Lighting the first two sequences. Playing with the color of the memories, which is a saturated yellow-orange reminiscent of the sun, and the present reality, which is a desaturated yet contrast-rich blue toned scene lit by the moonlight. It's challenging when these lights have to interact with each other, such as shot 100_90, where the oranges and blues blend. I have to continue working on making them blend without turning into a murky brown. For sequence 200, I'm working on
I took one shot from the film and rendered out a few sample frames to put through the rest of the production pipeline and figure out the look of the lights and colors. The shadows seemed too flat and there wasn't enough contrast, so I explored a few render passes to multiply over the initial render in Nuke.
Figured out a solution to the lighting issue. Instead of using lights in volumetric space, the ray is now a simple opacity map on a plane. I also got rid of the warm fill light and replaced it with a cooler one instead. Even though it added depth, the warmth seemed out of place, since the lights of the house are all turned off.
Setting up the lights for the first scene in which we see Saul's face. I adjusted the composition of the shelves to point at him instead of away, as that led the eye away from the focal point. The photometric light adds a nice effects to add depth and illumination, but Maya would refuse to comply with softening the light's radius, so I will look into other ways of getting a ray without the use of such a light. I experimented with warm and cool fill lights, trying to find a ba
Initial tests and final poster design for this quarter's teaser poster. Saul is looking at his own reflection for the first time in a while. In his own face he sees what he recognizes to be hope and determination to continue living.
Testing Lights and painting over renders to figure out what look we want to achieve. I explored fill and rim lights to guide the eye to the focal point. I will continue with compositing tests to help us make a decision on what style and feeling we are going for.
Updated textures, ultimately tested with the lighting.The wall was challenging to texture, because of the dark lighting. The bump map has to be somewhat stronger to work with the low light, but not too strong to make it look like concrete. After the first set of wall textures, my crew and the rest of the studio gave me feedback on making it seem more like lath and plaster. The color and texture of the table were especially challenging because if it was too white, it looked de