tailieunhanh - 3ds max Lighting phần 3

Tất nhiên, ánh sáng mặt trời có thể đi qua một cửa sổ vào một căn phòng, và đèn tiki hoặc dấu hiệu neon thường được tìm thấy ngoài trời, nhưng không bị nhầm lẫn. Không bắt đầu tranh luận với bạn bè của bạn về sự khác biệt kỹ thuật trong định nghĩa. Tôi ghét phải là nguyên nhân gây ra một tình bạn lâu dài phá vỡ. Lo lắng không! Bởi thời gian bạn đang | Chapter 6 Note The rim light is the most overused light in the CG world. It has become almost a joke to see an animated CG film in which every character has a strong rim light in every shot from every angle regardless of the lighting environment around them. It s getting downright cheesy. Please I beg you as up-and-coming lighting artists for the love of all that s good break the cheese barrier and start using rim lights judiciously and subtly Note Sometimes what appears to be a rim light on a texture is really a texture shader that makes the surface luminosity change based on its angle to the camera. So lights are not always to blame but the result effect and cheese factor are still the same. If for example a person is sitting in a small room and the only light is from a window to the subject s left there had better not be a rim light making a nice halo over the subject s hair. There is no light source to justify it. It will definitely look very wrong. If you really want or need this nice rim find a way to create a justification or find another solution. Don t add lights that have no source in the real world. McCandless Lighting Once upon a time a lighting designer named Stanley McCandless observed the natural interaction between key and fill lighting and desired to recreate this effect for the stage. McCandless observed that a very bright very large light source the sun approached the subject from one angle. He thought to recreate this using a large array of key lights all pointing in the same direction. He also observed a secondary very uniform source the sky filling in all the shadows. He sought to recreate this using a large array of fill lights also all pointing in the same direction but opposite the key array. Thus the McCandless lighting system was born. Each area on the stage of which there were usually six or nine was lit with two spotlights one 45 degrees to the left and one 45 degrees to the right. Both lights came from 45 degrees above. One set of .