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Blender Art Mag-18 Eng

Blender Art Mag-18 Eng

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Published by: bp on Aug 22, 2010
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07/07/2013

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The lighting is done in two stages. First the lamp/AAO
thing, then the nodes.

I used a bit of AAO specially for the foreground part, us-
ing a World with reddish and blueish tones for Zenith
and Horizon. Using the Sky Color option I got some ba-
sic tint for the scene.

I then added a spot with irregular shadowmaps for the
main shadows in the forest-mountains-river back-
ground, plus spots for blue fills to light up the shadows,
and yellowish spots for the direct main light.

Additional Lamp lights were added to create fills for the
rocks in the foreground that were rendered a bit too
dark by the AAO (it renders faster than adding more AAO
passes and usually you can have more control over it),
and to create back lights for the alien corals which have
SSS.

I rendered two main render layers, the “Valley” render
layer and the “Rocks” render layer for the foreground. In
both cases the usual normal nodes connected to colour-
bands do the trick, composing the different normals
with Screen/Add or Mix nodes as it best fits. If you are
not familiar with this technique it requires you add a

MAKING OF:A Fantasy Landscape

by Claudio “malefico” Andaur

46

www.blenderart.org

Issue 18 | Sep 2008 - Landscapes, Environments & Sets

Fig 4: Texture work done over UV layout

Normal pass to your render layer. Then you connect this
Normal pass to a Normal node which lets you control
the direction of an intensity gradient. If you also add a
colourband you can effectively control the colors of
such a gradient.

I used this technique to add highlights and rim lights to
the forest and mountains, and also to boost up the blue-
ish fills of the mountains and rocks.

To mimic Aerial Perspective, I also used a colourband,
but this time connected to a Z-Depth pass. This way I
could add different colors and intensities for the very far
away elements like the horizon mountains and fields. I
added different pale blue tones for the mountains and
yellowish greens for the near plains.

For the Sun halo I just added a halo spot on a separate
renderlayer and tweaked it as I needed using nodes. This
is faster than including the halo in the main renderlay-
ers.

MAKING OF:A Fantasy Landscape

by Claudio “malefico” Andaur

47

www.blenderart.org

Issue 18 | Sep 2008 - Landscapes, Environments & Sets

Fig 5: Basic light without Nodes

Fig 6: Different fills and backlights with nodes

Fig 7: Faking aerial pespective with Zdepth map and a colourband

At this stage I called the lighting done and moved on to
compositing.

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