Motivation for Lighting

Task: Attempt three different tones or moods through lighting per render style to see how each scene differs in mood and style. 

Scene 1: Night

The first scene I chose was a night scene, counting on shadows and colour to portray an uncomfortable and scary mood. Based on my background obsession with horror and thriller films, I decided to use the colour palette of blues, greens and blacks. People are generally uncomfortable when they cannot identify objects. The stranger the object, the more unease is felt and by distorting an object the unease is increased. So shadows and a sharp contrast (chiaroscuro lighting) was my intention, matching visibly lit couches with dark silhouette cushions, the bowl on the table is unidentifiable, but the table can be as it is illuminated. I chose moonlight and a television displaying white noise to further my intense blue/ green light and that caused even greater shadows to be projected in a minor distorted manner. These projections inhabit the floor and walls, casting subtle ambiguous shadows. The television is bright as it seems abandoned and unnatural with its accompanied white noise.  The blues in the scene create a cold, unwelcoming mood. The hour/ time of day is identified through the television’s lack of display, the colour displayed by the moon and the outside’s eerie dark trees and moonlit sky (done through a contribution of the darkening of ambient texture and a dark blue light on the projection).

Visual references:

Here is my final outcome below

Scene 2: Afternoon

The afternoon scene was inspired after the cold night scene. I wanted to create a ‘sundowners’ effect, displaying an afternoon just before the sun sets. Inspired by pictures of sunsets with its range of colours from pink to yellow, the mood is light and warm. The sun in the afternoon creates slanted quite hard shadows, usually of the colour orange. Although it is still daytime, some areas become slightly darker if not hit by the sun so a slight contrast is created. 

Visual References:

Here is my final result below:

Scene 3: Flat Lighting/ Midday

From what I learned in my research for the recent essay is the quick fix of flat lighting. Although it seems like an easy task, (and in comparison to my first two scenes, it was) I did have difficulty in finding a balance with the lights I used. Flat lighting eliminates most shadows, so I used infinite and flat lights to create a flat edge. It represented a midday timeframe where the sun is overhead, creating a flat light, and no angling of light to allow for shadows. Even more so, in the room, fewer shadows will be projected as the room does not have the harsh light of the sun, but a more general flat type of lighting. Like in the example of news rooms and sitcoms, (although this applies to film, one can adapt to 3D animation) the midday lighting is very simple and even.

Visual reference:

Here is my final scene below:

Lighting Essay

There would be no point to modelling, texturing, rigging and animating when no light is provided to view the scene in 3D animation. Lighting provides not only illumination, but also allows for personal composition of a shot, highlighting or bringing about a specified focal point for an important area, object or character in the scene. Lighting can also be an important narrative element, such as using it for implication or to develop a specific mood. It may tell time and in some cases even place. (Bordwell &Thompson, 126)

There are many ways to light a scene/ shot, but the most traditional and commonly used technique is that of three-point lighting. Three-point lighting is widely used over many different mediums (theatre, film, photography and 3D animation) as it is so effective in its result. There are alternative lighting techniques that are also used but rarely and are for a specific effect/ mood.

Three-point lighting refers to just that, illumination is made by three lights (key, fill and backlight). This lighting system makes sure that the subject is illuminated and this type of lighting is excellent when illuminating textures. (Van Der Byl, 18). The three point lighting technique is mainly used as a guide for lighting, so one may also choose to add other lights to this setup to further illuminate the scene or enhance the mood.

(Kusan, 1)

The first and foremost light in this setup is the key light. This is the main light that is on the subject/ focal point. This light can also stand alone in alternative lighting setups as it may be used for a specific motive the script/ action called for. (Kerlow, 213) In live action films it may shine just over and to the side of the camera in a ¾ angle and in 3D animation it is used usually just to the side of the front of the subject with added elevation that may mimic the ¾ guideline. (Park, 251) The intensity is generally high and the light is therefore quite harsh when on its own. (Van Der Byl, 18)

Key lights are usually brighter than the other lights used in the scene (this is dependent on the scene’s needs and specifics) and is used as the major illumination, the main light and will define the subject illuminated. It also provides shadows (if allowed by the user of the 3D software) that may be filled in by the fill and backlight. (Kerlow, 213)

The fill light is to take up the illumination that cannot be done by the key light. Hence the name ‘fill’, this light ‘fills’ in shadows with a soft light and illuminates areas that are not illuminated by the key. Black areas in the ‘real world’ are not usually a hard black and so the fill light is used to create a more realistic scene unless the aesthetical needs are different. The fill light is of a lower intensity as it does not want to create harsh shadows as its purpose is to do the opposite. (Van Der Byl, 18)

The fill light may be used to “define the overall color tone” of the scene.  (Kerlow, 213) These lights may be tinted and soft to prevent shadow projection. This light is usually placed at a relative side angle to the key light and is usually lower than the key. (Kusan, 1)

Now that the front of the subject is lit, from the key on one side, and the fill on the other, usually relative to the key, the back of the object needs illumination. Backlights are placed at the back of an object and most commonly, just off-centre to the object. (Park, 251) It is essential in 3D animation as it prevents the object from appearing as a 2D object and allows the object and the scene to have depth. It acts as a separation between the subject and the background.  (Kusan, 1)

It is usually more intense than the fill light but never as intense as the fill unless a scene’s mood/ narrative calls for such lighting, such as the silhouette (an underexposure of a subject) effect to produce an unknown strange character or object. However, in the silhouette setup, the backlight may be called a key as it may be used as the only light to illuminate the subject. (Rowse, 1)

Other lights may be inserted into the three point lighting system for extra illumination such as a eyelight (to illuminate the eyes more and provide a ‘twinkle’), a hairlight for extra illumination of the head, a background light lighting the background of the subject, creating more depth and a kicker light that is similar to a backlight but is at a lower angle and further emphasizes the separation of the subject from the background. (Kusan, 1)

Although the three-point lighting system is the most widely used, others like to use alternative techniques in their films/ animations. One common lighting system is that of ‘flat lighting’. This lighting system can be made up of two key lights at opposite ends of the subject (like the three point lighting system without the backlight and the fill in replaced by a key light). Or, the flat lighting can be created with multiple ‘neon’ lights that fill most of the ‘ceiling’ creating an overall flat light over the scene. This lighting system is usually used for sets such as newsrooms or sitcoms that take place in big studios and the lighting can be mimicked in 3D animations where the situation is similar or can be used as a quick fix. (Ozer, 1)

Comparatively, three point lighting is the easiest means of creating a quick efficient lighting rig. The system is quick, efficient and effective. It creates a more 3D effect whereas flat lighting gives a 2D effect and look. With more depth, and an easy setup, almost anyone can use this setup of lights. The problem with both of these lighting setups is that they do not allow for personal alteration and it each scene has a different mood, need and feel and the lighting should represent such, not a generic overused lighting system such as three point lighting and flat lighting. Experimentation brings upon the best and most unique results and gives the film a more original look and mood. 

There are many other ways of lighting, but that most standard technique is the three point lighting system. It is effective, efficient and allows room for alteration and may be dependent on mise en scene. However, it is limited by its main setup and alteration from this may cause it to be seen as another lighting rig. People who use three point lighting may find themselves stuck in this generic form of lighting and will not falter from it as they seem to see it as the best solution for everything. Flat lighting is for a ‘quick fix’ as little effort is needed to pull off this lighting system. Each scene should, however, require a different lighting system needed for different moods, textures and mise en scene.

                                                                        Works Cited

·         Bordwell, D & K, Thompson. Film Art: An Introduction. 2^nd Ed. Singapore: McGraw-Hill Inc. (1989)

·         Brooker, D. Essential CG Lighting Techniques with 3ds Max. 3^rd Ed. UK: Elsevier, Ltd. (2008)

·         Kerlow, Isaac.V. The Art of 3-D Computer Animation and Imaging. 2^nd Ed. Canada: John Wiley & Sons, Inc. (2000)

·         Kusan, D. Film Lighting Basics. The Basics. Little Film School. 28/06/2010. Web. 17/03/2011.

·         Ozer, J. Setting up Flat and Three-point Lighting. Streaming Learning Center. Lighting For Streaming.08-16-2007. Web. 17/03/2011.

·         Park, John. E. Understanding 3-D Animation Using Maya. USA: Springer Science+Business Media, Inc. (2005)

·         Rowse, D. How to Photograph Silhouettes in 8 Easy Steps. Photography Tips & Tutorials. Digital Photography School. (2010) Web. 17/03/2011

·         Van Der Byl, L. Lightwave 3D 8 Texturing. USA: Wordware Publishing, Inc. (2004)

Practical modelling assignment

We were given an assignment to model anything in the world. After much procrastination, consideration and thought, I eventually settled on... a toilet. Why? I still question my motives on this one. This was done for the 7th of March 2011. Excuse the lack of texturing and lighting knowledge and correct usage of both, I was just playing around to bring the model to life.

Oh and the tongue in the toilet and very faint eyes in the seat lid, was an attempt to characterize the object.

Texturing Practical Assignment

Motivation for Texturing

Holiday Home

The theme I chose for the texturing assignment was ‘holiday home’. Most holiday homes have a basic similar theme that reminds one of being away from their natural surroundings. I chose this theme as I enjoy simplicity and most natural homes have some sense of clutter.  As most people want to escape the unnatural world, they opt for a more natural looking world, whether it be by the beach, mountainous areas or lodges- people crave naturalistic environments.

So for a calming, escapism effect, I chose colours that were natural and very simplistic. The motivation also came from the carpet that seemed to be vibrant but calming. The colours seem to blend and contrast each other well and so I mimicked the carpet onto the other furniture and used it as a template and colour palette for the rest of the room. 

The cream/cameo colour provides a neutral welcoming feeling and the red provides some life and vibrancy to the room. The colours in between, the salmon brown and the light red act as an in-between of the blending from cream to red. Matching colours and slow transitions between one colour to another is more calming than drastic changes in colours which is why repetition of themes and aesthetics are important.

For the couches, I chose the cream colour so that the main neutral theme could be carried through and it would seem clean and welcoming to one intending to relax. The pillows that are scattered on the couches were coloured according to the carpet to enhance the colour theme.

Wicker was chosen, as it is a lighter material that leather, wood and suede. This material is common in the aesthetics of a holiday home. It represents comfort and gives the couches a more comfortable edge. It also reflects the ‘wicker balls’ that sit in the bowl on the table, furthering the repetition of the room.  

Wooden legs for the tables, wooden blinds, and wooden burglar bars are naturalistic and simplistic, giving a sense of a more natural environment. Wood is also homier and presents a sense of warmth due to its rich colour and texture. The glass table is a light green, transparent and reflective, providing an illusion of a larger room, providing illusionary space. The mirror on the wall also creates an illusion of an expanded room. This enhances my idea of less cluttered space, as claustrophobia hinders escapism.  The plant is a vibrant green, giving the room it’s only near neon brightness, and this is allowed as the vibrancy comes from a natural source and is therefore.

The stone wall and the stones in the plot plant further the theme of nature and leisure.  Tiles are a common source of material for floors in holiday homes as they are easy to clean and replace. I chose white tiles as they bring life to the room and contrast the carpet and couches well.

The area I chose was a forest, and this gives a sense of true nature and the trees enhance the wooden furnishings. The outside wall is made of wood, giving a wholesome naturalist feel to the house itself.

Texture Mapping Essay

A discussion on the differences between 2D and 3D texture mapping techniques, including the way they are mapped using the default mapping procedures (planar; cylindrical, automatic etc).

Texturing is a type of mimesis which creates a detailed surface for a model in 3D animation that simulates the model that will seem tangible and realistic when rendered out. Instead of creating the ‘texture’ of bricks for a modelled wall through moulding and manipulating the model itself, texture mapping can be used in either a 2D format or 3D format to easily convey the surface of bricks. (Ratner, 215)

There are various ways to approach texture mapping. One way is to use 2D texture mapping which requires one to map or wrap a 2D image around the 3D model through the direction and instruction of geographical planar/ UV coordinates in a program. For the brick wall one could take a 2D bitmapped image of a flat image of bricks and coordinate this to wrap around the surface of the model and therefore project the ‘look’ and ‘texture’ of bricks onto the model.

However, each model is different and therefore requires a different type of texturing technique. It is imperative to know which axis and coordinates the object faces and sits along in order to determine what type of projection to use.

One can use planar projections/ mapping which can be seen as projecting the image on the surface using coordinates of the coordinates of x; y and z. These coordinates make up a guide plane for the image to be projected on. This is usually used for flat surfaces such as floors or walls. (tiles, bricks, etc). (Ross, 1)

Cylindrical projections wrap around the object once, and can be used for bottles, or other curved cylindrical objects.

Spherical projections work around the shape of a sphere, by rolling the image around the object most likely a rounded object and close the ends at the top or bottom. (Ratner, 216) An example of this is the flat image of the world map and wrapping it around a globe.

Cubic mapping reflects a square or rectangular mapping shape, project from all three axes. (Ratner 215)

Although 2D texture mapping is still flat and is only a projection, one can use bump mapping to simulate the projection and reflection of light on an uneven texture. It does not affect the geometry but rather gives the illusion of a displacement in the models geometry. This simulation can be used in the example of bricks as it reflects the light off the surface of the image. (Ratner,221)

The advantages of 2D texturing are that any image may be used for projection  which gives variety. This type of texturing is useful for irregular shapes that require intense UV mapping for differences regarding types of textures. This type of mapping is used more commonly in the industry. (Ratner 215) With processing the data, the images used in 2D texturing are stored in RAM and use less memory for rendering. (Ye & Lewis, 1) It can use bump mapping as a replacement for 3D texture mapping to create an illusion for the displacement of geometry even through it still does no t affect the geometry of the object itself.

The disadvantages of 2D texturing are that sometimes the seams of the images are revealed on the surface as some images projected are too small or the type of projection is unfit for the model. The images can become stretched and therefore the realism is decreased. If it is not stretched, the image must be repeated, and therefore the projection becomes unrealistic. ( Ratner, 215-216)

Unlike 2D texture mapping, 3D procedural texture mapping alters the geometry slightly when applied. It increases the amount of surface detail by applying algorithms by determining their surface colouring and reacting with the noise. (Ye & Lewis, 1) It refers to mathematically generated textures that use a ‘filtered noise function’ that will create spontaneous amplitudes of geometry over the surface of the image. (Ratner 218) 3D procedural textures act like wood or marble as they go on throughout the model and do not just act on a surface level like 2D textures would. If one had to cut out a part of the geometry, one would see an ‘un-textured’ inside of the mesh in 2D texturing, but in 3D texturing the generation would cause the whole mesh to be texture like if one would carve wood, one would see more wood texture. (Okino Computer Graphics, 1). It is created with computer generated simulators, mimicking mostly natural materials (Zhang &Liang, 409)

Most 3D programs come with texture generators as presets that can be altered to fit ones preferences. 

The advantages for using 3D procedural texturing are that they are more realistic in the geometric representation of the image as it alters the geometry according to amplitude and so when zoomed in or dollied into the image, the edges can be seen to represent the texture. (Ratner 218) Unlike 2D textures, the texture is not stretched as it is not restricted by the size of an image as it is generated and the randomness of that generation causes it to be unique- no repetition. This also means that the texture is seamless as it is not a projection of an image and no wrapping is required. Only a fraction of memory is used with regards to storage as it is a mathematically generated texture. (Ratner 218) Not only bumpy surfaces are simulated, many types of generations can be found and altered, creating a great variety.

The disadvantages of 3D procedural texture mapping are that the process for the mapping is quite involved and uses many techniques and tweaking to get the image correctly represented. The texture is not as realistic as 2D bitmap images are such as photographs. (Ratner, 218) The generations are limited unlike the 2D bitmap images that offer any type of image needed. The rendering process causes the memory to become intensely large and it is slow to render out because of the processing of the data.

Either way, the type of texturing technique used depends on the model itself and one must consider the advantages and disadvantages of each before deciding on the route to take when trying to represent reality. Trying to find the most efficient way to texture, also ways up with the most realistic representation and obviously personal preference.

                                                            Works’ Cited

·        Autodesk Softimage 2010. Accessed 12/03/2011.

·        D. S. Ebert. Texturing & modeling: a procedural approach. 3^rd Ed. Elsevier Science. (2003)

·         Ratner, P. 3-D Human Modeling and Animation. 2^nd Ed. John Wiley & Sons, Inc, New Jersey  (2003)

·         B. Ross. Texture mapping. Brock University - COSC 3P98 Computer Graphics. Available at: http://www.cosc.brocku.ca/Offerings/3P98/course/lectures/texture/ Accessed 12/03/2011

·         Unknown. 2D and 3D Texture Mapping Support. Okino Computer Graphics website: http://www.okino.com/new/toolkit/1-11.htm.%20Accessed%2016/02/2008.

·         A. G. Ye, D. M. Lewis. Procedural Texture Mapping on FPGAs. Toronto, Ontario, www.ee.ryerson.ca/~aye/micronet99.pdf Accessed 12/03/2010.

·         H. Zhang ,Y. D Liang. Computer graphics using Java 2D and 3D. Pearson Education, Inc. (2007)