LIGHTING a EUMION eat UCC ee Lumion - Effects ‘= ns ma WEU Ven] (ero ynnzenmNYi=Lighting in Lumion - Part 2 RR Cae Nee Ras fundamentals of lighting in general, as well as UCR Rm CRC me Rl Reel MR Tee oa eam CRUE) CCC ee CRO CMe MUL when they're placed in a scene. To re-cap, these included: Spotlights: Accurate lights that have CIC CRIE Mace e ies Meee CRC un euCnCe Great for shadow lighting/feature lighting. Omni Lights: Omni-directional lighting that lights all surfaces that face it. Perfect for increasing ambient lighting. meee a Ce le eae) accurate. Best suited to large open areas that do not require accurate lighting. Emissive Material: Highly versatile and can be applied to any shape. Toa)Lighting with Effects eRe ‘physical’ lights - that is, the tools that we can physically move around our scene to Pelee Cela: ie We can then use these to highlight certain Pee Me ee Rell tod perspective, but also to emulate the way Ten R eRe CU RR URC Rm BRR Meee Teally only half of the process. Bae Ce CUR UL Teoma? ORC ROLE Le Pe Me ele BRC Rigel eee SL lac) can be used, I’m going to split them into two categories: Environmental and Local. on eee YEnvironmental Effects These are the effects that will influence all parts of the scene and are impacted by global properties such as the sky, the Pollo CM-L UCR These effects provide a very solid basis for ROM RUM RU Me eRe technical aspects that are involved in interpreting light behavior. We'll discuss Environmental lighting effects will include: man Ree Ue mR Re ae Ges n wu For the purpose of this tutorial, / ; : ‘ E MW i] i Ome Clos eteLocal Effects These are the effects that for the most part, OU et ee ae aL also allow us to further manipulate any Pur kCeckuc Cue cic a ms MU Cle Ce RCO am) f allow individual light sources to PTT eR URL Re mere eR ree BR eC UCR ee that follows the lighting principals we CRYST tek aa LolCL Local lighting effects include: eaters Be Me)en SL] Teta had See SEM uct Oa eed ied PM vai ieee Using texture information from the sky image, Sky Light simulates ambient elie EM Mice mee mm ee world. The Sky Light calculates the way shadow and lighting should behave PEER URE ee ue LL) Clouds in a scene. S t Cee Tt Ba SR RUSE lighting from multiple ‘invisible’ sources. This helps communicate the way that the EE IT sky, sun, and clouds should influence ambient lighting. CR me CeCe Melt) fellate eee mer VE Cd in higher quality ambient lighting. The amount of sampling is influenced by the Sky Light quality options - Normal, High, and Ultra. =i Deen eC ErgEffect (cont.) The Lumion Sky Light effect has a few Ete Re mm eg Pe The brightness slider, as expected, Pr RUM ee UL Light. This essentialy interprets how Diem Ue Culms tem com CEL) EUS SAMRAT PRR OR MU CEL LiLg depending on the type of image we're creating. a Tata eel Rd intensity of the blue hue that exists in real world lighting. A higher saturation Ra Rete a ST Cie CMB Ce LT URC Cem eC) LLL) certain times of the day and can help set the mood of an image. As an example, this image uses a higher Ee ae Meo BULL) typically be seen during the ‘blue hour’. Se uaiT Bee ee R primary light source inside of Lumion. ae ue CRUE Lull alae a ole Dee ee CUE Wieck) Tete R os glee TCC) regardless of whether they are exposed to the sun. Through the use of the Sun effect, we're given control of basic parameters that allow us to influence ES NZ eee are fairly self-explanatory. CECE ROR MUM when using the Sun effect in our Ee ra by AP VisualsEffect (cont.) UUM alg lighting in enclosed interiors unless its value is set to a negative number. Doing so will prevent the sky and sun from lighting the PTE mae ilale space that has no windows and requires a Teatro melee ML ola CROC CMC BUM Ua melee) Lumion tutorial to ensure that the light Pl TRU Reale CMLL Ue ale Le) ro BOERS Ted el a Ue aac) influenced by their position in the effect stack. When enabling the Real Skies effect on top of the Sun effect, the Sun effect will be disabled and instead replaced by the ETM ele RUC Ome CAUCE EC ele eo) oe the Real Skies effect, we can manipulate the ETM ote MU UCL ef PUR CES OME eae Rohe me Mle et ale oe BCR ole ue mC) combinations when setting up a scene. It's Tela OM CRU Ue ey result in 2 suns being present in a scene. eam rE)Shadow Effect PNP me Creation Ma Va SST SoU MOM elas ee) AUC CeCe CRM lola ETM el oR ieee Ue? Bleed ambient lighting. Lumion projects shadow textures that are generated based on the position of eT ECM eared cary (sun/spotlight/skylight). These shadow textures are produced at different resolutions CCUG RU UEC malay Ele CT Despite the obvious use of shadow in exterior renders, interior scenes also benefit CRU UCSC le a The OmniShadow setting is responsible for controlling Ambient Occlusion (the process used to determine how exposed a surface is to a light source). We often notice this in the Pe Wet Rel CU mee RC it helps to establish the gradient of light as it moves away from the light source. | plan on going further into the shadow effect in another tutorial. PetaGlobal Illumination Effect SRR OR ICR Lt eReURe seems confusing in Lumion. Despite its name, the Global Illumination setting inside of Lumion actually works more like a Global TAT) Coast LeeLee UU Ree oem eee celle take as it bounces throughout a room (such as in a pathtracing engine), the Global Illumination setting analyses the areas that interact with a light source and then places invisible ‘probe’ lights. This gives the impression of light bouncing from a surface. The probe lights used are identical to the Omni Lights found inside of Lumion and are EOE Nm uel ee Rte a) such, the same limitations apply as if they ee eR uC UAC RU ed simulating light bounces will not cast any EEOC E UR UC VAC EIR Eu Me Le bleeding if placed too close to a surface. It’s actually quite an old method that was VCS To Bole Lc We elem ier mn OR Ud popularisation of Global Illumination and Perl Ute tele ale oe This i an examale of eine t's een youn eect cl hypoteteay Wor, a vot saahaat i tad Hyperlight could be thought of as ‘Global eae Cote Cie UE Cem Bue lc) SACU Le Meier let Where the Global Illumination effect places probe lights to simulate light bouncing, the Pah Ul eM oe Cm elm elie a pixels in the scene. If any bright pixels are detected, the Hyperlight will emit light from those pixels to simulate light bouncing. This means that we no longer have the Tea RS CCITT Rel light bounces, as the Hyperlight effect only needs a single bright pixel in the scene to Pelee ae Ta US Races) accurate simulation of indirect lighting in our Ere BEM Ue Cee alHyperlight Effect (cont.) Unlike the Global Illumination setting, the Hyperlight setting is a screenspace Cota g This means that it can only take visible pixels into account when calculating Perea M Le ee M rel ae eel eM eae |e interpret what is happening behind a ‘surface or beyond the viewport. This limitation is shown in the image (right), where Hyperlight is only able to analyse the bright pixels on the floor and ceiling, rather than the entire light cone that is being projected off screen. Ue eel ee) -(e BOR UL) rear and sides that’s void of ambient lighting. In most cases, the benefits of the Hyperlight effect far outweigh its limitations and with proper use, the results can be extremely convincing. Tr cea)Lhd Sa i hae) Global Illumination So which is better? Well to be honest ECR TR Leh La) EBS R Umm NR Ue uc) CUT Ua lL Global Illumination has the advantage le um ele Re elm ey aCe CE eee Tee ee RUM UR UE Lele elm alee ET ctu aa RR UR ag STS Meet rome te my rendering process. See (right) how this differs to the Hyperlight process. Hyperlight features a much more robust bounce lighting simulation, however, it does have its limitations as a result of being screenspace TCT Tet ts In my experience, Hyperlight does achieve convincing results with less CS Ue RUC mela} performance. It also has the bonus of casting light from emissive materials as well - a feature that the Global Illumination doesn’t have. CO eal Wee ar plxels from the lighting on the floor and emiting that, towards the celing. The rear and side walls rer ro ee int Coen ee cme SE me ni an! effect is stil picking up the lighting sources off screen and Porson ec Rod SEhei ae ey Global Illumination (cont.) For now I'd recommend the same approach | use with everything else in 3D rendering: use what you need, when you need it. I've found in many cases the use Ce UR Le (Ue Na eh eeu Role Ud limitations faced by each of them. Here's what the previous example looks like with Te Cole Notice how much more appealing the ambient lighting and shadows are? BO RU ule a a EIR dea Reel eke) meg are used as part of the Global UTE La Tea Rel Lo) BUTTole-) ce] mee ( UM UME Mel meg ele eum Ce me It's worth mentioning that combining these effects can come off a little strong Rue ROM RUE ee) when building your effects stack. merayue) aed PMCs mel mee MUR ROLL UK RUB UCase) lighting. Sky and Clouds: Offers manual sky and PoE CUCU UC MU eo lg el aura eRe mot Ce a SUA a Te Real Skies: Real-world sky imagery that produces matching ambient lighting. This is eed ROR LS Male ee LO co match the hue and brightness of the sky url: eC urea uC ume ay Eee ee Sm: oe UCC Lu ula ea Re) Los night scenes. An interesting point is that the CECE CCN Wem UC a eZ change it’s shape depending on its heading El iheLet’s Re-cap Ree eR eM Maar RUE U OCT Re hele lighting tools inside Lumion. Although not required, these effects can be separated into separate categories when deciding which should be used in your Te Environmental Lighting Effects: Or vans e sun SLC olen) le Clo Beet) ON Cullis Cea ee ree Li) RMR Sele OR CLR UL ML) consideration based on the type of scene you're creating, what you're trying to ile aae Le ROL Sele el MC Rae f a CoR elo a ie ery SeanWHAT’S NEXT? Part 3: Fundamentals of Lighting in Lumion - Lighting a Scene This will take the fundamentals discussed in parts 1 & 2 and show how they’re applied to an actual Lumion scene - Regency. We'll break down how each lighting type was used as well as the effects stack that was built for the final renders. LIKE WHAT YOU SEE? Did this information help you? Let me know what you think in the uC Ce If you know someone who'd like to learn more about Lumion, be sure PORTE) THE LUMION dae anes feoHeeiNis aa CS