All language subtitles for 1月29日 (10)

in today's video

we'll be taking a look at interior lighting

combining the uses of lumen

hardware ray tracing and patch tracing

I'm gonna show you how you can think of lighting

in a way that will help you

pick and choose the mood you're going for

by simply lighting a couple of different

lighting scenarios

it will really help you break down how to light

any given interior

now full disclosure

the video is sponsored by Nvidia Studio and

Scan Computers

everything from the modeling layout

lighting rendering and

editing of this video have been done with the Asus

Zenbook Pro 16

oled laptop I don't get to keep the laptop

it's being sent back

and only being used for reviewing purposes

just before we jump into today's tutorial

I'm going to take a

brief moment to talk about the hardware

we're using today

the Asus Zenfog Pro16

oled laptop runs on a beefy RTX4070

that allows you to fully utilize hardware

ray tracing and path tracing

and tensor AI cord

which is going to help massively

when you're rendering your shots

it's got the Kuta cords you need

which are needed if you plan on 3d scanning things

with an app like Reality Capture

and since the 40 series GPU you can benefit from DLSS3

which I talked about in an earlier video right here

it's got 32kgs of RAM a core i9 processor

which handles unreal Shader compilation

like an absolute champ

the display on this laptop is

absolutely top notch

120 hertz with

100 percent DCIP3 and 100 percent srgb color coverage

and its OLED meaning your black

they can be nice and inky

some notable

quality of life features include this nifty hinged

keyboard which not only feels

a lot more natural to me when I'm typing

but also seem to help with the cooling

and the trackpad has haptic feedback

which was a nice surprise

Nvidia Studio is for creator

but invited G Force is for gamers

right down to the drivers

even on my personal desktop workstations

I'm always using

studio drivers just

because I find them a lot more reliable

than a game driver

for creative work

specifically

if a laptop or desktop is Nvidia Studio validated

it means that spec and design

meet the needs of a creator

you can get a video studio laptop at Scan Computers

you can check out the link down below

I thought it would be fun to make a

tutorial using a laptop for a change

because

a lot of people assume that the work I do in unreal

can only be done on a

crazy expensive workstation desktop

and that's just not the case

so let's get started with what you came here for

lighting interiors in Unreal Engine 5

okay so

since we're getting started

I just want to make sure that you all have the same

project settings that I'm using

I am currently using Unreal Engine 5.3

so by going to settings up here

we're gonna go to project settings

we're going to scroll down to the rendering

tab down here

and you're going to want to make sure to support

hardware ray

tracing and turned on

and patch tracing and turned on here as well

I'm using virtual set of maps and

make sure that use hardware ray tracing when available

is turned on and it should go without saying

but if you want this to work

you need a GPU that is capable of ray tracing

the GPU in this laptop is an RTX470

so you're not gonna have any issues with it

and one last thing

we're in the search panel laptop

we're gonna search for a direct X

and I believe you need to have Direct x12 enabled

at least

that's what I'm using and it works like a charm

so here we have a scene that I made it unreal

that is loofly inspired by a scene in game of Thrones

and before we get started with the lighting

let's look at the reference

and try to break down where the light is coming from

notice how there is no artificial lighting

the only thing we're seeing is light

pouring in through that doorway

at the top of the stairs

that is the only light source and the camera is

exposing for the interior

making the exterior completely overexposed and

blown out

and that is what we're gonna try to mimic here

now this laptop handles this scene like an absolute

champ I'm blazing past xdfps without any issues

and if you want to follow along with this

environment in this tutorial and rework engineer

how to scene with lit

you can download this project for free

here on gumroad linked down below

just to be clear though

it's not going to look exactly the same

because I'm using a lot of mega scan textures

and modeled in this level

and I'm not

legally allowed to redistribute those assets

but you will have something to work with

and the lighting will look the same

so what we're going to do now is we're going to

completely kill all of our lighting

and we have to create

a daylight system

using the environment light mixer as always

so by going to the window tab up here

we're going to go to the environment light mixer

create skylight atmospheric light

sky atmosphere and height fog

and next we're going to create a post process volume

drag it into our scene here and make sure we set it to

unbound make sure this is checked right here

you'll see this is really important for

pretty much everything moving forward in this video

so you'll see obviously this is very underwhelming

when it comes to interior lighting

indirect lighting

is everything and that's the main takeaway here

the easiest way is to

increase the brightness of your

skylight because this is our main source of light

notice in our reference we don't have any

sunlight coming in there

the sun is probably pointing in a totally different

direction we only want skylight coming in

so we can select our skylight

and we can increase intensity scale to something

ridiculous like 20

or 100 1000

you'll see we're starting to get a little bit more

lighting coming into our scene but you'll see

you know it see if not really great it's very splotchy

and I think that's really just because

it's a limitation of lumen right now

with the skylight

it just doesn't have enough sample to work with and so

when that doesn't work

what's next we can increase the exposure of the scene

so we're going to go to the post process

volume and we're going to search for EXP

and I'm gonna check these three boxes here and uncheck

apply physical camera exposure

and we can adjust the exposure this way

now again

this brightens everything up but it's still pretty

splotchy not really what we're going for

it's not really what we want

and we get this really not so great looking

blue fog and that's because

we want to make sure to select our

exponential high fog

and turn on volumetric fog

you'll see why does it important later

now in order to give your

skylight a bit of a boost

you can also increase the brightness of your

directional light

to something like I don't know like 800 or something

and that will also

help inject a lot more light

because as you increase your

directional light it

increases the brightness of your sky as well

so it kind of goes both ways

honestly I think

1,000 here is probably a bit too strong

I would rather play around with the exposure later

so now

we are getting a bit of a better result over here but

still this is

not what we're going for

and the reason

why because the indirect lighting quality of lumin is

great

but lumin just does not have enough samples to really

get a high quality render from such a tiny

light source coming in through that window

so we need to fake it and in order to fake it

we're going to go ahead and create a wrecked light

over here and drag that over here

and loosely shape it to the

well shape and size of our doorway here

so by increasing these or its width

and the source height like that

loosely matching the sides of it

the skylight

does inject a little bit of indirect lighting

but it's just not enough

you're not getting enough consecutive bounces here

so we need to inject some

direct lighting with the help direct light here

to really get some better results okay

so with direct light

we're also going to increase the integuation radius

and maybe set the value to up in like 800

and now

notice how we are getting a much more interesting look

all because we've introduced

a bit of direct lighting

it's okay to fake things

now I'm going to increase

I can change the color a little bit

make it a little bit cooler

and there you have it

we're already having a much bluer look to our theme

and already we are about 60 percent of the way there

but you'll notice that

these areas here are still very black

not very good looking

what more can we do

we don't want to increase the exposure

we want to increase the indirect lighting values

sometimes looming can be a little bit tricky

so this is why I like using the Path Tracer sometimes

in order to help me figure out

hey am I actually doing things right here

so by going to the lit tab here

we're going to go turn on path tracing

and what the Path

Tracer is going to do is it's going to give you a more

ground true physically accurate lighting result

based on your current lighting settings

this is what your scene should look like

if everything is set up correctly

there should be no

tremendous difference between the two

they should both be pretty similar

and if they're not

then there's other issue we need to fix

so you'll see

we're missing out on a ton of indirect lighting

over here if you'll notice it's not perfectly black

it's not there not black at all there

so we need to go fix that somehow

right we need to try and rectify this issue

and how do we inject a little bit more

indirect lighting into our scene

we don't want to go ahead and increase the exposure

again

that will work but it also brightens up everything else

and we don't want that all we want is to lift up those

shadows a little bit more

so we're going to go ahead and

click on our rec light here

and we're gonna scroll down to

indirect lighting intensity

so I'm gonna bump this up to something like

5 to exaggerate it a little bit

and you'll see hey

we're starting to get a lot more

indirect lighting into our scene

it's already looking a whole lot better

now

keep in mind this is not a physically accurate setting

your changes here will not be

mirrored in the path tracer because

what's happening here is

a surface is reflecting 5 times more light

than it is receiving which is physically impossible so

use this with caution

use it only more of a

subtle art direction kind of feature okay

now another issue that I'm noticing is

our shadows here are very harsh right

again if I turn on the path tracer

you'll notice that

shadows are very very soft here right

they look really really good

and I don't I'm not seeing that

we're getting these really hard shadows here

something feels off

and the reason for that

is because of virtual shadow maps

when it comes to very very soft shadows

you're just kind of hitting that limitation there

so in order to fix that

we're gonna select our rec light again

and we're going to search for raytray

and we want to make sure we cast raytray shadows

on and pay attention to the sheer difference here

now especially notice on the wall here

does it before and does it after

before and after the shadows are so much softer

so we're getting much much better softer shadows here

now when you need those really really soft shadows

there's no way around using hardware ray tracing

and that is where RTX GPUs come in really really handy

another reason it's incredibly important to add

direct lighting

even your issurophine is mostly indirectly lit

it's because of specular highlight

now pay attention right here

on the pillar on the left hand side here

I wanted to give it like a running water

kind of look like it was very damp

if I hide my rect light right now

and I only rely on the indirect lighting from lumen

and I'm going to go ahead and increase the

exposure here

just for clarity's sake

notice how it doesn't look wet

and the reason for that at least is my understanding

Lumen's indirect lighting is not going to contribute to

specular highlights

at least not very much

you can clearly tell right here that there is just no

real specular highlights we completely lost

though that wetness that it had right

and so that is why it's really important to inject that

direct lighting

to make that surface look wet

now bonus tips No. 1

if ever you notice

this kind of light bleeding in your interiors

this is actually something that's pretty common

you'll notice like along the edges

you just got this weird light that seems to be

the skylight that's coming through the walls

you need to go ahead and add some light blockers

to the exterior of your level

and what I mean by this is these large white cubes

right

it's literally just the up big white cube that I place

underneath my level

to make sure that light is being blocked correctly

because as we saw earlier

the skylight has some very low resolution sampling

which makes it very splotchy

and sometimes

at least my understanding is that you just need more

geometry to block that light coming in

so again if I were to just lower this cube right here

notice how we're getting a whole bunch of light that's

bleeding into our scene here

just lifting this big cube up here

whoa that light's gone

that is how you can fix

light that leaps into the corners of your wall

it's very frustrating

but fortunately

with light blockers it's a very easy fix

now let's say you wanted to have some light shaft or

some god rays coming through the window

you can absolutely do that too

so

all we need to do is grab our directional light here

and rotate it

so that the sun shines through the doorway

and we can angle it the way that we want to

something like that

and you'll see it injects

quite a bit of indirect lighting

into our level as well

and we got these light shaft here

thanks to the volumetric fog that we turned on

in our exponential height fog earlier

see if I turn off volumetric fog here

it's going to be a totally different look

and we don't get those light shaft coming through

if I want to make that light shaft even stronger

we can simply just increase the

volumetric scattering intensity even higher

so I had already set it to 10 here

by default there'll be one you might not even feed

but if we increase the like 50

100 you'll see it's a very very strong

God ray shining in our theme now

and already we're getting quite a bit of

indirect lighting

bouncing up and lighting the reft of our theme

this doesn't match the reference we were going for

but I still just wanted to show you that

it is something

you can do but for now I'm just gonna go back

bring it back up here

because I thought the look I wanted

every single light can had its own

volume measuring scattering intensity

you'll see in my rect light I already had it

cranked up to 6

if you want more fog like that coming coming in

which we do have in our reference here

that is how you can control that

bonus tip No. 2

there's one more trick we have up our sleeve

in order to inject a little bit more indirect lighting

into our scene again it's break physicality

but the really cool didn't know about

in our post process volume

we're going to search for lumen

and here we've got a neat little tip called

Diffuse Color Boost

I already set it to 2

but if I set it to 1 you'll see our shadows are

very dark right it's very pitch black

we could always just

increase the indirect lighting of our rect light

but by increasing the color boost here

it's going to increase the boost of not our light

but of the albedo values

of our materials so if I set it to 2

you'll see we've already

injected quite a bit more

indirect lighting into our level here

again purely in our direction thing

there's no right or wrong way to do it

it's just

important to know which tools are available to you

so I hope that helps

so now that we covered this scene here

how do you lighten interior

that doesn't have any natural light

and that my friend had artificial lighting

so I'm gonna hide this here

and turn this on here

you'll see here we've got a completely differently

lit fiend

I'm not going to go ahead and show you how to place

each individual light

but really it's about breaking down

what our lighting is

this is a really quick reference I found from some old

museum somewhere

and notice how

there is no natural light here at all artificial

you as a lighting artist need to break down

and ask yourself

where is my lighting coming from

if I turn on my light in my bedroom at night

the light is your light bulb or your lamp or whatever

and that's how we need to break it down here

so I went ahead and added some light fixtures here

we need a physical prop

that is there to suggest that hey

there's lighting here

this is actually what is

contributing to the illumination of the scene

if I were to hide these light fixtures here

and used to place light

something would feel a little bit odd

something is missing right

so that's why we need not only add some

practical light props

but really think about where the lights are coming from

and then I just added some point lights here

and adjusted them to the rough shape

of my light source

by increasing the

source length here you can kind of increase the

source length of any point light

and I've just went ahead and placed them there

and again

using the exact same trick that we Learned earlier

either the exposure of your post process volume

the global exposure of your scene

or the indirect lighting intensity of your light

or the diffused color boost of your

post process volume right

if I want to set the 2 or 5

you'll see we made the scene much much brighter

not really the look I'm going for but you get the idea

the actual lighting part here is not very complicated

again just to give you one more example

I've used the Torch Pro that are on the wall

to suggest torchlight

and also each point light that I placed

again it's really just a simple point light right here

that I placed over the torch

each light that I placed also has

a volumetric scattering intensity

that I cranked way up

to suggest that it

maybe just a little bit moisture in a scene

or a little bit of haze or

smoke or whatever

that's really it

the key to interior lighting is just to break down

where my lighting is coming from

an understanding exposure

indirect lighting and direct lighting

thanks so much to Nvidia Studio and

Scan Computers for sponsoring this video

Scan Computers are one of the leading resellers on

Nvidia Studio laptop and desktops in Europe

if you're looking for an Nvidia Studio laptop

then check out their range at the link down below

so thanks so much for watching everyone

I hope you found this video helpful

and as always folks

happy rendering