T354 Week 10
- Spring 2013
- 3D (Cont.)
- Lights (Part 1)
- Review homework
Please place your homework in the week 10 folder.
Notes from viewing midterm projects:
Don't use plain old text. 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. They don’t have to be complex to be good.
You just have to be able to identify good work. Remember the essential CRAP tips from the
- Contrast – (Focus attention on the message)
- Repetition (repeating the simplest of motifs can create a nice
- Alignment – Align objects horizontally or vertically
on the screen
- Proximity – place objects that relate to each other
close to each other
(Review T354 Week
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
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
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:
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.
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
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
Diffuse and Specular affect the
falloff and hotspot of a light.
Shininess refers to how small or focused the hotspot
Metal refers to if the hotspot reflects the light.
In-class lighting exercise:
- Start off with a 10-15 second 16:9 comp
- Create at least 2 3D layers
- Create at least 1 spotlight
- Position or size the layers so that one casts a tasteful/interesting shadow on the other
- Animate the 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
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 =)
- 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,
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
an animated gobo (animate either the light or the gobo)
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)
- Make a 15 - 30-second 16x9 animated sequence
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.
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