Escolar Documentos
Profissional Documentos
Cultura Documentos
Enlightenment
in Strata 3D CX
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Co te ts
C
Contents
Contents
Light: ....................................................1
Lights in Strata 3D ....................................................19
Let there... ..................................................................2
Types of lights in Strata 3D.......................................19
The nature of light.....................................................2
General properties ....................................................20
Wave or Particle, and why should I care? ................2
Ambient Color.........................................................20
Wave .......................................................................2
Intensity ..................................................................21
Particle....................................................................3
Color .......................................................................23
The middle ground .................................................3
Applying color temperatures ................................23
How does that affect us? .......................................3
Falloff ......................................................................24
Properties of light .......................................................4
Full Intensity Radius .............................................24
Intensity ....................................................................4
Total Falloff Distance ............................................24
Falloff ........................................................................4
Fall-Off ..................................................................25
Shadows ...................................................................5
Light Source Radius ...............................................26
Interaction with objects ..............................................7
Gels .......................................................................27
Reflection..................................................................7
Colors and Images ...............................................28
Specular reflection ..................................................8
Specular Reflectance Scale .................................29
Diffuse reflection .....................................................8
Diffuse Reflectance Scale.....................................29
Diffuse interillumination ..........................................9
Volumetrics .............................................................30
Transmission ...........................................................10
Fog .......................................................................30
Absorption ............................................................12
Mist .......................................................................31
Refraction ...............................................................12
FX ...........................................................................32
Some common Refraction indices .........................13
Hotspot .................................................................32
Fresnel Effect ........................................................14
Lens Flare .............................................................33
Caustics ..................................................................14
Global lights..............................................................35
Transmission caustics ..........................................14
Point lights ................................................................37
Reflection caustics ...................................................15
Spotlights .................................................................38
Color temperature and light types ............................16
The Spotlight window .............................................38
Color and Temperature .............................................17
Area lights .............................................................39
Moving On ................................................................17
Lightdomes...............................................................41
Lights in Strata 3D: ....................18 HDR v/s LDR ..........................................................41
Interiors:........................................63
Lighting a simple interior ........................................64
The first light .........................................................65
Lighting the scene more evenly ............................68
Textures and objects ............................................69
Adding lamps .........................................................70
The starting point..................................................71
Adding and adjusting a lamp................................71
Adding a floor lamp ..............................................73
Modeling the lamp ................................................73
The main light .......................................................73
Simulating a bounced light ...................................74
Exterior light ...........................................................74
Creating the “window”..........................................74
Let there...
This document is all about lighting, so a very good way to start would be an
approach at what light is and how light behaves, the different ways in which
it interacts with objects and which properties and interactions of light will be
useful to us in our work in Strata 3D.
Wave
To those who think light behaves as an electromagnetic wave, light is some-
thing similar to a radio wave, only with a higher vibration frequency that
enables them to travel farther.
Wave-like behaviors of light include:
• Reflection
• Refraction
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1 Light
Light
Particle
Those who believe in the particle behavior of light think that light is com-
posed of tiny billiard ball-like particles that interact with each other more or
less as billiard balls do, colliding and bouncing off objects.
Particle-like behaviors of light include:
• Reflection (just like billiard balls)
• Traveling in a straight line
Different physicists have taken different stands on this discussion: Newton,
for example, defended the particle view, while other physicists (or Natural
Philosophers as they were called at the time) such as Young, spoused the
opposite view. Both sides have had experimental and theoretical evidence
to support their claims
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1 Light
Light
Properties of light
Some properties of light are its own: properties such as intensity, color (and
composition) have nothing to do with any interaction between light and oth-
er objects but rather with how the light was produced.
Intensity
Light is energy.
A burning match does not hold a candle to a floodlight and even less to the
nuclear reactions that cause the light of the stars.
The more energy that is released, the more intense the light is.
Falloff
The farther way we get from a light source, the less lighting we get from that
light. Indeed, the intensity received from a light source decreases very rap-
idly as we increase the distance to the light source.
The reason for falloff is that a certain amount of energy is produced and as
it does away from the light source that same energy has to cover larger and
larger surfaces.
The strength with which a light illuminates decreases rapidly as it moves away from
the source
Let us suppose that 10 units of energy are emitted from a light source.
When the light is 10 inches away from the source the 10 units of light cover
an area of 4π x 102 sq. inches (approx. 1200 sq. in.)
When the light is 20 inches away from the source, those same 10 units cover
an area of 4π x 202 sq. inches (approx. 4800 sq. in.)
Light intensity decreases with the square of the distance.
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Light
Lighting intensity obeys the inverse square law, so it decreases with the
square of the distance between the light source and the object being lit.
Shadows
Where there is light, there is shadow, or should be.
A shadow is nothing more than an area where light does not fall because it
was already reflected by an object.
Shadows are seldom totally dark, because there are usually several light
sources and bounces that light even dark areas. There is a kind of light
called Ambient Light that has bounced many times and is non-directional.
This kind of light is often responsible for the visible details in unlit areas.
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Light
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Light
Reflection
Light travels in a straight line.
Light bounces off most materials. This bouncing is called reflection.
We can visualize this bouncing as something similar to what billiard balls do.
The ray of light approaches the surface, hits it, and bounces off it.
αα
There is a law in optics stating that the angle formed between the incom-
ing ray of light and the normal (perpendicular) to the surface is equal to the
angle formed between the normal and the outgoing ray of light. This law
governs the reflection in every surface but can produce quite different re-
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1 Light
Light
sults depending on the nature of the surface. Perfectly smooth (or nearly so)
surfaces will reflect light in an orderly fashion, while rough (on a very small
scale) surfaces will scatter light in every direction.
Specular reflection
When the surface on which the light strikes is smooth, the rays of light are
reflected in an orderly way. Every ray of light strikes a surface that has more
or less the same normal and therefore bounces off more or less in the same
direction of the other rays. This is called specular reflection, from the Latin
word speculum, meaning “mirror”.
In fact, a mirror is a perfect example of specular reflection. All light bounces
off the mirror in an orderly way, preserving the original image perfectly.
Light
Specular reflection
Diffuse reflection
Diffuse reflection occurs when light strikes a non-smooth surface. Because
of the way light is reflected, the direction in which each ray bounces de-
pends on the normal for the particular point of the surface, and in this case,
the normals point in different ways, and the rays of light are reflected in dif-
ferent directions. This is called diffuse reflection.
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Light
Light
Diffuse reflection
Diffuse interillumination
Diffuse reflection of light on an object can light other objects. This is not usu-
ally apparent, but usually makes a big difference when aiming for realism. It
is surprising to see how much diffuse materials light each other.
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Light
Color bleed
Diffuse interillumination causes color bleed, Color bleeding occurs when
light that bounces diffusely off a colored object lights other areas, imparting
the color of the object.
Transmission
Light does not always bounce off objects. Sometimes light passes through
objects. This is called transmission. It is also called transparency.
Several materials are transparent: air, several gases, glass, plastic, many
liquids, gems, etc. Several other materials are partly transparent (partial
transparency is called translucency). A totally transparent object is invisible.
Most transparent objects are not fully transparent, but partly transparent
and partly reflective (most commonly exhibiting specular reflection).
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Light
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Absorption
As in the cobalt glass example, sometimes not all colors are transmitted or
reflected equally.
In many cases, some colors are transmitted and some are reflected, and for
some materials, some colors are absorbed (more strictly speaking, light of a
certain wavelength is absorbed). What we see in those cases is the reflected
light, that has all the colors of the light that was falling on the object minus
the color that was absorbed. Supposing we originally had white light (light
composed of all visible wavelengths) what we get is the complementary
color of the color that was absorbed.
• If the absorbed color is red, we see cyan
• If the absorbed color is yellow, we see blue
• If the absorbed color is green, we see magenta
• If the absorbed color is cyan, we see red
• If the absorbed color is blue, we see yellow
• If the absorbed color is magenta, we see green.
In the cobalt glass example, what happens is that the substance is absorb-
ing the yellow component of light and the reflected and the transmitted light
are now blue.
Refraction
When light passes from one medium (usually air) to another, the rays of light
change speed (usually slow down) and direction. This causes the typical
“breaking” of objects seen partly in water and partly in the air.
This deviation of the rays of light is called refraction.
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Light
Gems
• Opal: ............................... 1.45
• Moonstone: ..................... 1.52
• Amber: ............................ 1.54
• Agate:.............................. 1.55
• Emerald: .......................... 1.58
• Jade: ............................... 1.6
• Topaz: ............................. 1.62
2.4 (diamond)
• Ruby:............................... 1.77
• Sapphire:......................... 1.77
• Zircon: ............................. 1.85
Different materials have different refraction indices
• Cubic Zirconia:................ 2.05
• Diamond: ........................ 2.42
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Light
Fresnel Effect
Ever seen a mirage, or wondered why, if water is transparent, we cannot
see any transparency, but rather mirror-like behavior when staring into the
horizon?
Caustics
If you ever burned paper using a magnifying glass and sunlight when you
were a kid, then you know what caustics are. Caustics are the concentration
of light caused by reflection or refraction.
Transmission caustics
Transmission caustics are a concentration of light passing through a trans-
parent object and concentrated by refraction. This wold be the typical ex-
ample of using a magnifying glass to burn paper.
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Light
Reflection caustics
Reflection caustics are caused by the concentration of reflected light. A typi-
cal example would be the pattern that appears when a ring is laid flat on a
horizontal surface.
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Light
The same scene will be lighted differently by two different light sources
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Moving On
Now we have a common ground for understanding how light works.
In the next chapter we’ll explore how Strata 3D deals with light.
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Lights in Strata 3D:
HOW STRATA 3D HANDLES LIGHT
Lights in Strata 3D
After the overview about how light behaves, we will now have a look at how
lights work in Strata 3D, seeing how the general behavior of light applies to
the program, and what behaviors of light are taken into account in Strata 3D
and which ones are not.
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General properties
There are properties common to (almost) all light types in Strata 3D. We will
discuss them here before going into each specific light type.
Area lights and light domes are different beasts, so some of the properties
that will be discussed here do not apply to them.
Ambient Color
The ambient color is not exactly a property of any light in Strata 3D, but is a
very important element to take into account while lighting.
Ambient light is light that has bounced so many times that we no longer
know where it is coming from. Strata 3D simulates this phenomenon by us-
ing a base color, called the Ambient color, to avoid having unlighted areas
being black.
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Intensity
The intensity of most Strata 3D lights is controlled by a slider that goes from
0% to 100%, but larger values can be typed by hand to obtain an intensity
greater than 100%.
Scene lighted with a 25% and a 50% intensity spotlight, plus a fill light
Scene lighted with a 75% and a 100% intensity spotlight, plus a fill light
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Scene lighted with a 150% and a 200% intensity spotlight, plus a fill light
Also, negative intensity values can be typed into the intensity field, so the
lights can also be used to “suck light off” a scene.
When using a negative intensity light, the specular highlights will be dark
and the shadows may be light.
A -100% intensity spotlight is used here to create a dark zone on the image.
A negative intensity spotlight and white ambient color can be used to create
a negative image (in case using Photoshop is out of the question).
A -100% intensity spotlight plus white ambient color create a negative image
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Color
We can control the color of our global lights, spotlights and point lights by
clicking in the color miniature of the appropriate palette.
In the case of light domes, the color will be already present in the back-
ground, be it a color, horizon or image-based.
In the case of area lights, the glowing texture needs to be colored to impart
a color to the light.
It is important to keep in mind that the choice of darker colors will decrease
the intensity of the light. As shown by the images below, at the same light
intensity, if the light color darkens, the light appears to lose intensity.
Scene lighted with a 75% intensity spotlight with darkening gray colors.
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Falloff
We already saw that the light emitted by a source loses intensity the farther
the illuminated object is from the source.
• Point lights and Spot lights have Falloff.
• Global lights do NOT have Falloff. This is because the light source is
supposed to be (almost) infinitely distant and no significant falloff can
be perceived in the small scale the scene’s dimensions are compared
to the distance of the light.
We can control the falloff of lights in Strata both numerically and interac-
tively.
Full intensity and Total Falloff Distance rings for a point light
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Full intensity
Distance
Total Falloff
Distance
Fall-Off
Strata 3D can calculate the falloff for a light in two different ways: Linear and
exponential.
Exponential is the way in which the intensity of light decreases in the real
world
Linear is not accurate, but can be of use in cases that the light intensity
lowers too fast for our needs as a good alternative to increasing the Full
Intensity distance to uncomfortable distances.
Two renderings of the same scene. The image on the left has a point light with ex-
ponential falloff. The image on the right has the same point light set to linear falloff.
The total falloff distance increases from 100 in. to 720000 in. when changing from
exponential to linear.
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Light source radius set to 0.1 in, 1 in, 5 in, and 10 in.
There is no need to concern ourselves with this value if we are using straight
Raytracing with no soft shadows.
5 in. light radius rendered in Raytracing best (left) and Soft Shadows (right)
It is important to remember that the light source radius is not the only vari-
able in determining the shadow softness. The distance at which the light
source is set from the object is also of importance.
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When objects are close to the light source, their shadows are comparatively
hard. As the objects move away from the light source, their shadows be-
come softer.
Gels
Gels are essentially textures for lights. We can use them to add ambience
to our scenes, to color the lights so they resemble a certain kind of light ac-
curately and to control the specular highlights and diffuse lighting a certain
light provides.
A Light gel can easily turn plain lighting into something with more ambience and
texture
Just like textures, we can layer gels on top of each other. Unlike textures,
though, we cannot control blend modes. Keep in mind that a black pixel in a
gel map will remain dark no matter what other gels we layer on top of it.
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• Name
The name of the gel. It is always a very good idea to assign meaningful
names to things, specially in complex projects.
• Copy from
We can create new gels based on existing ones. This menu allows us
to select the gel we will use as a starting point for our new gel.
• Color
We can assign a color to our gel. Clicking here will open the system
color picker.
• Map
We can use image maps for our gels. Clicking here enables us to load
and do minor adjustments to the map we use for our gel.
• Tiling
Just like with Image textures, we can set the tiling of the map we are
using. We can choose from:
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• Normal
Repeats the map normally
• Mirrored
Repeats the map, mirroring it each time there is a repetition
• None
The map is applied only once
• x scale
Controls the horizontal scale of the map
• y scale
Controls the vertical scale of the map
• Specular Reflectance Scale
Controls the size of the specular highlights (see below)
• Diffuse Reflectance Scale
Controls the intensity of the diffuse reflections (see below)
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Volumetrics
Volumetrics are a group of shaders that are applied to several objects (3d
shapes, environment, lights) that fill the volumes.
Lights accept two of these volumetric shaders: Fog and Mist.
Besides applying the shaders directly to the lights, we can also apply them
to the air of the scene. In either case, lights will cast volumetric shadows if
the check box is applied.
Fog
Fog is a semitransparent volumetric shader that does not evolve over time
(even though its parameters can be animated). It can cast shadows and has
multiple configurable parameters such as color, density, falloff, etc.
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A similar Fog shader applied to the air. Some density adjustment was required
Mist
Fog is a semitransparent volumetric shader that can evolve over time. It has
a cloud like texture and can cast shadows.
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FX
FX, or special Effects are mostly post-rendering effects that are applied
to different objects of a scene. Lights support two FX: Hotspot and Lens
Flare.
Hotspot
A hotspot is a glowing spot with rays of light. We can configure the color,
intensity, ray number, saturation, etc. for the Hotspot.
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Lens Flare
A lens flare is basically a Hotspot with glare. It mimics the flares we some-
times get because of internal reflections and refractions in camera lenses.
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A somewhat exaggerated lens flare applied to one of the point lights in the building
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Global lights
Now that we have already covered the common properties for Strata 3D
lights, we can focus on the lights themselves. We will start with global
lights.
As we have already mentioned, global lights simulate sunlight. They have
the following properties:
• Parallel rays
• No falloff
• Do not accept volumetric shaders
• Hard shadows only
• They do not produce caustics
Global lights are created and managed in the Lights tab of the Environment
palette (E key).
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Global light set to front and back. We can toggle the side by holding the Command
(or Control in Windows) key while dragging the light
The circle in which the global lights are set has the ambient color, so we can
see at a glance what is the ambient color we are using.
The circle in which the global lights appear represents a sphere. Notice how,
when moving the light, it gets distorted when approaching the edges of the
circle. If such is the case, it is a good idea to change view in our scene to be
able to manipulate the light with ease.
When using a ground plane beware of setting the global light under the hori-
zon line. This happens quite often, specially if we are manipulating the lights
in an isometric view.
Often, the light appears “on the other side of the sphere”, and lights our
scene from the back. If we do not want that, we can Command (Ctrl in Win-
dows) drag the light. That will bring it back to the “front” side of the sphere.
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Point lights
Point lights are light bulbs. They light the scene in all directions. A summary
of their properties follows:
• Rays radiating from a point in all directions
• Linear or logarithmic falloff
• Accept volumetric shaders
• Hard or soft shadows
• Can produce caustics
A typical application of point lights is lighting interior scenes. Just like in
actual interior scenes, many point lights may be required to light a scene
appropriately.
The falloff for point lights can be controlled by dragging the inner ring (full
intensity radius) and the outer ring (total falloff distance).
• If there rings are close, the point light will have a small penumbra — an
abrupt transition between lighted and dark areas.
• If the rings are far apart, there will be a smooth transition between
lighted and dark areas.
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Spotlights
Spotlights are the most versatile lights in Strata 3D. Their properties can be
summarized as follows:
• Rays radiating from a point in a cone. We can set the angle of the cone.
• They always have falloff. It can be either linear or logarithmic falloff
• Accept volumetric shaders
• Hard or soft shadows
• Can produce caustics
Double-click here
To open this window
Softness
The softness of the ray of light emitted by the spotlight can be controlled
either manually by dragging the outer ring of the spotlight or by the softness
slider in the Objects palette, Object tab.
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Area lights
Area lights are Raydiosity-only, because they use a texture’s Glow value as
a source of light, and Raytracing cannot do that.
Raytraced v/s Raydiosity rendered scene with no lights and an object with a
glowing texture
When using area lights for lighting, the glow value of the texture used for the
light source determines the intensity of the light the object will emit.
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Glowing object with a texture that has glow values of 1.0, 2.0, 5.0 and 10.0
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2 Lights
Li ghts iin St
Strata
S ata 3D
3
Lightdomes
From version 4.0 (aka CX) Strata 3D enables us to light our scenes using
Light domes.
A Light dome is a Strata background that casts light. Any Strata 3D back-
ground can be used as a Light Dome.
A Solid color background, Horizon, Spherical and Spherical HDRI used as Light
domes
Light Domes are mostly Raydiosity only. Although we can obtain light from
a Light Dome in Raytracing, images come out flat, with little suggestion of
volume and no shadows. To make the most of a Light Dome, we need to use
Raydiosity rendering.
Scene lit by a Light dome rendered in Raytracing (left) and Raydiosity (right)
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2 Lights
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3
Basically there are two types of images we can use as backgrounds: LDR
and HDR images. LDR (Low Dynamic Range) images are regular 8 bit per
channel per pixel images, the sort we use in our everyday work. HDR (High
Dynamic Range) images are images with more information per channel per
pixel, that store luminance values. These values can be understood by Stra-
ta 3D and converted back into a light source.
Scene lit by a light dome using a LDR image (left) and HDR image (right)
There are two supported HDRI (High Dynamic Range Image) formats sup-
ported by Strata 3D: OpenEXR (.exr) and Radiance (.hdr).
Then, the exposure settings are entered for each one of the images used.
After that, the white point preview is manually adjusted, and the image is
calculated. In the Photoshop help there is more abundant information con-
cerning creating your own HDR images.
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2 Lights
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3
Moving on...
We now have a grasp of what kinds of lights are supported in Strata 3D and
what do they do.
We will now put this knowledge to use, exploring and discussing some typi-
cal lighting setups for exteriors, interiors and studio settings.
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Exteriors:
LIGHTING EXTERIOR
SCENES
Sunrise Sunset
The color temperature of the sun changes during the day
Sunrise/Sunset Noon
Sunlight goes through more air Sunlight goes through less air
and gets scattered more so there is less scattering
Air scatters blue light more than other colors. The more air sunlight goes through,
the more blue light gets scattered and the yellower the light looks.
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That is the very same reason why the sky is blue. With all the scattered blue
light (over other colors) the sky is full of blue light bouncing around, and that
light imparts its blue color to the sky.
In some cases like just before a storm, in contaminated cities or during vol-
canic eruptions, sunsets can be orange to red. This is also due to the scat-
tering of blue, violet and other shorter wavelength light by the dust, water
and other particles in the air. What we see is the remaining, non-scattered
light, corresponding to longer wavelengths (red, orange, yellow).
The default light Strata 3D has when creating a new scene is a 95% intensity
global light and a 95% black Ambient color. These add to 100% intensity.
The image above shows a scene rendered using the default light. It has the
problem that areas that are not lit by the global light are flat. There is no de-
tail to be seen, and that is not how light works, nor how we’d like our images
to look.
This scene with the default light can be found in the CD. The filename is ex-
terior_default.s3d and is in the 3.- Exteriors folder. From there you can follow
the different lighting conditions that will be discussed here.
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Adding a Skylight
In exterior scenes, there is an ambient light caused by all the scattered blue
light of sunlight, that helps light the scene, causing the detail in areas that
aren’t lit by the sun to be visible. One way to simulate this skylight is using
another global light, 40% in intensity, with a light blue color.
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For this example we will also use a Horizon reflected environment set to light
blue on top and bottom, and white on the horizon.
Of course, any suitable reflected environment can be used. Of the default
backgrounds that come with Strata 3D, Apple orchard, Residential street
and Mountains are good for daylight exterior scenes.
The image below is rendered using the RT Best render preset.
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At dusk the sun has gone and only a little skylight remains.
Even though it is not the most canonical solution, I find that two global lights
set ton the following parameters work pretty well:
• 25% intensity
• Light blue color
• No speculars gel
• No shadows.
Essentially, both these lights are fill lights. The idea is to have detail be vis-
ible.
Partly Cloudy
Partly cloudy days require a change of lights.
Global lights are unable to cast soft shadows, and we need soft shadows for
anything other than a perfectly clear day
A good way to create a gel is the following:
• Create a new Photoshop image, 512x512 pixels in size
• Select the default colors (D key). This will leave black as the foreground
color and white as the background color.
• Apply the Render>Clouds filter. Because of the image size (a power of
2), there is no need to apply the Offset filter and rubberstamping. The
image is spontaneously non-tiling1
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• If you want to, reduce the specular reflectance scale to 0.7, to reduce
the specular highlights a bit.
Of course, you can also load the gel that is in the CD (Goodies folder), that
was created in the same way.
This gel is applied to a very distant spotlight. Have a care to increase the
total falloff distance, and if needed the full intensity radius to have a good
light intensity in the part of the scene we are rendering. Also, the beam width
rings may need adjustment, as we are trying to trick the spotlight into behav-
ing like a global light.
For the sake of comfort, once the spotlight is properly positioned, it can be
turned into a Shy object by pressing Cmd (or Ctrl in Windows)+5. Shy ob-
jects are objects that do not appear in the modelling window but do appear
in the rendered image.
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A cloudier day
Hazy/foggy day
On a hazy day (or for those of us who live in cities prone to smog, on a nor-
mal day) the air is not clear, with a haze or smog present.
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For this kind of day we need a spotlight, because the light is diffused by the
fog or haze and casts soft shadows, and global lights do not support soft
shadows.
A Fog shader applied to the spotlight is a good solution for hazy days
For this example, there is a very far away spotlight with a yellowish fog ap-
plied.
The fog shader (shown at left) is the default shader set to yellow, colors
linked and shadows enabled.
When shadows are enabled the rendering time increases, but depending on
the scene composition, interesting applications of the Tyndall effect can be
made.
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Overcast
In an overcast day light comes from everywhere because sunlight has been
totally diffused by the clouds. This is best created by a lightdome and ren-
dered using Raydiosity.
In the example, a simple background is used: a Horizon in grays and whites,
both as light dome and as reflected background.
Clusters
If there is no time to do a Raydiosity render, using a cluster of point lights is
a viable solution. A cluster is a group of lights. In this case, we will replicate
instances of a shape that contains a point light.
• Create a new shape
• Insert a point light
• Put a cube around it
• Make the cube a construction object (this will enable us to drag the
lights around easily)
• Set the point light to a very light blue color and lower its intensity to
10%
• Drag an instance of the shape we just made into the scene. Replicate
the instance until there are 24 instances of the shape in the scene.
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With all these low intensity lights in our scene we can do a Raytracing ren-
dering that will be much quicker than a Raydiosity rendering and will obtain
satisfactory results.
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Night time
A basic night time lighting setup is simply a blue skylight without any shad-
ows and a low intensity. I find that 30% works well.
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Interiors:
LIGHTING INTERIOR
SCENES
Lighting the scene more evenly ......... 68 Adding a gel and moving the camera 76
This is a totally closed volume: no light enters is, and we cannot see inside
it, unless we get a camera in there.
I have found that for interiors, it is often useful to use shorter “camera lens-
es.” The preset 50 mm Strata 3D cameras are too long and usually fail to
capture the whole room at the scale I work.
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Even with a camera inside the room there is not much to be seen unless we
light the interior. The default global light is not entering this room, so we can
convert it into a construction light or altogether delete it.
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This glowing texture solves the black ceiling problem. Now the ceiling looks
normal, and we do not have the long Raydiosity render times.
Have a care to eliminate the glow when trying a Raydiosity render. Remem-
ber that in Raydiosity glowing surfaces are light emitters.
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The cubes surrounding the point lights are visible only in modeling views, not in the
render
The cubes will be visible in the modeling window but will not appear in the
render. With these six point lights we should obtain a good, even light in the
room.
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The point lights cast some specular highlights in the shiny floor
Next, some library shapes will furnish the room: a couple dressers, a couple
tables and some chairs should be enough for this exercise.
A light yellow texture with a little specularity was added to the walls. On top
of it, a corrosion shader with very low bump and mapped very small was
applied.
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Adding lamps
This exercise expands on the previous one.
The previous exercise shows a room that is well lit, but no light sources are
visible. This time we will add some lamps and set them up.
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The lamp is modeled. We now need to apply the lights inside of it.
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Exterior light
Let us now add a window to our scene. Exterior sunlight (or moonlight, or
artificial light)
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Adding a “sun”
We will use a distant spotlight for the sun, in case we want to have soft
shadows.
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Optional volumetrics
A little fog adds to the realism of the scene.
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Nighttime
For the same view set to nighttime, the visible background is changed, the
color and intensity of the spotlight are changed and the fog (if present) is
deleted or edited.
For this example let us alter the intensity of the spotlight to 40%, change the
color to light blue and delete the volumetric texture.
We should get an image similar to the one below.
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Raydiosity
Raydiosity is a renderer that —at the cost of rendering time— gives more
realistic results than Raytracing because it calculates phenomena that Ray-
tracing does not take into account.
Let us use an empty room with only a spotlight shining light through an open
window. The Raytraced rendering looks like the image below.
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Diffuse bounces
Diffuse bounces determines how many times the renderer will let a ray of
light that undergoes diffuse reflection bounce.
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The default value is one diffuse bounce. This may be insufficient for showing
all the available detail, particularly in scenes with few light sources.
More is not always better. See the image above and notice that with 8 dif-
fuse bounces the scene is over lit.
• Keep in mind that less light is required to light a raydiosity scene than a
raytracing scene.
• Less fill lights are required in Raydiosity than in Raytracing
• Remember that glowing surfaces emit light in Raydiosity
General tips
There are some general ideas and quick tips that are very useful when light-
ing scenes: We’ll touch some of them here.
Beveling
Sharp edges cannot give back light. If the edge has a little bevel, light will
be reflected off it, and will help to define the areas of our models and add
interest to the scene.
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A scene with a little beveling in the wall and table corners. Notice how we get a
better definition of shapes.
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Also, the point lights inside the shapes of the lamp and floor lamp are hid-
den.
The render obtained is below.
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Objects:
HOW TO LIGHT OBJECTS
Introduction
In this chapter we will discuss how to light objects, mimicking what we
would do in a photo studio.
We will discuss the basics of theatrical lighting and see how to add environ-
ments and effects to our object lighting.
Three-point lighting
We will begin by creating a scene and add lights to it in what is called “the-
atrical” or “three point” lighting. This lighting scheme works as follows:
• The subject is lit by the main light
• Deep shadows are dispelled by the lower intensity fill light, that enables
us to see detail in the shadow areas
• The subject is separated from the background by the back light.
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Main light
Let us start by adding a spotlight that will be the main light source for our
object. The reason why we use a spotlight is that the spotlight is much more
controllable than either a global light or a point light concerning intensity,
falloff, angle, gels, etc.
Position
Usually (but not always) the main light is set to the left and above the object,
in an angle of 15 to 45 degrees to the left and 15 to 45 degrees upwards.
Intensity
A good number to begin setting the light intensity would be 80% We may
change this value later depending on what kind of image we are after.
It is a good idea to make the spotlight point to the grinder. In this way we
make sure the light is always
Falloff
When using spotlights, it is important to keep falloff in mind. If the main light
is set away from the object it is lighting, the light cast by the spotlight will
have lost intensity by the moment in which it reaches the object.
The spotlight falloff may cause insufficient light to reach the object.
Correcting the full intensity distance is a good solution.
Modifying the full intensity distance of the light, either numerically or by drag-
ging the red square closest to the spotlight icon is a good way to control the
intensity of the light that reaches the object being lit.
In the example the mail light was placed away from the object, so the full
intensity distance was set to a fairly large value (40 in.) to allow enough light
to reach the grinder.
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Of course this is not desirable in our renders. A second light, less intense
than the first is needed here to dispel the dark shadows in the unlit areas.
This second light is called a Fill light.
Fill Light
In order to see detail in the areas that remain unlit by the main spotlight, we
will use a second spotlight, called the Fill light. This fill light is less intense
than the main light and is usually placed on the other side of the camera.
Position
The fill light usually goes on the opposite side of the camera to the main
light, at an angle between 0 and 30 degrees upwards and 15 to 60 degrees
to the right.
Main light
F i l l
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Main light
F i l l
Shadows
The fill light does add detail in the unlit areas, but is now creating a second
set of shadows that can be confusing. It is best to uncheck the shadows
check box for the fill light.
Lack of shadows in the fill light makes the image less confusing
The Fill light now adds detail without adding confusion.
Main-fill ratio
The intensity ratio between main and fill lights is one of the decisions we
have to make when creating an image. It is important to keep in mind that,
when using three-point lighting, the function of the fill light is just to make
detail visible in areas not touched by the main light.
The fill light then, should not be so strong as to compete with the main light,
nor should it be so weak that it does not fulfill its function.
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Back Light
Sometimes there is a need to bring the subject apart from the background.
To accomplish this, one or more lights are put behind the object (from the
camera point of view) to create a rim of light on the edges of the object.
Again, a spotlight will be used.
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Main light
Fill light
Main light
Main light
Fill light
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Detail: back light, corrosion texture set to 0.5, 1.0, 2.0, 5.0 bump amplitude
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Different main light radii: 0.5 in, 1 in, 2 in, 5 in, 10 in.
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From the top view in the modeling window we can see that the part of the
lightdome that casts the most light is behind the curtain. Rotating the light-
dome 135˚ gives our scene much more light.
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Area lights
Another way to use the features of the Raydiosity renderer is using area
lights to light our scenes.
Any object can be an area light. The light is cast by a texture that has a glow
value applied. Glow values cast light only if we are using Raydiosity for our
rendering.
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Panel in place
A new image texture with a glow value of 1.0 will suffice to begin playing
with lighting. A Raydiosity render of the scene with the panel in place and
all other sources of light hidden should look more or less like the image
below.
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This image goes into the stencil channel of the glowing texture we made for
the panel
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When reducing the size of the panel (with the stencil map) the intensity of
the light varies. This should be compensated by increasing the glow value
of the texture.
Glow intensity
At this stage, the intensity of the glow panel does not light the grinder well.
This was done on purpose to see the effect of the glow value in the lighting
intensity.
The images below show the scene being lit by a glow panel with glow values
of 1.0, 2.0 and 5.0. In the three cases, the glow panel is very close to the
grinder, and in the 5.0 glow example, too much light is falling on the top of
the curtain. It is important to control the distance of the glow panel: if it is too
close, too much light will fall on parts of our image; if it is too far away not
enough light will reach our scene (falloff also applies here).
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Bevel
Bevels reflect light and help define the edges of objects and to give them
volume.
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Environments
Never forget to add an environment to the scene.
Either by using a reflected environment, or off-camera glow panels, or both,
the final image or animation will benefit greatly.
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Caustics
As we saw in the first chapter, caustics are concentrations of light caused by
reflection or transmission/refraction.
Caustics require a spotlight or point light to be produced.
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Caustics require spotlights or point lights and have to be activated in the render
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Caustics brightness
Caustics brightness allows us to control how bright will our caustics be.
Depending on the scene good values fluctuate from 1.0 to 5.0.
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Photon map size controls the detail of the caustics. Photon Map sizes 1.0, 2.0, 4.0
and 8.0
The End
Here ends this overview of working with light in Strata 3D. We barely
scratched the surface of what can be done with the program, but it is my
hope that good groundwork was laid. Hope you find this document useful.
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