Lighting La Salle Chapter 5: Mood Lighting

Lighting La Salle Chapter 5: Mood Lighting
By Viktor Fretyán
作者：Viktor Fretyán
Software used/使用软件:
3ds Max, V-Ray
翻译by:yipinsucai.com

Take a sneaky peak into the first chapter of one of 3DTotal's groundbreaking eBooks in this short sample tutorial. If you would like to build upon what you learn in the following article or if you would like to continue to follow this tutorial you can purchase the full eBook in the 3DTotal shop.
这一片短教程是介绍一个创建夜晚暗调的房间，或者如果你想继续学习本教程,您可以购买完整的电子书在3 dtotal商店。
Please note:
请注意:
This eBook includes free resources, which can be obtained by purchasing the full product by clicking the banner above.
这本电子书包括免费资源,可以通过点击上面的广告购买完整的产品。
Tutorial/教程
Greetings everyone! I would like to thank you all for reading this tutorial and I hope you will find it useful if you are looking for some tips on interior lighting. Since this is a part of a series I assume you have read the previous parts as well. All together there are three night-time lighting schemes and this is the final and yet most exciting one, as it has a romantic lighting theme.
问候大家了!我要感谢您的阅读本教程,如果你关于室内照明正在寻找一些建议，我希望你会发现它很有用。由于这是一个系列教程的一部分，我假设你已经阅读了之前的章节。所有在一起有三个夜晚照明教程,这是最后的一个并且是最令人兴奋的一个,因为它有一个浪漫的照明的主题。
As I said, I presume you have read the previous chapters of this tutorial and so I will start with my bright, overcast night-shot scene. Let us analyze to begin with and lay down the guidelines which we will be following!
就像我说的,我假定您已阅读了本系列教程的前几章,所以我将开始我的夜晚场景。让我们分析一下怎么开始为后面的工作做准备！
The first thing that has to be strikingly different is the amount of light in the room (Fig.01). One thing is for sure: the light on the ceiling will have to be turned off. We want to create an atmosphere in the render that would exist if we were on a date in this particular room in real life, and for that we probably wouldn't need the main light. So lights 1 and 2 get put out (Fig.02)!
首先,必须截然不同的灯光强度(图1)。有一件事是肯定的:天花板上的灯光必须关闭。我们想创造一种氛围,渲染真实的情况,如果我们在这个特定的房间里约会,我们可能不会需要主光。所以灯1和2要关闭(图02)!

Fig. 01

Fig. 02
We have four more light sources left in the room (I'm counting the lamps numbered 6 as one) and we know we won't need that many for our date night. So let's see what else we don't need. Well it will obviously be the ones in the back. That is because of two things: for one thing it looks like a working space and we would definitely not want to concentrate on that. The second reason is because the darker the room is the smaller it feels, and our goal is to make this space as cozy as possible. Bottom line: lamp number 3 is out.
我们房间里还有4个编号的灯开着(我将灯编号6组),我们知道我们不需要那么多灯对于我们的约会之夜。所以让我们看看还有什么我们不需要。这显然会是后面的那盏。这是因为两件事:首先它看起来像一个工作空间,我们绝对不会想要把视线放在那。第二个原因在于我们想要较暗的房间有较小的感觉,我们的目标是使这个空间尽可能温暖舒适。所以灯编号数3的灯被关闭。
There is one more light I'm not really comfortable with and that is the standing lamp (number 5). Whenever I look at that I instantly think about a middle age or an older man sitting under it with his glasses on reading a long book. And we don't want that association with this space and scene! So away with that too!
有一个灯使我不是感到很舒适,是落地灯(5号)。每当我看着它,我立刻想到一个中年或老年男人戴着他的眼镜下坐在下面读一本书。我们不想那样的情况在这块空间和场景!所以关掉了!
We're down to our last two lights, numbers 4 and 6. So let's check how it looks like as it is now! But before that, let me show you my render settings for test renders. Whether it's an exterior, interior, night or daylight shot, I always use these settings for test purposes (Fig.03). I put the shadow subdivs to 6 at this point for the light sources.
我们剩下最后两盏灯,数字编号4和6。所以让我们看看它们渲染出来的样子!但是在那之前,让我告诉你我测试渲染的渲染设置。不管它是一个外部、内部、晚上或白天场景,我总是使用这些设置用于测试目的(fig03)。我把点光源的影子细分到6。

Fig. 03
And so here is the first test render. Please excuse the test render quality, but it is totally sufficient to see the lighting. What I can see now is that the lighting is anything but romantic. It looks more like a bedroom of a wealthy couple at the end of a long tiring day of work (Fig.04). So let's start playing with the settings a bit.
所以,这是第一个测试渲染。请原谅测试渲染的质量,但它是完全足以看到灯光的。我可以看到现在是照明绝对不是浪漫的。它看起来更像一个富有的夫妇的卧室在忙碌了一天后的晚上的效果(图4)。因此,让我们设置一些参数。

Fig. 04
First I would like to use the Linear Exposure control here instead of what we have been using so far in the overcast night shot, which was Reinhard. With this we will be able to reduce the overall light in the room without having to sacrifice the burning brightness effect near the light sources.
我想先用线性曝光控制这个场景，而非我们所一直使用到目前为止的 Reinhard。这个我们将可以降低整个房间的光线而无需改变光源附近的亮度。
Now let's have a closer look at our light sources: they are V-Ray light spheres. We can see that number 4, the Tiffany lamp, causes some nice sharp shadows on the walls and it was a nice feature in the earlier scene but now I don't think we need it. I find it a bit distracting and I would like to see much smoother shadows. So just replace this small radius sphere with a normal V-Ray light sphere by copying one from lamp number 6. No Instance this time because later we might want to handle them separately.
现在让我们进一步查看我们的光源:他们是vray球光。我们可以看到数字4也就是桌面台灯，,形成一些不错的尖锐的阴影在墙上,这是一个不错的效果在以前的场景,但现在我认为我们不需要它。我觉得这有点花,我希望看到更为柔和的阴影。所以只要替换掉这个小半径球体用一个正常尺寸的vray球灯，复制一个来自6号灯的灯光。不要用关联复制，因为我们要分别控制它们。
Let's reduce the light drastically by bringing the Multiplier down to 300. Let's see what we get now (Fig.05). It is really dark but I like it because these lamps have only one purpose and that's to light the areas very close to them. But just for some more fine tuning: let's make light number 6 a bit less bright (200) and number 4 a bit brighter (500). Because by now it is, I guess, clear to everyone that we will introduce a completely new light source in the scene to serve as our main light source: the fireplace.
让我们减少光的强度，降至300。让我们来看看现在我们得到什么(fig05)。它真的很黑了,但我喜欢它,因为这些灯只有一个目的,这就是亮的范围不要太大。但我们再细调一下:让我们使6号灯不那么明亮(200)和4号有点明亮(500)。因为现我想每个人都明白,我们将使一种全新的光源中作为我们主要的光源:壁炉。

Fig. 05
How could you leave that out of a romantic scene?
你怎么能让一个浪漫的场景缺少它呢？
So we will do this by putting three V-Ray light spheres in the fireplace, scattered in there randomly (Fig.06). And render a final test (Fig.07).
所以我将在壁炉里放置3个VRAY球光，随机地摆放在那里，然后测试渲染 (Fig.07)。

Fig. 06

Fig. 07
Now it's time for the final settings and then it's ready to be rendered properly (Fig.08 – 09).
现在是时候设置最终的渲染参数,然后它就可以正确渲染了(图08 - 09)。

Fig. 08

Fig. 09
And after some Photoshopping, the end result looks like this (Fig.10). I think it's satisfying enough. Who could resist this atmosphere?
经过一些PS工作，最终结果像这样，我觉得够好了，谁能抗拒这么好的环境呢？

Fig. 10
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翻译by:yipinsucai.com
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