Daz3d Tutorial | How To Use Tone Mapping

on today's daz tutorial we are going to look at the tone mapping controls uh these will give you a lot more control over your render and especially just the the really you know small nuanced details that can really help set your renders apart so if you're looking to move beyond the beginner stuff into a little more intermediate or advanced territory this is definitely the kind of stuff that you should check out so if you're new here don't forget to hit the subscribe button and the notification bell i do these tutorials um two or three times per week so again be sure you subscribe so you won't miss any of my new videos when they come out all right so we're gonna go over the um tone mapping controls that i use the most there are a couple that i don't really mess around with and i'm going to leave those alone for right now i've looked into them a little bit and they just aren't things that i really feel like i need to use so i'm just going to go over the ones that i use the most starting from the very top first of all is the tone mapping enable button you want to make sure that this is turned on so you can use your tone mapping controls and the first four that we're going to look at are the exposure value shutter speed f-stop and film iso if you've ever done any type of photography especially with either 35 millimeter film cameras or with a modern dslr or mirrorless camera then you're probably familiar with these um so the shutter speed f-stop and film iso make up the three points of what we call the exposure triangle so whenever you are whenever you're taking photos with a camera like a like a digital um slr camera or any type of interchangeable lens camera you want to have direct control over these three things to give your to give your photo the exact look that you want so the first one is shutter speed this one is simply how fast the shutter moves when it when it exposes the uh when it exposes the um camera sensor to light so a faster shutter speed is going to let in less light and a slower shutter speed is going to let in more light so if you're filming with a or if you're shooting with a physical camera if you have a slower shutter speed you're going to let in more light which is going to make a brighter photograph but you also run the risk of blurring like if you're shooting a moving subject you generally want a faster shutter speed so it doesn't cause a blur effect unless that's the effect that you're going for and the value over here right now it's set at 128 so that means that the shutter speed is 1 128 of a second so if we go lower then it'll be 1 84 of a second and as we go down you can see it get brighter and brighter as the shutter speed gets slower i'll move it back up to where it was at 128 or pretty close there we go so since we're shooting still uh subjects nothing in in our scenes is moving so the shutter speed we don't really have to worry about the the blur effect or anything like that this is basically just going to be another way to expose our our shot either more or less under that we have the f-stop and if you've seen my tutorial about basic camera controls and depth of field then you already know a little bit about f-stop again this one is for tone mapping purposes is mainly just to let more or less light into the shot it's not really going to have much to do with the blurring effect and this f-stop operates completely independently of the other f-stop the one that we use when we're doing the depth of field effect so if we move this one down just like on shutter speed the lower we move it the brighter our shot gets and then if we go the other direction if we start going up then it gets darker where was that at eight we'll put that back where it was there's the default value of 8.0 and then under that is the film iso so again on a modern camera the iso is basically just an electronic way of enhancing the light in the photo um so the more that you increase the iso the more noise that you're going to introduce into your shot as well uh generally speaking um if you have a inexpensive camera then you won't be able to bump the iso up very high before it starts introducing a whole lot of noise into the photograph if you have a more expensive camera then you can bump up the iso a lot more it's a lot more forgiving so you can bump it up more before you start to get significant noise in the photograph and for devs 3d this one uh this one operates uh the opposite way that f-stop and shutter speed do so on this one the lower it is the darker it uh it gets there we go and this one just a little bit goes a really long way so let me move it back down the other direction and then you can see it getting darker until we get into the negative you never want to use a negative iso and the lowest you want to go is zero generally i leave mine at 100. too low yeah generally i'll leave my film iso at 100 which is the default value and that's also the default value for for most digital cameras um so again i'm i only mess with this if i if i need to change my exposure um but these all three of these make up the exposure value so if you want a really quick and simple way to uh to adjust your exposure you can just use the exp exposure value slider on this one a little bit goes a long way but this one will automatically change the shutter speed of stop and film iso to reflect the exposure value that you want so on this one also the lower it is the brighter it is and the higher it is the darker it is as you can see so we'll leave that on i think it was on 13. there we go we'll leave it right there for now so that is exposure value shutter speed f-stop and film iso the next one that we're going to do is vignetting and if you've ever used uh adobe lightroom you're probably familiar with vignetting basically this just creates a vignette around your photograph like a halo of of uh either white or black this one like a lot of controls this one operates the reverse the opposite of what it does in lightroom or photoshop or on a physical camera so if uh on lightroom if you do a positive vignette it'll create a white halo around your photo and if you use a negative vignette it'll create a black halo around your photo this one's backwards if you use a positive value it'll be black and a negative value it's white so let's put that at 0.5 and nothing else go a little bit higher keep going there we go now you can start to see the the black vignette appearing around the photo and the higher we go there we go the stronger that vignette is and if we go the other direction then you'll start to see a white halo or white vignette appear around your photograph there we go and we'll leave that back at zero for right now under that is the white point scale and the white point itself so in some of my in some of my other tutorials we messed with the temperature of the different lights and as you again this is kind of backwards to how it is on a physical camera generally speaking if you raise the temperature it shifts your color more into the orange and red spectrum and if you lower the temperature it shifts it more into the blue light spectrum this you can use this to set the white point basically it's like a calibration so whatever type of light that you're using like if you're using sunlight which generally tends to be of a more yellowish or orangish kind of color it can create that yellow orange glow in your photograph you can tell the renderer to treat that color as white so that way it won't look like there's like a yellow or an orange glow in your photo but it'll make the sunlight appear white or if you use an incandescent light you can set the white point scale to be the incandescent or fluorescent lights um again that'll just keep your photographs from having a weird you know bluish or a or a yellowish color to them and it'll make it easier to set the temperature of your light as well under that we have burn highlights and crush blacks so basically the burn highlights either enhances or de-enhances the whites in your photograph so um i recommend if you ever see a control that you don't know what it does just try pushing it to an extreme value either save your work first or make a note of what the current value is or just use that you know control z the the undo function but just try pushing it to its extreme and see what it does so on burn highlights when i push that one to an extreme value there you go when i push that to its extreme value you can see that the whites are a little bit more pronounced and if i bump it the other direction then the whites are a little bit more modeled like it's a little bit more gray it's a little bit difficult to tell because this is this is loading in in real time but you can kind of see again when i bump it back and forth there we go now the whites are a little bit more a little bit more enhanced and crush blacks is similar if you push that one all the way to the top then you'll see that it makes your blacks a lot more pronounced a lot deeper and a lot darker and if you bump it all the way to the bottom it makes your black's a lot less extreme which can make your photo appear brighter so if you're doing a photograph with a lot of shadows in it and you don't want the shadows to be super dark you want to be able to see what's in the shadow just not as much you can try bumping down your crush blacks value and that will lighten up the shadows a little bit um and similarly if you want really extreme dark shadows you can bump that up a little bit higher and your shadows will be a little bit deeper all right under that we have saturation which this is color saturation it just determines how saturated or how bright your colors are and again we'll push this to a couple of extremes and see what it looks like so the higher we push this one the more your colors are going to be saturated and it's going to give it kind of that kind of a technicolor effect and the higher you push it and then it starts to get just wacky when you go really high it just starts to look really bizarre and kind of surreal i might bump that way up there you go yeah that's an extreme color saturation effect that's that's way too much but sometimes you can use that to get different effects if you want something to be really bright and colorful you can bump that up just a little bit and gives it kind of a different look one of the best uses for the saturation control i believe is to do black and white photos so if you bump it down to zero then it'll remove all of the color from your photograph and turn it into a true black and white photo i've got a video planned for later in the week on friday i'm going to do another full scene and it's going to be a black and white scene and i'm also going to show you how to use the burn highlights and crush blacks to create a lot of contrast in your black and white photos so i'd be looking for that to come out this friday all right and if you go lower than zero if you go into a negative value it starts to give it like a film negative effect um let me bump that down and you can see it starts to go into the negative color range like you're looking at a film negative all right let's put that back at zero actually sorry put it back at one one as normal and then under that we have gamma correction and gamma correction is just another way of of brightening or darkening your photo but it uses a different algorithm than the exposure value up here it's a little bit more unnatural looking and you've probably used gamma correction a little bit especially if you play video games on modern video game consoles and especially if you do if you play games that rely a lot on light and shadow like survival horror games a lot of times they will have you manually set the gamut correction before you play the game just to make sure that the lighting and the shadows are correct so if i bump this up you'll be able to see that it gets brighter but in a really kind of unnatural and washed out sort of way not just like you're making it brighter but it's just like you're kind of turning up the whites in the photograph artificially and if you bump it down same thing happens in reverse it starts to artificially darken your photo there we go and those are the tone mapping controls that i use the most i may do a video in the future on the cm squared factor as well as burn highlights for component i think there might have been one other thing that i left out but those i never really used the cm squared factor i haven't really been able to wrap my head around and i'm not sure if it is that important i'm going to research that a little bit more and see if i can find some some good ways to use that but that will do us all for now if you like this video be sure to hit the like button and check the description below where i'll list a couple of the assets that i used in this especially malia which is my female figure love this figure it's a great one and you can also find some ways to support me uh for free as well as monetarily and that will do us for this one take care and i will see you next time

Channel: Steven David

Views: 6,398

Keywords: daz3d tone mapping, daz3d, daz studio, daz3d tutorial, tutorial, daz3d tone mapping tutorial, what is tone mapping, tone mapping tutorial, daz, exposure value, daz3d exposure, exposure triangle, vignetting, color saturation, saturation, daz3d controls, daz3d for beginners, daz3d for intermediate, daz3d for advanced, daz3d basics

Id: 2Pdd5vKn6UM

Length: 14min 6sec (846 seconds)

Published: Mon Oct 12 2020