All the same Lynda. Plus, personalized course recommendations tailored just for you. All the same access to your Lynda learning history and certifications. Same instructors. New platform. Now, in Maya, the light is a virtual light, but we still need to understand how to place and control lights in our scene. So, let's go ahead and just go through some of the basic lighting types and how to manipulate them. So, I can create lights in one of two places.
We can do this under the Create Menu. We have a whole menu here for lights and you can see that we have six basic types of light, Ambient, Directional, Point, Spot and so on. These can also be found on our Rendering Shelf. So, the exact same lights are right here. So let's go ahead and create a basic Spot Light. Now, when I do that it creates a light at the origin, you can see it down here, and if I want, I can move that light around.
Now, the icon for this Spot Light is kind of this cone shape, that looks somewhat like a spot light. Now, if we want to actually see what the light looks like in the scene, we want to make sure that our Renderer is set to Viewport 2.
And when we do, it shows us what the light is doing. So, I can take this light and I can move it around just like any light. If I want, I can rotate it or I can move it. Now, when you move a light, it's often best to make sure that you're in Object Space, rather than World Space because World Space aligns to the world, but Object Space gives you a nice Z access here where you can pull the light away and towards the object.
It's a very nice way to manipulate.Click on the links below to read the access the full Help content on Autodesk website. Illuminates by Default. If off, the light only illuminates objects to which it is linked. The Decay Rate setting has no effect at distances less than 1 unit. Check out this post for more information on Constant, Linear and Quadratic light fall-off.
Press T key — Show Manipulator Tool. Your email address will not be published. Light Linking To assign a light to just illuminate a specific objects in a scene. A light with an Intensity value of 0 produces no light. Set it to 0 to make the ambient light act like ambient like.
So keep this in mind when working with ambient light in Maya that you loose the Bump Maps in the area lit by Ambient light. You need to use Mental ray renderer to fix this issue. This shadow obeys the transparency map if you have transparency in your object as oppose to the Depth Map Shadows. To make an object which is not illuminated by a specific light to just cast shadow from that light without being illuminated.
Leave a Reply Cancel reply Your email address will not be published. Close Aa Aa. Decrease Increase. Light Dark Sepia.In this tutorial we will cover how to recreate a simple photographic lighting studio setup that can be used for lighting and rendering all manner of objects.
We will use a combination of Arnold area quad lights and HDR maps for creating realistic specular reflections in the scene. The HDR maps will provide rich specular reflections in the surface of any model that sits in front of it and will add to the photo-realism of the final render. The scene consists of a curved backdrop with a floor plane and one plane on either side with a dark grey Standard Surface shader assigned to both of them.
HDR maps have been used in this tutorial. If you do not want to use file textures, simple box ramp texture maps could be used, however the reflections in your model will not appear as realistic. The high dynamic range of the HDR maps are visible when the lowering Arnold's camera exposure attribute. The light HDR map details are visible when lowering the camera exposure. You can see the full high dynamic range visible within the specular reflections in the scene:.
Alternatively, you can experiment with changing the lights intensity or changing the HSV attributes of the HDR maps to get the effect you want. If you find that the lighting appears a little dark at the front of your object in the studio you could also try adding a reflector plane in front of the camera turn off 'Primary Visibilty' for the plane. Light's file texture 'Color Gain' and 'Exposure' attributes can be modified. Once you have completed this tutorial, why not have a go at converting the scene into a HDR map using the Spherical camera lens.
More information about the spherical camera can be found here. Got questions? Visit the Autodesk forums. Create Account. Sign In. Fake or Foto. Software Trials.Leave a message. Are you a lighting manufacturer?
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Share This Supplier. Claim This Page This page was built and maintained by the team at manufacturer.You can use standard Maya lights when rendering with MtoA. If you select a light and then inspect the Maya A ttribute Editoras well as the regular light attributes, you will also see a new group of Arnold attributes for the light, which is where any additional settings used by Arnold can be accessed.
Decay Arnold does not support constant light decay. Ensure that Light Linking is set to none when instancing lights, otherwise, the instanced light will not render.
As well as honoring the standard Maya light attributes, the Attribute Editor will also show the following attributes under the Arnold group:. The color ranges from red, through to white and then to blue.
Values above K will give a cool color, whilst values below will show a warm color.
Lighting in MaYa – General Information
The image above shows the effect of color temperatures on a scene in kelvin units. A range of color temperature values in kelvin in this case a cylinder light has been used. Note that Use Color Temperature will override the default color for the light.
That includes any textures that are assigned to the color attribute. Increasing the exposure by 1 results in double the amount of light. In Arnold, the total intensity of the light is computed with the following formula:. You can get the same output by modifying either the intensity or the exposure. The reasoning behind this apparent redundancy is that, for some people, f-stops are a much more intuitive way of describing light brightness than raw intensity values, especially when you're directly matching values to a plate.
You may be asked by the director of photography who is used to working with camera f-stop values to increase or decrease a certain light by 'one-stop'. Other than that, this light parameter has nothing to do with a real camera's f-stop control.
Also, working with exposure means you won't have to type in huge values like 10, in the intensity input if your lights have quadratic falloff which they should. Controls the quality of the noise in the soft shadows and direct specular highlight.
The higher the number of samples, the lower the noise, and the longer it takes to render. The exact number of shadow rays sent to the light is the square of this value multiplied by the AA samples. A schematic of how light noise occurs in Arnold.
Lighting in Maya using Arnold
Noise from lights can sometimes be difficult to diagnose, particularly if the light source is broad in comparison to the scene and the shadows have an extremely wide penumbra. In these cases, it can sometimes be mistaken for indirect diffuse noise.Rendering is the process of transferring a view on a 3D scene to a 2D image of that scene, according to the position of the viewer. Typically one would use a camera in a 3D computer model to determine the view. The computer can then calculate the 2D image: rendering.
The picture shows a rendering technique used centuries ago to get the perspective right in 2D sketches. It uses a raster grid to get the positions right when transferring the view to the 2D image. You could compare this to the grid of pixels that is used by modern computer renderings. The 'needle' makes sure they eye is always in the same position moving it, would change the view and thus the image. You could compare it to the camera when rendering a 3D computer model. In the real world, light travels from lights to the objects we see.
It 'bounces' of the surfaces until it finally reaches our eye. Rendering works in a similar way, but not quite in the same way. First of all, basic rendering doesn't calculate all possible reflections bounces of light from all surfaces which would be a nearly infinite number of light bounces.
You'll need advanced render techniques to mimic this light behavior. This is covered in more detail in the Lighting section. Furthermore light isn't traced into the camera, but the render engine determines which objects surfaces are 'in sight' by looking through the camera. The renderer then determines the amount of light that is received by that patch of the surface.
Basics of Lighting
This would typically be the direct light received by that surface. You may see why a renderer works this way: it may take many light paths to be considered to get from the light source, via an object, to the exact position of the camera. Instead it's more efficient to go from the camera to the object and then query the amount of light that gets to that specific patch on the object.
When an image is rendered, this is done in a few basic steps. These are:. This is based on the amount of light this point receives calculated in the first step and the properties of the shader.
These basic steps can be expanded with steps for more advanced rendering techniques such as: reflections, refractions, global- or indirect illumination, caustics, etc. The model used in Maya for lighting is analogue to the 'real world' physical model, but not identical.Types of Lights in Maya Point Lights A point light simulates rays shining out from one infinitely small point in space.
Point lights emit light uniformly in all directions, like a bare light bulb or glowing star in space.
The illumination and shadows aim out away from the light in all directions, as shown in the following figure: A point source emits light evenly in all directions. In real life, you aren't likely to find any light that is uniformly omnidirectional.
Most sources emit more light in some directions than others. If you are adding point lights to your scene to simulate real light bulbs, for example, remember that most real light bulbs have an opaque metal socket that blocks light from one end, and many are mounted in some kind of fixture or shade that limits their directionality.
Even though point lights start out as omnidirectional, you can give them a throw-pattern that is uneven, like a real light bulb, to aim more light in some directions than in other directions. You can do this by applying a texture map to the light, or by grouping the light with 3D objects that will cast shadows.Maya 2016 tutorial : How to setup table lamp lighting
Spot Lights Spot lights are a basic staple of most lighting designs in computer graphics. Spot lights are a popular choice of many artists because they can be controlled conveniently to aim light at a specific target, as shown in the following figure: A spot light can aim light at a specific target.
A spot light simulates light radiating from a point, much like a point light. A spot light, however, limits the illumination to light within a specified cone or beam of light only. The rotation of a spot light can determine where the beam is aimed. You can also link a "target" to the light so that the light is always oriented toward the position of the target.
You can also group a spot light with a 3D object, such as a model flashlight or car headlight assembly, so that the beam of light will be aimed as if the light were radiating from the object. Spot lights are staples of visual effects in your renderings.
A spot light has extra controls and options not found on other types of lights. Options such as projecting an image map from a light, or making a beam of light visible as if shining through fog, are often best controlled with the beam of a spot light.
Other common spot light parameters enable you to control the width of the cone usually specified in degrees to vary between a narrow beam and a broad one. The amount of Dropoff of the cone allows the intensity of the light to diminish more gradually as it approaches the edge of the beam. A softer edge on a spot light's beam will make the light's individual location less obvious and will avoid creating a harsh "circle" of projected light, as shown if the leftmost image here: A spot light cone's softness can be adjusted with the dropoff.
This enables you to more subtly lighten or darken areas with a spot light. With a very soft-edged beam, for example, you can aim a spot light from within a room to brighten the general area around a window and curtains, or aim a spot light with a negative brightness at the corner of a room to darken it.
Because spot lights can be aimed and controlled so conveniently, some artists rely on them to simulate light from almost any source and light most of their scenes entirely with spot lights. Even when a light needs to shine in multiple directions, such as the light from a table lamp, two or more spot lights can be positioned together and aimed in different directions.
Directional Lights A directional light sets a single vector for all its illumination and hits every object from the same angle, no matter where the object is located. All the shadows cast by a directional light are cast in the same direction and are orthogonal projections of each object's shape. It does not matter where a directional light is located relative to the objects being lit. The only thing that matters in placing a directional light is which way it is pointed.