3D Animation - Chapter 5

8/19/2019 3D Animation - Chapter 5

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SCHOOL OF MULTIMEDIA

FACULTY OF ART & DESIGN

PREPARED BY:SARAIZA KHAIRUL IKRAM

CDM3033D ANIMATION

CHAPTER 5

THE CAMERA & LIGHTING



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TOPIC OUTLINE

5.1 Virtual Cameras.

5.2 Types of Camera Shots.

5.3 Lighting Strategies and Mood.5.4 Types of Light Sources.

5.5 Lighting the Scene.



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The world of rendering 3-Dimensional scenes and character with computer software is

populated by most of the attributes of our visual realm where shapes of object are

revealed by light and obscured by shadow where color creates moods of subtle tranquility

or explosives happiness where textures are as delicate and lyrical as fine sand .

Each group of image maing professionals has developed ways of doing things .!ost

visual artist has to deal with few basic element during the image maing or rendering

process . These element includes "

#omposition

$ighting

Defining surfaces %#olor & Texture'

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(n 3-Dimensional computer graphics all of the object used in the scene are simply called

models. )nce the model is built .they are be placed in virtual studio that exist in the

computer and arranged in a specific ways by using a combination of geometric

transformation.

*ll the light and the surface must be fine-tuned + then we will be able to mae adjustment

to the placement and focusing of the camera.

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,or over century we have used camera select and records our reality . Through the years

cinematographers have developed a variety camera techniques to prioritie the elements

in the frame as they relate to the flow of the storytelling.

hen creating a virtual three-dimensional environment we use many of those cinematic

story-telling techniques.

5.1.1 INTRODUCTION ON CAMERA

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- The pyramid of vision + also called the cone vision+

-is define as the portion of the 3-dimensional environment that is seen through the

camera.

-(t is define by several parameters that are essential for controlling the position and

characteristics of the camera. This numerical information includes the point of view + the

point of interest + the line of sight+ the near and far clipping planes + the field of vision+ the

viewing angle.

5.1.2 THE PYRAMID OF VISION

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- The point of view (t is a the location in the scene where the camera is placed. The point

of interest or center of interest is the location in space where the camera is focused.

-The clipping planes are perpendicular to the line of sigh. The far clipping plane +also

called the yon plane + defines the most distant area that can be seen by the camera.

-The objects contained inside the field of vision are projected onto the images to create a/-dimensional of image of the 3-dimensional environment. This projection is quite similar

to the way in which real scene is projected by the optical lens used in a photographic

camera into film that loaded inside the camera.

5.1.2.1 POINT OF VIE! "

INTEREST

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5.1.2.2 C#IPPIN$ P#ANES

5.1.2.% FIE#D OF VISION


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- The focal length of a camera controls the way in which 3-dimensional objects are seen

by the camera. The focal length of a virtual camera is defined by the relation between the

near clipping planes and the far clipping planes

-The focal plane of a lens is the plane perpendicular to the camera that is resolved into

sharp image. Depth )f fields and focus are used to direct the viewers attention to the

relevant areas of the framed image.

5.1.2.& FOCA# #EN$TH

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5.1.2.2 DEPTH OF FIE#D AND FOCUS


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#I$HTIN$ STRATE$IES " MOOD

There are as many philosophies of lighting as there are disciplines that require lighting.

This would include performing arts + dramatic theater+ musical theater dance +opera which

may tae place both indoors and outdoors.

Effective lighting design starts with visualiation of the effect of lights in a specificenvironment. ,ortunely+3-Dimensional rendering programs are capable of actually

simulating for us specific lighting arrangements.

*n easy way to visualie lighting consist of starting with a dar space+ turning the

spotlights first+ you can focus on their lighting effects because much scene will still be

quite dar.

These techniques include the use of parameter curves and motion paths. * wide variety

of lighting effects the mood of a scene can also created by animating the intensity of light

source as well as its color + cone angle and fall-off.

VISUA#I'IN$ #I$HT

5"3 Li1i1 S%(e1ie/ (d Mood"

ANIMATIN$ #I$HT


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Dis(n #ighs

Distant lights have sharp-edged shadows and the light has no set radius+ so

it essentially lights everything that lies in its path equally.

The position of the light is irrelevant+ so you can place it anywhere in your

scene. (t is only the direction of the light that matters. The advantages that distant lights offer is that they do a relatively decent

simulation of sunlight and they render quicly.




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S)olighs

The second type of light that we have is the highly versatile spotlight.

These lights are extremely useful as they can be used to create a number of

effects+ and they can imitate other lights such as area lights and point lights

and even distant lights with a few tweas of their settings. )ne of the most useful things about spotlights is that they can produce both

sharp-edged shadows as well as soft+ fuy shadow maps.




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Poin #ighs

0oint lights+ often also called omni lights+ cast light in all directions %omni

directionally' from a single+ non dimensional point in 3D space.

The most common use of point lights is simply for creating some ambient

illumination in your scene+ usually with the shadows switched off.




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A*e( #ighs

*rea lights loo great and they create very cool-looing shadows. *s they

are more physically accurate than any of the other light types in $ightave+

they are capable of producing very realistic lighting.

)ne of the best things about area lights is that their sie is adjustable+ which

maes them extremely useful for any type of lighting source that needs

physical dimension.




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#ine(* #ighs

$astly+ we have linear lights+ which are similar to area lights in the sense that

they appear to have dimension.

hile an area light is essentially lie a two-dimensional rectangular array of

ray-traced point lights+ a linear light is lie an adjustable one-dimensional

row of point lights. $inear lights are useful for things such as fluorescent lighting tubes




Slide 20 of !

5"* Li1i1 Te See

)ne of the most neutral and efficient lighting setups for this process is a studio

style setup+ such as would be used in any photographic studio. This type of

lighting rig is often called 1three-point lighting+2 as it usually consists of three

lights+ or three areas of illumination"

ey light. ,ill light. 4ac $ight



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5"* Li1i1 Te See



Slide 22 of !

The +e, #igh

The ey light is the primary source of illumination. (t can consist of a single light

or a number of lights+ depending on your scene.

This light is usually placed above your subject %although it can actually be

placed anywhere5there is no hard and fast rule about its placement in ascene'+ and generally provides illumination for approximately three-quarters of

your subject.

This light is typically the brightest point of illumination in the scene.

5"* Li1i1 Te See



Slide 23 of !

The Fill #igh

The purpose of the fill light is to provide illumination in the shadow areas not

illuminated by the ey light+ so that there are no areas that are totally blac.

6enerally the fill lighting is of a fairly low intensity.

5"* Li1i1 Te See



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The -(/ligh

*lso called a rim light+ a icer light+ the highlight+ and a variety of other names+

the baclight is simply there to create highlights on a surface so that the object

stands out from its bacground.

This light often casts no shadows.

5"* Li1i1 Te See



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REFERENCES

Dan *blan+ (nside $ightwave 7+ 8ew 9iders+ /::7

*rnold 6allardo+ 3D $ighting+ #harles 9iver !edia (nc+ /::;.

(saac <ictor erlow+ The *rt of 3-D #omputer *nimation and (maging+/::7



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C#IC+ HERE FOR YOUR #A- ACTIVITY.

$OOD #UC+

AND

TRY YOUR -EST

LA4 ACTI$IT



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ACTI$ITIES

#I$HT!AVE PART 5



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NE6T SESSION PRE$IE7

(n the next class we are going to learn



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LIST OF REFERENCES

=. Dan *blan+ (nside $ightwave 7+ 8ew 9iders+ /::7

/. *rnold 6allardo+ 3D $ighting+ #harles 9iver !edia (nc+ /::;.

3. (saac <ictor erlow+ The *rt of 3-D #omputer *nimation and

(maging



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APPENDI6

End of slide show, li! "o e#i"$



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3D Animation - Chapter 5

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