How to use the 7 Point Light Setup when you have 2 or more characters



  • Rashad CarterRashad Carter Posts: 1,744
    edited December 1969

    In the picture with the Deco set, you said you have the light simply entering the window and you have it bounce a number of times, correct? That sounds a lot like Radiosity. There is a video on that in the Light Master course, but I haven't watched it yet. I plan to do that soon, though.

    Yes, Radiosity is the feature where surfaces are allowed to interact with one another in a more or less physically accurate way, but Radiosity alone still has some degree of bias, but that is a different discussion. Radiosity gives fantastic results in most instances. My goal with the previous render was to make it look like Radiosity but it is actually all rigged with point lights, the surfaces don't actually speak to one another, I've just tried to make it appear as if they do. I did this because sometimes we dont always have the luxury to use Radiosity due to the longer render times but we might still need the look of radiosity. Learning how to manually rig a logical light set-up is very freeing.

  • Rashad CarterRashad Carter Posts: 1,744
    edited December 1969

    Novica said:
    Beautiful, Rashad! :)
    I enjoy your posts, and your opinions.
    I have only done two renders, and although I have that lighting series, I decided to do my own as placement of spotlights, linear point lights, etc are adjusted depending on where I want the focus. I thought I would use the 3 point, 7 point as a starting point, but I don't even do that.
    Everyone doing lighting differently is what makes renders interesting- and I really like your style, very crisp and inviting.

    Thanks for your feedback. It sounds like you are approaching the lighting in a logical way, so your results will probably be fantastic. Keep it up. I should state that Bryce is well known for the crispness of its renders, I cannot take any real credit for that. I used a very modest quality for the Anti Aliasing so for me the pixels are generally a little too contrasty, but for the sake of speed I had to keep it simple.

  • galactica1981galactica1981 Posts: 1,247
    edited December 1969

    The set is East Park High Hallways. It does not come with lights.

    There is a window on the right side of the picture. You can see the "moonlight" reflected on the floor in front of it.

  • kyoto kidkyoto kid Posts: 33,114
    edited December 1969

    ...effectively it does if you turn an item in the scene into a light emitter with the built in Uber Area Lights

    Along the ceiling there is a row of hanging fluorescent fixtures. These can be turned into light emitters. It is a slightly more advanced technique.

    Jack does make items like light fixtures selectable so what you need to do is select the light fixture in the scene itself (it won't show up in the scene tab if you loaded the !Preload which loads the entire set and props together) by using the select tool and clicking on it.

    There is a good tutorial here (click on link below) on setting up what are referred to "Mesh Lights".

    Basically what this does is allow you to use actual light props in the scene to light it.

  • Joe CotterJoe Cotter Posts: 3,234
    edited May 2013

    Also, that particular angle of light wouldn't be possible in the actual scenario of the building. There are windows, and that lighting wouldn't happen through the windows. The hallway is 'cut off' and the lighting is coming in at the moment from an open ended prop. I would post more explaining it but I can't think of a basic way to explain it. Hopefully someone reading this can translate it.

    Post edited by Joe Cotter on
  • Rashad CarterRashad Carter Posts: 1,744
    edited December 1969

    The test renders are completed. The posing is not up to snuff, it was just for speed. Hair is also omitted this time for sake of rendering speed.

    Version 1: Uses the exact original light set-up, just with a character added. Light can still only enter from behind her so she is illuminated only with the left over indirect light.

    Version 2: To enhance the figure I moved the desk lamp closer to her and I turned it on. Adding this additional key light source to the scene means there is generally more light to bounce around so I had to increase the intensities of my indirect lights as well to compensate.

    Version 3 and 4 are just interlaced comparison between Version 1 and 2 for quick reference.

    My conclusion
    I personally do not believe there is a particular way all humans should look. I never work with a "result" in mind. For me, both versions are adequately lit. The adequacy of the lighting depends on the internal logic of the given situation and not on any pre-conceived notions. Version 1 is dark, but that doesn't mean inadequate. Adding a figure to Version 1 doesn't change the fact that the all of the light is still entering from behind her head. It is my opinion that she blends into the background exactly as she should. In real life we don't have a special halo of lights around us to make us "pop" in photographs just because we are in a dimly lit room, we receive the same lighting our environment receives. Real life doesn't apologize, so why should I? I'd say Version 1 has a touch of mystery or sadness, loneliness maybe due to the dark and indirect nature of the light.

    Story: I imagine in Version 1 that the wife found a disturbing text on my phone this morning but didn't say anything. Instead she came to the office to ambush me while I was away at lunch. She's taken on a passive aggressive posture, seemingly aloof and deliberately sneaky. She wanted to catch me off guard. My experience tells me that women don't often do things without a reason. She could've turned on a lamp but chose against it because she knew she'd disappear into the shadows forcing me to come and find her. I think I'm in some trouble. She has the element of surprise.

    Version 2 sees the addition of an interior light source. Naturally, it is easier to view the items in the room when it is lit more intensely, this includes the Vicky character. Rather than to add a contrived halo of lights around the figure to the omission of everything else, I simply employed one of the available light props and lit the character as well as the scene. The key light from the lamp seems to strike her from a lower angle, which we know has certain psychological implications of its own. It also casts a nice silhouette on the far right wall. What I find is that the scene still retains a small degree of mystery even with this added light. Still Version 2 is most certainly happier seeming, less depressing at least compared to Version 1. It is a different mood altogether than Version 1.

    Story: I'd say in this version she still found a disturbing text, but freaked out on me in the morning before I left for work. After some time to rethink the argument I come back from lunch to find her waiting for me in my office with an apology. She turned on the desk light this time because she wanted me to see her right away. She chose to remove her element of surprise. She loves me, and she knows she can trust me. At least a little bit...... at least for now!!

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