in order for it to be such a powerful and fast renderers.
There are a lot of different methods every
uses to calculate lighting compared to engines like cycles
to start off. Let's look at the render tap in our properties editor
in here with heavy selected as our render engine.
You can see several settings that pertain to.
However, calculates a lighting and visuals.
This includes several effects such as ambient occlusion, bloom
screen, space reflections and motion blur.
In this video you will learn how to view each
one of these effects and how to adjust their settings.
To enable any of these simply click the checkbox on the left.
You can also expand each category by clicking the arrow on the left.
However,
you may notice that checking these makes no visible difference in the view port.
This is because we are in solid view
in order to view in real time.
The differences each of these settings might make
simply change your view port mode
to render view.
You can do that by clicking the right most fear in the
top right hand corner of the view port or pressing the Z key
and using the pie menu there.
Once in rendered mode
you can test each of these settings to see how they might affect your render,
enabling ambient occlusion
will be most apparent at the corners or crevices of your scene
to show this better.
Let's go ahead and add a mesh plane object
and scale it up to act as our floor.
This is a real life effect that can help make geometric
detail really pop and often helps renders feel more three D.
Let's take a look at the ambient occlusion settings,
Distance affects how far the ambient occlusion shadow extends from the corners
factor affects the darkness of the shadow and you
can actually manually set it past the maximum of 1.00
for the rest of these ambient occlusion settings,
feel free to hover over them for more information and experiment to get what you like
bloom is basically another word for glow
but you'll notice when we enable it. It doesn't really change much in the view port
that's because nothing in our scene is bright enough yet to trigger the bloom effect
but it's a very pretty effect. So let's see if we can get it to show up.
Let's select our cube and go to the material tab indicated by
the red material sphere icon at the bottom of our properties editor
here under surface
we can see that we have the principled be sdf selected by default.
This is great but we want to make it bright.
Well luckily if we scroll down here there is an emission value,
this is a color that we can set.
Let's drag the value slider all the way up so that it's the brightest white it can be.
Now this isn't bad but it's not obvious enough for testing purposes.
We can confirm that the bloom is working.
However,
if we go into our render settings tab again and check on and off the bloom checkbox.
Yes, the cube is glowing slightly.
But how do we make it really glow like a lot
to make the emission even brighter. I'm going to use an emission shader
to do this.
Let's go into our cubes materials tab in the properties editor.
We can then switch out our principled BSD of surface shader node
for an emission node from the drop down menu.
Now we have a strength value we can increase to our heart's desire.
I'm going to set the brightness of our mission to 10
Now that's a lot of bloom.
Let's play around with our settings. Now
feel free to adjust the threshold slider
to determine how Brighton object needs to be to start glowing.
For example, our emission shader is at a strength of 10
and setting the threshold to 10 and the bloom
settings actually stops the glow of the Cube perfectly.
You can also change the color of the glow,
the radius of the glow and the intensity of the glow
setting a non zero clamp value will also set the maximum intensity.
The glow can be in your scene.
The knee value simply makes it so that those
objects that are bordering the threshold of the bloom are
given some slightly way to fade the bloom so that
the cut off threshold doesn't look too visually jarring.
Next is depth of field.
This isn't actually a lighting effect but I want to go over it anyway.
This simulates a real life camera effect, that depends on the focus of the camera.
This is when only certain parts of the image are clear while the rest is blurry,
based on distance from the focal point.
Before we test this out, I'm going to add a few monkeys at various distances
throughout our scene so the effect is a bit more obvious.
However, unlike the other two settings before it,
this does not have a check box.
This is because the depth of field setting
is enabled for each camera object individually.
While this setting is simply a way to set max blur size for the effect.
To turn on the depth of field effect, we have to select our active camera,
then go to the green camera icon tab in the
Properties editor and check depth of field from there.
However, we still don't see any huge blurriness or depth of field effects.
That's because we still have to set the focal length for the camera itself.
Let's simply left click, drag the focus distance down to around one
but still nothing.
Ah That's because the depth of field effect is
only visible through the eyes of the active camera.
So let's simply click this camera icon to change our view.
Hockey users can press zero on the number pad instead.
There we go
as you can see
everything in the image is blurry due to them being far away from the focus point.
If we drag our focus distance back up slowly by holding shift while
sliding the slider we can see the focus point moving through the scene
as certain objects get clearer and blurrier.
But where is this focus point in three D. Space?
Well we can actually scroll down here and go to view port display
then check limits.
If we go back into our perspective, you and drag the focus distance again
you can see that we can very easily adjust the distance how we need to.
One more setting that affects depth of field greatly.
Is the F stop value.
The lower this number. The blurrier the image can potentially be
to get a very shallow depth of field where only a small portion of your frame is clear.
You want a smaller F Stop
for a deep depth of field where many things are clear. You want a larger F stop.
Also going back to our render settings tab.
We can adjust the depth of field max size value
to clamp the blur amount for render efficiency
but default values typically work fine.
The subsurface scattering setting affects
how subsurface scattering is calculated
with a similar samples option to the global samples.
These settings overall increase or decrease the
quality of the subsurface scattering calculations.
We can add a quick subsurface scattering shader to
our monkey here by simply selecting it go into the
materials tab and dragging the subsurface slider on our principled
be sdf shader all the way up to max.
Now, as you can see, the monkey has a soft skin like texture,
but we're not really seeing the redness of the ears like we should.
That's because there's one more setting in the material that we need to check.
Let's select our monkey and go to the material tab.
If you scroll down,
you'll notice the option for a subsurface translucency.
This will allow light to pass through the ears and other thin
parts of the mesh to give a more realistic skin shader effect.
By moving our light object closer to the monkey.
We can really see more clearly both the translucency of the ear
and the banding artifacts of subsurface scattering approximation.
Now to get rid of the banding artifacts,
we can increase the samples to increase the resolution of the effect
while jitter helps hide some of the banding by randomizing it a bit
separate. Albedo preserves the colors a bit better but uses more video memory
screen.
Space reflections is used specifically to approximate
reflective and refractive surfaces in our scene.
If we go back into our materials tab,
we can select our plane object and add a new material,
Then decreased roughness. 2.2,
as you can see,
we now have a very shiny floor but there are no reflections of our objects
only our lights,
although technically it's also reflecting our background.
I'm going to add a checker texture to my world cheddar to make that a bit more obvious
anyway by enabling screen space reflections,
objects will actually start to appear in the reflection on the floor plane.
The settings here will affect various aspects of the reflection.
Roughness. For those who don't know
is how you set, how clear the reflection looks.
The rougher it is
the more diffuse the reflection.
Whereas mirrors are typically a roughness of zero
max.
Roughness here is similar to threshold in that anything
above the roughness value will not display reflections.
This saves screen space reflections for only the shiniest of reflective shakers.
Trace precision will affect the quality of the reflections to a certain extent.
But in reality the global sampling settings is what
will affect the noise in the reflection the most
increased the samples to decrease the noise.
Half raised trace also allows you to lower the
quality of the reflections without affecting your global samples.
This makes it more noisy but faster,
so feel free to play around with what works for your scene.
Yeah,
the refraction setting under screen space reflections
is specifically for glass like shakers
that refract light as it passes through.
Let's go ahead and go to the materials tab and
select a monkey to give it a glass shader.
I'm simply going to add a material and
switch out our surface option from principled B.
S. D. F. Two glass B S. D. F.
Now you'll immediately notice that it looks like glass
but you can't see through it at all.
Let's check on the refraction option under
screen space reflections in the render settings tab
but it's still not see through.
Ah That's because just like normal transparency and subsurface scattering.
Translucency glass refraction is also handled as a transparency effect
that needs to be enabled in the materials tab.
Let's go back into the materials tab and scroll down until we see settings.
Then check to enable screen space refraction.
Now as you can see the object is refracting the light.
However,
we can also edit the object specific refraction
depth to approximate the thickness of our object.
If we want to be a bit more accurate
For your reference. Each grid square in our view port is typically one m
but default settings are fine too.
Next we have motion blur
which is also only visible from the camera's perspective.
So let's turn on the motion blur. Check box
and go into a camera perspective by pressing the camera
icon here or pressing zero on the number pad.
However, we still don't see any motion blur
but that's because there is no motion in our scene.
So the fastest way to see it in action is to animate our camera real quick.
Let's select our camera by clicking on the border of its frame and
turn on auto key frame mode by clicking this white circle record button.
Then we can rotate our camera by pressing our twice
to look a little to the left of our monkeys
as you can see the timeline now has a
yellow diamond key frame set at our current frame.
Then click and drag the top of the timeline to move our current key frame to frame 10.
Here we'll want to rotate our camera again
to look a little to the right of our monkeys,
dragging our timeline back to the beginning.
We can play our animation with the space bar and see a very prominent motion
blur effect when the camera is in motion between our two new key frames.
To see this more clearly,
you can also pause and simply scrub through the frames
as the motion board will still be visible to help tweak
looking at frame five for example,
we can very clearly see how the motion blur settings affect our visuals.
So now it's time to play with the settings.
The shutter value affects the amount of blur
while the number of samples affect the quality of the blur.
Volumetrics is a setting that affects how volumetric schrader's look in our scene.
If we expand this section,
you'll see a few things that we can tweak.
However, we don't currently have any volumetric shakers in our scene to test.
So let's go ahead and add another cube from the ad menu.
Then we can go into the materials tab and switch out our principled BSD F for remove
this will remove entirely our surface shader.
Then we can expand the volume section and select volume scatter from the drop down.
This will add a volumetric shader to our cube.
To better illustrate what this does.
Let's scale our cube up to engulf our light object and maybe half are seen.
You'll notice it really Fox up the place just to make things a bit more clear.
Let's turn the density value of our volumetric scatter setting
down to 0.5.
Nice. Now we can test out the volumetric settings in our render settings tab
to start off the start and end values determined the
clipping range relative to the distance from the camera.
For one, volumetrics should be visible
as you can see if we zoom out far enough are volumetric cube will disappear.
Likewise, if we drag up the start value to something like 10 m,
we can zoom in and the volume metrics will disappear before we can get too close
default settings are typically fine here but
feel free to experiment for your scene.
Tile size and samples are both ways you can control quality of the volume metrics.
You may have noticed by now that when moving around in the view port,
the volumetrics show a kind of banding pattern as it refreshes.
The number of bands is based on the number of samples.
The more samples there are
the more bands there are
and the less obvious the bands are
thus the higher quality the volumetric becomes.
Meanwhile, the tile size actually affects how sharp the edges of these bands are
setting.
A high tile size number will result in blurry banding edges but won't be as accurate
while the smaller tile size will slow down your view
port a bit but increase the sharpness of the samples.
Distribution is a very important setting for when you or
your camera are inside or close to a volumetric shading.
If we zoom in here,
you can see that currently are volume resolution still holds up pretty good,
but if we turn our distribution all the way down,
you'll notice that it starts banding heavily as
the volume gets closer to the camera.
If you think of volumetrics,
like essentially a bunch of semi transparent
planes in an array stacked close together.
This makes sense
as the closer you get,
the more obvious the distance between the planes would become.
However, with distribution,
the space between the planes gets smaller as the camera gets closer to the volume,
thus hiding the gaps between the planes and giving
a higher quality volumetric look from all distances.
The higher the distribution,
the more it compensates for camera distance.
This next section is for volumetric lighting. Specifically,
if we check this checkbox off,
you'll notice that our light object no longer affects the volume metrics.
That's pretty much it.
But like clamping will let you prevent any lights
within the volume from being brighter than that value.
A light clamping value of zero simply means the clamping is turned off,
allowing all light to persist in the volume
Volumetric shadows are basically shadows that are cast
by the volumetric shader itself onto itself.
These can get expensive so use with caution
but feel free to experiment with it for your own scenes.
The hair settings are specifically for hair particles and how they are rendered.
The basic option is simply choosing between strands and strip
strand is better for previewing but stripped looks a lot prettier.
Additional subdivisions can also help increase
the smoothness of the hairs curves.
Shadow settings can be adjusted here as well.
The shadows of your scene can be calculated based on different methods in Eve
E. S. M. Or exponential shadow mapping is the default, whereas V. S. M.
Or variants shadow mapping can also be selected.
You can read about the difference between these two
and the official documentation and the description down below.
Furthermore, cube size can visibly increase the quality of your shadows.
This is basically resolution for your shadows.
The higher the cube size, the higher resolution the shadows will look
cascade size increases or decreases the
detail of shadows specifically from sunlight.
High bit depth can help increase quality as well by
reducing some artifacts that might persist at lower bit depths,
soft shadows randomizes the shadow maps to soften the edges of your shadows
and light threshold is an interesting setting
as it allows you to change the threshold at which shadows are calculated.
Typically a shadow is simply an area with little to no light.
However,
you can increase the threshold to define what little to no light really means.
For example, if I increase this to one
than any area with less light than the threshold will also be displayed as a shadow,
indirect lighting is a group of settings that refers
specifically to the objects known as light probes.
You may have seen these in the ad menu but not understood what they do
in the add menu. We can see there are currently three kinds of light probes,
reflection, cube map,
reflection plane
and the radiance volume
light probes are objects used to pre
calculate certain lighting effects such as bounce,
lighting,
reflections and refraction.
This is a technically more accurate way to calculate real time reflections and ev
compared to screen space reflections
with some limitations,
let me show you what I mean.
Let's subdivide this cube and give it a roughness of zero in the materials tab.
Since we have screen space reflections turned off this
reflective sphere doesn't reflect the monkey next to it,
only the light and the background.
However, let's add a reflection cube app to our scene,
reflection cube maps are used to calculate
reflections for objects within a certain volume.
When we add a reflection cube map, you'll see the sphere appear
which can be placed around objects with reflective shade. Urz.
Once we have placed the light probe properly around the sphere,
simply press bake indirect lighting
as you can see the monkey is now properly reflected in the sphere.
However you might notice these black squares or diamonds in the reflection
that's because of the clipping settings of our cube map,
simply go into the light probe data tab in the properties editor
marked by this diagonal volume icon
and go to view port display
here. We can turn on clipping
which if we go into wireframe mode will
notice the clipping starts inside of our sphere.
This is what's causing the black squares.
So let's drag the clipping start value up a little bit
to bring that just outside of our sphere.
If we go back into rendered mode,
go to our render settings and hit bake indirect
lighting again we can see these black squares have disappeared
but in case you don't want to press bake every time you make a change.
You can also check this auto bake checkbox.
This will update the bake every time you make a change to the light probe objects.
It's important to note that reflection cube maps do
not update reflections to show the animation of objects
as the reflection calculated is static.
However,
Iranians volumes and reflection planes do show object animation in real time
reflection planes work much the same way as reflection cube maps
only. They are flat.
Iranians volumes are a way to simulate bounce light.
You can add them to your scene to sample surrounding colours
and brightness and cast that bounce light onto other objects.
Remember what I said, you can't use emission traders as light sources and Evie
technically with the radiance volumes, you can however,
they don't cast shadows and require the light sources to be static,
but Iranians volumes along with other light probe options can be
incredibly helpful and Evie to make the lighting feel more realistic.
Light probes are an E V specific feature and
you can read more about them in the official documentation
in the description down below.
As you can see EVs real time lighting settings can make
big differences in how you're seeing looks and final render.
I hope this video helps you get started enough to
allow you to experiment further for your own projects.