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Software requirementsPart 1 > Theory Chapter 2 A little light theory Real world lighting explainedThe visible spectrumColor mixingOur perception of lightColor temperatureColor balanceThe

Essential CG Lighting Techniques with 3ds Max

To Georgina for being my guiding light

Essential CG Lighting Techniques with 3ds Max

Darren Brooker

AMSTERDAM • BOSTON • HEIDELBERG • LONDON • NEW YORK • OXFORD PARIS • SAN DIEGO • SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO

Focal Press is an imprint of Elsevier

Linacre House, Jordan Hill, Oxford OX2 8DP, UK

30 Corporate Drive, Suite 400, Burlington, MA 01803, USA

First edition 2003

Second edition 2006

Third edition 2008

Copyright © 2003, 2006, 2008, Darren Brooker Published by Elsevier Ltd All rights reserved

The right of Darren Brooker to be identified as the author of this work has been asserted in accordance with theCopyright, Designs and Patents Act 1988

No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by anymeans electronic, mechanical, photocopying, recording or otherwise without the prior written permission of thepublisher

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Notice: No responsibility is assumed by the publisher for any injury and/or damage to persons or property as amatter of products liability, negligence or otherwise, or from any use or operation of any methods, products,instructions or ideas contained in the material herein

British Library Cataloguing in Publication Data

A catalogue record for this book is available from the British Library

Library of Congress Cataloging-in-Publication Data

A catalog record for this book is availabe from the Library of Congress

ISBN: 978-0-2405-2117-6

For information on all Focal Press publications

visit our web site at ww.focalpress.com

Printed and bound in China

09 10 11 12 12 11 10 9 8 7 6 5 4 3 2 1

Basic lighting techniques

Further lighting techniques

Radiosity techniques

Indoor lighting techniques

Outdoor lighting techniques

Rendering with mental ray

Composition and drama

Camerawork and technicalities

63 79 99 117 149 175 203 225 237 255

283

303 329 349

365 371 383 389

Software requirements

Part 1 > Theory

Chapter 2 A little light theory

Real world lighting explainedThe visible spectrumColor mixingOur perception of lightColor temperatureColor balanceThe behavior of lightUnderstanding the qualities of light

Chapter 3 CG lights examined

Lights in CGStandard lightsSunlight and Daylight systemsPhotometric lights

The anatomy of a CG light

Chapter 4 Understanding shadows

The importance of shadowsThe technical side of shadowsFaking it

When to fake

To use shadows or not?

Shadow saturation

xii xiii

1 3 4 5 5

9 9 10 11 12 13 14 17 20 29 29 30 38 39 41 45 45 48 54 56 57 58

CONTENTS

Tutorial > three-point lighting

Chapter 6 Further lighting techniques

Making light work

Other light types

Tutorial > radiosity workflow

Chapter 8 Indoor lighting techniques

Indoor lighting

Outdoor light indoors

Tutorial > radiosity techniques

Tutorial > simulating global illumination

Tutorial > HDR lighting

Artificial lighting

Tutorial > three-point artificial lighting

63 63 64 65 68 69 71 73 74 79 79 80 81 82 85 87 90 91 93 99 99 100 102 103 104 109 117 117 121 125 128 134 141 142

CONTENTS

Chapter 9 Outdoor lighting techniques

The great outdoorsSunlight

SkylightSunlight and skylight togetherTutorial > sunlight and skylight togetherNight time

MoonlightTutorial > moonlightStreet lightingTutorial > outdoor lighting fixturesTutorial > neon lighting

Chapter 10 Rendering with mental ray

Physically-based lightingTutorial > indirect illumination workflowTutorial > Global Illumination

Floating-point imagesTutorial > floating-point imagesTutorial > outdoor lightingAmbient occlusionTutorial > ambient occlusionCaustics

Tutorial > caustics with mental rayRendering options

Chapter 11 Match lighting

Background platesLighting reference dataHDR

Match lighting in practiceMatch lighting without referenceTutorial > match lightingmental ray production shadersTutorial > match lighting with mental ray

Chapter 12 Lighting Analysis

Lighting analysisThe Lighting Analysis AssistantTutorial > lighting analysis

149 149 150 153 155 156 159 159 161 165 166 169 175 175 180 182 186 188 192 195 196 198 199 201 203 203 205 207 210 213 214 220 221 225 225 226 230

CONTENTS

Taking compositing further

Part 3 > Tips & tricks

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CONTENTS

Part 4 > Taking it further

Chapter 16 Composition and drama

Visual storytellingCompositionUnityGroupingEmphasisDepthMood and dramaPositive and negative spaceThe rule of thirds

Chapter 17 Camerawork and technicalities

The camera in 3DTechnical aspectsBroadcast standardsPAL and NTSCAspect ratiosFilm formatsReframingOverscanFields and motion blur

Chapter 18 Looking further

Looking beyond lightingBrazil

finalRenderMaxwell RenderV-Ray

MAXScriptPlug-in awayUseful websitesStudio websites

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CONTENTS

Tutorial > texture baking

Chapter 2 Antialiasing & Supersampling

Antialiasing

Supersampling

365 365 366 366 367 367 367 368 369 369 371

383

389

1 1 3 6 7 1 1 5

CONTENTS

About the author

Darren Brooker is an award-winning CG artist, writer andillustrator with over a decade specializing in texturing, renderingand lighting in architecture and post production He works forAutodesk’s Media & Entertainment division in London, where hespecializes in 3ds Max

He has previously worked for leading UK production studios

Cosgrove Hall Digital, Pepper’s Ghost and Red Vision It was at

this company that he was part of a team that won a BAFTA forBest Visual Effects He was also runner-up in the EuropeanJunior 3D Animator’s Award and has been shortlisted for theBritish Book Design and Publishing awards

His writing credits include The Guardian, CGI, 3D World,

Computer Arts, Broadcast Engineering News and Creation.

First of all comes the team at Focal Press who’ve made this titlepossible From Marie’s initial approach for a first edition atSIGGRAPH 2000 to the final proofreading stage of this, the thirdedition, the professional manner in which the production hasbeen overseen has been very much appreciated This appliesequally to the amount of control in terms of layout and designthat Focal were willing to give me, which has resulted in a veryclose match to my initial vision for a definitive lighting text.Particular thanks goes to the folks at Autodesk Media &

Entertainment for their continued help and support over the lastdecade The European and Canadian Application Engineer teamsdeserve a special mention for their support and guidance, not tomention the occassional shameless promotion!

The majority of renderings featured in this book were carried out

at my home, but a lot of this work builds on previous

collaboration with London Guildhall University, where theguidance of Mike King and Nigel Maudsley was an enormousamount of help The design and layout of this book also tookplace between London and Montreal, with occasional work atthe homes of various friends, who deserve thanks for theirpatience, not to mention their food and accommodation

Thanks go to all the studios and individuals that kindly gave mepermission to talk to them about their projects and use theirimages for print, and also to the individual artists who have beenvery supportive in this project You know who you are

CHAPTER 1 > INTRODUCTION 1

‘Light and illumination are inseparable components of form, space and light These

are the things that create ambience and feel of a place, as well as the expression of a

structure that houses the functions within it and around it Light renders texture,

illuminates surface, and provides sparkle and life.’

Le Corbusier

From architecture to animation, film to photography, the vital

role of lighting is understood across a whole spectrum of

creative disciplines The modernist architect Le Corbusier

poetically summed up the considerable role it plays in his quote,

above Though speaking specifically about architecture, his

words express succinctly just why lighting is so important in the

world of 3D Equally, he speaks for those working across the full

spectrum of visual arts

Though maturing at a rapid rate with each passing software

release, when looked at in context of its complementary

disciplines, 3D remains a comparatively young industry As such,

many of the techniques that have become established in 3D,

particularly around lighting, have grown out of the

tried-and-tested conventions from these complementary disciplines As an

industry arguably still in its late adolescence, it is still short of

the established techniques of these more mature art forms

1

Image courtesy of:

Weiye Yinhttp://franccg.51.net

ESSENTIAL CG LIGHTING TECHNIQUES WITH 3DS MAX

2

Indeed, the conventions that exist in the world of cinema tookdecades to become established, and the pioneers working withthe new medium of film started the development of the language

of cinematography as we understand it today As the world of 3Dcontinues to mature, conventions similar to those that now exist

in cinematography are becoming established and adhered to.Any medium- to large-scale CG production is has its workflowstratified by specialism, with separate modeling, texturing,animation, lighting, rendering and compositing teams working inparallel on the same production

This mode of operation demands of 3D artists a skillset that isfocused on one specific area, yet this knowledge cannot exist inisolation An understanding of the full production pipeline – fromfirst concept to finishing – is also necessary in order to

understand the needs of fellow workers in other teams

In answer to this demand for specialized skills within 3D, thisbook aims to provide a single volume that looks at both thetechnical and practical aspects of lighting in CG It aims to assistyou in becoming skilled at using the lighting tools availablewithin 3ds Max, whilst placing this in context of the world oflighting in the complementary visual arts and always looking atthis in context of the real world of professional computer graphicsproduction This book does not only aim to teach the reader theskills demanded of a 3D lighting specialist, it considers thefundamentals, both aesthetic and theoretical, of the real world oflighting, placing this technical knowledge in a wider context

To become skilled at 3D lighting, one must first have a basicunderstanding of how light works The emotive power ofdifferent hues and color schemes must be comprehended, asmust the manner in which the construction of a system of lightsunifies a scene, bringing everything together as a cohesive wholethat reinforces the atmosphere of the script Composition andstaging need to be appreciated, as well as the psychologicaleffect that these considerations will convey to your audience.Only once a thorough understanding of all of these factors hasbeen gained can anyone really call themselves a lighting artist.Fortunately, the established rules of cinematography, painting,photography, stage design and architecture can provide manyvaluable lessons in helping us to understand the wider context inwhich 3D lighting exists

With a firm grasp of the principles of lighting, you willunderstand how to set off the hard work of the other teams inyour studio (or occasionally even to hide the bad work), bringingabout a cohesive image that reinforces the emotions of thestoryline Until a 3D scene has been lit, it remains nothing morethan a bunch of polygons, and with the lighting carried outprofessionally, the work of every team involved shines

CHAPTER 1 > INTRODUCTION 3

This book will use as a cornerstone the lighting conventions that

have already become established within CG, and it will examine

those just emerging within professional production environments

It will do this whilst drawing on the complementary arts to look

at the lessons to be learned from these time-honored disciplines

Of its four main sections, the first will examine theories to give

you a firm foundation on which to build before moving on to

sections covering techniques, then tips and tricks – from

painting, photography, film and television, stage design and

architecture The final section will reinforce this content with

practical knowledge and advice from the real world of 3D

production to enable you to take this knowledge further

Whilst all the science will be explained in plain English along the

way, this book’s main concern is not with the theory of lighting;

its aim is to teach the reader how to apply these lessons in CG,

with every ounce of theory backed up by tutorials, and every

tutorial placed in context of the holistic world of the visual arts

Who this book is for

Though the level of content of this book is of a high enough level

to appeal to existing 3D professionals, the modular nature of the

contents makes it perfect for those relatively new to the subject

who wish to gain a particular knowledge of the skills and

techniques of lighting

The tone of the book is intended to be clear and concise without

being packed full of jargon However, rather than avoid

important industry terms, these will be clearly explained, and

Professional users:

This book is designed to help the experienced 3ds Max user

supplement their existing knowledge with new techniques that

will provide further creative possibilities and help negotiate the

continuing trials and tribulations of the production world

Intermediate users:

This book is perfect for the user who already has some working

knowledge of 3ds Max and wants to produce more professional

results by learning about the techniques of lighting

Beginners:

This book aims to cover extensively the skills of 3D lighting in a

modular approach that guides the reader step-by-step, using

tutorials aimed at teaching the general processes involved rather

than the technicalities of dealing with complex 3D scenes

ESSENTIAL CG LIGHTING TECHNIQUES WITH 3DS MAX

4

backed up with clear and colorful images Tutorials are provided,using both 3ds Max and Combustion, and demo versions of theseAutodesk applications are included on the book’s DVD Thetutorials are written in such a way that their content istransferable to other 3D solutions

How to use this bookThis book is written in a modular fashion, with the informationorganized into relevant sections to provide a more effectiveteaching aid The first section deals with the importanttheoretical aspects of lighting in a clear and informative manner.Whilst not going into the theory to an unnecessarily deep level, itdoes attempt to outline the basic principles of light that willserve as a guide to the lighting tasks that lie ahead, beforemoving onto the theory of lighting in 3D

The newcomer in particular will find that the two theorecitcalcomponents of this section will combine to provide an invaluablereference to appreciating the physical properties and nature oflight and how this relates to computer graphics

The second section deals with the specific techniques applicable

to 3D lighting and forms well over half of the book’s content.Armed with an understanding from the last section of howlighting operates, both within the real world and the 3Denvironment, the reader will move on to examine differentaspects of 3D lighting, where every ounce of theory is backed up

by clear hands-on tutorials This takes both the aesthetic andtheoretical fundamentals of different lighting tasks and breakseach down into a method that fits in with professional 3Dpipelines in terms of efficiency and output

After absorbing these technicques, the third section will provideguidelines for using the methods introduced so far in an efficientfashion, as well as tips and tricks for breaking all the rules thathave been introduced through faking and cheating, which areboth very valuable skills in the world of CG! Knowing whichtricks save rendering time and which give the most controllableresults allows you, the lighting artist, to work in the mostappropriate and flexible way possible

The fourth section looks at wider aesthetic considerations, andhow, as a lighting artist you should be concerned with more thanjust the illumination of your scenes This final section will showthat an appreciation of composition, drama and staging is also afundamental skill, as is a grasp of the more technical aspects ofthe job This section reinforces the concepts introduced thus farand provides several junctions to explore from From here youshould be ready to explore and create all on your own!