Learn about changing the time of day by adding Boris lights, including lens flares and sun beams.
- [Teacher] We're onto a new set of Boris effects that allows you to relight in the composite. Relighting allows you to change the apparent time of day or change the apparent lighting in which the shot was captured. Let's give it a try. We're going to import some new footage. This time I'll grab the shovel sequence that's included with chapter one. And we'll drop this down to New Composition, and there we have a heavy shovel digging up the ground. It's awfully daytime. It's very bright in terms of the sky and also there's a lot of dust in the air. But we can use these effects to make it look more like sunset.
And in fact, make it look like there's even more dust in the air. All these effects are in the Lights menu. I'm going to start with the Spotlight. This creates a spotlight beam and puts it on top of the shot. Now it doesn't look very good to start, but we can adjust that. I'm going to zoom out. And the first thing I'll do is choose a new light source origin. I'll pick this target and place it somewhere at the top right. You can see the controls, the position of the virtual light.
You can also drag the target target right here to help with the rotation. We're going to pretend the sun is up here at the edge of frame. Now it's very hard edged, so I'm going to increase the edge fall off. It makes it soft. I'll also increase the cone width to make it much more wider. Now it's a bit intense up here, so I'm going to reduce the intensity.
The goal is to make it look like the sun is up here right above the shovel arm. There we go. Now while this beam of light is coming down to the center, is brighter, the rest of the shot's a bit darker. So it makes it look more like twilight. I'll turn it off. Before, after. All right, so what else? It might be nice to throw in a lens flare. Something to show where the sun disk is, and have the light bounce through the virtual lens.
Now there is a lens flare effect that comes with the program, but we're going to use the more advanced porous one. So Effect, Lights, Lens Flare 3D. So you can see a very complex flare that has lots of parts. Now all these parts can turn on or off. There's a long list. For example, the disk's glows, rings, hoops and so on. For example, I'm not really crazy about this rainbow hoop here which is called the chroma hoop.
So I can go look for that, and it's right here and turn that off. This might be a good place to look at the effects browser. Click that button, and you can see all the presets for this flare. You can see a wide range of property settings which gives you a wide range of results. If you find one you like, select that thumbnail, and click the Apply button. Now I like the default, so I'm going to cancel this for now, but remember, the browser allows you to see the wide variety of effects you can get without particular effect.
All right, back to ours though. Next thing I'll do is move the sun disk where the light starts for this lens flare up to the top of the frame above the arm. All right, so those two effects have changed the time of day. It feels like later in the day. Makes it look like the sun is peeking into the edge of the frame. We can go one step further and that's to animate the intensity of a lens flare. Maybe this shovel arm partially is blocking the flare. Let's play this back and see what the motion is.
All right, so here we go. The arm starts fairly high up, then goes higher, stays there, and drops down. So let's say a the peak, that this is actually starting to block the sun and in fact, the intensity of the flare. Part of it's shadow's hitting the lens and blocking the sun. So I'm going to animate the whole intensity of that flare. I'll turn on the time icon, and then let's also reveal the keyframes. All right so here it's a little bit weaker, but back up, at the start it's a little bit lower, so it's a little bit stronger.
So stronger, then weaker, stays weak. I'll force another keyframe here by right mouse button clicking and Adding Keyframe. Keep going, drops down a bit, and gets a bit stronger. And then drops down a lot, and gets really strong. Okay, let's try that. All right, so now we're going to see some variation in that flare, it's not completely static.
Other things you might do is animate various properties changing. For example, the pivot point is that point around which the flare rotates. If you want you can also animate that, so it'd be a little bit of rotation. And of course, any of the other intensity settings for any of the parts. You could also go back and animate the intensity of the spotlight too, so it matches the flare or even add more than one spotlight so that you have multiple light beams going through the scene. There's a lot you can do with this. But keep in mind you can use the Boris light effects to relight your shot so it feels like a different time of day.
VFX expert Lee Lanier begins by exploring shared Boris Continuum controls, and then shows how to apply stylistic effects. He explains how to work with the PixelChooser and Boris Lights, and discusses how to color grade and warp footage. He also takes you through using the Boris Chroma Key Studio and working with Mocha Pro for motion tracking, as well as how to add particles and work with 3D text.
- Overview of Boris Continuum
- After Effects preferences
- Applying stylistic effects
- Relighting with Boris Lights
- Adjusting colors
- Changing the time of day
- Warping footage
- Keying green screen
- Motion tracking
- Adding particles
- Working with 3D text