After Effects CS6 Essentials 3D New Material options
Primary Language: English
Take a look at the new 3D Material properties and get an understanding of how they work to make your scenes look their best by creating realistic sharp or diffuse reflections. Learn to adjust the ref (More)
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00:00:08 00:00:10 Hey there folks, Brian Maffitt here with Total Training.
00:00:11 00:00:15 To make your 3D scenes look their best, you'll need to understand what's
00:00:15 00:00:19 happening with the various new 3D material properties, so let's take a look
00:00:19 00:00:23 at a scene I just created for Total Training Online. Here we
00:00:23 00:00:29 see a curved wall of Adobe CS6 icons sitting atop a stage, which
00:00:29 00:00:32 is a simple vector shape that I have extruded and rotated 90
00:00:32 00:00:36 degrees. And there is a backdrop which is just a simple plane
00:00:37 00:00:40 with a gradient applied to it to simulate a column of light.
00:00:40 00:00:45 And I want to see our boxes and backdrop reflected in the stage
00:00:45 00:00:47 but in a semi-realistic way.
00:00:48 00:00:51 If we just crank up the reflection intensity, we'll get a mirrored
00:00:51 00:00:55 effect, but that's not what a stage floor looks like. Even set
00:00:55 00:00:59 to 50%, it creates a better lit result, but the reflections are
00:00:59 00:01:04 obviously fake. A stage floor can be shiny but unless it's super
00:01:04 00:01:09 highly polished or wet, its shininess will be more diffused.
00:01:09 00:01:13 We can control that with the Reflection Sharpness Value. The
00:01:13 00:01:17 smaller the value, the blurrier the reflection. In our case,
00:01:17 00:01:20 a value of about 80 looks right to me.
00:01:21 00:01:26 And in the real world, reflections aren't absolute. They vary
00:01:26 00:01:30 based on the amount of light and distance and even the density
00:01:30 00:01:31 of the atmosphere.
00:01:31 00:01:34 We can't control all of those things, but we can simulate some
00:01:34 00:01:39 of it with the Reflection Rolloff control. As I crank it up,
00:01:39 00:01:42 you see that the bright reflections at the back of the stage
00:01:42 00:01:45 stay prominent, but the darker reflections at the sides of the
00:01:45 00:01:50 stage become more subtle, giving us a more pleasant result.
00:01:50 00:01:54 As for these last properties related to transparency,
00:01:55 00:01:59 let me turn on our monolith layer to reveal a large metallic
00:01:59 00:02:03 blob in the middle of the stage with some reflections already
00:02:03 00:02:04 turned on.
00:02:05 00:02:08 But I don't want this to be a big bronze lozenge. I want it to
00:02:08 00:02:10 be a big tank of water.
00:02:11 00:02:14 So I'll want to adjust our transparency setting to about 50%,
00:02:15 00:02:19 revealing that we can see through the monolith now but there
00:02:19 00:02:22 is no distortion like you would get with a transparent solid
00:02:22 00:02:26 like a tank of water. For that, we need to adjust the index of
00:02:26 00:02:32 refraction. This ranges from a value of 1, which gives no distortion,
00:02:32 00:02:36 up to 5, which gives us basically the same refraction you would
00:02:36 00:02:41 get from solid glass or water. The more we crank this up, the
00:02:41 00:02:45 more distortion we see. And the transparency rolloff adjustment
00:02:45 00:02:49 is subtle, but it lets you diminish the refraction when the angle
00:02:49 00:02:52 of the object gets too steep, as we see around the edges of our
00:02:52 00:02:57 cylinder. Obviously, this is an artistic process and you'll tweak
00:02:57 00:03:00 these settings as you fine tune the look of your scene. But with
00:03:00 00:03:04 only a little time and a few tweaks, we are on our way towards
00:03:04 00:03:06 a satisfying-looking final composition.
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