I’ve been working on the scene a little bit, and I am about to implement the paint peels now following what you mentioned in previous comments. After baking the light I will show results of how that comes out!

The APS-H is slightly larger than the APS-C sensor format that many Canon DSLR cameras use today but smaller than a traditional full-frame sensor.

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But I got a new small issue now, related to lighting as well. On the left side of the shot, as you can see there’s the curtain, but it gets many shadowing artifacts. I tried raising its resolution to get rid of them, and it partially did but still is pretty noticeable as you can see.

Hope you are doing well and again a huge thank you for the help Makigirl!! I feel I am getting closer to finish this up!!

The curtain was made in Marvelous and I exported it triangulated, and I am guessing I went a bit too far with the retopo? Basically, reduced its geo too much maybe? I was thinking of reimporting it with the same UV lightmaps (which have no overlapping or anything), any advice with this as well?

Any sensor that is about 1.5 to 1-inch in size or smaller can be found in non-interchangeable lens cameras (your typical point and shoot) and smartphone cameras.

The APS-C or crop-sensor format is the most well-known and most versatile of the bunch. The APS-C sensor is popular in DSLR and mirrorless cameras alike. Beginners and professionals alike use it thanks to its adaotability.

On the mirrorless camera side, we have the Micro Thirds Format System, first released in 2008. It shares the Four Thirds System’s sensor size and specifications but uses a compact design with no space for the movable mirror, pentaprism, and other parts of the DSLR mechanisms not found in mirrorless cameras.

I also did as you mentioned and tweaked the post process for the lighting, I was planning to do it a bit later when I finish texturing all the props, but after tweaking the offset, I got something similar to what you sent me with your previous comment :

Image sensor format, sometimes referred to as optical format or sensor size, refers to the shape and size of the image sensor in a digital camera.

I turned off both normals and AO setting them both to 0, but it is still the same dark, maybe I should literally plug them off the Master Material? But anyway, the color of the issued wall was improved anyway ! I appreciate your help!

Many digital cameras are commercially available on the market right now, and they all have a wide range of sensor sizes. And while it’s good to have choices, it can also get pretty confusing, especially to a beginner.

Also, the Lightmap Resolution for that part of the wall is okay, set to 256, and the Density results coded in green color…

But the darkness of the texture looks ok to me!! …the white ones are too bright imo… They will be too bright comparing to the other meshes and when you will try to brighten your scene (either with post process or stronger lights), they will be burnt out!

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I will for sure tweak the paper wall color more to make it look closer to the reference but for now, it is a bit better! Also, I have another question, if you take a look at the reference here:

Created by Olympus and Panasonic, the Four Thirds System is a standard that allows for the compatibility of lenses and bodies across participating camera makers. Image sensor size is 17.3×13mm with a crop factor of 2.0 when compared to full-frame camera sensors.

First I wanted to say it could be only the lightmap (how the uvs are laid…) but it does look a bit low poly… could you show me the lightmap uvs please? I haven’t used that software yet but if you can, try to create a flat rectangular uv in the beginning if possible! That would be the perfect lightmap for the curtain! …later it’s more difficult to flatten it out! …3dsmax or Unreal will try to break it up according to angles and that can create a similar look to yours… Also before exporting to Unreal, make sure that you’ve applied smoothing groups!

As an additional layer of complexity, each bucket has a filter on it that only lets in red, green, or blue light. In essence, each bucket can only collect 1/3 of the total light trying to enter it. For each bucket, the amount of the other colors is approximated. All this information is then converted to the final image you see on your screen.

I want to give the wall some depth by adding those paper wall peels coming off. I spent quite a lot of time trying to make them but I found it quite tricky… For some of them, small ones, for example, I thought of using normal Decals but for the bigger ones, I tried mixing tesselated planes with vertex paint, but I couldn’t get to make it properly.

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The Canon EOS R5, for example, is a full-frame mirrorless camera option, and the popular Nikon D850 DSLR has a FX full-frame sensor.

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Makigirl, once again thank you very much for the feedback, I am gonna work on the scene following what you are suggesting and I will go back to this post soon to show you how it goes.

Essentially, a sensor is made up of tiny individual photosites. Think of each photosite as a bucket covered by a lid. When an exposure is initiated (press of the shutter button), the lid is uncovered to collect photons of light. When the exposure stops, the lid is placed back on the buckets (photosites). The collected photons are then converted to electrical signal, and the strength of that signal is determined by how many total photons were collected.

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I have a question related to lighting. I have a very simple scene, based in a room with two windows, one on each side of it. After baking the light, the result is okay, but I get certain areas that I cannot find the proper way to light them up. So far I just have a normal skylight and a Directional. The skylight uses a Cubemap.

Maybe you could just duplicate your parent material, assign the copy material to the door/wall panel, disconnect ALL nodes and plug in a mid brown color for the base + 1 for roughness and see how the scene looks like! Then one by one (roughness first, then normal then AO) plug them back in and see where the big change in brightness happens = which one causing the scene become dark.

If you needed to brighten your texture inside Unreal, you can!! Just open up your imported texture and go higher with brightness for example! https://docs.unrealengine.com/Images/RenderingAndGraphics/Textures/Properties/TextureEditor_Adjustments.jpg

Also, I adjusted my exposure as much as I could and the rest of my scene is light up just fine, except these kinda mentioned areas. I tried pushing it up a bit more until I get these darker spots brighter as well, but that makes the rest of the scene look too lighted up then…

Not all cameras are created equal. An entry-level DSLR won’t give you the same results from a professional, full-frame DSLR—even if they have exactly the same pixel count. If you want to get the highest-quality images with your camera, you’ll need something with extremely powerful specifications and a physically large image sensor.

Due to their large image sensors, medium-format cameras are traditionally heavier and bulkier than their full-frame counterparts. But that changed, as brands like Hasselblad have come out with smaller mirrorless medium-format cameras like the X1D II to provide photographers with a lighter, more compact option. The newer Fujifilm GFX 100 is also a medium-format mirrorless camera and holds a whopping 102MP resolution.

Those peels… For the smaller ones I would use normal maps. The more detailed, bigger ones: I would model them in my 3d app (3dsmax) with a thickness!! Maybe you can get away with 2d meshes (with 2sided material), since the scene is not that contrasty…

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Again, there is no simple yes or no answer to this question. In the last decade or so, CMOS sensors have become a lot more prevalent than CCD sensors. Most consumers cameras and cell phones manufactured today use CMOS sensors. CMOS sensors, in general, use less power, therefore the camera battery will last longer.

Optical coatings are thin films that are applied to optical components to control their reflectance, transmittance, or polarization properties.

I want to know what is the best way to light a specific area, as I couldn’t find a way to do it just through Lightmass. Also tried lighting that area up using artificial lights but resulted to be quite tricky without creating undesired shadows in other areas…

The Four Thirds System uses a 4:3 image aspect ratio, hence the name, and is featured in cameras like the Blackmagic Design Pocket Cinema Camera 4K. The Micro Four Thirds System uses the same ratio but can also record 16:9, 3:2, and 1:1 formats. It is included in cameras like the Olympus OM-D E-M1 Mark III and Panasonic Lumix G9.

However, a smaller sensor allows added reach (zoom). For example, on a micro 4/3 sensor, which is has a crop factor of two compared to a full frame sensor, a 200mm lens becomes the equivalent of a 400mm lens. Smaller sensors also allow for an overall more compact camera and lens system, which is convenient for travel and long hikes. Finally, smaller sensor cameras are generally less expensive.

No worries! I think it’s still too dark… Could you turn off the AO and Normals all together? I think it’s going to be one of those that darkens your material that much!! Be careful with the reference image: it’s almost impossible to achieve this lighting without post processing!! …I think in their case they used offset to brighten the whole scene + to achieve the low contrast… I could also make your render to look closer to the desired result…

…also if you want to have that very strong sun hit effect on the floor, you’ll have to set that light a lot brighter and then adjust the sky accordingly… + bloom in post process… Maybe you can get away with fog for the atmospheric look but maybe you’ll need to use particles for the smoky effect…

I did what you suggested, I reduced brightness on my wall textures to balance the color a bit, actually, it should be this way. In the reference, the paper walls are way lighter than the way it was when I introduced this issue. On the other hand, I managed to brighten up a bit the wooden parts by tweaking a bit more my exposure settings, also by making the material a bit less rough and using some reflection captures on the surface. I don’t know if that’s the best way or if you would recommend me doing it this way, but it definitely looks okay now! My material is just using specular set to 1 and roughness values coming from the texture, and lerping its bw values between 0.7 and 0.35! And metallic to 0. Here’s my mat Instance!

The answer to this question isn’t a simple yes or no. It all depends on what’s most important to you. In general, the larger the sensor the better the image quality because it can acquire more light, generates less noise, and can create a shallower depth of field (more background blur) which is preferred my many for portraiture work.

The groundbreaking EOS-1D was the first Canon camera to carry the APS-H sensor type was, and it launched in 2001. Canon released four more cameras (all members of the 1D line) with the same sensor type before discontinuing it.

There’s also the medium-format cameras—the lesser known of the group. These cameras have the largest sensors out of all the available digital cameras for photography, which means they can get pretty expensive.

That dark spot on the right side is way too big, and I really don’t know what can be causing it. As you said before, I made its Lightmap as a flat rectangle. that’s how Marvelous export planar objects anyway which is really good. Here it is:

It’s a bit dark brown, but my scene reference is like this, the wall is quite light vs the wooden parts which are a bit darker… So, mainly I should not put dark-colored materials in my scene? My scene in lighting mode seems fine, just a bit blurry because I didn’t build the scene in Production or High yet.

Meanwhile, CCD sensors tend to produce less noise which translates to images appearing sharper. This goes hand in hand with CCD sensors being more sensitive in lower light conditions. Because CMOS sensors are much more available and costs less to manufacture than CCD sensors, cameras with CMOS sensors are usually less expensive.

Full-frame sensors are available in both DSLR and mirrorless cameras. They have the same dimensions as the 35mm film, hence the name. The 35mm full-frame sensor type is the gold standard among professional photographers who want the highest-quality images.

Medium format is the largest sensor type in digital cameras for photographic applications. However, it doesn’t come in just one size. Medium format has its own group of sensors, with its own equivalents to the four thirds, APS-C, and full-frame formats. There are a variety of sensor sizes for medium-format cameras, and typical sizes range from around 43.8×32.9mm to 53.7×40.2mm.

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What is the lightmap resolution of the curtain? Is the material set as two sided? Could you try to use a simple material (but two sided) for the test bakes just to be sure it’s not the material again? In Unreal it’s really difficult to achieve that kind of effect you’re trying to with the sunlit curtain!! Most of the times they’re rendered in the original 3d app and use that accurately baked result as a material in Unreal…

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A camera’s sensor dictates the quality of the images it can produce—the larger the sensor, the higher the image quality. Bigger image sensors have bigger pixels, which means better low-light performance, reduced noise, good dynamic range, and the ability to obtain more information.

I thought it might be for the material that’s right… but then should I just bright its base color up? Sorry for my misinformation but how can I scale their respective bw values you were mentioning here? I understand if the material is too dark the Light is gonna be tricky to make it look proper on them, but in this case, look at my Unlit mode:

On the other side, I am trying to set its material shader to add some subfurface to make it look like the light gets through it, but I think I am not sure how to handle that properly either yet, as when I set the object’s subsurface with a color vector I just get to change the whole objects subsurface color, when it only should affect the areas where the direct light is hitting the object, is it?

I think it’s going to be your material! Some of them are too dark and some of them are too bright! Darkest materials shouldn’t be below 0.1 and brightest ones over 0.8 (on a bw scale)!! You can check these in the unlit view! You can also check the lighting only view: if it looks even enough, as you’d expect then for sure it’s going to be the material! You can also try a test render (with lower settings!! indirect quality around 4) with a plain mid grey material applied to all your meshes…

As you can see, the light seems okay on the right side of the scene, but in this wooden wall part in the middle of the shot, (where also the material color is darker), the light is just too dark. The material color of this area should be something like this:

We’ve all heard of the full-frame DSLR camera, of course, which is the gear of choice of seasoned professional photographers. For enthusiasts and beginners, the usual choice is the APS-C format or crop-sensor DSLR camera. However, some prefer to use mirrorless cameras or MILCs, which are the smaller, lighter versions of DSLRs. Lastly, there are the 1-inch sensor cameras, which are better known as point-and-shoot or compact digital cameras.

Just in case the textures might be the problem, yes, they come from Substance Painter, but the import is set to 8bit as I know Unreal isn’t friendly with 16 bit textures. Actually, all of the textures come from Designer or Painter, and the colors are represented perfectly, that’s why I suspect it is just a lighting issue.

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The typical APS-C sensor size is different across camera brands. Canon APS-C sensors are usually 22.3×14.9mm, while other brands like Nikon, Sony, Pentax, and more usually feature APS-C sensors with 23.6×15.6mm dimensions. Many cameras including the Canon EOS M50 Mark II, Fujifilm X100V, Sony Alpha a6600, and Nikon Z50 all hold APS-C sensors.

I appreciate your help a lot!! I am checking how I might modify the material to make it look proper… but still cannot manage to fix it.

So it will be something else in your material setting! Is this dark wood material reflective? …could you show the material setup please? You can also try to disconnect all the “extra” nodes like normal, specular, roughness (just put 1 for the testing) to see the scene with a simpler material!

On the other hand, about the curtain, I increased its geometry and the light bake result improved dramatically, but still I got one shadow artifact which is quite annoying!! This one:

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I will also go for what you suggested for the paint peels!! If you are okay with it I will keep posting the results of that to show you how it goes I am sorry if I am abusing a bit of your kindness but your advice is being super helpful!

Keep in mind that camera sensor formats are not standardized across the different brands or models. Dimensions may vary slightly from the figures listed above.

High-end compact cameras like the Panasonic Lumix DMC-LX10 and the Sony Cyber-Shot DSC-RX10 IV use 1-inch sensors. This allows these cameras to produce good results—in terms of image and video quality—that you won’t get with regular point-and-shoot cameras.

As a photographer, it’s important to know the difference between camera sensor sizes, particularly if you’re planning on buying a new camera. Sensor size is the first and most important thing you need to consider. It is the main feature of your camera that will have the most powerful impact on your images.

So I have no idea now what could be the reason for this. The last Light Bake was build in High settings so that would be enough not to get those big black spots in tricky areas I guess, is it?

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Also did what you said about the material, and the issue was definitely associated with the roughness and normals!! I actually reworked just a little bit both roughness and normals, and now the wooden parts look just fine I think. Also did a High light build for the scene and obviously the result is much nicer.

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