Hello everybody and welcome back in front of us here we've got our wonderful model Suzanne with one
lights in the scene.
However if flights are a bit better it's much easier to see her face and other details around as well
because our subject is properly lit and that can make all the difference.
No end of time in students renders people always forget lighting.
And it's so important.
So let's hop on over and make a three point light set up over in Blender.
Hello everybody and welcome back.
So let's go ahead and get rid of our cube as adding something more exciting.
Suzanne the monkey will do okay.
So the view itself that we wants to capture here.
I'm going to move the camera first because the camera is kind of important as it dictates where the
lights are going to where we're going to actually place the lights in order to get our three point lighting
setup.
So I going to do that really quick.
I'm going to hop into camera view with over here and just look at Suzanne face on quite close.
So she's filling up a lot of the frame now it doesn't matter if that's perfect.
That'll do.
I'm going to go into all the graphic perspective and look down from the top.
That's our scene.
And when I do that I'm going to select my lamp and move one of them about 45 degrees over there.
Now at the moment we can't see any lighting information in our scene.
So I'm going to go up to the very top we're making these adjustments I can't see them along the top
here is rendered mode.
Now hopefully you're still in the evening Jim but you might have played some going to click that and
it should look like it does now.
It is a bit fuzzier.
You may have cycles turned on if we go over to the properties panel and go to render.
We can change the render engine between cycles workbench and eevee for the moment we want it's set on
eevee and we probably will for most of the course and you'll see why later on but for the moment we
can leave it on TV and we can now see the effect that lightning has if I just press the G key a move
that around we can see that real time shadows are happening on Suzanne the monkey.
Now the light is all the way up in the sky.
We don't want that but look at it from the side and pull the lights down CES highlighting her face.
Now let's have a look at how she looks.
So that's a bit dramatic at the moment we really have lost all of the old of the detail around the other
side.
So we have our main lights sets up we've not called it main lights or key lights as it's known in the
industry so let's go in and call it the key lights.
So that's good.
It's named key lights.
We know what it is.
In fact I'm going to quit light key.
The reason for that is then all of the lights will be duplicated in the moment and they will have the
word lights.
So they'll be grouped together in the hierarchy as well and they'll be easier to find.
So let's go ahead and look at this from the top again.
Now the next lights that I want will be over here and it will fill in the shadows that are over on this
side.
So I'm going to duplicate the lamp with its selected and placed it roughly in the same place on the
other side.
And whilst I'm here I'm going to rename it immediately going to have a look here.
It's called key like 0 0 1.
I'm going to change it from the key light to the fill lights and then there's one final lights that
we need which is the backlight.
And what that does is it helps highlights around the edge of our model and make it not looks quite as
distant.
Now in general that will be kind of in line with this speech to have to be perfect with these things
at all.
And because you can adjust them to get the effects that you want.
So we're going to rename that straightaway.
So we don't forget and I'm just going to call that back for backlight.
OK.
Let's have a look through the camera again and let's turn the back lights on and off.
Does it make a difference.
It does indeed look at this very important here.
There's this highlights right in the middle.
That is actually affected by the backlight and just under here.
So it is highlighting the rim of our model and there's other places this edge of the air as well.
So it is worth having that extra light there.
Brilliant.
Sometimes you can't really see much of an effect but this even though it's only one or two places makes
a big difference.
So Suzanne is much much better LEDs than she was previously.
Now sometimes a dramatic effect like that is pretty awesome.
So we can toggle on and off the visibility with these little icons to see how objects is looking as
we add lights.
Now there's one thing that we haven't done yet and that's adjusted the value of these lights.
They're all the same.
Typically the key lights is going to be the brightest the fill lights will be slightly dimmer to add
a bit of contrast in shape to our face.
In this case or objects in something else.
So what we can do here is go to and make sure that we've got a fill light selected and then go find
the lamp properties.
Now the icon for that does change depending on what type of light it is play or be further down on the
properties.
And here it is we hover over that's the object data for our lamp and we notice that if we change it
to one of the other types of lamp a sun lamp a spot lamp and an area lamp the icon changes accordingly.
We're going to leave it as a point lamp for the moment and we will revisit lights a lot later on in
the course.
But is the energy value that we're focused on.
So I going to turn the energy value down to maybe six and there we go we've got a slight difference
across the face of Suzanne how we can do a similar thing with this light in the background as well we
could turn that down to two so it's got a much more subtle effect on our model but there we go that's
a three point lighting system set up.
Now I'm going to do one final thing here a bit more of an advance thing but it's something that you
can incorporate into all of your models.
Firstly what we've got set up here is generally for a static object.
If you've also got extra lights in your scene you can use that for effect.
So like on my well I might choose to put a lights up inside the well that highlights all of the structure
in the roof because a three point lighting sets up like this might not highlight everything but in this
case what I'm going to do is I'm going to select all of my lights and with them all selected I'm going
to press the M key create a new collection and I'm going to call it lighting rig because that's essentially
what it is and then click Okay.
And that has grouped all of these objects that are crucial to the lighting in one place which is really
really useful because it means we can hide all of those components out of the way when we're working
on our model and bring them back in when it's necessary.
The final thing that I'm going to do here is make sure if I move my camera the lights come along with
us.
So with the camera as the active selected objects and the press control and pay and parents them you
will see these black lines all going to our camera.
Well this now means that we can move around our camera and that lighting rig stays with us.
Now this is really only good for this one particular model if we have a much larger model in our scene.
It doesn't really work or if it's too small it won't work that well either.
So it's to bear in mind that the rig does have to be setup per the scene.
But now we've parents had all of these lamps to the camera.
It does mean that if we wanted to we could move this around rotates it on the z axis pull it background.
And now it lit up in the same way we were before.
In fact even better if we're in first person view our lighting is consistent as we're moving around
our object.
Otherwise it wouldn't be lit consistently as the lighting itself wouldn't move with us.
Wow.
A lot to take in there the whole parenting thing at the end.
That's just a little bonus for you we'll cover that in much more detail later on in the course as well.
But now it's time for your challenge.
OK everybody see your challenge is to add lights to your scene.
Now do start with a three point lighting set up and then add additional lights if you like.
What's important here is that you're not afraid you experiment and you have fun as you go.
Suppose a video now and give Natsuko Okay everybody Welcome back.
Let's go hop on to blender and add some lights to our scene.
Okay everybody Welcome back.
Let's go ahead and I'm going to open up the well.
I've been working on obviously you open up what you've been working on as well and switch over to rendered
mode.
OK.
So the first thing that I'm gonna say here is that the shadows are too harsh.
Let's see if we can go ahead and set up a similar setup as we had with Suzanne and see how it looks
with our model.
It might not work.
It might do.
Okay.
So I'm going to have a look at the top.
I'm going to set them all so an appropriate place so let's have a look.
Where's our camera.
Our cameras over there at the moment.
So our first lamp is gonna be roughly over here on 1 we'll be over here.
And the other one will be back here.
Okay.
So let's just duplicate those and move them around something like that.
The next thing I need to do with them selected but not the outer is just go round to the side and lower
them down to an appropriate height as well.
I want to keep them in line with the camera for the moment because want they see that's cause a lot
more interest around the well itself at the bottom.
Okay.
So that is all sets up what isn't setup is the naming.
So I'm just going to come in here selects or let's have a look which one is gonna be my main lights.
I'm gonna have this one over here as my house.
That one is the main lights.
This is just called Lights.
The 0 0 1 I'm going to call it Main.
I'll call this one.
Phil I don't think I've been named the object.
No I haven't.
There we go.
So there's lots of names in Blender it's easy to fill in the wrong one.
This one's gonna be main or key lights.
It's up to you each naming convention you use as long as you're consistent with it.
So in the aim of trying to be consistent I'm going to rename that key and then I'm going to select all
of those select my camera in the outline of struggling to select it in the viewport and I'm just going
to group them all together.
Excellent.
So I can turn them on enough as I need to.
Right the first thing is that these are all creating hot spots because I've got ground.
So that's something to bear in mind that does look a lot lot better.
Can I see through that.
Or is it some sort of funky shadow happening.
Mm hmm.
Cool.
Well I quite like it like that with the light bursting through so that's a good start.
Now with the press G and Z and just lift everything up it's definitely coming through there.
Yeah I'm okay.
Brilliant.
So the next thing to do here is just tweak some of the values of these lights.
So let's take this down to make it a bit dimmer so those light rays coming through aren't quite as strong
this lamp here in the double down as well slightly although
this is really the face of the object isn't it over here.
So let's let's raise that one.
Cool that one the key lights this one the feel like oh I was going for the convention lights.
Phil Wilson's high before so let's stick with that light.
So be the.
Yeah this would be the Phil lights.
That's fine.
Okay so now all of those are named appropriately.
Let's make sure that they have the right settings.
Twelve.
Yes.
And eights over here.
Perfect.
Let's have another look at it.
And there we go.
My lighting setups.
All done.
I'm really liking the look of it so far.
I hope you guys are having lots of fun.
I certainly am.
I can't wait to see what you've created.
Speaking of which we're going to need to render out our models to do that.
We'll find out more about that in the next lecture.