All language subtitles for Fundamentals_04_Exposure_03

Hello and welcome to the last part in our little
fundamental series

regarding exposure and how to set up
something pleasing,

in terms of just overall values and the tools we
could use for this.

So,

the last thing I want to talk about here for now is
that

you may remember that I have the exposure
tweak like this and that if I go outside,

it does adjust a little bit, but it never really goes
back to this.

So there's two ways that we can fix this.

I'm going to show you one way now.

And the other way I will show this in the last
project that we're going to do in this

course it is a little bit more involved. It's a little
bit more advanced so for now,

we're going to use the simple way.

So I have my post-process volume selected and
what

I'm going to do is actually going to scale it down.

However, there's a little bit of a problem.

And it is that we kind of like have troubles like
seeing how big it actually is.

And if I do remember correctly I have to see
because

unreal has restructured the menus a little bit.

There is a way to

yeah here drop Rush polys. So if we go to the
settings and down to previewing,

drop Rush holies.

Now you can see that it's kind of like shaded.

So that means that when I go down like here you
can see the intersection like really well

and this Helps us to scale this a lot better with
the size that we kind of like need here.

And this can be a bit of like

a pain to

do this properly.

but I think,

I'm just gonna make it. Why is it always
deselecting this?

Okay.

Tiny, tiny, tiny, little bit more.

Let's do 0.6,

and power of this is okay.

That's the 0.55.

So this should work and then we gonna scale
this one down to like see 0.3.

Oops,

oh no,

oh yes,

I

excuse me.

I had this locked, which is, obviously not very
smart and this case Let's do 0.3.

Now I can basically see this better so we can
also

just like actually I have no idea which one it is.

That is the wrong one.

Here.

So here we can like scale this better 0.4

e.

This.

Dance.

That looks about, right?

So now we have the scaled.

And what we want to do is we want to go down
here in our post-processing volume and we

wanna uncheck infinite extent because what this
does, is it applies it to like everywhere.

All right,

so we want to uncheck this.

And now you can see something has happened
because

now I'm not being affected by this volume
anymore.

So we're going to do blend, wait one,

Actually let's play it safe, we do plant. Wait to we
gonna have our volume selected.

And what we're going to do is we gonna lock
this at 5 & 5, which is like,

yeah,

reasons.

So,

the next thing that I'm going to do is I'll actually
hold alt and I drag it and I create another one.

And now I'm just gonna like scale this a lot.

You can scale this a lot or you can use the
infinite extent again, it doesn't really matter.

Also, I'm going to turn off the drop Rush police.

And now what I'm going to do is,

I'm just going to do

77 here.

So now we have this, right?

And then

if I select this one, again,

the first one there is the

Actually priority of this one is one.

So this the small one will overwrite, the big one.

And then we have a blend radius,

which is,

and this one is zero,

which is the distance of where it kind of like
plants. So now, if I like take this and I fly in here,

you can see this is happening.

So now we have exposure 5,

and if I fly out again,

I have exposure 7.

So, of course, this was just like very rough and
dirty.

In terms of like balancing, this,

however, that is one of the quickest way to get
control over your interior spaces is,

by adding these post-process volumes,

and like I said, there is a more advanced version,

which will actually use the exposure
compensation curves.

However,

we going to look at this when we do the big
exterior project where we also have the interior,

And I'm going to really dive into the nitty and
gritty with all of you to make this work.

So,

one last thing that I would like to tackle and to
talk about is,

how like what is EV 100 actually and how does it
relate to,

like actual Rose.

And that is something very,

very important because you may remember I
said that for setting up your lighting.

There's a lot of helpful tools that come from like
photographers and things like that.

So one of the other tools that photographers
have is called the sunny 16 rule,

And it's a little bit like this but there's also like
a lot more charts and things so you

can you can get so deep and dive into charts like
it's Madness but it's also fun.

So anyways,

what this is is when you're out in the field,

You need to set something in your camera,
right?

You need to set an ISO which is the sensitivity of
your sensor.

You need to set a shutter speed, which is how
long is the limbs open. So,

how much light hits the sensor and then you
have your aperture,

which is the size of the hole that it creates what
it opens and that also increases

the amount of light that comes in. It's like your
iris from from your I right,

adjusting the size.

So all these three,

Are basically what we call the exposure triangle
and there's the same thing again.

You can have like

a different aperture and and then have like like
depending on how you balance these settings

out you can you can like have the same looking
image but with completely

different values but that's like super Irrelevant
for now.

But it is a little bit like how we balance these
things out before.

So what this shows as here is like, okay, so this
is like a sunset setting, right?

And this means our aperture.

If this was like a photo camera should be for,

all right.

So,

but what about the other values?

And this is the thing. So,

like Sunny 16 usually get specified the following
way Aya. So,

if your sensor is 100 shutter speed is 125th of a
second.

And and then, if you use F4,

that is gonna like let enough light through the
camera to give you a pleasing image.

So how about we try that?

I'm going to uncheck this,

and I'm going to switch the metering mode here,

and I'm going to use manual.

And I will actually

turn off the okay. Sorry,

I will turn this post-process volume off for now.

Where is it?

Okay,

and I will. So we will work on this one.

Okay, the outside one.

All right, so I'm going to turn this off and I will
set the metering mode to manual.

and now,

How do we know what settings that uses was?
Very, simple.

We go down here to the camera Tab and now
you can say we have a shutter speed of 60.

We have ISO 100 and we do have F4.

So that's pretty cool already.

So if we do 125th,

it will actually get darker.

and,

ISO is 100 aperture is F4.

So now you can see that this is actually very
very dark and this is another interesting thing

because what we did remember was that we just
took this average

of the 25 Candela up here from from like the
Vicky pedia, right?

However,

the dynamic range of the sky always changes so
we don't actually know Is this Sunset because

there is no sun that might actually be after
Sunset already, right? Because yeah,

there is no sun anymore so this may actually not
qualify for what we saw here.

So this value is probably something where the
sky where the sun is still visible,

but it's like a nice Sunset would like that, you
know, like the Red Dot there being the Sun.

So what we can safely assume as we can
basically

balance our lighting around This value to,

we can do that too and then it will obviously
change a little bit because

again we don't necessarily know what a
specified here.

But we do also have this beautiful picture here
that has the sun still visible.

And if the sun would be here,

this would be a lot brighter. Like the sky would
not be that dark.

So what we can do is we can go in here and we
can set like maybe 50 150.

Yeah I think something like this like to make it
look the same as before we probably have to go.

Let's do 250 something like this, right?

So now we pretty much have something very
very similar to before

and again this is not wrong at all.

It is just the values are changing so much that
again,

artistic Freedom, you have to decide a bit. So we
may want to bump this on a little bit here.

Because this is kind of like, more what we would
get during a time of day like this.

That we recapture.

All right,

so now this matches a lot better.

And of course, this color here does not match
with this here. And that is, of course,

because I bumped the Sun and all that kind of
stuff. So,

it wouldn't be like we're decoupling this again
because of their not being a son.

However, so now we've used this, right? So we
have used this to,

to make this setting

Now, we have a very big problem though.

if I go back to my post process volume,

now I have proper actual camera settings which
is of course, really cool.

However if like this would be a cutscene camera

Like and then I would switch from a cutscene
camera to gameplay.

And in gameplay, I would actually use the the EV
values.

Like because I'm using Auto exposure and you
can't do auto exposure with the camera values.

You would like need to like manually.

Like you need to switch and you can see like
notice doesn't match.

So like you need to lock this and now you need
to figure out. So okay.

Is this like 10 like okay?

810. Now, I switch to manual.

No does not look the same.

So you would need to figure out like, what is
actually happening here. What?

How does it work?

And this is because EV 100 follows a very
specific rule set so you can see it actually here.

So this is like the Wikipedia for exposure value
and exposure value.

Again,

goes with like this is the EB scale and the Slate's
to these aperture numbers.

These shutter speeds here at ISO 100,

intensity for the film.

So, what I can do now is, like, okay, I have my
shutter speed of 125.

My iso's 100 aperture is for cool.

So, I can look into this. So here we have the line
for apertures, for.

I have 125th,

and that means my EV is actually 11.

So now if I go in here,

And I switch this to Auto exposure and I switch
this to 11.

And now I switch back and forth. You can see
they're exactly the same.

and this is the importance to understand that,
like EV 100,

even though these are like these numbers, that
seem similar to f-stops,

they are not f-stops and you can basically create
these settings first and translate

them to EV 100 or you can say, I actually want
to create the EV 100 setting first,

and then you can do some math to That into
something over here.

And now the question is like, okay,

but this all seems random and arbitrary like how
do you cite where to go with these values?

And here again is where the photography
becomes incredibly like useful.

So the shutter speed at the iso don't matter.

As much in like, the video game Realms.

But what is really important is the aperture
because

the aperture is what creates depth of field,

right?

So, if you have a lower aperture of, like, let's say
1.8,

you get a lot more depth of field.

So let's say you don't want that much depth of
field. So how do you like,

basically get these values?

Use with like a different aperture.

So of course,

you can go in here and you can look at this line
and you can say, like, okay, I need EV 11,

but I need an image. That is like super crisp,
right?

So like I basically need like, let's say F-16
because like when you have F-16,

your image is going to be very, very sharp and
that will translate to actually 1/4 of a second.

in terms of like,

shutter speed,

so,

what we can do is we can do

this.

And this.

and,

We're actually.

Sorry,

that was the wrong

way around.

Let me quickly. Haha,

let me quickly check this here again,

I'm gonna do

Wong.

because like these are always kind of like,

actually I have something really fun,

which is

where is it?

Just one second because the screen is messing
with.

Okay.

okay,

so here we can always like basically put these in

So we can say, like,

whatever we kind of kind of want to have here so
we can

calculate all these nice values of like okay. Let's
see.

So like I have one

For the eighth of a second.

I have F-16 and my ISO is 100.

Let's go in here,

so,

and I can compute this,

so that means that my Evie is like,

actually like 13.33.

And so, here you can.

Like use all these things and it like, it can get
really convoluted. But for example,

one reason why this is really cool is,

let me quickly open this on the side.

So when like quite often, when I work with
lighting,

I actually use like reference from Flickr because
Flickr is really amazing because

it shows you the camera values of what
something was shot with.

So you can like replicate it and that is incredibly
powerful.

So,

So let's let's try something. Let's try like some
set Street.

Oops.

And let's try to find something. That does not
look super like photoshopped.

So, in here, you can also see the limitations of
camera, right? Like,

you can clearly see this is exposed for this, and
this blows out. So let's see.

Okay, so here we have this, all right?

So this is the data.

Okay?

So we have f for

Where why does it always move my stuff around
here?

Okay, so we have F4.

Like here.

And we have one 640 of a second.

so this and we have ISO 320,

okay,

so now

We have an EV 100 that is 11 point 6 7.

So,

if you would basically say like I want to create a
photographic scene that looks like this.

And now it's like not broken again here anymore.

Okay. So this is weird.

Yeah. Sometimes because so, like the monitor I
have on the left,

whereas sometimes like moved the windows
between,

it's an HDR Monitor and sometimes divisible
visualization of the browser

kind of like brakes when I move it from the HDR
screen.

So it's actually not that blown out and I thought
it looked a bit like intense

but I thought like maybe that's just how the
picture was taken.

But anyways,

so now we know like this shot was taken with
Evie.

11 .67.

So what we can do is we can just like, put this to
this one.

And we can do like 11 .67

and also, I mean, like, obviously we were already
like pretty good here,

or in 67.

And now,

what we can do potentially is like we can
basically now adjust the lighting in our scene.

Two.

Match this reference based on the EV values that
we extracted and we

know that these are the settings that we can set
on a manual camera.

So that is a way of working and exposing your
images correctly.

So you can work with the reference and we can
clearly see that looking at this here,

we can actually make our Sky a bit brighter.

So this is definitely very close but still we can
make this brighter a little

bit and then we'll also get more lighting here on
our our stuff.

Because if we if we look at this stuff here,

that is very close to the streets that we saw
before.

So it should definitely be

More around here in terms of exposure.

And not exposure. Excuse me,

in terms of intensity so I reach a reset raised it
from 250 to 709 and that

is a lot better and we can go here into our
Skylight and recapture this.

So yeah,

and then obviously for something inside a here,

we would need to completely modify our values
again

to have this like nicely visible and not be so
dark.

But again this is very classic, the differences
between all the values.

So I hope this was really insightful.

I know these things are a bit convoluted but
understanding camera

exposure and the Of values that come with it. So
to speak.

It is so important and it's going to make your
work look really balanced.

So I really, really highly recommend. Try these
things, I'll try two different techniques,

try to like,

get some free content from the Epic
Marketplace,

like some city streets.

And,

you know, like even just looking at this one
again here,

like You know, take the, take the free City sample
from epic.

The, the one from the Matrix demo take it create
a sky like this,

these Sky domes that I have here, they're all
from Poli Haven,

they're all free.

There's many, many online resources to get like
good Sky, HDR textures,

so like use that and then take these settings and
try to make it look the same.

So you can just learn.

And you'll also see like here, for example, this,
this is very good,

there's a neon sign and this neon sign is not
come.

Completely blown out.

And, of course, it is not because the neon sign is
actually not super intensely bright,

and we still have a lot of light.

However,

if you go to like Japanese troops Japanese
Street,

can I right?

Eat night.

You will see a lot of pictures where the neon
signs are way more blown out.

The whole lighting is a lot more blown out and
that is of course because the exposure

is raised even further because the
Environmental Lighting is so low.

And once the lighting from the sign starts to
actually become

visible because of the exposure that we have,

the sign itself will start to really blow out. Like
we can see in these examples.

Samples here.

So all these concepts are very important to
understand and again we'll

tackle them again when we work with the big
outdoor environment.

But this is it for now with the fundamentals of
what I consider to be like,

really the important things to understand when it
comes to lighting.

I hope it was really interesting and also a bit fun
to watch and with the

next lessons we're going to start doing some
proper content work.

And we will Look at how to render out props and
take Beauty shots of your assets or works.

And we can look at characters too.

So that's going to be what's up for the next one.

I hope you had fun,

have a great time and thank you so much for