In this video, we'll use lighting inside of Marmoset to highlight key features of our model and increase the level of professionalism and drama to our final presentation. When I go back to my main camera and look in my post effects, and I'm now going to switch from linear to aces. Aces, as I mentioned before, is the film standard, so may adjust the exposure from here, and then come into the Skybox, want to bring this brightness up. I'm going to pull up the Bloom a little bit, so I can still see it in the scene and back on the body, I can now start adjusting how strong I want my Missive Map to be now that I have a better idea what my final lighting will look like. I'm going to give my Missive a color to it. I'm going to choose the same kind of green that I was playing with before. Now, with my intensity slider, I can decide how much of that color light this missive section will produce to make it really faint or I can make it really strong. Here, I'm making a couple of the small adjustments on playing with my bloom color. I'm playing with the value of my global illumination. I'm looking through any of these areas that are maybe blowing out too strong of an effect or just not giving me the detail on the surface that I'm looking for. Now, I'm going to come up to this light bulb tad to create a new light. I'm going to change this from spotlight to Omni light. These are going to be pretty close to the object and they're just going to shine on a straight up direction. I can also use spotlight for this, but on a single object that's relatively small. I like the way that Omni lights cover everything. So I don't have to worry about where it's pointed because it's going to shine in all directions pretty equally. I'm looking more where it's positioned and how that changes where I'm getting the color that I'm getting up these reflections. Gives it a nice little fire burst edge to it. I'm going for almost like an '80s product catalog look with a really dramatic blue and orange lighting scheme. Now, I'm dropping in another light, this time as a spotlight. This was going to be from a little further away, and it's going to be for more of a top-down angle. I wanted to get this nice cone shining down on the object contrasting the close yellow omnidirectional light to it. Let's come back to my Sky and I'm going to take the color of my background up just a little bit. Not by much, I just felt it was a little too strong and I was starting to lose some of the darker parts of my model in it. Just going back and forth between my lights adjusting them, changing their brightness, changing their cone angle, changing their position. Like a lot of the other processes we've done so far, it's pretty iterative. You need to just put something into the scene first, see what you like and what you don't like, and then you can experiment, play around with things and make adjustments after the fact. It's impossible I find to get it exactly right the first time even if you have some settings you really like from the very beginning. After looking at the way the lighting is coming in, I've decided I am going to change this Omni light to a spotlight after all. Heavy as an Omni light gave me some options and give me a good sense of what it was going to look like, but I want to give them more directed control over where the light is going to go. I can change the cone angle, which is something I can't do with the Omni light.
