gray shim
T354 Week 10 - Spring 2014


  • 3D (Cont.)
  • Lights (Part 1)
  • Review homework

Please place your homework in the week 10 folder.

Notes from viewing midterm projects:

Remember to focus on making good designs. You ought to be able to accurately describe how you put most of the principles of CRAP to work- or how your piece contains strong elements of graphic design. If you can't do that it's time to add 1/2 cup more of visual design and stir rapidly....

Don't use plain old text. Just bolding key words will add interest.

Make sure you are fulfilling the "original artwork" aspect of the assignment. You should be focused on making strong additions to your portfolios that show what YOU can do. Moving photos around or placing text over moving pictures can be done in a pleasing manner, but doesn't say anything about you as a designer.

Just a few projects are suffering from basic design issues. It doesn’t matter if you use cool effects or 3D layers and lights if you ignore the basic principles of good design.

(Review T354 Week 9)

Cameras in AE only interact with 3D layers. They see regular layers- but they simply don’t have any 3D characteristics.

It’s fine to have stationary cameras and move 3D layers. It’s also fine to have stationary 3D layers and to move the camera. But if you move both camera and layers, things can get really complicated. This is best left up to those with a great deal of practice working in 3D space.

3D Lights (Meyer Chapter 15)

Last week we looked at manipulating 3D layers and cameras. Next up is lighting.

Lighting can be used to create effects that are impossible to get through any other means. Through lighting we can establish a mood and present our elements in a unique way. Those who learn to manipulate and control lighting will be able to bring their work up to an even higher level.

The downside is that lighting takes time and patience, and also bogs down previewing and rendering times. Shadows in particular take a long time to render.

Be sure to have your comps set to at least half resolution and be selective about setting your work area.

How lighting works in AE

Without any lights, AE will light a 2D or 3D layer at its full visible value. This is AE’s “default light.”

When you add a light, the default light is overridden, and only the light(s) will illuminate the comp’s 3D layers you place. 2D layers will remain unaffected.

It’s possible to add 4 different types of lights in AE:

  • Parallel
  • Spot
  • Point
  • Ambient

With each of these 4 types of lights you can change and keyframe the color and intensity. It’s not possible to change from one type of light to another- though you can fade one up and one down instead.

And just like in most film and video, most scenes call for more than one light. (Key plus fill for example.)

Spotlight – This is the most dramatic light in AE. You can modify the cone angle (think spot or flood) and the cone feather (the falloff near the edges).

Point light – This is like a bare bulb in space. While you can’t adjust the cone angle, you can adjust the feather. SInce the rays are parallel to each other, this type of light only casts sharp shadows.

Parallel light – This is like a point light, but all of the rays point the same direction.

Ambient light is the only type of light that doesn’t cast shadows. It works well as a fill light.

Miscellaneous notes:

All lights can have intensity (T) set to above 100%.
Lights can be used to tint a layer a little. It’s not a great idea to try to make drastic color changes with lights. You can manage some very creative effects with colors- you just need to think like a lighting designer.
Be aware that you can turn off all lights, shadows and depth of field controls by pressing the Draft 3D switch. This provides a quick way to look at your 3D layers.


As you’ve discovered, only 3D layers can react to lights. There are a number of ways you can adjust how a layer interacts with lights.

Select a 3D-enabled layer and press AA to reveal the Material Options. Note the following parameters:

Casts Shadows – can be set on or off (no key framing)
Light Transmission refers to the ability to block light.  Can be key framed from 0 – 100.
Accepts Shadows & Accepts Lights can be on or off (no key framing)
Ambient refers to how sensitive a layer is to ambient light.
Diffuse and Specular affect the falloff and hotspot of a light.
Shininess refers to how small or focused the hotspot is
Metal refers to if the hotspot reflects the light.

In-class lighting & 3D practice exercise:

  • Start off with a 1280x720 10-15 second comp
  • Create a "wall" and a floor" (as 3D layers)
  • Create another 3D layer to cast a shadow (text or piece of artwork)
  • Add at least 1 spotlight
  • Position or size the layers so that one casts a tasteful/interesting shadow on the other
  • Create a nicely-designed name or logo ID animation that could be used at the start of a film (or anything else)
  • Animate either the layer casting the shadow or the light
  • Experiment with different focal/zoom settings
  • When you are satisfied, make a square pixel H.264 movie called "shadow"
  • Place it in your week 10 folder

Good lighting tutorial



Point of Interest

Some of you have experimented with parenting in AE. You can parent a light's POI using the pick whip to another layer's position. This is the perfect time to use a Null Object layer.

This technique is a great way to control a follow spot, a camera, or both. (Check out "follow me" example.)

Using an Expression to connect a light or camera's POI (point of interest) to the position of another layer:

  • Reveal the POI parameter of the light or camera
  • Turn on the Expression comand for its parameter (Press: Shift Option = or Alt/Option click the Stopwatch)
  • Reveal the position of a 3D object (E.g. Null object)
  • Drag the pick whip control from the light or camera to the position parameter of the null object.
  • Voila! You can now control the POI of the light or camera by moving the null object


Gobos are patterns or cutouts placed between the light source and an illuminated object or wall. The purpose is to create interesting and sometimes suggestive patterns of light (jail house, Venetian blinds, branches, etc.)

In-class Exercise

Create a short (E.g. 10-second) 16:9 corporate or station identifier or logo (your name for example) for TV, which employs two specific types of lighting effects:

  • Have a spotlight tracking either a null object or another layer
  • Make an animated gobo (animate either the light or the gobo)

Make sure you have a few 3D layers (E.g. a background and a bottom/floor) so you have something to cast shadows onto.

Save it as gobo.mov (square pixel, H.264)
Place it in your week 10 folder



  • Read Chapter 17 of the CMG book (Parenting) & Chapter 29 (Motion Stablization)
  • Bring in some video to motion stabilize
  • Make a 15 - 30-second 16x9 animated sequence for TV or the web. While it can be about *anything* you must have:
    • Nice design (remember CRAP!)
    • audio (sound effects,  music or both)
    • At least 1 camera
    • 2 (or more) 3D layers
    • At least 2 lights interacting with at least 1 of your layers
    • An animated gobo/cookie
    • Turn in a full-size, sqare pixel H.264 version.
    • Be sure to note what you did with your 3D camera, lights and layer in the accompanying critique form.
  • For Thursday: bring in some video that you can motion track

Back to Jim's T354 Home page