In a real studio, this lighting scheme can be achieved by using soft boxes which create soft shadows. Naturally, the only dark areas are in the occluded parts of the model like in the legs and inside the mouth.

There is no reason to add drama or high contrast in this scheme. It is commonly used to present a product, to showcase your character, to create a 360 turntable where all the details are important. The purpose is to show the subject from all the directions. It has three lights from three different directions: one from the left, one from the right, and the other one from the top towards the character. The first render below follows a scheme called White Box Lighting.

Once you’ve covered the information in Rendering, Lighting, and Mood, let’s talk about what I did specifically for the crocodile project. If you are a beginning modeler looking to make your renders more appealing to customers and aren’t sure where to start, be sure to check out TurboSquid Resources‘ Rendering, Lighting, and Mood. Suggested reading: Francesco Furneri also provided TurboSquid with an article on key Sampling, Lighting, and Rendering concepts. I will then give you some tips and some useful advice to plan your work and to comprehend some key concepts while rendering a 3D scene. In this article, we’ll be discussing lighting and rendering in depth. In the first part of the tutorial, we talked about the workflow for texture creation in Substance Painter. In this second part, Francesco dives deep into the lighting and rendering portion of his latest project, The Crocodile, which is now available for purchase on TurboSquid.įrancesco Furneri: Welcome to the second and final part of this tutorial. He has previously published a guest article on this blog on creating procedural rock details as well as Part One of this two-part tutorial.

Have you seen our newest homepage image? It was created by TurboSquid Modeler Francesco Furneri, an expert in designing details that bring his 3D models to life.

Substance painter to maya arnold