How I Make REALISTIC Renders with EEVEE Next!

[Music] [Music] [Music] hello stranger welcome back this will be a complete step-by-step guide on how to light up your scene using EV next with its most important feature Global Elimination we'll also see how can we enhance the look of our scene using some additional elements before we proceed however let's do a short demo of how Eevee next works here an object is uded by another object and part of it is lit by direct lighting from a spotlight we can see that there is no bounce light lighting the dark side here there is an option called Ray tracing in EV next and if we check that magic happens this is the simulated bounce light known AS Global elimination or GI so this is the area directly lit by the spotlight and all the area down here is lit by bounce light or indirect lighting we do have to bear in mind that this GI is screen space which means it's only there as long as the direct lighting is on the screen this is just inherent to how roster engines like EV work there are workarounds to it which we'll see later this is the model that we're going to light up up using EV next all right we have a completely dark environment here which will give some ambient light by increasing the strength of the world Shader this gives us a uniformly diffused light everywhere in the scene let's decide two things first the motivation for our lighting and the time of the day since we're making this into a crypt of a Templar we'll give it a medieval Eerie wibe this opening over here will serve as a great starting point of a light shaft coming into the Crypt this will will be our main light the time of the day is about midday as if we've discovered this script while working on an archaeological site so we place a spotlight because they offer a greater control of where the light goes we can adjust the size and power of the light by right clicking and dragging the mouse left or right the size of the light is a bit smaller to cover the entire opening so we right click again adjust light size and drag it a little to the right now to give the light an angular entry we move the light over a bit to the positive y AIS the yellow dot controls the direction of the light so we grab it and place it on our point of Interest we also have a rendered view open on the right side of the UI this gives us situational awareness of lighting at all times now we need to have a better control over the spotlight of where it throws the light in order for us to change its direction of Entry but looking at the same spot at all times don't worry it'll make sense in a bit for now let's add an empty and move it on the same plane roughly at the upper border of the building this will be the control point of our light to bind the light to the control point we select the light go to constraints panel and we select a track to constraint we'll set the target to the empty that we just created and lo and behold we can control where the light falls by the position of the Mt this gives us two points of control one is the target of light and the other is the origin of light this will come in particularly handy when we're animating the light shaft let's adjust it for a dramatic angle for the entry of light the light still feels a bit weak so we'll increase the power by right clicking and increase power then moving the cursor right or left to adjust the power and since we decided to make the lighting conditions of the midday so we can give the color a bit of a yellow tint to have the outside feel like a bright midday we'll make a plane and place it just over the top of the top entrance let's increase it in size to cover it all up and move it so that it covers it appropriately this looks fine now we'll give it a material and this will be an emission material it's not primarily there to light the scene but it will give some amount of Light which will help us with the realism there is one problem it does not let the spotlight to pass through for this we'll turn on backf face culling for both the camera and the shadow and if we now rotate the plane to set the normals right it will let the light to pass through while emitting light on its own now arguably the spotlight is very strong but the Crypt is still not adequately lit by the bounce light to mitigate this we'll bring in an area light and increase the size of it to match the size of the opening we can then go to the main camera view and adjust the power of light to adequately light the Crypt from the inside it's probably a bit too bright for the mysterious WIP that we're engineering so we'll tone it down just a little in order to match the light we'll select the spotlight go into its properties hover over color and press control C now select the area light cursor over the color and press crl + V that copies the same color here as well we can see that our lighting is now starting to make some sense owing to Global illumination we've got some nice shadows and ambient exclusion especially in the crevices let's see how it looks with and without rate tracing we can see that with rate tracing turned on which is effectively the GI the bounce light comes into function and the Shadows are calculated accordingly now before we really tune the lighting we'll Place some tactical cameras within the Crypt space so we can observe the behavior of light from different camera angles within the Crypt this will give us balance lighting from all directions the way I set up camera angles is that I explore different angles from within the scene and place the 3D cursor at the center of it then bring my own simple camera rig to it it's a similar to the spotlight rig that we made earlier with the camera parented to an empty and pointing towards it at all times with a track two constraint I select the empty from the outliner press shift T and selection to 3D cursor from here we rotate the empty such that the two blue lines are overlapping each other then selecting the camera by clicking on the outline and pressing zed z or gz to make the camera into place it will be in place when the origin of the mty and the origin of the camera seem to fuse into one point this way the camera animation becomes a lot easier the camera rig is a part of my stter file as well which you can download for free Linked In the description now to quickly switch between cameras 1 2 and 3 we'll Place markers by pressing M on the timeline with these markers in place we'll bind each camera to these markers by selecting the camera selecting the marker and pressing contrl B on the timeline this binds the camera to the marker we'll bind the other cameras with the respective markers by using the same two steps similarly play head over the third marker select the marker select the camera contrl B bind we can change the viewing angle by selecting the empty and just rotating it along the Zed AIS and placing it where we feel appropriate with these cameras bound we can press left and right arrow keys to switch between the camera views this gives us good situational awareness of what's happening in the environment in terms of lighting in E next Bloom has been excused in the favor of realtime compositor where glare node now has a bloom setting we'll use fog glow setting with real-time compositor turned on we'll set the size to six salty is the name of the game in our final render we'll take a camera angle from the central part of this photo scan as well but if we see closely there isn't much detail present there for light to interact with now we can't create geometrical detail here but we can surely fake it we can take the texture image input and run it through the bump node plugged into the normal and this gives us some detail although with some aliasing going on we'll adjust the height of this first to make the light interaction subtle and not go too overboard with this in the tombstone here we can see that how this introduces small scale light interactions and this gives it more detail for micro interactions We'll add another layer of detail we'll make this layer by a procedural noise texture we'll increase the scale for the details to be really granular and palpable and will also increase detail and roughness for the same effect we crunch the texture with a color run to increase the contrast and to really bring out that granularity when we run this through a bump node we effectively have two bump Maps now all that's left is to combine these two bump Maps into one we'll do this by using a wector math node and its operation set at add so it adds in both the vectors and if you plug the output of this to the normal input we can see that the small details are being added with the micro details and this gives us lots of details for the light to interact with it means that we have some degree of freedom to take some close-up shots that would have otherwise turned out not so great The Stroke of magic here will be adding the volume so we add a cube and scale it just to cover the area of the building notice that we've kept all our cameras inside the volume as well and that gives us a gradual fade on starting from the camera Viewpoint we complete the ritual of putting down a principled volume and plugging it into the volume input of the material output and we'll zoom in into the Crypt space to modulate the density of our volume again we won't go to too overboard with this because we don't want to create dirty murky environment we want to create just enough density that creates God rays but not enough that creates the environment murky like we've established before subtlty is the name of the game the an isotropy value here dictates the behavior of light scatter inside the volume with higher numbers giving sort of a misty effect and since we're making our scene with a touch of mystery we'll increase this just a tad to give some character to the volume we'll introduce some colors we'll increase the saturation and go around different Hues to see what settles best a tiny amount of blue color makes the volume feel a bit more cinematic we see how the scene is looking from different camera angles and it looks fairly balanced from all sides so we'll call it a win for animation we start from Darkness a shaft of light starts to eliminate the Crypt and continues moving to the left as if revealing the secrets of the Tomb the scene would fade away as the L shaft eases out of visibility that's the idea so by selecting the light and moving it around we can explore Paths of light that it illuminates and we'll select the path that looks the best there's also a test of the GI functionality of EV next as the light moves so does the bounce light Illuminating different areas of the scene we can test out another path by moving the light along the Zed AIS and see how it looks from what I can see I don't think there is enough bounce light to light up the inside of the crypt but we do have a solution for that we'll have to introduce more light somehow in in order to do this we'll introduce a point light a little higher from the ground this new source of light will simulate some more bounce light we do want to be careful not to crank the strength too high for it to become a distinguishable identifiable source of light in the scene remember this is simulating Bounce light so right click and adjust the strength of the light to the point where it looks just about natural and since the simulated bounce light is supposed to be from the same source as the main light so we'll need to match the colors we contrl C and select the light go to color and control V there now because we have volumes in the scene this small light also contributes in the volume scatter of the light and we can see it here as a spec of volume scatter and this is obviously not desirable for this light we decreased the volume scatter all the way to zero to fix this and now if you move it around we can see that the spec of flight scatter is gone with the augmentation of the bounce light with this point light we can now see that the scene is a lot more Fuller where the good gradient follow off from the central source of the light into the distance inside the Crypt one thing to note however is that the radius of this point light needs to be a bit higher to make its light appear more diffuse since the bounce light is reflected in all directions so as a comparison this is how it looked before augmentation and this is how it looks after bounce light augmentation this is still a static light so we'll parent this light to the spotlight so wherever the spotlight moves this will follow wherever the light falls this ensures that this augmentation setup can move wherever the original light source moves so if we try and move the light now we can see that we have a lot better gii effect before we finalize the setup we see how it looks from all camera angles that we set up previously and if the light path needs adjusting in relation to a particular camera angle we can see that in this relatively close-up view we can appreciate the fake details that we added to give more dexture and light interactions these small micro interactions do make a difference in the final look as a cherry on top we'll introduce a geometry nodes based particle system which simulates dust it's a free system that's might go to for atmospheric particle effects and I'll link it in the description as well we can easily change parameters like speed direction movement Randomness all according to our scenario and this just adds more life into the final shot and I really love adding these sort of imperfections we can now render it out with some post-processing and color correction this is the final sequence [Music] [Music] leave a comment if this was helpful and subscribe if you learn a thing or two until next time farewell

Channel: Hamza N. Meo

Views: 24,743

Keywords: environment, blender, 3d, unreal engine, 3d environments, unreal, medieval, eevee, next

Id: aI4zEap2kP4

Length: 14min 1sec (841 seconds)

Published: Sat Jun 29 2024