…When we're lighting a scene, it's important…to get all of the contributing lights…in, before we can really judge the nature of the light in a scene.…I'm going to make this a dusk shot because I want the opportunity to have long,…low light beams, come through those windows and…slink across the floor, and up the wall.…In addition, I find that I like the look of a dusk shot, because I get a…warmth in the light that can contrast with…deep shadows or any other cool or sparkly finishes.…And I've got good tile on the left side wall and the terrazzo.…
And so, some powerful light beams on there could look really nice.…I'll go into my perspective view, but before I do that,…I'll get out of Viewport 2.0 and back to the default quality.…At some point, we can exceed whatever graphics…card we have and, it simply won't display nicely.…I've got enough lights in this scene.…And, if I back out into a perspective and see the…whole building, I'm trying to see everything overlayed in Viewport 2.0.…And it'll just choke, and so I'm making the choice here to simply go back to a…
Author
Released
4/8/2014- Creating and applying materials with luster and shine
- Creating a mental ray Daylight system
- Casting light from interior fixtures
- Lighting with sky portals
- Creating an ambient occlusion rendering pass
- Fine-tuning Final Gather and lighting
- Compositing in Nuke and After Effects
- Adding depth of field, highlights, and glow
Skill Level Intermediate
Duration
Views
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Introduction
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Welcome37s
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Using the exercise files1m 59s
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1. Creating and Applying Materials
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Adding luster to wood5m 24s
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2. Lighting in Direct Sunlight
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3. Lighting Night and Dusk Shots
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4. Lighting with Sky Portals
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5. Lighting and Rendering Additional Passes for Compositing
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6. Compositing and Post Effects in Nuke
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Adding depth of field4m 27s
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7. Compositing and Post Effects in After Effects
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Adding depth of field2m 49s
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Conclusion
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Next steps49s
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Video: Creating a low sun with a directional light