Details

详情

Using the Details tab, you can access the individual properties of each of your light sources.

使用 Details 选项卡，您可以访问每个光源的单独属性。

Use Inner

使用 Inner

This option lets you enable a brightness falloff at a light’s edge (see Inner Angle / Inner Radius).

这个选项允许你在光线的边缘处开启亮度衰减(参见内角/内半径)。

Inner Angle[0..175°]
Inner Radius[0..+∞m]

内角[0.175 ° ]内半径[0. . + ∞ m ]

Depending on the type of light you use, this will adjust either the Inner Angle (for a standard Spotlight) or the Inner Radius (for a Parallel Spotlight) of the light.

根据你使用的光线类型，这将调整内角(标准聚光灯)或内半径(平行聚光灯)的光线。

Within the Inner Angle area, the luminosity value of the light source is 100%. From the Inner to the Outer Angle the luminosity value falls from 100% to 0%.

在内角区域，光源的亮度值为100% 。从内部到外部角度，光度值从100% 下降到0% 。

If Use Inner is disabled, the luminosity of the light source in the entire light cone amounts to 100%, resulting in a hard cone of light. If the Inner Angle has a value of 0, the light source will have a soft transition spreading from the center of the light to the light’s edge.

如果使用内部被禁用，光源的亮度在整个光锥达到100% ，导致一个硬锥光。如果内角值为0，那么光源将有一个从光线中心到光线边缘的柔和过渡。

Outer Angle[0..175°]
Outer Radius[0..+∞m]

外角[0. . 175 ° ]外半径[0. . + ∞ m ]

Adjusting this value will define how large the light will be in total. The Outer Angle value indicates the limits of the light source’s luminosity.

调整这个值将定义光总量的大小。外角值表示光源亮度的极限。

Aspect Ratio[0.01..100]

长宽比[0.01. . 100]

Enables you to stretch and shear the shape of the light’s cone. The standard aspect ratio value is 1. For example, increasing the value to 2 will double the light cone’s height relative to its width. Similarly, decreasing the value to 0.5 will make the light cone only half as high as it is wide.

使您可以拉伸和剪切的形状光的锥。标准高宽比值为1。例如，将值增加到2将使光锥的高度相对于其宽度增加一倍。同样地，减少值到0.5将使光锥只有它的一半宽度的高度。

Contrast[-1000..1000%]

对比度[-1000. . 1000% ]

The intensity of a light source on an object is not dependent on the distance of the light from the object (unless you explicitly adjust its falloff), but rather on the angle at which its rays hit the object. If a ray hits a surface at an angle of 90°, the surface is illuminated with the light’s maximum intensity (taking any falloff into account). As this angle (called the angle of incidence) decreases, the strength of the illumination decreases as well. Therefore, in an average scene, a soft transition is normally seen on any lit surfaces. The Contrast value controls this transition.

物体上光源的强度并不取决于光线到物体的距离(除非你明确地调整它的衰减) ，而是取决于光线照射物体的角度。如果一束光线以90 ° 的角度照射到一个表面，那么这个表面就会被光线的最大强度照亮(考虑到任何衰减)。随着这个角度(称为波动角度)的减小，光照强度也会减弱。因此，在一般的场景中，任何光亮的表面都可以看到柔和的过渡。Contrast 值控制这个转换。

In the image below, a series of pictures of a planet is shown, towards which a light is directed. You can clearly see how little the planet’s front and sides are lit using 0% contrast. The transition on this lit surface is soft; this surface contrast is not natural for planets. If you look at photographs of a planet you will see that the transition of its lit surface to its shadowed edge is hard — as illustrated further to the right in the series of pictures.

在下面的图片中，一系列的照片显示了一个行星，其中一束光线被指向。你可以清楚地看到，使用0% 的对比度，星球的正面和侧面只有很少的光线。在这个被照亮的表面上的过渡是柔和的; 这种表面对比对于行星来说是不自然的。如果你看一些行星的照片，你会发现行星表面的光线很难过渡到它的阴影边缘，这一点在这些照片的右边可以看到。

With the contrast control you can adjust how soft or hard you wish the lit surface transition to be.

通过对比度控制，你可以调整你希望的光照表面过渡的软硬程度。

If you need a special over-soft look to your objects you may even enter negative values, as illustrated in Figure 2.

如果您需要对对象进行特殊的过软外观，您甚至可以输入负值，如图2所示。

Shadow Caster

影子脚轮

Surely you have experience the problem of having a perfectly lit scene in which the shadows that are cast don’t really fit in the scene visually. This is why we added Shadow Caster. You can use the Shadow Caster option to cast shadows without adding illumination to the scene.

你肯定经历过这样的问题: 在一个光线完美的场景中，投下的阴影在视觉上并不真正适合这个场景。这就是为什么我们增加了影子卡斯特。你可以使用阴影施法者选项来投射阴影，而不需要给场景增加照明。

If you enter a negative Intensity value (General tab), the shadows will cast light instead of shadows. Even if we don’t have an example of a practical use for this function, surely someone reading this addendum right now is ecstatic about this feature …

如果你输入一个负的强度值(普通标签) ，阴影将投射光线而不是阴影。即使我们没有实际使用这个函数的例子，现在阅读这个附录的人肯定对这个特性非常满意..。

Example:

例子:

On the left the scene has been lit optimally using three light sources. The cast shadows, though, detract from the scene’s harmonious look. On the right, an additional Shadow Caster light source was placed directly above the sphere that casts a correct shadow. The shadows of the other three light sources were manually deactivated.

在左边的场景已经被最佳照明使用三个光源。投下的阴影，虽然，减少了现场的和谐外观。在右边，一个额外的阴影卡斯特光源被放置在球体的正上方，正确投射阴影。其他三个光源的阴影被手动关闭。

The scene’s lighting remains unchanged, except for the shadows.

场景的光线保持不变，除了阴影。

Area Shape

面积形状

The Area light, including Area shadows, have been reworked from the ground up:

区域光，包括区域阴影，已经从底部重新加工:

• Each light source can be given any shape 每个光源可以给出任何形状
• Area lights can made visible when rendering 渲染时可以看到区域灯光
• Area shadows are rendered in accordance with an Area lights 区域阴影是按照区域灯光渲染的

What are Area lights actually good for?

区域照明实际上有什么好处？

Area lights offer very realistic lighting and, when used in conjunction with Area shadows, very realistic shadows (also results in longer render times).

区域灯提供非常现实的照明，当与区域阴影结合使用时，非常现实的阴影(也会导致更长的渲染时间)。

When using three-dimensional Area lights (cubes, spheres, etc.), don’t forget that objects within the light source’s volume require higher sampling rates, especially when using Area shadows. The reason being, that light and shadow fall on the object from all directions.

当使用三维面积光源(立方体、球体等)时，不要忘记光源体积内的物体需要更高的采样率，特别是在使用面积阴影时。原因在于，光影从四面八方落在物体上。

You can define sampling rates for light and shadow here:

你可以在这里定义光线和阴影的采样率:

• Diffuse lighting: 漫射照明:Samples 样本 in the 在Details 详情 tab 标签
• Area shadow: 区域阴影:Accuracy 准确性, Minimum Samples 最少样本 and 及Maximum Samples 最大样本数 in the 在Shadow 阴影 tab. 标签

Two-dimensional light sources render faster than three-dimensional light sources. Area shadows in particular can reach GI-level render times!

二维光源渲染速度比三维光源更快，特别是区域阴影可以达到 gi 级渲染时间！

The object will then automatically be made invisible when the scene is rendered.

当场景渲染完成后，对象会自动隐藏起来。

Unexpected or false results can occur if a Soft (Shadow Maps (Soft)) or Hard (Raytraced (Hard)) shadow is used in conjunction with an Area light.

如果一个软(阴影贴图(软)或硬(光线追踪(硬))阴影与一个区域光结合使用，可能会出现意外或错误的结果。

Area lights cannot emit a visible or volumetric light, with one exception – the Line area shape.

区域灯不能发射可见光或体积光，除了一个例外——线区域形状。

The following settings will be made available for an Area light, for the creation of shadows (in the Details tab when Area is activated in the General tab’s Shadow menu):

下面的设置将用于区域光源，用于创建阴影(在“常规”选项卡的“阴影”菜单中激活“区域”时，在“细节”选项卡中) :

• Area Shape 面积形状
• Object 对象
• Size X, Y, and Z 大小 x，y 和 z
A virtual area source strictly for the generation of the Area shadow will be assumed. 将假定一个严格用于产生区域阴影的虚拟区域源

Disc

圆盘

A light source in the shape of a disc can, for example, be used when simulating the light emitted by a desk lamp or any other circular light source.

例如，当模拟台灯或任何其他圆形光源发出的光时，可以使用光盘形状的光源。

Rectangle

长方形

This setting can be used when simulating interior light, e.g., light shining through a rectangular window.

这个设置可以用来模拟室内光线，例如，光线透过矩形窗户时。

Cube

立方体

Sphere

球体

The spherical light source has a similar effect as Disc, only the light is dispersed better in all directions.

球形光源和圆盘光源有相似的效果，只是光更好地分散在各个方向。

Object / Spline

对象/样条

Using this function you can define lights in any from, a polygon object (objects must be converted via Mesh / Conversion / Make Editable) to any spline (if the Spline has multiple segments, only the first will be used) as a light source. Simply drag the object or spline onto the light’s Object text field.

使用这个函数你可以定义任何光源，一个多边形对象(对象必须通过 Mesh/Conversion/Make Editable 进行转换)到任何样条(如果样条有多个段，只有第一个将被使用)作为光源。只需拖动对象或样条到光的对象文本字段。

Line

第一行

A straight, linear light source (previously Tube), good for use in simulating neon tubes. This is the only Area light source that can render as visible or volumetric.

一种直线光源(以前叫做管) ，适用于模拟氖管。这是唯一的区域光源，可以渲染为可见或体积。

Cylinder
Cylinder (Perpendicular)

圆柱体(垂直)

The Cylinder light is similar to the Line light. Any diameter can be set.

圆筒灯与线灯类似，任何直径都可以设置。

Hemisphere

半球

Hemisphere is good for use in simulating outdoor lighting since its light is emitted in all directions, as the sky does in reality.

半球很适合用来模拟室外照明，因为它的光是向各个方向发射的，就像天空在现实中发射的那样。

Object

对象

If Object / Spline is selected in Area Shape, you can use any (polygonal) object or spline for the shape of your light. Simply drag the shape into the light’s Object text field.

如果物体/样条曲线在区域形状中被选中，你可以使用任何(多边形)物体或样条曲线作为光线的形状。简单地拖动形状到光的对象文本字段。

If an object is used that was deformed using a deformations object, the shape of the object prior to its deformation will be used. Applying the Current State to Object will create a deformed polygon object that can be used.

如果一个物体是用变形物变形的，那么在变形之前的物体的形状将被使用。将“当前状态”应用于对象将创建一个可以使用的变形多边形对象。

Size X[0..+∞m]
Size Y[0..+∞m]
Size Z[0..+∞m]

尺寸 x [0. . + ∞ m ]尺寸 y [0. . + ∞ m ]尺寸 z [0. . + ∞ m ]

Here you can define the size of the Area light in 2D or 3D.

在这里你可以定义区域光的大小在二维或三维。

Falloff Angle[0..180°]

角度[0. . 180 ° ]

This setting lets you regulate the light emitted by a Disc or Rectangle area light. With a maximum value of 180°, the light will emit around the Area light as it would from a hemispherical shape. The smaller the value, the more light will be removed from the edges. A value of 0° represents the behavior in Cinema 4D versions prior to R9.5.

这个设置可以让你调节光盘或者矩形区域发出的光。在最大值为180 ° 的情况下，这种光会在区域光周围发射出来，就像它从一个半球形发出一样。值越小，越多的光线将从边缘被删除。0 ° 的值代表了在 R9.5之前的4D 影院版本中的行为。

Samples[16..1000]

样本[16. . 1000]

It can occur that an Area light’s sample structure becomes visible (e.g., when using specular light, as in the example above). It will look like the surface is being lit by several light sources. If this happens, raise the value.

可能发生的情况是，一个区域光的样品结构变得可见(例如，当使用镜面光时，如上面的例子)。它看起来就像是表面被几个光源照亮。如果发生这种情况，提高价值。

You should also raise the value if the light dispersion is uneven (also when the Add Grain (Slow) option has been activated). This uneven dispersion of light takes place in particular with Area lights that clip objects and use functions such as Inverse or Inverse Square.

如果光线分散不均匀，你也应该提高这个值(当添加颗粒(慢速)选项被激活时也是如此)。这种不均匀的光线分散特别发生在区域灯，用来夹对象和使用功能，如逆平方或逆平方。

Infinite Angle[0..90°]

无限角度[0. . 90 ° ]

This setting is only available for an Infinite Light with an Area shadow.

这个设置只适用于带有区域阴影的无限光源。

This setting lets you vary the angle of the shadow, beginning at the origin of the object casting the shadow. A value of 0° will result in a hard shadow.

这个设置允许您改变阴影的角度，从投射阴影的对象的原点开始。值为0 ° 会产生硬阴影。

Add Grain (Slow)

加入谷粒(慢速)

This is another way in which to avoid the artefacting mentioned in Samples above. A grainy rendering will be used to eliminate any visible light source structures. The Samples value should be high enough to avoid an extremely grainy look. On the other hand, such a grainy look could be just what you want …

这是另一种避免样品制造的方法。一个颗粒渲染将被用来消除任何可见光源结构。样品的价值应该足够高，以避免一个非常粒状的外观。另一方面，这种颗粒状的外观可能正是你想要的..。

The render times will be quite a bit longer compared to normal (with Add Grain (Slow) deactivated) rendering.

渲染时间会比正常渲染时间长一些(增加颗粒(缓慢)停用)。

Show in Render

在渲染中显示

Activate this option if you want to render the Area light source itself. Depending on brightness, the light source will, in most cases, be rendered white.

激活这个选项，如果你想渲染区域光源本身。根据亮度的不同，光源在大多数情况下会呈现白色。

Area lights with no actual area (surface), such as Line or splines, cannot be rendered.

不能渲染没有实际面积(表面)的区域灯，如直线或样条。

Show as Solid in Viewport

在 Viewport 展示实力

Enable this option if Area lights should be displayed as luminous surface in an unrendered Viewport.

如果区域灯应该在未呈现的视窗中显示为发光表面，则启用此选项。

Show in Specular

在 Specular 中显示

Use this option to define if the Area light should be rendered as a specular highlight (simplified compared to real reflections) in a reflective material. This option and the following option can be used to define if the light should be rendered as a specular highlight, as a reflection or both (this can also be defined for a material individually in its Reflectance channel’s layers.)

使用这个选项来定义区域光是否应该在反射材质中呈现为镜面高光。这个选项和下面的选项可以用来定义光线是应该渲染为镜面高光，还是应该渲染为反射，或者两者兼而有之

Note that the Specular option principally does the same for the entire light source (regardless of which Type is selected), whereas the option described here only applies to the Area light.

请注意，镜面选项主要做相同的整个光源(无论类型是选择) ，而这里描述的选项只适用于区域光。

Show in Reflection

在反思中展示

Activate this option if you want to mirror an Area light in another object. Area lights with no actual area (surface), such as Line or splines, cannot be rendered (Exception: if Roughness is greater than 0).

激活此选项，如果你想镜像一个区域光在另一个对象。没有实际面积(表面)的区域灯，例如直线或样条，不能渲染(例外: 如果粗糙度大于0)。

Visibility Multiplier[0..10000000%]

能见度乘数[0.10000000% ]

Use this setting to adjust the brightness of a visible Area light or its reflection in another object. This option will only be available if Show in Render or Show in Reflection is active

使用此设置可以调整可见区域光或其在另一物体上的反射的亮度。此选项仅在渲染中显示或反射中显示处于活动状态时才可用

Falloff

女名女子名

A normal virtual light source will illuminate its surrounding environment with a continuous, linear brightness. However, this is not how all lights work in reality; real light sources will have their luminosity absorbed. Just as in nature, Cinema 4D light sources are able to have their luminosity reduced over any distance. To achieve this, several falloff functions are available from this drop-down list, illustrated below.

一个普通的虚拟光源将以连续的线性亮度照亮其周围环境。然而，这并不是现实中所有光线的工作方式，真正的光源会吸收它们的亮度。就像在自然界中一样，C4D 光源可以在任何距离上减弱它们的亮度。为了实现这一点，可以从下拉列表中获得几个 falloff 函数，如下所示。

Their main characteristic is the nearly unlimited brightness at their point of origin, which, for example, is very good for use in simulating a light bulb very near to a wall, at which point the wall will be rendered very brightly, or over-lit.

它们的主要特点是原点几乎没有限制的亮度，例如，非常适合用于模拟非常靠近墙壁的灯泡，在这一点上，墙壁会变得非常明亮，或者过亮。

In the examples below, you can see the different types of falloff, in this case in conjunction with an Area light. The small function graphs show the light’s intensity in relation to the distance from the light source. Kinks in the graph represent Radius / Decay.

在下面的例子中，您可以看到不同类型的衰减，在这种情况下结合区域灯。小函数图显示了光的强度与光源距离的关系。图中的扭结表示半径/衰减。

Inner Radius[0..+∞m]

内半径[0. . + ∞ m ]

Within the Inner Radius there is no falloff. Up to this point, the brightness of the light remains constant. Outside of this boundary is where the Inner Radius falloff begins.

在内半径范围内没有衰退。到此为止，光的亮度保持不变。在这个边界之外是内部半径衰减的开始。

Radius/Decay[0..+∞m]

半径/衰减[0. . + ∞ m ]

• Falloff 女名女子名Linear 线性 and 及Step 第一步: The range between the Inner Radius and the Radius/Decay is where the brightness of the source light changes from : 内半径和半径/衰减之间的范围是光源亮度变化的地方100% to 到0%. This Radius/Decay value indicates the maximum range that will be illuminated by the source light. .这个半径/衰减值表示被光源照亮的最大范围
• Falloff 女名女子名Inverse Square 逆平方 and 及Inverse Clamped 反向钳制: the :Intensity 强度 defined in the 定义在General 常规 tab will be reached at (or up to) this distance from the light’s origin. Hereafter the 标签将达到(或达到)这个距离从光的原点。从今以后Intensity 强度 will deminish proportionally opposite to the square of the original distance. 与原始距离的平方成正比

Colored Edge Falloff

彩色边缘脱落

This option is only available in conjunction with Spot lights and is only useful when the Use Gradient is enabled and with the gradient Color, which itself must have handles of a different color. Normally the color gradient will extend the light’s color along the Spot light source’s Z axis from the gradient begin to the gradient’s end. If the Radial Falloff option is enabled the light color will also be colored radially from the center of the angle/radius outward.

这个选项只能和聚光灯一起使用，并且只有在使用渐变和渐变颜色时才有用，而渐变颜色本身必须有不同颜色的句柄。正常情况下，颜色渐变会沿着聚光灯光源的 z 轴从渐变开始延伸到光源的端点。如果启用了径向衰减选项，光色也将从角度/半径向外的中心径向着色。

Z Direction Only

Z 方向

If this option is active, light will only be emitted in the light’s positive Z-direction. Light that is emitted in the opposing direction will be clipped on the X-Y plane.

如果这个选项是活动的，光只会在光的正 z 方向上发射。反方向发射的光将被截断在 X-Y 平面上。

Use Gradient
Color

使用渐变色

This option makes it possible to define several colors over the course of a gradient’s falloff. When active, this gradient overwrites the color defined in the General tab.

这个选项使得在一个渐变的衰减过程中定义几种颜色成为可能。当激活时，此渐变将覆盖“常规”选项卡中定义的颜色。

Clipping

剪报

Enable Near Clip to restrict the illumination and visible light (if present) radially with an Omni light and linearly with all other light types. The light source does not have to radiate light from its origin; the radiation may begin, for example, five meters from the light’s origin.

启用近剪辑限制照明和可见光(如果存在的话)径向全方位和线性与所有其他光类型。光源并不一定要从它的原点辐射光线; 例如，辐射可能开始于距离光源5米的地方。

Near Clip
From[0..+∞m]
To[0..+∞m]

从[0. . + ∞ m ]到[0. . + ∞ m ]

The two values used for this effect are From and To and signify the distance for the clipping effect. The larger the difference in the two values, the softer the transition.

用于此效果的两个值是 From 和 To，并表示裁剪效果的距离。两个值的差别越大，过渡就越软。

From = 90, To = 90. 90，To = 90

From = 90, To = 150. 90，To = 150

Far Clip
From[0..+∞m]
To[0..+∞m]

从[0. . + ∞ m ]到[0. . + ∞ m ]的远剪辑

Enable Far Clip to cut off the light source’s illumination abruptly. To use Far Clip, once again two values are needed. This time the From and To values denote where the cut off begins, and where the light source will fully vanish. Again, the larger the difference between these two values, the softer the transition.

启用远端剪辑突然切断光源的照明。要使用 Far Clip，同样需要两个值。这次的 From 和 To 值表示切断开始的地方，以及光源将完全消失的地方。同样，这两个值之间的差异越大，过渡就越软。

From = 300, To = 300. 300，To = 300

From = 220, To = 300. 220，To = 300