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    12 views52 pages

    TheLumionCollective LightingInLumion PDF PDF

    Uploaded by

    Angélica Reyes Rueda

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    © All Rights Reserved
    Download as PDF or read online from Scribd
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    of 52
    LIGHTING a LUMION USOC a LL ed eee THE —) LUMION C7 COLLECTIVE Lighting in Art Lighting is arguably the most important aspect of any 3D scene. It impacts the way that we PCC lle EWM Me mo moe RUC B CC PTE eee) ame od manipulate and convey story, perception, mood ET ee Ulam OR UCRU Ce Lighting in CG! The 3D industry now has multiple ways to simulate realistic lighting conditions in our Plo UMBC Me Mar Coro mol mice) olen CMa melee CU RUC eee lela) to apply to us: Global Illumination. Global illumination in 3D rendering is a PUM ee CR UC eee RL} way light bounces from surface to surface. At the risk of oversimplifying the process, I'd recommend you check out the links attached to Re oa lee Meme Rela or side of Global Illumination and lighting in elt Ie emer! PUTT ETUC LeU de Cet Ct This scene demonstrates the process eM eae CRU) PUPA Cm aCe ce) SUM arelie remo dare BUC au melree lic) as a result of light particals bounces Prin uci ston Dr eae ar let BMC) Plea meee ollie eels that surface is absorbed and cast onto RUM aac Me SR) see the green and red colors being transfered onto the surrounding Eco The result is a convincing and logical eee Ree MUR) Pomme meme) lighting and gives the impression that the space is ‘living’. Lighting in Lumion Lumion is capable of producing convincing lighting, although the process isn't always obvious eRe lee me CTO aie (ere el oe Thanks to the global lighting effects (real skies, skylight, sun) we already LAR RCM M Lm LUT: As such, it doesn’t take much effort to produce something that’s convincing COC ROM UU Cee Re ois Bel ue ed eer Red Ter aR Ue mL Roel? LRU) customizing a lighting setup to suit a specific scene. To understand what we're working with, let’s take a look at Lumion’s primary lighting tools. eens Omni Lights Sr Meme aCe Me UES Pe CMU mee eae is not a calculated light source, meaning that it does not cast PUTT ROL ure) all CT UC le oe Bee eel me Lig Pel Tel ale Malco RU Ce ome) TT SoS OM oer RIT IC they're placed. This light method works by casting light on all surfaces that Eee SUC ated coo COMER ee cate Due tt ols nde it) additional ambient lighting to a PC Fill Lights eee CE CLie to the omni-light with a few key CE afe ol ome LCR aT Cod ee mat elt ae lo Mole OTT Me aoe eed elt Instead it lights all surfaces STU RNA ee] cto SU ULE Ce Se BCToe RUM Lele eee ee Rd Pelt lM ae mee md best suited to large open scenes that do not rely on accurate light il Area Lights SUPE Me ae ee Ml PTT mae mela are mL) eT Tela PNG Umea mele Celt To Re ae Ulead eel) of the most convincing lighting CR eu ume) appropriately. MeL Wa mee UE Nel PTT e ram R UC mel Ue ta CRU Ta aT le Sear le RU ee UCM Ma toll poo The key difference is that since Pe Me ee Ce uy plane, it only casts light in a ire Mele tale 1 Additioanly, it’s light source can RUT RTC) potato ao mCLOLmielaiie Relea} as in gardens, lamps, or shadow tela ate Spotlights UCR aR UC mou e calculated lighting type in Lumion. Thankfully, it also has PO ae le Rene Lys) profiles to choose from. tee Cre ear lela ML) Tr NCR uete mmole ice Ree ey flcelo (ele Buel mee eA) result in comparison to other Teun] eSe Ona eerl eel Cr ela Ree UROL) placing spot lights. BCR ee UC Rca Lumion are IES profiles and as Ee eee umd qualites. The use of custom eee a Loa CC) Dre AT LETer eR oa sO cS) elm CE COR UC Mules taxing on system performance. oJ eae ed Although not technically a Lumion light, it’s worth noting that the Emissive material does have some lighting properties. TCR retells ie) eel NMC eee lighting types in that it doesn’t Esra Cia aml em emissive properties are Tolle l rete ym Ma Tle Lg effect which approximates how the lighting would be projected onto surrounding surfaces. PNT ue ae eT Ly ECE Mita: eel ce mea extremely versatile since the material can be applied to any mesh shape and color. aT CT) Muu elite Te CAR Nel ULF tela ee Re eel mee CMe d eC SUN TCT surrounding them. CMU RCM ig PCT ne CE LCo Lumion Knowledge base that covers LOM eee eC las all comes down to correcting the placement, brightness, and falloff. BCU eh me eel UTM) Se ORL surrounding surfaces when confined Loe Me As expected, the Spotlight is eu RUC CEU BeTS ET CMM eel ele 1d lighting is required. Light bleed is by no means a deal cream eM CU OMe when lighting a scene. Be Coy Cay Cid TE La There are multiple techniques CUT ee UR OMe eC in Lumion with each having their own strengths. Spotlights: Accurate lights that have calculated global illumination and shadow casting. INCRE CME eR tt) planar lights. Great for shadow lighting/feature lighting. Omni Lights: Omni-directional lighting that lights all surfaces RUS ee ool increasing ambient lighting. Meee al CRUE ace lig RC tcc Ceo el PC een ura: auras require accurate lighting. Emissive Material: Highly versatile and can be applied to Ello ema WHAT’S NEXT? PART 2: Fundamentals of Lighting in Lumion - Effects In Part 2 we will dive deeper into the effects that influence lighting in Lumion. These effects have a range of uses and can all be altered to suit each specific type of scene. LIKE WHAT YOU SEE? Did this information help you? Let me know what you think in the ue If you know someone who'd like to Teme lol MU olen ey REE ainls LUMION COLLECTIVE 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 LIGHTING a LUMION eee ee uu ee nl Lumion - Lighting a Scene [eo ]EReni3 Lighting in Lumion - Lighting plays a big part in any scene. Photography, concept art, environments, and most certainly arch-viz, all rely on compelling lighting to help convey the message of the fale (oe SRM MCR ee eC le how and why we light our scenes the way we lo In Parts 1 & 2 of the Lighting in Lu AEA Rr eRe oa eta of lighting. We learned about the lighting See eeu eR EUS various effects that can be used to further Eee RUM ole mm Cele em Ae) tutorials helped build a foundation for lighting. These technical aspects are great for furthering our understanding of Lumion, but to understand how these can be applied to our scenes, we need to put them into p eee? emma anad Lighting in Lumion - Part 3 In this tutorial we’re going to be doing just that. Rene Ruane UCN aay adore aC) going to dissect the entire lighting setup and learn how and why each object and effect was PER RCRA ne om Male ee OR ee eed SUM celal mela Om) techniques discussed in parts 1 & 2, as well as Ree Ue el ee ee Re LL Bod EC Me ecm ele cmc elie a Se Before we move ahead I'd like to mention that only lighting specific elements are going to be CS eR me al lool) le CME eR Mole directly related to lighting have been left out of SUR CLL Con CRU ee rs Ry Ue eC RR el ee Pompeo em Ueto Ul ® Section 2: Lighting Design © Section 3: Lighting Effects Stee ee meyE emudabieed SECTION 1: SETTING THE SCENE Tad The goal for Regency was to capture the UR ORC ae BIO Nat) eine EN e architectural photographers that occurs when the sun reaches a certain point below the tele

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