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Aesthetic 3D Lighting Elektronische Ressource History, Theory, and Application

By: Material type: TextTextPublisher: Milton Taylor & Francis Group 2018Description: 1 Online-Ressource (239 pages)Content type:
  • Text
Media type:
  • Computermedien
Carrier type:
  • Online-Ressource
ISBN:
  • 9781138737570 (print)
  • 1138737577 (print)
Online resources: Other related works: Print version: Aesthetic 3D Lighting : History, Theory, and ApplicationSummary: Cover -- Half Title -- Title Page -- Copyright Page -- Table of Contents -- Introduction -- Chapter 1: The Importance of Light and Lighting -- Light and Lighting -- Information Communicated by Light -- Time of Day -- Light Sources and Location -- Mood -- Sidebar: Point-of-Views -- Sidebar: Light Shadowing -- Scientific Underpinnings of Light -- Wavelength, Color, and Temperature -- Reflection, Transmission, and Absorption -- Goals of Lighting -- Story Communication -- Visual Clarity -- Replication of Real World Locations -- Aesthetic Stylization -- Chapter 2: The History of Lighting in the Arts -- Review of Light Categories -- Review of Point Lighting -- 0-Point Lighting -- 1-Point Lighting -- 2-Point Lighting -- 2-Point Lighting in Portraiture -- Rembrandt Lighting -- Loop Lighting -- Split Lighting -- Butterfly Lighting -- Broad and Short Lighting -- High- and Low-key Lighting -- Sidebar: Hard and Soft Lighting -- 3-Point Lighting -- 3-Point Lighting with a Background Light -- Other Limited Light Variations -- Naturalistic Lighting -- Stylistic Lighting -- Sidebar: A Note on Video Games and Stop Motion Animation -- Chapter 3: Lighting in 3D -- 3D Lighting Pipelines and Workflow -- Collecting Light Information -- Lighting Determination Examples -- 3D Lighting Steps -- Testing 3D Lighting -- Sidebar: Working with Color Calibration -- Working with 3D Lights -- Common 3D Light Types -- Spot Light -- Point Light -- Directional Light -- Ambient Light -- Area Light -- Sidebar: Using Light Decay -- Common 3D Light Properties -- Shadow Variations Among Lights -- Shadow Approaches -- Specialized 3D Light Types -- Mesh -- Cylindrical -- Environment -- Photometric -- Volume -- Renderer Variations -- 3D Light Interaction with Shaders -- Common Shader Properties -- Sidebar: Texture Overview -- Chapter 4: Emulating Specific Light SourcesSummary: Emulating Natural Light Sources -- Sidebar: Source Models and Textures -- Mid-day Sun -- Sidebar: PBR Options -- Sunset -- Candle Flame -- Diffuse Window Light -- Emulating Artificial Light Sources -- Table Lamp -- Sidebar: Selective Shadow Casting -- Neon Sign -- Christmas Lights -- Lighting a Character with Different Light Sources -- Sidebar: Light and Shadow Linking -- Chapter 5: Working with PBR Systems -- Choosing PBR -- Review of Common Rendering Systems -- Scanline -- Ray Tracing -- Overview of PBR Systems -- Review of Common PBR Systems -- GI -- Photon Mapping -- Final Gather -- Radiosity -- Point Cloud -- Irradiance Cache -- Path Tracing / Monte Carlo Ray Tracing -- IBL -- Sky Systems -- Sidebar: Overview of Advanced 3D Renderers -- Sidebar: Unbiased vs. Biased Rendering -- An Introduction to Render Passes / AOVs -- Sidebar: Lighting Render Passes -- Chapter 6: Reproducing Locations and Lighting Characters -- Lighting Locations and Characters -- Reproducing Lighting at Specific Locations -- Location #1: Elevator Landing -- Location #2: Bus Interior -- Location #3: Outer Space -- Designing Character Lighting -- Sidebar: Character Lighting Pitfalls -- Sidebar: Measuring Light in Stops -- Chapter 7 : Designing Stylistic Lighting -- Stylistic Planning -- Generating a Mood -- Creating a Tribute to Other Art Forms -- Creating a Visually Unconventional Look -- Establishing a Parallel World or Timeline -- Stylized 3D Examples -- Sidebar: Motion Blur and Other Post-Process Effects -- Case Study 1: Copying a Renaissance Still Life -- Using Autodesk Maya with the V-Ray Renderer -- Sidebar: Reloading Missing Texture Bitmaps -- Sidebar: Gamma-Corrected Views -- Switching to the Arnold Renderer -- Creating a Window Reflection -- Adjusting the Render Quality -- Sidebar: Determining Values -- Case Study 2: Lighting a Complex Night InteriorSummary: Using Autodesk Maya with the Maya Software Renderer -- Switching to the V-Ray Renderer and Adding Fog -- Case Study 3: Lighting an Animated Animal Character -- Using Autodesk Maya with the Maya Software Renderer -- Switching to the Arnold Renderer and Adding a Sky Shader -- Sidebar: Creating Skies in 3D -- Epilogue: The Future of 3D Lighting -- Appendix: Visual Lighting Glossary -- 0-Point Lighting -- 1-Point Lighting -- 2-Point Lighting -- 3-Point Lighting -- Ambient Light -- Area Light -- Back Light -- Background Light -- Bounced Light -- Color Bleed -- Color Temperature -- Butterfly Lighting -- Depth Map Shadow -- Diffuse -- Directional Light -- Environment Light -- Eye Light -- Fill Light -- Final Gather (GI) -- Fresnel Reflection -- Glamour Lighting -- Hair Light -- Hard Lighting -- High-key -- IBL (Image-based Lighting) -- Key Light -- Kicker (Light) -- Lighting Ratio -- Light Ray -- Loop Lighting -- Low-key -- Mesh Light -- Naturalistic Lighting -- Path Tracing (GI) -- PBR (Physically-Based Rendering) -- Photometric Light -- Photon -- Photon Mapping (GI) -- Point Light -- Radiosity (GI) -- Ray Tracing -- Ray Trace Shadow -- Refraction -- Rembrandt Lighting -- Renderer -- Rim Light -- Shader (Material) -- Secondary Diffuse Illumination -- Silhouette Lighting -- Sky System -- Soft Lighting -- Specularity -- Split Lighting -- Spot Light -- Stylistic Lighting -- Utility Light -- Volume Light -- Appendix: Common Question Index -- Index
Holdings
Item type Current library Call number Status Date due Barcode
Standard Loan Clonmel Library 777.52 LAN (Browse shelf(Opens below)) Checked out 24/02/2022 39002100636084

Enhanced descriptions from Syndetics:

Aesthetic 3D Lighting: History, Theory, and Application delves into the history, the theory, and the practical and aesthetic application of lighting in the fine arts and 3D animation.

In this book, animation industry veteran and lighting expert Lee Lanier examines the importance of lighting and its ability to communicate information to the viewer. Lee examines the history of lighting as applied to the fine arts, film, photography, and 3D animation. He discusses the use of light color, light location and direction, and light shadow types to recreate specific locations and to generate moods. He includes guides for successful lighting in 3D animation. Software-agnostic examples lead you through useful 3D lighting set-ups. Chapter-long case studies step you through more complex 3D lighting projects in Autodesk Maya.

An accompanying eResource (www.routledge.com/9781138737570) features 3D model files, scene files, and texture bitmaps, allowing you to practice the discussed techniques in Autodesk Maya and many other 3D programs.

The lighting techniques covered in this book include:

History of lighting as used in the fine arts The scientific mechanisms of light Light types and light application in 3D programs Light qualities including shadows variations Basic and advanced 3D lighting approaches 1-, 2-, 3-point, naturalistic, and stylistic lighting techniques Replication of real-world lighting scenarios and locations Overview of advanced 3D lighting and rendering systems

Cover -- Half Title -- Title Page -- Copyright Page -- Table of Contents -- Introduction -- Chapter 1: The Importance of Light and Lighting -- Light and Lighting -- Information Communicated by Light -- Time of Day -- Light Sources and Location -- Mood -- Sidebar: Point-of-Views -- Sidebar: Light Shadowing -- Scientific Underpinnings of Light -- Wavelength, Color, and Temperature -- Reflection, Transmission, and Absorption -- Goals of Lighting -- Story Communication -- Visual Clarity -- Replication of Real World Locations -- Aesthetic Stylization -- Chapter 2: The History of Lighting in the Arts -- Review of Light Categories -- Review of Point Lighting -- 0-Point Lighting -- 1-Point Lighting -- 2-Point Lighting -- 2-Point Lighting in Portraiture -- Rembrandt Lighting -- Loop Lighting -- Split Lighting -- Butterfly Lighting -- Broad and Short Lighting -- High- and Low-key Lighting -- Sidebar: Hard and Soft Lighting -- 3-Point Lighting -- 3-Point Lighting with a Background Light -- Other Limited Light Variations -- Naturalistic Lighting -- Stylistic Lighting -- Sidebar: A Note on Video Games and Stop Motion Animation -- Chapter 3: Lighting in 3D -- 3D Lighting Pipelines and Workflow -- Collecting Light Information -- Lighting Determination Examples -- 3D Lighting Steps -- Testing 3D Lighting -- Sidebar: Working with Color Calibration -- Working with 3D Lights -- Common 3D Light Types -- Spot Light -- Point Light -- Directional Light -- Ambient Light -- Area Light -- Sidebar: Using Light Decay -- Common 3D Light Properties -- Shadow Variations Among Lights -- Shadow Approaches -- Specialized 3D Light Types -- Mesh -- Cylindrical -- Environment -- Photometric -- Volume -- Renderer Variations -- 3D Light Interaction with Shaders -- Common Shader Properties -- Sidebar: Texture Overview -- Chapter 4: Emulating Specific Light Sources

Emulating Natural Light Sources -- Sidebar: Source Models and Textures -- Mid-day Sun -- Sidebar: PBR Options -- Sunset -- Candle Flame -- Diffuse Window Light -- Emulating Artificial Light Sources -- Table Lamp -- Sidebar: Selective Shadow Casting -- Neon Sign -- Christmas Lights -- Lighting a Character with Different Light Sources -- Sidebar: Light and Shadow Linking -- Chapter 5: Working with PBR Systems -- Choosing PBR -- Review of Common Rendering Systems -- Scanline -- Ray Tracing -- Overview of PBR Systems -- Review of Common PBR Systems -- GI -- Photon Mapping -- Final Gather -- Radiosity -- Point Cloud -- Irradiance Cache -- Path Tracing / Monte Carlo Ray Tracing -- IBL -- Sky Systems -- Sidebar: Overview of Advanced 3D Renderers -- Sidebar: Unbiased vs. Biased Rendering -- An Introduction to Render Passes / AOVs -- Sidebar: Lighting Render Passes -- Chapter 6: Reproducing Locations and Lighting Characters -- Lighting Locations and Characters -- Reproducing Lighting at Specific Locations -- Location #1: Elevator Landing -- Location #2: Bus Interior -- Location #3: Outer Space -- Designing Character Lighting -- Sidebar: Character Lighting Pitfalls -- Sidebar: Measuring Light in Stops -- Chapter 7 : Designing Stylistic Lighting -- Stylistic Planning -- Generating a Mood -- Creating a Tribute to Other Art Forms -- Creating a Visually Unconventional Look -- Establishing a Parallel World or Timeline -- Stylized 3D Examples -- Sidebar: Motion Blur and Other Post-Process Effects -- Case Study 1: Copying a Renaissance Still Life -- Using Autodesk Maya with the V-Ray Renderer -- Sidebar: Reloading Missing Texture Bitmaps -- Sidebar: Gamma-Corrected Views -- Switching to the Arnold Renderer -- Creating a Window Reflection -- Adjusting the Render Quality -- Sidebar: Determining Values -- Case Study 2: Lighting a Complex Night Interior

Using Autodesk Maya with the Maya Software Renderer -- Switching to the V-Ray Renderer and Adding Fog -- Case Study 3: Lighting an Animated Animal Character -- Using Autodesk Maya with the Maya Software Renderer -- Switching to the Arnold Renderer and Adding a Sky Shader -- Sidebar: Creating Skies in 3D -- Epilogue: The Future of 3D Lighting -- Appendix: Visual Lighting Glossary -- 0-Point Lighting -- 1-Point Lighting -- 2-Point Lighting -- 3-Point Lighting -- Ambient Light -- Area Light -- Back Light -- Background Light -- Bounced Light -- Color Bleed -- Color Temperature -- Butterfly Lighting -- Depth Map Shadow -- Diffuse -- Directional Light -- Environment Light -- Eye Light -- Fill Light -- Final Gather (GI) -- Fresnel Reflection -- Glamour Lighting -- Hair Light -- Hard Lighting -- High-key -- IBL (Image-based Lighting) -- Key Light -- Kicker (Light) -- Lighting Ratio -- Light Ray -- Loop Lighting -- Low-key -- Mesh Light -- Naturalistic Lighting -- Path Tracing (GI) -- PBR (Physically-Based Rendering) -- Photometric Light -- Photon -- Photon Mapping (GI) -- Point Light -- Radiosity (GI) -- Ray Tracing -- Ray Trace Shadow -- Refraction -- Rembrandt Lighting -- Renderer -- Rim Light -- Shader (Material) -- Secondary Diffuse Illumination -- Silhouette Lighting -- Sky System -- Soft Lighting -- Specularity -- Split Lighting -- Spot Light -- Stylistic Lighting -- Utility Light -- Volume Light -- Appendix: Common Question Index -- Index

Table of contents provided by Syndetics

  • Introduction (p. xi)
  • Chapter 1 The Importance of Light and Lighting
  • Light and Lighting (p. 2)
  • Information Communicated by Light (p. 2)
  • Time of Day (p. 2)
  • Light Sources and Location (p. 3)
  • Mood (p. 4)
  • Sidebar: Point-of-Views
  • Sidebar: Light Shadowing
  • Scientific Underpinnings of Light (p. 6)
  • Wavelength, Color, and Temperature (p. 6)
  • Reflection, Transmission, and Absorption (p. 7)
  • Goals of Lighting (p. 9)
  • Story Communication (p. 9)
  • Visual Clarity (p. 10)
  • Replication of Real World Locations (p. 11)
  • Aesthetic Stylization (p. 11)
  • Chapter 2 The History of Lighting in the Arts (p. 15)
  • Review of Light Categories (p. 16)
  • Review of Point Lighting (p. 16)
  • 0-Point Lighting (p. 16)
  • 1-Point Lighting (p. 19)
  • 2-Point Lighting (p. 22)
  • 2-Point Lighting in Portraiture (p. 23)
  • Rembrandt Lighting (p. 23)
  • Loop Lighting (p. 25)
  • Split Lighting (p. 25)
  • Butterfly Lighting (p. 26)
  • Broad and Short Lighting (p. 27)
  • High- and Low-key Lighting (p. 27)
  • Sidebar: Hard and Soft Lighting (p. 29)
  • 3-Point Lighting (p. 31)
  • 3-Point Lighting with a Background Light (p. 33)
  • Other Limited Light Variations (p. 34)
  • Naturalistic Lighting (p. 36)
  • Stylistic Lighting (p. 39)
  • Sidebar: A Note on Video Games and Stop Motion Animation (p. 39)
  • Chapter 3 Lighting in 3D (p. 41)
  • 3D Lighting Pipelines and Workflow (p. 42)
  • Collecting Light Information (p. 42)
  • Lighting Determination Examples (p. 44)
  • 3D Lighting Steps (p. 46)
  • Testing 3D Lighting (p. 48)
  • Sidebar: Working with Color Calibration (p. 49)
  • Working with 3D Lights (p. 50)
  • Common 3D Light Types (p. 50)
  • Spot Light (p. 50)
  • Point Light (p. 51)
  • Directional Light (p. 52)
  • Ambient Light (p. 52)
  • Area Light (p. 52)
  • Sidebar: Using Light Decay (p. 53)
  • Common 3D Light Properties (p. 54)
  • Shadow Variations Among Lights (p. 56)
  • Shadow Approaches (p. 58)
  • Specialized 3D Light Types (p. 59)
  • Mesh (p. 59)
  • Cylindrical (p. 60)
  • Environment (p. 60)
  • Photometric (p. 61)
  • Volume (p. 61)
  • Renderer Variations (p. 61)
  • 3D Light Interaction with Shaders (p. 62)
  • Common Shader Properties (p. 65)
  • Sidebar: Texture Overview (p. 69)
  • Chapter 4 Emulating Specific Light Sources (p. 71)
  • Emulating Natural Light Sources (p. 72)
  • Sidebar: Source Models and Textures (p. 72)
  • Mid-day Sun (p. 72)
  • Sidebar: PBR Options (p. 74)
  • Sunset (p. 76)
  • Candle Flame (p. 76)
  • Diffuse Window Light (p. 78)
  • Emulating Artificial Light Sources (p. 81)
  • Table Lamp (p. 81)
  • Sidebar: Selective Shadow Casting (p. 84)
  • Neon Sign (p. 84)
  • Christmas Lights (p. 86)
  • Lighting a Character with Different Light Sources (p. 88)
  • Sidebar: Light and Shadow Linking (p. 93)
  • Chapter 5 Working with PBR Systems (p. 95)
  • Choosing PBR (p. 96)
  • Review of Common Rendering Systems (p. 96)
  • Scanline (p. 96)
  • Ray Tracing (p. 97)
  • Overview of PBR Systems (p. 98)
  • Review of Common PBR Systems (p. 100)
  • GI (p. 100)
  • Photon Mapping (p. 100)
  • Final Gather (p. 102)
  • Radiosity (p. 102)
  • Point Cloud (p. 103)
  • Irradiance Cache (p. 103)
  • Path Tracing / Monte Carlo Ray Tracing (p. 103)
  • IBL (p. 106)
  • Sky Systems (p. 107)
  • Sidebar: Overview of Advanced 3D Renderers (p. 108)
  • Sidebar: Unbiased vs. Biased Rendering (p. 109)
  • An Introduction to Render Passes / AOVs (p. 109)
  • Sidebar: Lighting Render Passes (p. 111)
  • Chapter 6 Reproducing Locations and Lighting Characters (p. 113)
  • Lighting Locations and Characters (p. 116)
  • Reproducing Lighting at Specific Locations (p. 116)
  • Location #1: Elevator Landing (p. 114)
  • Location #2: Bus Interior (p. 120)
  • Location #3: Outer Space (p. 122)
  • Designing Character Lighting (p. 125)
  • Sidebar: Character Lighting Pitfalls (p. 129)
  • Sidebar: Measuring Light in Stops (p. 131)
  • Chapter 7 Designing Stylistic Lighting (p. 133)
  • Stylistic Planning (p. 134)
  • Generating a Mood (p. 134)
  • Creating a Tribute to Other Art Forms (p. 134)
  • Creating a Visually Unconventional Look (p. 138)
  • Establishing a Parallel World or Timeline (p. 140)
  • Stylized 3D Examples (p. 136)
  • Sidebar: Motion Blur and Other Post-Process Effects (p. 145)
  • Case Study 1 Copying a Renaissance Still Life (p. 147)
  • Using Autodesk Maya with the V-Ray Renderer (p. 148)
  • Sidebar: Reloading Missing Texture Bitmaps (p. 148)
  • Sidebar: Gamma-Corrected Views (p. 150)
  • Switching to the Arnold Renderer (p. 156)
  • Creating a Window Reflection (p. 159)
  • Adjusting the Render Quality (p. 162)
  • Sidebar: Determining Values (p. 164)
  • Case Study 2 Lighting a Complex Night Interior (p. 167)
  • Using Autodesk Maya with the Maya Software Renderer (p. 168)
  • Switching to the V-Ray Renderer and Adding Fog (p. 177)
  • Case Study 3 Lighting an Animated Animal Character (p. 185)
  • Using Autodesk Maya with the Maya Software Renderer (p. 186)
  • Switching to the Arnold Renderer and Adding a Sky Shader (p. 193)
  • Sidebar: Creating Skies in 3D (p. 197)
  • Epilogue: The Future of 3D Lighting (p. 199)
  • Appendix: Visual Lighting Glossary (p. 203)
  • 0-Point Lighting (p. 203)
  • 1-Point Lighting (p. 203)
  • 2-Point Lighting (p. 203)
  • 3-Point Lighting (p. 204)
  • Ambient Light (p. 204)
  • Area Light (p. 204)
  • Back Light (p. 204)
  • Background Light (p. 204)
  • Bounced Light (p. 204)
  • Color Bleed (p. 205)
  • Color Temperature (p. 205)
  • Butterfly Lighting (p. 205)
  • Depth Map Shadow (p. 205)
  • Diffuse (p. 205)
  • Directional Light (p. 206)
  • Environment Light (p. 206)
  • Eye Light (p. 206)
  • Fill Light (p. 206)
  • Final Gather (GI) (p. 206)
  • Fresnel Reflection (p. 207)
  • Glamour Lighting (p. 207)
  • Hair Light (p. 207)
  • Hard Lighting (p. 207)
  • High-key (p. 207)
  • IBL (Image-based Lighting) (p. 208)
  • Key Light (p. 208)
  • Kicker (Light) (p. 208)
  • Lighting Ratio (p. 208)
  • Light Ray (p. 208)
  • Loop Lighting (p. 208)
  • Low-key (p. 209)
  • Mesh Light (p. 209)
  • Naturalistic Lighting (p. 209)
  • Path Tracing (GI) (p. 209)
  • PBR (Physically-Based Rendering) (p. 209)
  • Photometric Light (p. 209)
  • Photon (p. 209)
  • Photon Mapping (GI) (p. 209)
  • Point Light (p. 210)
  • Radiosity (GI) (p. 210)
  • Ray Tracing (p. 210)
  • Ray Trace Shadow (p. 210)
  • Refraction (p. 210)
  • Rembrandt Lighting (p. 210)
  • Renderer (p. 211)
  • Rim Light (p. 211)
  • Shader (Material) (p. 211)
  • Secondary Diffuse Illumination (p. 211)
  • Silhouette Lighting (p. 211)
  • Sky System (p. 211)
  • Soft Lighting (p. 211)
  • Specularity (p. 211)
  • Split Lighting (p. 213)
  • Spot Light (p. 213)
  • Stylistic Lighting (p. 213)
  • Utility Light (p. 213)
  • Volume Light (p. 214)
  • Appendix: Common Question Index (p. 215)
  • Index (p. 219)

Author notes provided by Syndetics

Lee Lanier has worked as a professional computer animator and VFX (visual effects) artist since 1994. He has more than 70 features, shorts, music videos, trailers, and commercials to his credit. Lee has written a dozen high-end software books that have sold more than 35,000 copies, has authored VFX training videos for LinkedIn and lynda.com, has taught VFX compositing at the Gnomon School of Visual Effects in Hollywood, and is a member of the Visual Effects Society. A strong supporter of the arts, Lee co-founded the Dam Short Film Festival and is an avid painter and illustrator. You can see his work at beezlebugbit.com and diabolica-art.com.

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