WEBVTT 00:00.700 --> 00:07.620 Welcome to a three point lighting so lighting our subject is incredibly important. 00:07.660 --> 00:09.570 In fact if we don't light it. 00:09.610 --> 00:11.980 We can't see what's going on. 00:12.160 --> 00:17.380 Now my scene contains no direct lighting as of yet there are no lamps in the scene. 00:17.380 --> 00:22.890 There's some environmental lighting that I've bumped up to just a sort of a white background there. 00:22.990 --> 00:25.220 Just so I can see what was going on. 00:25.330 --> 00:31.810 But I think is the time that we take control of the lighting to give it a better appearance. 00:31.810 --> 00:38.560 Now lighting is great it can change the feel and look of a scene very dramatically and very quickly 00:38.610 --> 00:39.290 as swell. 00:39.310 --> 00:44.680 We've probably all done that thing where you hold a torch under your chin and suddenly you're all scary. 00:44.690 --> 00:48.830 But it was in front of you you just squint your right so it can change a lot. 00:48.850 --> 00:55.870 And a lot can be learned from photography and video or graphy as well because we're using the cycle's 00:55.870 --> 00:56.860 render engine. 00:57.010 --> 01:01.130 It basically follows the same rules that real lighting does. 01:01.240 --> 01:06.400 So we mimic and take some lessons from actual photography and video or graphy. 01:06.400 --> 01:09.460 We're going to get much better renders at the end. 01:09.850 --> 01:16.720 Now when using cycles lighting should be set up as it would be in the real world for best results so 01:16.720 --> 01:22.630 bear that in mind if you ever seen a photo studio or you've ever had professional photos taken you'll 01:22.630 --> 01:28.140 know that they have all sorts of special lights all over the place and that is to make things look really 01:28.160 --> 01:33.130 and now in the in the real world if you're out and about in the middle of a field you don't generally 01:33.130 --> 01:37.090 have spotlights but you can still have lighting. 01:37.090 --> 01:41.790 In addition to help bring out a much better model. 01:43.030 --> 01:46.680 Three point lighting is a common lighting method. 01:46.720 --> 01:50.320 It's where there are three lights in a scene and we'll go through those. 01:50.320 --> 01:56.070 Now there's the key light the fill light and the back light. 01:56.080 --> 02:00.220 Now those three lights the key light is the main light. 02:00.220 --> 02:03.800 It's going to be often the brightest one in the scene itself. 02:03.850 --> 02:10.360 The film light is usually off to the side and you don't have to quite take off his configuration but 02:10.450 --> 02:12.310 is usually off to the side. 02:12.310 --> 02:18.490 On the other side of the camera and the back lights or sometimes called a hair light is a behind the 02:18.490 --> 02:19.990 subject itself. 02:20.110 --> 02:23.660 So lets us have a quick look at how we might lay this out. 02:23.660 --> 02:25.400 I mean this is highly symmetrical. 02:25.450 --> 02:30.210 You don't have to do anything like this as long as you sort of follow the same principle. 02:30.220 --> 02:36.970 So we have our subject or object in the middle and weve got a camera straight facing it. 02:37.360 --> 02:38.800 Now weve got a key light. 02:38.800 --> 02:40.930 This is going to be our brightest light. 02:40.990 --> 02:47.910 Weve got a fill light and thats going to be slightly dimmer and then we have a back light as well and 02:47.920 --> 02:49.630 I've put that off to the side. 02:49.660 --> 02:53.990 Of course you can move these lights around depending on the feel that you want. 02:54.010 --> 02:59.080 You can even have the back light brighter than the key light all the film lights if necessary so you 02:59.080 --> 03:04.650 can play with these to your heart's content of course just a standard ratio here. 03:04.660 --> 03:12.550 I tend to go something like 5 3 1 so the key lies five times five times or level five and then we've 03:12.550 --> 03:16.960 got the Phil lie of three so we could have a key light of strength. 03:16.960 --> 03:22.990 Five hundred Phil why three hundred bachleda of 100 but I will play with those and see what it comes 03:22.990 --> 03:23.420 out like. 03:23.440 --> 03:28.490 Does it give me the the lighting I need for the scene that some are working on. 03:29.410 --> 03:34.860 So I'm going to hop now straight into a challenge for you guys who know how to place lamps now to tweak 03:34.860 --> 03:42.780 lamps so it's time to go and set up your scene lighting so set up a three point lighting setup. 03:43.210 --> 03:45.200 Try some different types of lamps. 03:45.210 --> 03:47.340 You don't have to use just point lamps. 03:47.350 --> 03:53.180 You could try an area lamp you could try using in a missive surface if you wanted to do that. 03:53.500 --> 03:55.190 Try different coloured lamps. 03:55.210 --> 03:56.950 And I do suggest being subtle. 03:56.950 --> 04:04.300 If you put it bright red it will tint your entire model red so end it will go into actually making things 04:04.300 --> 04:07.550 absolute colours in a later lecture. 04:07.840 --> 04:14.630 Now decide whether you want any ambient lights at the moment I've got that environmental light turned 04:14.650 --> 04:20.620 top white and that itself is going to be too bright for me so I'm actually content and all the way down 04:20.620 --> 04:25.450 the black and just focus on the lighting itself and I will. 04:25.450 --> 04:32.200 I might bring a bit of ambient light in back in if the three point lighting I set up is not really suitable 04:32.380 --> 04:36.660 or doesn't give me the effect that I want or there are some areas that are too dark. 04:37.580 --> 04:43.890 Remember light also bounces off surfaces and we don't have any surfaces last seen at the moment. 04:44.000 --> 04:47.170 So darker areas can be illuminated with one. 04:47.300 --> 04:53.950 So yes we can put in the same ambient light some environmental light once again but we could also put 04:53.950 --> 04:59.990 in a surface and since the basket is sitting on probably a plinth at the end of the day I could put 04:59.990 --> 05:06.410 a little Clane underneath so we get a bit of bounce lighting so the underside of the the mouth sort 05:06.410 --> 05:12.400 of like the chin area does get some light and if that is something that is used in photography they 05:12.400 --> 05:20.450 will hold reflective material lower down beneath the person take having a photo taken so the light bounces 05:20.720 --> 05:23.500 and hits the underside of their face. 05:23.510 --> 05:26.450 See don't get any harsh shadows. 05:26.720 --> 05:27.480 So go ahead. 05:27.500 --> 05:30.880 Pause a video now and set up your scene lighting. 05:32.940 --> 05:33.680 Okay guys. 05:33.690 --> 05:34.570 Welcome back. 05:34.740 --> 05:39.040 Let's go ahead and set up some three point lighting over in blender. 05:39.930 --> 05:42.110 Okay so we're back over in blender here. 05:42.150 --> 05:45.580 And the first thing I want to do is just expand the outliner. 05:45.630 --> 05:50.570 Oh we do in fact have a lamp in my scene it looks like I completely forgot it was there. 05:50.610 --> 05:51.830 So I thought I'd removed it. 05:51.830 --> 05:58.110 I just hit the net and there's the camera as well so let's first of all set the camera up looking straight 05:58.170 --> 06:00.250 at my mannequin. 06:00.270 --> 06:05.330 I'm going to use the walkaround feature to move it around. 06:07.650 --> 06:09.950 There we go I'm happy with that shot. 06:09.970 --> 06:12.870 Then we can switch quickly to rent mode to see what's going on. 06:13.820 --> 06:14.090 Okay. 06:14.100 --> 06:19.200 And we can see here that that's where that light is hitting in the fact I'm going to leave that one 06:20.280 --> 06:25.020 and call it backlight because that's what it is. 06:25.080 --> 06:28.800 Now I'm going to duplicate that's twice. 06:29.130 --> 06:29.460 Okay. 06:29.460 --> 06:29.760 Brilliant. 06:29.760 --> 06:34.350 And um I come out of this rendered mode for the moment and lets you go to the top and move things about 06:34.350 --> 06:34.860 now. 06:34.920 --> 06:36.740 I've just got a a. 06:36.880 --> 06:40.800 A point light source here at the moment I'm going to move these around. 06:41.070 --> 06:47.440 So I'm going to stick exactly to my my diagram earlier and have the key light. 06:49.050 --> 06:56.820 On the left there the film lights on the right now because my arm or my mannequin itself is actually 06:56.820 --> 06:59.560 quite a large mannequin. 06:59.820 --> 07:06.720 I'm probably going to end up scaling the lighting up either the strength of that lighting quite considerably 07:06.750 --> 07:07.260 as well. 07:07.380 --> 07:13.230 But let's see what it's looking like now from the camera view and I'm gonna use a render border because 07:13.230 --> 07:18.860 my computer is not particularly quick when doing this type of rendering. 07:18.950 --> 07:19.830 Scana in here. 07:20.120 --> 07:25.110 Okay so what we've got at the moment is obviously it's quite dimly lit still. 07:25.290 --> 07:26.660 So let's go to the key light. 07:26.670 --> 07:29.730 First of all and go to its properties. 07:29.730 --> 07:31.110 Now we can play with these. 07:31.110 --> 07:38.230 We can make it a oh the key light is coming in from over there vye renamed things bad Layng key like 07:38.280 --> 07:39.550 Phil writes. 07:41.010 --> 07:43.590 I wouldn't leave them as point lights for the moment. 07:43.940 --> 07:50.540 Let's start with the film lights have a used nodes and I'm going to make the colour of it sly. 07:50.610 --> 07:55.670 I have a slight yellow eating in fact I'm going to have it massively yellow and then reduce it in a 07:55.690 --> 07:59.780 bit just so we can demonstrate what is going on. 07:59.870 --> 08:03.270 Someone to turn that up to let's say a thousand. 08:04.700 --> 08:09.590 Okay oh sorry I'm playing with Phil light at the moment so let's call this Phil White. 08:09.600 --> 08:10.570 So I know. 08:10.980 --> 08:12.370 Because these are the Phil right. 08:12.390 --> 08:13.480 Propertys. 08:14.940 --> 08:19.800 So I'm going to make that one actually slightly blue so I can see that's coming in from the right hand 08:19.800 --> 08:20.710 side. 08:20.760 --> 08:24.570 Now the key lights I'm going to make that slightly yellow. 08:25.530 --> 08:29.610 They use the nose and I'm going to pump mats up to 2000. 08:31.790 --> 08:35.430 And then finally the backlight itself. 08:35.660 --> 08:38.650 I'm going to leave it as white for the moments I can see what's going to. 08:38.750 --> 08:42.520 And as you can see here the blue in yellow I actually go quite well together. 08:42.530 --> 08:44.750 I'm going to turn this up too. 08:44.920 --> 08:45.820 That's two. 08:45.830 --> 08:50.950 Eight hundred and again I'm I'm just playing here which you can see that does. 08:50.990 --> 08:58.130 If I turn it on and off is it give us a highlight to those very dark areas which otherwise it wouldn't 08:58.130 --> 09:00.350 actually get any lights of course. 09:00.470 --> 09:03.830 You can try some other lighting if you try spots or some such. 09:03.830 --> 09:06.430 You need to work round sun. 09:06.440 --> 09:09.450 It doesn't matter where it is in your scene any way. 09:09.470 --> 09:14.840 I'm going to stick the point lights for the moment because it gives me a little more freedom about moving 09:15.230 --> 09:21.200 things about now I don't want quite as contrast to yellow and blue as we have there something to go 09:21.200 --> 09:28.190 back to my key light and with a name Mickey light as well under the lamp properties. 09:28.190 --> 09:32.320 And whereas backlights I can name that properly as well. 09:32.980 --> 09:33.410 Oh. 09:33.440 --> 09:39.330 Back loit Okay so now we've got the the three lights in the scene set up. 09:39.500 --> 09:44.750 We can fiddle about with them a little some are going to have it that blow and then to reduce it down 09:44.750 --> 09:46.760 to a more subtle blow. 09:46.790 --> 09:50.450 And the key light among them have bright yellow even that's very stylized. 09:50.450 --> 09:52.350 That would work in certain conditions. 09:52.440 --> 09:59.660 But I don't want it obviously if I sense set something up as 100 percent red or 100 percent yellow it's 09:59.660 --> 10:05.640 going to cause a few issues and especially trying to identify the skin colour itself. 10:05.640 --> 10:10.400 If you start tainting it with Will is it is the skin greener is the light in green you know. 10:10.520 --> 10:11.320 So. 10:12.740 --> 10:15.310 Just a slightly off white there. 10:16.360 --> 10:20.280 Okay that is starting to look pretty good. 10:20.290 --> 10:26.020 Now one thing I can see here is there's some pretty heavy shadowing there's heavy shed doing under the 10:26.020 --> 10:26.500 chin. 10:26.500 --> 10:32.560 We can see that now what I'm going to do here if before I actually start in do any bounce lights is 10:32.560 --> 10:39.380 just notice the height of these lamps and lower them down so they're roughly eye level on both sides. 10:39.400 --> 10:45.060 I'm happy with this one being slightly higher but I am going to centralize it a little as well. 10:45.070 --> 10:48.500 So let's zoom back in and see what difference that has made. 10:48.520 --> 10:52.990 Okay that's made it much better but the still quite harsh shadow just here. 10:53.120 --> 11:01.180 So we could do with having some bounce lights actually happening and we can set that off scene quite 11:01.240 --> 11:06.820 easily and we're going to create two planes so it bounces were the first planes going to be roughly 11:06.820 --> 11:12.820 underneath and we'll see if I can do this in the sort of alive manner so we can see the rendering as 11:12.820 --> 11:13.790 it happens. 11:14.210 --> 11:19.220 So get rid of those tools shelves and properties pain. 11:19.690 --> 11:20.630 And there we go. 11:20.630 --> 11:27.270 So I can see what's going on rendering wise over there so let's go ahead and add a plane. 11:28.600 --> 11:30.370 It happens to be off this list. 11:30.380 --> 11:31.260 There we go. 11:31.510 --> 11:37.490 And I'm just going to scale that up and we can see straight away with if we have a look at the chin 11:37.520 --> 11:42.390 over here having the plane off it's a lot darker than having it on. 11:42.830 --> 11:45.560 And then we've got this area at the top here. 11:45.620 --> 11:52.670 Now in terms of the the first one to do is just literally lift our lamp up a little and probably increase 11:52.670 --> 11:55.570 its strength a little as well. 11:56.230 --> 11:56.580 Okay. 11:56.680 --> 12:01.100 Starting to look good other ways around my model going to come out of that mode. 12:01.190 --> 12:03.990 Okay so that is quite high at the moment. 12:05.970 --> 12:12.070 I mean that's the other thing I can do is literally make a hair light by having it quite high above. 12:12.410 --> 12:13.260 That's looking good. 12:13.260 --> 12:18.950 So I got this quite harsh shadow here that may be because this isn't bright enough. 12:19.580 --> 12:20.060 There we go. 12:20.060 --> 12:24.750 We do want some shadowing because shadowing helps emphasize features. 12:27.020 --> 12:32.400 But of course at the same time we want to watch and make sure that we don't have too harsh a shadow. 12:32.400 --> 12:36.910 Now the other thing we can do with this plane underneath is actually rotate it. 12:38.290 --> 12:45.400 Rotating around the X axis for instance and that can change the bounce of the lighting itself as we're 12:45.520 --> 12:48.670 going to leave it flat because this is going to be where it sat. 12:48.670 --> 12:54.100 And unless you're going to make it a bit smaller in so it's almost as if the plinth that it sat on and 12:54.570 --> 13:00.580 I'm not going to worry about it intersecting too much but let's make it into a plinth as well. 13:01.150 --> 13:02.420 Whilst we're here. 13:03.640 --> 13:04.670 There we go. 13:04.870 --> 13:06.280 It's not a very good plinth is it. 13:06.300 --> 13:09.730 It's not that central to the busts. 13:09.880 --> 13:11.260 There's no chest at the moment. 13:11.260 --> 13:13.120 That whole area needs coming forward. 13:13.120 --> 13:15.950 By the looks of things specially if I look from the side. 13:16.880 --> 13:20.740 You say that's a very narrow chest line that needs sorting out. 13:21.630 --> 13:24.920 But there we go we've got our three point lighting set up. 13:25.750 --> 13:29.290 We got the camera set up as well so we can see what's going on. 13:29.290 --> 13:31.800 This is looking pretty good so far. 13:31.820 --> 13:33.950 We're not going to need some more details. 13:33.970 --> 13:36.340 As only the eyes are rabbits. 13:36.610 --> 13:39.850 Well white at the moment and nothing else. 13:39.880 --> 13:43.120 But we're getting there is starting to come together really nicely. 13:43.120 --> 13:44.560 How is yours coming on. 13:44.560 --> 13:46.430 Please share in the discussions. 13:46.510 --> 13:48.310 All up before I go. 13:48.310 --> 13:56.610 I do need to name this plinth Mary I don't get told off for having something that's not named properly. 13:57.160 --> 14:00.660 And as always I will see you guys in the next lecture.