CG Lighting for Cinematograhpers – Night Interior Breakdown
This year I’ve worked on some really great commercials that have taken full advantage of my previs work. I’ve successfully integrated lighting into my workflow and I love lighting in CG. There was a relatively steep learning curve that I’m still riding, but I have a lot of the basics figured out.
The diagram at the top shows a quick Night Exterior scene that I created as a demo. I approached lighting this 3d scene just like I would in real life, based loosely on a spec from an upcoming job. There is a large soft source outside of the windows, about 18′ high and angled down. In the kitchen there is an warm source (2′ 4 bank kino 3200k) and the actor is being keyed with a 4×4 Area light (1k Through a 4×4 of Bleached Muslin or Full Grid).
On a real job, I would create several iterations exploring different moods/angles, based on my discussions with the director and he could pick the one he liked the best or at least we could start a discussion. After that I would make a technical diagram showing where the lights should be placed and my best guess at the unit and gels needed.
Weta’s Mattias Menz on New Trends in CG Lighting
This is a great article talking about how CG artists are thinking about CG lighting much more along the lines of how a traditional cinematographer would. Keeping the camera movement and lighting based on reality can make for a more believable and potentially engaging CG film.
My goal this year is to get my CG lighting completely on par with my real world lighting. After I read a treatment/storyboard, I immediately open Maya and start throwing together a scene, finding angles, making camera moves, and starting to light it.
I’m looking forward to sharing my last two projects which involved doing lighting previs for cars in a studio environment.
MattPosted by mwadmin | 0 comments