Dark Shadows is a 2012 dark fantasy film based on the gothic television soap opera of the same name. Directed by Tim Burton, the film stars Johnny Depp, Michelle Pfeiffer, Helena Bonham Carter, Eva Green, Jackie Earle Haley, Jonny Lee Miller, Chloë Grace Moretz, and Bella Heathcote in a dual role. Christopher Lee has a small role in the film, his 200th film appearance and his fifth and final appearance in a Burton film. Jonathan Frid, star of the original Dark Shadows series, makes a cameo, which was his final screen appearance, as he died shortly before the release of the film. One of the film's producers, Richard D. Zanuck, died two months after its release.
Barnabas becomes obsessed with dark magic to prove his parents were murdered. Under Angelique's spell, his fiancée Josette jumps to her death from a cliff called "Widow's Hill". He throws himself after her, but survives, further cursed by Angelique to eternal suffering as a vampire. Angelique turns the town against Barnabas and gets him buried alive.
Richard Corliss of Time pointed out that "[Burton]'s affection is evident, and his homage sometimes acute," and reasoned: "All right, so Burton has made less a revival of the old show than a hit-or-miss parody pageant," but praised the star power of the film, relenting that "attention must be paid to movie allure, in a star like Depp and his current harem. Angelique may be the only demonic among the women here, but they're all bewitching." Peter Bradshaw, in the British newspaper The Guardian, weighed the film in a mixed write-up, giving it three stars out of five, and pointing out his feeling that "the Gothy, jokey 'darkness' of Burton's style is now beginning to look very familiar; he has built his brand to perfection in the film marketplace, and it is smarter and more distinctive than a lot of what is on offer at the multiplex, but there are no surprises. There are shadows, but they conceal nothing."
For some reason the shadows on the back of my game objects are too dark. I have only one directional light. I changed the Intensity setting and the shadow across the ground got lighter, but the faces of the cube (see below) that aren't in the light are still way too dark.
If you really wanna see what it would look like if shadows would have opacity level you can hack it. Add identical directional light without shadow casting properties and set intensity until you get the shadow strength you want.
All options are right there - balance of ambient and direct light + exposure control/eye adaptation/tone-mapping (they are all similar concepts) as post-process. If you materials have to high values of metallic or low roughness, they will look dark - they are suppose to.
If its static/stationary lighting, you can use white environment color in Lightmass settings and do an Environment Intensity of like 5-10 to get pretty decent ambient light emitted from the sky around your scene, which for outdoor environments works really well for lightening shadows. Of course they will still get really dark in nooks and crannies, because its not a single slider that just makes them all 1 tone, it instead is projecting light from the sky from all directions and that tends to lighten the shadows. If not that a skylight also helps, and works well for dynamic lighting situations. Im sure theres other solutions as well that Im not aware of.
Have you tried to go into your directional light and alter the shadows there? See my screenshot. Click the gear with the plus icon and you can alter tint. Please let me know if this helps you. I know it's a bit hidden but this could be the fix! Let me know of your settings in Volume if it doesn't work.
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Reducing Shadow strength to 80% simply reduces light intensity by 80% where the shadows are supposed to be. Simple, however when you have indoor levels it might give poor results inside the buildings.
Users can create, shape and manipulate darkness and shadows. Darkness is mostly used to cloud everything into total darkness, but can also be channeled to a variety of effects, both as an absence of light and a solid substance: one can also control and manipulate the beings that exist there, create and dispel shields and areas of total darkness, create constructs and weapons, teleport one's self through massive distances via shadows, etc.
Now, with NASA going back to the moon in search of new tales and treasures, we revisit some of the old ones, with a series of Science@NASA stories called "Apollo Chronicles." This one, the first, explores the simple matter of shadows.
To visualize the experience of Apollo astronauts, imagine the sky turning completely and utterly black while the sun continues to glare. Your silhouette darkens, telling you "you're not on Earth anymore."
Shadows were one of the first things Apollo 11 astronaut Neil Armstrong mentioned when he stepped onto the surface of the moon. "It's quite dark here in the shadow [of the lunar module] and a little hard for me to see that I have good footing," he radioed to Earth.
The Eagle had touched down on the Sea of Tranquility with its external equipment locker, a stowage compartment called "MESA," in the shadow of the spacecraft. Although the sun was blazing down around them, Armstrong and Buzz Aldrin had to work in the dark to deploy their TV camera and various geology tools.
"It is very easy to see in the shadows after you adapt for a while," noted Armstrong. But, added Aldrin, "continually moving back and forth from sunlight to shadow should be avoided because it's going to cost you some time in perception ability."
Truly, moon shadows aren't absolutely black. Sunlight reflected from the moon's gently rounded terrain provides some feeble illumination, as does the Earth itself, which is a secondary source of light in lunar skies. Given plenty of time to adapt, an astronaut could see almost anywhere.
What happened? When Conrad and Bean landed, the sun was low in the sky. The top of Surveyor 3 was sunlit, while the bottom was in deep darkness. "I was fooled," says Bean, "because, on Earth, if something is sunny on one side and very dark on the other, it has to be on a tremendous slope." In the end, they walked down a gentle 10 degree incline to Surveyor 3--no ropes required.
A final twist: When astronauts looked at the shadows of their own heads, they saw a strange glow. Buzz Aldrin was the first to report "...[there's] a halo around the shadow of my helmet." Armstrong had one, too.
This is the "opposition effect." Atmospheric optics expert Les Cowley explains: "Grains of moondust stick together to make fluffy tower-like structures, called 'fairy castles,' which cast deep shadows." Some researchers believe that the lunar surface is studded with these microscopic towers. "Directly opposite the sun," he continues,"each dust tower hides its own shadow and so that area looks brighter by contrast with the surroundings."
The author would like to thank: photographer Michael Light for allowing his prints of Apollo photos to be reproduced in this story. Displayed full size in his book "Full Moon," Light's prints are breath-taking. Eric Jones who penned the Apollo Lunar Surface Journal. The Journal is a must-read for historians of the Apollo program, and it is the source of the astronaut recollections reported here. Les Cowley for sharing his insights about lunar shadows, and for several unattributed contributions to the narrative. Les's web site Atmospheric Optics is a wonderful source of information about all things light and shadowy.
Indeed, when Bean went out to the collector to take pictures, he discovered that the foil looked absolutely normal. "I guess it was sort of an optical illusion from inside the spacecraft," he reported. "The thing that fools you," he explained later, "is the relative lightness and darkness of shadows on the object. [We] looked at the solar wind, and we think 'Man, that thing is really bent around the pole.' But we go out there and see that it's not."
However I am having a few issues. The main problem is shadows. I've tried tweaking exposure, sun brightness, ambient lighting etc, but its hard to get shadows thats not just black spots. Do anyone have any suggestions?
I think it might be a problem that I've used too dark tint on my materials. I got it a bit better when reducing the tint level.One other problem that frequently arise when playing around with this, is that exposure and some other settings in Enscape causes revit to hang for a period of several seconds. Some times it is quick to respond, some others it is a pain to move sliders within enscape settings. I havent really been able to pinpoint the cause. 781b155fdc