• Elizabeth Delos Reyes

Week 3 | Lighting Sequence 2

Updated: Apr 20, 2020

This week I am planning on fixing the lighting in this scene now that there's new textures. Shoutout to Keirsten and Kush for setting the scene up and refining the look development.

Remote Linux Log-Ins

Thankfully I was granted the Linux remote log ins and our project seems to finally be working and rendering. This is great because now I can see what I'm lighting. There definitely is a difference in work efficiency now that I have Linux to work on. So, thank you! I have found it a little hard sometimes when logging in because the network will disconnect every few minutes during my test renders so I can't capture as much as I would like in the time that I spend doing this. Nevertheless, I will do what I can.

Environment Lighting

Some of the notes that I was given from last week as I was waiting to start working on this scene was making the shadows darker and harder. I think they wanted more contrast in the scene and I did notice that the shadows were getting lost in the scene as well. Here is a test render of the outside of the Foundary with the lighting before I started retrieving the shadows.

Week 3.5 Update (04/14/20)

I got around to having Linux remote log in working for me without the network disconnecting every 10 minutes (yay) and I've been working on tweaking the lighting for the exterior foundry scene.

Just as a refresher, these were the color palettes and the lighting references I was given when lighting this scene. They wanted this high contrast, night time look and for it to exude these red, blue, and purple colors. Another reference I was given was to keep the light at the door suspiciously inviting and warm, but not "comforting".

One of the notes that I got was to reduce the fill light so that the shadows are more prominent. Therefore, I lowered the skydome light that I had and made sure to check the cast shadows on each of the lights because I had some of them turned off when I was having that previous issue with the reflections on the car and the foundry beams.

Below is the result from doing so. There's now a more contrast-y and mysterious feel towards the scene and the colors are not washed out like before.

I threw it on the farm to see how the render nodes were holding up with the newest lights and here are the results with the character and the car matted out of the shot. Additionally, I added gain in Nuke to the render to make it lighter because originally it was a little too much on the dark side of the histogram.

Shot 7 Tests

For Sequence 2 Shot 7, I rendered some tests of each layer of that shot so that I can pass it along to Elyssa and she can get an idea of the lighting in the environment and any matte painting things that she needs for that shot. (Disclaimer, this is the old car and we are still waiting on the new car to be handed off to us for this scene.)

Here are those test...

Week 3.75 Update

After today's meeting, there were many things that I could keep moving forward with for my scene. For one, implementing Andrew Halloran's new car with new textures into the scene is a big milestone! Thankfully, he made it possible for the car and its textures to be imported very easily into my working scene. I just had to adjust the positioning of the car to fit into the scene, but everything was working out. I still need to double check with the leads to make sure that car is indeed in correct position, since the car came in at a different scale and position in Houdini.

Below is a screenshot of the new car in the scene and the subnetwork that Andrew set up for all of us to import into our scenes.

I adjusted the ROP nodes relative to the newest car model and locally render tested and this was the result. Transferring the car seemed to be working great!