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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

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