book

Aesthetic 3D Lighting

by Lee Lanier

March 2018

Intermediate to advanced

238 pages

6h 57m

English

Routledge

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Light and LightingInformation Communicated by LightTime of DayLight Sources and LocationMoodSidebar: Point-of-ViewsSidebar: Light ShadowingScientific Underpinnings of LightWavelength, Color, and TemperatureReflection, Transmission, and AbsorptionGoals of LightingStory CommunicationVisual ClarityReplication of Real World LocationsAesthetic Stylization
Review of Light CategoriesReview of Point Lighting0-Point Lighting1-Point Lighting2-Point Lighting2-Point Lighting in PortraitureRembrandt LightingLoop LightingSplit LightingButterfly LightingBroad and Short LightingHigh- and Low-key LightingSidebar: Hard and Soft Lighting3-Point Lighting3-Point Lighting with a Background LightOther Limited Light VariationsNaturalistic LightingStylistic LightingSidebar: A Note on Video Games and Stop Motion Animation
3D Lighting Pipelines and WorkflowCollecting Light InformationLighting Determination Examples3D Lighting StepsTesting 3D LightingSidebar: Working with Color CalibrationWorking with 3D LightsCommon 3D Light TypesSpot LightPoint LightDirectional LightAmbient LightArea LightSidebar: Using Light DecayCommon 3D Light PropertiesShadow Variations Among LightsShadow ApproachesSpecialized 3D Light TypesMeshCylindricalEnvironmentPhotometricVolumeRenderer Variations3D Light Interaction with ShadersCommon Shader PropertiesSidebar: Texture Overview
Emulating Natural Light SourcesSidebar: Source Models and TexturesMid-day SunSidebar: PBR OptionsSunsetCandle FlameDiffuse Window LightEmulating Artificial Light SourcesTable LampSidebar: Selective Shadow CastingNeon SignChristmas LightsLighting a Character with Different Light SourcesSidebar: Light and Shadow Linking

Choosing PBRReview of Common Rendering SystemsScanlineRay TracingOverview of PBR SystemsReview of Common PBR SystemsGIPhoton MappingFinal GatherRadiosityPoint CloudIrradiance CachePath Tracing / Monte Carlo Ray TracingIBLSky SystemsSidebar: Overview of Advanced 3D RenderersSidebar: Unbiased vs. Biased RenderingAn Introduction to Render Passes / AOVsSidebar: Lighting Render Passes
Lighting Locations and CharactersReproducing Lighting at Specific LocationsLocation #1: Elevator LandingLocation #2: Bus InteriorLocation #3: Outer SpaceDesigning Character LightingSidebar: Character Lighting PitfallsSidebar: Measuring Light in Stops
Stylistic PlanningGenerating a MoodCreating a Tribute to Other Art FormsCreating a Visually Unconventional LookEstablishing a Parallel World or TimelineStylized 3D ExamplesSidebar: Motion Blur and Other Post-Process Effects
Using Autodesk Maya with the V-Ray RendererSidebar: Reloading Missing Texture BitmapsSidebar: Gamma-Corrected ViewsSwitching to the Arnold RendererCreating a Window ReflectionAdjusting the Render QualitySidebar: Determining Values
Using Autodesk Maya with the Maya Software RendererSwitching to the V-Ray Renderer and Adding Fog
Using Autodesk Maya with the Maya Software RendererSwitching to the Arnold Renderer and Adding a Sky ShaderSidebar: Creating Skies in 3D
0-Point Lighting1-Point Lighting2-Point Lighting3-Point LightingAmbient LightArea LightBack LightBackground LightBounced LightColor BleedColor TemperatureButterfly LightingDepth Map ShadowDiffuseDirectional LightEnvironment LightEye LightFill LightFinal Gather (GI)Fresnel ReflectionGlamour LightingHair LightHard LightingHigh-keyIBL (Image-based Lighting)Key LightKicker (Light)Lighting RatioLight RayLoop LightingLow-keyMesh LightNaturalistic LightingPath Tracing (GI)PBR (Physically-Based Rendering)Photometric LightPhotonPhoton Mapping (GI)Point LightRadiosity (GI)Ray TracingRay Trace ShadowRefractionRembrandt LightingRendererRim LightShader (Material)Secondary Diffuse IlluminationSilhouette LightingSky SystemSoft LightingSpecularitySplit LightingSpot LightStylistic LightingUtility LightVolume Light

Content preview from Aesthetic 3D Lighting

Chapter 6: Reproducing Locations and Lighting Characters

Each location in the real world has unique properties which affect your lighting approach in 3D. This becomes more complicated when a character must also be lit. Once again, lighting in each situation can be made more smooth by proper planning.

This chapter includes the following critical information:

•Choosing between multiple light options for the same scene

•Determining when to use PBR lighting systems

•Designing lighting for characters and locations