[flow_default] Transcription: 01_image-based_lighting_09.json

transcriptions/01_image-based_lighting_09.json

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+{
+  "audio_file": "01_image-based_lighting_09.wav",
+  "text": "The extra practical lights we have just added look great. I think they add much needed contrast and I can't even There is one more really important thing they offer and that is the motivation They give us enough motivation to do any extra lighting on our character We can step back now Go to the beginning sort of and add the artificial key lights if needed That's not necessary because it looks great as it is, but I'll show you what we could do anyway. I'll create a new collection for our key light number one and I'll create this area light to place in this collection. That's bread and butter of lighting and we've been practicing it throughout the course a lot. Anyway, I'm adding the area light, rotating it with the R and moving with G, so it's hitting our character from the left side like that, maybe squeezing it horizontally with the S key, X twice to scale it on the local X axis, which means the width. So it turns into this kind of elongated soft box. I'm placing it really, really close. Almost touching the subject for a juicy fall-off effect. It's a totally artificial placement, but it will look real because we have enough motivation. All the shiny things in the background, basically. I will rename it really quickly. And the funny thing is, since our practicals have different colors in them, the area light can be any of these colors. We can sample any of them with the eyedropper literally. Like this one. Any of them. Or we can pick them from the color wheel. It doesn't really matter. Like for example, we can make it orange or teal, any color that you can see in the background Boom the scholar of the key light doesn't look off because we can imagine it's coming from this part of the background from this white of the sign or from this tiny teal detail in the city in the background I Think it looks really cool either way. Chances are that the colors not present in the environment won't look as good as believable, I should have said. Although technically it can be a greenish neon light outside the frame. Here we are stretching the limits of our motivation. Probably it'll still work though, because we've created the context for it. The Night City, all kind of light gels surrounding it. It boils down to your artistic choice. It can be no extra lights at all and it will look cool just as well. I'll go for the warmer orange color with just enough exposure to pop out the left edge of the character. What I'll do next is duplicate these lights with a Shift D key and place it to the right of our character. Once again, I'm placing it really close to the character for more fall-off. Light fall-off is such an interesting beast. We have been talking about it throughout the course as well. What about the color of this area light? Of the second key light I should have said. To create a complementary contrast or the contrast of warm and cool I think I'll go with a bluish tint this time. Like it's coming from that tiny science square in the background. Maybe make it slightly more vibrant like this. Okay and let's give it just enough exposure. Not too little, but not too much. If you make it too strong, chances are it won't match with the environment. Although it's a stylistic choice in the end. It's totally up to you. To sum it up, the emissive elements we've added to our scene give us motivation to add more artificial lights, if needed. Any of these practicals give us an excuse to come in and blast more light onto our subject. And that is something often used in films. Alright, the image-based lighting setup that we have managed to create so far looks great. I just love the end result, I think. It is so moody, so low-key, the stuff that I like. We are approaching the end of this tutorial, I think. Congrats to sticking all the way to the end. I really appreciate that.",
+  "language": "en",
+  "confidence": null,
+  "duration": 304.15
+}