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Unity 4.3 Essential Training
Illustration by Mark Todd

Adding spot and point lights


From:

Unity 4.3 Essential Training

with Adam Crespi

Video: Adding spot and point lights

I've run through and tagged everything That can light is called can light surface mount, We're starting to see a limit on the objects here.
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  1. 2m 57s
    1. Welcome
      41s
    2. What you should know before watching this course
      52s
    3. Using the exercise files
      1m 24s
  2. 21m 21s
    1. Designing the game
      4m 39s
    2. Setting the project
      4m 9s
    3. Exploring the Hierarchy, Scene, and Inspector windows
      5m 45s
    4. Creating and transforming objects
      6m 48s
  3. 21m 34s
    1. Organizing the Assets window
      2m 55s
    2. Exporting objects from 3D modeling programs
      8m 33s
    3. Importing and configuring models and textures
      4m 54s
    4. Setting properties for models and textures in the Inspector
      5m 12s
  4. 29m 8s
    1. Introducing the game environment
      4m 27s
    2. Placing the player controller
      4m 29s
    3. Publishing project settings
      5m 32s
    4. Adding sky and fog
      8m 17s
    5. Fine-tuning the First Person Controller
      6m 23s
  5. 57m 25s
    1. Creating the terrain geometry
      3m 29s
    2. Forming the topography
      9m 54s
    3. Painting the terrain textures
      7m 9s
    4. Painting trees and forests
      10m 55s
    5. Painting grass, shrubs, and 3D geometry
      9m 38s
    6. Painting detail meshes
      8m 46s
    7. Adjusting terrain settings
      7m 34s
  6. 39m 45s
    1. Creating materials and assigning shaders
      8m 56s
    2. Handling multiple materials
      7m 13s
    3. Adding textures to a material
      3m 57s
    4. Manipulating textures
      5m 20s
    5. Adding reflections to materials
      8m 1s
    6. Creating lit materials
      6m 18s
  7. 47m 12s
    1. Creating GameObjects
      5m 2s
    2. Understanding components
      6m 15s
    3. Using colliders for barriers
      6m 22s
    4. Using colliders for triggers
      8m 1s
    5. Exploring physics
      8m 22s
    6. Working with Physic materials
      5m 3s
    7. Adding joints to rigid bodies
      8m 7s
  8. 20m 33s
    1. Setting up prefabs for animation and batching
      5m 8s
    2. Animating an object
      6m 32s
    3. Adjusting timing in an animation
      3m 50s
    4. Animating transparency and lights
      5m 3s
  9. 11m 58s
    1. Importing skinned meshes
      4m 51s
    2. Separating animations into clips and states
      3m 14s
    3. Creating transitions between states
      3m 53s
  10. 30m 22s
    1. Customizing ambient light
      2m 59s
    2. Creating the sun using a directional light
      5m 49s
    3. Using layers and tags for lighting
      3m 32s
    4. Adding spot and point lights
      4m 25s
    5. Using point lights for fill
      4m 30s
    6. Adding and fine-tuning shadows
      5m 10s
    7. Creating lighting effects with cookies
      3m 57s
  11. 9m 15s
    1. Adding scripts to GameObjects
      2m 42s
    2. Using correct script syntax
      6m 33s
  12. 23m 7s
    1. Setting up a 2D project
      3m 13s
    2. Importing sprites
      2m 30s
    3. Slicing in the Sprite Editor
      3m 6s
    4. Layering sprites and setting the sorting order
      5m 12s
    5. Creating 2D colliders
      3m 12s
    6. Adding 2D physics
      2m 25s
    7. Animating 2D elements
      3m 29s
  13. 30m 25s
    1. Creating light shafts and sunbeams
      5m 20s
    2. Using ambient occlusion to add gravity
      4m 37s
    3. Adding depth of field
      8m 40s
    4. Applying motion blur
      5m 46s
    5. Tuning color for mood
      6m 2s
  14. 38m 16s
    1. Exploring water effects
      7m 36s
    2. Working with wind zones
      2m 8s
    3. Using an audio source
      4m 3s
    4. Creating a sound zone
      5m 59s
    5. Triggering audio
      3m 37s
    6. Adding audio effects
      3m 13s
    7. Creating particle systems
      2m 26s
    8. Adjusting particle systems
      9m 14s
  15. 25m 23s
    1. Setting up occlusion culling
      5m 52s
    2. Enabling batching to reduce draw calls
      3m 28s
    3. Testing in the game window using statistics
      4m 27s
    4. Building a development build and debugging
      6m 0s
    5. Building the executable
      5m 36s
  16. 49s
    1. Next steps
      49s

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Unity 4.3 Essential Training
6h 49m Beginner Mar 10, 2014

Viewers: in countries Watching now:

Interested in game making? Start in Unity—a game engine for mobile and desktop games and real-time simulations. Author Adam Crespi shows techniques used in game development with Unity and introduces the basics of scripting and game functionality. First, learn how to import models and textures, organize your project and hierarchies, and add terrain, water, and foliage. Next, Adam explores how to use lighting to bring the game to life, and add rendering, particles, and interactivity. The end result is a sample game with a lush environment, fully animated characters, and some basic interactive gameplay.

Topics include:
  • Designing the game
  • Creating and transforming objects
  • Importing and configuring models and textures
  • Setting properties in the Inspector
  • Creating the terrain geometry
  • Building materials and adding shaders
  • Creating GameObjects
  • Exploring physics
  • Animating objects
  • Lighting the scene
  • Creating 2D game elements
  • Adding special effects
Subjects:
3D + Animation Developer Games Game Design Game Development
Software:
Unity 3D Unity
Author:
Adam Crespi

Adding spot and point lights

And then dropping down in the culling mask and choosing BdgA_Int. I've run through and tagged everything Now the light hits that floor, and I'll adjust the range and then clone it around. with either interior/exterior for its own building. I've also added the podiums into the The range on a light is equivalent to attenuation in 3ds Max. tag, those floors and their surrounding walkways.

This is an absolute range on the light, after which, it seizes exactly. This one for example, is BdgA_Int. This range is in meters and so if we scroll this What I've done in the layers is to make an interior and exterior building range back, pulling it back here, we can see that light decrease. plus Bridge layers, and this way I I'll pull that range out, somewhere in the 7.5 range. can sort things out very efficiently for lighting.

So it actually does go through the floor, but hits it I've also gone into the spotlight that I had animated earlier very nicely and leaves a warm pool of light around those sculptures. and disabled that default state or first play in the animator. Now, I'll nest this light under its cam light and then clone this around my space. That can light is called can light surface mount, Now it just has an any state and instead of and right now it's on, well, the Default layer. cycling off and on, this light will just stay on. I'm going to make this particular one as well, BdgA_Int. I'll put up the intensity and get it looking pretty reasonable. Now, I'll take this light and drag it under that cam light. Here is an intensity of oh around one and a So it's parented under it. half and I will crank up the size of that spot. Now when I select one, they'll both select. A spot light in unity then, is a cone of I'm ready to clone this light around. light, starting out from the transform and aiming straight down.

I'll turn off the scene lighting so I can see what I'm doing a bit. It's got a spot angle, which if you're looking for the controls from Go in under the ceiling and press Ctrl+d to duplicate. Maya, for example, for cone, penumbra and drop-off, they're all included in here. I'll pull this light over on the x-axis into That cone simply gets fuzzier as that light spreads out, the next bay, making sure it glances on the walls. and so we don't have to think about those factors together. Then I'll duplicate again, pressing Ctrl+d. A spotlight will also accept a cookie. And, put the next light in, right over that next painting. It's an image with an alpha channel we can Making sure I grab the right axis, of course. place over it to affect the shape of the light. You can always toggle on your lights and see if they're hitting things correctly. Adding a grid for a diffuser, for example. I'll pull this one back, and up next to the art. Finally, if needed, we can turn on shadows. This might be a place later to make, some kind of aimable light, And these are accessible when we bake the light.

as it's kind of difficult to get the light to hit that painting. We can cull this light down. But at least giving me a good pool on the floor will work nicely. And right now, it's hitting everything. We're starting to see a limit on the objects here. That culling mask is very important because the culling How much that light can actually hit. mask for this light, lets us ignore different things. And so, I need to be careful of what I need to see on the floor here. We can tell this light, you can only hit BdgA_Int I'll duplicate one or two more and pull it over. for example, and it simply won't think about the other pieces. We can see because the floor is one big object, that I'll turn off everything for this light by checking nothing. the lights are having a harder and harder time showing on it. And then dropping down in the culling mask and choosing BdgA_Int. I can hit the walls just fine and will hit anything in them. Now the light hits that floor, and I'll adjust the range and then clone it around. After while, that rule of eight is rearing its head. The range on a light is equivalent to attenuation in 3ds Max. Now, I've got cam lights in the space and I'm ready for some point lights for fill. This is an absolute range on the light, after which, it seizes exactly.

What we want to do, is to get our direct or practical lights in first. This range is in meters and so if we scroll this Our sun, and then our interior fixtures and make sure they look like they're on. range back, pulling it back here, we can see that light decrease. Then we can get in there and add our theatrical lighting, I'll pull that range out, somewhere in the 7.5 range. our fills and extra light to really buff out the space. So it actually does go through the floor, but hits it Using the layers and tags is very important. very nicely and leaves a warm pool of light around those sculptures. We haven't tagged anything yet, but it'll Now, I'll nest this light under its cam light and then clone this around my space. be helpful in sorting out minor lighting issues. That can light is called can light surface mount, For now though, being able to restrict down just to layers is and right now it's on, well, the Default layer. immensely helpful, and that way these lights can only hit certain things. I'm going to make this particular one as well, BdgA_Int. Now, I'll take this light and drag it under that cam light.

So it's parented under it. Now when I select one, they'll both select. I'm ready to clone this light around. I'll turn off the scene lighting so I can see what I'm doing a bit. Go in under the ceiling and press Ctrl+d to duplicate. I'll pull this light over on the x-axis into the next bay, making sure it glances on the walls. Then I'll duplicate again, pressing Ctrl+d. And, put the next light in, right over that next painting. Making sure I grab the right axis, of course. You can always toggle on your lights and see if they're hitting things correctly.

I'll pull this one back, and up next to the art. This might be a place later to make, some kind of aimable light, as it's kind of difficult to get the light to hit that painting. But at least giving me a good pool on the floor will work nicely. We're starting to see a limit on the objects here. How much that light can actually hit. And so, I need to be careful of what I need to see on the floor here. I'll duplicate one or two more and pull it over. We can see because the floor is one big object, that the lights are having a harder and harder time showing on it.

I can hit the walls just fine and will hit anything in them. After while, that rule of eight is rearing its head. Now, I've got cam lights in the space and I'm ready for some point lights for fill. What we want to do, is to get our direct or practical lights in first. Our sun, and then our interior fixtures and make sure they look like they're on. Then we can get in there and add our theatrical lighting, our fills and extra light to really buff out the space. Using the layers and tags is very important. We haven't tagged anything yet, but it'll be helpful in sorting out minor lighting issues.

For now though, being able to restrict down just to layers is immensely helpful, and that way these lights can only hit certain things.

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