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Now it all comes down to lighting and
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Most of the time when you need to light a character
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It's recommended to use a three-point lighting where you basically cast
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One light from the side, which is a key light. It's the strongest light and then softer and
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A little bit weaker light from the other side to fill in the shadows a little bit
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So you don't have so much contrast in there and then you add one light
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To the back to create something called rim light where you can light the edges of the objects from behind
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So that's like the most common and standard model and it's recommended for beginners and there's one rule there
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That you need to place your key light from the top since if you are lighting for example a face
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Lighting something from the bottom might create weird shadows
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You know, the character might end up looking a little bit sinister or something
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But sometimes that's what you want to achieve
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You know if you are lighting a villain or you're lighting a dramatic scene
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So you need to think about these little things most often
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I would just take some area lights and place them in a way
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I've just described but here I want to do something a little bit different because first of all, we don't have a face here
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So we can afford to do a little bit more dramatic lighting and at the same time
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We have this shining wisp. We have the crystal which I want to light up a little bit
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So this should end up looking a little bit mysterious
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So I'm good by using a few of the point lights to light the character and I want the strongest light to be coming
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Up from this wisp because there is our point of interest for this scene
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If you look at it like this where the character is
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Reaching with his hand towards something you are creating some kind of story there some kind of conflict in the image
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It's good to support that story within the image with the light as well
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So so first of all while still in the render settings we can go on and enable some options
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So the Eevee preview looks a little bit better. So I will check the ambient occlusion
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You can see these are a little bit stronger shadows and cavities here and there we can enable bloom
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so the wisps really start to shine and
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We already enabled screen space reflections
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So we are good to go. There's no need to like create lighting probes and create indirect lighting here
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This is not for rendering purposes. This is just to make
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Preview a little bit better. So let's place the cursor on a hand here shift right click there
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Shift a and I will find the light and point light here and we'll move its position a little bit. So
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Let's rotate like this and move it towards the wisp a little bit
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So press G and then move it right here and from the top as well
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So it's kind of a in the middle between the hand and wisp
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So right now I want to modify the intensity of the light
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so going to the object data properties and let's ramp this up to something like
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150 and
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To actually see what's going on in the scene will of course need to go here and for the viewport shading
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turn on the scene lights and
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Scene world. So this is our lighting setup and I have a little bit of a problem here
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whenever I enable scene world and
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Scene light the shadow start blinking like this in my Eevee material preview
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so what I used to do is to just go to the shadow settings and
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disable soft shadows, so it's not blinking all the time and
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Right now we can focus on this light. So this is the main idea. It really doesn't matter
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Which direction we are looking at this?
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We just created the light that focuses our
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Attention here on the hand and on the wisp it creates these
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Shadows that are really sharp from that point light. Maybe we can modify this a little bit and make it it
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Even a little bit sharper. So let's go something like 0.15
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So it's even more bright and maybe move it more towards the wisp
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So this way we are really supporting the idea that these two creatures are
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Meeting here are interacting here or something
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and now we can modify the color of the light since the wisp are a little bit blue and greenish and
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The rim color is really green here. Let's pick up the green light color. It's the one right here
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We have the palette open from the chapter before so let's just click the color eyedropper tool and pick up this
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color, so
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This is starting to look a little bit more blended in but there are still a lot of work to do
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when it comes to lights and the first step to blend the scene a little bit more because this is a
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Little bit too green. There's a little bit too yellow going on here
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And I want to complement that with some colder light
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But at the same time blend
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The lights and the shadows a little bit more and the great way to do that is to use the world lighting
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So I will switch here to the world settings and we will use this violet color here for the world light. So
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let's pick up our eyedropper and
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sample the light here and you can see how this is looking much better now and
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The color is not so yellow right now, it's not that green you can see those nice blue and violet shadows there
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so this is all together much better blended in and we are ready now to
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create some supporting lighting some fill lights some rim light and
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Back light on the background there
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but before I do I want to create a camera here because that's a really important thing when you're trying to finish up the scene and
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Finish the lighting you really need to know what angle you have there was the pose
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So we have the pose figured out, but we don't know how the camera looks. So let's add the camera right now
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I will press shift a and add a camera like this and
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We just created some camera on the position of the cursor and it's oriented in a way
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The viewport was oriented when we created it and right now we can reset its position and rotation and it's very easy to do
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So let's just press alt R and you can see this is the default rotation of the camera
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It's looking down and now let's press alt G to reset its position
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So it's right here in the middle of the scene and we can now bring it up
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So let's press G and Z and move this up. So it's
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Approximately on the eye level and we can
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Place it a little bit more precise. So it's two meters high up and
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Then let's start moving it on the y-axis here
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So you can move it either by entering minus 10 meters in the Y or pressing G than Y, you know and move it here
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So I'm looking to something like this, but I like round numbers
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So I will enter minus 10 and now let's press our X and rotate 90 degrees
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So this is our camera setup and let's press 0 on the numpad
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To look from the camera and the last step is just to go to the output settings and
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Adjust resolution. I want the portrait aspect ratio here for this kind of character. For example for Instagram
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posts I use
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1080 times
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1350
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so you can use something similar and now let's select the armature and
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Since we parented the wisp we can now rotate the armature to find better placement for the character
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so R Z and
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Rotate it like this
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That we saw on the reference render and we can double check by loading the render here
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So you can see this side of the mask is almost in the center of the view. So
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We
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Have something similar going on here. Maybe we can rotate this a little bit less something like this
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So this will be our final composition for this
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We can cross check this and I have to say I really like
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This one better. You can see it's not the same
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You know, if you model something organic like this every time the result might be a little bit different
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So if you have a different result you can either go on and
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Create it once again or change your approach or you can tweak it
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More and more and more until you get your result and that's the way how all of the great art is done
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you just need to do a few rounds of tweaks then rest a little bit and return to your artwork and
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Work on it some more but you know
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Don't overdo it like three or four
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Iterations should be enough to land on something you like if you go more you might get caught in that vicious cycle
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You know of never being satisfied with the artwork and always finding something that just doesn't look right
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So yeah, as always the answer is somewhere in the middle so we can now finish our lighting and there's one little thing
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I forgot to do and that's to parent this point light to the armature as well. So
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You can see it didn't travel
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With the armature. So let's look from the top view and let's move it here. So it better
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Matches our original intent
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Which was to create some kind of a drama with the light there and as I mentioned before
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We will need some rim light
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Especially here when we have a dark background and dark branches
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We'll need to separate them from the background a little bit more. So with this point light selected
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let's just duplicate it by pressing shift D and moving it up and
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Now we can look from the top and move it here behind the branches
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And we can make it a little bit larger so go to the light settings here and let's
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Ramp up the radius to something like one. So it gives a little bit more soft shadows and
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Right here as we move the light you can see
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The light rim it creates here so that's what we are going for and
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This will be really the large difference when we render out the scene
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That the light is present there and it sheds some lighting from the other side as well
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But to be able to separate this character from the background a little bit more
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I always like to do some backlight to shine some light on the character as well to create some kind of like an aura or
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halo behind the character and
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That's what I want to do right here
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So I will press shift s and snap the cursor to world origin and let's create a real light
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For a change, so I will go light
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Area and let's move it behind the character. Let's press G and Y to move it behind the character
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Something like this maybe so it sits in the middle between the character and the background and let's move it up a notch so
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Something like here, we don't want to go too high up and you will see why and now I will rotate this 45 degrees
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So press R X 45
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So we are shining with this light on the background here
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And if we would go to up you can see this angle here since this is area light
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it would catch the character here or
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The background underneath him as well and we'll need to blend this light nicely
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With this lighting in the front, so
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That's why I don't want to go too high up
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so let's settle on something like three meters on a Z and four on Y a little bit closer to the character and
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Let's set the size to something larger like two meters and we'll add some strength obviously
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So I used 300 watts for this and if we look from the front that might be enough here
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But I want to use a little bit more blue color so it blends with that world lighting a little bit more
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So let's pick up the color eyedropper tool and pick this cyan color
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Okay, I really like this so far so you can see how by shining on the background we are separating the model
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from the background a little bit more and
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Now these dark branches are much better separated from the background much better than before
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And now we'll just create some ambience by adding some point lights to these other wisps as well
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They're not that important as this one
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So this will be a little bit softer light. So let's look from the top press shift D and move the light here
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I'm using shift D. So this is not linked duplicate
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So when I modify this it will not happen for the other light as well. So let's modify this to 50 watts
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And let's move it down a little bit
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something
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Like this
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so it kind of
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makes a
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Little bit of a light on the character as well from this side if you press H to hide you can see that we made
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These shadows a little bit softer, but don't worry. They will be there
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We are just blending this a little bit more and we can of course make it a little bit larger
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We want the soft light here
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We want just to fill so we don't create any sharp shadows
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And now let me look from the top and here we can afford to use the old
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Duplicate since we want these two lights for these two is to be same
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so all D and move one here as well a little bit up and
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If we now compare the result, I will hide this you can see how we are additionally creating a little bit of a rim here
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And
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And defining that character a little bit more with those gradients and filling those shadows
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And now there's one last light I want to use and I want to light up this talisman a little bit
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So let's shift right-click there create a point light and let's set strength for this one to 50 as well
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And we want this pink light from here. That's the last color from this palette. So
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Let's pick up the eyedropper and
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Sample this light so you can see how this will create a little bit of the additional interest here
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A little bit of that color and some of those nice gradients on the character and give this a little bit more story
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Where there's actually something happening with the talisman that it's active that maybe there's some kind of magic happening
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So let's finish this up and I want to move this point light
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Inside of the talisman, so let's press G and move it inside a little bit
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Here as well
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So you can see the origin is here in the middle and now let's reduce the size a little bit so
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Something like 0.1
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So it looks like it shines a little bit brighter and we already enabled subsurface scattering and transmission on the material
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So it should work in the cycles and we'll of course double check this and finish up with the lighting in cycles
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Let's go to the camera view once again by pressing 0 and this should be the lighting
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I will click away here and don't forget to save
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This should be the lighting for the scene and you can see how we can use only point lights
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to deliver a
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Story, especially in this case where I imagine this happening somewhere in the forest. So it's a
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Really dark around the character
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There's the darker green shade there happening and a little bit of the blue tone coming from the world light
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So it really enforces the night feeling and then the strong green lights
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Happening around the character in form of those of those wisp
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a little bit of that more dramatic lighting in terms of sharp shadows and
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a glimpse of like an active crystal material or something with that little
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Purple or pink point light. So this all supports the story
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We are done with the lighting and one last thing I want to set up here is to set the depth of field for the
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camera because as you can see, we are not using
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isometric or
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orthographic camera for this project
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so let's select the camera either in the outliner or here in the viewport and go to the camera settings and
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I'm satisfied with the focal length of 50. That's kind of a standard portrait focal length in photography as well
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It varies from 50 to like 80 and in this way
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The character is not that distorted if you would set the focal length to something like 35
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That's more fit for landscape shots or something like that
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because the character might got a little bit distorted, but the 50 should be okay and
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We'll enable depth of field here and with the depth of field enabled
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Let's go down a little bit and in the viewport display section of the camera settings
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You can see there's a checkbox called limits and you can enable this right now
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And now if we rotate we should be able
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To see the line pointing from the camera
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But if we switch to the wireframe, there is a cross as well and the cross defines the distance
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for the focus on the camera
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So if we go back to the depth of field and play with the focus distance
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You will see this cross moving
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you wouldn't be able to see this happening without turning on the limits here in the viewport display and
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We can go back and set this up where it touches the mask. So
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let's drag the focus distance and we can help ourselves by holding shift and
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Let's put it somewhere here. So it's
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9.1 meter and let's look from the camera by pressing 0 again
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And one last thing we need to do is to play with the f-stop value
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So it's the aperture settings for the camera and by holding shift
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We can bring this down and you can see how if you go all the way down
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This blurs out. So that's the bokeh blur. We want they're happening, but not so strong
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so go up to something like 0.3 here and
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That should be enough and optionally you can you know move
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The focus distance there. I really want the camera to be focused on the face here. That's like the main focal
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Area of the scene and the story that's happening right here
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But you can see in the foreground
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This wisp is a little bit blurred out which plays perfectly into the scene because we are again
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Supporting the story by telling you that this is blurred out. This is not important for this story
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You should look further in the image to look
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What's happening there? So that's for the camera settings. Let's save this up and
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Basically, this is finished. We'll just need to check this up in cycles set up some render settings
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You know denoising and stuff like that and render it out. So yeah, see you in the last chapter
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