Thanks so much! Yeah I think it can add some nice spatial and color variations. Real light is really complex so the more ways we can grunge up our 3D lighting the better.
@@igobyzak doing great tnx:) hope you too. Have you jumped from AE to Fusion for finishing? Or bit of back n forth depending on project? I can imagine it's a lot cleaner to set up rather than layers. Curious though... you mention 'cranking values' because of tone mapping. I think that's true for the most part. Do you ever think about trying to emulate plausible real values? Apart from specular most cameras can capture most scenes 'entirely' and their range is roughly 13 stops. I recall Blender using Watts for light values which gives more context. I also wonder how accurate the data remains if you go to a log space for grading despite remaining 32bit float processing.
@shebbe5510! Not sure how I missed this comment! Yeah, I'm pretty much all in Davinci Resolve now. I just now released a tutorial on the workflow I've been using. I should look into setting up a scene and use "real world" values for the lights and see if that changes the workflow at all. Redshift does have options for different light energies, like lumens and watts. But really, in my experience, 13 stops is only sufficient some of the times. For architectural photography in the real world, I'm constantly bracketing my exposures to increase my dynamic range. But other instances, 13 is plenty; it just depends on the scene. An aspect I think is missing from the ACES transforms, is deciding on dynamic range. I would love to have an option to clip above 13 stops! That would be amazing. Like, how many stops of dynamic range does an ARRI Alexa give you? Maybe 15? It would be great to say, "OK ACES, I'm trying to comp CG into my ARRI Alexa scene, I want 14.5 stops of dynamic range." This would be especially helpful if I had my CG scene setup the way you described, using real world values for my lights. It's great that we get like 30 stops of dynamic range in our RAW renders, but what if I don't want that HDR look? Unless I'm missing some aspect of the ODTs that account for this. That's why I like the opportunity to do some color correction after the ODT. I can go in and clip some highlights if they were tonemapped down to grey. I have been converting my ACEScg EXRs to ACEScct for grading in Resolve. I'd be curious about the accuracy of doing that as well. I haven't noticed any issues, but I haven't really done a full on stress test to say for sure.
For those who want to do the gobos in Octane with sharp angles and a clear image you need to : - create an area light - reduce the area light to the smalest size 0.001 -disable the surface brightness - open the node editor at the end of the light otane setting. (it's two rectangle linked next to help) - import a white rectangle image texture with black outline. Enable invert and change border mode to black color. - set an transform node and a projection node set to persepective. - import the gobos texture with black color border mode and do the same transform and projection. - enable animation by clicking calculate. - link them to a substract node. The gobos in the texture 1 and the rectangle in the texture 2. -link the Substract node to the distribution. - play with the transform size of the rectangle image texture to ajust the light spread You can add a color correction between the subtract node and the distribution to adjust the look of the gobos.
Oof, yeah I watched a tutorial on light projections in Octane. Octane does some things so well, other things, not as much. Hopefully soon they'll make this easier.
@@igobyzak I'm pretty sure the request for light spread has been asked everyday since I can remember. lol. ;) It is a powerful engine and I hope they find a way to implement it soon!
You're right. I exported these out of Davinci Resolve and liked the idea of keeping these files linear gamma. But yeah, they're not high dynamic range or anything, they just don't have an sRGB gamma curve applied. But that really doesn't matter. I used the DWAA compression which brought the file size way down, so was happy enough with the results. But I could have used a custom Saver node from Fusion instead of the Deliver tab to get access to a regular .jpg sequence and brought the file sizes down even more. Sorry about the extra bulk of these.
I've swapped all these EXR sequences out for JPG sequences. This really cut down on file size and should help with memory. The new versions are uploaded at the same link. Thanks again for the comment!
@@igobyzak Will the JPG sequences have the same latitude when playing with the gamma slider, though? Does the fact they weren't HDR to begin with make that irrelevant?
You deserve at least 10x your subscribers Zak. Highest quality RS tutorials on YT. Thanks for the tut and the pack, really looking forward trying it out!
Great stuff Zak. Don't know if you are taking request, but thought I'd give it a shot : would love to see tutorials around your c4d > davinci workflow. Been hard to find good stuff around it! cheers
Thanks so much! I'm still experimenting with the best method to make these. For this pack, I just recorded the shadows that were on my walls around my house with a Black Magic camera. I recorded these RAW, desaturated them, and adjusted the contrast to my liking; mostly looking at crushing the large areas of shadow to black but leaving enough leaf detail around the transitions to white. I was excited about keeping the whole process in linear gamma (I set my Davinci timeline to linear gamma) and exported as linear DWAA compressed EXRs. But as someone else pointed out, that probably wasn't the best way to go. I could have just as well exported a .jpg sequence and cut down on the file size of these. I was allured by the linear files! But really it doesn't matter. They're just standard dynamic range and I could have just exported them as .jpgs.
Thanks a ton for explaining all of this. Lots of tips and tricks to unpack here. Regarding your portal light workflow, how you deal with enclosed rooms, when the sunlight only enters through one or multiple windows? Do you place your portals outside, right in front of the window glass, Z being perpendicular to the window glass? Or do you match the sunlight pointing direction? Because in these scenarios it often looks weird to me how the sunlight from portals are directing the HDRIs light very linearly regardless of the HDRIs suns direction. Any tips on that? Hope that makes sense.
I think placing the portal light just inside the glass of the window is the way to go, but I could be mistaken. When I've used a dome light or an environment light with the sunlight coming through my windows, I haven't used the portal light. I found it looked strange, but maybe I'm not understanding it. I think it works best for outdoor light where there's no direct light, just GI bounced light. That seems to be where the portal light really excels. The render is much cleaner with the portal light than with just the dome light or environment map in these GI bounced light scenes. But if my environment sunlight is coming through the window, no portal light for me.
I noticed something - if the two lights share the same shader graph, the exposure settings of the lights can't be different. Is there a way around this or do you use two shader graphs? And if so, is there a trick to scale the gobo in both at the same time?
Yeah, once a shader graph is added, that shader controls the exposure. In these cases I duplicate the shader and apply it to the new light. For scaling the gobo on both at the same time, you can use the xpresso "set driver" "set driven" function on the scale from one shader to another.
This is the most realistic interior scene I have seen in Redshift so far. Thank you so much for the knowledge and the gobos, Sir.
Thanks! Glad you found it helpful!
that portal / dome light combo is incredble! Love seeing lights being broken up etc
Thanks so much! Yeah I think it can add some nice spatial and color variations. Real light is really complex so the more ways we can grunge up our 3D lighting the better.
Finally someone explains the Portal Light and actually shows a useful use case. Thank you
Glad you found it helpful!
Great idea with the portal + dome! Looking forward to playing with that.
Thanks so much!
yap. same thought. thanks man! 😌
We love you, Zak! You are one of the reasons why I love this industry. Bless you!
Ahh!! Thank you so much for the kind words! I appreciate your support!
"masking" the HDRI with a Portal light is a great concept. Thanks for sharing that awesome hack.
Thanks so much! Yeah, I was super happy with how that looked. Really cool gradients.
The Portal Light usage with the dome in negative power is really a power trick i never thinked about it. Really appreciated. 🙌🙌🙌
Thanks so much! I gotta admit I was pretty excited about that portal light trick. 🙌
@@igobyzak also the reflective caustics gived a powerup to the scene. Is a bit tricky to setup but i will try next project. 🙏👍
I always felt myself about my light conditioning and look-dev. I think I finally found proper one. Really appreciate you Master!
Thank you so much Zak! Really appreciate your generosity and everything you do for the C4d & Redshift community!
Well deserved 10k, the most amazing thing is that you give those professional courses for free ! Thanks for that
Thanks for watching!
Excellent education! All your videos are very high quality and well eloborated in the topic you are discussing. Thank you!
Thanks so much! 🙏
Please make more of these, You can charge!
gratz on the 10k! and great tips!
Shebbe! Thanks so much! Hope you're doing well!
@@igobyzak doing great tnx:) hope you too. Have you jumped from AE to Fusion for finishing? Or bit of back n forth depending on project? I can imagine it's a lot cleaner to set up rather than layers. Curious though... you mention 'cranking values' because of tone mapping. I think that's true for the most part. Do you ever think about trying to emulate plausible real values? Apart from specular most cameras can capture most scenes 'entirely' and their range is roughly 13 stops. I recall Blender using Watts for light values which gives more context. I also wonder how accurate the data remains if you go to a log space for grading despite remaining 32bit float processing.
@shebbe5510! Not sure how I missed this comment! Yeah, I'm pretty much all in Davinci Resolve now. I just now released a tutorial on the workflow I've been using. I should look into setting up a scene and use "real world" values for the lights and see if that changes the workflow at all. Redshift does have options for different light energies, like lumens and watts. But really, in my experience, 13 stops is only sufficient some of the times. For architectural photography in the real world, I'm constantly bracketing my exposures to increase my dynamic range. But other instances, 13 is plenty; it just depends on the scene. An aspect I think is missing from the ACES transforms, is deciding on dynamic range. I would love to have an option to clip above 13 stops! That would be amazing. Like, how many stops of dynamic range does an ARRI Alexa give you? Maybe 15? It would be great to say, "OK ACES, I'm trying to comp CG into my ARRI Alexa scene, I want 14.5 stops of dynamic range." This would be especially helpful if I had my CG scene setup the way you described, using real world values for my lights.
It's great that we get like 30 stops of dynamic range in our RAW renders, but what if I don't want that HDR look? Unless I'm missing some aspect of the ODTs that account for this. That's why I like the opportunity to do some color correction after the ODT. I can go in and clip some highlights if they were tonemapped down to grey.
I have been converting my ACEScg EXRs to ACEScct for grading in Resolve. I'd be curious about the accuracy of doing that as well. I haven't noticed any issues, but I haven't really done a full on stress test to say for sure.
always a treat when Zak posts
great tutorial! it would be interesting to see a video on the ACES workflow in Resolve/Fusion!
For those who want to do the gobos in Octane with sharp angles and a clear image you need to :
- create an area light
- reduce the area light to the smalest size 0.001
-disable the surface brightness
- open the node editor at the end of the light otane setting. (it's two rectangle linked next to help)
- import a white rectangle image texture with black outline. Enable invert and change border mode to black color.
- set an transform node and a projection node set to persepective.
- import the gobos texture with black color border mode and do the same transform and projection.
- enable animation by clicking calculate.
- link them to a substract node. The gobos in the texture 1 and the rectangle in the texture 2.
-link the Substract node to the distribution.
- play with the transform size of the rectangle image texture to ajust the light spread
You can add a color correction between the subtract node and the distribution to adjust the look of the gobos.
@@ثلاجاتمستعملة yeah but you can tweak the blur and contrast to have less sharp edge i think
Thanks Zak. Always looking forward to your tutorials
Thanks so much! And thanks for watching!
Thank you so much........That is really helpfull....Love from India
Hey! Thanks so much!!
Always learn so much from you, man. Looking forward to the Patreon!
Appreciate you watching!
Thank you so much! what an amazing trick masking the domlight with portallight! cheers ~
Thanks! Yeah it's a nice effect!
thank you zak
Thanks so much! Thanks for watching!
oooohoho YEEEES!!!! love your lessons!
Thanks so much!
Incredible tips along the way. Thank you and congrats on the 10K
Thanks so much for watching!
Cool stuff Zak!
gonzzzalo! Thanks so much for watching! Honored to have you take a look.
So much valuable information! Even though I'm an octane user there was so much to take away for me. Thx for the effort :)
Thanks so much for watching! I'm not an Octane user but I hope the concepts carry over.
really neat, thanks so much Zak.
Thanks for checking it out!
Congrats on getting an audience, closer in size, to the one you so richly deserve - thanks for all your help along the way Zak.
Thanks for free Animated Gobos.. Respect++
Very handy tricks! Love how you explain the purpose of the settings. Thank you so much.
Thanks so much! Glad it helped!
Octane needs spread on lights. Its one of the biggest things its missing. Thanks for the tips as always Zak. ;)
Oof, yeah I watched a tutorial on light projections in Octane. Octane does some things so well, other things, not as much. Hopefully soon they'll make this easier.
@@igobyzak I'm pretty sure the request for light spread has been asked everyday since I can remember. lol. ;) It is a powerful engine and I hope they find a way to implement it soon!
lovely lighting
U're my hero man
Very much appreciate the animated gobo's. They' don't need to be exr however and you could save file size and render time by using a jpg
You're right. I exported these out of Davinci Resolve and liked the idea of keeping these files linear gamma. But yeah, they're not high dynamic range or anything, they just don't have an sRGB gamma curve applied. But that really doesn't matter. I used the DWAA compression which brought the file size way down, so was happy enough with the results. But I could have used a custom Saver node from Fusion instead of the Deliver tab to get access to a regular .jpg sequence and brought the file sizes down even more. Sorry about the extra bulk of these.
I've swapped all these EXR sequences out for JPG sequences. This really cut down on file size and should help with memory. The new versions are uploaded at the same link. Thanks again for the comment!
@@igobyzak Will the JPG sequences have the same latitude when playing with the gamma slider, though? Does the fact they weren't HDR to begin with make that irrelevant?
You deserve at least 10x your subscribers Zak. Highest quality RS tutorials on YT. Thanks for the tut and the pack, really looking forward trying it out!
Thanks so much for the kind words! Appreciate it!
Thank you! I always learn so much from the knowledge you share. Just got the pack. :)
Thanks so much!! 🙌
Amazing!
Wonderfull. Thank you so much for the gobos and for your amazing knowledge.
Thanks so much for watching!!
So lovely!! Thanks for your help on that!!
Max! Thanks so much! Hope you're doing well my friend. Thanks for watching!
love from Korea GuRu🎥❤️
this is amazing! looking forward to the patreon page
Thanks so much!
fantastic! thx
Great tutorial. Lot's of great tips in there.
Thanks for watching!
thank you! would be great to see, how you work with davinci\fusion in aces and build up everything.
I'm planning on doing a comping and color grading tutorial with Davinci Resolve very soon. Stay tuned!
Great stuff Zak. Don't know if you are taking request, but thought I'd give it a shot : would love to see tutorials around your c4d > davinci workflow. Been hard to find good stuff around it! cheers
Thanks so much! Yeah! Definitely stay tuned for that one. It's in the works ;)
Hi man, thanks!
Thanks!!!
You're welcome!!
Nice tutorial❣❣❣
Great stuff! Any advice on creating animated gobos? Or will you make a tutorial on that topic??
Thanks so much! I'm still experimenting with the best method to make these. For this pack, I just recorded the shadows that were on my walls around my house with a Black Magic camera. I recorded these RAW, desaturated them, and adjusted the contrast to my liking; mostly looking at crushing the large areas of shadow to black but leaving enough leaf detail around the transitions to white. I was excited about keeping the whole process in linear gamma (I set my Davinci timeline to linear gamma) and exported as linear DWAA compressed EXRs. But as someone else pointed out, that probably wasn't the best way to go. I could have just as well exported a .jpg sequence and cut down on the file size of these. I was allured by the linear files! But really it doesn't matter. They're just standard dynamic range and I could have just exported them as .jpgs.
@@igobyzak awww man!😁😁Thanks for the insight! I appreciate you taking the time to break down the process!!!
There is no difference between the exr and jpg sequence when you change the gamma ?🙌🙌 @@igobyzak
Thanks a ton for explaining all of this. Lots of tips and tricks to unpack here.
Regarding your portal light workflow, how you deal with enclosed rooms, when the sunlight only enters through one or multiple windows?
Do you place your portals outside, right in front of the window glass, Z being perpendicular to the window glass? Or do you match the sunlight pointing direction?
Because in these scenarios it often looks weird to me how the sunlight from portals are directing the HDRIs light very linearly regardless of the HDRIs suns direction.
Any tips on that?
Hope that makes sense.
I think placing the portal light just inside the glass of the window is the way to go, but I could be mistaken. When I've used a dome light or an environment light with the sunlight coming through my windows, I haven't used the portal light. I found it looked strange, but maybe I'm not understanding it. I think it works best for outdoor light where there's no direct light, just GI bounced light. That seems to be where the portal light really excels. The render is much cleaner with the portal light than with just the dome light or environment map in these GI bounced light scenes. But if my environment sunlight is coming through the window, no portal light for me.
@@igobyzak I had the same feeling. It always looked strange to me as well.
Thanks
I noticed something - if the two lights share the same shader graph, the exposure settings of the lights can't be different. Is there a way around this or do you use two shader graphs? And if so, is there a trick to scale the gobo in both at the same time?
Yeah, once a shader graph is added, that shader controls the exposure. In these cases I duplicate the shader and apply it to the new light. For scaling the gobo on both at the same time, you can use the xpresso "set driver" "set driven" function on the scale from one shader to another.
yeah that took me quite a few minutes before I realised what was going on :D First I was thinking maybe I hit ctrl z a few time to often
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