This project was massive. And a main concern very early on, was lighting and look development. I am not the biggest fan of lighting, as I struggled with those assignments being very technical.
I was lucky enough to work in collaboration with the wonderful Daniela Campos Gomez.
Me and Daniela spent our year in Foundations together rendering, and animating as she worked to complete an entire 3D film. Our friendship quickly grew, and she began the 3D Animation and VFX program two months after me. It was nice to see a familiar face in the building again. Daniela decided to take the VFX stream and had a strong interest in lighting. She wanted to do VFX integration as well as CG lighting. My project was a perfect fit for her exploration so she quickly offered to do the lighting. I warned her how big the project was, but she was ready for the challenge. I had no hesitation in handing this project off to her. I know Daniela well, and she is one of the hardest workers you can find. She loves what she does and she is committed to early mornings and late nights without fail. It shows in her work. |
In the beginning I had some general ideas for the lighting and how I wanted the film to feel. But I was a terrible director for the first few weeks. When I handed the shots over, she was just as confused as I was. It’s hard to hand shots off until the animation is completely done, and majority of term five I was pushing to get my animation approved. Things always take longer than anticipated, especially with animation.
This unclear direction was apparent in the first renders we came up with.
Eventually I sat down and did some paint overs/color scripts. I also made sure the environments were cohesive and the trees were placed aesthetically.
This gave both me and Daniela a clear feel for each shot. And the renders were spot on.
This gave both me and Daniela a clear feel for each shot. And the renders were spot on.
"at this moment I went from "film maker" to "Director"
This process of developing the look of the entire piece, working with Daniela, approving and critiquing the shots was a moment where I had to make big decisions and guide the process/schedule. It was a unique experience, and in the footsteps of being in the Director role.
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THE CAVE
THE EXTERIOR
THE FOREST
Above is the reference image I colour corrected. To the Left is the paint over I did in Photoshop, below it is the render I received from Daniela. The forest shots were supposed to be dark and moody. I wanted dark trees, that would pass in the foreground. The shots needed to have a sense of loneliness and isolation, that would be scary for a little girl to be walking through. Daniela also composited each of the shots in Nuke. |
THE FINAL TREE
Above is the reference image I colour corrected. To the Left is the paint over I did in Photoshop, below it is the render I received from Daniela. The forest shots were to transition gradually to the end finale. The tree was to blow out to reveal the final quote of the film.
She couldn't have created a more perfect replica of my images! |
THE FLASHBACKS
The flashbacks didn't have any direct reference images/paint overs. They were the same scenarios as above but with extra contrast and vignette for mood. The characters were to be in Black and White while the plant, mural and hand prints were left green.
All in all, I am so pleased with how the final lighting and renders turned out. The success of this film is truly credited to Daniela and all her hard work and patience.
"The success of this film is truly credited to Daniela"