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Boughen, Nicholas.
Modeling karakters di 3ds Max Oleh Nicholas Boughen.
Chapter 1
Properties of
Light
This chapter deals with the properties of light in the real world, specifi
cally
intensity, color, direction, diffuseness, shadow, shape, contrast,
movement, and size. By the time you finish this chapter you should be
able to identify and explain each of these properties in a lighting
environment.
Understanding light is not difficult. Just as an automobile mechanic
understands how to build, repair, and operate a vehicle —not by seeing
the vehicle as a single system but as a complex interaction of individual
systems —understanding light is as simple as understanding each of the
individual properties that are part of the whole. Once the following concepts
are grasped, you will be able to look at any lighting situation and
clearly identify the direction of the source, its intensity or luminosity,
the light color, the diffuseness of the light, the movement (if any), the
shadow qualities, the shape, and the contrast. Actually, you are already
an expert in observing light. These terms and definitions will simply
allow you to manipulate them effectively.
Intensity/Luminosity
Intensity and luminosity are similar concepts. The following two images
illustrate the difference. Figure 1.1 shows intensity, while Figure 1.2
demonstrates luminosity.
Color
Intensity or luminosity is one of the first things you may notice
about a light source’s quality. Is it very bright or very dim? Is it some
where
in the middle? Is it so blindingly bright that it can only be the sun
or a nuclear blast? Or is it so gentle that it must be a candle? The inten
sity
of a light source will often signal to the viewer what the light source
is, even if the source itself is not visible in frame.
Note: It is easy to let the audience know what and where your light
source is without being obtrusive or obvious. As you read through
these sections about light properties, imagine how you might use each
one to let your audience know just how the scene is illuminated.
Perhaps the second quality you may notice in a light source is the color.
Take the sun, for example. On a midsummer’s day, the sun can be very
close to white and on the yellowish side. On an autumn afternoon, it can
be a fiery orange. Look in the shadows on a clear, bright sunny day.
Don’t they look blue? What about the living room with the fireplace
burning? Here you see orange, red, and yellow all spilling across the
room. Or check out those mercury vapor lamps used for street lights.
These are sort of a light orange.
Take a look at the following photograph for example:
frame of mind.
Note: My experience has shown that people are most comfortable
with colors and brightness values that are most often found in nature.
If I wish to create tension, I will use strange colors and unusual intensi
-
ties. People know instinctively what lighting environment is natural.
That is why most room lights are on the ceiling or above people’s
heads and are roughly the color of the sun. It is what humans have
been accustomed to for millions of years.
Direction
Light direction is another powerful tool in establishing light source and
setting. If the shot is outdoors and the angle is very steep, very bright,
and amber-white, we might assume that the light source is the sun. If
the shot is outdoors and the light is very bright, amber-white, and coming
from below, we are certain that it cannot be the sun. It must be
something else. Everything is the same except for the angle.
Let’s say all the lights are out in a living room, but there is a light
source out of frame. It is coming from floor level and is colored red,
orange, and yellow. We guess this is a fireplace. If we look again and see
by the angle of the shadows that the source is above us rather than
below, we will probably think that the house is on fire.
Take the classic example of the spooky story told on a camping trip.
The storyteller places a flashlight below the chin, causing deep, strange
shadows that make the face appear frightening and unnatural. This is
referred to as “dramatic lighting.” The same flashlight pointed straight
at the face or from above will elicit no such reaction.
From the earliest days when theater moved indoors, footlights were
used to illuminate the stage. Why footlights? Well, the earliest lights
were candles floating in a moat of water in front of the stage. These
were followed by gas lights. The nature of these lights required them to
be within easy access of the operators, especially considering how many
theaters burned down while these technologies were in use. When elec
tric
lights were introduced, they were placed in footlight positions
mainly due to tradition. The villains of the old melodramas made use of
the footlights by leaning close over them, producing the same frighten
ing
and unnatural shadows of the campers telling the ghost story.
Footlights can still be found in theatrical productions where a lighting
designer seeks that melodramatic feeling of the old theater, or where
strange, unnatural lighting effects are desired.
The following three images illustrate the use of direction in lighting
a subject. Figure 1.4 uses a natural lighting angle high and to the sub
ject’s
left. The lighting angle is similar to one that may be found on a
sunny day. The subject appears normal and familiar. Figure 1.5 uses a
low-angular direction. We still recognize the subject as familiar, but the
lighting is obviously strange, especially considering the lack of a fill
source. Figure 1.6 uses the “spooky flashlight” dramatic lighting effect.
It makes the viewer ill at ease because of the subject’s unnatural
appearance.
Boughen, Nicholas.
Modeling karakters di 3ds Max Oleh Nicholas Boughen.
Chapter 1
Properties of
Light
This chapter deals with the properties of light in the real world, specifi
cally
intensity, color, direction, diffuseness, shadow, shape, contrast,
movement, and size. By the time you finish this chapter you should be
able to identify and explain each of these properties in a lighting
environment.
Understanding light is not difficult. Just as an automobile mechanic
understands how to build, repair, and operate a vehicle —not by seeing
the vehicle as a single system but as a complex interaction of individual
systems —understanding light is as simple as understanding each of the
individual properties that are part of the whole. Once the following concepts
are grasped, you will be able to look at any lighting situation and
clearly identify the direction of the source, its intensity or luminosity,
the light color, the diffuseness of the light, the movement (if any), the
shadow qualities, the shape, and the contrast. Actually, you are already
an expert in observing light. These terms and definitions will simply
allow you to manipulate them effectively.
Intensity/Luminosity
Intensity and luminosity are similar concepts. The following two images
illustrate the difference. Figure 1.1 shows intensity, while Figure 1.2
demonstrates luminosity.
Color
Intensity or luminosity is one of the first things you may notice
about a light source’s quality. Is it very bright or very dim? Is it some
where
in the middle? Is it so blindingly bright that it can only be the sun
or a nuclear blast? Or is it so gentle that it must be a candle? The inten
sity
of a light source will often signal to the viewer what the light source
is, even if the source itself is not visible in frame.
Note: It is easy to let the audience know what and where your light
source is without being obtrusive or obvious. As you read through
these sections about light properties, imagine how you might use each
one to let your audience know just how the scene is illuminated.
Perhaps the second quality you may notice in a light source is the color.
Take the sun, for example. On a midsummer’s day, the sun can be very
close to white and on the yellowish side. On an autumn afternoon, it can
be a fiery orange. Look in the shadows on a clear, bright sunny day.
Don’t they look blue? What about the living room with the fireplace
burning? Here you see orange, red, and yellow all spilling across the
room. Or check out those mercury vapor lamps used for street lights.
These are sort of a light orange.
Take a look at the following photograph for example:
There are three main light sources in this shot, resulting in three dis
tinct
color ranges. In a few places, you can see direct sunlight, mainly
along the top of the image and at the bottom right. The sun is the key
light. It is nearly white, on the amber side of the spectrum. But the most
obvious light sources and colors are the fill sources. On the left of the
image, rock faces that angle upward are a deep blue. This is because
they are facing the blue sky on a bright, sunny day. The sky is highly
luminous and is emitting a blue-tinted diffuse light. On the right half of
the image, the cliff face is undercut, making it face downward toward the
road where sunlight is reflecting off the dirt and creating an amber fill.
Note: This image is a great example not only of contrasting color
in a lighting environment, but also of fill lighting and of diffuse lighting
sources.
Note: There has been heated debate in the CG community over
the color of shadows on a sunny, clear, blue-skied day. Some argue
that shadows have no color, being by nature the absence of light. On
the other hand, it can be argued that on earth shadows are never
completely devoid of light. I suppose for the picky physicists in the
room, the question should be “What color of illumination fills the
shadowed area?” I won’t address the doubt, incredulity, debates,
insults, or downright crying that was involved, and I stand by my analysis
of the lighting conditions. I urge you, the incredulous reader, to
simply go outside and do some careful, thoughtful observation. Come
to your own conclusions.
There are as many colors for lights as there are colors in the visible
spectrum. In fact, you can divide up the visible spectrum of light into
many more wavelengths than can be discerned by the human eye. Your
computer monitor is probably capable of displaying about 16 million col
ors,
and that’s only some of the available ones!
Color can be a visual key to what is going on in your scene. If you
see a back alley scene, and there’s a pink light source out of frame that’s
blinking on and off, you will subconsciously know that this probably rep
resents
a neon sign flashing “Tattoos” or something. If you want to
create a somber, depressing mood, you might choose cool colors —
steels and blues, colors that seem cold and dead. If you wish to make the
viewer ill at ease, you may choose eerie, unnatural colors in the green
portion of the spectrum. Or perhaps pinks and ambers may be your
choice for a bright, happy setting. Keep in mind that these examples are
merely the most common uses for these color ranges. Why are they
common? Most people have specific emotional reactions to certain
colors. You can use this knowledge to get your audience into a specificframe of mind.
Note: My experience has shown that people are most comfortable
with colors and brightness values that are most often found in nature.
If I wish to create tension, I will use strange colors and unusual intensi
-
ties. People know instinctively what lighting environment is natural.
That is why most room lights are on the ceiling or above people’s
heads and are roughly the color of the sun. It is what humans have
been accustomed to for millions of years.
Direction
Light direction is another powerful tool in establishing light source and
setting. If the shot is outdoors and the angle is very steep, very bright,
and amber-white, we might assume that the light source is the sun. If
the shot is outdoors and the light is very bright, amber-white, and coming
from below, we are certain that it cannot be the sun. It must be
something else. Everything is the same except for the angle.
Let’s say all the lights are out in a living room, but there is a light
source out of frame. It is coming from floor level and is colored red,
orange, and yellow. We guess this is a fireplace. If we look again and see
by the angle of the shadows that the source is above us rather than
below, we will probably think that the house is on fire.
Take the classic example of the spooky story told on a camping trip.
The storyteller places a flashlight below the chin, causing deep, strange
shadows that make the face appear frightening and unnatural. This is
referred to as “dramatic lighting.” The same flashlight pointed straight
at the face or from above will elicit no such reaction.
From the earliest days when theater moved indoors, footlights were
used to illuminate the stage. Why footlights? Well, the earliest lights
were candles floating in a moat of water in front of the stage. These
were followed by gas lights. The nature of these lights required them to
be within easy access of the operators, especially considering how many
theaters burned down while these technologies were in use. When elec
tric
lights were introduced, they were placed in footlight positions
mainly due to tradition. The villains of the old melodramas made use of
the footlights by leaning close over them, producing the same frighten
ing
and unnatural shadows of the campers telling the ghost story.
Footlights can still be found in theatrical productions where a lighting
designer seeks that melodramatic feeling of the old theater, or where
strange, unnatural lighting effects are desired.
The following three images illustrate the use of direction in lighting
a subject. Figure 1.4 uses a natural lighting angle high and to the sub
ject’s
left. The lighting angle is similar to one that may be found on a
sunny day. The subject appears normal and familiar. Figure 1.5 uses a
low-angular direction. We still recognize the subject as familiar, but the
lighting is obviously strange, especially considering the lack of a fill
source. Figure 1.6 uses the “spooky flashlight” dramatic lighting effect.
It makes the viewer ill at ease because of the subject’s unnatural
appearance.
Note: In the days of candles, sailors were hired to run the rigging
and lighting in the theater. The man taking care of the candles often
needed to remove one of the floating candles from the moat to repair
its guttering or to relight one that had blown out. The sailor used a
tool known as a “gaff” (a long metal hook used to retrieve wayward
ropes on sailing ships) to pull the candles to the edge of the moat and
to push them back out. Thereafter, the man taking care of the lighting
came to be known as the gaffer. Strangely, as the technology in the
theater advanced, the gaff was cast aside, except for those occasions
when an actor needed to be violently removed from the stage with a
hook, and the term “gaffer” fell into disuse. But somehow, the term
survived in the film industry and today the head of the lighting depart
ment
is known as the gaffer.
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Hufff...... baiklah , tutorial lighting atau pencahayaan ini bisa kalian download DISINI
masukan nama dan email mu,dan link download ebook akan di kirim ke email anda.
Semoga bermanfaat , sampai jumpa :)
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berkomentarlah dengan sopan , disini tempat nya kita saling berbagi pengetahuan,bukan tempatnya saling menggurui.