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Lighting the objects and creating shadows

From: CINEMA 4D: Designing a Promo

Video: Lighting the objects and creating shadows

I'm starting off with the shot-003- lighting file that was created in the previous movie. Now this is not included in your project files. If you'd like to get to this point, you'll need to complete the previous movie. Global Illumination and Fog set the atmosphere of our shot. But our text and shark are blending together a little bit and needs some separation. We're going to use lights to get that separation using the scene lighting options so that light for the shark doesn't influence light for the type and vice-versa. Now with the project file here, I'm going to add something called a Target Spot Light. I'll click on the Scene Objects here, and go to Target Light.

Lighting the objects and creating shadows

I'm starting off with the shot-003- lighting file that was created in the previous movie. Now this is not included in your project files. If you'd like to get to this point, you'll need to complete the previous movie. Global Illumination and Fog set the atmosphere of our shot. But our text and shark are blending together a little bit and needs some separation. We're going to use lights to get that separation using the scene lighting options so that light for the shark doesn't influence light for the type and vice-versa. Now with the project file here, I'm going to add something called a Target Spot Light. I'll click on the Scene Objects here, and go to Target Light.

This Target Light is simply a spotlight that's being forced to always point at a Null object called Light.Target. This little tag right here is called the Target Expression. That Target Expression says always look at Light.Target, so wherever I move that Light.Target, the light has to follow. Let's undo that by hitting Command+Z or Ctrl+Z on the PC. Now I'm going to leave that Light.Target at the center of the world and move my light around. Let's select the light, and position in the scene. I'm going to switch to the 4-way view. Now my environment sphere is getting in the way of things.

I wanted to still show up in the render and the Compositing tag prevents it from being seen by the camera so that it still influences the scene. But I don't need to really look at it anymore. So let's go to the envirosphere and turn its top dot red. That makes it invisible in the Editor window, and makes it visible still in the render. You can see the bottom dot is gray. So that means that it will show up in the render still. Now we can actually see the elements in our scene. So let's take the light here. Let's move it on the Z-axis. I'm going to back it way, way out.

I'll zoom in just a bit. Now the field of view for the spotlight is this cone that's surrounds it. I'm going to drag the center dot, and let's zoom in a little bit on this. So you can see exactly what I'm grabbing. In the Top view, if I grab the center dot and drag it, that extends the cone of light outward. Now because I'm not using falloff for that light, the cone really doesn't mean anything, except that it allows me to see where my light is falling much more accurately.

So I'm going to drag this light on its Z-axis out a little bit more. As I drag it out, I'm going to repeatedly drag the cone down towards the center. That makes it a lot easier to understand what the light is hitting. I want to make sure that it's covering my entire scene. So now that it is, let's do a little quick test render here, Command+R. You can see it analyzes the scene first. Now it's blowing out all my elements. So I'm going to that make adjustments to the light. But first, I want to have this light only affect the Shark Zone type.

So let's go to Light. First, let's change the name and call it text light. In the Scene option for the text light, I'm going to change the Mode to Include. Then drag my sharkzone parent, which is the object that has my Shark Zone type it into the Include field. When I do that that means now this light is only affecting the type and not the shark. So when I render, you can see the shark is actually not illuminated in the scene and it will show up darker than the sharkzone type.

So that's my text light. We'll duplicate this light. We'll call the new light shark light. Let's take the shark light. Underneath the Scene option, we'll change the objects out. So I'll delete this object, the sharkzone parent. Notice, I'm on the shark light, not the text light. Let's drag the Shark Uber object into the Include field. Now this light, the shark light, is now only affecting the Shark Zone type. That gives me a lot of control over the scene. I can now light these objects independently.

So let's take the text light object and dial that down to about 30% or so. So I'll go to the General properties for that and drag the Intensity down. You can see the Shark Zone type getting darker, but the shark does not get darker. So let's drag that down to about 30%. Then let's take our shark light and dial its Intensity down to about 40% or so. Now when I render the scene, you can see that type is now starting to pop out a little bit and my shark has a lot better light on it.

The scene is still a little bit too bright. So in order to dial it down, I'm going to adjust the material on the HDRI. That's more of like an Exposure setting. The lighting affects individual objects and brightens them up. But for the entire scene to get lighter and darker, I'm going to adjust the HDRI. So if I click on the HDRI material in the Material Manager, and under the Luminance, I'm going to add black to the Color channel. What that's going to do is, the Mix Mode when it's set to 64%, means that this object, means that this HDRI material that we have in the Texture channel is now mixing back into whatever you have in the Color channel.

But in this case, it's mixing into white. So let's make it mix into black. So I'll drag that down. I clicked on the swatch to get the color picker up and made the color black. You can see that the entire material got darker and so did my scene. Now when I render, you can see the entire scene got darker, but our shark and our text are now starting to pop a little bit more off the background. The next thing we're missing is a little bit of shadow information. You can see that the areas in between the letters here are bright.

They really should be in the dark. Also, the text should be casting a shadow onto our shark as it passes by. So let's duplicate this light one more time. We're going to duplicate the shark light and call it shadow light. In the options for the shadow light, we're going to go to the Scene property. We're going to delete the shark uber object out of there. Then this is very important. We're going to change the Mode from Include to Exclude. When you do that now, because it's excluding nothing that means it's going to affect all the objects in the scene.

Right now, our light is casting light on our objects. But we really only wanted to cast shadows. That way we have two lights for light and then one light for just shadows. That gives us a lot of control over the scene. So we have to tell this light to be a shadow caster. So let's go to the Details property, and tell it to be a shadow caster by turning on the Shadow Caster button. This light is no longer affecting our scene from an illumination standpoint, but it's also not casting shadows yet. So we have to turn shadows on. We go to the Shadow page, and then change the Shadow type from None to Area.

An Area shadow is the most accurate type of shadow that's CINEMA 4D can draw. When I render this now, you're going to see-- You can actually already see it in the analysis pass. But you can see now we have some nice dark shadows in the in between on the letters, and our shadow being cast onto our shark. So this Lighting setup gives a lot of flexibility and control over how our scene is illuminated. Our underwater look is really coming together.

Show transcript

This video is part of

Image for CINEMA 4D: Designing a Promo
CINEMA 4D: Designing a Promo

70 video lessons · 13461 viewers

Rob Garrott
Author

 
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  1. 5m 8s
    1. Welcome
      1m 7s
    2. Using the exercise files
      1m 24s
    3. Overview of the project template
      2m 37s
  2. 11m 12s
    1. Creative brief
      1m 57s
    2. Sketches and script
      3m 8s
    3. Understanding the graphic animation process
      6m 7s
  3. 25m 5s
    1. Understanding the animatic process
      2m 15s
    2. Importing sketches into After Effects
      6m 20s
    3. Timing out the animation
      10m 4s
    4. Adding onscreen timecode for reference
      6m 26s
  4. 40m 2s
    1. Creating text and logo elements in Adobe Illustrator
      6m 44s
    2. Importing Illustrator elements into Cinema 4D
      8m 24s
    3. Creating guide planes for modeling a rough shark
      6m 13s
    4. Creating a rough shark model
      12m 14s
    5. Preparing a dummy rig using a Spline Wrap object
      6m 27s
  5. 53m 17s
    1. Setting up a project file for the cameramatic
      6m 15s
    2. Animating the rough shark using the Spline Wrap object
      5m 14s
    3. Animating the camera
      6m 8s
    4. Duplicating an animated rough model to create a school of sharks
      11m 4s
    5. Creating a preview movie and importing it into After Effects
      5m 45s
    6. Assembling the cameramatic
      8m 34s
    7. Fine-tuning the cameramatic timing
      10m 17s
  6. 1h 9m
    1. Preparing for the modeling process
      6m 7s
    2. Outlining the shapes using the Knife tool
      9m 50s
    3. Creating the mouth using the Extrude tool
      10m 40s
    4. Adding eyes using the Symmetry object
      9m 57s
    5. Creating fins using the Extrude tool
      7m 11s
    6. Creating the tail and dorsal fins using the Extrude tool
      10m 38s
    7. Creating gums using the Symmetry object
      6m 45s
    8. Creating teeth and finalizing the model
      8m 6s
  7. 15m 5s
    1. Understanding the rigging process
      2m 0s
    2. Opening the shark mouth using the Morph tag
      5m 9s
    3. Using XPresso to link the jaw to the Morph animation
      7m 56s
  8. 33m 25s
    1. Using BodyPaint to prepare the model for texturing
      8m 22s
    2. Applying color to the shark using BodyPaint
      6m 45s
    3. Giving the shark character by painting in the diffusion channel
      5m 29s
    4. Roughing the surface using the bump channel
      4m 34s
    5. Texturing the eyes
      3m 51s
    6. Texturing the teeth and gums
      4m 24s
  9. 21m 24s
    1. Replacing the rough shark model in the intro shot with the finished model
      6m 47s
    2. Replacing the rough shark model in the transition shot
      3m 43s
    3. Replacing the rough shark model in the hero shot
      4m 28s
    4. Replacing the rough shark model in the end page shot
      3m 42s
    5. Updating the cameramatic with the final animation
      2m 44s
  10. 50m 27s
    1. Creating an underwater look using Global Illumination and atmosphere
      9m 47s
    2. Lighting the objects and creating shadows
      6m 54s
    3. Shading the text using materials
      6m 28s
    4. Creating a reflective floor for the underwater scene
      3m 58s
    5. Lighting shot 1: Copying and pasting a lighting setup from another project
      5m 49s
    6. Lighting shot 2: Pasting a lighting setup and making adjustments
      3m 57s
    7. Lighting shot 4: Separate elements in a shot (the shark)
      3m 13s
    8. Lighting shot 4: Separate elements in a shot (the text)
      10m 21s
  11. 22m 7s
    1. Preparing shot 1 for rendering to After Effects
      6m 20s
    2. Preparing shot 2 for rendering by saving and using render presets
      4m 45s
    3. Preparing shot 3 for rendering
      2m 37s
    4. Setting up shot 4 to render in two passes
      4m 4s
    5. Performing a preflight check to ensure clips are ready to render
      2m 9s
    6. Batch-rendering
      2m 12s
  12. 1h 13m
    1. Importing assets and setting up the After Effects project for final compositing
      6m 5s
    2. The intro shot: Using Photoshop elements and noise effects to add atmosphere
      8m 38s
    3. The intro shot: Compositing in stock video footage to add character
      4m 51s
    4. The intro shot: Adding text elements to the composite
      8m 32s
    5. The hero shot: Controlling the look using precomps
      7m 59s
    6. The hero shot: Using stock video footage to add character
      7m 19s
    7. The end page shot: Combining multiple passes to form a final composite shot
      2m 41s
    8. The end page shot: Adding text elements to the composite
      7m 44s
    9. Compositing the transition shots
      3m 47s
    10. Assembling the final composition
      9m 2s
    11. Adding the final audio to the composition and rendering
      7m 10s
  13. 21s
    1. Goodbye
      21s

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