3D Total Lighting La Salle Maya

This five part series will focus on the topic of setting up a variety of

lighting rigs that reflect natural lighting at different times of the day and

manmade interior lighting. Each of the chapters will use the same base

scene as a starting point, and will show a step by step guide to finding

a lighting and rendering solution that best reflects the desired lighting

situation.

The tutorials will explain the type of lights used and how to set up the

parameters along with talking about the different methods of tackling

the subject. The manipulation of textures may also be covered in order

to turn a daylight scene into night scene for example, as well as a look

at some useful post production techniques in Photoshop in order to

enhance a final still.

Chapter 1 | This IssueSunset / Sunrise

Chapter 2 | Next IssueBroad Daylight

Chapter 3 | August Issue 060Artificial Light - Bright over head light at night

Chapter 4 | September Issue 061Artificial Light (Night-Time) - Mood Lighting (Low-Level - Romantic)

Chapter 5 | October Issue 062 TV-Lit (Night-Time) with Low-Level Lighting

http://www.3dcreativemag.com/tutorial_resources/issue_058_jun_2010/tutorial01/tutorial01_maya_resource.zip

Environment Lighting Indoor Scene - Chapter 1: Sunset

A new direct light will be created at the origin of

the scene. This will be our main light source (the

sun). Since this is a large scene, you may have

to manually select the direct light and scale it up

to better see and select it easily. Scale the light

and position it like shown. (Fig.04)

Chapter 1 - Sunset/SunriseSoftware Used: Maya

Introduction:Welcome to this new lighting tutorial series. This

time we’ll be covering interior lighting in different

situations. In this first part we’ll create a sunset

lighting rig for our interior scene.

Open the scene file and let’s have a look at

what we have. (Fig.01)

This is quite a complex scene, with a lot of

detailed objects and materials. The scene has

been divided into two main layers (Room and

Objects). (Fig.02)

We’ll start working on the lighting having only

the Room layer active. To hide the Object layer,

just uncheck the layer as shown in Fig.02.

We’ll be using mental ray’s Physical Sun and

Sky. So open the Render Settings panel and

make sure that mental ray is selected in the

Render Using menu. Switch to the Indirect

Lighting tab and click on the Create button next

to Physical Sun and Sky. (Fig.03)

Indoor Scene - Chapter 1: Sunset Environment Lighting

Now, with the light still selected, go to the

Panels menu in one of the viewports and select

Look through Selected. This way we’ll be seeing

the scene from the light’s point of view. This will

come in handy to correctly position and rotate

the light to get the lighting situation we’re after

(Fig.05).

In (Fig.06) you can see the light’s position and

rotation used for the final image of this tutorial.

The spots marked in red define the areas

where the light will be passing through and thus

illuminate the room.

Before rendering the scene, open the Render

Settings and switch to the Quality tab. In the

Frame buffer section, set the Gamma value to

0.454. (Fig.07)

Render the scene to see what’s happening with

the light. (Fig.08)

As you can see, we have our main light source

(the sun) passing through the windows and

casting shadows into the room. Don’t worry

about the dark spots all over the image we’ll

take care of that later.


settings to better fit with our scene size. First

of all, change the Cm 2 Factor value to about

2.000. Then change the Camera Shutter value

to 50 and the F Number to 4. You can also add

a vignetting effect increasing the Vignetting

value. Don’t forget to set the Gamma value to 1.

(Fig.11)

Take your time and play around with the values

in the mia_exposure_photographic node. You

can achieve really nice and realistic effects.

For example, you can try to play with the Burn

Highlights and Crash Black values, to get the

right “mood” for your picture. If you need to get

a brighter picture, change the F Number and

Camera Shutter values.

Once you are happy with your settings,

unhide the Objects layer and try to do some

test renderings. You may need to change the

mia_exposure_photographic values accordingly.

(Fig.12)

When you are happy with the result, you

can move on and prepare Maya for the final

rendering. This is a trial and error phase, just

try to raise the overall quality of the rendering

without having unaffordable render times.

Raise the Accuracy value in the Final Gathering

section and play with the Point Density and

Point Interpolation values until the dark spots go

away. (Fig.13)

Also, don’t forget to set the antialiasing values to

have a sharper image and enhance the details.

Open the Render Settings and switch to the

Quality tab. Change the Max Sample Level to

about 2. (Fig.14)

The sky outside is still too cold, so let’s change

some values for the Physical Sky.

Select the camera and find the mia_physicalsky

node. Change the settings as shown in Fig.09.

Set the R Unit Conversion value to a higher

value, since we need more warm and reddish

colors for our sky. Also, set the Horizon Height

value to -1. (Fig.09)

Now we need a better control over the exposure

of the image. Open the Hypershade and

select the camera in the graph. Create a new

mia_exposure_photographic node and connect

it to the camera node (drag it with the middle

mouse button over the camera node and choose

default for the connection). The mia_exposure_

photographic node can be found in the mental

ray nodes (Lenses section). (Fig.10)

If you render the picture now, you’ll probably

get a full black image. That’s because we need

to change the mia_exposure_photographic

Indoor Scene - Chapter 1: Sunset Environment Lighting

In Fig.15 you can see the final rendering used for this tutorial. Don’t forget

to save the final rendering with the alpha channel (just use the TIF or TGA

file formats), as we’ll need it later in Photoshop.

Now we need an Ambient Occlusion pass for compositing purposes.

Create a new Render Layer and call it AO or something like that. Assign

all the geometry to this layer (select all the objects then right click on the

AO render layer and assign them). (Fig.16)

Open the Hypershade and create a new Surface Shader material. Create

a new mib_amb_occlusion node and connect it to the Out Color of the

Surface Shader. Select the mib_amb_occlusion node and change its

settings like shown in Fig.17.

Render the AO render layer and save the picture. (Fig.18)

Open both the color and AO pictures in Photoshop. Copy the AO layer

and paste it over the color one. Set the blending mode for the AO layer

to Multiply and change the Opacity value as desired. Use a layer mask

or a soft brush to slightly remove the AO over the spots marked in red in

Fig.19 (the windows).


Find a nice sunset sky picture and paste it over

the other layers (Fig.20).

Select the Alpha Channel and delete the

selected part of the picture. (Fig.21)

Duplicate this new layer and assign a new Layer

Style (Outer Glow) to it. Copy the values shown

in Fig.22.

Try to play around with the exposure control and

the Hue/Saturation tool to get the desired look

for your final picture. (Fig.23)

Tutorial by:

Luciano IurinoFor more from this artist visit:

http://www.pmstudios.it

Or contact them:

[email protected]


mailto:[email protected]

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situation.







Chapter 1 | June Issue 058Sunset / Sunrise

Chapter 2 | This IssueBroad Daylight

Chapter 3 | Next IssueArtificial Light - Bright over head light at night



+ mental ray

Scene Created by: Viktor Fretyán | Tutorial Written by Luciano Iurino

Environment Lighting Indoor Scene - Chapter 2: Broad Daylight

because of the blue sky in the environment

and a pale warm light coming through the right

window (Fig.04).

and Sky has already activated all the necessary

features to illuminate the room: it created an

environment for us and activated the Final

Gather. There is a strong cold color component

Chapter 2 - Broad DaylightSoftware Used: Maya and Mental Ray

Welcome to the second part of the Interior

Lighting Tutorial. This time we’ll be creating a

daylight rig for our 3D room.

Let’s start by opening the Daylight_START.mb

file. The scene is pretty much the same as for

the first part (Fig.01).

Before we can actually start lighting the room,

we need to change the rendering engine to

Mental Ray. Open the Render Settings panel

and in the Render Using menu click on Mental

Ray (Fig.02).

The first thing we need to do is to create our

main light source (the Sun), so switch to the

Indirect Lighting tab in the Render Settings

panel and click on the Create button next to

Physical Sun and Sky (Fig.03). This will create

a new directional light representing our sun at

the origin of the scene. The light icon may be

too small, so just select it and make it bigger to

see it better. The only thing that really matters

about this directional light is its orientation, since

it represents the sun. So try not to rotate it too

much, or it will light the scene like the sun at

sunset; just try to keep it almost perpedicular to

the ground.

If you open the Render View and do a quick

test render, you’ll notice that the Physical Sun

Indoor Scene - Chapter 2: Broad Daylight Environment Lighting

Let’s start changing the Physical Sky

parameters to get more light into the room. Set

the Multiplier value to 3 and the Horizon Height

to about -0.5. The room looks brighter now, but

it’s still too dark (Fig.05).

Create a new Area Light and position/scale it as

shown in (Fig.06). It has to be close to the right

window and pointing inward. Make sure it’s not

touching the window’s mesh.

We’ll use this Area light to shoot GI photons

inside the room, so we don’t really need it to

act as a “normal” light. Set it’s Intensity down

to 0 and make sure that it emits photons in the

Mental Ray > Caustic and Global Illumination

tab (Fig.07).

Open the Render Settings panel and switch

to the Indirect Lighting tab. In the Global

Illumination section, make sure that Global

Illumination is active (Fig.08).

If you do another quick render, you’ll notice no

changes at all. That’s because the Area light


photons’ intentisy is not strong enough with the

default values (Fig.09).

Increase the Photon Intensity value to 100.000

and the Global Illum Photons to 100.000

(Fig.10). Now we start to see more light into the

room, and we also see some spots all over the

walls and objects: those are the photons emitted

from the Area light. Don’t worry about that at this

stage, we’ll take care of it later.

Duplicate the Area light and rotate/position it on

the opposite window (the left side one) (Fig.11).

Create another copy of the Area light, but this

time position/rotate it near one of the windows

in the back of the room (Fig.12). Now we have a

total of three Area lights shooting photons inside

the room.

Let’s do another quick render in the Render

View and let’s see what happens. Now there is a

lot of light inside the room, and a lot of photons

all over the place (Fig.13).

Indoor Scene - Chapter 2: Broad Daylight Environment Lighting

Quality tab, set the Max Sample Level to at

least 2 (it’s a good compromise between anti-

aliasing quality and render times). In the Indirect

Illumination tab, set the Accuracy for both Global

Illumination and Final Gather to 500. Also, set

the Radius value to 30 and the Merge Distance

to 20. This sould take care of the spots problem

(Fig.17).

Set the desired image resolution and Batch

Render the scene. Don’t forget to save the

alpha channel along with the final picture. You

can use a file format like .TGA, for example. In

Fig.18 you can see the final color pass.

As usual, we also need an Ambient Occlusion

pass for the compositing. Create a new Render

Layer and call it AO (Fig.19).

Now that we’ve set up the desired amount of

light for the scene, we need to use some kind

of exposure control to avoid over-exposed and

burned areas in the rendered picture. Open the

Hypershade and select the Camera we’re using

for the rendering. Drag it into the Work Area and

connect a mia_exposure_photographic node to

it (Fig.14).

We can now control the exposure of the

picture just like a photographer would do with a

professional camera. Change the Cm 2 Factor

parameter to 2000 (Fig.15).

Open the Render Settings panel, and reach

the Frame Buffer section in the Quality tab.

Set the Gamma value to 0.454. Go back to the

mia_exposure_photographic node and set the

Camera Shutter to 250, the F Number to 4, the

Vignetting to about 2 and the Saturation to 1.2.

(Fig.16). Try to play with these parameter to get

the right exposure and look for your picture.

Once you’re happy with the result, you can set

the parameters for the final rendering. In the

Open the Hypershade and create a new Surface

Shader material. Connect a mib_amb_occlusion

node to it’s color value and set the Samples

to 256, the Spread to about 2 and the Max

Distance to 40. (Fig.20)

Assign this shader as an override material for

the rendering pass, and Batch Render the scene

again. In Fig.21 you can see the final Ambient

Occlusion pass.

Open the AO pass picture in Photoshop and

paste it over the color pass. Set the AO layer

blending mode to Soft Light and try to play with

the Levels to get the desired amount of detail

(Fig.22).

www.3dcreativemag.com Issue 059 July 2010


Flatten the two layers together, and import

a background picture like the one shown in

Fig.23. Since we saved the rendered picture

with the alpha channel, we just need to put the

background layer below the main layer.

Fig.24 shows the final composited picture.

Scene Created by:

Viktor Fretyán Textures Supplied by:

3DTotal Total Textures

Tutorial by:



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situation.








Chapter 2 | July Issue 059Broad Daylight

Chapter 3 | This IssueArtificial Light - Bright over head light at night

Chapter 4 | Next IssueArtificial Light (Night-Time) - Mood Lighting (Low-Level - Romantic)


+ mental ray


Environment Lighting Indoor Scene - Chapter 3: Artificial Light

Chapter 3 - Artificial Light Software Used: Maya and Mental Ray

Welcome to the third part of the Interior Lighting

Tutorial. This time we’ll try to create a light rig for

a night time environment with a strong artificial

light coming from above.

Open the NightTime01_START.mb scene file.

You should already be familiar with it: it’s the

same scene from the previous parts of the

tutorial (Fig.01).

Our main light source will be the big swinging

lamp in the main room. Create a Point light and

position it right over it, like shown in (Fig.02).

Before continuing it’s time to set the render

engine. Open the Render Settings panel and

choose mental ray as the renderer (Fig.03).

We won’t use a precise color for this light;

instead, we’ll just plug a Mib_cie_d node into

it’s color channel. This way we’ll have a realistic

color for our light (Fig.04).

The lower the Temperature value, the warmer

the light’s color will be. For this tutorial we’re

using a Temperature value of 5.500, and an

Intensity value of 2 (Fig.05).

Let’s go back to the Point light’s attributes. Set

its Decay type to Quadratic and increase its

Indoor Scene - Chapter 3: Artificial Light Environment Lighting

tab (Fig.10). Also, select the Point light and

enable its Emit Photons option in the mental

ray/Caustic and Global Illumination tab. Set the

Photon Intensity to 1000, the Exponent to 1 and

the Global Illum Photons to a quite large value

(for this tutorial, a value of 5.000.000 was used).

Intensity to about 500. Also, enable Use Ray

Trace Shadows, since strong artificial lights like

this one usually cast solid and hard shadows

(Fig.06).

In Fig.07 you can see a quick preview render.

While there’s a nice shadow in the upper part of

the room, the lamp is casting too many shadows

around the scene. It may be realistic light

behaviour, but it’s not so pleasant to see.

Select the lamp structure shown in Fig.08 and

turn off the Cast Shadow feature in its Render

Stats.

Now it’s much better; the bigger shadow is still

there, in the upper part of the room, but there is

much less clutter (Fig.09).

Now it’s time to add some light bounces, to

make the dark corners look brighter. Open the

Render Settings panel and enable the Global

Illumination feature in the Indirect Illumination


requires longer render times; just use lower

values and lower resolution while doing test

renders to avoid wasting too much time.

Now that we’ve set our main light source, let’s

add another light to the scene. This light will

represent the cold light coming from outside the

windows. Create a new Area light and position/

scale it as shown in Fig.13. Don’t forget to make

it point inward!

Set its color to a very dark blue and its Intensity

value to about 1.2 (Fig.14).

Now open the Render Settings panel once again

and reach the Quality tab. Set the Gamma value

to 0.454 in the Framebuffer section (Fig.15).

Open the Hypershade and select the

active Camera. Connect a mia_exposure_

photographic node to it (Fig.16).

Let’s add some more realism using Final

Gather. Go back to the Render Settings/Indirect

Illumination tab and enable Final Gather.

Leave its parameters as they are at this stage.

Do another quick test render (Fig.12). The

resolution and general quality of this render are

lower than the previous one, since Final Gather

Render the scene again. Now it’s much better. If

you get strange spots and splotches all over the

walls, try to find the right values for the Radius

and Merge Distance in the Indirect Illumination

tab (Render Settings). These values may

change from scene to scene, and it strongly

depends on your scene size and measure units

(Fig.11).


Saturation tool to make it more yellow-ish

(Fig.22).

Paste another copy of the AO pass into the

picture. Set its blending mode to Soft Light and

its Opacity to 70% (Fig.23).

In Fig.17 you can see the values used for the

mia_exposure_photographic node, but feel free

to experiment with different values and try to

find the final look you desire for your rendering.

Before rendering the final color pass, make sure

to take care of the Anti-Aliasing quality. Set the

Max Sample Level to at least 2 (or try with even

higher settings if you have a powerful PC or

a lot of time to waste waiting for the render to

finish...).

In Fig.18 you can see the final color pass. Make

sure to save the picture with its alpha channel

enabled. It will be useful later in Photoshop for

the compositing task.

As usual, we also need an Ambient Occlusion

pass. Create a new render layer and name it AO

(Fig.19).

Create a new Surface Shader in the

Hypershade and connect a mib_amb_occlusion

node to it. Finally, assign the Surface Shader to

the render layer you created in the previous step

(Fig.20).

Make sure you have selected the AO render

layer and render the AO pass (Fig.21).

Open both the color pass and the AO pass in

Photoshop. Paste the AO pass over the color

one. Set its Opacity value to about 65%. Set

its blending mode to Multiply and use the Hue/


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Find a nice background picture. We need to put it on another layer below

the main color one. Try finding a nice picture of city lights on Google and

paste it below the color layer (Fig.24).

Select the Alpha channel you saved earlier together with the rendered

picture and invert it (Fig.25).

Create a new Layer Mask (from the Layer menu) using the Alpha selection

as shown in (Fig.26).

You can also use the same Alpha channel to select and duplicate the

inner part of the windows (make sure to be on the background/city lights

layer) (Fig.27). This way you can apply a Glow filter to add a nice effect

(Fig.28).

Scene created by:

Viktor Fretyán Textures supplied by:

3DTotal Total Textures










situation.










Chapter 4 | This IssueArtificial Light (Night-Time) - Mood Lighting (Low-Level - Romantic)

Chapter 5 | Next Issue TV-Lit (Night-Time) with Low-Level Lighting

+ mental ray



Chapter 4 - Artificial Light Software Used: Maya and Mental Ray

Welcome to the fourth part of the Interior

Lighting Tutorial. This time we’ll be creating

“mood lighting” with soft, warm lights.

Open the “NightTime02_START.mb” scene file

(Fig.01).

The scene is pretty much the same as for the

other parts of the tutorial. The only difference

is that both the laptop and TV screen materials

have been blackened out; since we want a

“romantic” atmosphere we’re going to turn them

off (Fig.02).

This time our main light source will be the big

fireplace in the middle of the room (Fig.03).

Before we can start dealing with the lights

themselves, make sure that you’re using the

mental ray renderer. Open the Render Settings

panel and pick mental ray from the drop-down

list next to Render Using (Fig.04).

Now create a Point light and position it right

into the fireplace. Set its color to a full reddish-

orange. Set it’s Decay Rate to Quadratic and

its Intensity to something like 100. Also, make


its color channel. This particular node allows you

to set a light’s color warmer or colder using a

Temperature parameter. In this case, a value of

4000 (warmer) was used for the light (Fig.08).

Now repeat the process and add another point

light into the other bed lamp. Do all the previous

steps, included connecting the “mib_cie_d” node

into its color channel (Fig.09).

sure to enable Raytrace Shadows for this light

(Fig.05).

Let’s do a quick test render (Fig.06). The light

is coming from the fireplace and it’s correctly

casting sharp shadows all over the room.

Now we need a couple other lights in the bed

area. Create a new Point light and position it

right into one of the bed lamps, as shown in

(Fig.07). Set its Intensity to 20 and its Decay

Rate to Quadratic. Enable Raytrace Shadows

for this light as well.

This time we won’t use a simple color for the

light; instead, we’ll plug a “mib_cie_d” node into


Let’s do another quick test render (Fig.10).

Now let’s take care of the back of the room.

Here we need a soft light on the desk. Create

another Point light and position it into the desk

lamp (Fig.11). Set its Intensity to 20 and its

Decay Rate to Quadratic. Enable Raytrace

Shadows.

Plug a “mib_cie_d” node into the color channel,

but this time use a colder Temperature value

like 4500 or 5000 (Fig.12).

Now let’s do a complete test render to see how

it’s going (Fig.13). We have a fair amount of

light in the room, but there are still too many

dark areas.

Go back to the Render Settings panel and

switch to the Indirect Lighting tab. Enable Final

Gathering and set its Accuracy to a low value

(100) for the moment. Set the Point Density to 2

and the Point Interpolation to 100 (Fig.14).

Render the scene again. Now we have more

light bounces all over the room (Fig.15). To


In the Hypershade, create a new Surface

Shader and connect a “mib_amb_occlusion”

node to it. Set the Samples value to 256, the

Spread value to 2 and the Max Distance value

to 40 (Fig.21). Assign this new shader to the

Render Layer you created earlier and render the

AO pass.

have more control over the final look of the

rendering, we need to deal with the exposure

control. First of all, make sure that the Gamma

value in the Framebuffer section of the Quality

tab is set to 0.454 (Fig.16).

Now plug a “mia_exposure_photographic” node

into the Camera (Fig.17).

Set its parameters as shown in Fig.18. Set the

Cm 2 Factor value to 2000, the Camera Shutter

to 100, F Number to 4 and Gamma value to 1

(Fig.18).

Now increase the Final Gathering Accuracy

value for the final rendering. Make sure to set

the final picture size as well. You can see the

final color pass in (Fig.19).

Now we need to create an Ambient Occlusion

pass. Create a new Render Layer and assign all

the geometry to it (Fig.20).


In Fig.22 you can see the final AO pass.

Open both the passes in Photoshop and put the

AO pass above the Color one (Fig.23).

Set the AO pass’ blending mode to Soft Light

and the Opacity value to about 87 (Fig.24).

Flatten the two layers together and duplicate

the resulting layer. Desaturate the top layer and

use the Levels shown in Fig.25 to enhance the

brighter areas in the image.

Set the top layer’s blending mode to Soft Light

and apply a fair amount of Gaussian Blur filter to

it (Fig.26). Colorize the top layer using the Hue/

Saturation tool to get a warmer overall color.

In Fig.27 you can see the final picture.

Happy rendering and see you next month with

the last part of the Interior Lighting tutorial.

Scene created by:

Viktor FretyánTextures supplied by:

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Chapter 5 | This Issue TV-Lit (Night-Time) with Low-Level Lighting

+ mental ray


Environment Lighting Indoor Scene - Chapter 5: TV-Lit (Night-Time)

values to 3 and 1, respectively (Fig.05).

Go back to the Area light’s properties, enable

Emit Photons and copy the RGB color you set

earlier to the Photon Color swatch. Also set the

Photon Intensity to a higher value, like 100.000,

and the Global Illumination Photons value to

1.000.000 (Fig.06).

Open the Render Settings panel and switch to

the Indirect Lighting tab. We’ll use some GI to

make some more light bounce all over the room.

Enable Global Illumination, set its Accuracy

value to 200 and the Radius/Merge Distance

Chapter 5 - TV-Lit (Night-Time) Software used: Maya and Mental Ray

Welcome to the fifth and final part of the indoor

lighting tutorial series. This time the work will be

easier since we will just set up and use one light

and then concentrate more on the overall look of

the image rather than the lights’ parameters.

Let’s get started. Open the “NIGHTTIME03_

Start.mb” file. It’s almost the same as in the

previous parts of the tutorial. The only thing that

has been changed is the TV screen shader to

create a self-illumination effect (Fig.01).

Create a new Area light and position it in front of

the TV screen (Fig.02).

In Fig.03 you can see the exact values used for

the light’s position/rotation/scale. Make sure it’s

pointing outward.

Assign a blueish color to the Area light (the RGB

values used in the scene are: 0.558, 0.564, 1)

and enable Raytraced Shadows. Do a quick

render test (Fig.04).

As you can see, the TV screen is our main (and

only) light source in the scene; the opposite

walls are being lit by the screen, while the back

wall is totally dark. This is a good starting point

for this kind of illumination, but we still need

more light in the scene, even if it is a night time

situation and we have only one light source.

Indoor Scene - Chapter 5: TV-Lit (Night-Time) Environment Lighting

Do another test render. Now there’s much more

light (don’t worry if it looks over-exposed, we’ll

take care of it later) and there are some photons

visible in the scene (Fig.07).

Go back to the Indirect Illumination settings and

enable Final Gathering. Set its Accuracy to 100,

Point Density to 2 and Point Interpolation to 100

(Fig.08).

Render the scene again. Now it’s much better,

but the picture is still too over-exposed. We

need the “mia_exposure_photographic” node to

fine-tune the exposure and overall look of the

image (Fig.09).

Open the Quality tab in the Render Settings and

make sure that the Gamma value is set to 0.454

(Fig.10).

Open Hypershade and drag the Camera

you’re using into the graph. Drag a new “mia_

exposure_photographic” node into the graph

and connect it to the camera node (Fig.11).


and spots caused by the photons, try to increase

both the GI and FG Accuracy values. In Fig.13

you can see the final color pass rendering.

Just like for the other tutorial parts, we also

need an Ambient Occlusion pass. Select all the

geometry objects in the scene and assign them

to a new Render Layer called AO (Fig.14).

If you render the scene now, the picture will

be all black; we need to set the exposure

parameters. These are the parameters used in

the scene:

- Cm 2 Factor: 2000

- ISO: 100

- Shutter: 100

- F Number: 8

- Vignetting: 11

- Burn Highlights: 0

- Crush Blacks: 1

- Saturation: 1.2

- Gamma: 1

In Fig.12 you can see a quick test render using

the previous settings.

Feel free to experiment and play with the

“mia_exposure_node” parameters until you get

the desired result. Keep in mind that for this

kind of illumination the picture should be quite

contrasted and saturated, since the only light

source is the TV screen and there is no other

light coming from outside.

Now we’re ready to render the final color pass.

Set the desired resolution for the rendering,

increase the AA settings in the Quality tab

(Render Settings) and if you still have splotches

Indoor Scene - Chapter 5: TV-Lit (Night-Time) Environment Lighting

Create a new Surface Shader in the Hypershade

and connect a “mib_amb_occlusion” node to it.

You can see its parameters in Fig.15.

And here’s the AO pass rendering (Fig.16).

Open both the color and AO passes in

Photoshop. Copy the AO pass over the color

one and set its Opacity value to about 63.

Also, set its blending mode to Overlay (Fig.17).

This way we’ll have a nice, contrasted image,

maintaining the saturation.


inspiring for anyone following. Happy rendering

and see you soon!

Scene created by:

Viktor FretyánTutorial by:


http://www.axe78.blogspot.com/

Or contact them: [email protected]

Use the Image > Adjust > Variations tool to

adjust the overall color and shading. In this

case, some more Cyan/Blue was added

(Fig.18).

Select the TV screen (or you can just render it

separately in Maya and save it) and duplicate it

over a new layer (Ctrl + J shortcut key) (Fig.19).

Apply a fair amount of Gaussian Blur to it and

use the Hue/Saturation tool to create a nice and

colored glow effect for the TV screen (Fig.20).

In Fig.21 you can see the final picture.

So this is it. The interior lighting tutorial series

ends here. I hope it has been useful and


http://www.axe78.blogspot.com/


3D Total Lighting La Salle Maya

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