MODO 501 Essential Training
Illustration by Petra Stefankova
Watching:

Blending light sources


From:

MODO 501 Essential Training

with Dan Ablan

Video: Blending light sources

You have seen how putting in a probe image can really help create some nice daylight using global illumination and applying that indirect illumination. You have also seen how putting three set lights in classic three-point lighting can help you put together a nice product shot, and you have seen how light boards can be created with flat polygons to create reflective light. But what if you want to mix a lot of these together? How would you do it? Here we have got our BlendedLight scene from the exercise files, and this is just the Alfa Romeo on a textured ground. I am going to zoom out just a little bit, and I am going to rotate the camera down just a little bit, just like that.
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  1. 2m 21s
    1. Welcome
      55s
    2. Using the exercise files
      1m 26s
  2. 42m 37s
    1. Understanding the interface
      4m 30s
    2. Understanding the workplane
      5m 7s
    3. Understanding Action Centers
      4m 12s
    4. Working with the modeling tools
      5m 10s
    5. Understanding surfaces
      7m 12s
    6. Selecting elements
      7m 33s
    7. Understanding the elements of a 3D model
      4m 3s
    8. Understanding symmetry
      4m 50s
  3. 1h 2m
    1. Building a model
      8m 56s
    2. Editing geometry
      10m 39s
    3. Controlling geometry
      10m 31s
    4. Bending geometry
      6m 42s
    5. Adding detail with edges
      5m 37s
    6. Editing polygons
      10m 27s
    7. Extending polygons
      9m 34s
  4. 42m 53s
    1. Understanding subdivisions
      3m 49s
    2. Understanding Pixar-based subdivisions
      2m 48s
    3. Creating a basic model
      7m 51s
    4. Beveling with subdivisions
      6m 6s
    5. Adding detail to models
      8m 54s
    6. Deforming and shaping objects
      7m 48s
    7. Cloning
      5m 37s
  5. 49m 32s
    1. Creating with Radial Sweep
      4m 44s
    2. Working with text
      8m 40s
    3. Understanding replicators
      7m 22s
    4. Instancing objects
      7m 0s
    5. Working with Curve Clone
      4m 36s
    6. Working with Curve Extrude
      2m 25s
    7. Modeling with Array
      8m 50s
    8. Understanding Mesh Paint
      5m 55s
  6. 1h 4m
    1. Introducing the Shader Tree
      4m 32s
    2. Exploring layer-based shading
      4m 29s
    3. Creating surfaces for polygons
      7m 41s
    4. Editing surfaces
      7m 4s
    5. Applying procedural textures
      7m 38s
    6. Applying image-mapped textures
      6m 2s
    7. Working with transparent images
      5m 48s
    8. Adding bump maps for realism
      8m 49s
    9. Enhancing surfaces with specularity and glossiness maps
      3m 25s
    10. Creating a reflective surface
      3m 27s
    11. Working in glass
      5m 28s
  7. 39m 9s
    1. Building 3D scenes
      2m 49s
    2. Working with different light types
      8m 26s
    3. Lighting a 3D scene
      12m 51s
    4. Reflecting light
      5m 23s
    5. Lighting environments for realism
      4m 18s
    6. Blending light sources
      5m 22s
  8. 21m 1s
    1. Understanding the MODO 501 camera
      5m 39s
    2. Setting up a camera
      5m 42s
    3. Placing multiple cameras
      7m 11s
    4. Animating cameras
      2m 29s
  9. 29m 58s
    1. Understanding the timeline
      7m 16s
    2. Adding and controlling keyframes
      3m 22s
    3. Fine-tuning keyframes in the Graph Editor
      6m 17s
    4. Animating nontraditional elements
      4m 31s
    5. Animating colors
      4m 39s
    6. Animating displacement maps
      3m 53s
  10. 13m 57s
    1. Working with Hair Guides
      3m 18s
    2. Creating human hair
      4m 7s
    3. Creating the hair's surface
      1m 30s
    4. Generating animal hair
      1m 48s
    5. Building enhanced hair textures
      3m 14s
  11. 26m 21s
    1. Working with the painting tools
      6m 14s
    2. Painting on multiple layers
      9m 37s
    3. Sculpting models
      5m 45s
    4. Tweaking and finishing with the sculpting tools
      4m 45s
  12. 25m 56s
    1. Working with the Schematic interface
      1m 20s
    2. Understanding channels
      4m 9s
    3. Building a channel-based animation
      5m 51s
    4. Creating a schematic network
      6m 26s
    5. Setting up inverse kinematics
      4m 29s
    6. Adding the finishing touches on schematic rigs
      3m 41s
  13. 26m 47s
    1. Understanding resolutions and rendering
      12m 43s
    2. Setting up a render project
      4m 51s
    3. Rendering to movie files vs. image sequences
      9m 13s
  14. 3m 23s
    1. Exporting an object
      1m 2s
    2. Exporting a full scene for backup
      2m 21s
  15. 2m 2s
    1. Next steps
      2m 2s

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Watch the Online Video Course MODO 501 Essential Training
7h 32m Beginner Sep 16, 2011

Viewers: in countries Watching now:

In this course, author Dan Ablan walks through the process of understanding the MODO workflow while learning to create 3D models and animations. The course teaches fundamental tasks, such as modeling polygons and applying materials with the Shader Tree, while exploring scene building in depth through advanced lighting, camera, and animation techniques. The course also covers MODO's schematic tools and shows how to render animations for various playback media.

Topics include:
  • Understanding surfaces and symmetry
  • Editing polygons
  • Shaping, deforming, and cloning objects
  • Working with text
  • Instancing objects
  • Applying procedural and image-mapped textures
  • Adding bump maps
  • Creating reflections
  • Working with different light types
  • Blending light sources
  • Setting up and animating cameras
  • Adding and controlling keyframes
  • Creating hair textures
  • Working with the painting and sculpting tools
  • Setting up inverse kinematics
  • Exporting a full scene
Subject:
3D + Animation
Software:
MODO
Author:
Dan Ablan

Blending light sources

You have seen how putting in a probe image can really help create some nice daylight using global illumination and applying that indirect illumination. You have also seen how putting three set lights in classic three-point lighting can help you put together a nice product shot, and you have seen how light boards can be created with flat polygons to create reflective light. But what if you want to mix a lot of these together? How would you do it? Here we have got our BlendedLight scene from the exercise files, and this is just the Alfa Romeo on a textured ground. I am going to zoom out just a little bit, and I am going to rotate the camera down just a little bit, just like that.

We have got this environment that's lighting the scene. It looks okay, but I want it to be a little bit brighter. So the first thing I am going to do is, in the Shader Tree, select the actual Environment group. And then the Intensity for that environment I am going to bump up to 2, and now we have got a little bit better daylight scene. We can also even just change it if we want and see how these look. Perhaps I want to go with the darker Outdoor Probe. So now it's late evening. The lights need to be on, on the car. So how do we do that? Well, a lot of people want to just glow those textures right there, but there's a better way.

We have the Directional Light. We are not going to use that. We are going to keep that turned off. I am going to add another light, and we are going to add a Spot Light. And with that Spot Light created, I am going to make sure that it is placed right where our headlight is. So I will press the Y command, and we are going to move this over--and I am just doing this in the Perspective view down here. And if it's easier, go Ctrl+Space and choose the Front view, and it makes it a little bit easier to align these up sometimes. I am seeing kind of a little bit of a stall, and we have got a lot of detail in here in this model.

So what you can do up here is you can come in and click on the options and turn off some of the values, so it renders a little bit faster. You can turn off Shadows, Reflections, Refractions, and depending on your scene, you might want to do that. You can click on the Render and just select Hold as well, so it will stop rendering, giving us a chance to work a little bit more freely and accurately. And then we can turn that back on. So it's lined up here, Ctrl+Spacebar, come to the Top view. I am going to rotate our light around, then I am going to move it in.

Now one thing that's important to understand is that if you move it in too far, the light will actually shut off. We'll jump to Perspective view, and now let's turn our render back on, and you will see it right in there. I can see a little bit of a light. I can see it hitting here. Well, let's go over here to the Items list and make sure the Spot Light is selected. Close up the Spot Light and turn on Volumetrics. That's nice, but a little too much. Open up the Spot Light again, take this Radiance down 0.5, and now you've created this nice beam of a headlight.

In fact, you can even go lower, like 0.2, a little more subtle. Then you can place it a little bit better, but again, be careful. If you move it in too far, here is what will happen. It just kind of shuts off, and it will start casting a shadow from the car itself, from the headlight itself. So don't go in too far. And then you can rotate that view around, just to make sure the placement is good. Create a second one, Shift+V for Mirror, and we can mirror that over on the Y axis.

And if you want to get the controls, open up the Model tab and choose Y, and you will see that extra one. And then we will close that out. Now we have two of them, and then you can very easily just tweak that second one into place. And that way you have created headlights on the car--overly bright of course. But what I would probably do is create an instance for this, and I will show you why. Let's delete this second light. I am going to select this light, the Spot Light, right-click, and Instance.

And what that means is when I have the second light, whatever I do to the first light will happen to the second, and it just saves me time. I don't have to go in and make changes to both. So I come to the Shader Tree, select the main Spot Light. And the color is not going to really be white; it's going to be a little warmer. And notice that it happens to both lights now, which is very nice. But what you're doing here is you are actually mixing the artificial light with the environment light. You can come back to the Items tab and if you want, right-click on the Spot Light, Change Type to a Point Light, and it will change both of those, because it's an Instance.

Perhaps you don't want the old-school beam. You want more just of the glow. The Point Light with Volumetrics applied will give you that look. And your placement and intensity might need to change just a little bit. So we will come back down to Point Light and Radiant Intensity is 0.2-- let's make it 0.1 perhaps, something like that. And that might give a little bit more realism than actually shooting out beams of light. The only problem with the Point Light is that they do kind of spread everywhere, so your placement has to be pretty exact, but it certainly gives you a foggy look in this nice environment.

So mixing lights in modo is really pretty easy, just the combination of Volumetrics with Point Lights or Directional Lights or Spot Lights as well as using the Probe Image and Global Illumination.

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