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00:00:00
hello i'm professor matthew rotella and00:00:02
in this tutorial i'm going to be going00:00:04
over uh three-point lighting in maya i'm00:00:07
gonna be00:00:09
uh rendering in arnold so00:00:12
i'm going to be lighting this using00:00:15
arnold area lights00:00:17
and uh00:00:18
[Music]00:00:20
yeah let's get into it as a little bit00:00:23
more about my setup here00:00:25
i mean as you can see i got a couple00:00:26
cameras here that are just slightly00:00:28
aligned00:00:29
to have different framings on the face00:00:31
but i got this head here00:00:33
that i'm going to light and render00:00:37
and uh just a simple like cyclorama00:00:41
backdrop to render him against and00:00:45
uh this isn't my head i should clarify00:00:48
and i got this uh this head00:00:52
was created from wagner both or at least00:00:55
the uh the textures were i i don't know what00:00:58
the history of this particular model is00:01:00
but uh my history with it is basically00:01:02
just as a student00:01:04
uh but way back when uh this00:01:07
head was used as part of my advanced00:01:09
lighting class00:01:10
and i figured i would repurpose it for00:01:14
my own tutorial00:01:17
so yeah i got00:01:21
shader set up with displacement and all00:01:23
sorts of things going on here00:01:25
but basically uh00:01:29
the concept behind three-point lighting00:01:31
which is just a good lighting setup to00:01:33
uh00:01:34
oftentimes to start with like a lot of00:01:36
times i'll use three-point lighting as a00:01:38
sort of00:01:39
bass line for just getting00:01:42
a nice looking light setup00:01:46
on an object it doesn't have to be a00:01:49
character or head or a face or anything00:01:50
like that it could be00:01:52
anything but it'll give you some pretty00:01:54
nice looking results uh by default00:01:56
pretty much every time and then you can00:01:59
go through00:02:00
and you know improvise from there00:02:03
so uh okay00:02:07
so basically what uh goes on here00:02:10
is we're going to make a you know three00:02:12
lights there's going to be00:02:15
a a key light a00:02:18
fill light and a rim00:02:22
light and i'll walk you through the00:02:24
basic00:02:25
idea of that i'll make three new ones00:02:27
just because it'll only take a second00:02:29
and it'll perhaps give you a better idea00:02:32
of just like how to set these up so yeah00:02:36
like i said i'm going to be using arnold00:02:37
area lights for this and first00:02:41
generally what you're going to want to00:02:42
do is you're going to want to set up00:02:44
your key light00:02:45
the purpose of your key light is00:02:48
to be your primary light source it's00:02:51
usually going to be your biggest00:02:52
and your brightest light this is00:02:54
whatever uh whatever scene you're in00:02:57
like uh this would be yeah00:03:00
wherever the light is mainly coming from00:03:04
so yeah it's going to be your biggest00:03:05
and brightest light and00:03:08
all of your numbers for intensity and00:03:11
exposure and stuff like that are all00:03:14
going to depend on the scale of your00:03:16
scene00:03:17
as you can see this head is only00:03:20
centimeters large so00:03:23
my numbers are going to be relatively00:03:25
small00:03:26
compared to something like if this was a00:03:28
life-size head i would probably be using00:03:30
much00:03:31
higher numbers because the fall off of00:03:34
these area lights00:03:36
is a dependent on distance in your00:03:40
scene size but use whatever numbers00:03:43
work but basically00:03:48
uh yeah this is going to be your biggest00:03:49
and brightest light so00:03:52
at the start like00:03:56
which these aren't the numbers that i00:03:57
ended up using but just to give you the00:03:59
idea00:04:00
of the concept like i'll have a 1000:04:04
exposure here and good placement of00:04:06
these00:04:07
is usually you want to be00:04:11
slightly above your00:04:15
slightly above your subject and aiming00:04:17
diagonally down00:04:18
basically just diagonal shadows and00:04:20
diagonal lights will give you more00:04:22
dynamic lighting which you don't always00:04:26
want but like as a general rule of thumb like00:04:30
to make something look more dramatic and00:04:31
dynamic00:04:32
like being a little bit higher than your00:04:34
subject and lighting from the top00:04:37
will give you good results okay00:04:40
and then so yeah your key light it's00:04:43
your main light source00:04:44
uh it's your primary uh the00:04:47
like shadow caster and things like that00:04:50
so basically i have all sorts of things00:04:54
rendered ahead of time so basically with00:04:56
your key light00:04:59
you'll which uh i don't quite have my00:05:01
displacement set up right on my shader00:05:03
which is why he00:05:04
partially looks like a burn victim but00:05:08
uh regardless and i figured it was good00:05:11
enough to start00:05:12
uh so yeah uh basically00:05:16
uh with just the key light uh it you'll00:05:19
be00:05:20
relatively high contrast which by00:05:22
default these uh00:05:24
area lights have are are pretty soft00:05:27
and you'll see that their spread starts00:05:29
at one if you want something that's more00:05:31
focused more contrasty uh00:05:35
then you can turn the spread down00:05:38
which would give me a result that's more00:05:41
like this00:05:42
and i'll get brighter highlights and and00:05:45
darker shadows00:05:46
you know compared to like something like00:05:50
this00:05:51
uh which yeah let me get them00:05:54
i'll get them side by side for you00:05:57
uh yeah where it's like00:06:01
here it is before lowering the spread00:06:03
and here it is00:06:04
after lowering the spread and yeah you00:06:07
can see00:06:08
like over here is darker in the00:06:09
background the lighting will just get00:06:11
overall00:06:12
more intense and less diffused as you00:06:15
adjust the spread and00:06:19
yeah that's your key light in your00:06:22
primary light source00:06:23
and now the purpose of your fill light00:06:26
which is00:06:28
uh whoop i know00:06:31
the purpose of your fill light which00:06:33
i'll even just ctrl00:06:34
d duplicate this light bring it over00:06:38
position it the purpose of your fill00:06:40
light is to sort of00:06:41
make your shadows not quite so dramatic00:06:45
and to just illuminate more of your00:06:47
subject so00:06:48
you know generally this will be a little00:06:50
smaller and00:06:54
i'll just say like seven in the exposure00:06:58
and it'll be less bright than00:07:01
your key light so it's basically just00:07:04
there to make your shadows00:07:06
less harsh and00:07:09
that'll take us from00:07:13
which rendering with just my fill light00:07:16
looks like this and uh00:07:20
you'll see that it's just like uh yeah00:07:22
it's not as00:07:23
high contrast and dynamic as my key00:07:26
light00:07:27
it's just rather diffused and that's00:07:29
basically that's the entire point00:07:31
of a fill light is to just add some00:07:33
diffused lighting to your subject just00:07:35
to illuminate00:07:36
more of the surface just because you00:07:39
want to see it00:07:42
yeah just to help you see more of00:07:44
whatever your subject is00:07:46
that is the purpose of the fill light00:07:49
and both the key and the fill together00:07:52
looks like this so basically going from00:07:57
just my00:07:59
key light which you know this is the00:08:01
more focused one00:08:03
but still going from just my key light00:08:05
to00:08:06
my key plus my fill yeah like i said00:08:08
just00:08:09
diffuse uh make something make those00:08:12
shadows not quite so dark and just00:08:13
illuminate more00:08:14
of the surface and then00:08:18
lastly that brings us to00:08:22
our final light which is your rim light00:08:25
or your backlight however you want to refer to00:08:28
it and press that again00:08:32
gotta remember to go back into my00:08:35
control d00:08:36
i'll duplicate this and now my fill00:08:38
light00:08:40
this is going to be your smallest and00:08:42
your dimmest light00:08:43
but it's also going to be the most00:08:45
focused00:08:46
of your lights so this might be one00:08:48
where you definitely want to00:08:51
uh where you definitely want to00:08:54
reduce the spread but i don't know it's00:08:57
all up to you it's all subjective00:08:58
whatever00:08:59
ends up working i'm just giving you the00:09:00
general positions here00:09:02
and that now this light will be00:09:04
generally lower00:09:06
than the other two and00:09:09
basically the whole point of your rim00:09:12
light is to sort of set to give yourself a00:09:16
little bit00:09:17
of contrast back here00:09:21
and set your subject apart from the00:09:23
surface00:09:24
that is your background00:09:29
so yeah basically now with all00:09:34
uh i have which00:09:37
i forgot to make this dimmer i'll leave00:09:40
i'll00:09:41
set it to i don't know like three in the00:09:43
exposure00:09:45
like i said these numbers aren't really00:09:47
important00:09:48
i'm just changing them to show you the00:09:50
process especially because like i said00:09:52
these uh00:09:54
it's all subjective and it totally00:09:56
depends on00:09:57
what uh and what your scene setup is00:10:01
like00:10:02
your numbers will be wildly different00:10:03
depending on what your scene setup is00:10:05
but basically just my rim light looks00:10:08
like00:10:09
this uh you can see it's not adding a00:10:11
whole lot00:10:12
of light to my subject00:10:15
but like i said the point is just to00:10:19
get a little bit of lighting on your00:10:20
contours and bring out00:10:22
some of the details that you wouldn't00:10:23
otherwise see and just00:10:25
set your obj your your subject00:10:28
off of the background some so00:10:33
basically here's my00:10:36
here's my key and my fill light00:10:39
and then here is00:10:43
all three put together00:10:49
okey dokey and00:10:53
yes this is what i wanted00:10:57
and there's all three put together so00:11:00
yeah00:11:02
here it is before the rim light and00:11:04
after and you can just see00:11:06
how i get that little highlight right on00:11:09
the edge00:11:10
and that's just to set it off from the00:11:11
background really just define your00:11:13
subject00:11:14
and again to bring out00:11:18
some some details you wouldn't otherwise00:11:20
see stuff that they00:11:22
stop it from blending in quite so much00:11:24
and00:11:26
yeah this will just give you uh lighting00:11:28
that00:11:29
you know really shows the object uh00:11:32
but still has some dynamic elements to00:11:35
it00:11:36
and uh and00:11:41
and like you can see all the different00:11:43
changes in00:11:45
the surface while having your object be00:11:47
very well illuminated00:11:48
all at the same time so it gives you uh00:11:53
yeah the lighting that uh really lights00:11:56
up your subject well00:11:57
while still maintaining some dynamic00:12:01
properties to it and then just in case00:12:04
you're curious uh like i said00:12:08
i didn't end up yeah so this is the00:12:11
setup that i had at the beginning00:12:13
uh just in case you're curious of my00:12:17
exact numbers for whatever reason00:12:20
uh yeah like i have my key light here00:12:22
with an exposure of eight00:12:24
and then i have an exposure of six on my00:12:26
fill light and then exposure of four00:12:30
on my rim light and then i reduce the00:12:33
spread a little bit00:12:34
on my rim light or my back light and00:12:37
then just one other thing to maybe make note00:12:39
of is00:12:40
uh00:12:45
is the if you are lighting something00:12:47
like a face00:12:48
a lot of times what uh people will try00:12:52
to achieve00:12:53
with three-point lighting is this little00:12:56
area right here the rembrandt uh00:13:00
it's referred to as the rembrandt light00:13:02
triangle00:13:03
and it's this triangle on the cheekbone00:13:08
basically why you would want to achieve00:13:11
such a thing00:13:12
is that this triangle really helps00:13:15
set the depth of this side of the face00:13:18
while while still maintaining that this side00:13:21
is firmly in shadow while the site is00:13:23
firmly in light00:13:24
and this photo i don't know where it's00:13:27
from i just yoinked it right off the00:13:29
wikipedia page00:13:30
for the rembrandt light triangle and00:13:32
there's a wikipedia page for00:13:33
three-point lighting as well if you care00:13:36
to have some sort of bouncing off point00:13:38
to start reading about00:13:39
the topics and you can see that i kind00:13:42
of achieve it00:13:43
mine is not so it's not nearly so00:13:45
pronounced uh00:13:48
which i can even bring up the00:13:51
where i don't quite have my my light00:13:54
angled in such a way00:13:55
to get the triangle but i'm sort of00:13:57
getting it mine's larger00:13:59
basically i guess00:14:03
right here on this cheekbone which again00:14:05
it like helps00:14:06
uh highlight the curvature of the face00:14:08
while still00:14:10
having like a light side and a dark side00:14:12
and that's part of why00:14:14
it's also part of why we would light our00:14:17
subject from this like diagonal to00:14:20
achieve those sorts of highlights00:14:22
which again uh the the principle behind00:14:26
the light triangle doesn't apply00:14:28
just to heads or people00:14:31
or faces it really applies to anything00:14:35
where it just has a like sort of00:14:40
a more complicated shape to its surface00:14:43
just that even if something00:14:45
like is on the darker side of things00:14:48
getting a highlight onto00:14:50
one part of it to show how that surface00:14:52
curves00:14:53
can really help define a surface and set00:14:56
it apart00:14:57
and also you don't always necessarily00:15:00
want your lights this close00:15:01
to your subject but all of this is all00:15:04
subjective it's all about getting00:15:05
the result that you need and this just00:15:08
happened to function for me00:15:11
feel free to look up uh images of00:15:14
three-point light setups00:15:16
and then i'll also pull up this00:15:20
just right out of arnold's documentation00:15:23
they have a tutorial for just setting up00:15:26
studio lighting00:15:27
this isn't a three-point light light00:15:30
setup00:15:31
like most people would be talking about00:15:35
but it's just another example of a00:15:37
similar setup to what i had00:15:40
where you have three lights00:15:44
one on top and one on either side00:15:47
just to give you which this is really00:15:49
good for like a product design00:15:51
and showcasing yeah products like that00:15:54
and this will give you much00:15:56
softer lighting while still just giving00:15:58
you a00:15:59
nice diffusion over your surface00:16:03
it's just another setup to consider but00:16:07
when it comes to the traditional00:16:08
three-point light setup this is what00:16:10
we're talking about00:16:12
with the key uh key the brightest00:16:15
the biggest your main light source your00:16:18
fill00:16:19
there to illuminate the shadowed00:16:22
part of your subject just to00:16:26
allow your audience to see that part of00:16:29
the surface00:16:31
but you don't want this to be so bright00:16:33
that it's obvious that there's two00:16:35
light sources uh you just want it to be00:16:39
bright enough uh that00:16:45
had like you just wanted to be bright00:16:48
enough00:16:49
like i said that you can see details in00:16:52
the surface that you otherwise00:16:53
would not be able to00:16:58
because that's also part of three-point00:16:59
lighting is that you don't necessarily00:17:00
want it to be00:17:02
extraordinarily obvious that there's00:17:04
three lights you want it to mainly00:17:06
uh you want your light to still be00:17:07
generally very00:17:09
directional uh but just00:17:13
it's a trick to or not necessarily a00:17:16
trick but just a setup00:17:18
to have a light that is still focused00:17:21
and directional00:17:22
but still gets your subject well00:17:25
illuminated anyway00:17:30
sorry for getting a bit rambly to say00:17:33
the least00:17:34
but uh that's it that's the general00:17:36
principle behind00:17:38
uh three-point lighting and if you're00:17:40
noticing a lot of noise00:17:42
a good place to start when you're00:17:43
lighting it could just be to up the00:17:46
samples00:17:47
on the lights themselves to like at00:17:49
least00:17:50
three and then00:17:53
that should eliminate a decent chunk of00:17:55
noise00:17:56
and then without putting00:18:00
too much more uh weight on your00:18:02
rendering engine00:18:03
and but if you're still seeing a lot of00:18:05
noise after upping your light samples00:18:07
then you can start going into your00:18:09
render settings and upping uh like your00:18:12
diffuse and your specular samples and so00:18:14
on00:18:15
anyway i hope that was helpful hope that00:18:17
was educational that's about all i have00:18:18
to say and all that00:18:19
you have a good week life day00:18:22
what have you uh christopher tell us00:18:25
signing offDescription:
In this tutorial I go over how to set up a 3 point lighting setup using Arnold area lights. Area light documentation: https://help.autodesk.com/view/ARNOL/ENU/ Additional studio lighting tutorial: https://help.autodesk.com/view/ARNOL/ENU/
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