Index

2D motion blur 176

3D imagery 228

A

A/B comparison 246

acromegaly 28

actual object reference 34

Adams, Ansel 116; zone system 121–2

additive color mixing 36, 52–3

aerial perspective 144–5

Alarm 154

aliasing (stair-stepping) 93

alpha channel 164; color corrections 170

ambient color 157

ambient lights 51

ambient occlusion 86–7, 167

ambient shadows 56

animated values 33; avoiding in the master rig 242

Ansel Adams zone system 121–2

aperture, lens 115–16

appetite 106–7

Archer, Fred 121

area lights 50–1

artifacts: lens effects 174; render 93, 95

artificial light sources 139–40

artistically positioned shadows 114

aspect ratio 69

atmospheric perspective 144–5

attribute layers 83–5

B

Bambi 145

beauty lighting 200–8

beauty render layers 82–3

Beddini, Andrew 62–4

behind-door light source 30, 31

Belasco, David 119

Ben Hur 69

Beversdorf, David Q. 26

Bierstadt, Albert 32

biological interpretation of color 106–7

bit depth 93

black background 78

black points 147

blinn shader 88

blue 52–3, 106–7

Blue Sky Studios 21, 23, 96, 179

blur 110, 116; edge blur 171–2; motion blur 95, 176

bounce light 37, 38, 76, 190, 202, 216; role 73–4

Brave 131

broad strokes approach 252, 253

Buckland, Wilfred 119

bump mapping 155

Bunny 23

Burtynsky, Edward 251

C

Calahan, Sharon 43–5

Campbell, Heather 26

career development 254–67; demo reels 256–7; getting started 256–60; job applications 258–60; learning in the first job 260–3

Cars 2 44

Cartoon Saloon 96

cast shadows 56

Caza, Philippe 229

ceilings 143

Cel Animation 165–6

CG lights, common 48–51

character beauty lighting 200–8

character and environment walkthrough 209–17

character lighting 130–7, 193; multiple characters 221, 222

character style sheets 42, 68, 236

chatter (noise) 93, 95; reducing 176–7

Cholich, Eldar 248–50

color 14–15, 27, 184; ambient 157; complementary colors 20, 186; good and bad characters 22–3; hero color 130–1; interior lighting 138–9, 140; key light 72; materials 153–5, 157; and mood 14–15, 106–9, 125; overall 153; processing reference 34, 36–8; properties of light 52–3; reflected 155; shadows 39, 59; specular 154

color corrections 168–70

color keys 68, 97, 236, 237–8

comics 229

commercial work 230

common CG lights 48–51

comparisons: changes 78–9; matching shots 246

complementary colors 20, 186

compositing 151, 164–77, 244; 2D motion blur 176; character beauty lighting 202–3; color corrections 168–70; depth of field 174–6; diffusion 172; edge blur/light wrap 171–2; final touches 171–7; layering 164–8; lens effects 174; reducing noise 176–7; vignetting 173

compression 91

confidence 259

connections 257–8, 267

contact sheets 235

contrast 16, 17, 108–9

contrasting elements 112

cornea 135, 136, 137

corners 143

cultural interpretation of color 107

Cunningham, Imogen 116

D

dance floor 219, 222

Dart, Kevin 125

Day, Doris 109

dead-eyed characters 135

decay, light 34, 40, 55, 185

DeMille, Cecil B. 119

demo reels 126, 179, 256–7, 265, 266–7

depth of field 115–16, 174–6, 190, 193, 211–12

diffuse illumination 54–5, 211

diffuse layers 84

diffusion 16, 141, 172, 211, 215, 225

direct lighting 35, 37

direction of light 34, 35

directing the viewer’s eye 14, 18–20, 98, 102, 110–16, 126; character and environment 209–10; character lighting 132–3

directional lights 49

disagreements, managing 262–3

disco ball 220–1, 222, 223, 224, 225

displacement 155

distance to camera 115–16

distant lights 49

documentation 242–3

Druillet, Philippe 229

Dungeon Keeper 2 231

Dusseault, Yannick 124

E

edge blur 171–2

Edmond était un âne (Edmond was a Donkey) 75, 111

eliminating unnecessary lights/geometry etc 70, 242

email etiquette 263

Emperor’s New Groove 108

environment 57; character and environment walkthrough 209–17

Epic 21, 22–3, 98

exaggerated values 79

expectations, managing 262

exterior lighting 29, 144–7, 188

eye dings 136, 137, 185, 205

eyes 135–7, 193, 203, 205, 206, 214

F

falloff 34, 40, 55, 185

false memory 26–7

Fantastic Flying Books of Mr. Morris Lessmore, The 15, 19, 122, 171

Feral 85

Ferriss, Hugh 63

Figueroa, Anuar 209

fill light 35, 73, 76, 201, 202, 211

Film Noir 109

film reference 33

final render settings and tricks 95

Finding Nemo 124

fine arts: gathering reference 32; painting see painting

first impressions 261

first job: getting 256–60; working and learning in 260–3

floating point images 93

floors 143, 219, 222

focal length 115–16

focal point 110

focus: more defined 132–3; racking 174, 175

food 106–7

Ford, Walton 63

frame blending 176–7

framing the character 133–4

G

gamma 71; color correction 169

Giant 109

Giménez, Juan 229

gist memory 26–7

glass 160

goals of lighting for animation 14

gobos 49, 60–1, 146, 186; gobo maps for multiple characters 220, 221, 222, 223

God rays 56, 146

Goldsworthy, Andy 229

Goldwyn, Sam 119

Google Images 249

green 52–3, 107

Gribouille 228

Groomes, Red 195

Group F64 115–16

H

Haeckel, Ernst 251

Hallmark commercial 231

Hansmeyer, Michael 251

hard shadows 39

Harper, Charley 125

HDRI data 230

Heda, Willem Claeszoon 118

hero color 130–1

high key lighting 102

Hill, Brian 178–80

Hillier, Ashleigh 26

honesty 257, 266

horror films 16, 17

HSL color method 53

HSV color method 53

Hudson Valley school of painting 195, 249

hue 53

humility 261

I

I, Pet Goat II 115

Ice Age 22

ideal co-worker 262

image file types 91–2

image outputting structure 94

image plane 78

image size 70, 94, 95

Impressionism 195, 249

incandescence 157

Incredibles, The 15, 124

indirect lighting 35, 37–8

intensity of light 54; interior lighting 138–9, 140; processing reference 34, 35; well-lit shots 102–7

intensity wedges 79, 80

interactive light placement 78

interior lighting 30, 138–43, 188

Internet 34; online photo reference 44; online profile management 258–9

interviewing 259–60, 266

iris 135, 136, 137

Iron Giant, The 96

isolating lights 78

isolating problems 79

isolating the render 70

J

Jansen, Théo 229

job applications 258–60

JPEG file format 91, 92

‘Just Like You’ 231

Juste de l’eau 132

K

Kaminski, Kurt 251–3

Keillor, Jocelyn 26

key light 35, 36, 148–9; character beauty lighting 201, 204–5; character and environment 210, 216; creating 76; high key lighting 102; low key lighting 103; rim key lighting 104; role 72

key to fill ratio 35, 73

kick lights 74, 76

Knapp, Michael 96–9

L

L3.0 133

lamps 139–40

landscapes 144–7

layering 164–8; common methods 165–8

layers, render see render layers

leading lines 110–11

learning in a first job 261

lens effects 174

lens flare 174, 225

Leonardo da Vinci 145

Leucotopia 103

library, reference 41

light decay 34, 40, 55, 185

light direction 34, 35

light intensity see intensity of light

light linking 81, 163

light over dark 19, 20, 132, 133, 184

light wrap 171–2

lighter’s toolbox see toolbox, lighter’s

lighting attribute layers 83–5

lighting over black 78

lighting scenarios see scenarios

lighting walkthroughs see walkthroughs

lightness 53

linear workflow 71–2

linking, light 81, 163

Little Freak 16, 75, 103

live action plate 229–30

longer shots 94

look development 236–8

lossless file formats 91

low key lighting 103

Ludwig, Carl 23

luminance key 212

M

Mabille, Yann 228–31

Mac and Cheese 112, 144

Marilyn Myller 104

master lighting 232–53; compositing 244; layers 243, 244; lighting pre-production 234–5; look development 236–8; shot lighting 244–7, 249, 252

master lighting rig 240–3

master shots, picking 238–9

matching shots to master 244–6

materials 151, 152–63, 179, 180; common adjustments to shaders 162–3; simulating specific materials 158–61; surface attributes 153–7

matte layers/passes 89–90, 170, 225

McCorkle, Rocky 120

memory 26–7

metals 158

Missing Scarf, The 132

mockups 68

Moebius 229

mood 149, 190, 195; color and 14–15, 106–9, 125; setting 14–16, 63, 102–9, 125

‘Mother Bird’ Hallmark commercial 231

motion blur 95, 176

multi-pass approach 179

multiple characters 218–26

multiplication: color correction 169; merge operation 166, 167

N

naming conventions 94, 240, 242

naturalism 99

negativity 258–9

newly hired artists 260–3

noise 93, 95; reducing 176–7

Nosferatu 16, 17

O

observation see reference

office rules 263

Oga, Kazuo 124

Oli, José Manuel Fernández 124

omni lighting test 162, 163

online photo reference 44

online profile management 258–9

OpenEXR file format 91

Out of the Past 33

‘over’ merge operation 166

overall color 153

overnight render settings and tricks 94–5

P

painting 24–5, 32, 44, 195, 249; still life 118; with light 118–20

passing shadows 104–5

Penny Dreadful series 231

Phillips, Nicole 26

photography 257; gathering reference 29–31

photorealism 126, 196

physical reference 34

Picture of Dorian Gray, The 134

Pio 130, 157, 162, 163, 170; character beauty lighting 200–8

Pixar 124

placement of lights: interactive 78; and mood 102–7; wedge for 79–81

plastic 159

‘plus’ merge operation 166–7

pockets of light 113, 210–11

point lights 48, 225

Portnof, Gabriel 194–7

positioning see placement of lights

pre-lighting phase 68–72

Premier Automne 112

preparing the shot 69–70

procedural maps 153, 154

procedural materials 180

properties of light 52–6

pupil 135, 136

purple 107

Q

quadratic light decay 55

quick sketches 68

R

racking focus 174, 175

Ratatouille 44, 124

raytracing 23, 252

real time lighting 45, 63, 231, 250

rebalancing materials 162–3

recommendations 264

red 52–3, 106–7

reference 24–45, 68, 249; effects of ignoring 27–8; gathering 29–34; importance of 26–7; organizing 41–2; processing 34–40; utilizing 41

reference library 41

reflection 191; specular 154

reflection maps 220, 223

reflection passes 87–8, 137, 205, 223

reflectivity/reflected color 155

reliability 262

Rembrandt Lighting 119–20, 121, 201

removing unnecessary lights/geometry etc 70, 242

render artifacts 93, 95

render layers 81–90; beauty 82–3; diffuse/specular 84; keeping to a minimum 243, 244; layering 164–8; lighting attribute 83–5; setting up 81–2; shadow passes 82, 84–5, 167, 203; specialty layers 85–90

render mattes 89–90, 170, 225

render quality 93

render settings, modifying 69

render time 51, 63, 242

render workflow 91–5

RGB light layers 90

RGB mattes: layers 89–90, 205, 207; with material files 163

RGB specular pass 223

RGB values 52–3

rim key 104

rim lights 74, 76, 184, 185, 191, 202

Robots 180

Rockwell, Norman 24–5

role of lighting 14–17

rotation wedges 79–81

rotoshapes (rotos) 170, 207

Ruckus Manhattan (Groomes) 195

Runaway (Rockwell) 24–5

S

salary negotiation 260

saturation 53, 108–9

saturation over desaturation 132, 133

Saturday Night Fever 218, 219

saving frames 78–9

scenarios 128–49; character lighting 130–7; exterior lighting 144–7; interior lighting 138–43; see also walkthroughs

Schachter, Dan 26

sclera 135, 136, 137

‘screen’ merge operation 167–8

secondary lights 37–8, 189

Secret Life of Kells, The 96, 112

Secret of Nimh, The 96

Segerman, Henry 251

Selznick, Brian 96

sequences 234

shaders, common adjustments to 162–3

shadow passes 82, 84–5, 167, 203

shadows 56–61; artistically positioned 114; color 39, 59; directional lights and 49; interior lighting 140; light properties for 60–1; and mood 16, 17, 104–5; processing reference 34, 39; qualities 58–60; size 58, 59; softness 39, 60; types 56; visual contribution 57

shape: of artificial light sources 140; of shadows 140

shaping: in fill values 211; subtle 143; visual 14, 17, 102, 117–22, 125–6, 187, 189

Shave It 105, 112, 132

shot continuity 247

shot lighting 244–7, 249, 252

Shrek 27–8, 130

size: image 70, 94, 95; shadow 58, 59

sky light 201

Sleeping Beauty 96

slide viewer comparison 246

smaller companies 258

softness 16, 211–12; shadows 39, 60

Song of the Sea 19, 96

spatial relationships 57

specialty layers 85–90

specular illumination 54–5, 211

specular layers 84

specular reflection/color 154

specularity 133

speed 261–2

spotlights 49–50, 111, 202; disco ball 220–1

spread angle 87

squinting 110

sRGB 71

Staub, Josh 124–7

Still Life with Oysters, a Rummer, a Lemon and a Silver Bowl (Heda) 118

stochastic raytracers 252

Stone, Deb 265–7

storyboards 234

storytelling 195

studio pipelines 151, 152

style sheets 42, 68, 236

sub-surface scattering material 161

subtle shaping 143

successful shots 182–97

surface attributes 153–7; simulating specific materials 158–61

symbolic color 108

T

Tale of Mr. Revus, The 75, 113

Tan, Shaun 96

TARGA file format 91

television reference 33

texture maps 153, 154

TIFF file format 91, 92

Tillet, Maurice 28

tilt-shift 116

time of day 29, 57, 58

time of year 29

timing, job search and 259–60

tonal range 121–2

toolbox, lighter’s 46–64; basic properties of light 52–6; common CG lights 48–51; shadows 56–61

traditional artwork 257

translucence 156, 216

Trappers’ Camp, The (Bierstadt) 32

Tre3 209–17

Tyrian purple 107

U

Uesato, Haji 148–9

Uesugi, Tadahiro 125

under-lighting 103

unnecessary lights/geometry, removing 70, 242

utility lights 75, 76

V

value 53

variation 133

Vendedor de Humo, El 102

video reference 33

viewing tricks 246

vignetting 114–15, 173, 187, 189, 192

virtual reality 252

visual shaping 14, 17, 102, 117–22, 125–6, 187, 189

volumetric lights 56, 111; character and environment 214, 215, 216; multiple characters 221, 225

W

walkthroughs 198–231; character beauty lighting 200–8; character and environment 209–17; multiple characters 218–26

walls 143

warm over cool 19, 20, 132

Warrens of Virginia, The 119

water 160

Wedge, Chris 21–3

wedges 79–81

well-lit shots 100–27; directing the viewer’s eye 102, 110–16; emphasizing the mood 102–9; visual shaping 102, 117–22

Weston, Edward 116

white balance 142

Whole 157

Wilson, David 251

windows 141, 160

wood 159

Woods, Lebbeus 63

work-in-progress (WIP) renders 69, 94

workflow 64, 66–99; creating lights 76–7; creating wedges 79–81; interactive light placement 78; isolating lights 78; isolating problems through exaggerated values 79; light linking 81; never light over black 78; pre-lighting 68–72; render layers 81–90; render workflow 91–5; saving frames and comparing changes 78–9; understanding the roles of each light 72–5

Wyeth, N.C. 21

Z

z-depth pass 175, 176

zone system 121–2