11 lighting

Uploaded by SourceFilmMaker on 27.06.2012

So now let's talk about lighting and Final Picture.
Let's start by creating some custom lighting for a shot.
By default, the SFM is using the same lighting as the game, which uses a combination of spotlights and environment cubes to fake radiosity.
However, since we know where the camera is, we can sweeten up the lighting a bit by adding additional spotlights.
You can add as many lights as you want into each shot, but we only allow 8 of them to cast shadows.
So let's add a new light to this pyro shot. Select the shot and enter the Motion Editor by hitting Tab.
Go the plus button and choose "Create Animation Set For New Light."
Now we have a new light that is looking down the active camera.
Let's move it into a new location. Select it.
Just as before, hit Alt+V to bring the manipulator to the center of the screen.
Drag the pivot handle and hold down the Shift key to slide the manipulator along the world.
Let's place the manipulator for our light on the wheelbarrow.
Next, click and drag upwards on the bottom of the free rotate handle. Notice that the light is now shining down on our scene.
You can also place the lights using the view manipulator. Drag the animation set for a light onto the secondary viewport.
The viewport is now set up to act as a manipulator for the light.
Notice that that active camera toggle button now says "light1" instead of "work camera" or the active camera.
Click and drag in the viewport and you can see that the light is moving around in the scene.
If you rotate the manipulator, you can see that the viewport is also updating. The field of view on the camera will adjust the FOV on the light.
If we mouse-wheel while manipulating the camera, you can see that the horizontal FOV slider is updating,
which means that you can also drag the slider, and you can see that the FOV is updating in the view.
In the primary viewport, let's place the pivot on the ground by dragging the pivot handle and holding down the Shift key.
Next, switch to the rotate tool. It looks like that's the local rotation axis of the light,
so let's switch the rotate manipulator to be in world-space by holding down the Shift key and clicking on the rotate tool again.
Note that the rotation axes are now aligned to the world.
Click and drag on the blue rotate handle and spin the light around in the scene.
Maybe rotate it down in screen space so it looks like it's a rocket explosion happening on the left side of the screen.
It's looking a little bit bright, so let's drag the intensity slider down a bit.
Now let's drag the green and blue sliders down to give it kind of an orange tint.
All right, that looks all right.
Let's make the light volumetric. Right-click on the light's animation set and choose "Enable Volumetrics."
Now look for the volumetric intensity slider and drag it up. All right, let's tweak the light a little bit more.
Maybe drag the farZattenuation a little bit down so the light doesn't actually reach that back wall.
OK. Now we're ready to animate the intensity of the light.
Let's go ahead and drag the intensity slider to zero, and we'll turn it back on with a partial time selection.
So let's select the region of time where we want the explosion to happen.
Hold down Shift to preview, and then drag out a region of time to be our fade-in falloff.
Without letting go of the Shift key, drag out a second region of time, and this will automatically create a fade-out falloff.
That looks all right.
Let's drag the intensity slider up, and preview.
Let's jitter the light intensity a little.
Open up the light's animation set and select just the intensity slider.
Now drag the jitter preset.
OK, let's show you another way to create a light. We found that we were constantly making a key, a rim, a fill, and a bounce light,
so we wrote a little rigging script that makes a light kit using a selected transform and the active camera.
So go ahead and hit Tab, and let's scrub over to the scout's close-up shot.
Select the shot and hit Tab. Hit Ctrl+A to select all of time.
Before we create the light kit, it's a good idea to turn down the exposure on the camera a little bit.
Select the camera and drag the slider called "toneMapScale" down a little. This will darken the scene.
Next, Ctrl-select the scout's head in the viewport.
In the Animation Set Editor, right-click on the selected joint and look for the "Dag Utilities Menu".
These are Python scripts that we wrote for doing handy operations. You should see one that says "Create Lights."
Notice that this creates four lights, and the lightkit control group.
Select the lightkit and rotate it relative to screen until you get something that you like.
You can also go and refine each of the lights from here if you need to.
That looks all right.
Bear in mind that we created this light at the location of the playhead, so if we preview,
you can see that the scout is just running right through the lighting.
So let's lock the lightkit to his head.
Open up the lightkit and drag bip_head onto its transform, and then apply the playhead preset.
OK, that looks all right.
I have to sneeze.
Next, let's add some film grain.
Hit Tab to return to the Clip Editor and right-click in the overlay effect track.
Choose "Add Clip to Track" and select the "Material Overlay Effect."
This allows you to put images or animated textures over the viewport.
You can see that created a clip, so let's zoom out and make this clip last for the entire sequence.
If you want to make a graphic for a title card, you can make a short overlay clip,
but usually you want the grain to happen over the entire movie.
Right-click on the clip, and choose "Show in Element Viewer".
This is an editor we've been been trying to keep away from you until you knew a little bit more about the system.
This might look like an outliner, but it's not.
The Element Viewer has very few safeguards in it and will allow you to hack the running memory of the SFM session.
If you are a person who likes to tweak knobs to find out what they do, be very careful in here.
You can corrupt your scene into an unrecoverable state if you don't know what you're doing.
Now that I've told you all that, go ahead and click in the text field where it says "Name" and rename the clip to be called "grain."
Notice that the clip in the timeline updates immediately to be called "grain" as well.
Next, click on the button next to the material.
This brings up a list of all the materials from TF. Type "grain" into the filter.
Choose pgrain.vmt. This is an animated texture that we like using for our grain. Click Open.
Now let's adjust the opacity of the grain by clicking on the overlaycolor in the Element Viewer.
This brings up the color picker. Let's drag the alpha opacity down to about 20%.
You can see that the grain is updating as we drag.
That looks OK.
Let's dock the Element Viewer next to the Animation Set Editor.
Drag on the tab and you can see that it attaches to the window.
Next, let's add a vignette clip. We could just add it the same way we added the grain,
but this time, let's just copy and paste the grain clip, and redefine it.
Hit the Home key and go to the start of the sequence.
Select the grain clip in the timeline, and hit Ctrl+C to copy and Ctrl+V to paste.
You should see that we have two clips.
Drag one of them into the Element Viewer and rename it to "vignette", and click on the browse button.
Type "vig" in the filter and select "vignette_01".
Now let's adjust the opacity of the overlay color to be about 90%.
Okay, you can see that it's getting darker around the edges.
Now let's add some color correction. Right-click in the effects track group and select "Add Clip to Track."
This time, choose "Color Correction Effect."
Drag the new clip into the Element Viewer and rename it to "cc" or "colorCorrection", whatever you want.
Next to the filename field, click on the browse button.
Click the up button until you are in the game folder.
Now let's browse down into "tf_movies", "materials", and "correction".
This is where we keep all the color corrections we use most often.
I'll teach you how to make custom ones later. For now, let's choose the color correction "fluorescent."
Now you can see that scene has a bluish-green tint to it.
Let's adjust the intensity of the color correction by setting its weight to about .75.
Let's drag out the duration of the color correction clip so it covers the whole sequence, and review our work.
Okay, that looks all right. Let's go ahead and save our scene and export our movie.