We reaching
the rendering portion of our course.
And as we come to the material setting part, we need to understand proper
color setting because this is a mistake that I often see happen.
Basically, what we see is not necessarily what's there.
So our brain tends to interpret every information
that it catches before you deliver to us, so to speak.
If you see something, if you see a color, if you see
any object is an interpretation.
That's why sometimes we get a perception that something is a color
that really isn't okay depending on the surroundings.
We can get a different perception of what really eats.
I have just a few pointers related to that subject
and just three points that we need to avoid in terms of color setting.
When you're setting the color of each specific material in your 3D scene,
you need to pay attention to these three pointers.
So first.
Nothing should be completely black.
This is really important and people tend to overlook this.
So if something is completely black,
then there is no room for darker tones
and you're going to have darker tones because these is 3D.
So some parts will be lit.
Some parts will be darker being shadows and that part ne should be dark.
Or so you need room for that to be darker.
So if you set the color of any specific
material to black, there's no room for that.
Also, in real life, nothing is completely black.
It's pretty hard for you to achieve completely black, because completely black
means that no light rays are being reflected back to you.
So these is really unrealistic.
So you need to keep in mind that you're trying to create a realistic scene.
So you need to train your perception,
train your eye to really identify what's there.
Okay.
A good trick for you to start training around that is just use the eyedropper.
Like in Photoshop, for example, and catch the color of some objects
and then paint a whole layer with that color
and start to compare what you perceive in what you release.
Because depending on the surrounding, depending on contrast,
you will get a completely different perception.
So it should train your eye to that.
But this is a good rule.
You shouldn't put completely black in anything.
Does it matter how dark it is but are really, really, really dark gray.
But resist the temptation of just setting something to completely black.
And also nothing should be completely white.
So it's the same principle, right?
The difference is, is that if you have something that's completely white,
then you will bounce off the light way too much in your lighting.
You will begin to look a little weird.
Also is the same thing.
Nothing is completely white in real life.
So if he tried to replicate something that exists in real life,
then you should be a really light tone of gray.
But it shouldn't be white.
Also, if you have completely white, then there is no room
for specular areas, for shiny areas, for lighter areas, the areas
where the light is more influence over that object.
So you need room for that.
You need to give some room for that.
You can perceive the volume of your object.
And lastly, nothing should be too saturated.
So if you put way to vibrant colors,
any color, like if you set the saturation to 100%,
then that object will look like it's a lit, like it's neon.
And very few things are completely neon
without being actually lit in real life.
You need to be careful with that as well, except in the cases
there you actually creating like a neon sign or something like that.
Then you should resist the temptation of making something completely saturated.
Even if you want a really bright color, try to think
how that is in real life and try to observe.
If you really need to set that color
so far off in terms of saturation,
usually you should resist that as well.
So when you're moving on in your apply your material to all the different
objects, all the different new objects that we added to the scene.
Pay attention to these three pointers and try to avoid that.
Also in any future scene that you create.