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Hello, and welcome everyone to our next lesson.
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So,
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last time,
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one of the things that I explained is that the sky
is one
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of the most important light sources that we can
use,
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and it has a very,
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very big impact on on what we get and how our
seed will look like.
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So this time around,
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I want to go into another topic that I would say is
actually even more important
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than the Skylight because it's something that is
incredibly fundamental.
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To how we render images and how we perceive
the world. Not only as people in real life,
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but also as Gamers or digital artists,
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And what I would like to talk about now is
actually cameras and exposure in
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that sense because you remember that earlier in
the first lesson, I said that.
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Some of the relationships that we work with with
digital lighting,
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they are actually sort of like arbitrary.
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So they they are relative in many ways where we
can like the example that I
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gave was we can have values that are vastly
different from one another,
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but we could actually make them look the same
and that is a very
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interesting and super important concept to
understand.
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And I also think that Even though it's a little bit
like more on the technical side of things,
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it is actually something that will make your your
work stand out.
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If you understand these Concepts and in the
beginning,
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it might be a little bit more hard to follow through
with these ideas or two. You know,
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like constantly think about what might be right.
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But at some point it will become very natural and
you will just sort of like feel what's right to
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a certain degree because based on All the
experience that you have accumulated
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and that's actually something how it works for
me, these days.
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So like I have a lot of the numbers kind of like, in
my brain already. I do know,
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a lot of the relationships and I've worked
extensively with these systems.
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So for me,
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it's way more creative now and when I started
learning it was a bit
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more technical but when you have the technical
aspects down,
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it actually becomes something. That is
incredibly.
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Creative.
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So let's Jump Right In with that.
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And the first thing that I would like to show you
and that is very important to understand as
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something that I actually found here to serve as
a pretty
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good illustration here and if I just zoom in a bit
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so one of the big problems that exists within the
realm of lighting and digital
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Work is basically the difference of how the
human eye sees light,
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and how a camera sees light.
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And these things are fundamentally different
because the camera is basically just raw data.
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And and that is also how our eyes work, like our
eyes sample data.
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The big problem though is,
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is that like we have a brain and our brain does
something with that information.
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And that is also fairly interesting because when
you take photos with, like, a normal camera, like,
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you know,
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like a DSLR Just like a another like digital
camera like a small
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camera or like even a camera that uses old
school film.
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It looks vastly different than what you, for
example,
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can see on an iPhone because I found actually
has some smart software in the back.
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That does something so iPhone actually Alters
the images when you take them
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because what they want is that when you take
a picture with an iPhone,
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they want that the picture of looks sort of like
what you saw And so it matches like the memory
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that you have of when you took the pictures like
this Sunset it looked so good.
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And that is actually because again there is smart
Tech behind it.
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So it's sort of like a brain in a certain way and
the thing is that human
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eyes have a higher dynamic range than a camera
does.
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So like you can see here like a compact camera
is
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between five and seven stops of dynamic range.
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Dslrs can be high Sure.
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And then we have the human eye, which is
between 10 to 14 stops.
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However, we have the brain aspect.
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So, here, you can see the image on the left is
like,
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if you would focus your eyes on the horizon line
in the sky,
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that is kind of like what you would get.
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And if you would like, focus on the foreground,
and by the way, these also match,
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like what you would get with photography,
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right? So like you either like, expose the image
for like so that the sky,
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Has nice colors at nice values of usually end up
with something, dark here and a sunset,
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or you like exposed for the foreground and then
the back, we'll just like blow out completely.
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So the thing is now, our eyes constantly adjust
for the different values. And then our brain,
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actually creates the image on the right,
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which is sort of like very balanced and very
natural.
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And the problem is that cameras just don't do
that.
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So,
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like when when you work in,
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A cinematic way.
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Then like you have to make a decision if you like
want to work really more, like,
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how a camera doesn't work or if you want to
work more with like,
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how the eye perceives things and we can use
these light
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units that Mentioned in the Exile and the video
before,
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where like we can use actual physicalized units.
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And then if we use like proper camera, exposure
settings and stuff like that,
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we actually run into these issues.
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And so some games decide to narrow the range
and
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all these kind of things to bring it more together.
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Like for example when you have like a
competitive
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shooter and you kind of want to be inside,
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and See the outside properly or you want to be
outside and you want to see the inside properly.
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So you can shoot people quickly and make
decisions because you have good visibility.
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So, these games usually work with like a
compressed,
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or condensed range and to sort of like illustrate.
What that means.
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I'm going to Draw Something Beautiful. Again,
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as I like imagine,
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like,
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over here, we have like super pitch-black.
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And then over here,
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we have like the It is thing that you can imagine
and that does
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not even have to be like the sunlight. This can be
like,
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I don't know,
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like some weird like Star exploding and space
such as
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creating the brightest flare that you like ever
seen.
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So like now the thing is, is that like our human
eyes then basically like see,
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let's make it like this.
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Let's say like on the left, there is like pure black,
right?
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So let's say like, somewhere over here is Maybe
Like a candle.
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So candle light is very dark. It's not super bright.
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and then,
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Let's say over here,
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we have bright sunlight.
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So our eyes now they can sort of like see
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this range really well.
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and a camera can sort of like, only see like,
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This range really well.
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And then what that means is that if we, because
like, we can move our camera exposure on this,
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like, scale,
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if we like, in this range. So we see the candle,
nice,
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it means that everything that is outside here in
this basically part,
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it will blow out and become white.
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The other way around is if we would expose for
this site here so we can see the sunlight nicely.
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Everything that is like, for example,
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Inside a building over here,
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where the candle is it will be almost pitch black.
Like we will not see it with the camera,
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but since the eyes constantly adjust, and then
the brain computes a final image,
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the human eye does not necessarily run into this
problem.
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And this is very, very important to understand.
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And again,
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like, depending on what type of content you
make,
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you can shrink these ranges.
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So you can basically say like, well, I will only
make the Sun. So Right that it's over here.
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So then these both fit into the same range and of
course
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you will create an image that is a bit more flat.
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So there is like nothing really that you can do
against that if you do that.
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But it's like a conscious decision that when you
work with camera exposure and
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one of the things that I also want to say before
we like move on with this,
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is that
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Nailing your exposure and your value balance is
probably one of the most important things when
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working with lighting like at all like it's usually
when I look at like student work
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for example or other other people's work, we're
like they're less experienced,
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oftentimes I see.
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Of course, for example, problems like colors
being all over the place. That's,
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that's also a very common problem,
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but the biggest problem that I usually see is that
the values don't feel, right,
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that they feel imbalanced,
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and they in turn, don't create a super pleasing
image. Because like,
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it's not always about realism often, it's just
really, like, what feels good.
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Luckily, though,
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there are a bunch of Helpers that can actually
help us to nail these things down because like,
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first of all,
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a lot of this stuff with the photography elements
is replicated in game engines engines as well.
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So that means that because we look into the
virtual world with the camera.
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There's a lot of knowledge that is around there in
the world,
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regarding how cameras work and how people
have been taking photographs for like years.
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And we can Can leverage that knowledge and
that is actually very fun to do.
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It's very exciting and also it helps us to create
something more like pleasing in that sense.
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So here I have a scene which is completely dark
right now and if you want to work with this to
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right now,
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like I chose one of the samples so you can like
just go in here samples and scroll down.
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And it is the archivist interior that I chose.
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There are a few tiny little modifications that
I made.
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So the project runs on r-tx. So I like turn these
things off.
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I removed all the lights that were in the scene as
well.
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So that is something,
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you know, just so to be aware of that.
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I did a little bit of cleanup here
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and now, the first thing that I want to do is I want
to start with my sky.
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And the way that I do my sky is if I'm using a
static Sky,
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I always go to the engine content folder. And in
case you don't see that you can go to Settings,
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and you can go to show engine content.
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And then in the surge, I just type sphere.
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And somewhere here is the editors fear and we
did that in the last session as well.
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I use this one because it has the perfect UVS for
for what I need.
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So this is a good thing and then
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I have my sky material again like this.
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This is just like the setup that I chose for now.
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So,
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before we actually apply that quickly, let's make
sure.
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Excuse me,
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that we have all the Shadows turned off here.
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Okay, great.
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And then we apply this one and suddenly
everything goes, boom,
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obviously.
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So we have like our huge light source in here
now and this is one of the
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great things with Lumen it's ampuls emissive
materials, completely.
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So like you do get a lot of lighting from it and I
really like this here where it can actually see
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how these little pockets of light go through it
and also go into like the reflections here.
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Giving you some nice soft Reflections from the
trees and stuff really Really beautiful.
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I like this a lot.
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So nevertheless though,
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we need to blow this thing up because it's going
to be our Sky though.
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So I'm going to do fifteen thousand with the
scale locked.
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And now we actually have this
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and now you can see that.
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Kind of like not really a lot is happening besides
this just blowing out completely,
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right?
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So now, one of the things that we need to do is
we need to sort of find a balance for this,
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right?
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And there's a bunch of ways that we can do this.
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so,
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if we look at the texture,
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so I would argue, we can apply some exposure
bias,
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your so I would argue that this is somewhat a
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Well maybe like 3:00 or something like it's
definitely afternoon like it's
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not like midday because you can also like if we
see the Shadows,
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they're not super long but then again they're
also not like 12 oclock Shadows.
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So this is potentially like maybe 3:00 so we
know. Okay,
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this is like early early afternoon here.
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So,
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let's keep that in mind.
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And now,
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if I just find my
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Window again here.
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with the
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exposure stuff.
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So here is a very interesting thing that you can
find
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if you search for orders of magnitude luminance.
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And this is very,
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very interesting because what this basically is is
someone went out into nature
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and measured the brightness which is here like
Candela per square meter or
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what is this like
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Yeah, it's like I don't actually know if it's like kilo
or like whatever.
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But so basically these are the CD values so this
is like 10,000.
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And here we have the small values.
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So this is the luminance for a night sky, for
example,
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which is like incredibly dark.
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And here, you can already see what I described
before that.
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The range has between certain things are
incredibly huge.
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Alright,
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so here, for example, we can see that a white
illuminated cloud in like full day.
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Time basically is 10,000 Candela per square
meter.
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00:16:10,600 --> 00:16:18,100
Sometimes you will see a value called nits and
gnats is sort of like the new value like
234
00:16:18,100 --> 00:16:22,500
or did they like how its name today? Like a lot
of like this place and stuff like that.
235
00:16:22,700 --> 00:16:24,900
It used to be Candela per square meter but now
they
236
00:16:24,900 --> 00:16:28,400
call it knits but the actual value is there the
same.
237
00:16:28,600 --> 00:16:32,000
Like if you calibrate your display to like 120
Candela,
238
00:16:32,600 --> 00:16:34,800
it's the same as like 120 minutes.
239
00:16:35,400 --> 00:16:38,300
So sometimes you just see these different
names but like
240
00:16:38,300 --> 00:16:40,800
Candela per square meter in its is this Same
thing.
241
00:16:41,500 --> 00:16:45,100
So now we basically have a number here, right?
242
00:16:46,200 --> 00:16:51,500
And one interesting thing as well, is that I told
you guys for example,
243
00:16:51,500 --> 00:16:51,900
that
244
00:16:53,000 --> 00:16:59,400
The sunlight in like, super strong daytime, it's it
can be like 120,000 Luxe.
245
00:17:00,100 --> 00:17:08,300
It can also be like 85 or 50 thousand depending
on cloud coverage, like how the atmosphere is,
246
00:17:08,400 --> 00:17:10,500
there's a lot of factors to this, right?
247
00:17:10,800 --> 00:17:12,800
So like the idea here,
248
00:17:12,800 --> 00:17:17,000
is that we create a pleasing balance between our
sky and
249
00:17:17,000 --> 00:17:22,099
our son for a setting that kind of fits this time of
day.
250
00:17:22,300 --> 00:17:25,500
Day and there's a bunch of different ways of
doing this.
251
00:17:25,500 --> 00:17:31,500
So the first way is to basically start with
balancing the sky,
252
00:17:32,800 --> 00:17:33,700
and for that,
253
00:17:33,700 --> 00:17:39,100
I'm going to just fly out and we can see that our
Auto exposure is adjusting right now,
254
00:17:39,100 --> 00:17:41,800
because if we go to the Post volume,
255
00:17:43,500 --> 00:17:47,600
We actually have nothing set here. So what you
can see here per default,
256
00:17:47,600 --> 00:17:50,900
we are an auto exposure and some people really
disliked it.
257
00:17:50,900 --> 00:17:55,600
But I'm going to show you how we can tame this
and actually have a do what we want
258
00:17:55,800 --> 00:18:02,900
because I honestly believe that most people that
Really struggle with auto exposure.
259
00:18:03,300 --> 00:18:06,600
They don't really know the right tools on how to
actually
260
00:18:06,600 --> 00:18:08,900
balance it out in a way that it that it really works.
261
00:18:08,900 --> 00:18:11,300
And I'm also going to explain to you why Auto
exposure
262
00:18:11,300 --> 00:18:15,600
is actually a great thing if you can control it
correctly.
263
00:18:16,500 --> 00:18:19,300
So for now I'm keeping it like this.
264
00:18:19,700 --> 00:18:25,200
And also you can see that the sky is right now,
like the emissive value is so bright.
265
00:18:25,500 --> 00:18:26,000
Ted,
266
00:18:27,000 --> 00:18:27,500
of course,
267
00:18:27,500 --> 00:18:32,300
everything becomes like really black Back but
also we don't really have working lighting.
268
00:18:32,300 --> 00:18:34,400
So let's let's consider that too.
269
00:18:34,900 --> 00:18:40,000
But for now so what we want to do is we kind of
want to look at
270
00:18:40,000 --> 00:18:44,800
these clouds here and then find a spot where
and this is up.
271
00:18:44,800 --> 00:18:50,700
We also like I have to mention there's like some
artistic freedom in this because like,
272
00:18:50,700 --> 00:18:54,700
we can't actually because like, this is a photo,
right?
273
00:18:54,700 --> 00:18:58,300
Like we don't know what the brightness actually
was of these clouds,
274
00:18:58,600 --> 00:19:03,700
but we can sort of like Derive something and be
like smart about it so let's do that.
275
00:19:04,600 --> 00:19:07,000
The first thing that we're going to do is we're
going to go to show
276
00:19:07,500 --> 00:19:11,200
and then we go to visualize and then we're going
to go to HDR.
277
00:19:12,600 --> 00:19:15,800
And this thing here, it might be confusing,
278
00:19:15,900 --> 00:19:22,700
but it's super cool and very important because it
helps us a lot with like,
279
00:19:23,800 --> 00:19:28,500
sort of, controlling our exposure, and measuring
different values.
280
00:19:28,800 --> 00:19:32,000
And I'm not going to give you guys a break down
of this right now.
281
00:19:32,200 --> 00:19:32,700
However,
282
00:19:32,700 --> 00:19:35,800
what I will say is we will look into all of this on
the
283
00:19:35,800 --> 00:19:39,000
Fly and we will learn how to use and interpret it.
284
00:19:39,700 --> 00:19:41,700
So right away that you can see here.
285
00:19:42,400 --> 00:19:46,100
Have this little square and these numbers below
here,
286
00:19:46,100 --> 00:19:49,000
they actually measure just what's inside that
square.
287
00:19:49,400 --> 00:19:53,500
Sadly, I don't know any way to make the square
and you bigger.
288
00:19:53,500 --> 00:19:57,200
So like I don't know if that is like a possibility,
289
00:19:57,200 --> 00:20:01,900
somehow to increase the area on where where
things get measured.
290
00:20:02,700 --> 00:20:03,300
So
291
00:20:04,400 --> 00:20:04,800
we'll,
292
00:20:05,600 --> 00:20:08,900
we'll have to work with this because like, if you
can increase this,
293
00:20:08,900 --> 00:20:11,800
you can get a bigger average of something that
you measure.
294
00:20:12,300 --> 00:20:17,000
But then again, so like here we can see the nits
which is the same as the Candela per M2 here.
295
00:20:17,000 --> 00:20:21,500
We can see the locks which is a totally different
way of calculating this and then
296
00:20:21,500 --> 00:20:28,600
we can also see what EV 100 this is and we'll
also going to get more into this.
297
00:20:29,500 --> 00:20:32,200
So if we remember that,
298
00:20:32,200 --> 00:20:33,700
when we look at our
299
00:20:35,600 --> 00:20:38,300
Data here is that, okay,
300
00:20:38,400 --> 00:20:39,800
white, illuminated clout.
301
00:20:40,000 --> 00:20:45,300
So that is like 10,000 and then we also have
around 7,000 for the average, clear sky.
302
00:20:45,700 --> 00:20:47,900
So the thing is this,
303
00:20:48,100 --> 00:20:51,200
this is not an average clear sky even though
there is some clear
304
00:20:51,200 --> 00:20:58,200
sky but we will probably not really reach that
necessarily.
305
00:20:59,400 --> 00:21:03,900
So one thing that I also think it's important is
that
306
00:21:05,000 --> 00:21:05,500
this
307
00:21:06,600 --> 00:21:11,700
varies a lot between here and here. So like
you can see, this is like an average white cloud.
308
00:21:12,000 --> 00:21:16,000
And we can read here that is like 18,000
309
00:21:17,300 --> 00:21:21,800
And we can also like read over here where we
are in 7,000.
310
00:21:22,100 --> 00:21:24,900
So why is that even though they're both white.
311
00:21:25,000 --> 00:21:25,700
So the thing is,
312
00:21:25,900 --> 00:21:28,000
this one here, here's the sun disk.
313
00:21:28,100 --> 00:21:30,700
So this one is incredibly close to the sun,
314
00:21:30,800 --> 00:21:33,400
right? So the values are super, super high,
315
00:21:34,100 --> 00:21:37,700
and if I would just apply some exposure
compensation here,
316
00:21:38,100 --> 00:21:43,700
you can see that the values read the same. So
the data is always the same, right?
317
00:21:43,700 --> 00:21:45,600
We're just exposing the image differently,
318
00:21:45,900 --> 00:21:49,600
so you can see that this Is still even though
I made the whole image darker,
319
00:21:49,600 --> 00:21:51,700
this is still way brighter than this one.
320
00:21:52,100 --> 00:21:56,500
So here we have to make a smart decision of
where
321
00:21:56,500 --> 00:22:00,300
are we actually going to pick our like 10,000,
right?
322
00:22:01,100 --> 00:22:04,000
And I would argue that, it's not here,
323
00:22:04,800 --> 00:22:07,300
like I think like this is the wrong value here.
324
00:22:08,000 --> 00:22:10,400
I think that this is actually
325
00:22:11,500 --> 00:22:15,200
a more like working value here and we can see
where like,
326
00:22:15,200 --> 00:22:17,000
an eight thousand seven thousand nine,
327
00:22:17,100 --> 00:22:17,500
Red,
328
00:22:17,700 --> 00:22:22,000
which means that over here, we're like an 11 12
on this part.
329
00:22:22,600 --> 00:22:27,500
So now what I'm going to say is actually I think
that this is good.
330
00:22:28,300 --> 00:22:34,800
I think that's great because the 10,000 is also for
like more like a midday.
331
00:22:35,000 --> 00:22:37,700
So in the afternoon it does get slightly darker.
332
00:22:37,700 --> 00:22:40,700
Which means that even though we have a white
cloud over here,
333
00:22:41,100 --> 00:22:44,300
you can see that we are more like on for.
334
00:22:45,800 --> 00:22:47,100
5,000.
335
00:22:47,600 --> 00:22:53,700
And that means that we will not reach this like
super, super high, daytime intensity,
336
00:22:53,900 --> 00:22:55,700
because that's not what it is anymore.
337
00:22:55,900 --> 00:22:57,100
It is an afternoon.
338
00:22:57,500 --> 00:23:03,600
So we will not have the same intensities as we
would have on a midday and that will also reflect
339
00:23:03,600 --> 00:23:09,200
in how much power we will give to the sunlight if
we would like to change this, however,
340
00:23:09,300 --> 00:23:10,400
like if we would say,
341
00:23:10,400 --> 00:23:11,300
like okay
342
00:23:12,600 --> 00:23:15,300
this let's make this midday right?
343
00:23:15,600 --> 00:23:21,100
So we would probably go like to somewhere like
here where we can see like okay White Cloud,
344
00:23:21,100 --> 00:23:28,600
perfect, but we're only on 4000 and the way to
change this is to actually open our Sky material.
345
00:23:29,700 --> 00:23:35,300
And then we just crank the intensity and some
people might look at this value and say like
346
00:23:36,400 --> 00:23:43,300
that is that is a huge number that feels very
unintuitive and initially, I would say like yeah,
347
00:23:43,300 --> 00:23:44,000
I agree,
348
00:23:44,200 --> 00:23:46,600
but this is one of the important things to
understand
349
00:23:46,600 --> 00:23:48,900
when you work with more physicalized values,
350
00:23:49,500 --> 00:23:55,900
the values can be very large because that's
really how it is in real life, too.
351
00:23:56,400 --> 00:23:59,900
So, don't be afraid of large values. It's going to
be Lately fine.
352
00:24:00,300 --> 00:24:01,800
It's going to be no problem with this.
353
00:24:02,300 --> 00:24:05,100
So, let's assume you want to hit something
different here.
354
00:24:05,200 --> 00:24:05,600
So,
355
00:24:05,600 --> 00:24:08,600
I'm just gonna go like with 5,000
356
00:24:09,800 --> 00:24:10,800
And we can see,
357
00:24:11,100 --> 00:24:16,000
we're on 6000. So maybe let's, let's, let's go like
nuts. Let's do 12,000.
358
00:24:17,500 --> 00:24:19,100
And that was way too much.
359
00:24:19,900 --> 00:24:21,900
So let's go with 8,000
360
00:24:23,500 --> 00:24:25,200
And now we are on.
361
00:24:25,600 --> 00:24:27,000
Is that 10,000?
362
00:24:27,100 --> 00:24:29,100
Is that a zero? Yeah, that's a zero.
363
00:24:29,300 --> 00:24:33,600
Okay, so now we're on 10,900. So let's go with
7500.
364
00:24:35,700 --> 00:24:36,200
Okay,
365
00:24:36,500 --> 00:24:41,300
so now we have the sky balanced out and you
can see it looks exactly the same as before,
366
00:24:41,500 --> 00:24:44,300
and that is because our Auto exposure is
constantly,
367
00:24:44,300 --> 00:24:49,400
trying to adjust to an overall pleasing value for
this image.
368
00:24:49,700 --> 00:24:53,000
So now it gets brighter because I'm looking at it
dark tree and
369
00:24:53,000 --> 00:24:55,500
now it gets darker because I'm looking at the
bright Sun.
370
00:24:55,800 --> 00:24:59,800
So like the auto exposure is constantly following
along and the actual
371
00:24:59,800 --> 00:25:03,300
value that I'm ciosing here right now doesn't
really matter.
372
00:25:04,000 --> 00:25:12,000
So this would be what you could choose if you
would then want to like go for a stronger
373
00:25:12,000 --> 00:25:19,300
contrast between the Sun and the sky but I'm
going to go back to my 2,500 here
374
00:25:19,600 --> 00:25:23,200
and you can see it got darker of horse and now
the exposure adjusts again.
375
00:25:23,400 --> 00:25:30,700
So I'm going to say hey I'm actually quite happy
with being it around here with these values.
376
00:25:30,700 --> 00:25:35,000
So here we have like the 11,000 in this At 10,000
here.
377
00:25:35,000 --> 00:25:40,500
We have like five thousand because again
midday so I'm kind of happy with this. All right.
378
00:25:41,900 --> 00:25:49,600
So now what we can do is we like or let's do the
first thing actually. Let's go to our skylight.
379
00:25:52,000 --> 00:25:57,600
And actually capture this data because right now
you can see we don't really have any lighting.
380
00:25:58,600 --> 00:26:02,300
So I'm just going to go to visualize for now turn
this off
381
00:26:02,600 --> 00:26:05,800
and the Skylight even though it is set to
movable,
382
00:26:06,700 --> 00:26:10,100
it doesn't automatically capture these textured
changes.
383
00:26:10,400 --> 00:26:12,600
And if we turn on real-time capture,
384
00:26:12,600 --> 00:26:16,700
it does not work with this guy like this because
real-time capture is built
385
00:26:16,700 --> 00:26:21,300
for the atmospheric system for constantly
updating the skyline.
386
00:26:21,800 --> 00:26:26,400
What we need to do, when we like, altered these
values to actually see what has been happening,
387
00:26:26,800 --> 00:26:29,800
we need to old-school. Go down here and hit
recapture.
388
00:26:30,300 --> 00:26:32,500
And now you can see we have something
389
00:26:33,600 --> 00:26:37,200
and what you can also see is it kind of like some
of these
390
00:26:37,200 --> 00:26:41,000
colors start like matching up with what we see
here.
391
00:26:41,200 --> 00:26:45,200
So if we look at the shadow side here and we
look at this shed outside,
392
00:26:45,400 --> 00:26:51,000
we're actually starting to get some values that
seem like a rather close which is
393
00:26:51,000 --> 00:26:55,100
a really nice this thing and now you can see the
thing that I was saying before,
394
00:26:55,500 --> 00:27:02,200
like the inside is completely dark but Ever since I
have Auto exposure, turned on.
395
00:27:02,200 --> 00:27:03,700
What happens if we go in here?
396
00:27:06,600 --> 00:27:10,500
So now it actually starts exposing for this.
397
00:27:11,700 --> 00:27:16,600
I will get some really nice stuff and this might be
a little bit crazy which is
398
00:27:16,600 --> 00:27:20,900
why again we need to sort of tell the auto
exposure what to do as well.
399
00:27:21,000 --> 00:27:26,900
Because right now it might be overdoing it and
we also get this and one quick thing
400
00:27:26,900 --> 00:27:30,500
that I'm going to do is because I actually
changed the bloom settings so let's
401
00:27:32,800 --> 00:27:33,800
Revert. This.
402
00:27:36,100 --> 00:27:38,700
And it is very intense.
403
00:27:39,800 --> 00:27:43,100
So we can either change the intensity,
404
00:27:43,100 --> 00:27:46,800
or what we actually should do is we should
change the threshold
405
00:27:47,000 --> 00:27:52,500
because the threshold is not meant for values.
This High,
406
00:27:53,100 --> 00:27:56,200
the threshold here is actually set for
non-physical values.
407
00:27:56,600 --> 00:28:00,000
So what we need to do is you see, even eight
doesn't do it.
408
00:28:00,800 --> 00:28:02,900
So, what happens if I do 5,000?
409
00:28:03,100 --> 00:28:05,700
So now we can see since we're using physical
value.
410
00:28:05,800 --> 00:28:06,100
Use,
411
00:28:06,200 --> 00:28:12,100
we need to tell it to not bloom like crazy with this
incredibly high value that we have from the
412
00:28:12,100 --> 00:28:18,700
sky right now and per default. Again, these
values are tweaked for non-physical values,
413
00:28:19,000 --> 00:28:21,900
so I'm just going to try and find something that
works here,
414
00:28:22,700 --> 00:28:23,800
and I think,
415
00:28:26,500 --> 00:28:29,600
We could actually do maybe like 20,000.
416
00:28:30,900 --> 00:28:31,400
oops,
417
00:28:32,800 --> 00:28:34,600
so we get a little bit of Bloom still
418
00:28:36,600 --> 00:28:37,600
Let's do any team
419
00:28:39,900 --> 00:28:42,400
but yeah that's secondary for now so we can
see.
420
00:28:42,400 --> 00:28:44,800
Now we have this kind of like working and
there's like
421
00:28:44,800 --> 00:28:48,100
some lighting in sight but again it is not yet
beautiful.
422
00:28:48,800 --> 00:28:54,100
So this is the first step of getting something to
work and I think
423
00:28:54,100 --> 00:28:57,700
this is kind of like a really nice way of setting it
up.
424
00:28:57,900 --> 00:29:01,200
So we're going to close off with this lesson here
and
425
00:29:01,200 --> 00:29:04,000
in the next lesson we're going to bring in the
sun,
426
00:29:04,200 --> 00:29:08,800
we gonna start actually Getting the exposure
and I'm going to show you a few tricks of
427
00:29:08,800 --> 00:29:13,300
how to balance these things out. So thank you
so much for watching and see you37982
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