Subtitles of the Movie

With this movie, we continue to take a look at each one of the lights in our three-point lighting system to illustrate the scene. While the scene is not complex in its build, it does have some complex lighting considerations if you go into it that you can carry forward into your scene building. We've got the three-point lights again; the left, right and back or the warm, cool and then skim or rim light, as it were. I have put in a light for bouncing the light that would come off the floor and then I've got a bulb light hiding right there that illuminates this wall and then falls off a little bit. Let's take a look at some of the settings for each one of these individual lights now. Go ahead and select the warm light. This is the one on the left. Here's some things that we haven't worked with before with spotlights. Most of these, except for the point light, are spotlights. No indirect or infinite lights were being used for this. I've adjusted the distance end. What this feature does in the light is that it determines how far from the light; each one of these little square is considered a unit in Poser. At a distance of ten units, the light goes to zero, so it fades off; the further and further away it gets from the light itself until it's no longer there at ten units. If you leave this sitting at zero, it defaults and the light just goes on for infinity. But if you moved it to one, it would fade off in a very, very short distance. So if we look through this camera, let me go ahead and come down to camera view; we'll go to shadow light warm. You can see where I've got this pointing exactly right now. It fades off at ten, which happens to be just about on the other side of the couch, so it's casting some warm light on our subject's face, but not enough to make this part of the couch too, too aggressively warm or the couch part that she's sitting on. Let's come back here to our posing camera. The light right here for the bounce, light, bounce light; let's take a look through that camera. Right down at the bottom. Now, most of this is missing her head. It's coming up and I've got this fading away too at a distance of ten so that it doesn't illuminate the wall too brightly. The other areas right here, the angles start and end. Think of a spotlight as creating a cone of light where the angle starts at the edge of the light, now projecting out, the outside of the cone and this is saying that you want zero percent of the light showing there. And when you come to the inside of it, the inner angle, it's called a penumbra, if you really want to know. You're allowing 70 percent of the light to show. Spotlights aren't as an efficient light as, say infinite light is because it does have this fade off built into it; however, it's more realistic so it's a little bit of a give and take right there. Back in our pose camera. Come over here. Take a look at our cool light, the second light of our three-point lighting system and go ahead and do the camera view, shadow light cool. This one, I've got some funny stuff going on. We can see that it's covering a large portion of the area right here. I haven't adjusted any of the features right here. I have increased the intensity of the light on the interior angle to 90 so that it's brighter. Additionally, down here for the intensity, you'll see this is pushed up all the way to 175. If we take in the render room, we can see even that one reason that you do that is it's a blue light and blue light is just kind of a dark light by definition. So it has to be pushed up a little further. If you watch television or go to movies, you'll notice that night scenes are never actually dark. They're actually extremely well lit with blue lights. People are accustomed to thinking night time blue and it's a visual shortcut for people looking at your scene when you work with it. That was the case here. Now, something else that's going on with this light is the blinds. Where did they come from? Obviously I am not shining any of these through a window right here. Well, let's go over to our material editor with this light selected and you'll see here that I've got an image map plugged right into the light. If you happen to have the full movie set on the DVD, you can go ahead and snag this file and play with it if you want. Just some broken up blinds. I've got some rain streaking the window right here and I made this intentionally fuzzy. One of the reasons is that it becomes very unbelievable when you use this type of things as a gel and it's super crisp and sharp because the shadows on the wall are going to be just as crisp. Come back here and look at our render. It wouldn't look like real light casting real shadows. So that's the reason that that particular mask or gel has been made fuzzy. Back here in our pose room, let's take a look now at this light that's back here. This is the third light in our three-point lighting system, so we go one, two, three. This is our rim light or skim light. Let's go ahead and take a look at that, or I should say let's look through the camera at that. Shadow light, rim. And you'll see I've got this pointing at our subject pretty exclusively right here and take a look at the intensity of this. It's at 200 percent and that could go up higher to help illuminate this side. Sometimes it's not uncommon to push that up to 500 or 600 to get a really crisp definition, especially if the light is further behind the subject matter. Come back to our posing camera. The last light we'll take a look at right here is this little point light that I didn't, you know, we don't need to look through the camera for that one. But the settings I have for it as just the same as the spotlights. This is fading out fairly quickly. As a matter of fact, over the course of ten I want the intensity of this light, or ten squares, I want the intensity of this light to drop to zero. If I didn't do that, it would be evenly lighting this wall from right here over to right here. I don't want that. That doesn't look real. Let's come back and take a look at the render again. I want the warmth of the light kind of contained over here on the left side of the image. Then as it moves across to the right, I want it to be taken over by the blinds casting the light in through what must be a window at night. So that fade off becomes very important, creating some believable type of scenery. The last thing we'll take a look at is composition and how you use your lighting. Usually there needs to be a pre-planned light and dark area. The darkest area I wanted right up here by our subject matter and the lightest area is right behind our subject, forcing the eyes to take a look. These blinds add some nice drama to it angular wise and we've got a one, two, three in our scenery; a foreground, a midground and a background to take a look at. Those are some standard tricks when working with good compositions.