Lighting Scenes Motivation

Lighting Motivation

For my three different lighting set-ups/rigs I tried to experiment not only with different tones/stylistic elements but also with different lighting software techniques that XSI provides.

For my first set-up, I wanted to continue with the stylisation of the retro 70s look I had aimed for with my texturing. I envisioned the room as being a sort of V.I.P. Section or private lounge off from the main section of a dance club (or discotheque). These rooms generally had a slightly diffuse (or 'underlit') scene, while being shaped or directional from certain light sources. The slightly dim lighting also allowed for an interesting interplay between light and shadow (which were not hard but still clearly evident). This technique helped achieve a certain ambience which was meant to invoke a 'cool' yet provocative atmosphere. Below is an reference example:

In terms of the rig, I used a slightly modified version of a three point lighting set-up. Essentially, my key light was sourced from the light 'emitting' from the dance floor outside the room. This light therefore has a warm colour temperature and it's luma has a red tinge (similar to the red ambient effect of the picture above). My fill light was a spot light placed opposite the direction of the key light (facing the window) and was on a lower intensity with a slightly pink tint. The backlight was split amongst three spot lights all pointing down the back wall, therefore providing a rounded edge to the light and also serving the purpose of working as a background light (as in a four point scheme). The final result is as below:

My second set-up was a night scene. At first I wanted to emanate the same V.I.P. room as it would be after the club closed and the lights went out but I didn't want to use the same red tones that would have had to accompany such a scenario. Instead I chose to locate the room within a starry night sky. However, in trying to keep with the 70s theme, I wanted the sky to be somewhat psychedelic as opposed to being realist, hence my final outside texture. Below is a reference for this scene:

The set-up was based on single point lighting (as in moonlight) but added extra lights to provide additional detail and focus within the scene. The key light was an infinite light to which I added a light blue colouring and angled it to make the window panes shine into the room as hard shadows (which is how I observed night light shadows to fall).  I then added a point light on the windowed wall to add some slight additional fill to the scene (as it appeared too dull with just the 'moonlight'). I used attenuation with this light to give the lighting some gradient so as not to appear balanced and therefore flat (night scenes are generally high in contrast and would not appear flat). I then used an additional spot light not as backlighting but rather to pull focus to the picture, which I felt added a little bit more character and focus to the scene. The result is as follows:

For my third scene, my main intention was to experiment with lights that would appear different visually, specifically with volumic lights. With this in mind I wanted to create a scene with a more theatrical tone in terms of lights. I wanted to create strong contrasts by using a single light set-up but with a volumic plug-in to create the feeling of theatrical lighting. I also wanted to use another single strong light to point to a specific object within the room to give the environment some sort of narrative inclination and, again, to increase the feeling of theatrical drama. Below are two references; the first refers to the nature of volumic lights that I wanted to achieve and the second shows the spot light with a very specific point/direction.   

In setting it up I used a spot light coming in from the open side of the room. I added the volumic property and tweaked it until it had an orange glow in its path (once again matching the colour scheme within the room). Adjacent to this light I aimed a second volumic spot at the wine glass on the table (to create a sort of narrative significance) but found I had to increase its intensity rather high for it to be visible in the path of the key spot. I also had to exclude other geometry which subsequently burnt out due to the high intensity of this light. The result is as follows:

Lighting Research Essay

“Lighting is more than just illumination that permits us to see the action”

Bordwell, David and Kristin Thompson. “Film Art: An Introduction” pg. 126

A well-lit scene is vitally important to any scene, whether in 3D software or in live action film. Besides its basic function of allowing the viewer to see the characters and environments in a particular setup, it adds incredible dynamics to the scene. It can add stylistic meaning, bring out certain textures and even play a role in informing the narrative (as a vital part of mise-en-scene).  In this essay, I will explore the setup and motivation for a fundamental lighting rig known as Three point Lighting. I will then compare this rig to another lighting example, Four Point Lighting, to show how different lighting setups can dramatically change and enhance the overall appearance of a scene.

The first rig to be explored is Three Point Lighting. According to Jan Ozer this setup “has its roots in lighting as art rather than lighting as a necessary evil for the camera to do its work” (2004, pg40). This setup therefore allows for objects in scenes to be lit in such a fashion that they do not appear ‘flat’ (the term used to describe lighting which remains unilateral throughout an environment and removes any field depth and shadow variation).

 The first light in a three point setup is known as the key light. Nicholas Boughen defines this light as being “the primary source of light” which “provides primary illumination”. (2007, pg69). The most obvious naturally occurring example of a key light would be the sun since it provides earth’s primary light source. In 3D software, this is often mimicked by using an infinite light. In a three point setup, the key light provides the most direct illumination on a subject and is usually placed at a slight angle to the object in order to give it a certain shadow fall off. Ozer describes this as ‘modelling’. (2004, pg40).

The second light in the setup is known as the fill light. This light serves to “illuminate areas that are shadowed from the key light” and therefore provides extra defining detail on the surface of a subject which may have been overshadowed by the key light. The intensity of the fill light should “be less than the key light” so that it fills in extra detail but does not become a key light in itself (Boughen, N. 2007, pg70).

The third light in the setup is known as the backlight or rim light. The main purpose of this light is to separate the subject from its background and, therefore, to provide a greater sense of depth within the scene. It also helps to “define the shape” and provide a “defined edge for blue or green screen shots” (Boughen, N. 2007, pg71). In terms of placement, the backlight is usually “on the same side as the key light” (Callow, R. 2008, pg1). The three point setup looks like the following:

The next rig to explore is the Four Point Lighting setup. This setup, as may be suggested, is basically the addition of an extra light. The effect produced can, however, drastically change the overall appearance of a scene. The four point setup is used for two main reasons: in portrait shots of people/characters and in general environment. Boughen describes the additional light as a “bounce light” and notes that this light “is reflected from the ground in front of objects” (2007, pg78). He also notes that where key, fill and backlights are usually lit from above, this bounce light shines on the subject from below and can add a subtle effect to the subject by filling in extra shadowed areas (especially the areas below the eyes).

For a general environment setup, the extra light used is referred to as the background light and is used “to give depth to the image by putting some mixture of light and shadow on the wall behind the subject or subjects” (Burley, Shane. 2009, pg1).  In terms of intensity, it works in the same fashion as a fill light but its placement can dramatically alter the appearance of a scene. Burley gives an example of an effective background light. He notes that it can be placed behind a window to cast windowpane shadows onto a wall within the room. This is able to add a stylistic element to the scene as well as give it a specific dramatic tone, something that a basic three point setup cannot always achieve. Below is an example of a Four Point Lighting setup:

The main difference between these two lighting setups is the stylistic/tonal quality that four point lighting can add (from an environmental point of view) and the extra definition and detail it can add (from a portrait point of view).  The problem of using four point as opposed to three point is that, if not setup correctly and with the correct relative intensity, it can possibly make the scene look like it has been flat lit (due to the fourth light filling in even more shadows). A big problem with using three point lighting is, as Boughen describes, is that it is “the most grossly overused and inappropriately used lighting setup in the world of CG (2007, pg77). It is good to note that an overlit scene “flattens everything and diminishes details” while an underlit scene can be “muddy, gray and rather lifeless” (Derakhshani, D. 2009, pg439). A well-lit scene generally has a balanced ratio of light to shadow and to exclude shadows altogether may make for a very dull and non-dramatic visual result.

In conclusion, I have defined and explored two very practical and useful lighting setups – three point lighting and four point lighting. I have explored both the technical requirements for each of these setups (from positioning to intensity) and have discussed how they may be used to inform certain dramatic requirements within a scene. I have lastly made a comparison between the two setups to show how, in general, lighting setups/rigs need very specific intension in their buildup as every setup comes with its own stylistic advantages and disadvantages.  It is the understanding of how the balance of light and shadow within a particular environment/character affects the overall tone and stylistic elements of a piece which defines a good lighting rig.

Works Cited:

1.      Bordwell, David and Kristin Thompson. Film Art: An Introduction. 2^nd Ed. McGraw-Hill Book Co. Singapore. 1989

2.      Boughen, Nicholas. Lightwave v9 Lighting. Wordware Publishing Inc. Plano, Texas. 2007

3.      Burley, Shane. How To Do Four Point Lighting. http://www.brighthub.com/multimedia/video/articles/59485.aspx. Web. 2009

4.      Callow, Rhonda. How To Do The Three Point Lighting Technique. http://www.brighthub.com/multimedia/video/articles/13931.aspx.%20Web.%202008

5.      Derakhshani, Dariush. Introducting Maya 2009. http://books.google.co.za/books?id=acW9IlKehIEC&pg=PA439&dq=3+point+lighting&cd=4#v=onepage&q=3%20point%20lighting&f=false. Web. 2009

6.      Ozer, Jan. Traveling Light. E-Media – The Digital Studio Magazine. 2004.

Texturing Motivation (Room Model)

Texture Motivation for Model Room

My original texturing aesthetic surrounded on the bright neon colours prominent in 1970’s disco culture. I chose this original direction from a willingness to do the polar opposite of what a ‘regular’ room would look like. Unfortunately, shortly into this texturing I found myself being dissatisfied with the overall look of the room – partly due to my own inability to make such bright and contrasting colours work in a cohesive fashion and partly due to the fact that I do not actually like the neon colour palette.

I then researched more into similar styles relating to my original idea and found an interest in the 1970’s retro colour palette. Almost at a polar opposite to the neon colours of the disco scene, on the other side of the coin was a very earthy colour palette which was also very prominent at this time – one of oranges, yellows, browns and whites, similar to the image below:

Another feature was the use of repetitious geometric patterns (usually done within these colours) such as circles or squares or interesting combinations of shapes. Many of these shapes tended to be in patterns which would repeat in certain ways to give a new overall look, as in the examples below:

My new problem became one of balancing out these rather complex patterns with plainer textures. While looking at many different pictures I found that, while walls (and even roofs and floors) tended to have these elaborate patterned designs, much of the other items in such rooms (i.e. chairs, tables etc.) tended to be very plain, more focused on plain whites, browns or yellows. This provided me with the balance I needed and, as such, I went with one couch in brown and the other in yellow.

My final aesthetic concern was to have a theme within the main style. I chose to go with a sort of ‘artists pad’ (for lack of a better term). These little pads, or studios, were very popular amongst artists, musicians, writers and other artisans of the period as a communal place of relaxing, discussing world issues and, mainly, of creating art – whether it was in drawing, painting, music, film or writing. I chose this room to be a music studio of sorts. This accounts for the brick wall surface on the left side and the parquet floor as many different surfaces were usually put together in these creative spaces. Although it overlooks a discotheque, it is in itself much more in line with rock culture of the time. In particular, as I’m a big fan of 70s progressive rock, I thought I’d add touches of this genre to the room’s props. This is where the picture on the wall becomes relative (‘Can’ were a very obscure 1970s krautrock band), the magazine on the table (Showing Peter Gabriel – who, when with Genesis, epitomized everything that was progressive rock in the 1970s) and the Persian rug (many of the 70s bands in all genres would play concerts with the entire stage floor covered in Persian carpets – Led Zeppelin and Yes were the most popular purveyors). These additions made further sense when they adhered to the colour palette I was working within.

Overall, I am fond of the room’s aesthetic. Besides applying the textures, I enjoyed applying certain reflections, glosses, frosts (as on the table) and other texturing effects which give the room a more life-like look.

Texturing Essay

“To make a texture believable, you have to be able to convey to viewers exactly what the surface would feel like if they were to reach out and touch it.”

-          Leigh Van Der Byl, 2004, pg.3

In order to bring a 3D model to life as it were, it needs to have a surface and texture which would make it believable as a real world model. 3D programmes have created a range of dynamic capabilities when it comes to texturing surfaces of 3D objects. In this essay, I will explore 2D and 3D texture mapping techniques in terms of how they are each utilised in 3D software procedures and their comparative differences. I will also highlight the advantages and disadvantages of each of these methods.

I will firstly define and explore 2D texture mapping techniques. Hong Zhang defines 2D texturing as the mapping of a “2D image to the surface of a 3D object.” (2006, pg. 409). This effectively allows for photographic images taken from real world spaces to be projected on any object within a 3D space. The precise mapping of these 2D images onto 3D objects involves a technique called UV mapping. This involves the process of ‘pinning’ points of a 2D image to specified points on the 3D object, depending on how the user wishes the image to be projected. Peter Ratner notes the advantages of UV mapping, saying it “works well for irregular shapes” and “is used for precise placement” (2003, pg. 215).

3D software further provides the user with different methods (presets of sorts) of mapping these image projections depending on the shape of the 3D object to be textured. These are now highlighted and explained:

1.       Planar Projections – These are used on flat surfaces (such as walls and floors) and can be compared to “projecting a slide through a slide projector.” (Ratner, P. 2003, pg216).

2.       Cylindrical Projections – Such projections are used to wrap around a texture, “similar to a bark around a tree trunk” (Ratner, P. 2003, pg216). These projections are useful for objects like poles, sticks etc.

3.       Spherical Projections – These projections ‘roll’ around the object “as if you were wrapping skin around a ball” (Ratner, P. 2003, pg216). Rounded objects like balls, planets and light bulbs use this method.

4.       Cubic Projections – Cubic projections wrap around 6 sided objects. These objects can be anything from a fridge to a CD case.

In addition to these methods, users define upon which axis/axes the projection/s will be implemented. In a 3D space these are the x, y and z axes. The combination of the different projection methods coupled with the ability to use them in any variation of the axes makes for very specific and accurate mapping capabilities.

By contrast, 3D texture mapping does not work on 2D based images. Instead, as Isaac Victor Kerlow defines, 3D texture maps are “solid textures that exist on the surface of an object as well as inside the object” (2000, pg.255). These textures are generated by algorithms performed by the computer and are referred to as “procedural texture maps” (2000, pg.255). Procedural as a term comes from computer science jargon which serves to “distinguish entities that are described by program code rather than by data structures” (Ebert, David S. 2003, pg12).  These mathematical functions performed by the computer render abstract and seemingly random images which then occur throughout 3D object to which they are applied.

 Such a technique is useful for 3D objects which have a recurring, yet random, pattern which pervades the entire object, for example, marble or wood. They also become useful in environment simulation and have indeed been used since the earliest days of 3D. Ebert notes that early 3D practitioners like Schacter and Ahuja used a 3D texture generator known as Fourier synthesis to “generate texture imagery for flight simulators” (2003, pg.11).

Comparatively, each of these techniques (2D texturing versus 3D texturing) has both its advantages and disadvantages.

Let us explore some of the main advantages of 2D texturing. Firstly, 2D textures can be practically anything which is a photograph/painting/drawing/bitmap image and this allows for a very realistic appearance on the 3D object (if mapped effectively). 2D texturing also provides a quicker rendering of the image (even though the image file would generally be larger than a 3D textured one). Also, due to the very specific nature of UV mapping, the user is able to define the exact parts of an object he/she wishes the image to be projected upon. Ratner also notes that 2D texturing is most common in the industry. (2003, pg.215).

On the other hand, there are also notable disadvantages. First and foremost, 2D texturing does not occupy a 3D space but rather requires “specific mapping coordinates in order to be rendered correctly” (Autodesk, 2006, pg.444). This means that if the user were to make a cross-section of an object to which they had applied a 2D image, only the surface would have the texture. Furthermore, 2D images applied to 3D models tend to look much flatter than a 3D generated texture. There is, of course the option of bump mapping which “simulates the appearance of a rough surface”, but even this technique can only provide a simulation of depth (Ratner, P. 2003, pg.221). 2D images also have the problem of becoming more and more pixellated the closer one zooms into them; this is due to the fact that they are fixed images of a fixed resolution. In addition, as Brian Ross notes, there can be problems of stretch marks, seams and tiling (if a small image is applied repeatedly over a large area.) (1998, pg.1).

Turning to 3D texturing, there are also notable advantages and disadvantages.

The first advantage of 3D texturing is that “the procedural representation is extremely compact” (Ebert, David S. 2003, pg.14). While it may take more time for the computer to render out the 3D texture, it is in fact a very small file (usually kilobytes) in comparison with a 2D image (usually in megabytes) (Ebert, David S. 2003, pg.14). Secondly, due to it being based in mathematical formulae, it has no fixed resolution and it will therefore remain fully detailed regardless of how close one zooms in on it. (Ebert, David S. 2003, pg.14). The mathematical formulae provide 3D texturing with the additional advantage of having infinite variations and therefore avoiding any seams or ‘tiling’ effects (Ross, B. 1998, pg.1). Ross further notes that such 3D generated textures have the additional option of being animatable.

In terms of disadvantages, it is noted that to properly generate a 3D texture can be difficult and often requires complex programming. (Ebert, David S. 2003, pg14). In conjunction with this, it is often easier, and more accurate, to use a found image which accurately represents the texture instead of trying to generate it. Furthermore, although 3D texture files are smaller than 2D image files, they often take more time for the computer to evaluate and render out than a 2D image would. Lastly, aliasing and anti-aliasing can be tricky and “is less likely to be taken care of automatically than it is in image-based texturing” (Ebert, David S. 2003, pg.15).

In conclusion, this essay has comparatively defined and analysed the techniques of both 2D and 3D texture mapping. It has looked at how both provide unique tools and approaches to creating believable textured objects, how each technique suits specific texture mapping purposes and finally it has made a comparative list of each method’s advantages and disadvantages.

(1150 words)

Works Cited:

1.      Autodesk. 3DS Max 9 Essentials. Autodesk, Canada. 2006

2.      Ebert, David S. Texturing and Modeling: A Procedural Approach. 3^rd Ed. Morgan Kaufmann Publishers. San Francisco, CA. 2003.

3.      Kerlow, Isaac Victor. The Art of 3D Computer Animation and Imaging. 2^nd Ed. John Wiley & Sons. New York, NY. 2000.

4.      Ratner, Peter. 3D Human Modeling and Animation. 2^nd Ed. John Wiley & Sons. Hoboken, New Jersey. 2003.

5.      Ross, Brian. Texture Mapping. http://www.cosc.brocku.ca/Offerings/3P98/course/lectures/texture/. 1998. Web.

6.      Van Der Byl, Leigh. Lightwave 3D 8 Texturing. Wordware Publishing. Plano, Texas. 2004.

7.      Zhang, Hong. Computer Graphics Using Java 2D and 3D. Pearson Education. New Jersey. 2006.

Introduction to 3D Software - Research Essay_01

3D Animation – Research Essay

Dean Barrett

Due Date: 7 March 2011

Topic: Discuss the different kinds of modelling techniques used in a 3D programme (Polygons, NURBS and Subdivisions) as well as the strengths and weaknesses of these methods.

“Three-dimensional modelling can be compared to sculpting”

-          Peter Ratner, 2004, pg 4.

Modelling in a 3D program presents the user with many different techniques and approaches to creating a model. This essay shall explore the properties and applications of three of these techniques or approaches: using and manipulating polygons, NURBS, and subdivision surfaces. It shall further discuss both the advantages and disadvantages that each of these techniques presents the user.

Let us firstly define and discuss the polygon. As Ratner defines it, “a polygon is a portion of a plane bounded by three or more lines or segments” (Ratner, P. 2004, pg 4). A polygon therefore contains a collection of points to which lines (or edges) connect  in order to form faces (or sides). Faces and points on polygons can then be manipulated in a number of ways to form the shape of what it is the user wishes to create. For example, the face of a polygon can be extruded (or even pulled back) to increase the length of the polygon or to add a certain detail. Points on the polygon edges can be moved, welded together and lengthened amongst many other possibilities. Due to their straight edges, polygons are useful in creating geometric shapes/figures which incorporate angular parts e.g. a table.

The advantages of using polygons are that they are generally very flexible and easy to manipulate. One can rotate them, join/split them, intersect them amongst many other possibilities which allows the user to create complex meshes from single primitives. The main disadvantage of polygons is that, due to their straight and hard edges, they have a very segmented appearance which George Avgerakis describes as looking “boxy and artificial” (Avgerakis,G. 2004, pg233). To overcome this, one can further subdivide these polygons “until the edges [sic] smooth out and disappear” (Avgerakis,G. 2004, pg233). This, however, presents another disadvantage associated with polygons and that is that in creating a more complex mesh to smoothen out one’s polygon shape, the polygon becomes a much more render intensive object which will inevitably take a substantially longer amount of time to fully render.

In order to overcome excessive polygon meshes, one can also make use of splines – and more specifically for this essay – NURBS. A spline, firstly, is defined as a “flexible line segment defined by edit points called vertices” (Ratner, P. 2004, pg 4). NURBS, an abbreviation for Non-uniform rational B-spline, are a type of spline which is “characterised by a set of control vertices (CV’s)” and which makes the creation of smooth surfaces and curves possible (Ratner, P. 2004, pg 4). NURBS are therefore mostly used in the modelling of organic objects (e.g. flowers).

The first advantage of using NURBS is that users can avoid the complex polygon arrangements used to achieve smooth edges and surfaces which allows for a smoother looking object with a lower render time. Tom Meade notes that NURBS use fewer control points which “translates into smaller file sizes” and, due to this, is a more efficient use of one’s computer’s RAM. (Meade, T. 2007, pg134). He also notes that it is easier to map textures onto these surfaces due to the “corresponding coordinate systems” between UV directions on a NURBS and XY coordinates on, say, a Photoshopped bitmap image. (Meade, T. 2007, pg135). Lastly, he notes that NURBS have a very accurate “conversion ability” from a NURBS surface to a polygon surface which also produces a very neat polygon geometry. (Meade, T. 2007, pg136).

The first disadvantage of using NURBS is the occurrence of seams. These occur, as Meade explains, due to the fact that NURBS surfaces are generally made from “multiple individual surfaces” (Meade, T. 2007, pg136). This results in one being able to see the spaces between different NURBS surfaces. These seams may be ‘patched’ together in a variety of ways but, once again, this increases the render time of the object. Another disadvantage is known as branching which refers to “parts of models that extend, or branch off, from the main surface or a group of surfaces” (Meade, T. 2007, pg137). In this scenario, “five-point junctions” become evident which then need to be modified because NURBS surfaces “can only contain a quad layout” (Meade, T. 2007, pg137). Lastly, while Meade also listed it as an advantage, he also notes that texture mapping can be a disadvantage of NURBS too, especially across multiple surfaces due to textures being applied to a variety of uneven surfaces, further complicated by the fact that UVs “cannot be edited separately from the mesh” (Meade, T. 2007, pg137).

Subdivision surface modelling was developed almost as a meeting point for polygons and NURBS. As Peter Ratner defines it, “this method uses a low polygon control mesh that applies a smoothing algorithm to bend the edges of polygons, giving them a curved appearance.” (Ratner, P. 2004, pg 5). Subdivision surfaces are useful for creating organic shapes from single surfaces and polygons.

The advantage, then, of a subdivision surface is that the user can achieve the smoothness of NURBS with the versatility of polygons and still avoid an excessive polygon count. The disadvantages of subdivision surfaces include, according to Dariush Derakhshani, requiring “even more computation than NURBS, and keeping models in subdivisions will cost you a lot of memory.” (Derakhshani, D. 2010, pg110). Due to them existing between polygon surfaces and NURBS surfaces, they are also difficult to apply UV texturing upon.

In conclusion, this essay has defined and discussed three of the modelling techniques dominantly used in 3D software today – polygons, NURBS and subdivision surfaces. It has explored the properties of each of these, their specific applications in modelling as well as looking at the advantages and disadvantages of all three. It has shown that, due to the wide variety of methods available to use when approaching modelling, it is useful to plan and map one’s ideas with regards to the implementation of these techniques in order to achieve the best result with the least amount of strain on the computer and, indeed, with the most efficient working strategy.

(1009 words)

References:

1.      Avgerakis, George. Digital Animation Bible: Creating Professional Animation with 3Ds Max, Lightwave, and Maya. 2004. The McGraw-Hill Companies, Inc. USA.

2.      Derakhshani, Dariush. Introducing Maya 2011. 2010. Wiley Publishing. Indianapolis, Indiana.

3.      Meade, Tom. Maya 8: The Complete Reference. 2007. The McGraw-Hill Companies, Inc. USA.

4.      Ratner, Peter. Mastering 3D Animation. 2004. 2^nd Ed. Allworth Press, New York.

Concrete Concerto - Instrumental I wrote last year

http://soundcloud.com/playfan/concrete-concerto

Howdy all,
I wrote and recorded this little piece on Cubase AI4 mid-last year for a film project called Time in Concrete. My Cubase has a limited library so not all instruments (especially guitars) are of the timbre I want them, but I think musically it worked to the film's brief - very atmospheric,rhythmic but still relatively simple and unobtrusive over the picture.
Anyways, let me know what ya think...