Introduction |
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xi | |
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Chapter 1 The Importance of Light and Lighting |
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1 | (14) |
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2 | (1) |
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Information Communicated by Light |
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2 | (4) |
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2 | (1) |
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Light Sources and Location |
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3 | (1) |
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4 | (1) |
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4 | (1) |
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5 | (1) |
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Scientific Underpinnings of Light |
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6 | (3) |
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Wavelength, Color, and Temperature |
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6 | (1) |
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Reflection, Transmission, and Absorption |
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7 | (2) |
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9 | (6) |
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9 | (1) |
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10 | (1) |
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Replication of Real World Locations |
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11 | (1) |
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11 | (4) |
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Chapter 2 The History of Lighting in the Arts |
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15 | (26) |
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Review of Light Categories |
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16 | (1) |
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16 | (1) |
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16 | (3) |
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19 | (3) |
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22 | (1) |
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2-Point Lighting in Portraiture |
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23 | (8) |
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23 | (2) |
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25 | (1) |
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25 | (1) |
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26 | (1) |
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27 | (1) |
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High- and Low-key Lighting |
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27 | (2) |
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Sidebar: Hard and Soft Lighting |
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29 | (2) |
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31 | (2) |
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3-Point Lighting with a Background Light |
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33 | (1) |
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Other Limited Light Variations |
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34 | (2) |
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36 | (3) |
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39 | (1) |
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Sidebar: A Note on Video Games and Stop Motion Animation |
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39 | (2) |
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41 | (30) |
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3D Lighting Pipelines and Workflow |
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42 | (8) |
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Collecting Light Information |
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42 | (2) |
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Lighting Determination Examples |
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44 | (2) |
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46 | (2) |
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48 | (1) |
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Sidebar: Working with Color Calibration |
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49 | (1) |
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50 | (21) |
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50 | (1) |
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50 | (1) |
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51 | (1) |
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52 | (1) |
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52 | (1) |
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52 | (1) |
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Sidebar: Using Light Decay |
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53 | (1) |
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Common 3D Light Properties |
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54 | (2) |
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Shadow Variations Among Lights |
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56 | (2) |
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58 | (1) |
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Specialized 3D Light Types |
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59 | (1) |
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59 | (1) |
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60 | (1) |
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60 | (1) |
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61 | (1) |
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61 | (1) |
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61 | (1) |
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3D Light Interaction with Shaders |
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62 | (3) |
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65 | (4) |
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Sidebar: Texture Overview |
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69 | (2) |
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Chapter 4 Emulating Specific Light Sources |
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71 | (24) |
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Emulating Natural Light Sources |
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72 | (9) |
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Sidebar: Source Models and Textures |
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72 | (1) |
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72 | (2) |
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74 | (2) |
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76 | (1) |
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76 | (2) |
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78 | (3) |
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Emulating Artificial Light Sources |
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81 | (7) |
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81 | (3) |
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Sidebar: Selective Shadow Casting |
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84 | (1) |
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84 | (2) |
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86 | (2) |
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Lighting a Character with Different Light Sources |
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88 | (5) |
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Sidebar: Light and Shadow Linking |
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93 | (2) |
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Chapter 5 Working with PBR Systems |
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95 | (18) |
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96 | (1) |
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Review of Common Rendering Systems |
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96 | (2) |
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96 | (1) |
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97 | (1) |
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98 | (2) |
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Review of Common PBR Systems |
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100 | (8) |
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100 | (1) |
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100 | (2) |
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102 | (1) |
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102 | (1) |
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103 | (1) |
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103 | (1) |
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Path Tracing / Monte Carlo Ray Tracing |
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103 | (3) |
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106 | (1) |
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107 | (1) |
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Sidebar: Overview of Advanced 3D Renderers |
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108 | (1) |
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Sidebar: Unbiased vs. Biased Rendering |
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109 | (1) |
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An Introduction to Render Passes / AOVs |
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109 | (2) |
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Sidebar: Lighting Render Passes |
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111 | (2) |
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Chapter 6 Reproducing Locations and Lighting Characters |
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113 | (20) |
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Lighting Locations and Characters |
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116 | (1) |
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Reproducing Lighting at Specific Locations |
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116 | (9) |
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Location #1 Elevator Landing |
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114 | (6) |
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120 | (2) |
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122 | (3) |
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Designing Character Lighting |
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125 | (4) |
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Sidebar: Character Lighting Pitfalls |
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129 | (2) |
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Sidebar: Measuring Light in Stops |
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131 | (2) |
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Chapter 7 Designing Stylistic Lighting |
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133 | (14) |
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134 | (2) |
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134 | (1) |
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Creating a Tribute to Other Art Forms |
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134 | (4) |
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Creating a Visually Unconventional Look |
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138 | (2) |
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Establishing a Parallel World or Timeline |
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140 | |
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136 | (9) |
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Sidebar: Motion Blur and Other Post-Process Effects |
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145 | (2) |
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Case Study 1 Copying a Renaissance Still Life |
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147 | (20) |
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Using Autodesk Maya with the V-Ray Renderer |
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148 | (1) |
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Sidebar: Reloading Missing Texture Bitmaps |
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148 | (2) |
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Sidebar: Gamma-Corrected Views |
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150 | (6) |
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Switching to the Arnold Renderer |
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156 | (3) |
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Creating a Window Reflection |
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159 | (3) |
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Adjusting the Render Quality |
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162 | (2) |
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Sidebar: Determining Values |
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164 | (3) |
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Case Study 2 Lighting a Complex Night Interior |
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167 | (18) |
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Using Autodesk Maya with the Maya Software Renderer |
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168 | (9) |
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Switching to the V-Ray Renderer and Adding Fog |
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177 | (8) |
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Case Study 3 Lighting an Animated Animal Character |
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185 | (14) |
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Using Autodesk Maya with the Maya Software Renderer |
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186 | (7) |
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Switching to the Arnold Renderer and Adding a Sky Shader |
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193 | (4) |
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Sidebar: Creating Skies in 3D |
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197 | (2) |
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Epilogue: The Future of 3D Lighting |
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199 | (4) |
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Appendix: Visual Lighting Glossary |
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203 | (12) |
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203 | (1) |
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203 | (1) |
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203 | (1) |
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204 | (1) |
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204 | (1) |
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204 | (1) |
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204 | (1) |
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204 | (1) |
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204 | (1) |
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205 | (1) |
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205 | (1) |
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205 | (1) |
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205 | (1) |
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205 | (1) |
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206 | (1) |
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206 | (1) |
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206 | (1) |
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206 | (1) |
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206 | (1) |
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207 | (1) |
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207 | (1) |
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207 | (1) |
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207 | (1) |
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207 | (1) |
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IBL (Image-based Lighting) |
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208 | (1) |
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208 | (1) |
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208 | (1) |
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208 | (1) |
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208 | (1) |
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208 | (1) |
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209 | (1) |
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209 | (1) |
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209 | (1) |
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209 | (1) |
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PBR (Physically-Based Rendering) |
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209 | (1) |
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209 | (1) |
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209 | (1) |
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209 | (1) |
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210 | (1) |
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210 | (1) |
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210 | (1) |
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210 | (1) |
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210 | (1) |
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210 | (1) |
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211 | (1) |
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211 | (1) |
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211 | (1) |
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Secondary Diffuse Illumination |
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211 | (1) |
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211 | (1) |
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211 | (1) |
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211 | (1) |
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211 | (2) |
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213 | (1) |
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213 | (1) |
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213 | (1) |
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213 | (1) |
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214 | (1) |
Appendix: Common Question Index |
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215 | (4) |
Index |
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219 | |