character.

255
00:19:36,930 --> 00:19:44,670
And if I hide the fuel lines, as you can see now, the rim light is lighting the back of the character.

256
00:19:44,670 --> 00:19:51,090
So without the rim lights, if I turn it off, we can see the silhouette that good.

257
00:19:52,350 --> 00:19:54,690
It doesn't feel appealing to the eye.

258
00:19:54,780 --> 00:20:00,750
But if we turn on the ring light now, all of a sudden some details are going to be shown.

259
00:20:00,750 --> 00:20:03,600
Like some things over here are going to be shown.

260
00:20:03,810 --> 00:20:06,000
It's going to make the character more appealing.

261
00:20:07,050 --> 00:20:13,560
But you need to again, the size of some of these lights matters way too much.

262
00:20:13,860 --> 00:20:17,850
With the rim lights, I tend to make it big like this.

263
00:20:20,130 --> 00:20:28,410
And let's change it to a rectangle that's rotated like this.

264
00:20:29,790 --> 00:20:33,090
And I'm making a very something like this.

265
00:20:33,510 --> 00:20:33,810
All right.

266
00:20:35,790 --> 00:20:37,920
Shift to the back of the head.

267
00:20:41,550 --> 00:20:46,500
And then the rim light is going to make your character so interesting.

268
00:20:46,950 --> 00:20:53,340
So the lights e the color of the light is very important.

269
00:20:53,340 --> 00:20:55,760
Let's change it to red.

270
00:20:55,770 --> 00:21:02,910
And as you can see, all of a sudden, this part of the earth makes becomes so much interesting, so

271
00:21:02,910 --> 00:21:09,540
much more interesting if you turn it to any other color like, well, maybe you can see the difference

272
00:21:09,660 --> 00:21:13,050
or yellow, maybe you can see the difference.

273
00:21:13,500 --> 00:21:21,300
And then if I turn on the other lines, feel much cooler to see how these lights come together when

274
00:21:21,300 --> 00:21:28,530
it comes to I'm seeing like with just three lights, we made a lot of difference for the lighting and

275
00:21:28,530 --> 00:21:30,720
made it a lot more appealing.

276
00:21:31,200 --> 00:21:38,610
And now we can go to the other part of the lines, which is the coloring, the colors of the lights.

277
00:21:39,390 --> 00:21:45,900
And I think I'm going to leave it a little bit yellow for this character and for the film light.

278
00:21:46,140 --> 00:21:48,390
It can be a little bit blue.

279
00:21:48,480 --> 00:21:58,020
So some warm light and some some cold light I think is going to do the trick over here for an appealing

280
00:21:58,020 --> 00:21:58,350
look.

281
00:21:59,070 --> 00:22:01,290
We can make it even more saturated.

282
00:22:02,980 --> 00:22:04,030
Something like this.

283
00:22:05,710 --> 00:22:09,850
If we go to camera view, we can see the differences over here.

284
00:22:10,510 --> 00:22:10,780
Right.

285
00:22:12,190 --> 00:22:18,730
But now our background isn't the isn't being shown right here because we don't have a lot of light.

286
00:22:18,730 --> 00:22:26,000
We only made some lights for the character to be shown over here for the environment.

287
00:22:26,410 --> 00:22:33,460
What you can do, you can just go around and make lights, make a sun or something like that, but you

288
00:22:33,460 --> 00:22:39,190
can easily get a lot more complicated and you will have a lot of these lights or you'll like, Look,

289
00:22:39,520 --> 00:22:48,870
I have only three lights over here and it is already becoming more and almost more complicated.

290
00:22:48,870 --> 00:22:51,670
That is making my scene a lot more complicated.

291
00:22:52,390 --> 00:23:01,930
And what you need to know about lighting is that you need to keep your lights as low in number as possible.

292
00:23:02,350 --> 00:23:09,400
Like if you are duplicating like your lights like this, if you are doing this, this and just duplicating

293
00:23:09,400 --> 00:23:15,760
the light all over your scene like this, that's where you're going, the wrong direction.

294
00:23:16,120 --> 00:23:16,450
All right.

295
00:23:16,450 --> 00:23:22,000
You need to keep them as low as possible when it comes to numbers.

296
00:23:22,720 --> 00:23:28,540
And yeah, but to light the scene, we use something called eye.

297
00:23:29,110 --> 00:23:37,330
So if you're not familiar with this, you're I share some photos that have some light details stored

298
00:23:37,330 --> 00:23:47,380
in so and there are free you can search the Internet a haven so these are some issues you go there and

299
00:23:47,500 --> 00:23:55,750
you download them in any you can download it in any resolution you want.

300
00:23:56,170 --> 00:23:57,020
Don't go above.

301
00:23:57,070 --> 00:23:57,430
Okay.

302
00:23:57,430 --> 00:24:04,930
I think ah the other thing that might make make that much of a difference, but they make your scene

303
00:24:04,930 --> 00:24:06,010
so slow.

304
00:24:06,010 --> 00:24:09,100
So 4k is enough for us.

305
00:24:10,300 --> 00:24:16,200
So what we can do here, we go through shading and then we go over here usually is on object, but you

306
00:24:16,310 --> 00:24:21,340
go over here and click on wards and now we have our war setting over here.

307
00:24:21,640 --> 00:24:24,670
Let's go to render sitting to see this changes.

308
00:24:25,090 --> 00:24:33,820
And then as I told you in the fundamentals, if you press control ti, it will make you make a texture

309
00:24:33,820 --> 00:24:35,970
for you with mapping and texture quadrant.

310
00:24:36,010 --> 00:24:39,700
And now we don't have a texture and it becomes like this.

311
00:24:39,910 --> 00:24:51,430
So to add an AC right click on open and then find your issue profile in your in your hard drive and

312
00:24:51,430 --> 00:24:53,680
then click on it.

313
00:24:53,710 --> 00:25:00,460
And so let's pick the 4K one and let's see the changes.

314
00:25:00,460 --> 00:25:07,930
As you can see now this is making a lot of changes to the lighting of the scene and then we can change

315
00:25:07,930 --> 00:25:12,580
the strange over here and make it subtle like this.

316
00:25:13,240 --> 00:25:13,600
All right.

317
00:25:14,020 --> 00:25:16,570
And then we can change the location like this.

318
00:25:16,900 --> 00:25:24,370
So with X, with this location of the our mapping can change the location of the issue or I.

319
00:25:28,440 --> 00:25:28,890
Like this.

320
00:25:29,460 --> 00:25:31,920
I think I don't like this store.

321
00:25:31,920 --> 00:25:35,190
I seduce six.

322
00:25:35,190 --> 00:25:37,590
I think I like this one better.

323
00:25:39,680 --> 00:25:43,880
This is much better lighting thing and.

324
00:25:46,250 --> 00:25:46,550
Yeah.

325
00:25:46,550 --> 00:25:48,570
Something like this works for our scene.

326
00:25:49,410 --> 00:25:50,330
We need to know that.

327
00:25:50,630 --> 00:25:55,670
Cycles does a lot of the job when it comes to your eyes and the lighting.

328
00:25:55,670 --> 00:25:58,970
So, yeah, it makes it much more realistic.

329
00:26:01,610 --> 00:26:07,880
All right, let's let's test out other stories or we have.

330
00:26:08,660 --> 00:26:11,300
So I think a fireplace maybe.

331
00:26:15,510 --> 00:26:20,320
As you can see, these issues makes a lot of difference to U.S..

332
00:26:33,620 --> 00:26:33,980
Yeah.

333
00:26:34,280 --> 00:26:35,420
I think this one works

334
00:26:38,180 --> 00:26:39,590
some my fine.

335
00:26:41,920 --> 00:26:43,840
What I usually do.

336
00:26:44,380 --> 00:26:51,890
I duplicate this section over here a couple of times and then I select my issue or I like another issue.

337
00:26:51,910 --> 00:26:53,770
And right here, my.

338
00:26:55,950 --> 00:26:56,730
Maybe this one.

339
00:26:57,780 --> 00:26:59,130
Then I have some couple of this.

340
00:26:59,130 --> 00:26:59,820
Your eyes.

341
00:26:59,820 --> 00:27:01,200
And then I.

342
00:27:05,290 --> 00:27:11,440
I control shift tap on these extra eyes to see how the look will be different.

343
00:27:22,930 --> 00:27:23,470
Okay.

344
00:27:24,700 --> 00:27:26,740
We can also duplicate these ones.

345
00:27:27,480 --> 00:27:30,160
Use this to change the location.

346
00:27:36,440 --> 00:27:37,730
This is too bright.

347
00:27:37,730 --> 00:27:38,990
But we can always.

348
00:27:42,550 --> 00:27:45,280
Change is strange with this option over here.

349
00:27:47,770 --> 00:27:50,390
So strange.

350
00:27:50,800 --> 00:27:51,940
Strange here.

351
00:28:08,200 --> 00:28:08,510
She?

352
00:28:24,110 --> 00:28:24,380
Yeah.

353
00:28:24,380 --> 00:28:29,540
I think something like this works for me to just keep this strange low.

354
00:28:30,320 --> 00:28:36,830
You just going to lights out, seeing a little bit of lighting, some realistic lighting, and especially

355
00:28:36,830 --> 00:28:41,450
you can see how this lighting I've seen in the circus.

356
00:28:41,450 --> 00:28:45,770
Now, as you can see, our background is much more lit, so I'm fine with this.

357
00:28:46,010 --> 00:28:46,730
It's good too.

358
00:28:47,870 --> 00:28:52,060
And layouts and the send it back to me.

359
00:28:52,580 --> 00:29:01,940
If you want to make the TV more realistic, you can make it medians volume over here and skills of the

360
00:29:01,940 --> 00:29:04,910
regions while doing this indirect lighting,

361
00:29:08,240 --> 00:29:09,230
something like this.

362
00:29:10,550 --> 00:29:15,710
I need to be careful that these dots over here to not be inside of your mesh.

363
00:29:15,710 --> 00:29:25,670
All right, so these orange, light orange dots should not be inside of your meshes, and you should

364
00:29:25,670 --> 00:29:30,140
cover all of your seeing something like this.

365
00:29:33,130 --> 00:29:39,460
And then we go to Eve and then go down to indirect lighting and indirect lighting, and it's going to

366
00:29:40,600 --> 00:29:46,030
do some calculation and it's going to do some changes through lighting, especially when you have some

367
00:29:46,030 --> 00:29:47,880
complex scene.

368
00:29:47,920 --> 00:29:49,350
We don't have a complex scene over here.

369
00:29:49,350 --> 00:29:52,630
We just have one character with a simple background.

370
00:29:52,990 --> 00:29:55,000
So that's okay for now.

371
00:29:57,010 --> 00:30:05,080
One other thing is that if you want your background to be just pure a color, but you want the lights,

372
00:30:05,080 --> 00:30:08,020
you can use a technique that I'm going to show you.

373
00:30:08,650 --> 00:30:09,340
So.

374
00:30:12,650 --> 00:30:13,040
Yet.

375
00:30:15,860 --> 00:30:16,210
All right.

376
00:30:16,370 --> 00:30:24,020
So if you go over here, if you go to film over here and change the transparency, the background is

377
00:30:24,020 --> 00:30:25,160
going to be transparency.

378
00:30:25,190 --> 00:30:25,580
All right.

379
00:30:26,060 --> 00:30:28,200
You can do that in even cycles, boss.

380
00:30:28,280 --> 00:30:34,180
So you go to film and select Transparent and then the background will be transparent.

381
00:30:34,190 --> 00:30:42,520
But if you just imagine, like a camera isn't catching the background right now because we have a measure

382
00:30:42,530 --> 00:30:42,770
here.

383
00:30:43,490 --> 00:30:47,570
But if you don't have a mesh over here and then if you render, the background is going to be in the

384
00:30:47,570 --> 00:30:48,260
render too.

385
00:30:48,290 --> 00:30:52,590
So you can just use transparency here, but then the background will be transparent.

386
00:30:52,590 --> 00:30:54,180
Then you have to do some composition.

387
00:30:54,530 --> 00:30:56,120
So are the backgrounds and all that.

388
00:30:56,120 --> 00:31:03,280
But you can what you can do here in the ward setting of the shaders, we can make something called the

389
00:31:03,320 --> 00:31:03,530
thing.

390
00:31:03,530 --> 00:31:09,920
It was camera, no lights.

391
00:31:11,240 --> 00:31:11,540
Yeah.

392
00:31:12,050 --> 00:31:20,060
So you can make a light path over here and then make another background shadow over here with Shifty

393
00:31:20,840 --> 00:31:29,380
and then mix these shaders with shifts a in session mix or control shift right click drag these to to

394
00:31:29,390 --> 00:31:30,440
mix them together.

395
00:31:31,220 --> 00:31:33,110
And then these two are mixed now.

396
00:31:33,140 --> 00:31:33,590
All right.

397
00:31:33,830 --> 00:31:43,220
And now let's connect the camera array to this slot over here.

398
00:31:44,180 --> 00:31:48,140
And now the background is the color that we choose over here.

399
00:31:48,140 --> 00:31:52,010
So if you choose something like green now the background is green.

400
00:31:52,010 --> 00:31:57,530
If is choose something like red is going to be red.

401
00:31:57,590 --> 00:32:03,470
So in this way you can set the background to background color to anything you want.

402
00:32:03,470 --> 00:32:06,200
But as you can see, the lighting hasn't changed.

403
00:32:06,200 --> 00:32:08,240
So if I go here through this

404
00:32:10,730 --> 00:32:11,400
something.

405
00:32:12,620 --> 00:32:13,790
Oh, all right.

406
00:32:14,810 --> 00:32:15,410
Yeah.

407
00:32:15,410 --> 00:32:17,660
I need to increase the scheduler here, maybe.

408
00:32:20,490 --> 00:32:20,740
Okay.

409
00:32:20,910 --> 00:32:26,010
Maybe we need to just detach this or here and then.

410
00:32:26,430 --> 00:32:29,070
Yeah, well, detach windows factor.

411
00:32:29,670 --> 00:32:34,350
And then we can change the lighting, the location over here.

412
00:32:34,350 --> 00:32:40,350
And then by again attaching the camera or light power to the --.

413
00:32:40,530 --> 00:32:46,290
Now, if I see two, now we can change the light and the background light as well.

414
00:32:53,520 --> 00:32:55,350
All right, skip it at this.

415
00:32:55,470 --> 00:32:56,130
This is fine.

416
00:32:57,710 --> 00:32:59,520
Now, let's go to Layout.

417
00:32:59,730 --> 00:33:01,670
And now.

418
00:33:02,920 --> 00:33:06,390
Now we want to make some changes to our main lights.

419
00:33:06,930 --> 00:33:11,830
So we have a rim light, a key light and a fuel light.

420
00:33:11,850 --> 00:33:14,910
Let's move them to a lights collection over here.

421
00:33:15,810 --> 00:33:18,630
And now let's change.

422
00:33:19,080 --> 00:33:21,120
Change some settings of these lights.

423
00:33:21,660 --> 00:33:27,180
First of all, you don't need this option that I'm going to show you in cycles.

424
00:33:27,180 --> 00:33:31,860
But if you want to render in TV, you need to make sure to check this.

425
00:33:31,860 --> 00:33:38,220
Also, there is an option in the object properties of the light called contact shadows.

426
00:33:38,670 --> 00:33:45,330
And this will make some shadows that are between objects a lot more realistic.

427
00:33:45,450 --> 00:33:49,380
All right, so turn them on for each light over here.

428
00:33:50,440 --> 00:33:51,880
And now we've got to go, I think.

429
00:33:52,880 --> 00:33:57,370
Then let's go to key lines and let's change.

430
00:33:57,760 --> 00:34:01,570
Let's hide it to see how it affects the scene.

431
00:34:02,470 --> 00:34:06,220
Then let's see what's increasing the strange.

432
00:34:08,090 --> 00:34:09,850
And also change the color.

433
00:34:09,860 --> 00:34:11,210
I think something like.

434
00:34:12,290 --> 00:34:17,360
Something like maybe bread makes more sense here.

435
00:34:18,469 --> 00:34:19,670
It's more life.

436
00:34:21,540 --> 00:34:22,260
Or Pink.

437
00:34:24,190 --> 00:34:30,400
Let's increase it and let's see how it changes the scene right here.

438
00:34:32,110 --> 00:34:33,520
Then let's go to REM lights.

439
00:34:33,880 --> 00:34:44,230
As I said, I usually used to remind, so let's duplicate this with shift T and then shift T to change

440
00:34:44,230 --> 00:34:46,060
the direction.

441
00:34:47,469 --> 00:34:51,850
And I want to make situation to this site over here

442
00:34:56,020 --> 00:35:06,660
and on the rim was needs to be two difference colors so my two I'm going to change it to red and green

443
00:35:06,760 --> 00:35:10,990
light one I'm going to change it to blue maybe.

444
00:35:12,930 --> 00:35:15,360
And I see disabled.

445
00:35:17,050 --> 00:35:20,520
The other lines, which is to see the effects and now we can see it.

446
00:35:20,530 --> 00:35:24,580
So it seems that the power is not that much.

447
00:35:24,580 --> 00:35:27,100
So let's increase the power over here.

448
00:35:31,190 --> 00:35:35,270
And maybe bring it a little bit closer to the character.

449
00:35:37,690 --> 00:35:41,410
And as you can see, we see some interesting lighting over here.

450
00:35:42,100 --> 00:35:43,600
So if I move it.

451
00:35:44,610 --> 00:35:44,850
Four.

452
00:35:45,000 --> 00:35:46,980
Move it further from the character.

453
00:35:47,460 --> 00:35:48,870
We can see the effect of a move.

454
00:35:48,870 --> 00:35:49,920
It was a bit.

455
00:35:50,970 --> 00:35:52,100
Closes the character.

456
00:35:53,010 --> 00:35:56,430
There is some interesting lighting coming from this side.

457
00:35:57,780 --> 00:35:58,050
All right.

458
00:35:58,500 --> 00:36:00,060
Let's do the same thing with this one.

459
00:36:00,060 --> 00:36:07,370
So they symbolize I want some blue light for this side of the curtain, the back side of this way,

460
00:36:07,380 --> 00:36:12,180
so that we're moving in that direction.

461
00:36:15,240 --> 00:36:16,140
Q Why?

462
00:36:16,170 --> 00:36:18,540
And it's because shifty

463
00:36:21,210 --> 00:36:23,250
slumlords in this area maybe

464
00:36:26,190 --> 00:36:29,280
increase it to 1500, maybe.

465
00:36:35,030 --> 00:36:37,040
Something like this, I think it looks.

466
00:36:45,480 --> 00:36:52,300
It's not making a lot of changes, so we need to make some adjustments.

467
00:36:53,950 --> 00:37:00,010
So I think to this one's also needs 2000, however, maybe 215.

468
00:37:07,140 --> 00:37:10,260
Because the size is big right now.

469
00:37:10,260 --> 00:37:12,000
We need to make it more closer.

470
00:37:12,510 --> 00:37:17,040
The character is making some soft lights over here.

471
00:37:18,330 --> 00:37:18,750
All right.

472
00:37:19,080 --> 00:37:21,180
Nothing is close enough in this press shift.

473
00:37:21,540 --> 00:37:24,690
And let's light these areas over here.

474
00:37:31,880 --> 00:37:35,120
This move within the x axis indifference.

475
00:37:40,110 --> 00:37:40,410
Yeah.

476
00:37:44,970 --> 00:37:45,360
All right.

477
00:37:45,360 --> 00:37:48,750
Let's turn on the other room right now.

478
00:37:48,800 --> 00:37:54,840
As you can see, we have some contrasts over here, some red lines from from this night and some blue

479
00:37:54,840 --> 00:37:55,980
light from this side.

480
00:37:55,980 --> 00:38:04,260
And now all of a sudden, the character mix seems so much more interesting, so much contrasts and interesting

481
00:38:04,260 --> 00:38:04,660
lines.

482
00:38:05,400 --> 00:38:08,970
So let's turn on the other line, the key line and the film lines.

483
00:38:09,120 --> 00:38:12,990
And now I think the lighting of my character is kind of complete.

484
00:38:13,530 --> 00:38:21,580
So if you go to here, you can see how much difference we made with these just cheap on lighting, with

485
00:38:21,580 --> 00:38:22,410
cheering lights.

486
00:38:22,680 --> 00:38:32,190
One color and one feel like, what other thing I do is that maybe you want maybe you want some parts

487
00:38:32,190 --> 00:38:34,200
of your character to be more clear.

488
00:38:35,790 --> 00:38:42,840
And to do that, you make a point like, so, for example, I want the right shoe to be more clear is

489
00:38:43,080 --> 00:38:52,050
just for some compositions like you want to direct the viewer from like the shoe, then go up and all

490
00:38:52,050 --> 00:38:52,230
that.

491
00:38:52,650 --> 00:38:56,520
So you need to press shift a light and the point light over here.

492
00:38:56,520 --> 00:38:56,880
All right.

493
00:38:57,390 --> 00:39:00,480
And then we have the points lights over here.

494
00:39:00,480 --> 00:39:03,420
That is lighting on the shoe here.

495
00:39:03,900 --> 00:39:11,790
But you don't need to go so like extreme because it seems fake.

496
00:39:11,820 --> 00:39:17,310
But now you can increase the radius to make the shadows more soft.

497
00:39:17,310 --> 00:39:20,670
Right now, the shadows are always a bit sharp.

498
00:39:21,210 --> 00:39:24,390
Let's make them softer like this.

499
00:39:26,460 --> 00:39:26,940
All right.

500
00:39:26,970 --> 00:39:30,480
And then let's change the color to something like.

501
00:39:32,280 --> 00:39:34,560
Maybe make some contrasts.

502
00:39:36,480 --> 00:39:37,500
Cingular is fine.

503
00:39:38,460 --> 00:39:39,480
They've increased it.

504
00:39:39,510 --> 00:39:40,950
You see the effect right here.

505
00:39:40,950 --> 00:39:47,990
And then famous zoom out the view and we're going to see if I can see or hear them because it's more

506
00:39:48,000 --> 00:39:51,750
lethal here and the eye catches these differences.

507
00:39:52,740 --> 00:40:01,980
Obviously, we don't want that in this case, but we can keep it at the white color and with low power,

508
00:40:01,980 --> 00:40:07,770
we can just move it between the shoes.

509
00:40:10,080 --> 00:40:19,320
And this way we can add more clarity in these areas of the other parts.

510
00:40:21,400 --> 00:40:22,510
Some nice shadows.

511
00:40:24,190 --> 00:40:27,570
So as you can see here, you can see the difference.

512
00:40:27,730 --> 00:40:28,510
Here we have some.

513
00:40:30,040 --> 00:40:30,690
Bleeding.

514
00:40:30,700 --> 00:40:32,330
Some shadows are sharp.

515
00:40:32,480 --> 00:40:40,570
If you if you turn off the contact shadows by turning on the count of shadows, the shadows between

516
00:40:40,570 --> 00:40:42,940
objects becomes more realistic.

517
00:40:44,290 --> 00:40:44,560
Right.

518
00:40:45,010 --> 00:40:51,880
Which is to say that if you change the subdivision, how much difference it will make, it doesn't make

519
00:40:51,880 --> 00:40:52,440
any difference.

520
00:40:52,440 --> 00:40:53,730
So just leave it at two.

521
00:40:56,050 --> 00:40:58,360
I think that's it for the lighting.

522
00:40:58,600 --> 00:41:02,230
Now we need to make some changes to the background.

523
00:41:02,710 --> 00:41:05,260
So this background we have over here, we made it.

524
00:41:05,260 --> 00:41:09,460
We made the most simple material with 100% roughness.

525
00:41:10,240 --> 00:41:15,490
Now, because it is 100% enough, as it is not making a lot of changes to the lighting of the scene.

526
00:41:15,490 --> 00:41:17,710
But if I make it like this.

527
00:41:18,010 --> 00:41:22,200
All right, it is making a lot of difference to our scene right now.

528
00:41:22,210 --> 00:41:26,290
It is catching some reflection from the issue over here.

529
00:41:26,860 --> 00:41:29,380
So this is some reflections from the exterior light.

530
00:41:30,010 --> 00:41:32,290
And all of that is making all the difference.

531
00:41:32,290 --> 00:41:37,030
And if I change the color on here, it's something like green, as you can see.

532
00:41:37,030 --> 00:41:37,840
It is.

533
00:41:39,790 --> 00:41:42,730
He's making a lot of difference for the lighting of our attack.

534
00:41:44,710 --> 00:41:48,430
So let's send it back to black.

535
00:41:48,700 --> 00:41:56,950
I want it to something like maybe dark blue, so blue and dark blue and then change the roughness.

536
00:41:57,970 --> 00:41:59,320
To something like.

537
00:42:04,320 --> 00:42:08,440
Something like this right now.

538
00:42:08,450 --> 00:42:12,860
What we can do, what other thing we can do is that maybe.

539
00:42:14,930 --> 00:42:17,150
Maybe at some exotic.

540
00:42:19,130 --> 00:42:21,860
To have some nice reflection over here.

541
00:42:23,650 --> 00:42:23,990
Right?

542
00:42:24,740 --> 00:42:32,320
Not too much, but always a bit over here, like 4.3 right here.

543
00:42:32,750 --> 00:42:35,870
And we can use emission as a whole.

544
00:42:40,870 --> 00:42:47,050
If you want to make some interesting shapes here, maybe we use it.

545
00:42:47,350 --> 00:42:48,850
Something like this.

546
00:42:49,990 --> 00:42:50,500
But it's.

547
00:42:55,740 --> 00:42:58,680
Well, yellow seems to work very good here.

548
00:43:00,910 --> 00:43:03,130
So let's use a yellow here.

549
00:43:04,310 --> 00:43:04,790
We?

550
00:43:09,590 --> 00:43:11,180
This saturated color.

551
00:43:12,620 --> 00:43:15,650
Let's change back to cycles to see how.

552
00:43:18,070 --> 00:43:24,790
We see it in the cycle and as you can see, we have much more nice background and seen right over here.

553
00:43:24,850 --> 00:43:26,800
It's much more interesting all of a sudden.

554
00:43:35,110 --> 00:43:39,730
I see some edges over here, but we don't see that in TV.

555
00:43:40,110 --> 00:43:40,420
Right.

556
00:43:41,620 --> 00:43:42,820
So maybe.

557
00:43:45,180 --> 00:43:45,410
Hmm.

558
00:43:47,280 --> 00:43:48,810
We were in the way to say it.

559
00:43:48,810 --> 00:43:51,570
But as of right now.

560
00:43:52,950 --> 00:43:57,550
Now I want to show you the trick for lighting.

561
00:43:57,570 --> 00:44:04,080
So something that makes the scene a lot more realistic is volume.

562
00:44:04,920 --> 00:44:09,780
And to add volume, volume adds a lot of depth to your scene.

563
00:44:10,500 --> 00:44:12,720
To make volume for your scene, just make a.

564
00:44:12,720 --> 00:44:14,910
Q Shift a mesh.

565
00:44:15,170 --> 00:44:18,960
Q And the skill is all like this.

566
00:44:19,160 --> 00:44:25,800
And now, as you can see, a skill that ought to make the whole

567
00:44:28,530 --> 00:44:29,610
to fill up the whole thing.

568
00:44:29,850 --> 00:44:31,770
As you can see, this is a.

569
00:44:32,130 --> 00:44:37,800
It is a mess right now, as is filling this scene that we can see anything we need to add material for

570
00:44:37,800 --> 00:44:38,730
this cube now.

571
00:44:38,730 --> 00:44:42,690
So those are the material and let's call it the volume.

572
00:44:44,850 --> 00:44:48,990
And we don't need a shader for volume.

573
00:44:48,990 --> 00:44:53,520
So let's go over here and then let's remove this shader.

574
00:44:53,520 --> 00:45:00,510
We need to go only to this setting over here is called volume at a volume shader.

575
00:45:00,900 --> 00:45:02,520
We have some volume shelves over here.

576
00:45:02,520 --> 00:45:07,620
So principal volume is volume absorption and volume is gathered.

577
00:45:08,040 --> 00:45:11,130
So first of all, volume is a very good shader.

578
00:45:11,130 --> 00:45:12,930
Here you have all two options.

579
00:45:12,930 --> 00:45:17,450
While I usually use a simpler volume called volumes cancer.

580
00:45:18,310 --> 00:45:21,660
Now all of a sudden, the scene is.

581
00:45:23,850 --> 00:45:25,650
Just so foggy, all right?

582
00:45:25,650 --> 00:45:29,250
It's because the density is not well what we want.

583
00:45:29,580 --> 00:45:33,210
So decrease the density to something like point one.

584
00:45:33,720 --> 00:45:38,880
And you can see that our character is in some kind of a various multi area.

585
00:45:39,330 --> 00:45:48,150
So we need to decrease it further if you want to see or seen in the in the shading viewport if I change

586
00:45:48,150 --> 00:45:49,470
it to the.

587
00:45:50,920 --> 00:45:52,330
But tended to render more.

588
00:45:52,360 --> 00:45:56,590
As you can see, we have we can see the the scene.

589
00:45:57,820 --> 00:45:58,180
All right.

590
00:45:58,330 --> 00:45:58,690
All right.

591
00:45:58,960 --> 00:46:07,690
But if you want to see a scene in the shading, you just have to go to the object properties over here

592
00:46:07,690 --> 00:46:14,050
and go down to the viewport this way and then make that display as to something like voyeur.

593
00:46:14,260 --> 00:46:14,710
All right.

594
00:46:14,840 --> 00:46:19,960
Now, your cube is just the water over here is acting as a volume.

595
00:46:19,960 --> 00:46:25,360
So ever closer, you can even change the location of this volume, something like this if you want.

596
00:46:25,780 --> 00:46:29,620
So it is acting as the volumes add some depth to your scene.

597
00:46:30,640 --> 00:46:34,290
So I want this to be even much lower.

598
00:46:34,300 --> 00:46:44,800
So let's bring it to something like 001 or 009005.

599
00:46:45,880 --> 00:46:49,330
I think the are five maybe be the option.

600
00:46:50,260 --> 00:46:52,960
And the good thing is that we can't change the culture.

601
00:46:52,960 --> 00:46:58,660
So if you change it to red, as you can see, the lighting, the color of the list, the color of the

602
00:46:58,660 --> 00:47:05,370
character, the color of the background, it's all or mixing together with the color of the volume.

603
00:47:05,770 --> 00:47:07,030
What is too much?

604
00:47:07,660 --> 00:47:08,620
We don't want that.

605
00:47:09,070 --> 00:47:18,490
So we want something less saturated for volume so we can use something like maybe blue.

606
00:47:19,730 --> 00:47:25,250
Or actually orange is maybe orange is what we want over here.

607
00:47:27,260 --> 00:47:27,620
All right.

608
00:47:28,250 --> 00:47:29,750
So these are lights.

609
00:47:30,500 --> 00:47:31,580
They have color.

610
00:47:32,000 --> 00:47:38,210
And that's what is mixing with the color of the wall we have is giving us peace.

611
00:47:39,920 --> 00:47:42,260
This whole coloring look.

612
00:47:48,870 --> 00:47:49,230
All right.

613
00:47:50,700 --> 00:47:54,750
And then if we go to our center around the scene, this is our scene right now.

614
00:47:54,760 --> 00:47:57,810
And as you can see, this is much more interesting.

615
00:47:58,530 --> 00:48:05,370
Right now, we can also, again, bake in the lighting.

616
00:48:05,370 --> 00:48:12,270
So let's go to TV and then make indirect lighting for even is going to calculate over here.

617
00:48:12,900 --> 00:48:20,080
I'm going to render in circles, but I just want to show you how to reach a much more appealing, more

618
00:48:20,480 --> 00:48:24,480
appealing picture of your cakes and Evansville.

619
00:48:25,500 --> 00:48:27,290
And this is real time.

620
00:48:27,300 --> 00:48:30,930
So this is much better when it comes to real time.

621
00:48:31,800 --> 00:48:37,290
Panning around and seeing a subsidy for change cycles is going to be slow.

622
00:48:37,690 --> 00:48:42,480
But it is doing a lot of calculation is going to be so slow.

623
00:48:42,480 --> 00:48:51,360
And we have to change the density of the of the whole thing as well because in cycles is different.

624
00:48:51,360 --> 00:48:54,510
So we have to change the density of our volume.

625
00:48:55,400 --> 00:48:57,030
We're going to do that later on.

626
00:48:57,210 --> 00:49:01,740
Now I'm thinking if you re if you're going to add something else over here, maybe.

627
00:49:03,710 --> 00:49:05,240
Well, this is really simple.

628
00:49:05,450 --> 00:49:06,730
I works for this guy.

629
00:49:06,740 --> 00:49:12,710
So what you can do always something like make something that makes the scene much more interesting,

630
00:49:12,710 --> 00:49:19,070
like paste the rock, maybe you press a chair or maybe add a story to the background.

631
00:49:19,640 --> 00:49:23,780
This is something simple, and it works for this one.

632
00:49:24,380 --> 00:49:30,620
I just wanted to show you some techniques, and this is the best way to do it.

633
00:49:31,730 --> 00:49:33,620
But yeah, you can do that also.

634
00:49:34,460 --> 00:49:39,500
So I think I have mentioned everything I wanted to mention.

635
00:49:39,950 --> 00:49:44,180
To recap, we made the three points lighting a feel light.

636
00:49:45,440 --> 00:49:48,380
A key lights is our main light over here.

637
00:49:50,840 --> 00:49:52,580
So this is our key light.

638
00:49:54,350 --> 00:50:00,470
And they will be made to feel light to make the other parts of the character more clear and make some

639
00:50:00,470 --> 00:50:05,120
contrast between the between the shadows.

640
00:50:05,120 --> 00:50:05,720
We can do that.

641
00:50:05,720 --> 00:50:13,190
Even furthermore, in decreasing the film light, we are making some more contrast and shadows

642
00:50:16,190 --> 00:50:18,770
increase and it will make it more interesting.

643
00:50:18,980 --> 00:50:23,320
As it can see, some shadows over here are spreading to the left side.

644
00:50:25,280 --> 00:50:29,450
We are the sets and the size over here matters a lot.

645
00:50:29,450 --> 00:50:32,090
So change it as well.

646
00:50:32,510 --> 00:50:34,370
The shape matters as well.

647
00:50:34,730 --> 00:50:39,050
So use it in your own.

648
00:50:40,810 --> 00:50:45,080
Used to play around with these values and see how these all change it.

649
00:50:45,500 --> 00:50:52,730
If you want to use or in the ring, always turn the contact schedule on and in the render setting always

650
00:50:53,180 --> 00:50:58,670
been the inclusion of room on a space as a screen as this reflection as well.

651
00:50:59,330 --> 00:50:59,750
Okay.

652
00:50:59,780 --> 00:51:04,610
I think that set for the color management to fill make high contrast or really hard contrast.

653
00:51:04,610 --> 00:51:11,690
As you can see, this makes all of much more difference or we can always change the contrast in the

654
00:51:11,690 --> 00:51:12,320
composition.

655
00:51:13,640 --> 00:51:16,520
So I'm going to render this one with a cycle.

656
00:51:17,840 --> 00:51:23,750
If I go to cycles over here and now, probably the volume is too much.

657
00:51:23,750 --> 00:51:34,310
So I need to decrease it something more like maybe or point one and a half to make sense of way to maybe.

658
00:51:35,060 --> 00:51:38,450
And now it is a much more interesting.

659
00:51:39,770 --> 00:51:40,790
Much more interesting.

660
00:51:41,760 --> 00:51:47,300
Well, look, as you can see, the lighting has changed, too, because of changing this trend.

661
00:51:47,310 --> 00:51:53,060
So we need to maybe change change the color as well.

662
00:51:53,060 --> 00:51:59,300
You can always leave it as white if you don't want to change the color of the scene too much.

663
00:52:04,590 --> 00:52:04,880
All right.

664
00:52:04,890 --> 00:52:11,800
I'm going to play around with these colors and all, and then I'm going to render it in in the next

665
00:52:11,800 --> 00:52:16,620
with the through the composition tab over here and then composes our picture.

666
00:52:17,010 --> 00:52:18,180
So simple composition.

667
00:52:18,180 --> 00:52:23,100
So yeah, that's it for this video and goodbye.