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Lighting environments for realism

From: MODO 501 Essential Training

Video: Lighting environments for realism

Adding realism to your scenes in modo is really pretty easy to do. You've seen how we can put in some very nice light types with reflective light, area lights, and key lights, but what if you want to give more of a daylight look to your scene? I've loaded up the AutoSet from the Chapter 6 folder, and this is an Alfa Romeo from the Luxology assets, and just a simple flat plane. Let's press the O key on a computer and go to Inactive Meshes and change this from Wireframe to Same as Active Mesh. That way everything is in full OpenGL.

Lighting environments for realism

Adding realism to your scenes in modo is really pretty easy to do. You've seen how we can put in some very nice light types with reflective light, area lights, and key lights, but what if you want to give more of a daylight look to your scene? I've loaded up the AutoSet from the Chapter 6 folder, and this is an Alfa Romeo from the Luxology assets, and just a simple flat plane. Let's press the O key on a computer and go to Inactive Meshes and change this from Wireframe to Same as Active Mesh. That way everything is in full OpenGL.

Well, in this scene we've got our default lights that we put in from the beginning. Let's take those out altogether, except for the Directional Light. So select them all. We'll right-click and delete. That leaves us with one directional light. We'll jump over to the Render and here you see that default directional light. Well, this thing kind of looks like daylight, but computer technology has advanced quite a bit in the last ten years, so you don't have to do things like this. And what's great about modo is that a lot of these presets are here for you.

So I'm going to expands this view, and I'm going to click and hold on this list and go to Environments. And here you'll see Indoor, Outdoor, and Studio. There are number different studio environments that we can put in, but in this case we are going to go to Outdoor. What these are high dynamic range images, or probe images. You can see that they're panoramic in a way. They're stretched-out images that have been created to create this environment for your scene, and when you double-click to add one, it'll wrap itself invisibly around the scene, and you can use that to cast light. Let's do that.

I'm going to double-click this desert right here, and that adds that environment to the scene; you'll see update. But it doesn't look like much is happening. The reason is we have to go to the Render and then under Global Illumination, turn on Indirect Illumination, and suddenly we have this look like where we are outside. The ground of course is pretty basic. Let's change that, and the way we're going to do that--let's make sure this one has a material right here. Here's the ground material.

We're going to come back to our Material presets and go, down all the way, and take a look at Stone, and there is Architectural, Brick, Paving. And we can just choose Asphalt and drag it right on. That way we get rid of that plain white backdrop that was there originally. What happened when we added that environment is this. We'll come up to the environment in the Shader tree.

We're going to open that up, and what it did was add this desert image as an environment color. Let me show you what that image looks like. I'll go to the Images tab, and we'll scroll down, and I'll double-click, and you'll see this open. That image is now wrapped around my scene. This image is also a probe image, a high dynamic range, and what that means is it has more data in it than your normal eye can see, and because of that, it's strong enough to actually light the scene. It's still little hot here, so I need to remember that in the Items list I could turn off this Directional Light.

Now we get that desert-sunset kind of look like we're hidden behind a mountain. Let me call up another one, just to see you what it looks like. You'll go back up to Environments > Outdoor, and let's choose a brighter one, like Daylight. And the only thing lighting the scene is that environment. And just that simply, you can very easily put together a very complex-looking scene without worrying about a lot of lights and lot of balancing. You got more city shots down here you can play with, and you can also buy a lot of these images from Luxology, and there is other third-party people that sell probe images as well that you can put in.

What's also great about this is that you have the reflections which help add to the realism. It's very subtle, but it fools your brain, that you're looking at something that's outside, because you pick up on those reflections. Try this out. Load some of the assets from the Layout tab in the Meshes categories, some of the presets, put some of those textures on the ground, use some of the presets for the outdoor probes, and see what you can come up with.

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This video is part of

Image for MODO 501 Essential Training
MODO 501 Essential Training

80 video lessons · 4569 viewers

Dan Ablan
Author

 
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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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