Style Test, composited and lit, for the look of the environment. See process shots below.
These are tests to position the main light in the scene. For the windows to illuminate most of the room and to overlap the shape of the table, they will have to either be moved closer together or remain as they are if the light is cheated and affected by a different piece of geometry. Instead of moving the windows, I tried adding a secondary spot light to cast more light on the table, but it doesn't make sense for it to do that, and it looks too busy. I then conducted a lighting test with the new textured couch. It is still too flat. I experimented with adding more, smaller lights to fake depth and environment. When I textured the walls, the lighting bounced less and therefore didn't light the scene enough. I added more area lights to fake bounce off lighting and add more light. However, the character's subsurface scattering made the environment seem to glow in this new light set up.
I've applied blocked in textures and lights to the scene. We got Saul's textures to work with the new lights. I moved the table and the spotlight to partially fall on the table and lead the eye to the main character. I played with translucent curtains to add dimension to the shadows cast by the windows.
A rendered styleframe with painted effects to explore the look we want to achieve after compositing. The main light source is coming from outside of the house to signify that there is hope even in the most dire of situations - Saul only needs to be open to seeing it.