Thanks so much for this! Really interesting. I have a couple of questions: 1) How competitive are lighting artist roles in comparison to environment artist roles? 2) Roughly how long should someone training full-time set aside to getting to an employable junior level? Thanks so much for any insight.
Gee, I hope it is ok to ask this here: In the section about physically based rendering you said "Don't be ruled by exact PBL values!" Does that extend to contrast ratios? For example, midday sunlight/shadow is usually around a 4-5 stop difference? Does that mean when lighting in games you should also stick to real life contrast ratios? Or do artists go for a contrast ratio that looks how they want even if that means having a sunny day time scene with a 2 stop difference between the sun and the shadows? Thanks again for putting all this info out there!
Really depends on the game. In my experience, narrative driven games are all about fakery/cinema/breaking PBL, but something more open world and gameplay focused would respect more of the PBL principles and contrast ratios.
Its a good talk very informative my top point how do you guys learning game optimisations thats the biggest hurdle bottle neck for me all the time like where to use static / dyanmic / movable concept of light is always confusion are there any good resources on that like a holy bible where someone has covered all these points.
Good point, a lot of it is really learned once you're in a studio, as it depends on the target platform and system you're using. For now the best thing you can do is limit your shadow casters and general light attenuations, and be wary of point lights with shadows and how far they stretch/how many you use. Plan to do some sort of optimization video in the future though of some additional tips, stay tuned :).
@@EMC3D This is quite reassuring to know that studio is willing to train on that that's like half the battle solved, I guess the point is to create a good showreel and start firing it and see what happens. We tend to highly avoid sphere lights in film and TV as well it's mostly soft box area lights + Domes or physical skys that are super advance like in Vray + Arnold for realistic looking renders to match to the set photography. Keep these talks coming I will be following it closely how you guys work in games some nice and informative tips there!
Your story is honestly inspiring. Thank you for sharing it!
Great presentation. I've been interested in going back to lighting since I've been doing a lot of practical lighting for short films in the past year.
Thanks so much for this! Really interesting. I have a couple of questions:
1) How competitive are lighting artist roles in comparison to environment artist roles?
2) Roughly how long should someone training full-time set aside to getting to an employable junior level?
Thanks so much for any insight.
Cheers Duncan, will answer this as part of an upcoming video, stay tuned.
Great talk! Thank you for this.
Thank you for doing this! This was incredibly useful :)
Super useful talk. Cheers for these resources!
Gee, I hope it is ok to ask this here: In the section about physically based rendering you said "Don't be ruled by exact PBL values!" Does that extend to contrast ratios? For example, midday sunlight/shadow is usually around a 4-5 stop difference? Does that mean when lighting in games you should also stick to real life contrast ratios? Or do artists go for a contrast ratio that looks how they want even if that means having a sunny day time scene with a 2 stop difference between the sun and the shadows? Thanks again for putting all this info out there!
Really depends on the game. In my experience, narrative driven games are all about fakery/cinema/breaking PBL, but something more open world and gameplay focused would respect more of the PBL principles and contrast ratios.
@@EMC3D thx 4 answering!
1st, Thank you sir for this
2nd, Abstract Lighting!
That's what it is, I've labeled it in my head as Weird Unusual Cinematic Lighting 😐
Thank you for this
Its a good talk very informative my top point how do you guys learning game optimisations thats the biggest hurdle bottle neck for me all the time like where to use static / dyanmic / movable concept of light is always confusion are there any good resources on that like a holy bible where someone has covered all these points.
Good point, a lot of it is really learned once you're in a studio, as it depends on the target platform and system you're using.
For now the best thing you can do is limit your shadow casters and general light attenuations, and be wary of point lights with shadows and how far they stretch/how many you use.
Plan to do some sort of optimization video in the future though of some additional tips, stay tuned :).
@@EMC3D This is quite reassuring to know that studio is willing to train on that that's like half the battle solved, I guess the point is to create a good showreel and start firing it and see what happens. We tend to highly avoid sphere lights in film and TV as well it's mostly soft box area lights + Domes or physical skys that are super advance like in Vray + Arnold for realistic looking renders to match to the set photography. Keep these talks coming I will be following it closely how you guys work in games some nice and informative tips there!
what is the concept of these 123 channel can you please explain it by make a tutorial clearly ? I don't understand it fully in games thanks
Which part Zohahs?
@@EMC3D you mentioned this channel number somewhere in the video but I can't find it as I watch its long time ago :( thanks