Digital Lighting & Rendering, Second Edition By Jeremy Birn Publisher: New Riders Pub Date: April 27, 2006 Print ISBN-10: 0-321-31631-2 Print ISBN-13: 978-0-321-31631-8 Pages: 432 Table of Contents | Index Crafting a perfect rendering in 3D software means nailing all the details And no matter what software you use, your success in creating realistic-looking illumination, shadows and textures depends on your professional lighting and rendering techniques In this lavishly illustrated new edition, Pixar's Jeremy Birn shows you how to: Master Hollywood lighting techniques to produce professional results in any 3D application Convincingly composite 3D models into real-world environments Apply advanced rendering techniques using subsurface scattering, global illumination, caustics, occlusion, and high dynamic range images Design realistic materials and paint detailed texture maps Mimic real-life camera properties such as f-stops, exposure times, depth-of-field, and natural color temperatures for photorealistic renderings Render in multiple passes for greater efficiency and creative control Understand production pipelines at visual effects and animation studios Develop your lighting reel to get a job in the industry Digital Lighting & Rendering, Second Edition By Jeremy Birn Publisher: New Riders Pub Date: April 27, 2006 Print ISBN-10: 0-321-31631-2 Print ISBN-13: 978-0-321-31631-8 Pages: 432 Table of Contents | Index Copyright Foreword Chapter One Fundamentals of Lighting Design Motivation Cheating Visual Goals of Lighting Design Lighting Challenges Your Workspace Creative Control Chapter Two Lighting Basics and Good Practices Starting Points Types of Lights Controls and Options Lighting in Production Exercises Chapter Three Shadows and Occlusion The Visual Functions of Shadows Which Lights Need Shadows? Shadow Color Shadow Size and Perspective Shadow Algorithms Hard and Soft Shadows Occlusion Faking Shadows Conclusions Exercises Chapter Four Lighting Environments and Architecture Daylight Night Scenes Practical Lights Lighting Windows Simulating Indirect Light Global Illumination Ambient Occlusion Exercises Chapter Five Lighting Creatures, Characters, and Animation Modeling with Light Three-Point Lighting Functions of Lights Issues in Lighting Character Animation Exercises Chapter Six Cameras and Exposure Understanding F-Stops and Depth of Field Frame Rates Realistic Motion Blur Film Speed Photographic Exposure Matching Lens Imperfections Exercises Chapter Seven Composition and Staging Types of Shots Camera Angles Improving Your Composition Framing for Film and Video Exercises Chapter Eight The Art and Science of Color Color Mixing Color Schemes Color Balance Understanding RGB Color Digital Color Exercises Chapter Nine Shaders and Rendering Algorithms Shading Surfaces Anti-Aliasing Raytracing Reyes Algorithms Z-Buffer Rendering Scanline Rendering GPU-Accelerated and Hardware Rendering Exercises Chapter Ten Designing and Assigning Textures Types of Texture Mapping Photographic Textures Stylized Textures Texture Map Resolution Alignment Strategies Procedural Textures Looks Development Exercises Chapter Eleven Rendering Passes and Compositing Rendering in Layers Alpha Channel Issues Rendering in Passes Lighting in the Composite Matching Live-Action Background Plates Exercises Chapter Twelve Production Pipelines and Professional Practices Production Pipelines Getting Work Approved Index Copyright Digital Lighting and Rendering, Second Edition Jeremy Birn New Riders 1249 Eighth Street Berkeley, CA 94710 510/524-2178 800/283-9444 510/524-2221 (fax) Find us on the Web at: www.newriders.com To report errors, please send a note to errata@peachpit.com New Riders is an imprint of Peachpit, a division of Pearson Education Copyright © 2006 by New Riders Project Editors: Davina Baum, Kristin Kalning Development Editor: Davina Baum Production Editor: Andrei Pasternak Copyeditor: Emily Wolman Tech Editor: Jesse Brophy Compositor: Maureen Forys, Happenstance Type-O-Rama Proofreader: Corbin Collins Indexer: Joy Dean Lee Cover design: Aren Howell Interior design: Maureen Forys, Happenstance Type-O-Rama Notice of Liability The information in this book is distributed on an "As Is" basis without warranty While every precaution has been taken in the preparation of the book, neither the author nor Peachpit shall have any liability to any person or entity with respect to any loss or damage caused or alleged to be caused directly or indirectly by the instructions contained in this book or by the computer software and hardware products described in it Trademarks Many of the designations used by manufacturers and sellers to distinguish their products are claimed as trademarks Where those designations appear in this book, and Peachpit was aware of a trademark claim, the designations appear as requested by the owner of the trademark All other product names and services identified throughout this book are used in editorial fashion only and for the benefit of such companies with no intention of infringement of the trademark No such use, or the use of any trade name, is intended to convey endorsement or other affiliation with this book 9 8 7 6 5 4 3 2 1 Printed and bound in the United States of America Notice of Rights All rights reserved No part of this book may be reproduced or transmitted in any form by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher For information on getting permission for reprints and excerpts, contact permissions@peachpit.com Figure 1.5, page 13, used courtesy of Ctrlstudio, Angel Camacho, Yohann da Geb, Donal Khosrowi, Lazhar Rekik, Holger Schömann, Andrzej Sykut, and Florian Wild All rights reserved The model used in Figures 2.16 and 2.19, pages 31 and 36, used courtesy of Rini Sugianto All rights reserved Chapter 4 opening spread image, page 84, used courtesy of Amilton Diesel All rights reserved Figure 4.27, page 111, used courtesy of Jason Lee All rights reserved Figure 4.28, page 111, used courtesy of Geoff Packer All rights reserved Chapter 5 opening spread image, page 124, used courtesy of Kim Hyung Jun All rights reserved Figure 6.5, "Circus Maximum Irritans," page 162, used courtesy of Péter Fendrik All rights reserved Figure 7.2, page 188, and Figure 8.8, page 221, used courtesy of Jorge R Gutierrez All rights reserved Figure 7.7, page 195, by Andrew Hickinbottom, © 2006 Andrew Hickinbottom All rights reserved Figure 8.12, page 226, used courtesy of Vaclav Cizkovsky All rights reserved Figure 10.13, "Venetian Boat Song," page 293, by Gladys Leung © 2006 (http://runtoglad.com) All rights reserved Figures 10.19, 10.20, 10.21, and 10.22, pages 300, 301, and 302, used courtesy of Eni Oken All rights reserved Foreword To help you make better 3D renderings, this book fuses information from several fields In these pages you will find concepts and techniques from professional cinematography, design principles from traditional visual arts, practical advice based on professional film production experience, and plainEnglish explanations of the latest science behind the scenes Who Should Read This Book? You should read this book when you have at least a working knowledge of how to use a 3D package, and are interested in taking your 3D rendering further For professional users of 3D rendering software, this book is designed to help with real-world production challenges and contribute to the ongoing growth of your work For students of computer graphics, this book will help you develop more professional rendering skills For dedicated 3D hobbyists, this book can help you improve the artistic quality of your 3D renderings and learn more about professional approaches to graphics production This book is written to be clear, but not condescending Every effort has been made to define terms the first time they are used, and to illustrate every concept and technique with figures and sample renderings This book is designed to complement, rather than to replace, your software's manuals and help files Most of the information you find here is not in your software's manual, even if some of it should be Software Requirements This book covers techniques and concepts that are applicable to work in almost any 3D rendering software 2D Paint and compositing software is also recommended 3D Software No single program is going to support every feature, function, and rendering algorithm described in this book Hopefully you won't mind learning about a few functions that aren't in your particular software yet However, most sections show several alternate approaches or work-arounds so that you can achieve any effect that is described, no matter which program you use Being non-software-specific doesn't mean that this book doesn't discuss particular software, though If there's a noteworthy feature in Renderman, Mental Ray, 3D Studio Max, Maya, Softimage, Lightwave, or any other program, it will be mentioned when it comes up This book is dedicated to the idea that, with an awareness of the art and computer graphics principles that go into a rendering, and a little bit of creative problem solving, you can accomplish great work in almost any rendering package 2D Software Any good 3D system should be complemented with 2D software to create and manipulate texture maps, and to composite together layers and render passes Ideally you should have a paint program such as Adobe Photoshop (used in many texturecreation examples in this book), Paint Shop Pro, or Fractal Painter Free alternatives such as The Gimp or Paint.NET will also work just fine A dedicated compositing program, such as Shake, Digital Fusion, or After Effects, is useful when compositing together render passes, although you could also do basic compositing of still images in your paint program About This Edition This is the second edition of the popular book [Digital] Lighting & Rendering The first edition became the standard text on the art of 3D lighting and rendering, and introduced many artists to the field Since it was published in 2000, it has met with great critical and commercial success I am sincerely grateful to each teacher who has chosen to assign my book to students, everyone on the Internet who has posted a recommendation, and every artist who has shown my book to a friend or colleague This new edition has advanced along with changes in technology, in software, and in the industry To keep up with an evolving field, every chapter has grown with new techniques and concepts Issues such as occlusion and global illumination, which had been relegated to single sections in the first edition, are now woven throughout the book, in discussions of different issues from architectural rendering to render passes A new chapter has also been added on understanding studio production pipelineshow professionals work together in different positions to create feature-film visual effects and computer animated features In computer graphics, we say our work is never really completed, only abandoned Shots always could be better, always could be tweaked and revised a little more by perfectionist artists Crashing into a deadline is what finally forces us to let go of the projects we love The same is true in releasing a book I'm glad that what I abandoned in 2000 has made so many people happy The first edition represented the best of what I had to say that year Since then I have continued .. .Digital Lighting & Rendering, Second Edition By Jeremy Birn Publisher: New Riders Pub Date: April 27, 2006 Print ISBN- 10: 0-321-31631-2 Print ISBN- 13: 978-0-321-31631-8... About This Edition This is the second edition of the popular book [Digital] Lighting & Rendering The first edition became the standard text on the art of 3D lighting and rendering, and introduced many artists to... Production Pipelines and Professional Practices Production Pipelines Getting Work Approved Index Copyright Digital Lighting and Rendering, Second Edition Jeremy Birn New Riders 1249 Eighth Street