Original subtitles

While we are on this page let's talk about the light falloff as well.

the light fall off is the effect of dimming of the light source depending on whether it's positioned

close to the subject or further away, I mean what would be the difference if we have pushed our

main light further away into the background and compensated the size and the intensity? by the

way I'm utilizing the math expression within the power tab, multiplying by 50. okay we have pushed

the key light further away and compensated the rest of its properties, but there is something

going on with the light gradient, with the way let's say the light travels across the table.

compared to when the light was much closer, the light gradient on the table is not as

prominent and I would also say not as visually pleasing, although it is hard to put finger on

what exactly has changed. we will need a better example for that in just a moment.

okay let's Ctrl Z a few times to bring back the old position of the light source

where it was way closer to the minerals, before actually evaluating the comparison

shot, I wonder can you tell what has actually changed in between these two

positions of the key light? what difference has the distance brought into this equation?

have a look at these two images, in one of these the light was placed further away with the power

and the size adjusted accordingly and in the right one on the contrary the light was placed as tight

as possible to the subject. you know what, let's have a look at the better example. because the

area light is way closer to the first sphere than to the last one, the first view receives more light,

is the effect of more rays hitting its surface so as a result it's better exposed. you can clearly

tell the difference in exposures in between the spheres and on the floor for that matter

as if the light gets dimmer as it travels across the floor, which is not true obviously, the gradient

of light and dark is simply byproduct of more or less rays hitting a certain portion of the object,

the sphere that is close by to the light source receives more rays than the sphere

that is furthest away from the light source and that's it, that's the light fall off in a nutshell.

let's compare this light placement with the one in which our key line is moved much much further away.

again with retaining them the power, with compensating the power and the size now

the intriguing thing had happened, look how flat is the lighting across the entirety of

our objects and surfaces, there is practically no difference in exposures anymore in between

four spheres and in between the the near and far points on the floor, as if changing the distance

in between the light source and the subject somehow unified the lighting across the scene.

it is especially evident when juxtaposed with the first example where light was essentially

very close, so the relative distance in between the light and the subject,

the subject and the background really matters! so I guess a takeaway tip is

this: a keep your light source close if you want to play with the light falloff effect.