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MASTER Roblox Lighting With This Video — Transcript

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0:00Fighting in Roblox can be pretty
0:02difficult, but it doesn't need to be.
0:04I'll be going over every single lighting
0:06setting along with multiple different
0:07scenarios to help you become a better
0:09developer.
0:11Okay, so what you want to do is go into
0:13this little lighting tab and go down
0:15here and we're going to start by
0:16tweaking all of these settings. So
0:18ambient is defined as the lighting hue
0:21applied to areas that are oluded from
0:23the sky, such as indoor areas. Now what
0:26that means is this affects the color of
0:28the shadows. So if you make it lighter
0:30the shadows become lighter. If you make
0:32it darker the shadows become darker. Now
0:34you can also give it a hue. You can make
0:36it a little bit blue. You can make it a
0:38little yellow. You can just change the
0:39color to anything you want. Now what I
0:42recommend is making the light a little
0:44bit blue in the shadow to make it look a
0:47little bit cooler. Then we're going to
0:49skip all these. Go into the lighting
0:50style. Now I always recommend using
0:52realistic but if you want to optimize
0:55performance then soft is the option
0:56[music] you want to choose. Next is the
0:58brightness. Now the brightness is the
1:01intensity of illumination in the place
1:03or in the game. What I would describe it
1:05as is how bright the sun is. So if you
1:07increase this everywhere where the sun
1:09hits is brighter. So for realistic
1:11looking games I like setting this pretty
1:13high because the sun is in fact bright.
1:16Next we'll talk about color shift
1:17bottom. Now color shift bottom's defined
1:19as the hue represented in light
1:21reflected in the opposite surfaces to
1:23those facing the sun or moon. Now most
1:25of the time if you change this you won't
1:27see any change in the place. So I
1:29recommend just setting this to a dark
1:31color and just leaving it for now. Now
1:33color shift top is defined as the hue
1:35represented in light reflected from
1:37surfaces facing the sun or moon. So what
1:39I would describe it as wherever the sun
1:41hits this color affects how it looks.
1:44So, if you want the sun to be a little
1:45bit bluer, a little bit cooler, you can
1:47make it blue. Or you can make it yellow
1:50to make the scene feel warmer. And
1:52that's what I typically recommend. Just
1:54giving a little bit of yellowish hue.
1:57Next is the environment diffuse scale.
2:00This is defined as the ambient light
2:02that is derived from the environment.
2:04So, if you increase or decrease this,
2:06it's a way of mimicking bounce lighting,
2:08but it doesn't do it in a great way.
2:09Okay, so I usually just set this pretty
2:11low, like 2 or.3 for most of my scenes.
2:14Then we'll move on to the environment
2:16specular scale. This is specular light
2:19derived from environment. I just brought
2:21in this little metal table to help
2:23visualize what this thing does. Now, the
2:25environment specular affects how metal
2:28and different specular light looks. So,
2:30if you bring this down, metal will look
2:32flatter and won't reflect light as much
2:35or even at all if it's at zero. So if
2:37you have a lot of metal in your game and
2:38you want nice reflections, I recommend
2:40keeping this at a high number. I usually
2:42keep this at 0.9 for most of my stuff.
2:45Then is the outdoor ambient. Now the
2:47outdoor ambient differs from the ambient
2:49because it only affects how outdoor
2:51shadows work while ambient affects how
2:53all of the shadows work inside, outside,
2:56anywhere. So if you want a specific look
2:58outside, you can change this and then it
3:00affects all the shadows differently.
3:02Then the shadow softness. This simply
3:04just controls how blurry the shadows
3:07are. If you set it to zero, it'll be
3:09really sharp. But if you set it to a
3:11higher number, it'll just blur it out a
3:13little bit. Now, next is this exposure
3:16compensation. Now, a lot of people don't
3:18know this is actually here cuz it's a
3:20little bit hidden away. Now, exposure
3:22compensation is defined as the property
3:25that determines the amount which applies
3:26a bias to the exposure level of the
3:28scene prior to the tone map step. So,
3:31what that means is you should just
3:32increase it slightly just to add a
3:34little bit more contrast. Next, we're
3:36going to go into all the different
3:37effects you can apply to lighting. So,
3:39in order to get them, you just click on
3:40this little icon here. Then, they should
3:42all pop up right here. First, we're
3:45going to use the sky. Now, the sky
3:47affects just the sky box. So, what I
3:50recommend is you get this plugin called
3:53HDRI inserter. And this just has a huge
3:55catalog of different skies you can just
3:57apply, just insert to your scenes. But
4:00if you don't want to get that plugin,
4:02you can always just go into toolbox, go
4:04into the sky and atmosphere, and just
4:07click on any one of these should apply
4:09it. And there you go. So I recommend
4:12building your scene around the sky
4:14because the sky will in fact influence
4:16how the light works. So once you get a
4:19sky that you like, you can go into the
4:21next effect, which will be the
4:22atmosphere. Now this just applies a
4:25little bit of fog. So it creates more of
4:27a depth between objects that are closer
4:29and that are farther away. Now Roblox
4:31defines atmosphere as something that
4:33simulates realistic environments by
4:35scattering sunlight in unique ways based
4:37on the properties that control air
4:39particles. So that's just pretty
4:42complicated way of saying fog. So
4:44depending on your scene, you can
4:45increase or decrease this density
4:47amount. Unless you have a really foggy
4:49or smoky scene, I would recommend
4:51keeping this pretty far out, pretty low,
4:53like 0.2 around there. Now, this offset
4:56property controls how light transmits
4:58between the camera and the sky
5:00background. When you increase this
5:01value, it creates a horizon silhouette.
5:03When you decrease this value, it blends
5:05distant objects into the sky for
5:07seemingly endless and seamless open
5:09world. Let me just increase this density
5:11a lot. If you set it to zero, it blends
5:14the objects in the sky more. But if you
5:16increase it to one, the objects will
5:17stand out more. So, I recommend keeping
5:19this pretty low. Next is this color. And
5:22this color sets the hue of the
5:23atmosphere for subtle environment modes
5:25and themes. To expand this property's
5:28visible effect, combine it with the haze
5:30property value. I'm just going to
5:31increase these a little bit to show this
5:33off. Decay color affects this bottom
5:36area. So, you can create some pretty
5:38weird examples of this. I don't usually
5:41use these settings that much. Increasing
5:43or decreasing this haze just affects how
5:46high it rises. And this glare right here
5:48when combined with haze just affects how
5:50the sun affects the lighting. So yeah,
5:54can create some pretty weird results. I
5:57recommend just not using these for most
6:00of your builds. Okay, next is the
6:03sunrays effect. Now, this just quickly
6:06creates these little god rays that just
6:08cast light, creates a nice little
6:10realistic effect, but I see it you
6:12overused a whole lot. So, I would just
6:15recommend first of all going into your
6:18sky texture and decreasing this sun
6:21angular size. Just set this to five.
6:23[music] It makes it a lot smaller. So, I
6:26recommend decreasing the intensity of
6:28these. Make it very subtle and
6:31decreasing the spread so it's more
6:34confined. Something like that works.
6:36Next is the color correction effect. And
6:39I would consider this to be the best
6:40effect that we are given. Now, we'll
6:43start off with the brightness. And
6:45unlike the brightness setting in the
6:46lighting, which only affects how the sun
6:48affects the scene, the brightness and
6:51color correction affects the brightness
6:53across the entire scene. Just increases
6:56the brightness. Who would have thought?
6:57So, if you do increase this, I would
6:59make it very, very subtle. Now, the
7:01contrast, this just increases or
7:04decreases how defined the colors and the
7:08tones are in your game. So, I would
7:11always recommend increasing the contrast
7:13at least [music] a little bit. Create a
7:15more defined and less washed out look.
7:18Now, for the saturation, it boosts the
7:20colors or makes it black and white. Now,
7:22depending on if you want a realistic or
7:24unrealistic scene, you can increase or
7:26decrease this. For most realistic
7:28scenes, I would recommend decreasing
7:29this just a little bit. If you want like
7:31a cartoony scene, then you can just
7:32increase this. Now, the tint color is
7:34just a color that's going to tint over
7:36the whole scene. So just make it red,
7:39make it blue, make it anything. If you
7:41do use this, I recommend being very
7:43subtle. So if you want a little slight
7:45blue to make the scene feel a little
7:46cooler, you can do that. Or if you want
7:48it to be yellow to make it a little
7:49warmer, you can do that, too. I usually
7:52just make scenes a little bit yellow to
7:54add a little bit of warmth. Next is the
7:56bloom effect. If you have a light or a
7:58part, for example, then this bloom
8:01effect will affect how it looks. So if
8:04you set this to pure white, it'll get a
8:06nice little glow to it. Now, bloom is
8:08defined as an effect that exaggerates
8:10light within your game by simulating a
8:12camera viewing a bright light. When this
8:15effect has a high value, parts of the
8:17light colors glow. So, basically, that
8:18just means it mimics how light works on
8:21cameras. So, we'll start in the
8:22intensity. This just changes how intense
8:26the bloom is. So, if you set it to one,
8:28it will be as powerful as it can be. But
8:30if you decrease it, you can see it
8:32subtly falls off a little bit. Now, the
8:34size affects how big the bloom will be.
8:37So, you can set this to really small or
8:39really large. And then the threshold
8:41[music] alters at what point bloom will
8:43be applied to an object. So, if you set
8:45this to the highest, then bloom won't be
8:47applied to anything. If you set this
8:48really low, then a lot of light colors
8:51will have bloom, even the skybox. So, I
8:53recommend set it relatively low. I set
8:56the size pretty high, but I decrease
8:59intensity a lot. That way, it just
9:00creates a nice little glowing effect.
9:02Okay. Next is the blur effect. You might
9:06be able to guess what this does. It is
9:08defined as an effect that applies a
9:10gajon blur to the entirety of the 3D
9:12world view. All you really need to know
9:14is that the size increases or decreases
9:17how sharp the image looks. So, I don't
9:20ever use this in my games. I would only
9:22recommend using it if you have like a UI
9:23open or something you just don't want to
9:26focus on or like a cinematic, I don't
9:28know. But, I don't ever use it, so I'm
9:30just going to delete it. Okay. Next is
9:32the depth of field effect. Now, this
9:35functions similar to blur, except that
9:37it only blurs things that are further
9:39away from the camera. As you can see
9:41here, this part is close to the camera,
9:42so I can see it clearly. These trees in
9:45the background are blurry because
9:47they're further away. Now, far intensity
9:49just changes how sharp an image will
9:52look the farther away it is. As you can
9:55see, those are really blurred out back
9:56there. Now, the focus distance is the
9:58distance away from the camera that
10:00things are in focus. So if you increase
10:02this then the focus distance will be
10:04further away from the camera. Meaning
10:06this rock is now in focus because I
10:08increased the amount of focus distance.
10:11[music] So you can set this to really
10:12far away if you wanted to for some
10:14reason. So it just changes how the blur
10:16affects and where it affects. Now the
10:18infocus distance controls the distance
10:20away from the focus distance where no
10:22blur is applied. So that basically just
10:24means if it's blurry or not right in
10:26front of your camera. So as you can see
10:28it's really blurry since this is set to
10:30zero. If I increase it, it no longer
10:32[music] is blurry. And then the near
10:34intensity is just the intensity of the
10:36near field blur. Now, what I recommend
10:38doing, setting this to zero, setting in
10:41focus to 50, setting the focus distance
10:43to zero, and then just changing the far
10:45intensity to making things that are very
10:47far in the background just slightly
10:50blurry. You don't want to overdo it or
10:52anything. Pardon my interruption, but if
10:54you find this video helpful, then
10:55consider [music] helping me reach my
10:56subscriber goal of 10,000 by the end of
10:58the year. I also just made a Discord
11:00server. So, if you're looking for a
11:02place to help you grow as a developer or
11:04if you have any video ideas, then
11:05consider joining.
11:07First of all, you're going to have to
11:08make it night. And the way you can do
11:10that is simply by going into the
11:12lighting property and then changing this
11:15clock time. And this just runs on the
11:17regular 24-hour clock schedule. So, if
11:20you set it anywhere past 18, it'll
11:24become night. So, if we just kept with
11:26the daylight settings we had, the scene
11:28is just way too dark. Now, you might be
11:30surprised to hear that night is in fact
11:32dark. Really dark. But games shouldn't
11:36be really dark because if a game is so
11:38dark that players can't even see in
11:40front of them, then that's just bad
11:41gameplay. And you don't want to have bad
11:43gameplay in your games, right? So, we're
11:45going to tweak the settings slightly
11:46from what we had during the day. Mainly,
11:48what we're going to do is increase this
11:50ambient to make it a little bit lighter.
11:52You can make it even more blue. [music]
11:54Now, if you really wanted to, and now
11:56the color shift top, it's being
11:57reflected by the moonlight instead of
11:59the sunlight. So, instead of making this
12:01yellow, you can make it a little bit
12:02blue. And now you can increase this
12:05environment diffuse scale if you want a
12:07more pronounced moonlight. But don't do
12:10it too much because the moon really
12:11isn't that bright. And what I like to do
12:14in night scenes is increase this
12:16atmosphere more. That way, you can't see
12:19as far and it mimics more of a darker
12:21setting. And since technically in real
12:23life night is less contrasty than day,
12:25you can just decrease this contrast if
12:27you really wanted to a little bit. I'm
12:29just going to leave it at zero for now.
12:31[music] Okay. So, first we're going to
12:33start off with this common little error
12:35I see. So, if you have light bleeding
12:37through your walls, then they're
12:39probably too thin. So, you can just
12:41increase the scaling up like this,
12:45and it will go away. But if you
12:48obviously don't want your walls to be
12:49this size, another thing you can do is
12:52let's go into your lighting settings
12:54[music] and just bring this down and
12:56that'll help it a little bit. So yeah,
12:59so first we're going to start with the
13:01point lights. Now what the point light
13:03does is that it emits illumination from
13:06a single point. That just means that
13:09light emits from this one point in a
13:11sphere like this. You can increase the
13:14brightness. This simply just increases
13:17the brightness. And then you can change
13:19the range. This is how far it will be
13:21emitted. So you want it to be massive,
13:23you can do that. And then you can enable
13:25shadows. I recommend doing this for all
13:27of your lights. [music] That way it
13:29actually casts some shadows instead of
13:32just being a flat little light. Then the
13:34color, as you might expect, changes the
13:36color. I'm just going to show you some
13:39ways that I would recommend using point
13:41lights in your interior lighting. So,
13:43starting with any light that really
13:44isn't covered, so like this light bulb,
13:47something that would be covered is like
13:48this lamp. So, I wouldn't recommend
13:50using just a point light. I would
13:52recommend using some spotlights and
13:53such, but we'll get to that later. And
13:55another thing is that I would recommend
13:57putting all of your lights in an
13:58attachment. This way, you can easily
14:00move it instead of putting it in a part
14:03cuz that can get in the way sometimes.
14:05Now, whenever you're doing point lights,
14:07I always recommend adding at least two.
14:10This is because point lights have a
14:12really ugly looking fall-off. It looks
14:14like it just radiates an area then just
14:17blurs off instead of having a nice soft
14:19falloff. So I typically try to fake this
14:22by adding in multiple and decreasing the
14:25range each time and then decreasing the
14:28brightness manually. So it just is as if
14:31it's like a gradient. Now, some
14:33instances I would use a point light is
14:35with candles mainly, light bulbs as I
14:38mentioned earlier, and then lights like
14:40this. You can also use a point light,
14:43but point light is my personal least
14:45favorite of all the light options. So,
14:48whenever I do use a point light, I
14:50always combine it with other light
14:52types, which I'll get into later.
14:54Okay, so next we're going to be going
14:57over some spotlights. Now, spotlights
15:01[music] are defined as a light source
15:03that emits light directionally in the
15:05shape of a cone with a spherical base.
15:08Basically, it's like a point light, but
15:10it only emits light in one [music]
15:11direction. So, just straight down. Now,
15:14the settings are pretty much the same.
15:15Brightness increases the brightness.
15:17Range increases how far it is. And then
15:20the angle is how wide this cone will be.
15:24So if you set this to like really low
15:26like 45, it'll be a more sharp angle. If
15:29you make it wider, it'll be wider. So
15:32different use cases. Now, whenever I
15:34make lights, I always recommend setting
15:37the [music] range to just about floor
15:39level, maybe a little bit lower. This
15:41way creates a nicer fall-off if it just
15:44barely hits the floor instead of going
15:45straight through the floor. Now, some
15:47common use cases for spotlights are
15:50flashlights like right here, lights like
15:53this that you just want to cast
15:54downward, and then lamps like this.
15:57Basically, anything that covers a light
15:59source so it filters through a cone.
16:01That way, it just makes sense that the
16:04spotlight would have that shape.
16:07Next, we're going to be talking about my
16:08favorite type of light, the surface
16:10light. Now, a surface light is pretty
16:12similar to a spotlight, but instead of
16:16emitting from a single point, it emits
16:18from a face. So, you can scale this to
16:20as long as you like, and it just emits
16:24completely from this. Now, all these
16:26settings are pretty similar to the
16:27spotlight. The angle just increases or
16:30decreases the angle. If you set it to
16:31zero, it'll be pretty sharp like this.
16:34If you increase the angle, has a softer
16:37fall-off. The range is the same. The
16:39brightness is the same. Now, the best
16:41use cases for this are longer tube
16:43lights like this where it doesn't emit
16:45from a single point but stretches. So,
16:47any panels, any like billboards or signs
16:50you want to use, TVs are a good one.
16:52Now, unfortunately, the surface light
16:54doesn't take the shape of the object,
16:56just takes the sizing. So, as you can
16:58see here, the light emitted isn't a
17:00triangle, it's a square, but the
17:03dimensions are the same.
17:06But the best results always come from
17:08combining different light types
17:09throughout the scene. So you don't want
17:10to only just use point lights. You want
17:12to use a combination. And even using
17:15multiple different light types for a
17:17single light, like having point lights
17:18and spotlights coming from a lamp and so
17:21on and so forth. And this just creates a
17:23more unique and realistic looking scene.
17:27Okay. Next, we're going to be talking
17:29about windows. Now, the sun is bright,
17:33so having windows will automatically
17:36brighten up your room a lot from all the
17:38bounce lighting. But unfortunately,
17:40Roblox doesn't have bounce lighting. So,
17:43you can either add some lights to this
17:45or what I recommend is increasing the
17:47ambience just a little bit. So, it just
17:49brightens up the room a little bit more.
17:51Now, another thing you can do is adding
17:53little point lights from the window that
17:56will cast light in. Now, this is manual
17:58lighting, and it does take some time to
18:01get right. This scene's pretty messy, so
18:03you might want to change some things.
18:05But what I recommend is adding a couple
18:06lights and having them orientated
18:08slightly differently, so it creates more
18:10unique looking shadows. When you're
18:12doing this, don't make something like
18:13this. Now, this doesn't look good
18:15because the shadows are pretty messy and
18:18it's just not really illuminating where
18:20the window is. This is mainly because
18:22these windows are too small to cast
18:24light in. Well, though, if you do add
18:27some manual lighting from the windows,
18:29make sure that they're adequately sized.
18:33Okay, now we're moving on to some more
18:34manual lighting. As I mentioned
18:36previously, Roblox doesn't have bounce
18:39lighting or global illumination of any
18:41type. So, what a lot of builders do is
18:44they add in some manual shading. Now,
18:46what I do for this is I add in a
18:49vignette to the lower and ceiling. And
18:52that just means something with shading
18:54around all of the edges like this. Okay,
18:57so I forgot to mention this in the
18:58video, but in order to get those shading
19:01decals, what you want to do is you want
19:02to grab a part. Then you can go into
19:04toolbox, select decals under 2D assets,
19:08search up vignette. You can just drag
19:10this onto the part. You'll see it
19:12applied. Then what you want to do is set
19:14the art transparency to one so it's
19:17completely transparent. I would also
19:19recommend disabling the cast shadow and
19:21making this completely flat. Then what
19:23you could do is since this image is
19:26black, changing the color won't do
19:27anything, but I recommend increasing
19:29this transparency a little so it's not
19:31as [music] dark. And then I add in a
19:33little black gradient to the walls. Now,
19:35the key thing about this is to be
19:37subtle. You don't want a super dark
19:40texture cuz that that's pretty
19:42distracting. You just want it to be
19:43subtle as if it's meant to be there. And
19:45it just really adds just a little bit
19:48more depth to the scene. Now, I add this
19:50to every single little corner. I think
19:52it just looks a little bit softer. It
19:53makes the edges look more cohesive and
19:56such, and it's pretty quick, and it
19:58doesn't really cause that much lag. Now,
20:00the next thing you can do for manual
20:02shading is adding little shadows beneath
20:05every object. Now, for these shadows,
20:07it's just a square little glow with a
20:10little bit of blur on the edges. Now
20:12again, the key thing with this is to be
20:14very subtle. It wouldn't look great if
20:17you just had a little black blob because
20:19that wouldn't look realistic and it's
20:21pretty distracting. Just underneath
20:22every object, just add a little bit of
20:24shading, a little bit of shadows. Now,
20:26for circular objects like this, instead
20:29of grabbing a square shadow, you can
20:30just add in a circle with a little bit
20:32of blur just for a nice little fall-off.
20:35Now, what I see people do sometimes is
20:38adding shading to every single object in
20:41the scene. And while you can do that, it
20:44does take a long time to add it to every
20:47object and have it looking good. So
20:48really, you want to weigh your options
20:51and decide if it's a good use of time to
20:54shade every single object or if your
20:56time would be better spent refining the
20:59things that you do have. So if you have
21:00a small little showcase, then yeah, you
21:02can add shading to every object. But if
21:04you have a massive map with thousands of
21:06rooms, then it's probably not worth your
21:08time adding little bits of shading to
21:10everything. Now for the final piece of
21:12manual lighting is adding in just little
21:14soft point lights around the scene just
21:16to brighten it up a little bit. Now the
21:18way I do that is by just adding little
21:21attachments with just two point lights
21:24creating a nice little fall-off that
21:26just brightens up the scene a little
21:27bit. It's important that you put this
21:29where light is emitted from so it makes
21:31sense. We wouldn't want it just in the
21:32middle of the room where no light is. So
21:35yeah, just put it in the corners and
21:36such. It just brightens up the room
21:38quite a bit and just looks pretty nice.
21:40Oh yeah, another thing I should mention
21:42is that all the time I see people making
21:45their point lights completely a
21:47saturated ugly yellow and this just
21:50looks terrible. If you're making a
21:52yellow light, you want to be subtle with
21:53it. Most room lights like this cast a
21:56very faint yellow and really only fire
21:59or flames cause really deep, dark, rich,
22:03saturated yellow. So keep it
22:04unsaturated.
22:07Okay, let's go over some poor lighting.
22:09Now, before we begin, I'm just going to
22:11say that your scene will probably look
22:13different from mine, so don't copy
22:15exactly what I do. Just use these basic
22:17principles and then just go on from
22:19there. Now, most horror games will
22:22probably be set at night, so make sure
22:23your sky is night and should probably be
22:26gloomy and dark, have a moody scene like
22:28this. So, let's go into these lighting
22:30settings first. And as you can see, the
22:32ambient pretty low, just adds a nice
22:35little darkness to the shadows. You can
22:37set the brightness high. It doesn't
22:38really matter. It just affects how the
22:40moonlight hits the scene. Set the
22:42environment diffuse scale to 0.2, the
22:43specular to 0.9. That way you still have
22:45some nice reflections in the metal. Make
22:47sure the lighting style is set to
22:49realistic. The outdoor ambient doesn't
22:51matter since we're inside. Shadow
22:53softness, you could honestly set this to
22:55like 0.2, but it really doesn't matter.
22:57Okay. Now, for these lights, they're
22:59pretty simple. I have two different
23:01attachments for the point light and the
23:03spotlight. That way, I can position them
23:05differently because I typically want
23:07point lights lower. That way, they're
23:09just not casting directly onto the
23:11ceiling. But, yeah, I like having it
23:13lower so it affects the walls
23:15differently. Now, these point lights are
23:17set pretty low brightness-wise. That
23:20way, it doesn't overexpose the scene or
23:22anything. Set the color to be slightly
23:25yellow. And as I did before, I set one
23:28to be slightly shorter in range and
23:30slightly brighter and one slightly
23:32further in range and less bright. That
23:34way, it creates a nicer looking
23:36fall-off. That's something I recommend
23:37everyone do. Now, for the spotlights,
23:40this will hit the floor and be the main
23:41lighting for all these objects. So, I
23:44increase the brightness and the angle.
23:46And it follows the same principles as
23:48the point lights, having one be a softer
23:50fall-off and one being more of a direct
23:52one. You want the range to be just at
23:54touching the floor. Slightly faceted
23:56even. Keep the brightness low because
23:58you don't want the scene to be too
23:59bright. Honestly, you could even
24:01increase it a little bit more. I kind of
24:02like that. And then you basically just
24:04copy and paste these all around. Now,
24:06for every scene, I recommend having
24:08different light sources across the scene
24:11instead of just plain old ones across
24:13the ceiling. This way it creates more
24:15dynamic and unique looking lighting
24:17array and it plays with the shadows a
24:19little bit more so you get more
24:21interesting little reflections and it
24:24just creates nicer look in my opinion.
24:26So just add a little weird lights around
24:28that will just break up the scene and
24:30the homogyny of the lighting. So I have
24:32this little lamp here just casting some
24:34light just three point lights each one
24:37with increasing brightness and falloff.
24:39That way it creates a nicer gradient.
24:41And then I have this flashlight here to
24:43highlight that back wall a little bit
24:45more. And this is just a spotlight with
24:47a brightness set pretty high for this
24:49scene. The range [music] just barely
24:52touching this back wall. That way it
24:54creates a nicer falloff instead of being
24:56harsh like that. And the angle, you
24:57don't want to be too extreme with the
24:59angle, but you want it to actually hit
25:00the scene. So yeah, this is my basic
25:02little setup for most of the horror
25:04scenes I'll do. One thing I would change
25:06in the scene is just adding more areas
25:08where light could emit just so it
25:10creates more interesting [music]
25:11shadows. But there's nothing that would
25:13really make sense for the scene. So
25:15yeah, that's why it's like this. And
25:17again, I used some manual shading, just
25:21some decals with different gradients and
25:23such, just to add some more darkness to
25:25these corners and the roof. Just add
25:27some more depth, some more realism to
25:29the scene, and it looks pretty nice.
25:32Okay, particles. They can be used to
25:34create nice lighting effects for a
25:36variety of different objects. Now, one
25:39thing I forgot to mention in previous
25:41parts of the video is that typically you
25:44want to make any part that emits light
25:46to be a neon material. This way, it just
25:49creates a stereotypical glow around. It
25:52just makes it look a little bit nicer.
25:54Now, first we're going to be going over
25:56these little vignettes. Now, technically
25:58these aren't particles. These are simply
26:00just decals with images, but as you can
26:03see, they create nicer little fall-offs
26:06around the edges. And you can use
26:08different ones for different lighting
26:09scenarios. So, if you have a dirty scene
26:12like or a horror scene, you can create a
26:14little grungy vignette. Or you could
26:16just have a nicer fall-off. It's a
26:18variety of different use cases and then
26:21increase or decrease the transparency
26:23accordingly. Can change the color. It's
26:26pretty simple. Now, in order to create
26:28these glowing particle effects, what you
26:30want to do is you want to add an
26:31attachment and a particle emitter and a
26:33point light. Now, for the particle
26:35emitter, you want to set the light
26:36influence to one. You could increase the
26:39light emission, but I'm just going to
26:40leave that at zero for now. Make sure
26:42the orientation's facing the camera.
26:44That way, the effect will always work.
26:45Now, for the size, what I like to do is
26:48you want the start and the end to be
26:51about exactly the same. That way,
26:53there's less flickering going on.
26:55Because if you set the one really high,
26:56every time a new particle spawns in,
26:58it'll get this weird little little
27:00flicker, which I think looks pretty bad.
27:02So, you want to start small and then
27:05increase, then go back down. This way,
27:07it creates a little humming glow effect,
27:09if that makes sense. Now, to add more
27:11variation, you can increase or decrease
27:13this envelope right here. That means
27:15this value could be anywhere within this
27:18range. So, it could be like nine, it
27:20could be four or something. So, if you
27:22just increase this, it'll add more
27:23variation. But I wouldn't go over the
27:25top because it can also add to the
27:27flicker which I just personally don't
27:29like. Then for the transparency, it's
27:31basically the same principle. You want
27:33it to be pretty transparent at the start
27:36and the end. That way there's no ugly
27:38flickering going on. Again, you want the
27:40you want the transition to different
27:42particles to be as seamless as you can.
27:44That way it's not as distracting. You
27:46could even set it to completely
27:47transparent at the start and the end.
27:49And then you want it to increase in
27:51transparency. That way you can actually
27:52see the particle. can add some variation
27:54through the envelope. Then the lifetime
27:56set to two, meaning the particle will
27:58last for two seconds. And then the rate
28:00is set to two, meaning that two will
28:02spawn every second. That means four
28:04particles will exist at once. That way,
28:06it just creates a nice little effect and
28:08looks a little bit more seamless. Then
28:10we'll get into the rotation and rotation
28:11speed for these other particles. But for
28:13this type of glow, you can just leave
28:15that as it is. If you wanted to, you
28:17could increase speed. That'll just cast
28:19it up. I recommend just keeping this at
28:21zero. Then the other setting I recommend
28:23changing is the time scale. Decrease
28:25this from one, it will slow the particle
28:28animation. So at one is the normal
28:30speed. And as you can see, this is
28:32playing pretty fast. So what I recommend
28:34doing is just decreasing this slightly.
28:36So it's a little more drawn out, a
28:38little slower animation. Now, all of
28:40these other glow effects follow the same
28:43principles as this one. They actually
28:44copy the exact same settings except for
28:47the rotation. Since you can actually see
28:50some differences across this texture
28:52instead of just being a blob like this
28:53one, you could benefit from adding some
28:55rotation. So I just set it to negative
28:57360 and 360 so it's completely random
29:00and then add just a little bit of
29:01rotation speed. That way you can see it
29:03moving slightly and everything else is
29:06exactly the same. Now the reason we add
29:08point lights is so that it affects the
29:11light emission. Just creates more
29:12realistic lighting glow. And these point
29:14lights don't have to be anything
29:15special. Usually the point light can be
29:18replaced by the actual light source
29:20you'll be using. The source itself
29:21doesn't need to have any specific
29:23settings to create this effect. Now
29:25following similar principles are these
29:28flare glows, but instead of just having
29:30one glow particle, I have two. One for
29:33the actual flare and one for the
29:35background glow. Now, you don't need
29:37that background glow, but I just like
29:38the effect it creates. So yeah, the only
29:41differences between these and these
29:43glows is the texture used. So you could
29:46just plug in any texture you want and it
29:49will create a little flare. So yeah, all
29:52the principles are exactly the same. Now
29:54the next particle I like using is this
29:57beam type. This is great for spotlights
29:59and just creating a more volutric
30:01looking light. Now, you could use this
30:03for windows. You can use this for any
30:05light, but it just looks really nice on
30:07spotlights that are casting directly
30:09downward. Now, for this, you're going to
30:11want two attachments. And make sure you
30:13name them separately. I have I have the
30:15first one named one, the second one
30:16named two. Then, you want to add in a
30:18beam. Now, with this beam, you want to
30:20first set the attachment zero to the
30:22first attachment you have, and then
30:24attachment one to the second attachment
30:26you have. Then, you want to position
30:28these however you want. The second
30:30attachment should be at the bottom. The
30:32first attachment should be at the top.
30:34Then go into here, set your texture mode
30:36to stretch, then adjust this texture
30:39length. Most of the time, setting it to
30:41one will work the best. Then you can
30:43just adjust it to however you want it to
30:46look. I always recommend just putting
30:48the attachment on the floor and the top
30:49one on the actual light itself. Now,
30:51similar to those glowing lights, I
30:53recommend setting the beam light
30:55influence to one. This way, the light
30:57actually affects it. And for this one, I
30:59have the light emission also set to one.
31:01Now, for the transparency, I always
31:03recommend making it fully transparent at
31:06the bottom. That way, you can't see the
31:08seam of the texture and just creates a
31:10nicer looking fall-off. You can add
31:11different points to change the fall-off
31:13and such. And then I also recommend
31:16setting the starting bit to at least
31:18somewhat transparent so it's not too
31:20intense at the top. So, I just set a
31:22little bit transparent, bring it all the
31:24way down for the main part of the light,
31:26and then have it fade out towards the
31:28bottom. Now for the shape itself.
31:29Typically for spotlights like this, it
31:31can create this little curving effect.
31:34So yeah, just set this width to fit the
31:36light size. If you have it too big, it
31:39will look weird and will clip outside of
31:41the light, which just looks pretty bad.
31:43So I just recommend setting the width
31:44zero to slightly smaller than the width
31:46one. That way it creates a nice little
31:49little arcing effect. than the spotlight
31:51itself. I just recommend making sure the
31:54angle is at least somewhat close to the
31:57arc of the beam. If it's too narrow,
31:59then the light casted won't fit
32:01properly. And if it's too wide, it also
32:03won't fit properly. So, just have it
32:05somewhat close so it fits better. And
32:07you want the range to be somewhat close
32:08to the floor. Okay, so this is how I
32:12would personally do some cartoon
32:13lighting. So, starting with these
32:14settings, I have the ambient set pretty
32:17high. That way, the shadows aren't too
32:19dark. I have it set very blue just to
32:21add some nice cartoony bluish tint to
32:24the shadows. Now the brightness I've set
32:26it to 4.5 just to get a nice bright
32:29little scene. The color shift top I make
32:31very yellow. That way anywhere where
32:34light's hitting it's nice and bright and
32:36yellow and adds a nice contrast to the
32:38blue shadows. Then the environment
32:40diffuse scale. Since this isn't a
32:42realistic scene, I have it set pretty
32:43high. That way the shadows aren't too
32:45dark and moody. Then I have the
32:46environment specular set pretty high for
32:48similar reasons. Outdoor ambience the
32:50same as ambient because this is an
32:53outdoor scene so it doesn't really
32:54matter that much. Then I increase the
32:56shadow softness pretty high just to get
32:58some sharper shadows. I know some people
33:00who like increasing this for cartoony
33:03scenes but I don't like doing that. Then
33:05you can go down to this exposure
33:07compensation and increase it a little
33:08bit. Just add a little bit more
33:10brightness. Then the sky I think is what
33:12really carries the scene. If you delete
33:14it, everything looks really dull and
33:16bland. So, just adding a nice cartoony
33:19sky to the scene just helped a lot. Now,
33:21for the atmosphere, I have it set pretty
33:24dense just to get a nicer looking
33:26fall-off in the distance. And I have the
33:28offset set to zero, and I didn't mess
33:30with these at all. Then, for the bloom,
33:32decrease the threshold a lot so it
33:33affects a lot of objects. Increase the
33:36size a ton, and decrease [music]
33:38intensity so it's not overbearing or
33:40anything. Just a nice little glow in
33:42some areas. It might be [music] even a
33:43little too intense right now. Then the
33:45color correction. I brightened it up a
33:47little bit just so it hurts your eyes a
33:48little. And then I add some contrast to
33:51get a nice punchy look so it doesn't
33:53look too washed out or anything. Then I
33:55have the saturation increase a little
33:56bit since it's a cartoony scene. Colors
33:59are meant to be vibrant or something
34:00like that. Then for the tint color, I
34:03just set it to a little bit more
34:04blueish. Don't go over the top with this
34:07just to make it feel a little bit
34:08cooler. the sun rays. Just set the
34:10spread very low and the intensity very
34:12low just so it creates a nicer looking
34:14glow around the sun. If you go over the
34:16top with this, it will just overexpose
34:18everything and just look terrible.
34:22Congratulations on [music] reaching the
34:24end of the video. I hope I went over
34:26everything that's useful. If I did miss
34:27something, then please comment what and
34:29I'll make a second video on lighting in
34:31the future. And as I mentioned
34:32previously, I made a Discord server, so
34:34feel free to join that. This video took
34:36me a while to make, so don't forget to
34:37subscribe and like to help me in the
34:39algorithm.

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