This chapter will cover the fundamentals of master lighting and how to transform multiple shots from concept designs to final images.
Rarely are shots lit in isolation. Shots are often part of a larger project and must be treated as just one small piece of a much larger puzzle. Certain factors must be taken into consideration when lighting a shot that is destined to be a part of a film, television show, commercial, or animated short. What is the purpose of the shot? Is the key coming from the same direction in every shot? Does the character’s color match from shot to shot? Regardless of whether this is being applied to a thirty-second commercial or a ninety-minute feature, master lighting is a fundamental process that can benefit any project.
Organizing Sequences
Every studio and pipeline functions differently but there are some core workflows many studios use when handling these types of projects. The first step is to package shots together into sequences. These sequences consist of a series of sequential shots normally unified by time of day and/or location. For a commercial project or animated short there may be just one or two sequences. Entire films are made up of many sequences that tell small narratives and make up the overall story arc.
Story Boards
A common method for starting a sequence is to create traditional storyboards. Storyboards are illustrations or drawings designed to represent the shots that will make up a project. In many ways they are like a comic book as they give a panel-by-panel account of the action. Storyboards are used as a pre-visualization to help envision the story and how it will unfold on screen.
Figure 10.1 Sequence storyboard.
Contact Sheets
Artists take the storyboards and roughly translate that initial vision into the computer. The storyboard frames are replaced with a contact sheet showing a visual representation of a single frame from each shot. This contact sheet is important because it gives artists a visual look at how all the shots in the sequence fit together. A contact sheet is particularly beneficial where there are multiple artists on a single project. As the shots are lit, artists update the contact sheet with lit frames so everyone is aware of any changes and can adjust their own shots accordingly. This allows them the ability to work together to ensure the sequence maintains a consistent look and visually ties together.
Figure 10.2 Contact sheet.
Look Development and Master Lighting
Not all lighters are given the opportunity to complete master lighting. This is normally given to the most experienced artists and those who are trusted with the responsibility for making aesthetic decisions for the good of the project. Studios will often create Master Lighter or Lighting Lead job titles to distinguish those who complete this task.
The main artistic goal of master lighting is to define the look of the sequence through the process of look development. This is the time when the lighting artist can experiment with different methods to help determine the best approach possible to lighting the sequence with aesthetic beauty and render efficiency. Sometimes there are color keys given to the artist that can provide a general idea of what the director has in mind for the look and colors. Other times there are character style sheets that show all the reference images associated with a particular character or prop piece. If either of these is present, the lighter strives to match that initial design and deliver the director his or her vision.
Even the largest animated features, color keys and style sheets are certainly not a given on any project. There are instances in which there is no time to create a visual color key due to a short production schedule or last-minute changes. In these situations, the lighting artist must translate what he or she is verbally told about the sequence into visual elements. The direction will be something along the lines of “Make it look like morning, but kind of an eerie, mysterious morning.” Or, “I really liked the look of this one particular painting. Try and give this sequence the same feeling.” It is then the master lighter’s responsibility to meet the supervisor’s expectations.
Figure 10.3 Character style sheets.
During look development, there are a multitude of questions that need to be answered about the sequence lighting including large questions like:
• What time of day is it?
• Where is the sun positioned?
• Which man-made lights are on and what is the quality of light they produce? Are they flickering or static?
• How much do the surrounding lights contribute to the character’s fill value?
There are also smaller, more detailed looks that need to be established during the course of master lighting.
• Are the leaves on the trees more of a cool green or a yellow, warmer green?
• How saturated is the sky color?
• How bright are the scleras of the eyes?
• At what speed does the candlelight flicker?
• How much caustic bounce reflects off the water onto the environment?
• How saturated and how dense is the aerial perspective?
If a color key is provided, many of these questions can be answered by referencing a color key before going into your computer to light.
Figure 10.4 These color keys were created by rendering the 3D file with an ambient light and digitally painting over the frame with the desired color and luminance. This is an excellent timesaving method for creating a color key.
From analyzing these color keys, one can come to the following conclusions even before opening the scene to light:
• This is either a night scene or taking place in a room without access to outdoor lighting.
• The main light sources include a cool light coming from a TV and the hallway light which is warmer in tone.
• The position of the TV can be determined by looking at the position of the shadow it casts from the character onto the environment..
• The TV will be flickering so that must be taken into account when creating the lighting rig.
• Since the grandfather begins these shots very upset and ends very happy, the color of his filament will change from cool to warm to reflect this emotion. This ability to transform must also be accounted for in the light rig.
Picking Master Shots
Individual master shots from each sequence are selected in order to begin the master lighting process. Master shots are a handful of shots that can be used to represent the overall look of the entire sequence. Each main character and all major environmental elements that exist in the sequence should appear in at least one master shot. This will allow a master look to be determined for those elements and all subsequent shots will match that design.
There is no set number of master shots that must exist for a certain sequence. Simple sequences can have as few as one or two, while complex sequences can have many more. The key is to be efficient with the selections to ensure that the look for the sequence can be determined with as few shots as possible.
Looking at the sequence on the next page, the master lighter chose the following master shots. These master shots were chosen to group similar camera angles and actions together. In this case, the master shots were chosen in this way:
• Shots 212_001 and 212_003 are similar camera angles and contain the same character.
• Shots 212_002, 212_004, 212_005 focus on the same areas of the sequence with the same lighting mood.
• Shots 212_008, 212_007, and 212_006 have the same camera as 212_002 and 212_004 but the lighting mood is different. As can be seen from the color key in the above section (Figure 10.5), it is in the later part of the sequence where Grandpa’s mood transforms so it is acceptable to group these shots with their own master.
Figure 10.5 Master shots are chosen and bundled with shots containing similar objects, camera angles, and actions.
The other element that must be taken into consideration during the master lighting process is organization and structure. The master lighting rig will be propagated to many shots and should contain good naming conventions and a predictable, structural order. The lights should be properly named and set up with the intention of being imported into other shots and easily understood by all artists.
Figure 10.6 A diagram of the master lighting rig including the position of each light and its color.
Figure 10.7 Renders of each individual light isolated showing its contribution to the final look.
Naming Conventions
In the previous section, it was mentioned that the lights should be properly named. This means creating a naming convention and sticking to it throughout the project. The key to a good naming convention is one that is consistent and predictable. The specifics of the names do not matter as much as that all artists involved know exactly what to expect and that it remains the same from shot to shot and sequence to sequence. Crucial time would be wasted if each artist needed to learn a whole new system every time a shot was lit. Creating and implementing a proper naming structure may take an extra few minutes during setup, but the time savings in the long run could be monumental.
There is no universal, standard system for naming lights but there are some descriptive terms that should be in most light rig naming conventions. These include the type of light (key, fill, rim, etc.), the position of the light (screen-right, from_above, etc.), and whether the light is linked to any specific character or geometry plus any other descriptive value. The descriptors should be written in the same order since that could make it easier to write a script later to manipulate all the lights named “key” or all the lights associated with a specific character.
Make it Clean
When designing the light rig, it is of the utmost importance to try and keep it as clean and as simple as possible. Remember, whether an artist is working alone or with others, any sloppy or inefficient setups in the master rig will make for a messy workflow. There are a few pitfalls with creating master lighting that should be avoided.
The first is to eliminate anything within the rig that is inefficient and can unnecessarily increase render times. Any lights that are casting soft shadows that are not necessary will drastically increase render times and should be modified. Lights that have decay turned on when it is not causing a visual impact should be modified. Do what is needed to ensure that each render calculation is necessary for the final look of the render.
This can mean going through the geometry and materials as well. Is there a bunch of objects off camera that do not cast shadows onto the scene and that can be removed from the 3D file? Is there a bookcase in the far background where each book has a 4K texture map? Could those files be reduced with no visual consequence? Although these are not necessarily part of the light rig, these types of changes will make the lighting artist’s life much better come render time.
The second pitfall is avoiding any animated values or other shot-specific tweaks in the master lights. Obviously each rig will need to be adjusted for the given shot, but things like animating the intensity or position of the light should be avoided in the master rig as they can easily get copied over and cause problems in all other shots. If those types of tweaks are necessary, make sure to create a separate file with all those adjustments removed as the starting point for the other shots.
The third pitfall is not properly documenting and explaining the light rig so that all involved can be on the same page. The artists should know the inspiration behind the look and some of the visual cues of the particular sequence. It is great if the master light rig has all these specialty lights that make the master shot look wonderful, but if that information is not properly communicated to the rest of the team that beauty will be lost in subsequent shots. Verbally communicating this is great, but written documentation is even better. By creating a written record of the information, the artists can use that as a reference point when working on their own shots.
Keep Layers to a Minimum
Just as it is a goal to keep the master lighting rig as simple as possible, it is also wise to always strive for a simple solution in regard to render layers. For a sequence with several artists, adding unnecessary render layers can over-complicate the pipeline and lead to slower and less consistent results. The more variables that exist in the master rig, the more are the chances of the shots being inconsistent with one another.
Specific render layers such as specular passes or reflection passes are often broken out due to necessity, speed, and control for a particular shot. It is important to note that those layers should not be created as the default every time. Simpler rigs, fewer render layers, faster render times, and overall organization and communication equal happier shot lighters!
Figure 10.8 Render layers used.
Figure 10.9 A breakdown of the layers used to create the filament glow effect.
Comp
Good compositing skills go hand in hand with good lighting. When master lighting, the artist should isolate what elements can be more easily done in the comp, rather than in lighting. In this instance, the lighter chose to create the “glow” effect from the light bulb in postproduction. This is because it gives the artists greater control when the light needs to animate not only in intensity but also in color.
Master Lighting APPROVED! Making Shots Match
Once all of these questions have been answered and the final look of the master shots has been established, it is time to coordinate the remainder of the sequence. As the first phase of this process is termed “master lighting,” the second phase is termed “shot lighting.” The main goal of shot lighting is for each shot to be aesthetically sound while matching the approved look determined by the master shots so the entire sequence flows smoothly.
Shot lighting begins by taking the master light rig and placing it in all the remaining shots in the sequence. Often an initial render is done and the first step is for the artist to analyze how well the shot is matching the master. Is the key light coming from the proper angle given the direction the character is looking on the set? Do the characters have the same skin tone or spec level? What about the background: do the color and hue of the leaves match from one shot to the next? If anything is out of line, it is the lighter’s responsibility to match everything up. The master light rig will almost always need to be adjusted to alleviate shot-specific problems and to ensure that everything is matching up.
Figure 10.10 Approved master lighting shots.
Figure 10.11 By viewing two frames from different shots side by side the artist can more easily match colors and values.
Viewing Tricks for Analyzing Differences in Shots
There are tricks to helping an artist compare frames to ensure shots are matching. The artist is specifically looking for elements like color quality (hue/saturation), light intensity, contrast levels, black points and white points (the value of the lightest and darkest pixels in the frame). Generally speaking, an artist can better judge the values of a shot when visually comparing between frames instead of working from memory.
One method is to quickly switch back and forth between a single frame of two shots to compare values. The artist can stare at the values and do this rapid comparison multiple times to make any variations stand out. Many image editors and compositing software packages give the user the ability to compare frames this way.
Another method involves aligning similar objects from different shots side by side so their differences will become apparent. Most compositing packages have a viewing option that will allow the artist to do it through the viewer, but it can easily be set up with a merge function as well.
Shot Continuity
Shot continuity must be analyzed when going through a sequence. This process ensures that the lighting flows along seamlessly from shot to shot. If a character runs into the shadows in one shot, they should also be starting in shadow in the next shot. It must remain one continuous visual timeline in order for the audience to maintain believability. It is only by repeatedly looping the shots and checking the updated contact sheet that the artist can get the full grasp of the final product.
A question often asked by those entering the industry is how much influence a lighter has over the final look of the shot. While it is true that a lighter does have control over individual shots, there will never be a greater time than master lighting to influence aesthetics. This is the time when the big decisions are made and the artist has the ability to put his or her stamp on the project.
Figure 10.12 Final stills from multiple shots in this sequence.
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Q. What is your current job/role at your company?
A. I am a Lead Lighting Artist at Blue Sky Studios. My responsibilities in this role can be categorized in two main parts. On one hand, at the start of lighting my job is to collaborate with the lighting supervisor, art director and director to define the general look and feel of the sequence through the process of master lighting. On the other side, once we get the buyoff from the director on the master shots, I switch gears into a more supporting role and guide a team of lighting artists through the process of shot lighting of that sequence, advising them on any problems that they might encounter as they take their shots from initial breakouts through approval. There are also some overarching administrative and technical aspects to my role, such as making shot assignment packets, troubleshooting issues, and reporting inventory problems to other departments, and generally way too much email correspondence, but I don’t usually like to mention those, since they are not as fun.
Q. What inspired you to become an artist on CG films?
A. I’ve always been fascinated by movies. Ever since I was a child, I was inspired by stories that moved me. I think this is something that we all share and that is unique to us as a species. Since the cavemen days, we have been exploring new and more exciting ways to tell our stories. The invention of moving pictures is a natural extension of this urge. We can create entire worlds of limitless complexity, and with CG those worlds can take realistic shape that we could only dream of previously. Animation as a form of storytelling is even less constricted by the laws of physics and the rules of our own reality. We can purposely break those rules to create a visually pleasing image. For that reason, animation holds a special place in my heart.
Q. What non-CG artwork inspires you?
A. I’m passionate about traditional fine arts as well as photography, and especially the subject of light. When I’m not lighting animated movies, I am trying to capture the light through other means, such as using a paintbrush or a camera lens.
I love French Impressionism and the American Hudson Valley school of painting. There is something primal that speaks to me when I see an awe-inspiring landscape painted in vivid colors that managed to masterfully capture the light.
Q. When first starting your master light rig, what is your approach? Do you light right away? Do you look at reference? Do you do paintovers?
A. This tends to vary by sequence and project. For more familiar lighting scenarios that I have done many times in the past, I would probably dive right in and start pushing lights around.
For more complex lighting scenarios that maybe I have not done extensively before, I would most certainly look at reference. Google Images search is an amazing resource for just about anything.
I would start with any artwork that is provided by the design department in the form of paintings and color keys, gather supporting photographic reference, and start wrapping my mind around it all. For me, lighting is a like playing in a sandbox.
I may have an idea where I’m going when I start, but being a very visual person I have to see it to know if it’s working or not. It’s a process of making adjustments and refinements through which the image kinda takes a life of its own. It tells me where it wants to go, and I’m just there to give it a push.
Q. How does your approach change between master lighting a shot versus lighting an individual shot?
A. The basic approach is similar, although when lighting a master shot I am very conscious of the fact that someone else will need to work with my lighting rig and use it as a starting point, and therefore I try to keep the setup as clean and organized as possible. When I’m just doing a one-off shot by myself that no one else needs to touch, things tend to be somewhat looser, and probably not quite as tidy. I’m definitely not the type that keeps stuff on their desk aligned at perfect 90 degree angles.
Q. What do you think is lighting’s largest contribution to an animated film?
A. Hah! Ask a lighting person a question like that, and of course you will get the following answer. Lighting is a crucial part of filmmaking. Our lights guide the eye of a viewer and bring order to chaos. They set the mood and enhance the emotional beats of the story. Without lighting, you have nothing. OK, well … you may have “something,” but it will not be as interesting!
Q. Where do you think the future of lighting is headed?
A. We are heading pretty fast towards real time technology, and it’s a very exciting time to be a lighter. A day will come soon when “rendering” as we know it today will be a concept that will pass into history books, much like VCR tapes and phones with rotary dials. We will have full-blown global illumination with all the bells and whistles, and adjustments will be instantaneous. It would be a mistake, though, to think that this change will spell the end of lighting artist as a profession, just because software and hardware will be sophisticated enough to automatically do the grunt work that we do now. The “Make Pretty” button does not exist now, nor will it ever, because beauty is a highly subjective concept that cannot be replicated by a machine.
Computers are still just a tool, and there will still be a need for an artistic eye to shape the look and feel of sets through lighting, to make the characters look appealing and to balance all of the elements together.
Q. If you could tell yourself one piece of advice when you were first starting out in this industry, what would it be?
A. Work hard, and don’t let your spirits get dampened by the naysayers. There will be plenty of people who will tell you that it will be hard or even impossible to get a job when you are first starting out. The industry is small and competitive, but if you really want to be part of it, you can make it happen. There will be ups and downs, and your journey may take you where you never thought it would, but understand that you can have a fulfilling career even if you are not working for one of the “big” studios. As long as you are happy doing what you love, that’s all that matters.
Q. In your opinion, what makes a good lighting artist?
A. Understanding how to use the light and shadow to manipulate value, create contrast, and to use that contrast to your advantage. Understanding how colors relate to one another, and how to make them play with or against each other. Color theory is important, and a lighting artist that uses it well will be able to create a more successful image.
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Q. What is your current job/role at your company?
A. I’m currently a Lighter at Walt Disney Animation Studios and previously a Lead Lighter at DreamWorks Animation.
Q. What inspired you to become an artist on CG films?
A. I’ve always been attracted to the freedom that comes with making something from scratch. Cartoons and animated films allow for visual and narrative ideas to flow uninhibited by the laws of nature, and in that way are kind of a direct connection to the imagination. Computer graphics gives us a huge array of tools to play with these ideas at a high level. Of course, seeing this stuff in action had the biggest impact on me as a kid. Films like Who Framed Roger Rabbit?, Jurassic Park, and The Nightmare Before Christmas gave me an itch that I didn’t know how to scratch until I started pursuing computer graphics.
Q. What non-CG artwork inspires you?
A. There’s just so much out there. I like art that helps us see things in larger or totally unique contexts that we would otherwise be oblivious to. Edward Burtynsky and Ernst Haeckel come to mind, as well as what David Wilson has done in the Museum of Jurassic Technology. Some of the art stemming from the sciences is really amazing as well. I’m a huge fan of Michael Hansmeyer and Henry Segerman. Nature is the ultimate inspiration.
Q. When first starting your master light rig, what is your approach? Do you light right away? Do you look at reference? Do you do paintovers?
A. My approach to lighting anything is “broad strokes,” so finding the things that are contributing the most to the look is the first order of business. What is actually happening in the sequence? From there, depending on the complexity, I might start lighting right away (a sunny exterior, for example), or I’ll gather information via paintovers, photo reference, and other films. At the same time I’ll begin considering the unique challenges each sequence comes with, such as heavy effects or computationally expensive set pieces. At some point images start happening, more information is collected, and the process is underway. The manner in which the rig actually comes together is different for every sequence. I learn something new every time.
Q. How does your approach change between master lighting a shot versus lighting an individual shot?
A. The approach stays the same—broad strokes. Getting the main ideas and biggest contributing factors down first still applies to individual shots as much as it does to developing the rig, it’s just that your brush strokes will get smaller and more precise until the shot is finaled. The biggest practical difference with individual shots is the shift in focus to character lighting. The environment will usually be pretty well established by the rig, so now it’s all about getting the characters to look good.
Q. What do you think is lighting’s largest contribution to an animated film?
A. We are hardwired to understand lighting phenomena, so when we see it in an animated film it helps to draw the viewer in, adding belief and gravity to the story. The result is lighting’s biggest contribution—making it look amazing.
Q. Where do you think the future of lighting is headed?
A. Technologically, lighting has been on a path towards ever more physically accurate models, even in animated films. The current trend in adopting stochastic raytracers demands that lighters have an increasingly intimate understanding of how light behaves in the real world. Beyond that, I expect greater integration with compositing and further crossover with video games as their tools rapidly become more filmic. Virtual reality is also an interesting prospect and presents a bunch of new aesthetic challenges for the next generation of lighters.
Q. If you could tell yourself one piece of advice when you were first starting out in this industry what would it be?
A. Broad strokes!
Q. In your opinion, what makes a good lighting artist?
A. Someone who is both a great photographer and a fearless problem solver will almost certainly be an excellent lighting artist.