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Hello and welcome to the second part of the Indoor Lighting series.
The features used here are part of the Advanced Render in Cinema 4D 11.5. Some elements could possibly be reproduced in earlier versions of C4D, but in the earlier releases of Cinema 4D the Global Illumination feature is founded on completely different algorithms. So the results and settings might not work out exactly the same.
On a technical point, the memory footprints when rendering this scene might be quiet big so the usage of a 64 bit OS is recommended. The render performance is strongly dependent on the power of your hardware, so give yourself some time for rendering the final results. So let's start.
For the final rendering I used a width of 1600 pixels. This gives us good definition of the small details which are part of this scene. The anti-aliasing is set to Best. For the work in progress images you can also use None or Geometry. Using the Multipass option for the final render might give you the opportunity to get the best result for your final image.
When we experience broad daylight we witness a quiet neutral color tone produced by the Sun. The Sun is settled at a high altitude, almost in direct opposition to the camera. In contrast to the first part of the series (sunrise) the influence of the light works in a less direct way - this is because of the position of the Sun. The amount of indirectly illuminated areas is much higher than at sunrise, as the Sun cannot get through the windows directly.
For the lighting setup I'm using conventional light sources and Global Illumination, which is going to play an important role here. So let's have a look at the structure of the setup.
I have one light source which I call "Sunlight”. When looking at the editor screen it appears that this light source might not produce any effect at all, but in combination with the Global Illumination we get the effect we require. It is very strong with a slight yellowish color and the contrast is quite high. Whilst making this tutorial I tried the light in different positions to reflect different sources. To do that in an easy way I used a target tag focused on a separate light target (Fig.01 – 03).
The secondary light gives us the ability to have more light in the area you can see in the editor shot. If we were to only use the primary sunlight, we would have to increase the sample levels much higher. This would have a negative effect on the performance later on, so this is a quite handy and effective work around.