Daz Lighting Tutorial | Lighting 101
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- Опубліковано 19 вер 2024
- In this Daz Studio lighting tutorial, I walk you through the basic controls of spot lights, point lights, and distant lights. You can harness a tremendous amount of power over your renders by understand a few basic things about these lights.
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dood you saved me so much confusion with the basics, thanks man
Glad to hear it!
the color temperature referes to kelvin values used in photography lighting, an incandecent light has a color temperature of 3200 kelvin, daylight has more 6000 kelvin
Just to quickly point something out. The Daz scale for lighting temperature is not opposite to real life. A lower kelvin number will give you a warmer, reddish light and a higher number will give you a cooler blue light in both instances.
Thanks for pointing that out! I'm a relative newbie when it comes to photography (well...any of this, actually, lol) and I've only done photo editing and color correction in software. I typically use Adobe Lightroom for color correction, then Photoshop if I need more powerful editing. In Lightroom, a higher temp is redder and lower temp is bluer, so I guess that Adobe is backward.
@@StevenDavid83 Ha, I wasn't even aware of that. I just checked my Lightroom and Photoshop and you're right. Although I notice they're using their own scale, not actual kelvin. If you google Light Temperature you'll see that everyone but Adobe puts the lower kelvin on the left and the higher on the right. I guess because we read left to right?
@@StevenDavid83 It's basically the color emitted by a black body at that temperature... Look at steel in a forge... Low temperature iron doesn't emit any light, when it gets warmer it goes from red through orange to yellow, and finally white-ish. Red steel is too cold to forge, when it reaches white, it is nearly molten.
The higher the temperature (in Kelvin), the more blue the light it emits becomes.
Had to stop the tuto (which is great, BTW, thanks for that!) to see whether anyone already remarked on it... ;)
Thanks for the tutorial. One thing I would add is a quick way to create spotlights is to copy the position from the camera or perspective, you can select options when creating it and select the current view.
Good point!
You explain things very well and to the point! Thank you so much!
You're very welcome!
That's always been my philosophy...click on it and see what happens.
i watch your lighting teachings often even know i have a basic understanding just to refresh. I came up with an idea while watching this video. Maybe taking a viewers idea and go through your thought process for the render? like for instance 1 model in a room with no windows. and you run through how you would tackle that? Just a suggestion for a series I think would be really cool and fun. :D love the work you do :D
Thank you for the comment! I'm always looking for ideas for future videos. I'll keep this idea in mind. Thanks!
@@StevenDavid83 np man xD enjoy the vids.
Thank you Steven!!! Great tutorial!
Thanks for watching!
For render priority, it may be linked to the render convergence ratio to class the light source as more important than other lights.
thank you Steven!! your videos help's me very much!!
The benefit of Distant Light seems to be that the light is collimated, that is, all the light beams from that light are coming at the objects in the scene at the exact same angle rather than from the same location. They are all parallel; there is no spread. You will notice that if you have a close source of light in real life, if you move your hand closer to, say, a light bulb, the shadow of your hand on the wall behind you grows larger and fuzzier as you block out more and more of the light radiating out in all directions. But if you try the same thing with sunlight coming through the window, your hand's shadow will be the same size and sharpness no matter how close to the window you move it. Also, different objects in the same room with the light bulb will have shadows going off in different directions, all pointing straight back at the bulb. But if you look at those same objects outside in the sun, all of the shadows will be pointing in the same direction. This is because the light source is so far away that by the time it reaches us, that portion we see is an incredibly narrow cone section of the total light it's putting out. The amount of spread we see in that section is negligible; the light beams we see from the sun are effectively coming at us parallel to each other (any differing angle we think we see, like with rays going through clouds seeming to diverge, is simply an optical illusion due to perspective. It's like looking down the inside of a paper towel roll. We can see the entire inside of the toll, and we can see the circle of the other end looking like it's smaller than and inside of the hole closest to our eye, but in reality, the sides of the tube are parallel, and both ends are the same size).
Point Light and Spot Light both involve light that spreads out from the source and encounters the objects in your scene at different angles. Distant light effectively makes an infinite light panel which only emits polarized light (so it never acts like a soft box, as a large rectangular point light will do).
The Distant Light is helpful when, say, you have a scene set up with an HDRI background in which things are lit by the Sun. I have a scene with people running through a park with plenty of trees. All the trees are part of the HDR image, and they all have parallel shadows. I want all of my characters' shadows to be pointing in the same direction as the trees, but if I use a point light or a spot light, I will end up with at least one shadow going in a somewhat wrong direction, and probably even being sharp-edged in one area and fuzzy in another. If I try to move it far away to minimize that, not enough light will fall on my subjects. The best solution is the distant light, which will make all the shadows crisp and parallel.
nice work
thank you
Great video!
great video thank you
The temperature thing, maybe is because the idea that red is hotter than blue is wrong.
On stars, the blue ones are hotter than the red ones.
Actually, Kelvyn scale works correctly here, as far as I understand after decade of hobby photography.
I thought creating a candle light would be done as an emissive light with lumans set as 1 candle setting instead of watts, obviously making the flame the emissive subject.
Daz doesn't have the temperatures backwards. Warmer temperatures are bluer. Cooler temperatures are redder. It's based off black body emissions which based on temperature. You're thinking of everyday colors which are mostly based on reflection or scattering instead of emission. Your way of thinking also applies to painting. Photography is different, and more scientific. Emission is heat glow. As something heats up it first glows red, then orange, then yellow. When it would peak at green, we actually see it as white. Then as it gets hotter it becomes blue. That's why blue stars are hotter than red stars, etc.
I keep hearing to always render from a camera, not perspective view, and I believe you, I just want to know the actual reasons why.
Great question! The main reason is control. When using a camera, you can change exposure settings, f/stop, focal length, depth of field, etc. You can also set up multiple cameras, each with their own, completely different settings. You should use perspective view only for setting up the scene and tweak poses, props, light position, etc.
@@StevenDavid83 Thanks for the explanation. You're a real help, I'm making my way through all your videos and learning a ton.
I don't have 'Environment' in Render Settings.
How to change different costumes? Also what kind of pc I need to learn and work on daz
Nvidia GPU (2070 or higher, but a 2060 will do well too) is pretty much required for any decent work in Daz. CPU is less important, something like a Ryzen 3700X should serve you well. I'd say storage (Nvme, if you can afford it. ) is also fairly important as anything below 1TB is going to run out fairly quick with Daz content. RAM should be fine with 16GB, but 32GB will definitely futureproof anything you throw at it.
Agreed. I'm in dire need of a video card upgrade right now. I have a GTX 1080ti. Going to try to pick up a 3070 this summer, hopefully. To echo the above statement, go big on the video card, with a decent middle-of-the-road CPU and some fast RAM. The more RAM, and the faster, the better. I have 32 GB of Corsair Dominator Platinum (also needs to be upgraded).