Most of my posts have been about Production and Producing so its rare for me to look into any aspect much deeper. I spoke to Seb on Friday about lighting for Hook, Line & Sinker (HLS) and we are both looking forward to it. Most of our strengths will come to fruition next term when we hit the ground running I can promise you that.
I am confident the story will come together but I think we need to look at this more as HLS has potential to be a great looking film. Yes we will obviously be using a linear lighting workflow. Having spoken to Olly and still feeling the burn of the Animated Exeter Ident this has to be done.
I have been thinking about the Look Development for HLS more specifically lighting, lenses, focal length and cameras in Maya as well as watching a lot of films set as see this weekend. I found very good post on Reverse Key Lighting that we can consider using. Its going to be a mix of it looking and getting the fastest possible render times out of it.
Below are some screenshots of movies either set at sea or with scenes at sea...
The Perfect Storm (2000):
King Kong, 2005 (Boat Scene):
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| Interior Light: warm, yellow, orage. Exterior Light: cold, blue, white |
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| Interior Light: warm, yellow, orage. Exterior Light: cold, blue, white |
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