The Secret Ingredient to Photorealism

even noticed how Orenda can have almost everything going for it like really good modeling really good materials really good lighting and yet it still looks distinctly like a render you're not sure what it is but something about it just feels fake now most of the time this could be anything but this video is gonna focus on one mistake in particular one that 99.99% of you watching this don't even realize is happening and if you're not interested in photo realism right now you should still watch this because this mistake affects everyone when you correct it you'll be able to have light that feels like real lighting you get more freedom and you'll be able to create scenes that just feel more believable but first we need to go back to our original problem why do some renders despite having everything else right still feel fake well to talk about photo realism you need to talk about cameras and in this case specifically how cameras see light because it may surprise you to learn that the way blender sees light and the way cameras see light are quite different so you know how sometimes when you take a photo of someone against a background that face looks really dark so then you select that body and then the background becomes really bright this is due to the exposure point if you have something dark and something bright in the same photo the camera can only show one of them in exposure it does this by looking at that point and then adjusting the settings of the camera namely the aperture shutter speed and ISO until that point sits at middle gray now the camera will show things that are brighter and darker than middle gray but only to a certain point so for example you can see in this photo hello that the dark detail in the background is lost and the bright detail in the jacket is lost this is sometimes called clipping and it's really bad the amount of information that the camera can see on either side of the middle gray value is called the dynamic range of the the more dynamic range the better the camera and the better the final image a cheap compact camera can see at about 10 or 11 F stops which is the unit that's used to measure the dynamic range dslr's are a little bit better seeing from around 10 to 14 stops and the re Alexa which is the camera that most big-budget movies are now shot on sees at fourteen point five stops but the best of all is our eyesight seeing at an estimated 15 to 20 stops of dynamic range so what range does blend a have unfortunately a pitiful eight stops that means that by default you're rendering at a far worse range than even a crappy compact camera and to make things worse blender also has an arbitrarily high middle gray exposure point meaning you have less room for brightness now together these create some pretty big problems for your scene so as an example I'm just gonna light this scene here and I'm gonna show you why this compressed dynamic range yeah causes problems for us okay so I got a pretty basic scene here got a dining room got some chairs and I want to have some sunlight streaming in through this window over there okay so you can see I've got a Sun lamp over here and what I might do in this situation is go into rendered View mode and what I'm gonna do is just increase the Sun lamp until it looks bright enough cuz you can see by default you know one is pretty low so I'll just increase this until it looks about right now I don't want to go too bright because obviously you don't want it to look like there's a big supernova outside the window or whatever so I'm just gonna increase it as far as I can until I start to lose detail so you can see it around about seventeen twenty something like that that I'm starting to lose some detail in the chair and the table and especially the wall there so I know that this is now you know it looks about the right brightness for the Sun okay but when I give this a render you'll notice two things for one you can see that the Sun lamp is actually too bright because I'm actually losing a lot of detail in the table and the wall there but not only that but the rest of the room looks really dark and this is a really common thing you see in blender like this scene just feels dark have you ever noticed that so as artists what would we do well in this situation what I've done in the past is I've done some cheating okay so I go back in here and I go okay well if there's not enough light coming from the Sun what I'll do is I'll increase the amount of our fill light like the sky lighting so I might increase this to I don't know 50 like really really exaggerate just try and pump in as much light as I can into the rest of the room or I might actually exaggerate the bounce lighting off the wall there so I might you know select that table there and I'll add in a lamp I by the way this is the wrong way okay I'm showing you now just as a reminder this is an example of some of the problems that this this Dane reduced dynamic range creates okay so I might you know add in a lamp like this now this is fairly common okay and that would you know bounce some light off there and you know I would feel like as an artist yeah I fixed it you know okay but when you think about it this workflow makes absolutely no sense okay from a physical standpoint why would we need to add fake hidden lighting coming off the wall or you know really exaggerate sky lighting to this scene because for proof here is the reference okay so this is actually my dining room and I took this photo with my iPhone now you can see that in the reference when we compare it to our render the reference looks far brighter okay the room is filled with lighting there was enough light coming off that Sun there to light up the room I obviously don't have any hidden lamps going on under the table like I did in my render and yet there is adequate lighting almost an abundance of lighting it's crazy bright in there just from that bounce lighting of the Sun so why didn't it work in blender well it all falls back to that reduced dynamic range that crushed compressed dynamic range because what's actually happening is when the when we set the Sun land value for us so let me just grab it here again so I decided that it was around about no actually I should probably delete that other stuff I'll set that back to what it was before so back back to the original problem here so I when I set the Sun land value here I set it around about 20 because that's what looked right and when I say right I mean you know it felt like the value of the Sun so I felt like 20 was about the brightness of the Sun but actually the real Sun should be much much brighter than what we used to doing in blender like most of us don't go really about 420 or anything like that when we're lighting a scene but the real Sun is magnitudes brighter than what we're setting it in blender the only reason that it looks so bright in this situation is because of that crushed dynamic range so if we could fix the dynamic range if we could extend the dynamic range to be bigger than this then we can increase the Sun lamp to be far far brighter which is what it should be and that would then light up the rest of the scene naturally without having to do any cheating whatsoever so I'm hoping that you can understand that this is a really simple scene very basic environment and these are the problems that we'd run into with just this simple scene with a more complex you know huge you know production-ready type of scene the problems just build up and build up and build up or to use a quote by Alex fry why does that atmosphere Leia look terrible because there isn't enough light filtering through the scene and why is that because the sky has been graded down why is this guy been graded down because it was clipping why was it clipping because we were using a too simple 0 to 1 transform on a high dynamic range floating-point image don't worry we'll get to that whites don't bounce enough things don't flare enough and pings don't pop enough so what the hell blend up now you might think that the solution would be to jump ship to another renderer but actually many of those suffer from the exact same problem blend is not alone here the solution is to actually change the color management configuration that blender uses to render now I know this sounds odd so let me explain briefly what color management has to do with dynamic range so when you take a photo the camera is storing that image as ones and zeros and before your display can actually read it it has to be converted and this is where a color transform is used now maybe you've heard of them before they have scary names like rec.709 log and 3dl etc different ones they use depending on the camera and the intended display well 3d renders are no different before you can see the render a color transform is used to convert the ones and zeros from your virtual camera into colors that your monitor can actually see and this brings us finally to the root cause of the problem blender is using the sRGB color transform and this is bad news because srgb was originally designed to approximate the response of a CRT monitor this thing is vintage it was never designed for rendering nor should it ever be used for rendering so if you're thinking like I was when I first heard this how on earth could blender have been using the wrong color transform for all these years without anyone noticing well the reason it's gotten by for so long is that color is actually extremely technical and there are actually very few car experts in the world that understand it 100% so when srgb was chosen many years ago it's likely that no one actually even knew that it was incorrect and years later even if someone did notice it's difficult to convince the user base to change when one most users don't even see a problem and two they used to the way they're lighting behaves with srgb in order for blender to change the user base first needs to understand why it's broken and then and only then can a push be made for it to be changed by default speaking of which if you want to help a really simple thing you can do is actually press like on this video that'll help it show up in more people's recommended YouTube videos which will slowly educate more of the community so hopefully the solution I'm about to pose can be made default sometime in the future now I want to repeat that regardless of whether you're making cute cartoony images motion graphics or photorealistic images sRGB should not be used for rendering it mangles your color data and creates problems that ripple through your scene so what is the solution can we finally get to it the solution is to use a custom color management configuration called filmic blender filmic blender was developed by Troy Sobotka an industry professional who saw the problem in blender and wanted to do something about it so he created this custom color system which emulates aces which is the industry standard color space now in use by nearly every major Hollywood film now remember dynamic range well filmic blender allows you to go from 8 stops to 25 stops of dynamic range when you start using filmic blender you'll notice that you don't get those harsh hot spots anymore the lighting fall-off feels smoother not only that but you can start using accurate light values increasing the bounce lighting and getting natural-looking scenes without needing to cheat and best of all it's free Troy could have charged $200 for this and I still would have paid for it but he wants to change a blender for the better so he's graciously giving it away for nothing so to download filmic blender click the link in the YouTube description which will take you through to this website now there's a bit of information here and how to install it how to use it etc to download it what you want to do is click on view github and that'll take you through to the github interface which always confuses me the way to download it is by clicking on the clone or download button and then download zip okay it's very small download but once you've downloaded it you should see when you unzip it unzip it to any random folder doesn't really matter but once you see it you should see inside you've got a bunch of folders that look like this ok so just keep that there and what we're going to do is load up where blender installed and I'll show you where we're gonna move that folder to so if you're on Windows which stats tell me that that's where the majority of my viewers are from if you're on Windows you'll find blender installed under the C Drive Program Files blender foundation blender and then the version of blender that you're using the latest one I've got two point seven eight so double click back and then underneath that click on data files and then here you'll see three folders color management fonts locale ok this is the place that we're going to drag that folder ok so I'm gonna copy that hit ctrl C and then ctrl V it over here and hit continue ok so what I'm going to do so this this new folder here this is actually going to replace this folder so just so that blender doesn't use this one but I've still got it if I in case I wanted to go back to it I'm just gonna rename it by hitting f2 then underscore hold back up and hit continue ok so that blender won't be able to see it but it's there if we wanted to now with this one making making sure that it's this inside right I'm gonna rename that color management and click continue ok so that's what you've done so again checking make sure data files inside color management you see this directly underneath that folder ok so to check that it is installed properly go ahead and open up blender alright so if you go to the color management section of blender which you'll find underneath the scene panel and then down here underneath color management to check that it is installed properly if you see underneath render view you've got one that says srgb EO TF click that if you see these options here that means it is installed correctly congratulations now if we were to give this a render right now just with these without changing anything you would see that it looks I mean it's a basic saying we haven't gotten my chair to compare it to but it looks like a standard render and that's because by default it is actually still using the SI DB color transform so that's the default in case you wanted to go back to it that's what you would use but you would actually to use the filmic blender color Tran boom you're gonna use filmic log encoding base ok which doesn't sound friendly or like that would be the one but that is the one filmic log encoding base and then it'll look really washed out so then you can change your look to one of these and again if you just want something simple and easy to go with you would click base contrast okay so that is the five-second version of how to use it how to install it and to check that it's working so if you just want to get started and just start using it that's basically the the values that you use okay now I'm gonna go back to my example scene my interior and now remember that it was clipping before okay and it still is because by default it is still using the srgb transfer mode okay so watch this okay I'm gonna change it to filmic log encoding base and watch the wall the table and the chairs ah alright now if you look at this and you go okay yeah you fixed that but you've also got a really gray washed out image okay now a lot of people that yeah they try filmic Blender and they see this now like it doesn't look good I'm out but actually what you're looking at is is quite normal for a you know professional-grade camera or you know some external renders you're seeing the raw file so it hasn't had a what's called a lot lookup table applied to it yet to bring it back to its true value like how it should actually look so those are found underneath the look section here so these are the looks there remember I said before base contrast it's just an easy one you can click if you click that this will give you a render that looks something similar to what you're used to seeing so these are a range of different contrasts starting with very low all the way up to very high and honestly it's it's personal preference I find honestly nine times out of 10 the base contrast looks great so that's just the one that I use okay so yeah so you can see that there's no longer clipping going on in our our wall or our chairs or our table but you might think okay yeah but the scene still looks pretty dark you haven't fixed that problem that we mentioned before right we'll the reason still looking doc is as you might remember that there wasn't enough bounce lighting coming back into the scene from that Sun okay and the reason for that is that the Sun isn't bright enough so now that we're using this new filmic blender filming a vlog encoding base um let's try increasing the Sun value okay so watch this if as I turn this up okay I'm just gonna increase it to 50 just to show you we we still aren't losing information we're still not clipping at 50 okay let's try a hundred alright we're still not okay and like this is a crazy high value something that you would never consider doing with the old srgb value mode because this would just completely blow out the scene this would just be you would never think of using a value like this so it's it's kind of like a like a paradox shift like once you switch to filmic blender it requires you to sort of reconsider how you would traditionally eyes a scene and really crank the values beyond what you normally would because you I don't know like it I noticed it myself when I started using it I started like you know just doing small adjustments but now I'm I you know I've used it for a little while I'm just using really big you know wall adjustments so when you first get into it just get into the habit of like just trying higher values and speaking of which there's actually something else underneath the look here which is really handy for playing with lighting and that's one here that says false color now when you click it you'll see these crazy values and you'd be like oh okay I'm out I'm out but this isn't designed as a final render this is designed to visualize the exposure ranges of your scene okay so what you're actually seeing is it's kind of like a heat map of what's exposed what's overexposed what's not what's under exposed so blue is really low exposure I think black is I guess nothing and that blue is very low exposure Green is low to mid yellow is middle exposure red is high exposure and then white is when it's actually clipping okay so on our wall here we've got white now that important because it's you know it's a white wall it probably should clip in this example right but you can see that on the on the table and chairs there it's still in the red rain so I'm actually still not clipping which means I actually know that I can increase my lighting now okay I might just try dragging it up to like 1:30 because I know that was sort of the value I used for my final render and you can see it like I'm still not even really like there was a tiny little bit peeking for this this is probably about as far as I go but this this mode this false-color like when I first heard of it I'm like nah that's not for me that's for those technical lighters but once I started using it I was like oh wow this is really handy because normally in blender you do a lot of guesswork like try and guess what's exposed what's not but this just it does it all for you like it's so handy even if I didn't have the filmic blender attached on top of it having this look is just ah it's so handy so definitely like when you're lighting your scene you know basically this is this is my workflow now I make sure I'm in filmic loggin coding base for everything from now on and then I use false color to to check the values and the cool thing is is that because it's a it's a lookup table mode like it's not a compositing effect or anything like that you don't need to rerender to see it you like you can render a final scene and then afterwards change your base contrast you know whatever go through this and you can check your lighting in there and you can also see it in the render view mode so you as you're like interactively changing the lighting you'll see it reflect on everything so it's just super super handy and yeah just allows you to do so much so that's the example and this is the final render once I used it and you can compare it with the original render and you can see without a doubt that that this one is is just supremely better in every way it's amazing how something so seemingly unimportant as dynamic range can have this carry on effect to the entire scene and just I mean it looks like it was rendered with something else you know like it's so so big it's just incredible I love I just love it so much now if you're looking at these two images here and you're thinking hmm is it just me or is the one on the right a little bit more D saturated than the one on the left well you would be correct so this is something that filmic blender does that makes it even cooler and that's accurate color D saturation you see on film as parts of the image become more exposed the colors will naturally start to desaturate so this happens due to crosstalk between the film layers and it's something that's unique to film and while you could call this a technical limitation it actually looks more pleasing to the eye and actually more natural to what you think you should be seeing to the point that some DSLR companies today even have software installed on their camera to imitate this effect for the digital format to show you an example of this I've got a very basic scene here I've got three planes and I've got a Sun lamp shining down on it and this is using the srgb mode okay so each of these planes are a different color we got red green and purple and what I'm gonna do now is just increase this Sun lamp to show you why the sRGB is is not working the way you would hope that it would okay so as I increase the strength here watch how for some really weird reason the colors have now changed okay we've gone from red green and purple to yellow aqua and pink but not only that you can see that as the intensity of the sunlight of the light hitting it grows these colors never fade out now you can imagine if somebody was wearing a red shirt right and they happen to step into an extremely bright light like a supernova or something at some point you wouldn't be able to see it right but with srgb you will even though there's an extreme amounts of overexposure colors will show through almost like they're transparent like that is neon effect and it's just ugly in fact you probably have actually already experienced this yourself if you've ever tried to use the emission shader right and then tried to make it look like you're making a spaceship and say this was the tailpipe and you wanted to make it look like there's a jet blast going at the back of it so you increase the emission and what happens yeah instead of it fading out to white which is what your eye would expect to see it just becomes this this more saturated color and it's ugly I remember encountering this when I was working on my sci-fi drone and I just had to fix it in Photoshop but this is because srgb is it's mangling the color dot I can't understand it other than to tell you that but so now what I'll do is I'll switch to let me put this back to diffuse what I'll do is I'll switch to the filmic blender to show you that okay so look at that okay I'll put this back to Lee it's a previous value of one now watch as we increase this the hue of these colors isn't changing and as this increases as it goes up and up the colors begin to fade away which is natural it's what your eyes issued is expecting to see in this situation so this is something it's subtle and you'll you'll notice it like you'll see it near and go like oh nice like it just feels nice it's a yeah you like now that now that you've seen it you can't unsee it you if you go back to the srgb you'll be like oh these colors just feel ugly right well now you know the reason why so to finish I'll end with a question that a lot of people have and that's where did all those creative looks go from the color management section if you've ever used them before you might be missing them well this may surprise you to hear this but the looks that come with blender shouldn't really ever have been used now the reason for this is that they used for transforming color data but transformations are only valid for the specific range of color information captured by that camera so basically applying it to your render was the equivalent of slapping an Instagram filter on a professional photo and while it's possible to get a nice result from that it's much more likely that you were just gonna mangle your data in ways that you can't see so instead I didn't courage you all to do your color grading in the compositor with the color balance node which is a nice segue to my next point which is that some of the compositor nodes are incorrect too so just like how the srgb is incorrect despite it being included in blender for so many years many of the nodes that come with blender are also incorrect and by incorrect I just mean that they're meant for display referred workflows not the scene referred workflow of blender there's some technical stuff you could look up if you wanted to but that's the basic explanation so to start with with the color balance know where you should be doing your color grading um this correction formula lift gamma gain shouldn't be used you should be using the ASC CDL now don't worry if you don't know this I didn't know this either but basically this has been like this isn't something that the filmic blender changes and makes this incorrect these have been incorrect forever in black right all right it's at least since it's been using the seen referred workflow so you should be using this which will do the exact same thing but it will give you basically it will hold on to your colors the way they should be held onto and they behave just like you would normally expect except that this middle one here is the opposite of what you'd expect so you know if you wanted to adjust your mid-tones you know you wanted to make it yellow you should be pushing it towards blue vice-versa I'm sure there's a technical reason for that but that's basically it so you know you can do proper color grading in this if you want to make it look more saturated you can do it like that but yeah and this by the way is basically what is going on with the filmic blender when you change the looks like basic contrast low-level contrast it's basically loading in this kind of thing with this with different amounts of this with no color obviously but there you go now there are also a bunch of legacy nodes or legacy modes that are included in blender that shouldn't be used as well so for example in the color mix node this one right here you know these these different blend types here well there are a bunch of them that shouldn't be used as well now I know this will people be like what but multiply screen divide dark light and overlay these shouldn't be used now the reason for this is that they are based off the display referred workflow basically that they come from the Adobe blend mode I don't know what this is called but this is basically this document it's basically outlines these ones here so everything in this document the multiply screen overlay darken lighten color Dodge Caliber nard light soft light difference and exclusion they're based off the display referred workflow so blenders using a scene referred workflow so it is mangling the data again now if you think if you're hearing this you thinking like I haven't noticed any difference you know I use them all the time I hadn't either as well okay I mean I've just been in closed email contact with Troy Sobotka who's an industry professional who understands color better than me or anybody in the blender community at least that I've seen and he's he's basically been telling me this and almost everything you've been hearing in this video comes from him so um yeah I'm assuming that he's correct but you know yeah if you're wondering why this stuff is included again because that's always been my question it's it's like this stuff hasn't been itemized and addressed yet like because color hasn't really been a priority for blender or at least I suppose really talked about in this sort of regard so there's stuff like this the multiplier the screen that stuff that was from the display referred work flow we're now in seen referred it's all very confusing but basically I'm hoping that this video can help to to bring this sort of thing to light so we can at least discuss it and then maybe in the future this stuff can be removed or changed so that it's it works properly basically but there you go I sincerely hope that people will start using the filmic blender color management system so please help spread the word by sharing this video with any blender artists that you know and of course clicking like so that others can find it more easily and also if you make a render using filmic blender if you can use the hashtag filmic underscore blender when you post your image online others will be able to see it more easily and yeah and also if you're on Twitter please give Troye Sobotka a shout-out and a thank you he's at Troy underscore s he not only made the filmic Blender obviously but also gave up several hours of his time to personally answer my questions via email and also reviewed the script for this tutorial for accuracy so anyways thank you all for watching and I will see you next time bye

Channel: Blender Guru

Views: 3,537,476

Rating: 4.944787 out of 5

Keywords: filmic, blender, color, lut, colormanagement

Id: m9AT7H4GGrA

Length: 31min 28sec (1888 seconds)

Published: Fri Feb 17 2017

Reddit Comments

[u/PrimeNine85]

.. This explains so many odd effects I spent ages working around on previous hobby projects. Going to give this a try as soon as I'm home!

[u/Baldric]

I am not a professional, just someone who tries to understand everything:

Blender's dynamic range is NOT 8 f-stops, it is basically infinite, but the image it shows with the default transformation (transformation between linear space and display space) produce image with 8 f-stops. If you save the image in raw without the filmic transformation (and without the transformation to display space), you can get the same result in photoshop or even in the compositor. Every professional did something similar without filmic blender, now it is just easier (much easier).

You don't need strong lights, you don't even need to render a scene you did in the past again to use the filmic transformation... Let me explain:
Use a light with 10 strength some pixel will have a value of ten, but the light will bounce off and some other pixel will get let's say 1 strength worth of light.
Blender will store these values, but it can't show us an image with values so hight (1 is white, what 10 would be?), so it maps the values to a number between 0 and 1. With the default color transformation profile it does this linearly and with this example it produce a pixel with 1 value and the other with 0.1 value.
Filmic blender will transform these values differently, 10 will be 1, but 1 will be lets say 0.2. Why? Because it transform these values logarithmically. I don't know exactly what value will be what, but as u/BlenderGuru suggests it, filmic blender will produce much better results if you have a value larger than 100, for example, 100 will be 1, 10 will be 0.3 and 1 will be 0.1 (so it does matter what is the range of the values).
It seems like I contradicted myself, but no, because you really don't need a light with 100 strength to get a value of 100. It doesn't matter the lights strength, only that is should be larger than 1! You can use Exposure on the same panel as filmic blender can be chosen and with this you can tell blender that it should treat 10 as a value of 100. The result will be exactly the same.

For example, if you have a light with 10 strength and you get a render with 3 pixels:
10, 1, 0.5
with linear transformation: 1, 0.1, 0.05
with filmic transformation: 1, 0.2, 0.05

if you increase the light strength or you increase the exposure, the values will be: 100, 10, 5
with linear transformation: 1, 0.1, 0.05 (same result)
with filmic transformation: 1, 0.3, 0.1 (different result)

So why am I wrote this? Because if you render an image in 10 hours and you see that your lights are not bright enough, you don't need to render the scene again! The strength of the light never matters, as long as the strength ratio between light sources are good (if you have a sun lamp with 100 strength and a light bulb with 10 in the same scene, the rendered result will be the same as with 10 strength sun lamp and 1 light bulb, if you use exposure).

Sorry for the long text and for my english.

edit: TLDR: You rendered the image again with stronger light, that was unnecessary, you could have achieved the same result with an increased exposure.

[u/MWire]

As a person who watches technical stuff on the Sam and Niko channel (Corridor Digital), this suddenly snaps into place for me. Thank you so much for this.

[u/TheOldTubaroo]

I'm glad I saw this; I've known about filmic blender for a while now, but haven't yet made the move to it, and this has prompted me to do that today. I also didn't realise just how easy it was to install, that's great.

However, u/BlenderGuru, the additional blend modes in the MixRGB SHOULD NOT be removed. It's true that they're not what you should be using for grading, but that doesn't mean they don't have any use.

Firstly, this is the same node that you use in materials, and there are plenty uses for it in texturing a model.

But secondly, in the compositor they allow for non-photorealistic creative effects. Think of it this way: once your render is through the colour transform, it's equivalent to having a photo from a camera. And these blend modes are the exact same ones as in Photoshop, where they clearly do have a use.

One of the things I love about blender is that I don't need to switch to Photoshop after rendering, I can do pretty much everything in Blender's compositor. I'd be really pissed off if they ever neutered that ability by removing blend modes.

Tl;dr thanks for a great informative video that's reminded me to install filmic, but don't start talking shit about my blend modes ;)

[u/3uhox]

Love your videos. Can this be summarized in text post or an image? I'm on mobile. I feel like the video title is kind into click baiting territory.

[u/TheRedditing]

Anyone know how to install on Linux if possible?

Many thanks in advance

[u/pssdrnk]

Nice video, thank you again for enlighting us in an informative way!

My question is that how should I adapt the other settings as of (if any of these are being affected):

size of the sun

ammount of HDRI sky strenght

number of bounces to lower noise yet keep the render times reasonably low.

[u/chrunchy]

Maybe I missed it, but what about the section in colour management labelled "Sequencer"? Should that be set to Filmic Log Encoding instead of the default sRGB EOTF?

Regardless, installed and saved to the startup file. Can't wait to give it a go.

[u/hvyboots]

FWIW for anyone on a Mac trying to install Filmic Blender, go to the Blender application, right-click and Show Package Contents and then here's the path to the datafiles folder.

http://i.imgur.com/poKLbCw.png

You can follow Andrew's instructions for install from there on perfectly.