- last edited on by
Noemi Balogh
Like the last post about ambient light in internal renderings, i was having a bit of trouble getting the ambient light right also, except i've been using Artlantis. (I should point out that this is the first time i've properly tried to use any rendering programme so go easy on me, i was learning as i did it...)
I ended up using a number of spots shining upward to brighten the ceiling but found that it started overexposing some of the floor (as you can see in the centre) so i need some more practice with ambient lights too.
As for materials i know the flooring is a bit repetitious but time kinda ran out on me and i didnt have time to update my texture to get rid of the dark stripes.
Any comments welcome.
Cheers,
rf
Think like a photographer would.
1: the actual room lights are there only for show - you use a key, model and fill lighting strategy with independent illumination - ever attend an interior photo shoot? Why are they bringing all those lght when we can already read the newspaper fine?
2: Once you've modeled the room with photo lights, the last straw is to bring up the ambient to compensate - a cheap, but necessary, draftsman's trick.
3: There is no such thing as a white light or a white surface. Everything is either yellow or blue. In California, brownish or mauve. Doing this will immediately bring life to your scene - and this is from a guy who dresses in black.
4: There is no such thing as a smooth surface. What makes for interesting interactionbetween surface and light is texture - for plaster, a little noise is not only more realistic, but conveys a sense of volume. In lightworks, add 1% roughness to a smooth material.
5: Background image should equal foreground in sharpness and contrast, otherwise looks like painted backdrop.
6: compose furniture to lead the eye into and around the space, not appear like leftovers at smoke-damaged clearance sale.
7: crop your stuff tight.
1: the actual room lights are there only for show - you use a key, model and fill lighting strategy with independent illumination - ever attend an interior photo shoot? Why are they bringing all those lght when we can already read the newspaper fine?
2: Once you've modeled the room with photo lights, the last straw is to bring up the ambient to compensate - a cheap, but necessary, draftsman's trick.
3: There is no such thing as a white light or a white surface. Everything is either yellow or blue. In California, brownish or mauve. Doing this will immediately bring life to your scene - and this is from a guy who dresses in black.
4: There is no such thing as a smooth surface. What makes for interesting interactionbetween surface and light is texture - for plaster, a little noise is not only more realistic, but conveys a sense of volume. In lightworks, add 1% roughness to a smooth material.
5: Background image should equal foreground in sharpness and contrast, otherwise looks like painted backdrop.
6: compose furniture to lead the eye into and around the space, not appear like leftovers at smoke-damaged clearance sale.
7: crop your stuff tight.
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