- Feb 20, 2019
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.
- Feb 20, 2019
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.
- Feb 20, 2019
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 balance that adds enough contrast to the scene without making it seem like it is lit too brightly, as the main lightsource is the moon.
Responsible for: Lighting and Set Texturing
