Hi everyone! It’s render.courses channel
and in this video we'll figure out how to
set day neutral lighting in a matter of minutes. This is the work of our student, it is made
following about the same technology. By the way, subscribe to our YouTube channel and
Behance. Ok, let’s puzzle it out. I’ve got this simple interior scene with a
living room and two windows. We’ll set neutral but at the same time
contrasting daylighting. And I hope
It will be interesting. So, let’s start. There are
2 ways of setting the light. In the first case,
the fill light is set first, that is light
from the sky, and then the sun is added.
The second way is when we’re looking
for a light-and-dark pattern and then
we set fill lighting. I recommend
using the 2nd method because it’s
The quickest and most convenient way to find a
light-and-dark pattern and achieve an artistic
interesting lighting with the neutral light of
the interior. At the same time, we won’t lose
the contrast of the picture. So, let’s start.
Firstly, I go to the Corona render settings,
We’ll use Corona render in this case. And having opened one of the viewports where
The camera is set, we click this lock. So when we set up the lighting
and look for a light-and-dark pattern, corona won’t switch to the active
viewport, which is very convenient. Next. I check the single map box and select
Black color. For now, we reset all lighting settings,
the light should be default.
Click Start interactive and we should have a
black render. It means that there’s no light
in the scene. And now we start
the stage-by-stage light setting. All my settings are default.
Then I need to make the sun. I go to the Create tab, select Corona in
the drop-down list, next Corona Sun, and set the sun directed towards the
interior. Let it be like this.
As you see, the lighting inside the interior
has appeared but, of course, it’s far
From perfect. Let's now do some fine-tuning.
First of all, I need to fill my
interior with uniform gray material so
that materials do not distract us.
Because materials often distort lighting,
there is a re-reflection of the light and
and colors from materials and we get confused, it
is harder to adjust the light. So I'll assign
neutral material to all this. Go to the render
settings tab, check the mtl override checkbox
and now in the None tab, we select
the Corona physical mtl shader. The following has happened - all
objects have become grey. As you can see, the automatic smoothing
of the render takes place and the picture is blurred, we lose details.
I don't like it, so let's
fix this right away. In Corona settings,
the performance tab, uncheck
Fast preview denoise, done. And here is
a small tip. It may be that your light
does not get into the interior,
because the glass blocks the light.
For this demo scene, I just removed the glass. But if you don't want to delete
the glass, you need it, you may leave it, but indicate that Corona should transmit light
inside the interior through the glass. To this end, you need to click preserve
in the scene tab right here,
and check the preserve glass material box
and preserve opacity box just in case
This coffee table was supposed
to become transparent, but as
you see, Corona cannot understand
that this is glass. So
just in case, I remove the
glass to set up the light. But this is optional.
So, we've set it up. Now we need to achieve a uniform soft
light, but at the same time contrast.
Let's look at the reference again. There is white
light inside the interior, while there are
evident shadows and the picture is contrasting.
Let's try to get the same result. Our sun
is too bright. So we have to reduce the sun.
We go to the Customize tab and first we
switch from Realistic mode to Direct Input.
Because if we make the sun lower, for example
lower it down, like this, then the picture
will turn orange. I don't want that effect
I want my image to be always neutral.
So I switch to Direct Input mode and
the light from the sun will be white. OK.
Now we will decrease the brightness. Let's reduce the intensity value to 0.5.
This value corresponds to the neutral framebuffer settings, we
don’t need to set any exposure, this brightness value is enough to
get this brightness of the sun. As you can see, the picture is dark, but now it doesn’t matter.
It is important to achieve a beautiful light and shade pattern from the sun inside the interior
so that we have contrasting shadows, but at the same time the light is neutral.
The next step is to increase the size of the sun to get soft light from it.
That is, we need the direction of the light from the window but the bright
daytime sun shouldn't be obvious.
Let's look again. This effect is done with
the sun, but it seems as if the lighting is overcast. Although this is not the
case. Let's go back to 3D Max.
Let's set the size to 32, the maximum
value is 64. In this way, we
make absolutely blurry lighting from
the sun. I think that this is too much, and 32 is enough for us. That is,
you can already change the size of the sun and achieve the desired clarity
of the shadows in your interior.
The last thing we need is to
catch a light-and-dark pattern most effectively.
My chair is well-lit, but the sofa corner is dark here. Let's look for a most interesting
position of the sun. As you can see, it happens quickly enough in the interactive
because only the sun is being rendered, other lighting elements
do not participate in rendering, so setting the light takes very little
time. I think that this position is enough. The sofa is beautifully lit,
shadows from the back, from the chair,
everything is lit in the center. I think
that we will stop there. Although in your
interior, you may still spend a little time
searching for a perfect light-and-dark pattern.
But as we can see, our interior remained
dark and we need to light it up.
Now we move on to the next stage,
which is lighting with fill light.
I hide the sun for now. Our render
has gone dark again and we create
the sky. I go to the material editor tab, select
shader Corona - Maps - Corona- Corona sky.
And now we need to set corona Sky
in the render settings. Check the
Single Map checkbox, as you can see, it’s black
and here we can set the Corona Sky map.
Drag and drop it here as an instance.
OK. And we see our result.
Our interior has become blue, I don't want this
effect at all. There are two options: we can
pass this Corona Sky map through Color
correction, that is, correct and make
it neutral black and white. Or use rawa
fake settings. Let's switch to Sky
Model in rawa-fake and see what
parameters it has. As you see, the color has already changed a little.
We have basic options like Ground Color, Zenith, and Horizon. What is the difference? Ground is
re-reflected light from the ground. It affects the ceiling light, it sounds a little strange, but
when the light comes from the sky, it is reflected and gives a reflection to
the ceiling. So if we change Ground Color
to, for example, white - our ceiling will
be lighter. If we uncheck the Affected by sky checkbox, then
it becomes much more apparent. The next parameter is Zenith.
This is the light of our sky at its zenith, it gives a reflex
to the floor. This way we can set the shade of this light on the floor. We can bring it to
to neutral too and keep it delicately bluish. In this way
we can adjust the brightness, make it lighter or vice versa darker.
OK. And Horizon is the light from the horizon, the horizontal penetration
of light into the interior
If I set it black,
our light will become this dark in the middle. I think we will make it
just neutral grey. And here we have the fill light.
By setting Zenith, Horizon
and Ground in this way we can achieve the desired
effect. Making the ceiling and floor lighter,
or make the floor darker, and so on. And
the last thing is to enable Corona Sun.
enable, we did it. If your
picture is too bright,
you may reduce simple Exposure a bit.
For example, do like this. Now we can
see how it looks with the materials.
Just uncheck the mtl override box
and voila – we get interior lighting. If
you don’t like something, you can finely
Edit the Corona Sun and Sky settings, as well
as the framebuffer settings. In short, we can
get rid of unwanted overexposure
using filmic mapping. The highlight
compression option appears, set, let’s say,
five and light-struck spots become duller.
