>> Hello, everyone,
and welcome to this tutorial on the improved
lighting and rendering options you'll find
in Twinmotion 2020. In this presentation, we'll be
looking at the new Screen Space Global Illumination
effect, working with cinematic depth
of field, using area lights and
volumetric lights, as well as the new physical
sky and enhanced neon lights. The new Screen Space
GI system allows for dynamic indirect
lighting, and it comes with improved baseline
lighting and shadows, which more closely match
physically-based lights. I've added two chairs
to the scene, a red one and a green one, and
placed them next to a wall. Right now, you can see
Twinmotion's rendering without global
illumination enabled. If we want to enable
it, though, we'll need to go down to our dock
and then select Settings. From here, we can
go to Lighting. And then, you'll find GI,
or global illumination. To turn it on, I'll
simply click the word Off. Now you can see clearly
that the global illumination effect is being applied
across screen space. The green chair is now
reflecting some green light onto the wall, and the red
chair is likewise reflecting some red light onto the wall. Now, keep in mind that the
global illumination system inside of Twinmotion
is screen space, meaning it only affects
what is currently visible on the screen. If I move my camera so that
the green chair is no longer on the screen, you'll
see that the GI effect begins to disappear. Under GI, we can
also click on More to get access to
the GI's intensity as well as the distance. We can increase the intensity
of the GI light bounces by bringing this slider up. The distance will control how
far the light rays bounce. So as I bring this
distance slider up, you can see the
scene gets brighter. Cinematic depth of field
has been greatly improved into in Twinmotion. It now mimics a real world
camera more accurately, and has new controls for
controlling the distance, focus, and bokeh shapes. Let's have a look. To access our depth
of field settings, we'll need to go to the dock
and then select Settings. From here, we can select
the Camera Settings, and then we'll find
our depth of field. Let's go ahead and
turn depth of field on. And then from here,
we'll go to More. Under More, we'll find
all of the options that we're going
to be working with. First of all, we have
Distance, followed by Field of View, then Aperture
Size, and finally, Bokeh Shape. In Twinmotion, the field
of view is set to 90 by default for a
fairly wide angle. But if we want our depth
of field to really show up, we need to bring
this angle down. So let's go in for a little
bit of a tighter shot here. By adjusting the
field of view, you can see that the depth of field
effect becomes much stronger. Now, there are two ways we
can control the focal distance of our camera here. First of all, we can
use the distance slider to control this manually. We can also type
in a distance here. So I could type in a
distance of 5 meters. Or, to make things
a little easier, we can use the Autofocus tool,
found at the top of the dock. By selecting the
Autofocus tool, I can pick a subject
to focus in on. Now we're focused
in on the girl, and everything else
is out of focus. If I wanted to instead
focus on the crowd dancing in the
background, I'd simply click on one of those people. And now we can see that the girl
and the person she's talking to are out of focus while the rest
of the crowd is now in focus. Let's go ahead and return
our focus back to the girl and look at the aperture
opening and bokeh shape. Depth of field is controlled
by three different factors. That's going to be aperture
size or opening, as well as distance, and then finally
focal length, which you can control with field of view. As we bring the aperture
down to a lower f-stop, you can see how much
more out of focus the background becomes, while
the girl still remains sharply in focus. This is what we call a
shallow depth of field, meaning a very limited range
of the scene is in focus. If we bring our aperture
up to a greater f-stop, the focus becomes
greater further away from our focal point, creating
a deep depth of field. Let's go ahead and bring
our aperture size down to an f-stop of 1. From here, you'll notice the
bokeh shapes in the background. We can control the shapes of
the bokeh using the bokeh shape slider here. Currently set to
a value of 9, this means that our bokeh
shapes have nine sides. Let's go ahead and take
this all the way down to a value of four. And now you can see that
the bokehs are shaped more like squares. Of course, we can also
type a value in here. Now, obviously, the focus
here is a little bit too out of focus. So let's go ahead and
bring our aperture back up to a more reasonable f-stop. Twinmotion materials can
easily be set to glow, and Twinmotion comes with
a pre-built selection of neon light materials. As of Twinmotion 2020,
those neon materials now emit light via Screen
Space Global Illumination. The light panels
in the scene here are making use of a
glowing or neon material. So if we use the material
picker and then select one of these panels, and
then we go into Settings, we'll find our glow options. From here, I can go ahead
and turn this completely off. And you can see
the effect that it has on the rest of the scene. It's no longer being lit by
this particular material. Let's go ahead and bring this
back up to a value of 5%. And we can see the scene
does become much brighter. To further demonstrate
how neon materials work, let's add a sphere to the scene. We'll go into our
Library, select Options, and then go to Primitives. From here, we're going to
find the one meter sphere, and I'll drag that
into the scene. Now, let's go back up
to our materials folder in our library, and
then we'll scroll down until we can find
the Neons folder. Let's grab the police
beacon material and drag it onto the sphere. So now we can see how this
material is lighting up the rest of the scene. If I drag it around, you'll see
the effect it has on the walls. Here's an example of the
neon material at work again, using the
laptop screen here. I'm going to go ahead and
bring the glow value up. And as we do, you can see
that the coffee mug as well as the laptop itself
and table begin to get brighter and
brighter as the screen emits more and more light. Spot and Omni-lights now
offer a new haze feature that allows us to
easily simulate dust and other
particulate matter moving through the light rays. If the environment or
weather calls for it, this atmospheric
effect can greatly enhance the visual
realism of a scene. In order to get some volumetric
light rays coming off of our sun disk in
the sky here, we're going to need to go down to the
dock and then select Settings. From here, we'll go to Weather. And in the weather settings,
we'll select Effects. From here, we're going
to find our Smog option. Now, as we increase
the smog value, it's going to increase
the atmospheric effects in our scene. And because there's going to
be more particulate matter, we're going to start to
see light rays coming off of our sun disk as they
pass through the trees. Let's go ahead and take that all
the way up to a value of 100%. And now you'll see that as
we move through the scene, we can see those light rays
coming off of the sun disk very clearly through the trees. To work with the haze
setting on our light, we'll first, of course,
need a light in our scene. So we'll go to our Library
panel and then go to Lights. And I'm going to
use IES 01 here, which is basically a spotlight. So I'm going to pull it up
into position so that it matches the window frame here. Let's go ahead and rotate it
so it's at a bit of an angle. And we'll just make sure that
it's in the correct spot. We're going to use this light
to simulate the moonlight coming in through this skylight. From here now, I'm going to set
the intensity to 1,000 lumens, and I'm going to set the
color to about 12,000 Kelvin, giving it more of a blue cast. I'm going to change the
angle of my spotlight here to 70 degrees. Now we'll need to move it into
a slightly better position so it more matches
up with our window, and we'll set the
attenuation to five meters so that it has a bit
more of a spread here. Now all we have to do
is turn the haze on. But you can see that the
haze is a bit too pronounced, and it's not really
affecting the window the way we'd like it to,
so we're not seeing the really nice light rays
coming out of the window here. So to help improve that, we're
also going to turn Shadows on. And this will help
our light rays to more fit the
shape of the window. And then we'll go into
More for our shadows, and we're going to turn
volumetric shadows on. Now you can really start
to see the crisp edge of our light rays coming
through the window here. Let's go back up a level,
and then under Haze, we'll go under More. And this gives us access
to three more settings. We have Intensity,
Speed, and Tiling. Intensity will, of
course, allow us to control how strong the
dust particles or haze appear. So obviously, if I
slide this up higher, the haze will appear to get
much stronger, much thicker, and of course, in
this case, I think we're going to want
to bring this down to a much lower value,
something a little bit lighter-- perhaps around 10%. Now, you may notice
that the haze appears to be animating or
moving through the light rays. We can control the speed
of that animation using the speed setting here. So obviously, a
higher value here is going to make
the dust particles appear to move faster
through the light rays, while obviously, a lower value,
that's going to slow them down. I'm going to keep mine
at about 4% or 5%. Finally, we have
the tiling option. The lower this value
is, the more uniform the haze will appear. But if you increase the tiling
option up to a higher value, you'll start to see kind
of clumps in the haze. And this can give a
more smoky effect, or a more smoggy effect. And depending on the
lighting situation that you're working with, this
may be the desirable approach. But in this case, because I'm
working with light rays coming from the moon and a
relatively clean house, I want to keep my
tiling down kind of low, so it doesn't appear so smoky. So if we were to move
outside the house now, we'll clearly see where our
light source is coming from, and the haze effect
that it's generating. So obviously at this
point, we'd simply want to alter the
location of the light so that it fits our window
just a little bit better here. So now we can see inside
that the light rays appear a lot sharper because we've
got a better position now of the light source. When exporting a sequence
out of Twinmotion, we can improve upon the quality
of the haze and volumetric fog. Simply go to the Edit menu
and select Preferences. From here, select
Export under Settings, and you should find
smog and haze quality. Just make sure that
that is enabled, and then when you
do your exports, the smog quality will
be greatly improved. Area lights have now
been added to Twinmotion, allowing us to
simulate light emission from large areas, such as bay
windows or ceiling panels. Using the new area
light makes it quicker to illuminate an
area, since we no longer need to place and manipulate
multiple lights to achieve a similar result. Using area
lights versus multiple point or spotlights also offers
improved performance. This nighttime scene
is a little too dark, and it's a perfect candidate
for using an area light to brighten things up. We'll find the area light by
going to the Library panel, and then from here,
we'll go to Lights. From here, we simply need
to drag the area light into the scene. The area light is
represented by a cubic gizmo. What we need to do is specify
the length and the width of our area light. So I'll set my length to 10, and
I'll also set my width to 10. If we move out of the room,
we can position the light so that it covers
up the entire room. With the light covering
the entire room we can adjust the intensity
to make it brighter. Attenuation helps to
control the brightness. So by increasing
it, we're actually increasing the
height of the box. And this will allow
light to filter down from the light source. For instance, if I bring the
attenuation down very low, you can see that the
box is now much shorter. Light is only being
applied inside the box. So let's go ahead and bring
the attenuation back up higher. I brought the area
light down closer to the floor and adjusted the
attenuation length and width to 3 meters each. If we go under More,
under Attenuation, you're going to find
the Edges Angle option. The Edges Angle
option will allow you to control the
falloff between the center of the light and the edge. You can see at 0% that the area
light's edge is very sharp, but as we bring this up
higher, it begins to fade. And this will, of course, allow
you to smooth out the area lighting in your scene. TwinMotion 2020 also comes
with a new Physically Based Atmospheric Sun and Sky System. This new system will allow
for the creation of much more realistic exteriors,
regardless of locale, season, or time of day. We'll find the physical sky
model by going to the dock and selecting Settings. From here, we need
to select Location. The first step in creating
our physically accurate sky is to select our location. We can, of course, drag this
picker around on the map, or we can search for a location
using the magnifying glass. Once we've selected
our location, we can now change time of
day, the month of the year, and we can adjust
the north offset. The new model is more
physically accurate, so all of the colors
that you see in the sky will be more representative of
what we would see in reality. I'll go ahead and
set my time of day to somewhere around sunrise, and
I'll change the month to July. Finally, I can
control the northern offset to get the sun exactly
where I'd like it to be. The new physical sky model
will help your exterior scenes to look much more physically
accurate and realistic. Thanks for watching,
and I hope you enjoyed this tutorial on
some of the new lighting features to be found
in Twinmotion 2020.
