After receiving an HDRI file, I used it to create a more accurate simulation of the final scene. Since the scene was shot in the evening, it resulted in darker shadows and a yellow undertone. I decided to keep these elements as they added desired soft shadows, but lowered the exposure and established more indirect light by including Bounce Lights and more Area Lights.
I began monitoring the time it takes to render my project and noticed that the first walkthrough render didn’t have HDRI, which made the assets more visible. The master composition version took nine minutes, while the Maya scene took two and a half hours. This week, I concentrated on positioning and tracking assets, so I made only small lighting enhancements.
For the block-out, Dom suggested placing various objects around the scene to keep the audience’s attention wandering. He also proposed creating storyboards (which we should have done from the beginning) to have a clearer vision. Roos, Nira, and I worked together on the storyboards. Afterwards, Roos finalized the file, and I created lighting references to set the mood for the scene.
The spaceship should be revealed outside with each frame to showcase its details and depth, which will pique the audience’s interest. Adding pipes around the room can also enhance the steampunk look. I also started paying more attention to reflections, refractions, and absorptions. Specifically, I’ve been considering specular reflections versus diffuse reflections. The large glass window and glass floor with water underneath may lead to a long rendering time, so I need to come up with alternatives (such as getting rid of glass in the window frame and faking it in Nuke). To play with the colour temperature, I could alter the hue, value, and saturation of the light. Transparent, translucent, and opaque materials in the glass floor can affect the look of the scene by refracting light, so I need to test different options. I should also check subsurface scattering (although we should not have any in the scene) and atmospheric depth.
To create a cohesive composition, I will adhere to the rule of thirds and repeat objects. My focus is on utilizing light to enhance the composition, such as framing the image with shadows. Additionally, I will emphasize the middle ground of the room with the most lighting and incorporate pools of light.
3-point Lighting:
- Key light – the sun behind the window builds an area of light and an area of shadows.
- Kick light – opposite key light, much softer, softer shadows – fills in some parts of shadows.
- Rim light – enhances/separates edges.
Other improvements include:
Gradients of tone, lots of implied lighting and backlighting, more exposure to see some of the bounce light, continuity in the scene (inside/outside the window), focal point/split-second composition, mood and emotion/storytelling (light flows with the story).
I don’t have to make the scene look realistic, I just have to create fantastic believability.
Next week I plan to look into Volume Shaders, Bounce Lights (with Area Lights and Depth Shadows), Light Decay and Atmospheric Glow.
FTrack feedback:
Steampunk Project:
- That looks fab! well done. Looking forward to see the new version.
- Also I’m glad you are taking measures how long time the renders are taking on, considering later on with all the shades and texture will be even more. Now I think 2.5 is looking great.