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I've run through and tagged everything with either interior/exterior for its own building. I've also added the podiums into the tag, those floors and their surrounding walkways. This one for example, is BdgA_Int. What I've done in the layers is to make an interior and exterior building plus Bridge layers, and this way I can sort things out very efficiently for lighting. I've also gone into the spotlight that I had animated earlier and disabled that default state or first play in the animator. Now it just has an any state and instead of cycling off and on, this light will just stay on.
I'll put up the intensity and get it looking pretty reasonable. Here is an intensity of oh around one and a half and I will crank up the size of that spot. A spot light in unity then, is a cone of light, starting out from the transform and aiming straight down. It's got a spot angle, which if you're looking for the controls from Maya, for example, for cone, penumbra and drop-off, they're all included in here. That cone simply gets fuzzier as that light spreads out, and so we don't have to think about those factors together. A spotlight will also accept a cookie.
It's an image with an alpha channel we can place over it to affect the shape of the light. Adding a grid for a diffuser, for example. Finally, if needed, we can turn on shadows. And these are accessible when we bake the light. We can cull this light down. And right now, it's hitting everything. That culling mask is very important because the culling mask for this light, lets us ignore different things. We can tell this light, you can only hit BdgA_Int for example, and it simply won't think about the other pieces. I'll turn off everything for this light by checking nothing.
And then dropping down in the culling mask and choosing BdgA_Int. Now the light hits that floor, and I'll adjust the range and then clone it around. The range on a light is equivalent to attenuation in 3ds Max. This is an absolute range on the light, after which, it seizes exactly. This range is in meters and so if we scroll this range back, pulling it back here, we can see that light decrease. I'll pull that range out, somewhere in the 7.5 range. So it actually does go through the floor, but hits it very nicely and leaves a warm pool of light around those sculptures.
very nicely and leaves a warm pool of light around those sculptures. Now, I'll nest this light under its cam light and then clone this around my space. That can light is called can light surface mount, and right now it's on, well, the Default layer. I'm going to make this particular one as well, BdgA_Int. Now, I'll take this light and drag it under that cam light. So it's parented under it. Now when I select one, they'll both select. I'm ready to clone this light around. I'll turn off the scene lighting so I can see what I'm doing a bit.
Go in under the ceiling and press Ctrl+d to duplicate. I'll pull this light over on the x-axis into the next bay, making sure it glances on the walls. Then I'll duplicate again, pressing Ctrl+d. And, put the next light in, right over that next painting. Making sure I grab the right axis, of course. You can always toggle on your lights and see if they're hitting things correctly. I'll pull this one back, and up next to the art. This might be a place later to make, some kind of aimable light, as it's kind of difficult to get the light to hit that painting.
But at least giving me a good pool on the floor will work nicely. We're starting to see a limit on the objects here. How much that light can actually hit. And so, I need to be careful of what I need to see on the floor here. I'll duplicate one or two more and pull it over. We can see because the floor is one big object, that the lights are having a harder and harder time showing on it. I can hit the walls just fine and will hit anything in them. After while, that rule of eight is rearing its head. Now, I've got cam lights in the space and I'm ready for some point lights for fill.
What we want to do, is to get our direct or practical lights in first. Our sun, and then our interior fixtures and make sure they look like they're on. Then we can get in there and add our theatrical lighting, our fills and extra light to really buff out the space. Using the layers and tags is very important. We haven't tagged anything yet, but it'll be helpful in sorting out minor lighting issues. For now though, being able to restrict down just to layers is immensely helpful, and that way these lights can only hit certain things.
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