vertheim.com
  • Modelling
    • Links >
      • Modelling Hair & Fur
      • Paint Deformation
      • Painting with Objects
    • Types of Modelling >
      • Hard Edge Modelling
      • Poly Modelling >
        • VTMs >
          • Basic Geometry >
            • How to stop geometry using kites
            • Example of where to use kites
            • Poles
            • Extruding for Animation
            • Simple Muscle Definition
          • How to Start a Human Torso
          • Hands
          • Blocking Out a Hand
          • Modelling Hellboy's Head .vtm >
            • Simple breakdown in PDF format
          • Facial Geometry
          • Advanced Body Geometry
          • Cloth Modifier >
            • Making a simple tablecloth
            • Making a Cushion
            • Cloth Help files
          • Modelling Wire mesh
        • Images for Modelling Characters
      • Patch Modelling >
        • VTM
      • Spline Modelling >
        • VTMs >
          • Working with Splines
          • How to build a spline car >
            • Part 1
            • Part 2
            • Part 3
            • Part 4
            • Part 5
            • Part 6
        • Spline Car Images for VTM
      • Map Modelling >
        • Using Maps to Model (displace) >
          • VTM
      • NURBS
      • MakeHuman
    • Architectural Stuff >
      • Five AutoCAD Tips That Make a Big Difference
      • AEC Extended
      • Windows
      • Doors
      • Walls
    • Tools >
      • Realigning Pivots
      • Containers, Xrefs & Proxies >
        • Containers
      • The Array Command
      • Graphite Modelling Ribbon >
        • Read Me!
        • VTMs >
          • Painting Objects
          • Freeform Tools
          • Conform Tools
      • Optimising & Analysing
      • Solving Ngons
      • Populate Tool
      • Perspective Match
    • Speeding Up Production with a Custom UI in 3ds Max
    • Speed up your Workflow in 3DS Max!
    • Why are Ngons & Triangles so Bad?
    • Modeling with Quads or Triangles - What Should I Use?
    • Subdivision / Open Subdiv
    • Different File Formats. Which one?
    • Useful Geometry Images - How & Why
    • Retopology
    • Retopology workflow in 3ds Max - the how and why
    • Hard Edge modelling vs Organic Modelling
    • 10 Anatomy Tips for 3D Modelling
  • Photoshop
    • Links
    • Day to Night
    • The RAW Format >
      • RAW Images
      • ACR Camera Raw Filter Photoshop Clarity
      • Editing RAW Images
      • How to Read a Histogram
    • Pixelflakes.com
    • Animating in Photoshop (Video)
    • Animating in Photoshop (Keyframe)
    • Photographic Retouching and Manipulation
    • Young to Old - The Aging Process
    • Turn Anything into Fire
    • From Destructive to Constructive
    • CS4 VTMs >
      • 3D Cross Section
      • 3D Layers 1
      • 3D Layers 2
      • A Better Impression
      • Adding Depth
      • Ageing Process
      • Animation
      • Beards & Stubble
      • Blending Options
      • Boxing Clever
      • Cartoon Distortion
      • Change of Skin
      • Change of Skin 2
      • Clone Tool
      • Combining Body Parts
      • Complex Shadows
      • Content Aware 1
      • Content Aware 2
      • Custom Brush Design
      • Day for Night
      • Digging Graves
      • Drawing Ribbons
      • Easy Multiple Adjustments
      • Explosions
      • Flyaway Hair
      • Folds & Wrinkles
      • Free Transform
      • Hard Light Shading
      • Image Warp
      • Layer Masks
      • Lock & Load
      • Magical realism
      • Making it Rain
      • Metal with Curves
      • Moving Eyes
      • Multiple Shadows
      • Multiple Strokes
      • Opening Doors
      • People & Cars
      • Perspective Crop
      • Perspective Drawing
      • Portrait Restoration
      • Refine Edges
      • Replace Colour
      • Reverse Ageing
      • RGB & CMYK
      • Rust & Grime
      • Selection Basics
      • Selective Hue - Saturation
      • Silver into Gold
      • Turning Heads
      • Vanishing Point
      • Visible Light
      • Watercolour
      • Window Light
    • Basic CC Training by Digital Tutors
    • CS6 Keyboard Shortcuts
    • Upscaling Images in PS CC
    • Ivy Generator
    • Mr Bean
    • Normal Maps >
      • Nvidia Plugins
    • Brushes >
      • How to load Brush files
      • Brush Tool .vtm
      • Custom Brushes (no images)
      • Custom Brushes (with images) >
        • Destroyed Heraldry
        • Abstract Splatter
        • Destroyed Elements
        • Hand drawn Floral
        • Hand drawn Heraldic Designs
    • Colour Correcting & Matching using Curves
    • How to Use Layer Masks in Photoshop
    • Creat Ice Effect
    • Make a fantasy composite landscape
    • Discover Layer Masks in Photoshop CS6
    • 10 Tips on becoming a Hotshot Character Artist
    • Matte Painting >
      • Direct Links
      • 3 Great Matte Tutorials
      • CGMA Competition
      • Nathalie Mathé
      • 3D Artist - Matte Painting
      • Build a Matte Image using VUE
      • The Matte Paintings of the Star Wars Trilogy
    • Painting Direct on a 3D Model >
      • CS5 & Earlier >
        • Level: Beginner >
          • VTM
        • Level: Advanced >
          • VTMs >
            • Part 1
            • Part 2
            • Part 3
      • CS6 >
        • VTM
      • CC >
        • VTM
    • Creating 3D Objects in CS6
    • 3D - What's new in CS6 .pdf
    • Day to Night >
      • for Animation / Film using After Effects
      • for Stills using Photoshop
    • Using Perspective and Vanishing Point to make realistic composites
    • Using Perspective or Vanishing Point Filter >
      • VTM
      • Image used
    • Creating a 360 degree Photo
    • Techniques for Creating Realistic Eyes for Another Level of Believability
    • Blending Modes Explained
    • Tools >
      • Actions
      • Blur Tools in CS6
      • Edit / Transforms
      • 2D Displacement Maps >
        • VTM
        • Images for VTM
      • Liquify
      • Pen Tool Basics
  • Lighting
    • Links
    • An In-Depth look at Lighting
    • Volumetrics >
      • Direct Link
      • VTM
    • Ambient Occlusion >
      • VTM
      • Tutorial on Simple Nspace & AO
    • Shadows >
      • Types of Shadow - Help files & Other .vtms
      • Direct Links to books & sites
      • VTM
    • Caustics >
      • A Brief look at Caustics.pdf
      • VTM
      • Caustics Generator
    • Glow & Glare >
      • VTM
    • I.E.S. Lighting Files >
      • VTM >
        • What to do with an IES file
      • IES Viewer
      • IES Generator
      • IES Files >
        • Read Me First
        • Downlighting
        • Emergency
        • Fluorescent
        • Industrial HID
        • Rough Service
        • Track Lighting
    • MR Exposure Controls >
      • VTM
    • Stage Lighting
    • 24 things you should know about lighting
    • How to get better at Lighting
  • Substances
    • Substance Materials >
      • VTM's
    • Substance Designer >
      • Designer VTM's by Allegorithmic
      • Substance Designer Insanity Awards 2018
    • Substance Source >
      • Source Link Page
      • Mark Foreman's Medieval World
    • Substance Painter 2018 >
      • VTM's >
        • Introduction
        • 01 - Creating and setting up a project
        • 02 - Baking maps used in the texturing process
        • 03 - Creating the base paint material
        • 04 - Finishing the painted material and creating rust
        • 05 - Finishing the rust material
        • 06 - Applying Smart Materials and Layer Instancing
        • 07 - Using the brush system
        • 08 - Using Paint Effects, Projection and Cloning tools
        • 09 - Using Anchors
        • 10 - Masking materials with ID maps and Polygon Fill Tool
        • 11 - Creating the dirt and glass materials
        • 12 - Rendering a portfolio image and exporting maps
        • Project files
  • Textures
    • Links
    • How to Create a Material Library in Max 2015
    • Library >
      • Textures >
        • Computer Generated
        • Seamless / Tileable >
          • Bark
          • Brick
          • Fabric
          • Grass
          • Metal
          • Road
          • Rust
          • Stone
          • Wall
          • Wood
        • Sticky Tape
        • Foliage
        • Circuit Board
        • Paper >
          • Paper
          • Old Books
        • Grunge
        • Metal >
          • Assorted
          • Rust
        • Vectors
        • Wood
        • Water
        • Cement >
          • Cement
          • Stained Concrete
        • Fabrics
        • Peeling Paint
        • Odds & Ends
        • Trees & Foliage >
          • Maps
          • Bump
      • Images >
        • Free Images
        • Skulls
        • Assorted Photo Scenes
        • Lightning
        • Wraparound & Widescreen Images
        • Assorted Matte Paintings
        • Pirate's Galleon
        • Rocks & Stone
        • 140 Trees & Bushes
      • Blueprints >
        • Links
        • Vehicles
        • Aircraft
        • Buildings
        • Marvel Characters >
          • Male
          • Female
          • Other...
      • Map Sets >
        • Alien Wall
        • Stone Carved Wall
        • Lumpy Sharp-edged Wall
        • Mossy Castle Wall
        • Carved Rosewood Panelling
        • Distressed Concrete Blocks
        • Muddy Wagon Tracks
        • Art Deco Doors
        • Lava Cracks
      • Assorted .psd Texture Files
    • Render to Texture (Baking) >
      • Direct Link
      • VTM
    • Viewport Canvas >
      • Links
      • Paint Models directly in 3ds Max
      • Read Me >
        • Introduction and Custom Brushes
        • PSD Workflow and Using Render to Texture
        • Viewport Canvas and Render Surface Map
        • Matte Painting and Viewport Canvas
    • Road Texture Generator
    • Applying Textures >
      • UVW Unwrap >
        • VTMs >
          • Unwrapping in Max 2017
          • Great Link
          • Drinks Carton
          • Hand
          • Pelt & Peel
          • External VTM,s Parts 1 - 10
          • Peel
        • VTM Images >
          • Carton
          • Hand
        • VTM .psd Files >
          • Carton
          • Hand
        • Max file for the Hand
      • Camera Mapping >
        • VTMs >
          • Part 1
          • Part 2
          • Part 3
        • Images For Camera Mapping Exercise
        • Images for you to practice with
    • Shaders >
      • Autodesk help on Shaders
      • Submerge
    • Creating Textures >
      • Composite Materials (NOT multi-sub)
      • Ivy Generator
      • Tips for Creating Perfect Normal Maps Every Time
      • Normal Maps >
        • Tutorials
        • Projection Mapping
        • The Atomic Thrust Bucket >
          • VTM
      • 3D Displacement Maps >
        • VTM
      • Tileable Textures >
        • VTMs >
          • Part 1
          • Part 2
        • Mix Maps
      • Mix Maps & Vertex Painting
      • Hair & Fur >
        • Direct Link
        • VTM
      • Sub Surface Scattering >
        • What is it?
        • Epic Tutorial
        • VTM
      • Procedural Maps >
        • VTM
    • Plug-ins >
      • Advanced Procedural maps
    • The Problem with Hair... >
      • Modelling Hair
      • Making Hair with Planes
      • Using Hair & Fur
    • PTEX
  • Animation
    • Alan Becker - Stick man Master
    • Adobe Character Animator
    • Links
    • Animation Terminology
    • Animating Cameras for Architectural Visualisation
    • Emphasizing Animation Timing to Convey Weight and Force
    • Animation Body Mechanics - Understanding Exaggeration
    • Fire Effects using Particles
    • Animation for Games
    • Character Studies? Yes, Please!
    • Particles >
      • Sparks
      • Pouring Beer
    • Rigging >
      • Cat Rig Setup
      • Skinning
      • Skin Morph
      • Skin Wrap
      • Facial Rig
    • Roboball - Read Me >
      • Part 1 - Animation
      • Part 2 - Shading
      • Part 3 - Shading
      • Part 4 - Compositing
    • How to make objects disappear using procedural maps
    • Artist Guide to Motion Graphics >
      • Read Me First >
        • Part 1 >
          • Introduction and project overview
          • Initial project concept and storyboards
          • Adding lights to the scene in 3ds Max
        • Part 2 >
          • Using mental ray materials
          • Using 3ds Max particles to create sparks
          • Getting acquainted with State Sets in 3ds Max
        • Part 3 >
          • Using State Sets to create custom render passes
          • Separating scene elements using State Sets
          • Using Render Elements in 3ds Max
        • Part 4 >
          • Creating 3D elements that can be transferred to After Effects
          • Using the 3ds Max Compositor View
          • Installing the Autodesk Compositor Link plugin for After Effects
          • Overview of Media Sync workflow between 3ds Max and After Effects
          • Using Helper Objects to quickly place 3D layers
          • Using 3D Nulls to drive 2D effects like lens flares
        • Part 5 >
          • Baking an expression to fix motion blurred camera animation
          • Creating glows and changes with the Object ID pass
          • Overview of the compositing techniques use in the final render
          • How to install MAXScripts and add them to the interface
          • Creating custom attributes and transforming selected objects
          • Controlling many objects simply with MAXScript and expressions
    • Principles of Animation >
      • Digital Tutors' 12 Principles
      • 12 principles
      • Staging
      • Exaggeration
      • The 12 Principles Simplified
    • How to Link Sub-Objects to helpers
    • Rigging (3D Artist)
    • Pushing Your Rigs to the Limit - Using Exaggeration for More Appealing Animation
  • Rendering
    • Links
    • 5 Rendering Tips for Animators When Adding the Final Touches to Your Demo Reel
    • Basic Render Elements
    • Produce Expert Renders
    • Quicksilver >
      • Direct Link
    • Mental Ray >
      • Final Gather vs. Global Illumination
      • Global Illumination & Final Gather >
        • For Still Images >
          • VTM
        • For Animation >
          • VTM
      • Proxy Objects >
        • Xrefs
        • Containers >
          • VTMs
        • XRef vs Containers
        • MR Proxies >
          • VTM
    • V-Ray >
      • The BIG V-Ray Book
    • Corona >
      • Sub Surface Scattering with Corona MTL
    • Tools >
      • Level of Detail Utility
    • Simple Render Passes
  • 3ds Max for Beginners
  • Maya
    • Introduction to MAYA 2019
    • Basic
  • Mudbox
    • Tips for Beginners
    • Sculpting VTMs
    • Sculpting Films
    • Materials & Textures
    • Mudbox & Photoshop
    • Map Extraction
    • Retopology
    • Modelling using Displacement Maps
    • Creating hard surface stamps for Mudbox
    • Creating Vector Displacement Stamps
    • Using Vector Maps
    • Lighting
    • Using the Pose Tools
    • Ptex VTM
    • PTex - Mudbox to Max
    • Rendering Ptex with Mudbox, Maya & MR
    • The Jason Welsh Boxset >
      • Retopology Phase
      • Hard Surface Brushes
      • Creating Stamp from an Alpha
      • Image to Stamp without height information)
      • Texture to stencil
      • Sculpting with Stencils
      • Uniform Subdivision
      • UV Phase
      • Mapping Phase
      • Combining Normal Maps
      • Specular Map Option
      • Painting Option
      • Post Processing Texture Phase)
      • Post Processing Preview Cleanup and Repair Phase)
  • PBR Materials
  • Epic Games
    • Creating Materials in UE4
    • Hotkeys, Naming conventions etc.
    • Unreal Studio >
      • Preparing Models and Datasmith
      • Lightmass and Beyond
      • Steamroller
      • Unwrapping for Arch Vis
    • Unreal Engine >
      • Doors
      • Changing cameras
      • Complete Lighting Workflow
      • Beginners Guide
      • Big VTM for beginners
      • Must see! Speed Level Design
  • Post Production
    • After Effects Tutorials by Surfaced Studio >
      • Beginner >
        • How to Create Cool VFX
        • Compositions & Pre-Composing
        • Introduction to Masking
        • Adjustment Layers
        • Track Mattes
        • Parenting
        • Null Objects
        • 3D
      • Intermediate >
        • Muzzle Flash
        • How to Morph / Warp an Object
        • Advanced Morphing
        • Realistic Bullet Effects
        • How to get Hit by a Car
        • Motion Tracking
        • Explosions
        • How to Curve a Bullet
        • Bullet Hit Destruction
        • Make a Shooting Look Real
        • Common Green Screen Mistakes
        • How to Clone Yourself
      • Advanced >
        • How to Move a Camera Through a Wall or Floor
        • VFX - Dissolve into Crows (Short & Breakdown)
        • VFX - Dissolve into Crows Tutorial
        • How to Blow Up a Motorbike
        • Compositing Fireworks
        • Breaking Through a Roof
    • Dramatic Lighting in After Effects
    • Post Production in After Effects
    • After Effects, 3ds Max - Motion tracking, match moving & camera tracking
    • Mass FX, 3ds Max - Ball and Chain Complex Rigid Body Constraint
    • Links
  • Photography
    • Concepts & Terminology
    • Camera Equipment & Accessories
    • Editing & Post Processing
    • Colour Management & Printing
    • Understanding the F Stop
  • Photogrammetry
    • Photogrammetry
    • Create 3D Models & Textures From Photos
  • Photorealism Explained
  • 3D Scanning
    • Fuel 3D / Scanify
    • 3rd party stitching >
      • Autodesk Meshmixer
      • Meshlab
  • Games
    • Character, Controls, Camera: The 3Cs of Game Development
    • 10 Things Professional Game Artists Wish They Knew When They First Started
    • Animation for Games
    • Vehicle Game Asset
  • Film
    • Hollywood VFX
    • Practical Effects and Digital Effects
    • Reel FX Helps Write The Book of Life
    • Behind the Scenes of X-Men: Days of Future Past
    • Gravity
    • 'Atlantis' Rope Bridge scene by Vine Studios
    • The Evolution of VFX in Movies: The 60s Till Now
  • Work
    • How to become a Successful Freelance Artist
    • If Every 3D Job Requires "Job Experience" How Will I Ever Break into the Industry?
    • Build a Professional Showreel
    • Create Your Best Showreel
    • Five Tips for Critiquing Your Own Work
    • Demo Reel and Portfolio Tips from Game Industry Professionals
    • Escape Studios Careers Guide 2016
  • Drawing, Sketching etc
    • 10 Tips on becoming a Hotshot Character Artist
    • Planning your Drawing
    • How to Draw a Human Head
    • Drawing a Human Head at Different angles
    • Drawing Mouths and Lips
    • Mouth Expressions
    • Gesture Drawing
    • Dramatic Facial Expressions
    • Drawing Eyes
    • Drawing Hands
    • Drawing Emotion
    • Female Body Construction
    • Foreshortening
    • Drawing Anatomy >
      • Drawing Anatomy Pt 1
      • Drawing Anatomy Pt 2
    • How to Find Natural Rhythm Lines
    • Perspective
    • The Character design Process
    • Poses
    • Western vs Anime
    • How to Create Realistic Textures >
      • How to Create Realistic Textures Pt 1
      • How to Create Realistic Textures Pt 2
    • How to Create Realistic Textures Pt 3
  • What's new in Max 2019
  • Odds & Ends
    • Cinemagraphs
    • Trees
    • RSS Feeds >
      • Technology Magazines
      • 3D Artists
      • 3D Printing
      • Science Fiction
      • Tech Radar
      • ScriptSpot.com
    • Graphic Design >
      • Understanding Design Jargon: Design Principles
    • External Links >
      • Luciano Sgarbi
    • How to set up a Project Folder
    • Sound >
      • Intro to Prosound
      • Free WMA-MP3 Converter
      • Royalty Free Music
      • Sounds >
        • Links
        • Alarms
        • Animals
        • Computers
        • Email
        • Sound Effects
        • Voices
        • Gunfire
        • Short Tunes
    • Scripts >
      • 3D Stereoscopy
      • Brickerizer
      • Camera Switcher
      • Clay Render
      • Resource Collector
      • Deformed Edges
      • Rockmaker
      • BookScatter
      • Material Creator / Randomisor
      • Quick Ambient Occlusion
      • Fracture
      • Links
    • Scanned Stuff >
      • Produce Expert Renders
      • The Future of VFX
      • Rigging (3D Artist)
      • Build a Matte Image
      • 3D Artist - Matte Painting
      • Atmospheric Arch-Viz Renders
      • 50 ZBrush Secrets
      • Animation for Games
      • Wooden Arch Viz Interiors
      • Dramatic Lighting in After Effects
      • 50 Tips for better characters
      • The Art of Arch Vis
      • 50 Hot Topology Tips
      • Post Production in After Effects
      • Create Your Best Showreel
      • Get a Job in the Games Industry
      • Create 3D Games Assets
      • Digital Doubles
      • 3D Printing
      • Essential CG Projects
      • Vehicle Game Asset
      • Turbo - The Art of Dreamworks
      • Facial Animation
      • CG Worlds
      • 3ds Max 2014
      • Gravity
      • Art of Sci-Fi
      • Rigging in Max
    • 3DS Models >
      • Previews
  • Video Encoding
  • Glossary
    • Modelling
    • Materials
    • Maps
    • Lighting
    • Animation
    • Modifiers
    • Rendering
    • Scripts
    • Shadows
  • VR & AR
  • Modelling
    • Links >
      • Modelling Hair & Fur
      • Paint Deformation
      • Painting with Objects
    • Types of Modelling >
      • Hard Edge Modelling
      • Poly Modelling >
        • VTMs >
          • Basic Geometry >
            • How to stop geometry using kites
            • Example of where to use kites
            • Poles
            • Extruding for Animation
            • Simple Muscle Definition
          • How to Start a Human Torso
          • Hands
          • Blocking Out a Hand
          • Modelling Hellboy's Head .vtm >
            • Simple breakdown in PDF format
          • Facial Geometry
          • Advanced Body Geometry
          • Cloth Modifier >
            • Making a simple tablecloth
            • Making a Cushion
            • Cloth Help files
          • Modelling Wire mesh
        • Images for Modelling Characters
      • Patch Modelling >
        • VTM
      • Spline Modelling >
        • VTMs >
          • Working with Splines
          • How to build a spline car >
            • Part 1
            • Part 2
            • Part 3
            • Part 4
            • Part 5
            • Part 6
        • Spline Car Images for VTM
      • Map Modelling >
        • Using Maps to Model (displace) >
          • VTM
      • NURBS
      • MakeHuman
    • Architectural Stuff >
      • Five AutoCAD Tips That Make a Big Difference
      • AEC Extended
      • Windows
      • Doors
      • Walls
    • Tools >
      • Realigning Pivots
      • Containers, Xrefs & Proxies >
        • Containers
      • The Array Command
      • Graphite Modelling Ribbon >
        • Read Me!
        • VTMs >
          • Painting Objects
          • Freeform Tools
          • Conform Tools
      • Optimising & Analysing
      • Solving Ngons
      • Populate Tool
      • Perspective Match
    • Speeding Up Production with a Custom UI in 3ds Max
    • Speed up your Workflow in 3DS Max!
    • Why are Ngons & Triangles so Bad?
    • Modeling with Quads or Triangles - What Should I Use?
    • Subdivision / Open Subdiv
    • Different File Formats. Which one?
    • Useful Geometry Images - How & Why
    • Retopology
    • Retopology workflow in 3ds Max - the how and why
    • Hard Edge modelling vs Organic Modelling
    • 10 Anatomy Tips for 3D Modelling
  • Photoshop
    • Links
    • Day to Night
    • The RAW Format >
      • RAW Images
      • ACR Camera Raw Filter Photoshop Clarity
      • Editing RAW Images
      • How to Read a Histogram
    • Pixelflakes.com
    • Animating in Photoshop (Video)
    • Animating in Photoshop (Keyframe)
    • Photographic Retouching and Manipulation
    • Young to Old - The Aging Process
    • Turn Anything into Fire
    • From Destructive to Constructive
    • CS4 VTMs >
      • 3D Cross Section
      • 3D Layers 1
      • 3D Layers 2
      • A Better Impression
      • Adding Depth
      • Ageing Process
      • Animation
      • Beards & Stubble
      • Blending Options
      • Boxing Clever
      • Cartoon Distortion
      • Change of Skin
      • Change of Skin 2
      • Clone Tool
      • Combining Body Parts
      • Complex Shadows
      • Content Aware 1
      • Content Aware 2
      • Custom Brush Design
      • Day for Night
      • Digging Graves
      • Drawing Ribbons
      • Easy Multiple Adjustments
      • Explosions
      • Flyaway Hair
      • Folds & Wrinkles
      • Free Transform
      • Hard Light Shading
      • Image Warp
      • Layer Masks
      • Lock & Load
      • Magical realism
      • Making it Rain
      • Metal with Curves
      • Moving Eyes
      • Multiple Shadows
      • Multiple Strokes
      • Opening Doors
      • People & Cars
      • Perspective Crop
      • Perspective Drawing
      • Portrait Restoration
      • Refine Edges
      • Replace Colour
      • Reverse Ageing
      • RGB & CMYK
      • Rust & Grime
      • Selection Basics
      • Selective Hue - Saturation
      • Silver into Gold
      • Turning Heads
      • Vanishing Point
      • Visible Light
      • Watercolour
      • Window Light
    • Basic CC Training by Digital Tutors
    • CS6 Keyboard Shortcuts
    • Upscaling Images in PS CC
    • Ivy Generator
    • Mr Bean
    • Normal Maps >
      • Nvidia Plugins
    • Brushes >
      • How to load Brush files
      • Brush Tool .vtm
      • Custom Brushes (no images)
      • Custom Brushes (with images) >
        • Destroyed Heraldry
        • Abstract Splatter
        • Destroyed Elements
        • Hand drawn Floral
        • Hand drawn Heraldic Designs
    • Colour Correcting & Matching using Curves
    • How to Use Layer Masks in Photoshop
    • Creat Ice Effect
    • Make a fantasy composite landscape
    • Discover Layer Masks in Photoshop CS6
    • 10 Tips on becoming a Hotshot Character Artist
    • Matte Painting >
      • Direct Links
      • 3 Great Matte Tutorials
      • CGMA Competition
      • Nathalie Mathé
      • 3D Artist - Matte Painting
      • Build a Matte Image using VUE
      • The Matte Paintings of the Star Wars Trilogy
    • Painting Direct on a 3D Model >
      • CS5 & Earlier >
        • Level: Beginner >
          • VTM
        • Level: Advanced >
          • VTMs >
            • Part 1
            • Part 2
            • Part 3
      • CS6 >
        • VTM
      • CC >
        • VTM
    • Creating 3D Objects in CS6
    • 3D - What's new in CS6 .pdf
    • Day to Night >
      • for Animation / Film using After Effects
      • for Stills using Photoshop
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vertheim.com

24 things you should know about lighting

Research

01 – Observe how light works in the real world How it bounces, how coloured light affects coloured surfaces, and so on. Sometimes it does what you least expect. Jason Scott

02 – Learn to read photographs Get books from great photographers like Jimmy Nelson, Roger Ballen or whoever’s style you fancy and have them laying around your work desk to pick up when you are lost, when your computer is rendering, or whenever you have a spare moment. Then start learning to read the photographs, as there is a lot of information you can get by really studying a picture. Looking at shadows and speculars in a picture can help you figure out what light setup has been used, and what lights serve what purpose. Some lights might serve to separate the subject from the background, while others might serve to attract the viewer’s eye to a specific point in the picture, for example. Kevin Beckers

03 – Get your shaders ready first Don’t rig your lights before you make sure all your shaders are ready – lighting a scene without shaders is a waste of time. Start by using a very simple light – no GI, just simple area light – to see how your shaders will act. Then, when all your shaders become ready, think about more. Mostafa Zaki

04 – Read photography magazines Aside from reading 3D-specific industry magazines, it is also a good idea to read up on other industry publications, like photography titles. They often deal with lighting and composition topics and also have some good tips and tricks on post-production that can help to take your 3D renders to the next level. Kevin Beckers

05 – Don’t be slave to photographic realism You can use photographic references to understand how stuff works, then remember to be creative, you are the artist, you have to bend the light to your needs! Ivan Stalio

Lighting setup

06 – Take the time to set up basic lighting Before starting to set up complex materials and textures, take the time to set up a basic form of your intended lighting setup to get a better idea of how the light will affect the final composition. I will typically only include the basic diffuse, glossy and transparent shaders when testing the lighting. Setting up the basic lighting early on can prevent issues such as having to modify or rearrange models after they are textured and can be a big time-saver. It is also a great opportunity to experiment with new lighting setups that you haven’t tried before, since render times will be quite low. Thomas Cairns

07 – Start with the light that has the smallest effect first Many artists have said this before, but it’s one of the most important things you need to become a good lighting artist. You can’t see the effect of the smallest light if you start with the biggest one. If you test all your lights step by step, then you will not have any problems with a complex setup. Mostafa Zaki

08 – Strip back and get your primary lighting right Sometimes you add so many lights you don’t how each is affecting your scene. Strip back to one, get the angle and intensity where you want it, and start adding extra fill lights back in. Jonathan Ball

09 – Keep experimenting Try different kinds of lights. I usually change my lighting setup every time – I really like to experiment. Ivan Stalio

10 – Use contrast Contrast in lighting will make your scene dramatic and interesting. Try using warm colours against cold ones, or using one huge light source on one side balanced by multiple small lights on the other. Waldemar Bartkowiak

11 – Vary your colours Remember that even while you are using the same light, you can use different colours in your specular channels or maps, simulating different coloured lights and getting original results. Ivan Stalio

12 – Build up a composition Use the lights to build composition of the image. Brighten areas you want to be seen and guide the viewer’s eyes across the image using light rays. To create the moonlight effect in ‘Master of the Books’, I used three lights placed in the same spot, just above the hole in the ceiling, all pointing downwards:

• A Spotlight with a slight blue tint, with five-degree cone angle and intensity at around ten per cent. It’s main purpose was to light the floor and illuminate the main elements in the centre from the top.

• A Large Area Light, bigger than the size of the hole in the ceiling. This light has a dark blue colour and high 180 per cent intensity with the falloff using Inverse Distance Squared setting, which reaches the bottom of the library. It fills the whole room with soft blue light in a gradient pattern. Use of large area light allows me to draw nice, soft shadows.

• The last light is a Distant Light, for the volumetric lighting. It doesn’t affect diffuse or specular, its role is to create a pillar of light, shooting from above the whole scene, through the hole, down to the ground. The intensity of the light is set to 100 per cent, the Effect Dissolve value is set to 20 per cent, and the rest of the settings at default. The radius of the light is roughly the same size as the hole, but really tall, with the length being twice as big as the whole library. This helped me get desired falloff, especially with such an extreme camera angle. I choose pure white, with lots of shades of blue already illuminating the upper parts of the library, it makes the rays stands out more. Waldemar Bartkowiak

Effects & shadows

13 – Setting up your gamma This is very tricky for many artists – physically gamma should be 2.2 but this amount wouldn’t normally give you the result you want. I would use a gamma of 1.6 or 1.8 or 1; remember, you can bend the real physics in your world – it all depends on what you need. Jason Scott

14 – Don’t be afraid of dark areas Not everything has to be lit – dark areas add atmosphere. I often get annoyed when watching films that have scenes set in the dark, caves or unlit rooms, for example, and they have added a low level light so you can see everything. That ruins the entire atmosphere. Jonathan Ball

15 – What you can’t see is as important as what you can Learn to embrace both darkness and shadow. Jason Scott

16 – Remember off-camera lights Imagine a city scene at night, you are rendering a small section of buildings within that city. In reality that scene will be affected by lights from buildings, cars, neon signs and so on that are not visible in the main scene, but are adding subtle secondary light or reflections to it. Add some lights off camera to simulate this. Jonathan Ball

17 – Use volumetric lighting Volumetric lighting, when not overused, can be an easy way to add some extra interest to your scene’s light setup. It is especially useful in interiors and can be combined with obstacles in the light’s path to both add interest to the scene and to focus the viewer on the main subject. Thomas Cairns

18 – Introduce complexity to shadows Whenever it makes sense to do so, try to introduce extra complexity to the shadows of your scene. Even though the environment outside an interior scene may not be modelled, it can add extra interest to the shadows of your scene if alpha-mapped textures such as foliage or raindrops are placed in the path between the light source and interior scene. In Blender I like to use a spot lamp set to a very high strength with a small ‘size’ value to better show off small details from shadows cast by alpha-mapped patterns in front of the light source. Thomas Cairns

19 – Break up the light Breaking up a light, for example by putting a noise map in the projector map in 3ds Max, or placing a ‘tree billboard’ in front of your light, can help break that CG feel you get as the light will have subtle intensity variations, as apposed to this perfect uniform light a CG light gives. Heavy or light dirtmaps in specular or bump slots will also help break said uniformity. Kevin Beckers

20 – Using luminous polygons I like to use luminous polygons – or lumigons – in MODO to create detailed lighting setups. I usually don’t accept my image as complete with just a regular photorealistic light, even if I’m working on an outdoor scene. Sometimes, in addition to the sunlight, I use some more lights because I want to get a shaded area to be more readable, or highlight a particular element or a detail. Ivan Stalio

21 – Add dust particles floating in the air It could be done using particle systems, or simple geometry with alpha planes and works quite well when combined with volumetric lights. Those particles will get picked up by all your light sources, adding a final touch to your render. Waldemar Bartkowiak

22 – Create colour effects In Blender I often create planes with an emission material and a strong colour for my lights. I then use another plane facing an opposite direction with a contrasting colour and a lower setting. This creates interesting colour effects in your scenes. Jonathan Ball

23 – Adding fog Don’t be afraid using volumetric lighting and of adding a bit of fog to your scenes. It will not only add depth to your image, but also it helps build a mysterious atmosphere. You can also add some quick smoke effects by just adding some simple texture in your volumetric lights settings. Good examples of this kind of effect might be light coming through the window blinds in dusty room, or rays cast through a hole in the clouds. Thanks to their interaction with the environment these lights are much more exciting and captivating. Waldemar Bartkowiak

24 – Post processing There is no doubt that post is one of the most important things that any 3D artist should know, but don’t count on it. Use lighting to try to make the best results come directly from your 3D app. Even if you are rendering just passes, make all your passes look beautiful. Don’t wait until you go to post. Mostafa Zaki

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