Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated:
1
00:00:00,120 --> 00:00:04,920
Of course there are a few other properties of
the key light that we haven't touched yet, the
2
00:00:04,920 --> 00:00:11,040
color temperature and propagation to name a
few. the easiest way to control the color of
3
00:00:11,040 --> 00:00:17,580
the light source is obviously to use the RGB Color
picker, a cinematography analogy would be placing a
4
00:00:17,580 --> 00:00:25,320
gel over the light source to make it any color
you want or let's say using an RGB LED panels.
5
00:00:27,900 --> 00:00:31,080
so that was color wheel, the
first option that we have.
6
00:00:31,920 --> 00:00:37,380
alternatively if you are in the mood of dealing
with the color temperature directly you can
7
00:00:37,380 --> 00:00:44,040
click the use nodes button and then this
dot near the color and choose blackbody.
8
00:00:44,880 --> 00:00:51,300
the blackbody node converts the temperature in
kelvins to the RGB data, basically this slider
9
00:00:51,300 --> 00:00:56,040
controls a type of radiation or light color
emitted by a black body or a light source
10
00:00:56,040 --> 00:01:01,800
when it's heated to a certain temperature, these
temperatures are measured in kelvin, the hotter the
11
00:01:01,800 --> 00:01:07,320
temperature the more blue the light appears, the
temperature of 5200 makes it look like a daylight
12
00:01:08,520 --> 00:01:16,560
6500 is slightly cooler than that, it's like an
overcast daylight, so yeah basically the higher the
13
00:01:16,560 --> 00:01:23,640
temperature the bluer the color. it is a standard
way of dialing in the color of the light source, of
14
00:01:23,640 --> 00:01:30,780
balancing the light bulbs in cinema production, you
name it, with that being said to keep things simple
15
00:01:30,780 --> 00:01:37,200
I will remove this node for the time being
and rely on our good old color wheel instead.
16
00:01:38,700 --> 00:01:43,620
I will dial in the neutral white
color with the saturation of 0
17
00:01:43,620 --> 00:01:51,000
or using the RGB model it should be
1 in both red green and blue. okay...
18
00:01:53,220 --> 00:02:00,000
the last slider that we haven't explored yet is
the beam shape spread. as its name implies it's a
19
00:02:00,000 --> 00:02:05,880
tool for shaping the directionality of light and
it can be imagined as focusing the beam basically.
20
00:02:07,020 --> 00:02:13,500
from the default 180 degrees all the way
to 1 degree which makes it super focused.
21
00:02:14,460 --> 00:02:19,200
it is also important to note that it does
correlate with the perceived softness of light,
22
00:02:19,200 --> 00:02:25,860
the smaller spread value does make the shadows
harsher. I think we are good with the default
23
00:02:25,860 --> 00:02:32,340
spread value of 180 so I'm going to Ctrl
Z it all the way back and let's imagine if we
24
00:02:32,340 --> 00:02:37,380
wanted to control the spread or propagation
of the light beam, what else could we do?
25
00:02:38,220 --> 00:02:45,660
we could have used um some kind of a blocker,
just a regular plain object or a box, we could
26
00:02:45,660 --> 00:02:50,640
have simply blocked or cut the part of the
light rays to better control the propagation,
27
00:02:51,960 --> 00:02:57,660
actually we will dive deeper into shaping
the beam of light later on in the course, in
28
00:02:57,660 --> 00:03:03,480
the second chapter where we will use different
kind of blocking techniques as well as light
29
00:03:03,480 --> 00:03:09,540
textures and dappled light techniques, that
is a little teaser, so obviously stay tuned ;)
30
00:03:11,940 --> 00:03:17,580
meanwhile because we utilize a physically
plausible path tracing render engine such
31
00:03:17,580 --> 00:03:23,940
as Cycles we also automatically add some fill
light in addition to our key light, just like it
32
00:03:23,940 --> 00:03:30,240
happens in a real world production. so as we crank
up the power of our directional light component
33
00:03:30,240 --> 00:03:37,260
it also affects the power of the bounce. we can
tell that the drop shadow part of the minerals
34
00:03:37,260 --> 00:03:43,920
isn't pitch black, it's because some part
of the light rays got bounced or reflected
35
00:03:43,920 --> 00:03:50,220
by the environment. there are two types of bounces,
diffuse and glossy and if we dial in 0 in both
36
00:03:50,820 --> 00:03:56,400
we will see what we would see in Eevee, let's
say, we would see the pitch black shadow.
37
00:04:00,240 --> 00:04:05,040
as soon as we bring back some of the light
bounces and let Cycles do its light transport
38
00:04:05,040 --> 00:04:11,460
work, the shadow will get filled in a little bit
and it totally depends on the power of the light
39
00:04:11,460 --> 00:04:17,700
source, it works in proportion to the power of
the key. I suppose it should be super intuitive
40
00:04:17,700 --> 00:04:24,300
and feel like home if you worked with physical
light sources in production. and again with no
41
00:04:24,300 --> 00:04:29,640
light bounces it will look just like Eevee so let's
switch over to Eevee for a second just for fun.
42
00:04:30,300 --> 00:04:35,640
to make it look indistinguishable from Cycles
the soft shadows in Eevee should be set to on
43
00:04:36,180 --> 00:04:41,220
and then within the light settings tab
the contact Shadows should be ticked,
44
00:04:41,880 --> 00:04:48,420
otherwise the Shadows won't be precise enough.
to double down on this, Cycles with zero light
45
00:04:48,420 --> 00:04:54,180
bounces looks very similar to Eevee, but once
the global elimination kicks in, Cycles path
46
00:04:54,180 --> 00:04:59,400
tracing gives us a nice fill in addition to the
key light in the form of the indirect bounce
47
00:05:00,120 --> 00:05:04,980
that being said further down the line in the
monastery dungeon chapter to be exact we'll
48
00:05:04,980 --> 00:05:11,220
discuss the global illumination methods for Eevee, namely it's built Irradiance map as well as
49
00:05:11,220 --> 00:05:17,520
a real-time screen space Global illumination
or SSGI. consider this a quick teaser :) Eevee
50
00:05:17,520 --> 00:05:22,560
is a great render engine after all and it will
get its time in the spotlight (no pun intended).
51
00:05:24,960 --> 00:05:28,860
it is so cool but still I'm gonna
switch back to Cycles in a moment
52
00:05:30,180 --> 00:05:35,400
personally I love a physically realistic way the
secondary light bouncers are calculated in Cycles,
53
00:05:36,120 --> 00:05:42,420
it's not that different from manipulating
real light sources and I think it just
54
00:05:42,420 --> 00:05:48,360
matches our learned expectation on realistic light
transport, the secondary bounces specifically.
55
00:05:50,220 --> 00:05:55,740
it is a cool little effect that adds believability
to everything, the photons bouncing around
56
00:05:55,740 --> 00:06:02,820
the scene and filling in the shadows, well, not
literally but something like that :) the amount of
57
00:06:02,820 --> 00:06:08,400
the bounce light is again always in proportion to
the amount of the directional light and it makes
58
00:06:08,400 --> 00:06:14,700
the balancing of these two components really
easy and intuitive, it's like a nice contrast
59
00:06:14,700 --> 00:06:22,860
ratio right out of the box. okay now I will dial
back the power of our key lights to 3700 Watts.
60
00:06:23,760 --> 00:06:30,540
now everything about our main light feels right
to me, we can start adding some detail I think.
8136
Can't find what you're looking for?
Get subtitles in any language from opensubtitles.com, and translate them here.