 Panko. Že se pozdravili, dobro trabljega je skazira styro? Niko je viruası in reìnula Protesto? EPO in BROila progressive, gre saljevce in tran listen natürlich ... ... ... ... ... 3D graphics world. And your mind is already contaminated with all those tricks and shortcuts that 3D artists use. And photographers have no idea about. And it's good. I would like to show you that it may be better. So yeah. Why photorealism? Photorealism is an important highly sought after skill. Because many companies that deal with physical items, they can save money this way. They can replace those physical items with generated images and deal with this cheaper. But those images have to be indistinguishable from the real photography. That's the hard part. And for example, IKEA, everybody knows this company. They are producing furniture. And they have several tries to move to 3D images from real photography. You probably know those beautiful catalogs of their furniture. This is really world class photography. And they tried and they failed. And it was not a technical problem. They were not lacking knowledge about shaders or materials but they were simply lacking photographic touch. And they came up with the idea to retrain their photographers as 3D artists. And it was a hit. 3D artists had no idea how to use all those tricks. So they just approached the virtual scene as they would in the normal studio and the results were great. And in fact they started in 2012 when around 12% of their products were computer generated and next year 25% after around 75%. And what's so great about it, nobody noticed. Nobody noticed you are swapping beautiful photography with cheap computer image. Even in blind tests when they ask people which one is which is it a real photo or is it a computer generated image, people were not able to tell and frequently they designated photos as 3D graphics and the opposite. So what is photorealism and how it differs from just realism. It's not showing the world like it is, like real world but looking at the things like photographers do and they don't look at things with naked eye they look through the camera so you have to be aware of certain qualities of the image that camera produce various lenses and so on. And the second maybe more important thing it's that photographers have control over light and in case of studio photography they have almost total control of the light as opposed to for example available light outside. And what photorealism is not definitely for me. All those fake vignettes chromatic aberration color grading and so on those are just post processing tricks and they are cheap, they look cheap and they won't make your scene more photorealistic. If you cannot make the scene photorealistic from the ground up this thin layer that you lay in post processing won't help you much. Yeah. So when you want to layer glassy light you have to go back to film photography before the age of digital camera and especially before the age of Photoshop came because in the age of digital camera many photographers have this approach to let's shoot something and then we'll fix it in Photoshop and I think it's not a good approach so find sources before that era to really learn about proper lighting because at that time people shot on film and film was expensive especially for large format cameras one shot could cost several dozens of dollars for example so you couldn't make 1000 shots and select something from that. And what's so great about it is that you can actually use books from the 19th century for example this book it's a handbook of practice and art of photography and you can find valid tips about lighting in this book and use them in blender yeah but in fact I would like to show you some more recent resources for example this book light science and magic it contains some fundamentals if you want to know about how to light things this book is absolute basics they show you how certain materials behave for example glass, metal diffuse materials and so on and how to light them how to use light to separate them from the background how to make glass look like glass and this book will speak to the inner geek of you because there are many diagrams and some physics involved but it's pretty basic knowledge and the next step you can take to teach yourselves is to find books from the pro lighting series and again the older the better this one is from 1992 so as you know Photoshop was published in probably 1990 but it took some years for this disease to spread so this book is definitely from the time before Photoshop and it's about food photography but they also have other other topics but food photography is particularly hard to make so this book contains to the previous book it contains not just a basic knowledge but specific situations you have a specific food and how that was shot how the light was positioned to for example minimize reflections or to add reflections and so on and so they are mostly pre-digitalia books and you can use back issues of Vogue and what's interesting we won't be looking for photos of models there but at advertisements I know that this sounds crazy to buy magazine just to look at advertisements but they are mostly great examples of gray light there are advertisements of really expensive products high-end products and they hire very expensive photographers to shot them so they know what they are doing and if you browse through this magazine you will find many excellent examples like fragrance ads, jewelry ads watches ads and if you buy some issues from early 90s and even early 2000s they are not so distorted by Photoshop like the later ones so it's a great inspiration and what I would like to talk today is precision lighting not just every light but the light that is tailored specifically to the specific situation or a specific subject and that assumes that you know what kind of light is appropriate for situation or that situation so it's probably not possible to come to the solution just by guesswork or trying trial and error and so on so what light can we use in 3D world maybe HDRI or image-based lighting is the answer and some people love it because it promises easy results instantaneously but I think it's not the way and apart from obvious shortcomings of it like all the lights are placed at infinity all the lights are the same distance from the subject and it's in certain situation it matters for example in outdoor scene it mostly doesn't matter because some or other sources are so away that they essentially at infinity but in studio or in closed spaces it does matter and it can ruin your shot and the second thing about it is that HDRI is really not so easy to set up properly it's not just the mother of slapping it to the DOM and rendering it requires amount of skills to set it properly like this example from fxguide.com here is a solution that industrial light and magic uses with their film production they shot 360 image over surrounding and then instead of slapping this HDRI image to the DOM they are recreating lights and recreating them as mesh objects so when for example the car moves it can move between the area of one light to the area of other lights to the second light because without that the light won't change but all those technical shortcomings for me are not the most important for me the most dangerous thing about HDRI is that it's magic and it prevents true learning and understanding how light works and in fact in studio shots we can use HDRI lights but not as a main light source but just as at one percent or maybe something like that to make shot more photorealistic and less sterile if you use only lamps it will lack something so the good thing about working in a virtual studio is that it's easier to shot than in the real studio for example you can make your lights invisible and while you're working in real studio you will be constantly fighting to hide your lights from the shot sometimes you need a backlight or something like that and it's sometimes really hard to hide this light and it's in 3D world it's just a simple click and you hide it and for example camera is also invisible in real studio sometimes we have to cut a hole in a white cardboard just to hide the camera and you don't have to do this in virtual studio and like in my case I'm mostly shooting models like girls so they are emotional they are human and working with them is sometimes really time consuming and working with virtual objects, virtual girls is really easier as for lights in real studio the great thing is that they can have any shape and don't be afraid to use all kinds of shapes of lights not just squares or circles sometimes the situation demands that you shape your light according to the shape of the objects it's one of solution but sometimes it's the better solution and also don't be afraid to add gradients to your lights because it makes your lights more flexible and adds just a tiny bit of photorealism to the scene because even in real studio no lights are perfect no lights have perfect emission from every centimeter of the plane so adding gradients really help when I was working with Blender I asked myself can real life studio lights be recreated inside at 3D software so I made an experiment and I took one of my favorite lights it's a beauty dish it's used mostly in fashion photography to shoot models and I took it place it in front of me and just recreated it in Blender so as you can see it's a indirect light source all the light flashlight is hidden behind this cup and the only light that reaches the subject is the light that is scattered around this shape so the light that reaches the subject is just bounce light and when I tried this in cycles it took several hours to render and the result was still noisy so it's not good approach but after a few days of thinking about it I came up with a solution to just bake the lights excuse me this lousy UV unwrapping but it was just a quick proof of concept when you bake a combined pass on such light it becomes direct light and it renders instantaneously and the results are pretty great so just a tip if you want to recreate some modifiers or some lamp heads inside Blender and when I was talking with some of you before my presentation somebody asked so what camera should I buy or what lenses what flash heads and what equipment to teach myself this studio photography and I would say don't do it because it's very expensive it is time consuming it will drain your resources like crazy because it's very expensive stuff and the better way is just to rent a studio in most big cities there are several studios to rent you can rent a studio you can rent a camera even sometimes they will give you an assistant to operate all those equipment if you have no idea how to do it yourself and it costs probably dozens of dollars spent per hour so it's a better way to get married to your equipment forever and to teach yourself about photography and 5 minutes 5 minutes left one way to teach yourself about photography is to copy photographs and for example when I was a kid I found this photograph this is a render by me but it's based on photograph from 1990 when the Commodore company released a CDTV multimedia computer and they had still money and they could allow professional photographer to shoot this and I always liked this so I wanted to shoot this in the studio but I didn't have this computer so I was thinking about finding somebody and renting this computer but one day I heard about cycles and I did a quick test just just a CPU portion of it I just recreated it in blender and I had no idea about lighting in cycles I just did it in the real studio and for me the result was amazing and it was instantaneous so I proceeded with this project and rebuilt all the different parts and I learned a lot about lighting this way let's take a look at one example of the precision lighting I was talking about earlier for example I made this a few months ago it took me 3 days of hard work I collected many reference images of advertisements of phones and so on and I wanted it to look and expensive product so how do you think how many lights are there in the scene one or two maybe or three you can see for example here the mesh light with the gradient and maybe second there but what about other lights so when you want to light something with precision there about every reflection and every edge separately so it looks like this it's 11 lights actually and even 12 or 13 if you count that the screens of phones are also light sources and they are glowing yeah and apart from lights there are some things that photographers use in the studio they are very useful and they are flags in this situation this big rectangle that is directly behind the phone is a flag and as I said earlier it's easier to do in the virtual studio than in the real one because you can make your flag invisible if I would do this in the real studio it would obscure my background and this way background is visible to the camera but the light from all those 11 light sources is not spilled onto the background and as you can see here excuse me there is a gradient on the background and it was not added at the post production stage it is all done in camera and the second example I wanted to show you that you don't need to have several lights all the time for example this scene is only one light or to be precise too but the second light is very small it looks like this there is a gradient light above it and just a small rectangle of light to make this to make this edge more pronounced you can compare this without this light and with this light it makes a difference and sometimes those are the details that make your photography stand out and your 3D graphics too and unfortunately you have how much time do you have yeah we can continue okay so I prepared some examples not made by me for example this is a graphics made by Srimon from our forum and our forum is run by Piotr Arvukovic a really charismatic leader please round of applause for him he is able to attract many young people and teaches them about blender for example this is made by forum member Srimon and he made this scene he asked me what can he improve and I wanted to show you that you can find great light not only in photography if you are a photographer you will spot great light everywhere not only in photography for example in concept art and I collected for him some concept arts and what we can immediately see here is that this object that blacksmith is working on and it is casting light on his face and in this photo is glowing but it is not casting any light so he will have to fix that and second important thing are the edges the edges of objects this light on the edges separates objects from the background and it is very important and it is also lacking in this photo and to show him that blacksmith doesn't work with his hand only but with his whole body so he started to fix that and this is the first version and you can immediately see that the results are better the rim light separates the subject from the background and think that the blacksmith is working on produces some light and result is better and there are still some things that are lacking here because this is a night scene probably so we would have to work with color on this scene but if you take a look at some reference material we can see that in most film and photographs a night is not black or gray the night is actually blue but if it is contrasted with yellow light we can see that the action takes place place at night and this concept art too we can see this contrast so if you wanted to improve this work by Shimon still we would have to make the night blue probably to this light coming from the fire and it would be obviously better do we still have time? ok, we can proceed because I prepared actually my presentation I prepared it a little longer than my time slot but maybe if nobody has anything against it we can proceed with special purpose lenses those are another tools that you can use in blender and they are not so frequently used used as they should be for example when we want to photograph architecture we are standing at the street level and we cannot we cannot see the top of the buildings at our photograph so what do we do usually we raise our camera and the buildings start to converge and they look like falling down so what can we do about it we can raise our point of view but it's not the effect that you wanted to achieve you wanted to show this building from the street level so photographers in this case use so called shift lens and in blender you can replicate this effect using those shift values beneath focal lengths so for example I shifted this image on the y-axis a bit and it's still on the street level but the vertical lines are straight and what you can learn from photography is also that not our cameras are equal when it comes to sensor size and in the old times it was called film size of course and in blender probably everybody is using just standard sensor size it's 32 on this screenshot but if you worked with cameras and different sensor size you could learn that depth of field effect is vastly different on different sensor sizes medium format camera that has sensor 60 by 60 millimeters the depth of field will be different and some of those high quality ads from Vogue were shot with medium format cameras or even large format cameras so if you try to replicate this look with blender and you wouldn't know about this value you would fail for sure because the depth of field would be different and to be honest with you there are some disadvantages of the approach that I just show you because it's it's not good when the camera angle changes or if there is any movement in the scene because all those hard crafted reflections are gone when you move a few just by the little angle so what to do in this situation and my answer is that I don't know because I am a photographer and you need a cinematographer for that so maybe next year we will have somebody that was working on a real film set and he will show us how to do this when something moves so for example in this scene and then the client approaches me that wants to have this image on the on the level of his CD but he wants some slight changes like changing the angle of the car making the logo bigger of course and so on but after I did this I lost the handcrafted reflection and all of those all that I worked on because the camera angle or something in the scene changed and I had to change manually all 25 lights so it's so it's not good this approach is not perfect when something moves and when you have a lot of material shots like for example pack shots you have catalog with thousands of items or light to to every subject you would lose a lot of time but for a high end add when you have single object and you want to have something different and special for this object this is the way to do and I want to end my presentation with a quote from this book that I showed you from 19th century the beautiful is difficult because because if you start thinking about your scene with photography in mind you won't need to fix it later with post processing tricks and photography especially studio photography is a difficult subject so don't take shortcuts and don't pretend that you're lighting experts and don't call your HDI maps collection pro lighting and maybe you are misleading your clients so that's it it was a pleasure to talk to you today and I hope to see you next year thank you