How to Properly LIGHT UP Your LUMION Interior Scene with Only Lighting Effects

hey guys how's it going uh so today i'm going to show you how i would do an interior lighting scene in lumion um what i'm going to do right off the bat is i'm going to get my picture i'm going to put the realistic effect stack on it i'm going to change the heading just that the sun is where i want it and then i'm going to start adding the effects that i want which is obviously pretty standard but what i've already done is already gone through and i've printed out almost comparisons of the the realistic effects stack and then adding in each effect just so that we have the before and after uh things like skylight the gamma correction uh temperature i'm gonna be going through all of these things just so that um you have a better idea of how to light your scene and lumion it's kind of a rule of thumb i actually try to avoid using spotlights fill lights and area lights almost with everything i find that it's a lot more trouble than it's really worth i i always try and get the light from at least when i'm doing interior scenes coming in from the window or i'll just completely remove a wall in my model that can't be seen by the camera and that way uh you get the full use of the real skies effects the sun effects and i just find that it's much easier to get a balanced photo and um to get something that's a little closer to photo realism when i first started using lumion i'd always try and just put spotlights on every single well physical uh modeling of a spotlight but that is a pretty easy way to overpower the model quickly like if we look at my lighting here while i do have one on each they're only at 1.3 which i'll just move this camera quickly so you can see so this lamp is uh it's a pretty strong lamp like i believe that lumion uses the ies um lighting which is kind of like a preset lighting so that your like certain lamps are going to look different ways um and this one is almost like a flood light it's very strong but um i just wanted it to have a little bit of impact kind of on the top shelf here and when i start going through the stack you're going to be able to see why i kind of picked that although i probably could have just removed it and you wouldn't uh really get much of a difference but yeah for this kind of scene i would try and avoid uh spotlight as much as you can typically i only use spotlights as to give like a little bit of shadows like it sounds kind of counter-intuitive but i don't really think that they should be used for interior lighting because you're just not going to get the shadows that you're going to get from lighting your scene with the natural light that can come in through the windows so anyways we'll get this uh we'll get this started now so first thing is i have my camera set up i'm going to take a completely raw photo here so now obviously there's nothing special going on with this the lighting is you know nothing special at all so first thing that are realistic and right there i mean most of the time you can probably just get away with using the realistic effect but i'm going to add some more stuff in just so that we can get a good idea of what's going on so i'm going to render this one out i think yeah i'll put this at about 75 that way a good way to kind of tell where the sun is you can see that the sun would be over in this area here uh based on the shadows that are coming from the chair the window uh frame and then also uh the lamp stand so i'm gonna render this out quick uh lighting renders yet so we'll just do one uh this doesn't take too long to render now it will take a little bit longer once we get going but yeah you know for you know for a render that took maybe like 30 seconds to set up in reality this is a that's a pretty good start but we're going to be able to add some more detail to it uh the first effect that i want to talk about is bloom so bloom is an effect that it kind of makes it so that the light outside is stronger than the light inside i guess that's the best way to describe it in um just i guess common terms we have uh i have an example here if we want to pull this up uh lighting effect stack bloom now this picture here is basically the one that i just did i've already gone through and made all these pictures uh for us to compare and so this is the the raw realistic um stack and then that's with bloom added in so when bloom is at point five and i'm going to make the all of these available uh to download below the video um so if you find it easier to follow along um with your own folder you'll be able to do that but as i was saying the the bloom effect it just kind of makes the light outside a little more stronger and mostly when i'm doing this you can see the biggest changes happening obviously in the white uh near the top here but then if you look at the shadows on the floor you're also like they are losing some uh definition because it's almost lighting up the rest of the scene more light is coming in the window and you see this a lot more when we go up to one so this is way too strong um unless you're doing like a very particular effect like the only way that i could really see that you'd want to use bloom of one is if you're doing like something like a like a heavenly scene or something and you wanted you know tons of light to be like flooding in so the light is overpowering and then two is just way too high i i don't see how this would ever be used because it's almost completely eaten the chair like you can't even tell that it's there you can't see almost any of the background so i think that when i use bloom the perfect amount is about point five um you just have to adjust it to what fits your scene with lighting there's no i guess right and wrong for the most part it's just what you think looks the best there are common practices obviously you don't want to have this happening but you know maybe there's some scene where that has to so uh back to lumion we're going to add that in quickly and go to the next effect so i will render that out now too and yeah we see that extra light coming through the next effect that i want to look at is exposure so exposure is kind of it's very similar to the brightness and color correction it's kind of just a blanket um i guess lighting tool like when you turn it up the shadows and the areas with light are going to go up and when you turn it down it just makes the whole scene darker uh just based on the testing that i did uh before the video for this scene i think that point four uh is a pretty good place to have it um if i go into the pictures that i printed off so this is a 0.5 this is kind of the standard uh the default setting and then that's point three so as you can see the whole it's just the whole scene that's changing uh some effects are going to focus more on the shadows and the light but this one is just a blanket one and that's mostly what i found with the uh the brightness and color correction too so when we go through color correction uh correction i probably won't talk too much about brightness because it is kind of you know just explain itself if your scene is too bright then you just turn it down but you can see the difference that those two makes right these two make right here so in this one we kind of expect the shelves to have a lot of shadows in them like that and you can see my spotlights they're very faint but that's why i added them in here just so you get a little bit more uh i guess um a little bit more definition just kind of in the shadows here so yeah that's just way too much in my opinion even that's the default but then that's just like far too high so yeah that one's good uh now i'll look at the other color correction one so for this scene the realistic effect stack typically has a 0.4 temperature which is it's pretty high like that's a pretty warm scene uh if we open these up and we go in um this one really is just depending on what you think the scene should look like uh when i'm when i'm kind of flipping through these like this to me seems like it is very warm as i said this is the default one but this seems uh i guess it kind of reminds me of you know someone is you know they're in this house someone is home right now but since it's a bright afternoon um you know none of the lights are on really they're just gonna sit down and read a nice book that one this to me looks the most realistic and this is the one i'm gonna be using in my stack but this is just point one so this has a much cooler look to it but it doesn't necessarily make me feel like it's like a cold scene it just kind of looks like you know no one's really home the lights are off and the person can be back any minute this if we look at this this is negative three so this is just too it's too cold to me like this doesn't really make any sense why i would ever want to use that for this particular scene again temperature is really just what you want to convey with the picture if you have a scene that's you know maybe in a winter meadow or something like that you're not going to have you know this warm effect because it's not warm outside you know you don't want the person to have this uh feeling of warmth it's a you know it's a cold day but then if you were to go inside in that same scene and you were inside a cabin then you would want to turn the temperature up because you want the person looking at your picture to be able to feel kind of that warmth that you know they're not in that cold exterior outside and it that that thinking about that kind of thing when you're making your lighting is very important because subconsciously if someone looks at the picture what are you trying to tell them with it and i think that that's a pretty good way just to describe the temperature it's completely up to you it's not going to change for the most part the lighting it's just going to change the feeling of i guess the the story that that lighting tells um then so for this one yeah i said we're gonna go down to point one um the tint tint is kind of similar to the temperature um this one it's just kind of balance helps you balance out the oranges and the greens in the picture um for this one i just leave it on the default um if you want to turn it down a little bit uh you can just put it on zero but i think that with uh a warmer scene like this this kind of is i think point two is a uh a pretty good one but at the way that uh temperature uh lets you bring down kind of the orange and the reds uh and adjust it with the blues um you get kind of a different shade of orange and green to kind of balance it with so that's just something to keep that in mind with tint uh now brightness this is the one that as i mentioned it's very similar to exposure um it's as the scene goes down it changes but it won't bring it down quite as much as brightness like as you see or as exposure as you can see here i can bring brightness all the way down and it doesn't completely remove the scene i think i figured that this one's good for 0.6 but if i go back to exposure if i bring it right down there's nothing there it's completely gone so while they are very similar i guess i should kind of correct that and say that the color correction brightness it just isn't as strong like if you put it down at zero it won't completely destroy your scene as if you put it up it won't uh make it completely white either so that's just uh something to keep in mind uh contrast uh most people would uh probably um know this one like this just kind of yeah i guess it just kind of affects like how the the colors interact with each other i believe it's similar to a sort of like a color ramp uh saturation that is just kind of how prominent the colors are in your scene i have some uh examples of that one here so this is just the uh this is at 0.5 and that that's pretty low so you can see that that's it's uh it's again it just kind of depends what you want for the scene i want a little more color in this one but if you wanted something that is maybe even supposed to look uh more old like almost like a black and white photo but you don't want it completely uh completely black and white then turning the saturation down might be nice um when i kind of think of this effect what i almost picture is someone doing you know like a flashback where um you're almost looking at an old house or something where you want it to you don't want it to have no you don't want the color to be completely gone from the scene but you also don't want it to have this this popping effect this one is just the default one so that's what we're gonna probably keep it at i don't typically play around with this effect too too much i kind of try and get the get the scene to work with other effects but if you want to turn the saturation up or down or just tweak it a little bit i wouldn't go too far from one so as you can see uh when you turn it up it becomes just way too like orange it's it and it's warm but it's also this like it's just the colors just look off like if you look at like these pots for example they just look almost like pure red and so does the uh the copper in the back here so yeah this one should definitely just be used kind of with a with a grain of salt the gamma correction is the next one i want to talk about and this one's kind of an interesting one because i had never used this before i kind of sat down to learn what it does but if you only adjust it a little bit you can actually get some pretty cool effects with it so here's our just the standard default uh setting which is one for gamma but then when we turn it down this is what we're left with and again with this one it's you kind of have to use it with the you know just keep be mindful of how much you're using it because this can really overpower the scene outside it's almost completely sucked the realistic um lighting that i was going for in the scene right from the background and while you are kind of getting this cool lighting effect here it's just it's not realistic and you have uh this strong light coming through the windows and the shadows here are you know pretty um they're pretty sharp and that's the kind of thing that you would see on a sunny afternoon day yet not only do we have clouds in our background but the gamma correction is basically taking all of the the light out of that so if this was an overcast day like our exterior is kind of looking like right now then you wouldn't be getting those shadows really you may get you know a little bit coming through but you wouldn't get these sharp shadows so if i saw this picture right off the bat i'd say you know something's something's not right here but it is kind of interesting to see and then that's with it turned all the way up so it it affects the the areas with shadows the most like if you look at um these flipping back and forth um you can see that the shot like the areas up here that's darker are completely gone where the areas on the couch is definitely looking different but the lighting is still strong in that area so that is a good one kind of to keep in mind for this one i think i just turned it down to like point nine or something like that because i didn't want it to have this effect of being a little bit more dark but i also didn't want to just completely overpower the scene the limit lows these are kind of interesting ones because i found that using this is when it's at zero and one so the if this is the effect when you turn the limit low up to point two and then you keep the limit high at one um it does give this i guess in some ways i do kind of like what it does where it's making the scene have much more defined shadows and it's keeping it warm but it i just think that it makes the areas over here where there's color in the shadow those aren't going away so this one again i think you'd probably be safe with just keeping it at zero and one and then using the other effects that are much easier to control to kind of get that look that you want because what i thought was sort of interesting is that zero when you put the limit up to point two and you look at our default there's this massive difference or two completely different photos but then when you turn the limit high just down to point 0.8 they're i mean the only really big difference that you see is the shadow is getting a bit brighter but if you look off into the distance here as we're turning it up and down you're just kind of getting more of that background like a dehazing effect so they're um yeah i i typically don't use the limits because i find as i said like it just makes things kind of harder than it should be so yeah for this one i'm pretty happy with the temperature probably just turn the tint down to 0.1 actually the turn the brightness down a little bit i i left contrast and saturation the same but i did turn down the gamma correct correction a little bit and i think that i'm pretty happy with the color correction here so let's go render that out and we can kind of just look at the difference that the color correction has made so yeah what i what i really like about this is that since i want all of the sunlight to be coming through the windows this looks a little bit more realistic to me where up in the corner of the shelving you're really not getting anything but you still can kind of see the pictures they're not completely overpowering the shadows and when we add in some of our other effects these are this won't be as dark but i'm really happy with how the lighting is looking here you can also actually see the candle that i put in there too so um yeah it just it's it's coming together already i really like how the lighting is hitting um the vases there all right so the next one that i want to talk about is hyper light hyper light is sort of similar to ambient occlusion in some way which is just kind of how i guess like the shadows are what you're going to notice the most with hyper light is that when it's at 100 it's really filling the scene i probably wouldn't you might not even really need to change this um i i can go and pull that up now just so we can sort of take a look at it but so this is oh just needs a sometimes take a second to load here but um the with the realistic hyper light uh what i find the biggest difference is is the shadows in the corners so these kind of corners is very i guess like very common in lumion whatever ways kind of the light interacts with it you typically get the corners being very dark but omni shadow can help control that it'll also help control the shadows up in the shelving so this is zero so you could probably just remove like if you remove the hyperlink completely that's what you're gonna get but this is the default one that comes with the um with the realistic effect stack um so you can see right there that it's mostly affecting the shadows really like if you look at the floor where the sun's coming in it's not affecting it at all it's really only the shadows that kind of get that because the hyper light to me it almost works the same as light balances and things like blender where it's it just kind of helps spread some of the light to the the rest of the room and as you can see as i go up you can just sort of see the shadows disappearing and what i i think is a good place to look here are these shadows up in the corner so now we have a very faint black line at 100 but if i go down the shadow is much thicker here so if you're having a problem where you just can't get those the corners correct in your scene hyperlight is probably a pretty good place to start but then also um the shadow effect which is coming up here and we will talk about it so for this one i'll probably just leave it at 25 it is a good effect to have skylight though now this one i don't recommend you be using for videos even though this is in my opinion the most powerful lighting stack because it it just fills the rest of the scene it makes it look realistic but the way that lumion does that is i believe they take they move the sun slightly and then take five samples so it it can almost quadruple your render times if you turn everything up so i typically turn these two on and i think i'm going to turn the brightness up but let's just look at some of the the ones that i rendered out so we can get a better idea of how it works so this is the bright this is just the default uh realistic stack as usual so right off the bat when i'm going to uh when i flip through here all i'm doing is setting it to ultra and hitting these two and then we get this effect so here's the first one here's the second one so the area that uh is best to look at here are the shadows on the floors and then also the shadow on the chair so in this scene we're kind of getting the light hit the chair but the cushion of the chair almost looks too dark it doesn't make any sense but with this one you're getting much more um natural light hitting that it kind of looks like the chair is getting it's the lights hitting it and then it's you know it's it just looks like it would uh kind of in an afternoon scene and so flipping back and forth you can see that especially too on the uh you know on the shelves on the pillows uh it's just kind of lighting everything up more and it's also making the shadows not as harsh on the floor because in real life there's so many you know light rays bouncing off of things there's multiple light sources so you're not going to get these really harsh shadows but that looks much more realistic i i think that it's the most important thing that you can use it's just that skylight is so so hard on your computer so if you are trying to do a video i would probably say that you kind of have to uh to cut it unless you have a really good computer and you're working on a very large time frame you can basically render the video four times and the time is going to take you to have this but there's a couple more effects i want to look at with this so turning up the brightness and the saturation also has an effect on it so with this one um we have the full brightness so this is just the default this is the uh the first one i showed you but then that's what the brightness up so as you can see we're still getting the same effect um mostly the shadows on the floor along the wall here we've almost completely blended out um that shadow that's coming in from the window and i really like that so for this one i'm going to be putting brightness up all the way but i've also included saturation on these ones just so you can see so this is with uh this is just the saturation effect on uh and what it just kind of gives it is like this blue feel to it which again it depends on kind of what you need for your scene i would recommend just putting on brightness um the planner reflections uh and the projective reflections and then hit ultra it just makes it so the whole scene really comes alive it's the most important one in my opinion it uh yeah i can't uh can't emphasize that enough so i'm gonna turn the brightness all the way up for that and then let's render out another one just so we can see where we're at and i do like this if i come back at the end and you can just see how much longer this takes up if i come back at the end i might actually turn the exposure up a little bit more but i am really happy with how the light is coming in the window now like i think that you're getting this much more full effect and if you look at the i guess all of the silver and gray decorations on the shelf you can really see that coming out now um and yeah so hyperlight's good now shadow shadow is one that you'd think is not actually used for lighting but it too is one of the most important ones the the sun shadow range i don't really use um the coloring just kind of changes like the temperature of it this is again it's it doesn't really make a big difference i probably wouldn't even bother using it it's just that you know if you maybe things are looking a little too cool or hot you can change that but for the most part i wouldn't even bother with that um we have already talked about the hyper light and omni shadow and hyper light as i was talking about kind of give you this like they kind of help fill in the corners so i might even use them interchangeably but uh they they do give you very similar effects um if you as i said if you're having trouble getting the the shadows out of the corner um the corners of your scene then hyper light and omni shadow are what you want to use so let me just go in here and i will just show you some of that so this is with omnishadow on zero so this means that there's going to be basically no shadows in the corners we don't want that it just in this picture you can see how just unlife like the shelf is like you might be able to get away with the table it doesn't look the worst but the shelf just doesn't make any sense it looks like there's no shadows in it at all so just by putting it up to one which i think that might be the default yeah just by putting it up to one then you can already see the difference that makes like it's a huge difference if you go from one to two there's not as much difference and then two to three there's no difference so i think it just depends on how you're scene is kind of composed but i would definitely always have omnishadow at least at like one or something like that you don't want it at zero because then you get no natural lighting especially down you know if we look down in these corners here along the stairs as we turn up to one you're just getting this much more realistic effect because when it's like this it's looking like there's you know there's light going behind the couch which that wouldn't be happening so that one's good and for as far as brightness goes this one's another one that kind of it's just to play around with and to get it right so the default for this one's set to zero and i would probably leave that for the most part too because i find that when you start messing with the brightness of the shadows it's harder to kind of balance your other effects it's one of those ones that i think it's important that you know what it does but i try to go through things like even the other brightness to get that effect so even just you know putting up to point three you can already see that it's it's completely removed all the shadows it's just but how how bright the shadows are and they're just completely blended in here but then you also still get this weird effect when you increase that you can still see you can still see the shadows up here but the whole scene's light which just to the eyes it doesn't look right like you see this almost looks like this like moldy wood because you're just getting these like small shadows in there and so yeah this uh i would just keep this at zero for now but yeah with uh with shadow there's not too much to change i'd probably actually just put this up at like point eight for the omni shadow um i know we'll make that one because that's what i liked before so yeah uh with sharp shadows i i don't use those at all either because in real life you typically don't have sharp shadows unless like unless you're doing some studio lighting and you really want the you know maybe like a couch or whatever model you're showing off to have these really strong shadows coming down i wouldn't even bother changing it just leave it on normal and make sure that soft shadows and fine detail shadows are on they they really do add a lot to your scene so the next one that i want to talk about is global illumination now i i figured that i should include this in the tutorial but i do not use this at all uh i don't totally understand how the effects work and i just think that it makes things more complicated than really has to be so if i put the sun effect at like 0.4 and then the falloff speed it like to zero it's you can select the pot lights and stuff with that which i don't totally understand but you can kind of see how it lights up your scene here and that's the tip that's the normal one and then with if i put the sun on point four and the falloff of 0.4 this happens but it's another one of those ones that like other effects can do what it does and since i don't totally understand how this works but it's so easy to just completely blow your scene out with it uh i i just don't think it's worth using i have played around with using it strictly for with no lights um or sorry two like spotlights and to make a realistic lamp maybe i'll talk about that in a different video because i did have some results with it that i liked but ultimately just don't don't even worry about this i think a lot of people want to want to use it right off the bat because you're like oh i need to illuminate my scene global illumination it's but it's uh you just you don't need it for lighting your scene so the next one we're going to look at is just the real skies i think that that's kind of an interesting one so setting it is kind of weird because the the way that the afternoon and the cloudy and stuff work you should be like oh it's an afternoon so you don't use that but i i don't totally think you should think about it like that you just have to use the lighting that works the best and keep in mind that this so right now this model is right on the ground so even though it's clearly an afternoon scene in this example the light is coming through the windows and we're not getting any kind of action where we want it to because it's it's just too high up but if we were actually on like the 30th floor like this apartment looks like you'd have light streaming through the windows so i'm not going to use this one but with the real skies just use the one that you think works the best most the time when i'm using lumion i'm going to put a background photo in and i'm going to let that kind of be the way that my lighting gets into the scene even if it's right on the ground i'm going to have this you know if this is an example here i'm going to have you know all the clouds uh most of the time because then there's no weird line where the buildings get cut off if you do it in photoshop that's another tutorial that i'll get into but uh for now just kind of keep i'm just kind of flipping through this this one's kind of interesting because this is the nighttime scene but i have all these other effects going on so even though it's i chose a night hdri it's completely bright outside but you also get to kind of see how strong the spotlights are so even at one this is one out of the default 300 and that's how strong the lights still are mind you i did use the flood light but that's why i'm saying that it's the lighting doesn't look too bad here uh on the shelves but you just have to use it so sparingly like unless it's an absolute last resort i don't use the spotlights at all i also just turned uh these emissive just to make the ceiling look a little more realistic but you don't uh don't really need that and then yeah so overcast again just kind of bleh doesn't really do anything for this scene and then the sunset which doesn't really make any sense here because again you have this overcast cool light coming through but then it's this extremely warm sunset inside um so you don't ever want to do something like this either because it just right off the bat someone would go that's a render it doesn't make any sense like that that would never you couldn't make this lighting happen in real life uh and so yeah this is just another sunset it's but you get this you get the point with real skies you just kind of have to do what works uh don't ever limit yourself to being like oh it's an afternoon scene i have to use this one like oh it's not cloudy out i'm not gonna use the cloudy one just do the one that has the best sun position uh speaking of which i also want to show you that you can use the sun and real skies within the same scene while it's kind of rare like i can normally get the lighting that i want um it it is possible so an example oops an example here is this now oh i think i have to go back to what the oh no so that is the right one but just the sun height where that is so this uh i need to find where this uh is going so i think if i move this down yeah then this then you can kind of control the sun and that's what's kind of weird about this is that the sun you can you can move the sun around and you get these different effects but you still have your real skies in there so most of the time just use real skies but if you have a scene where it just will not work you can kind of match the sun lighting to do what you want because it typically has more um controls but then you'll still have the real skies in the background uh so that's just another one of those things that like it's good to know but you shouldn't have to worry too much about that i i've probably used it like once uh in our renders um and typically like if i have to use the sun i'll just completely remove real skies as it is and then put in a put in a background shot but you know it's since we're kind of going having a pretty thorough tutorial i figure i should show you that um typically i just want to mention this too this is not a lighting effect but i just like to turn the sharpness or sharpen up to like point two just to get a little bit more effect in there and the other thing i want to kind of mention is just put reflection planes on stuff these really slow down the models but i just think that they're too important like they give you very realistic um effects and while we're talking about reflection i'm actually going to come in here and drop a reflection cube or a reflection control and that's just going to make um all the other if oh oh i guess i already have one in there but what this is gonna do is this just makes it so that all of like the little like the orbs and that kind of stuff will have some reflections in them uh we can talk about this another time but it typically if you're going to render like an animation and you don't have one of these in you're going to get all these really like almost like pixelated shadows and it's really easy to tell when someone doesn't use one of these cubes it's easy to just drop them in and that's all you have to do for that one but uh we'll finish up the lighting i think that that's most of the effects we see color correction exposure hyper light real sky shadows uh yeah so the last one i really want to talk about is volumetric sunlight so a lot of people might know this but volumetric sunlight is almost like this almost like a spotlight effect like this thick light that goes through the air uh whenever i see it what i kind of think of is almost like this like almost like a dusty effect um if you have like a strong spotlight and then you throw almost like powder or dust up in the air you can actually see where that beam of light goes through and sort of the effect of when it goes through water as well um so it can be a very strong effect and i feel like most people when they turn it on they see it like oh whoa that's not what i want um so yeah because this is you know this is crazy like what does this do but if you turn the brightness all the way down to like almost like zero and then i turn the range up a little bit as you can see the as you turn the range up it kind of gets further away and we just want a little tiny bit coming through the windows so i think that that's actually going to be good and i'll render this one out now and i think that this is almost our our final working one and well i'm kind of looking at this myself and i'm saying i the i think the exposure the brightness has to come up a little bit more i do really like the contrast uh of the scene but i do want the shelf and the pots to show off a little bit more and i don't really like how i guess colorful that is considering that it's in the dark so what we're gonna do is we're gonna go to exposure i'm just gonna turn that back up actually i'm just gonna i'm gonna reset that so now it's back to 0.5 all you have to do is go in click this and it goes back to what the uh effect stack has at the beginning now for most of the effects it doesn't matter what order they're in um the only one that i've found actually matters enough that it messed up my scene is the sun and the real skies unless you absolutely know what you want to do with it don't have both of them up because it can just cause a lot of problems that you don't want um and then i'm actually going to turn this back up to 0.7 let's render this out and we're going to see if that kind of gives us the effect that we want yeah so the right there now i can see what i wanted because i didn't want the shelf in the back to be completely gone but i also don't want it to have that much lighting on it because it's this you know this afternoon scene i want the majority of the light to really be emphasized on the exterior in this area you know i want to have uh some interesting light coming in here from the spotlight right or the sorry the skylight right on the chair on the pillows uh and then the volumetric light uh i probably should just show you this actually so the volumetric light it almost gives it this like i guess i said like this dusty this lived-in effect uh you just have to use it very sparingly because it it will just overpower everything um even in this one this example i have i might even kind of consider maybe not going that high because uh you know we have some greens down here in the background and they're just getting completely powered out um the red from this the spire here too so it's uh this is just what you think looks best it's there's no right or wrong with it as long as it's not completely eating your scene then it shouldn't be a problem uh yeah so this is the final render i guess and i'm pretty happy with that i think the shadows aren't too strong uh we have the skylight kind of giving some more definition to our our chair our couch um the shelving i also put a realistic uh or a fine nature plant in there because of the subdivision surface that's just the effect that when you know light goes through a leaf um or even snow that you have uh some light getting through it almost has a glow to it but it's mostly opaque uh it's very it's like translucent but not super translucent so uh i think that this turned out pretty well um and i did this basically without spotlights then as i touched on in the very beginning i think that the most important thing for people to keep in mind is that those spotlights can really really eat your scene up it will take away all the shadows uh it'll it just won't look realistic like sometimes the spotlights are more uh overpowering than the actual sun and you just don't want that i think uh using lumion you almost always want to have the real skies coming through the windows or as i said just knock a wall out and have that natural light coming in and then play around with like exposure that kind of stuff if you need shadows the more that you can do in the effects stacks i think the better because it just looks more realistic that way and most people kind of starting off they wouldn't really think that like when i first started i almost like i didn't totally understand the rendering portion of lumion like i was like i'm just going to make this look as absolutely as best as i can in the scene i want the shadows to show up i wanted to do this stuff but if you only look at the viewport and you don't actually render the previews out you will not get the effect that you want it's it's something that you have to just keep working on like for this tutorial i think i uh i did have to print out some um some of the pictures just to show you guys but you know i think i did like 80 plus photos and even after i knew what my effect stack was going to be i i still printed six or seven out just so that you can you can kind of go back and if there's a particular time that you can see that you you you like that uh let me pull up the lighting renders here so this was kind of the this is just the default and as you can see i'm adding more and more to it i kind of messed up the camera angle but you get the point anyways it's that last one is so this one i was like it's this is the second last one it's the final basically effects i said you know what i like this but we're just gonna bring the the brightness of a bit and then here we are and then i think that that's a pretty good kind of afternoon shot the feeling that i get from this kind of looking at it is that like uh you know obviously someone's living here it's just that it's not that warm of a scene and it looks almost like this it's like this boring the person's gonna be coming home soon but there's no one there at the time if it was warmer it almost feel like the person is in the other room so yeah it's just again it's there's no really wrong answer with lighting it all depends on what you want to convey in your picture uh you know whether that's the temperature even just the climate that kind of stuff like a good example of this is actually in breaking bad uh whenever they show the mexican cartel uh in mexico they always use this really warm filter because they want the makers of the show wanted you to know immediately that in these scenes you're in mexico so even though nothing's really changing they just make everything this really like reddish warm look to know that uh you know you've kind of moved the scene and to some degree you can kind of replicate that in your animations as long as you have an idea going in uh to making the scene that you what you want to convey to the person um i think that that is all of these all the effects that i wanted to show uh you can also use uh the color lab but uh the analog color lab but there's so much to kind of unpack with that one and there's so many different uses for it that i just said you know what i'm gonna do i'll talk about another video if you are gonna use it just turn it up a little bit it's unless you're going for a really stylized look you don't really need it uh the effects that i showed you are all you really should need to light your scene up and yeah so hopefully that that tutorial it really helped you guys out i know that there was a lot to go kind of unpack here so i'm going to be breaking this down into different time uh slots so that you know you don't have like if you want to find just like what the bloom does you just click that and you can always come back to this video you can watch it all the way through if you want or if you just want to you know mess around with color correction i'll have it set up so you can click directly to that and this can just be a reference uh that you can keep going back to so yeah thanks a lot guys i will see you in the next video and thanks a lot for checking out the channel

Channel: Luminous Labs

Views: 41,968

Keywords:

Id: 5iEJ-GS3Xqs

Length: 43min 17sec (2597 seconds)

Published: Wed Jul 29 2020