Welcome to a three point lighting so lighting our subject is incredibly important.
In fact if we don't light it.
We can't see what's going on.
Now my scene contains no direct lighting as of yet there are no lamps in the scene.
There's some environmental lighting that I've bumped up to just a sort of a white background there.
Just so I can see what was going on.
But I think is the time that we take control of the lighting to give it a better appearance.
Now lighting is great it can change the feel and look of a scene very dramatically and very quickly
as swell.
We've probably all done that thing where you hold a torch under your chin and suddenly you're all scary.
But it was in front of you you just squint your right so it can change a lot.
And a lot can be learned from photography and video or graphy as well because we're using the cycle's
render engine.
It basically follows the same rules that real lighting does.
So we mimic and take some lessons from actual photography and video or graphy.
We're going to get much better renders at the end.
Now when using cycles lighting should be set up as it would be in the real world for best results so
bear that in mind if you ever seen a photo studio or you've ever had professional photos taken you'll
know that they have all sorts of special lights all over the place and that is to make things look really
and now in the in the real world if you're out and about in the middle of a field you don't generally
have spotlights but you can still have lighting.
In addition to help bring out a much better model.
Three point lighting is a common lighting method.
It's where there are three lights in a scene and we'll go through those.
Now there's the key light the fill light and the back light.
Now those three lights the key light is the main light.
It's going to be often the brightest one in the scene itself.
The film light is usually off to the side and you don't have to quite take off his configuration but
is usually off to the side.
On the other side of the camera and the back lights or sometimes called a hair light is a behind the
subject itself.
So lets us have a quick look at how we might lay this out.
I mean this is highly symmetrical.
You don't have to do anything like this as long as you sort of follow the same principle.
So we have our subject or object in the middle and weve got a camera straight facing it.
Now weve got a key light.
This is going to be our brightest light.
Weve got a fill light and thats going to be slightly dimmer and then we have a back light as well and
I've put that off to the side.
Of course you can move these lights around depending on the feel that you want.
You can even have the back light brighter than the key light all the film lights if necessary so you
can play with these to your heart's content of course just a standard ratio here.
I tend to go something like 5 3 1 so the key lies five times five times or level five and then we've
got the Phil lie of three so we could have a key light of strength.
Five hundred Phil why three hundred bachleda of 100 but I will play with those and see what it comes
out like.
Does it give me the the lighting I need for the scene that some are working on.
So I'm going to hop now straight into a challenge for you guys who know how to place lamps now to tweak
lamps so it's time to go and set up your scene lighting so set up a three point lighting setup.
Try some different types of lamps.
You don't have to use just point lamps.
You could try an area lamp you could try using in a missive surface if you wanted to do that.
Try different coloured lamps.
And I do suggest being subtle.
If you put it bright red it will tint your entire model red so end it will go into actually making things
absolute colours in a later lecture.
Now decide whether you want any ambient lights at the moment I've got that environmental light turned
top white and that itself is going to be too bright for me so I'm actually content and all the way down
the black and just focus on the lighting itself and I will.
I might bring a bit of ambient light in back in if the three point lighting I set up is not really suitable
or doesn't give me the effect that I want or there are some areas that are too dark.
Remember light also bounces off surfaces and we don't have any surfaces last seen at the moment.
So darker areas can be illuminated with one.
So yes we can put in the same ambient light some environmental light once again but we could also put
in a surface and since the basket is sitting on probably a plinth at the end of the day I could put
a little Clane underneath so we get a bit of bounce lighting so the underside of the the mouth sort
of like the chin area does get some light and if that is something that is used in photography they
will hold reflective material lower down beneath the person take having a photo taken so the light bounces
and hits the underside of their face.
See don't get any harsh shadows.
So go ahead.
Pause a video now and set up your scene lighting.
Okay guys.
Welcome back.
Let's go ahead and set up some three point lighting over in blender.
Okay so we're back over in blender here.
And the first thing I want to do is just expand the outliner.
Oh we do in fact have a lamp in my scene it looks like I completely forgot it was there.
So I thought I'd removed it.
I just hit the net and there's the camera as well so let's first of all set the camera up looking straight
at my mannequin.
I'm going to use the walkaround feature to move it around.
There we go I'm happy with that shot.
Then we can switch quickly to rent mode to see what's going on.
Okay.
And we can see here that that's where that light is hitting in the fact I'm going to leave that one
and call it backlight because that's what it is.
Now I'm going to duplicate that's twice.
Okay.
Brilliant.
And um I come out of this rendered mode for the moment and lets you go to the top and move things about
now.
I've just got a a.
A point light source here at the moment I'm going to move these around.
So I'm going to stick exactly to my my diagram earlier and have the key light.
On the left there the film lights on the right now because my arm or my mannequin itself is actually
quite a large mannequin.
I'm probably going to end up scaling the lighting up either the strength of that lighting quite considerably
as well.
But let's see what it's looking like now from the camera view and I'm gonna use a render border because
my computer is not particularly quick when doing this type of rendering.
Scana in here.
Okay so what we've got at the moment is obviously it's quite dimly lit still.
So let's go to the key light.
First of all and go to its properties.
Now we can play with these.
We can make it a oh the key light is coming in from over there vye renamed things bad Layng key like
Phil writes.
I wouldn't leave them as point lights for the moment.
Let's start with the film lights have a used nodes and I'm going to make the colour of it sly.
I have a slight yellow eating in fact I'm going to have it massively yellow and then reduce it in a
bit just so we can demonstrate what is going on.
Someone to turn that up to let's say a thousand.
Okay oh sorry I'm playing with Phil light at the moment so let's call this Phil White.
So I know.
Because these are the Phil right.
Propertys.
So I'm going to make that one actually slightly blue so I can see that's coming in from the right hand
side.
Now the key lights I'm going to make that slightly yellow.
They use the nose and I'm going to pump mats up to 2000.
And then finally the backlight itself.
I'm going to leave it as white for the moments I can see what's going to.
And as you can see here the blue in yellow I actually go quite well together.
I'm going to turn this up too.
That's two.
Eight hundred and again I'm I'm just playing here which you can see that does.
If I turn it on and off is it give us a highlight to those very dark areas which otherwise it wouldn't
actually get any lights of course.
You can try some other lighting if you try spots or some such.
You need to work round sun.
It doesn't matter where it is in your scene any way.
I'm going to stick the point lights for the moment because it gives me a little more freedom about moving
things about now I don't want quite as contrast to yellow and blue as we have there something to go
back to my key light and with a name Mickey light as well under the lamp properties.
And whereas backlights I can name that properly as well.
Oh.
Back loit Okay so now we've got the the three lights in the scene set up.
We can fiddle about with them a little some are going to have it that blow and then to reduce it down
to a more subtle blow.
And the key light among them have bright yellow even that's very stylized.
That would work in certain conditions.
But I don't want it obviously if I sense set something up as 100 percent red or 100 percent yellow it's
going to cause a few issues and especially trying to identify the skin colour itself.
If you start tainting it with Will is it is the skin greener is the light in green you know.
So.
Just a slightly off white there.
Okay that is starting to look pretty good.
Now one thing I can see here is there's some pretty heavy shadowing there's heavy shed doing under the
chin.
We can see that now what I'm going to do here if before I actually start in do any bounce lights is
just notice the height of these lamps and lower them down so they're roughly eye level on both sides.
I'm happy with this one being slightly higher but I am going to centralize it a little as well.
So let's zoom back in and see what difference that has made.
Okay that's made it much better but the still quite harsh shadow just here.
So we could do with having some bounce lights actually happening and we can set that off scene quite
easily and we're going to create two planes so it bounces were the first planes going to be roughly
underneath and we'll see if I can do this in the sort of alive manner so we can see the rendering as
it happens.
So get rid of those tools shelves and properties pain.
And there we go.
So I can see what's going on rendering wise over there so let's go ahead and add a plane.
It happens to be off this list.
There we go.
And I'm just going to scale that up and we can see straight away with if we have a look at the chin
over here having the plane off it's a lot darker than having it on.
And then we've got this area at the top here.
Now in terms of the the first one to do is just literally lift our lamp up a little and probably increase
its strength a little as well.
Okay.
Starting to look good other ways around my model going to come out of that mode.
Okay so that is quite high at the moment.
I mean that's the other thing I can do is literally make a hair light by having it quite high above.
That's looking good.
So I got this quite harsh shadow here that may be because this isn't bright enough.
There we go.
We do want some shadowing because shadowing helps emphasize features.
But of course at the same time we want to watch and make sure that we don't have too harsh a shadow.
Now the other thing we can do with this plane underneath is actually rotate it.
Rotating around the X axis for instance and that can change the bounce of the lighting itself as we're
going to leave it flat because this is going to be where it sat.
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
I'm not going to worry about it intersecting too much but let's make it into a plinth as well.
Whilst we're here.
There we go.
It's not a very good plinth is it.
It's not that central to the busts.
There's no chest at the moment.
That whole area needs coming forward.
By the looks of things specially if I look from the side.
You say that's a very narrow chest line that needs sorting out.
But there we go we've got our three point lighting set up.
We got the camera set up as well so we can see what's going on.
This is looking pretty good so far.
We're not going to need some more details.
As only the eyes are rabbits.
Well white at the moment and nothing else.
But we're getting there is starting to come together really nicely.
How is yours coming on.
Please share in the discussions.
All up before I go.
I do need to name this plinth Mary I don't get told off for having something that's not named properly.
And as always I will see you guys in the next lecture.