This enabled the casting of colourful shadows on the virtual Kelir. In order to simulate the virtual colourful shadows or control the translucency of the virtual puppets, all of the virtual puppets and the virtual Kelir had to accept the light transmission from the virtual light. Edges of shadows were softened by adjusting the diffusion amount of the shadows. This section comprised the results and discussions of (i) the simulation of virtual shadows, (ii) movement simulations of the virtual light source, (iii) movement simulaton of virtual puppets, (iv) movement simulations of eyebrow, mouth and string, (v) the advantages of using CGI to capture the visual styles of Wayang Kulit Kelantan In order to simulate the virtual shadows, a virtual light source was made and activated to cast shadows and all of the virtual puppets were made to be able to accept shadows and lights.
In order to view the virtual Wayang Kulit Kelantan from the audi- ence’s view, a virtual camera was created on the other side of the virtual Kelir. A virtual Spot Light was created behind the virtual puppets acting as the main light source. All of the virtual puppets were laid behind the virtual Kelir which was tilted forward (77 degree based on the setting in ASWARA) imitating the actual Kelir in the Wayang Kulit Kelantan performances (Figure 7).
A 3D solid layer was created to act as the virtual Kelir in order to receive shadows. All of the virtual puppets were laid tilted slightly on the virtual Kelir.