To add fog to your scene, click the New Fog button at the top-left corner of the screen. One of the biggest challenges with unlit scenes is to convey distance, and atmospherics can help with that. Combine techniquesĪtmospherics like fog help to add a sense of depth To get usable results with scenes like this, you’ll have to experiment quite a bit… or you could go to the next step and get the best of both worlds! 09. Particularly the girl and laundry suffer from a very uneven surface. Depending on the size of your scene, you might have to up the GI resolution or tweak the Voxel Scene Fit slider.Īs you can see, not all elements look equally good with those settings. This basically turns all your objects into light casters which will bounce the light around in your scene to give a more realistic result. Under Render settings, enable Local Reflections and Enable GI. You also need to set Diffusion to Lambertian or one of the other techniques, depending on your material just don’t set it to Unlit. Reflectivity is set to Specular with 0.006 intensity, just to get a small reflection. To get the material to react to the light source, you should set Albedo to Vertex Color, Microsurface to Gloss 0.3, and Horizon Smoothing to 0. I can’t see the light at the moment, due to the ‘Unlit’ property of my material. In my case, I added a spotlight above the house with a angle setting that’s large enough for the light to illuminate the house and the surrounding garden. Start off by adding a light to your scene. Once you get more comfortable with Marmoset, you can make as many individual materials as you like and apply those to the different layers in Quill or AnimVR scenes. In this version, we use the same material for the whole scene. Useful shortcuts that you should know are Ctrl+F, which frames the selected object, and Spacebar which hides all toolbars ![]() We’ll cover HDRI lights in the last part of the tutorial. The last one is an omni light with a low Distance setting, a medium-sized light caster and a fog set to react to lights. The second example is a directional light with a width of 0 which gives very hard shadows. Jump to the Add Fog section of the tutorial for more information on how to achieve this. Notice how soft the shadows appear, and how pronounced the volumetric light rays are. In the above image, in the first example on the left I have a spotlight with a Brightness setting of 5, a Distance setting of 1.3 and a width of 0.3. In those cases spotlights with a small radius work best, and if that doesn’t help, up the light caster scale to soften the shadows. With very large scenes it might not be possible to have sharp shadows due to the way Marmoset calculates shadows. If you experience blocky shadows, go to the rendering settings and up the shadow resolution, or try to enable the Use Cascades option under Shadows. ![]() A small light caster gives sharp shadows, and a large one gives soft shadows. The most important light settings are: Brightness Distance, which has a big impact on the look of volumetric light when using fog Contact Refinement, which does exactly what the name implies and the shape settings, which scales the light caster and affects the sharpness of cast shadows. Each light type in Marmoset has common settings and light-specific settings. And its real-time viewport allows quick positioning of lights, which is extremely useful for the next step.Brightness, Distance and Contact Refinement are the most important light settingsįor the next two material/lighting scenarios, we need lights. Toolbag’s support for Object Presets in the Library makes mimicking a studio setup simple, allowing you to drag and drop pre-saved meshes and lighting setups into your scene.Īdditionally, Toolbag is really powerful for calculating high poly models and using ray tracing to get crisp, realistic renders. ![]() You can also use a backdrop mesh to create a nice light reflection and ground shadows.
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