Pro Product Lighting in Cinema 4D & Redshift

right let's see okay cool how do i share it there we go there's the share link video link there we go brilliant copy that there we go right we're almost ready cool cool our first viewers [Music] oh obs it's so exciting isn't it let me wait till i've got some viewers and then uh yeah cool where are my viewers ooh anyone there's one human okay hi hello we are are we live um this is the first test broadcast for motion masterclass i would say it was motionmastclass.com did we manage to get that i don't know anyway oh yes i'm getting text messages this is good people are alive this is all lovely okay so we are starting a channel to try and work out stuff that i think that not even people who've been working in the motion design industry for as long as we have we don't always know the answers and we're quite happy to get people on board who can actually give us the answers and you know basically get opinions as we don't know everything you know we're good but we don't know everything so the idea behind motion masterclass is we are going to ask instead of tell so tonight um just to start kick things off um one of the things that i like to do is kind of help people get into a position where they feel like they can take the skills they've used in class because i teach at escape studios as a motion scientist and use these skills in the real world and one thing that people have to do time and again which i feel there's not so much knowledge about or at least you know my workflow seems to make sense to me and i'm not sure how many other people use these techniques um so what i want to talk about tonight is product rendering and doing product renders in redshift and c4d so if we want to look at what product rendering really is about um let's go on to the dell website i just wanted to look at these kinds of cg vendors and i can guarantee that all of these images on the yes except the cookies take the cookies how many cookies can one eat anyway i can guarantee that all these images on the dell website here are all renders pretty much except for the ones in situ like here but we can we can almost guarantee that stuff like this where they're floating in anti-gravity with perfect lighting probably renders i'm guessing i'm 90 sure same with apple here apple would never let something go to press or tv unless it looked absolutely perfect and you can see here actually this is a very nice render this my phone the iphone 12 isn't it great it's they've put a flat edge on it wow they've gone back to number five they're brilliant apple anyway if you look um the subtleties of these renders are quite beautiful what we've got with an apple product render is that we've got these beautiful gradients and i don't know if you can see my cursor oh yeah you can see this amazing gradient it's not just one direction linear from one corner of the phone's back to the other you can see how we're getting actually quite a nice curved gradient going up towards the camera lenses here and then on the lenses themselves you can see every little bevel on this chrome material the metal around the edge of each glass lens is got a perfect amount of light and dark on it the background is black so that we can show the light being picked out on the surfaces and then you've got the obvious things well obvious product lighters which is say on the corner of this phone here you've got a lovely dark black stripe and that is simply so that we can tell where things are happening in in relative to the surface so if it's a wavy surface that black line will undulate right so it's a good way to tell the the eye visually out of you where things are so anyway um let's go and get a model i want to oh i was looking at samsung website these renders are sick anyway um let's go and try to recreate something like this i actually i want to use this as our reference image right i want to recreate this image with another free model um if you don't have an iphone 3d model you just build one i mean that'll take you five minutes but if you don't want to build one um we can go on to demensiva.com to find free models and there we'll be able to get uh here the very first result in the free models is a free iphone se model so download that and you will end up with oh let me see where's all my stuff uh there we go you'll end up with this there we go um and very nicely de mensiva has given us with uh giving us a file in 3ds max format if you're serious 3d guy or person with corona renderer materials already set up or v-ray um unfortunately nothing in the world opens 3ds max files except a friend who's got a copy of 3ds max so not ideal um but what we can use is the fbx here um the obj will also work i just prefer fbx because you tend to get less issues with the hierarchy when you import them the scale and the materials so obj is showing its age i think um so i am going to tab into cinema 4d and i'm just going to drag my fbx into here here we go and i can see loads of things ticks that i'm not sure what they are oh dear now i know what all of these are we don't have any animation we don't have any of these all we really need is geometry we could uncheck everything but if it's not in there it won't be imported so let's just click ok boom and what we've got is although we don't have texture files i'm just checking no there are no texture files here all of these texture files on the phone you can see these orange triangles are gonna have their uh polygon selections so we'll be able to use those polygon selections to put materials on this phone so we will do that and look oh very nice geo look at the lovely geo that they've nice edge flow on that apple logo um i can see the person who modeled this was a professional oh god now we can see happening here is as my virtual camera is getting too close to this model it's clipping out and you'll get this because this model is actually very small we just put in our figure object here which is the same height as me you can see that the phone is actually real sky real size scale um we could easily scale the phone up right we could we could easily get this phone and just make it huge the reason why we don't do that is because if you scale up objects when you're trying to light them accurately or try to make the lighting look realistic you generally find that you get weird scaling in reflections you'll get scaling in the materials that you've made for it it's best to do stuff at real world scale if we can get away with it and thankfully 3d gives us the ability to have tiny winnie winnie little cameras so that's exactly what we're going to do so what i want to do is i'm going to come in here and this is the front of the phone not that we could tell and obviously here's the back and what i want to do is scale in here and you see where our camera is clipping i'm going to go to command d control d and i'm going to go here to where it says view clipping medium and i'm just going to roll the mouse wheel up to small and you've even got tiny but i don't know how tiny tiny is how tiny is tiny who knows um there's a few things i mean like i would have i would be more happy with a bevel on this edge to be honest um i think a bevel would carry the light a bit better on on stuff like that but i think generally the model's beautiful i wouldn't mess with it other than just putting two micro bevels in here i'm just going to go to my modeling setup and get the bevel thing which is on zero subdivision so i'm gonna do a flat bevel or a chisel and you can see like even the smallest amount is too much so naught point not one let's do 0.05 let's do split difference three there we go perfect so we've got some micro bevels on there now yeah and you can see i could even go to tiny on my view scaling there we go and yep then we can see everything and you can see how even in the viewport renderer that's just giving it a bit more dimension yeah cool and it's i mean the thing is is that normally we wouldn't care about stuff like this because normally we don't go this close to objects but in product rendering you do in product rendering we're using a macro camera you can see here even on the side of the iphone that bevel has come in from presumably cad software but look how tiny that bevel is and it's in there in full detail so we've got a lot to work with now so i'm going to go back to my startup layout and rather professionally because it's locked down i'm going to smoke cigarette like i'm bert reynolds while i'm doing this so let's very very very quickly do some materials for this now i would start off in redshift but i think it's just easier if i can just come in here very very very quickly come in and do a quick material with you so i've double clicked in there to add a material and then i'm just going to delete everything in there it's always the defaults are terrible let's just add a ggx because gtx is better for shiny stuff than beckmann is apparently so i read somewhere on the internet first thing we do with a reflectance channel is put the fresnel onto something else the fresnel is not set it should be sorry guys you're gonna have to do it so we're gonna go glass now we've got glass that's very good we might also need this to be translucent transparent because this glass will be going on the glass front and there is an led display behind so hopefully these prod uh polygon tags are labeled yeah display black frame metal frame glass so this one excellent yeah cool and they will correspond to here glass there we go brilliant so i think that glass will probably um yeah let's rename it i don't want to do this a million times don't worry we'll we'll speed up once we've got the workflow so i'm just gonna probably put in a transparency that's also gonna be glass and the absorption color i'm gonna leave that it i mean it's black glass it'll look black it'll have a black thing behind it it'll look like an iphone pretty sure so let's put that glass and get the alt and replace the glass there we go cool very good and then what i can do is actually do that and then hide polygons yep so then we can just go through and texture everything that we need to texture so i need to look at the ref let's click on this okay cool so we can see what we need to do we've got this like gun metal kind of color around the frame yeah okay so we've got this gun metal around the lens as well we've got kind of a darker rubbery plastic in there we'll put the glass back on that as well i think if we need to okay cool let's soldier on and you can see that the glass was also applied there and also hidden once it was done so let's do the metal frame so um yeah i think with metal actually i'd much rather do that in redshift so let's switch over to redshift now actually yeah because that's what this is the meat and veg isn't it that's what you guys here for so let's go into redshift cool we don't need to turn the little ipr thing on here yet so let me just throw it over there for a bit now what i need to do is get a nice gun metal so i'm going to fighting for space here let me turn off my render window there we go so i'm going to go to redshift redshift materials and i'm going to start from the base and the reason for that is simply because redshift has got such good base materials uh presets so if you click in here let me get that more visible if you click on your preset here where it says custom and just go whatever the um the presets in here are a really good base for setting up you see like in the little preview in here it's just kind of not really dark enough for what we're doing so let me call that frame metal there we go and i'm gonna go metal frame there we go great now this is something people don't always realize but you need to be able to reflect something to see a reflective object in space is invisible because there's nothing really around it to reflect it so what we're going to do is we're just going to drop in a dome light just so that we can see what we're doing and obviously now the scene is bathed in this bright color and instead of putting in something useful i'm just going to put in like a dummy texture because we're not really going to get into lighting see how we've got all the grayscale gorilla metal textures and stuff i mean i could just throw one of these in actually just uh if you've come this far you're probably looking for stuff a bit more advanced than this anyway so yeah there we are done bye yeah end of stream um yeah so we need to edit that frame metal and we're just going to get that diffused color weirdly why does metal have diffuse surely metal doesn't have diffuse and you'll see here it's on zero right so we can't edit the diffuse color of the metal we need to edit the reflection color the reflectivity color sorry you can see here this isn't actually solid white this needs to come all the way down and then we start getting beautiful uh sort of well a darker color that's kind of what we need yeah we want that to be quite shiny but we also want it to be quite dark so let's go even darker than i had reflectivity let's go way down like that kind of thing and then met legend let's bring that down as well let's maybe put that back up a bit something like that yeah i'm just going to in here i'm just going to turn off my say frames so i can see a bit better cool cool cool cool and then we need to get that reflectivity back now what we can do is we can make sure that we've got um a proper ior so we can instead of using color and edge tint we can use metalness and you see how it's kept that reflectivity thing and then we can up the metalness right so now we can say yep it's definitely metal the other thing we can do to make sure it's got a coating and the coating just makes it shiny so you see now we've got a very shiny coat on that now it still looks a bit too dark but let's uh oh it looks very dark doesn't it what have we done i think that actually is probably not too bad um just to mess around with stuff ior is what i would normally use and then instead of that i would bring that down a bit you know i mean i'll just literally use ior and put that on something like three two is where stuff starts to look like metal so obviously the more we roll that up you see the more reflective and metal it gets so i would normally just mess with this yeah i'm actually happy with that okay cool so moving on we've got a black frame well what we can do we know that's a redshift material but none of the other stuff is so i'm just going to select all my materials except that one and i'm going to go redshift materials tools convert and replace materials there we go and we're just going to wait for a little sec for that come on ipr iphone se contains some invalid geometry brilliant oh great okay so redshift is spectacularly bad at providing you with these little renders when the ipr is active so what we're going to do is we're going to turn that off and we're just going to go render materials here we go and you see now we've got these blindingly white materials which is hilarious the display i'm tempted in the display material to just put in like a little test material so um something like i don't know let's get stupid texture in there what stupid texture have i got have i got like a dolphin and a rainbow uh oh that'll do so i'm just gonna put in this lovely gradient thing and that's going to go in the diffuse color it should also go in a mint color but whatever so now we can see our ipo will update lovely so we're starting to get somewhere so the black frame is obviously just going to be a black thing we can even do that in our let me close this manager we need to make some space don't we there we go so our color is going to be not zero try to avoid absolute zero if poss because it just causes issues like white is light and absolute black is dark so we want to maintain our materials just above zero just below 100 never try to put stuff on extremes because honestly stuff isn't that bright or that dark ever unless it's light or absence of light so that didn't update so i need to do something else let's see antenna strips those are going to be the these antenna strips are going to be these little dark rubber bits here so let's just do a like grayish rubbery material for those so those can come down to like there like that and then we're going to make them rough like that and that'll probably be enough for what we're doing i think yep pretty good cameras camera's black okay well whatever let's see what that actually did to the camera let's roll around oh yeah okay so that's this like material that's inside the camera let's see if we can find that lovely product render yeah okay so that's kind of gray isn't it so let's go up a bit yeah cool sound like that glass sieve what's the oh these little sieves okay that's just going to be an another generic metal so i'm just going to overwrite that cool and then this glass back what's the blitz let's find out we want to find out what part of the phone this actually is we can click on our polygon selections so let's just find contacts hit the s key it's going to be all this stuff down here so those contacts those can be like a coppery color and the one i'm interested in is blitz where's this so blitz sieve blitz let's find out what that is ooh ah okay it's the flash okay so that is actually like it's meant to be this refractive glass material let's see i'm gonna copy that and call it glass blitz and i'm just gonna drop that on there as well fingers crossed and then the other thing to do with that is obviously because it's frosted glass we don't want it to be like totally transparent so we're gonna up the roughness on that in the refraction settings and then you see that little thumbnail now is kind of frosty looking so then we're going to grab that hold alt overripe blitz cool i think can't really see what that did and honestly i'm not sure that that thing should be totally refractive so i'm gonna try and put some more diffuse in that just for our render sake so we can see it yeah okay fine moving on very swiftly black is this the black of the back of the camera let's see no okay it's that okay so i'm probably going to get the black frame oh no the black frame is yeah okay let's get the black frame and yeah just call it black instead great uh the reason why i'm duplicating stuff is because there will be some variations in the materials and we don't want to lose something i don't want to lose the link up to the thing in the polygon link the polygon selection tag has to have a material linked to it so let's not overwrite those we do want to keep the same amount of materials that we started off with more or less so black is gonna go there and no we're getting somewhere okay cool uh contacts that's gonna be a brass it's very hard to see in the ipr there but we've got some copper contacts there's no light in there this is why okay cool camera strips what's that let's find out metal frame black frame black color back oh back color there is a back color okay let's check our reference obviously that's a shiny shiny black so let's get that again and go back color now that's kind of good to have as a separate thing because we can obviously change our back color to crazy whatever color if we want so let's go in here and instead of two percent black we're going to go like that crazy crazy red and here we go we've got a project red product red phone bono would approve there we go okay cool what color is that the apple seems to actually not be silver on this phone actually seems to be it's plastic white so fine uh let's just let's just change that from full white oh it's not full white okay cool that's good reflection up roughness up a little bit there we go cool that's i'm i'm good with that um good great black color with obviously you're gonna put that on two percent black again chrome let's see where there's a chrome so here i'm just gonna go uh what do i do for chrome i just i don't know it's super easy you just turn on reflection more or less like reflection on ggx turn off the diffuse and you will have a chrome object as far as i'm aware i mean io can go up to three for chrome or higher oh let's pump that up a bit actually that thumbnail is a bit dark so let's pump up that ior a bit let's go six there we go eight there we go and then i'm gonna put a bit of roughness in because everything has some everything has a little roughness okay very good very good cooking with gas so this chrome is chromed very good i don't know if that looks as shiny as i would like it but that's why we're doing lighting okay and then cameras i suspect that this could be a glass material so let me just copy the glass call it cam throw it on there see if that works yeah looks just as hard to see as a real iphone brilliant and yeah the grille here also very highly dense model that seems to have it should have the let's see contacts comes back sieve yeah okay cool that's got the sieve material on it which is chrome or one of the metal ones yep fine camera strips did we ever find that let's have a look icons it's interesting read the icons oh i see right okay well that's going to be yet another shiny black so again here the icons and overwrite that there we go lovely and i think we're pretty much done now we need to do is put the glass face back on which we hid which is there so now i'm gonna select these unhide polygons and we've got our glass back i think yeah cool so now what we need to do there now we've got all these materials on there i'm just gonna actually i'm just gonna well not you there we go like that yeah i think we're good i think we're good so i'm just going to come out of redshift mode now back and start up and see our model so now we've got our model in situ um the render that i really liked was from the apple website was this render here what we've got we've got um only a couple of sources of light but we need to analyze where those lights are coming from what angles they're pointing at how strong they are and generally what kind of light they are if you think about how you would like an actor or a film set or a theater set you'd use these big these big lights these high wattage halogen lights and they would use a lot of power they'd be very physically large in a photography studio when you're doing a fashion shoot again you've got these massive soft boxes a couple of years ago um grace girl gorilla released the greyscale light kit uh grayscale gorilla light kit pro or whatever it was called and it by default came with these like gigantic light boxes which go in your c4d scene now the thing is is that product lighting is different anyway in real in the real world they use like those really thin long little macro lenses so they can get super flat perspective very close up which means that you need very sort of high intensity but very small light sources and with 3d it's another ball game you can't use traditional three-point lighting techniques to render small things in real scale in a 3d software it's not the same and that's kind of why i think that it's worth talking and trying to get our ideas down and try to work out what's different about doing it in 3d because it is a different system altogether so looking at this um we're going to look at this image of the apple thing we've got very strong light off to the left which has like definitely it's got a black strip in it which is either an occluded shape or there's a strip actually in that um whether it's a texture and hdmi or whatever hdmi hdri and then you can see that the top bevels around the edge the top bevels around the edges of the front and the back of the phone are lit up very strongly which suggests not a light directly above but probably more likely an area light that is facing those bevels imagine that the corner has a 45 degree cut that tiny little corner has a tiny little bevel that light is more likely to be normal facing that cut than it is going to be above the phone however these phones are at an angle for a reason these phones are at an angle meaning that if we've got a big area light above it that bevel's probably going to get quite a lot of light we're going to be able to light it up quite nicely i'm quite strongly suspicious that the render has been cut off in photoshop so this gradient is very likely a vignette that's fake that's been put on in photoshop afterwards so i'm not going to worry too much about fading off the lights you know lights have a natural fall off it's the inverse square rule which means that they exponentially fall off the energy attenuates over distance very predictably but try to do that for the sake of a photo on something that is that big probably not going to happen so what we're going to do is we're going to put in not an hdri we're not going to use an hdro we're going to use some lights and we're going to get a very good result so let's start with the first light let's get this actually rather than that uh what are we going to do let's set up the angle of the phones first off let's get these into positions so we want this one facing up like so like that kind of angle even more shallow like that okay cool and it's a shame that i don't have that uh the iphone 12 model but oh well how awful and i've just duplicated that 180 there we go shows the back and there we go down a bit across a bit right okay we've got quite a big gap on theirs let's do that okay cool and then the angle is kind of like this okay cool and then let's add a camera in at this angle and that will lock it off and that's going to be our setup and whatever we do whatever we do with the lights it will be to this setup and let me just save project with assets oh there we go so i'm going to save the project with the assets just to because when we're going into redshift territory we are um playing with the goddess of crashes so you know it's always good to not piss her off [Music] um let's go make some folders and that's going to be product right in redshift001 there we go lovely so now we've saved that off let's go into our redshifts layout here we go and we're going to add a standard redshift camera i've just got it docked up here in my redshift layout if anyone wants my redshift layout just ask me i'll put it on gumroad or whatever it's a bit easier than making it yourself i guess it's uh 15 clicks instead of i don't know um so yeah we've got our redshift camera make sure we're looking through that turn on our redshift ipr viewer there we go and you can see i've got loads of uh not much space here so i'm just gonna close some of these there we go and i might even close my timeline as well let's just get rid of that get rid of that don't need a timeline but in photography don't really need my materials either at this point but yeah all right cool so i'm looking through my redshift camera and i can't see where the edges of my frame are because i need to save frames turned on which is in shift v for viewport settings say frames there we go i'm just gonna not make these black just so because we've got a black object so hard to see right oh is my camera dead oh dear my camera's dead one sec one second one set it's always fun when you're when your equipment fails on you thankfully i have a battery right here it's always fun bear with me lovely people this is it i need uh obs stream i need uh to have like a please bear with me thing that or i just need to get a camera that doesn't run out of battery halfway through a stream that'd be interesting a minute there we go much better right cool so we are getting there what we need to do now is that we need to make sure i don't even know if my camera is working should probably check that oh i've done something stupid haven't i okay camera's dead cameras cameras no more don't worry so what we need to do now is we need to turn off our dome light for the simple reason that we're going to um we're not going to be using a dome light and to be honest like we've got all these nice gradients that we're getting down the size of things but they're not in the right place we're looking at our reference this is the standard that we're trying to hit so we know that we need like some diffused light source off here now let's try and do that with an area light and see how far we get because i don't think that an area like alone is going to make that lovely gradient so let's just try and put one in and see what happens because i have very little faith that that's actually gonna bear fruit and by the way if anyone is commenting wow wow i'm getting comments from raquel and adam bastards anyway right so what we're going to do is we're going to throw in an area light and the first thing we're going to do is look through that camera look through that area light so we're gonna set it as a camera we're gonna look down that light and then we're gonna hit our iphones just select one in here hit s to look at it there we go and we're gonna pretty much just try and get that angle now you can see in the viewer everything's burnt out white it's massively burnt out wide the main thing that we're doing here is getting the correct angle right so we just want to make sure that we're hitting the phone from this angle and then we're going to come out of the light and you can see everything's blown out totally totally blown out and and crazy and that's because our light is the size of the empire state building so obviously a two meter preset for this light is probably a bit crazy isn't it right so what we're going to do is we're going to scale that down we're going to make that light circular as well so what we can do is in redshift the area lights are not just rectangles we can have disk sphere anything i want to make it a sphere so that it's throwing light in all directions pretty much so now it's just going to be generally a source of light around that area and then i'm gonna keep hold of these little size parameters here so that we can scale it up or down i'm gonna go back into my camera here you can see i need to kind of move it along a bit i need to move it into the distance a bit so let's just go along the zed like that something like that and again i can look through that camera again look through that light again use it as a camera have it a bit more angled there we go let's look through our redshift camera yeah something like that and then all we need to do is scale that down or you can see you can put down the intensity that just makes it dimmer so get that back up to 100 then what i need to do is just probably just make the actual thing smaller so if i hold ctrl with these three selected you see how it edits all three there we go so we've got our first light in now we can turn off the dome light and let's compare it to the apple one very nice now i want to put in this area like above that picks up the edges and then well i mean doesn't matter what are we doing but yeah and then i want to get this lovely general illumination in with this gradient here that'd be great and then we'll call it a night so let's get in our second area light and if we oh control shift zed camera undo i might just lock this camera so i'm gonna go rigging tags production there we go so again we've got another huge ass area light and this one's gonna be called top light or overhead light whatever so let's throw it up here here like that scale it down there we go and then we're going to look through it cool and you can see we're at this weird angle i want to actually rotate it like that so that the lights are kind of underneath us like that so i'm just going to be kind of at a glancing angle you see i want to hit this the edge here that bevel edge there that's what i want to be hitting great now i'm just gonna pull it back until it's a sensible amount of you can see in the viewport they're not crazy burnt out now you can see we've got really ugly flat lighting along along this uh iphone right along the back of the iphone here so we don't want really to affect the glass as much as we wanna just affect these edges on the metal so in every light in redshift we have the project tab and we can exclude we could exclude the back so they don't get lit up or we can just include and we can include certain areas of the phone now problem is these phones are not split into component parts right this phone just came if you see just came with all of these uh these tags we don't have a glass object so how can we manage to not light up certain parts of our phone well uh we could just cut it out to be honest it wouldn't really be that difficult if we go to let's say glass which is here get that selection and then go up to split it you see how we've got dot 2 there and then i'm just gonna call that uh front glass yeah and then back in this phone here i just delete that so let's for example i mean this pretty messy word in it but let's just go exclude now you can see this is not being let by that top light oh let's just re yeah okay cool kind of thing now the thing is you'd have to do this for so many of these like object selections the glass the thing the thing the thing the thing that i'm not gonna do that i think that's probably an unwise idea what i'd rather do is actually use one of the features of an area light which is the fact we can make it into a really thin strip so put that back on exclude so it's lighting stuff and we're going to bring it back down to very near the phone just so that we can scale it properly what we're going to do is we're going to grab this in object mode so we get the orange dots and make that super fine like that and look through our camera again ooh it's close isn't it and you'll see at this point if we're looking through our camera you can see that we're getting that strip reflected in the top camera there in the in the glass panel there right so we're just gonna use this one just to shove it off there and you'll see now angle and height are really important so if i make it higher you can see we get some of that yeah not quite an apple advert is it but we're just getting the metal up and the other thing is we want to just make the angle quite acute so we're just throwing light down perpendicular to the phone and we just want to make it really thin there we go now the thinner you make it the less light it's actually going to throw out so what we need to do is we actually have to up the power so to do that um these numbers are different whether you've got a spotlight or an area like what we're gonna do is we're just gonna throw that up by an increment of two and that might be enough it's kind of hard to see because i haven't we're not really doing the beauty stuff yet so i can't really put this uh actually i can let's go original size and go 100 okay cool and then yeah okay cool you'll notice that this is quite jagger and jaggy and stuff um we haven't really done any render settings yet so uh you're gonna get this horrible stepping until we work that out but yeah okay i think that's pretty much a fairly decent rim light you can tell it's a cheat here you can see where it's reflected in the glass here the aim of this game would probably be not to have it reflected in the glass at all if we could get away with it like being up there something like that yeah okay and then we get the effect cool okay now what else do we need to do let's go back to fit window so we've got our top light we've got this side light which i'm still not very convinced by could also be a rectangle to be honest let's see where is it over here and it's not that bright let's make it a bit taller and then in here i'm gonna go rs camera so now anything i do in here is gonna we're gonna see in our viewport so yeah yeah yep okay cool that's a bit better that okay turn the top light back on great now the final thing that we need to do is we need to get the third the third light in here which provides a gradient and gradients are probably the trickiest thing to do in product lighting and so in car adverts and stuff like that the way to get a gradient onto the surface see like these lovely cameras here the way to get a gradient on is to literally use a gradient that is lighting the surface as like a light so that's what we're going to do next that's called a bounce card so we're going to use a bounce card and we're going to get just the right angle so this metal gets the right lovely sort of gradient on it and then we might look at using any hdri okay we the hdri can come later i will i don't just go straight into using dome maps dome lights because you know it's so cheap dude so cheap so let's get in that top light let's put in okay it's going to be another top light so let's just copy that one and just call it gradient no in fact let's do a bounce card straight off okay so to do this all we need is a plane object preferably not one that's four meters square let's try 40 centimeters 40 yes it's amazing only need one segment for that because it's just going to be a bright gradient piece of card with a gradient on it all we need to do for this is to give it a new material so create a redshift material and we're going to do in that um i'm going to call that bounce grad the gradient what we're going to do in that is we're going to come into our shader graph over here and we're just going to use the ramp texture and that's going to go into our overall emission color that's pretty much it and then the emission weight needs to go up to like one or two let's throw it up to there yeah and then let's just apply that to our plane apply there we go and you can see we've got a gradient from top to bottom now i want to make that a bit more obvious so i'm going to edit this ramp and you can see now you've got this black line creeping up here you can see the interpolation between those two knots between the black and the white knot is linear see what happens if i roll this up you see we've got that black line there if i just turn this onto smooth you see how we don't anymore have that right see how it's a bit easier on the eye so i'm just going to use this now and i'm just going to scale it down and put it into place in our 3d view so let's make a bit more room scale this down and what we want is for this to emit oh let's do minus y so that yeah okay cool so you can see our gradients in our little viewport down there so let's just see what we're doing here so this gradient is getting closer and closer to the phone i'm pretty sure yeah there you go ah it's the apple look there we go so that's how you do the apple look bye guys bye you just put a gradient floating over an apple product oh amazing so yeah i mean that's yes if you ever wondered how apple did it it's yes it's using bounce cards so i'm just going to go into my camera now get this gradient nice and close and then slide it there we go so that's classic apple look if we're trying to get a gradient over our our friend here i think what i might do is actually make this a bit taller do that or i was thinking more like scaling it this way and having a stripe across it kind of thing yeah either way i mean yeah you just want to be able to discern that gradient for us doing a bounce card i think what we'd probably want to do is to do something that was a bit more um spread down the edge of this like let's say this black back of the phone here so what i'd probably do is i'd turn on my snapping you see this little magnet here put that on polygon snap and just go bonk like that and then just rotate that round so it sort of disappears like that pull it out oh not you right this guy now what we can do in redshift we can make this invisible to the camera if we put a little redshift tag on this bounce card which is what you should do with bounce cards they shouldn't really render so let's put a redshift object tag visibility override primary ray visible is off and now look what we're getting up here we're getting a really interesting sexy gradient see how we're getting these these curves now in our geometry so that's quite interesting if we just move this down and up you'll see how it's getting a harsh reflection but you see if this ah what i can do is i can make this bounce card just for the top phone so let's call this top phone and that's going to be bounce cards top phone there we go and let's just exclude the bottom phone this guy so exclude it's just like the lights project tab so exclude this guy and if we check in there excluding the bottom phone now that doesn't often work unless you do the same thing on the bottom phone object as well so if we're going button phone we can put in a redshift tag exclude bounce cards now it's probably a lot easier actually let's see if we delete that oh sorry okay yeah cool so you just need the exclusion on the bottom phone okay cool so then we could do a bounce card for the bottom phone cool and that will just be moved up and there we go so let's just put in a redshift tag on the top phone and that will exclude that bounce card yeah cool all right cool so let's then just move that guy up and make it wider if we need to i actually quite liked having a bit of definition on the edges there that was kind of cool and then i just want another bounce card to put a gradient down the side of our phones so i'm just going to go bounce card side grading died died grad died in vain so this guy i'm gonna rotate 90 degrees like that and go down here and in between two because it's probably gonna work for both of them there we go i'm gonna lift that up not so much so that you'll see the edge in the reflection uh we don't really want yeah all we want is for it to really kind of do a gradient top to bottom that's the main thing we care about so i'm just going to make it visible again temporarily and i want a far stronger let's check this we want very hot to very cold very short so let's do that so i'm going to make another bounce card material shift f2 to get your materials and that's going to be side grads and in here so you can see the gradient that we've got for side grads if i just ram this all the way up here it should reflect in there say this but i haven't applied that texture to our there we go side grad goes on side grad there we go cool you can see now i'm getting this gradient up here i'm just gonna make it invisible again now you can see we're getting we're getting a gradient that runs from the top of the phone down to the bottom so we can make this a bit more obvious but i think you'll agree that looks pretty pretty fresh so let's put the bias up to the top as well so we get a hot spot yeah okay and i'm just gonna scale that up so now we've got like a bit of rim light on the back of the phone as well yeah pretty good i do not know what these like l-shaped scratches are in the uh in the phone let me so i'm just gonna red light all of those what could be causing that bizarre thing i don't know i'm gonna turn the dome light back on so for those of you that don't know grayscale gorilla um did the uh what is it hd light kit pro whatever it's called the the all of the hdris i never bought it but what i did buy was their pro studios metal pack and just ripped all of the exrs out of it and made my own little library because i didn't want to pay for that plug-in um so i've got all of these hdris and like genuinely they are good for doing like jewelry renders and like texturing like stuff on the fly like this i personally don't use them all that much i mean i do for maybe like intricate metal stuff like if you've got like a zebra sculpt with gold on it it might make a bit more sense but um i want to just show you before i do the the sort of one by ones on the lights i want to show you what we get with just a simple dome light on its own um which is you know i'm not taking the piss like it's the start point for a lot of people including myself but i just wish people didn't do it so religiously because you know they're good but they're not amazing um so look i've just um i've saved a load of jpegs so that i can tell which one i'm getting as well so here we go i kind of want something with a lot of i don't know maybe not a lot of hard edges something like this might actually work quite well so i'm just going to drag it into that slot there or not all right fool or double click it as i'm meant to do okay cool so let's go into our auto camera and just look at our phones there we go now you can see that's already looking kind of like almost like a samsung ad or a or an apple ad itself just just from the off right very little stew the reason for that i think is because this uh this hdri here let me open that up again bear with me number 11 okay so you can see it's got a very strong top light here so there's a lot of light coming down vertically above the scene and only a few muted lights off to off to one side really there's a fairly large amount of black on one side so it could yeah i mean it might not be a bad jumping off point because it's subtle but i would say for the love of god avoid hdris that have got very hard edges or like these fake light box looks in them unless they're literally real studios that were done with a 360 camera because it just it just doesn't look good one thing that does look good actually these ones with striations these like these sort of ribbony kind of materials look really great in very very close up like detailed like watches and jewelry stuff like that because the it just looks so good on bevels so let's turn our area lights back on so that's our side light and yeah that could probably be turned up or something could be edited let's stand on our top light it's not looking terrible let's turn on our bounce cards yeah from this angle i mean i'm gonna save this as another camera but from this angle i'm not yeah let's do standard okay so higher angle okay yeah i'm not loving that the bounce cards from this angle they seem to really work from one angle only which is this guy that's our original angle um as the hdri added anything has our dome light added anything let's turn it off and on again apart from the fact that you can see the edges of the phone i don't really think it has um let's get actually that bounce card for the top phone let's make that wider because i don't like that edge yeah yeah not terrible um i still don't know what that horrible thing is there but i've gotta call an end to this live stream test um so yeah uh this was a test i'll be doing this again soon please leave a comment if you want to see me do this properly with like graphics and a camera that doesn't turn off and titles and music and responding to comments uh and if you've got any questions also like just leave all your abuse and commentary down below and we'll do this again in i don't know a week or two i'm not particularly busy at the moment just want to see interest um and for anyone that was listening thank you very much um if you want the project files well i don't own this apple phone so yeah you can have them if you want them just ask i'll put them up on gumroad or something for free alright guys thanks very much cheers for listening take care

Channel: Motion Masterclass

Views: 622

Rating: 4.8095236 out of 5

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Id: _p58UHSQCjI

Length: 70min 54sec (4254 seconds)

Published: Thu Feb 11 2021