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For animated feature Rio 2His award winner 2011 blockbuster sequel, director Carlos Saladanha, flown his colorful, music stars from the lively city of Rio de Janeiro into the succulent Amazon forest. The twentieth -century Fox film made at Blue Sky Studios increased on the box office opening weekend and is on track to rival its ancestor. In Blue Sky, Lighting Supervisor Jiyun Sung Chisholm led a team of 40 actors working on the film. prior to Rio 2Chisholm had a lighting on animated characteristics epic, Horton Hears a Who!, Ice Edge: The meltdownAnd lighting technical director RobotsWorking with the ownership light and rendering system CGI Studio of Blue Sky Studio.
During the last few years, Visual Effects and Animation Studios have replaced Ray Tresing software such as Veere, Mental Ray, and Arnold, which produce physically accurate light and rendering, and for physically admirable shading of rendermans, in which lights, shades, shades, shades, rands, rands, racming algorisms, and the physical qualities of the random Are. Long before any of these programs came to the market, however, Blue Sky artists were lighting and rendering scenes with CGI Studio, a ownership physics-based rendering software system developed immediately after the establishment of the studio in 1987.
At a time when many people believed that Ray Tresing Software was very slow for a film projects, Blue Sky loose CGI Studio on the short animated film “Bani”, which got an Oscar in 1998, and Blue Sky’s actors have used software on each film. CGI Studio has evolved since 1998, of course. The Chisholm current version is called “CGI Studio Plus Plus”. But, one thing has not changed: the software is still script-based. Chisholm likes it in this way. She calls it “intuitive”.
You do not need GUI to work quickly.
“A lot of lighting TD feels that it would be uncomfortable to type some scenes,” says Chisholam. “A long time ago, I was the same person. But once you get used to it, it is almost irreparable. This is very comfortable. Very basic. Very clear. If you are looking through a light through Maya and navigating through a GUI and want to move it slightly to the right, you guess. But, if you know basic scripting, and want to transfer light to 10 degrees, you can type the number. This is fast and you get what you expect. ,
Change the light design when the set changes.
She says, “We design light per sequence – whenever the space changes,” she says. “We look at a beauty frame that represents a shot. A still image, not moving images. And, many times what we are working for the rest of the shot. When we are working, we have a quick rendering that we have a quick rendering that we have a tranquility which we have. That you are changing a number.
Five lights per character are usually sufficient.
“What we do for character light is similar to a live action shoot,” says Chisholam. “Because our renderrs are physically correct, the amount we need is very low. We usually use five lights per character, to illuminate the face, light light from the front, sky and ground, rim lights, lights – classic five lighting lighting live action beauty lighting, ”says Chisholam. “Then, we can make a little tick for the props. For the set, we make as much realistic lighting as possible. ,
To understand beauty lighting, watch old movies.
“I don’t know what it is with new films and digital cinema, but she does not have that classic woman beauty lighting,” says Chisholam. “We saw a lot in Casablanca, which was recommended by our art director Tom Cardon. Everyone saw it, but we saw it together again. He told how he shot it with a shot. How the shadow crosses clothes. How is the face blooming. We still saw a lot of photography – Rita Hawarth, Catherine Hepburn. We saw Catherine Hepburn a lot. ,
When you have a complex environment, manage the shadow.
“We had a lot of shots with the characters in the middle of a jungle canopy,” says Chisholam. “The art director was very specific about not obscuring the faces of the characters. Therefore, we maintained a shadow on the body and gradually wiped out any shade around the face to give the audience a focus point. We used a gobo here and there to shape the shadow, and pushed and pulled the colors around the character to guide the audience to the face of a character. ,
Control background light to pop colored characters from the colored background.
Chisholm says, “Our general guidelines were to brighten and happy the film, and Carlos wanted to show the juicy colors of the Amazon forest.” “But, the complex forest will compete with the colors of the characters and attract the attention of the audience. We wanted to make the character the main thing different from the rest of the scene, but we had a lot of things with bright colors. Red, yellow, blue, white. Because the shading was usually already done, we had to balance colors in light. We learned how to make a character pop from the set, how much we brought colors to the background. Balancing light was really a challenge.
The light wings are ticked.
“If you hold a wing, you see through it,” says Chisholam. “If you immediately highlight the back of a wing, it comes through more than a solid object. It is not transparent, but it is so thin and delicate that it looks transparent. So we needed to turn the intensity and color of light for birds. Each feather acts like a half-transparent body. And, there is a delicate framework around it, so we have to keep it in mind. Working with wings is not easy. They are heavy to load because lots of data are embedded on every feather. However, we have made a habit of this. ,
If you are illuminating a white character for stereo, then test it all the way to the end.
“Our villain is a white cocktu,” says Chisholam. “White is always difficult. We only have a lot of bits, so we can shed a significant light that seems fine, but when we add other lights, we push the border and the white is blown. So we have to dial it. But, when we bring it down, we can already darken dark parts. There are many ways to work around the most bright values, but basically we do it by controlling highlight, speech. Other difficult technical issues are Stereo 3D. The glasses are dyed, so white does not look as bright and happy as it should be; It often looked gray. When we were illuminating Cocktu, we turned (images) into stereo and the color time went all the way for time tests to ensure that the values were correct. ,
To illuminate a musical film, listen to music.
“We had some sequences where we had to design lighting for musical cues,” says Chisholam. “In one scene, the villain is doing Cocktu wrapping and doing a strange flash dance act, while a disco mirror ball circle is around. Each line has a different color pop up. Because he is a white bird, he could absorb all colors, but we did not want him to obscure his performance. Therefore, we put on the headphones to make light arrangements and went to the frame to fully stage light by the frame. ,
When you are at the end of a pipeline, you hold everything.
“We are the last people in the pipeline, so many times we fix the work of other departments,” says Chisholam. “We can also make light arrangements along with cinematography. We may need to turn the ingredients in the cinematography. Cover a mistake in assembling the set. Or debug an error to render a view. In Blue Sky, we are very strict about who does what, but sometimes it is inseparable.
If you want to learn about lighting, start with a camera.
“I went to the Pratt Institute for computer graphics and learned a lot that I know now is working there,” says Chisholam says. “But the other thing I learned the most was a small manual camera. I learned a lot from adjusting the F-stop, turning into separate lenses. I now have a digital camera, but I use manual settings. I think it is really important, really important. Changing a setting can screw the whole picture. If you are always using auto settings, it is difficult to learn.
Seeing the final image, any previous chaos is made worthy.
“When we move to the end and everything is late and you have to do it fast, things can be very chaotic,” Chisholam is called. “I try to tell everyone in my department that you have to overcome problems, but it is really difficult. We never have enough time. But when all this comes together and you see the last render and go to the end, ‘Ahhh’ … this is the reward. ,
