Lighting for Animation: The Art of Visual Storytelling

273 Pages·2016·127.45 MB·English

by  Jasmine Katatikarn

Lighting for Animation
The Art of Visual Storytelling
P. Jasmine Katatikarn and Michael Tanzillo
A FOCAL PRESS BOOK
Still from the animated short Mac and Cheese. Property of Colorbleed Animation Studio.
Lighting for Animation is designed with one goal in mind—to make P. Jasmine Katatikarn is a Senior Lighting Technical Director at
you a better artist. Over the course of the book, Jasmine Katatikarn Blue Sky Studios. She holds a BA in Economics/Art History from
and Michael Tanzillo (Senior Lighting TDs, Blue Sky Studios) will Vassar College and received her Master of Science in Digital Im-
train your eye to analyze your work more critically, and teach you aging and Design degree from NYU. After graduate school, she
approaches and techniques to improve your craft. Focusing on the began working in the field of 3D medical visualization and moved
main philosophies and core concepts utilized by industry profes- onto VFX/commercial work, working at The Mill, Framestore, and
sionals, this book builds the foundation for a successful career as Rhinofx for seven years before moving into feature animated film
a lighting artist in visual effects and computer animation. Inside work at Blue Sky Studios. Her lighting credits include Peanuts, Rio 2,
you’ll find in-depth instruction on: Epic, Ice Age: Continental Drift, Rio, Ice Age: Dawn of the Dinosaurs,
• Creating mood and storytelling through lighting Ghost Town, and The Nanny Diaries.
• Using light to create visual shaping
• Directing the viewer’s eye with light and color Michael Tanzillo is a Senior Lighting Technical Director at Blue
• Gathering and utilizing reference images Sky Studios. He began his career as a photographer and studio
• Successfully lighting and rendering workflows artist after completing his BFA degree in Photography from Ohio
• Rendering layers and how they can be used most effectively State. Michael switched his career focus and freelanced as a 3D
• Specific lighting scenarios, including character lighting, envi- artist before attending the Savannah College of Art and Design
ronment lighting, and lighting an animated sequence and receiving his MFA in Visual Effects. In 2008, Michael joined the
• Material properties and their work with lighting lighting team at Blue Sky Studios and his lighting credits include
• Compositing techniques essential for a lighter Peanuts, Rio 2, Epic, Ice Age: Continental Drift, Rio, Scrat’s Continental
• A guide on how to start your career and achieve success as a Crack-up and Ice Age: Dawn of the Dinosaurs. Michael has also been
lighting artist. credited as a compositing artist on multiple projects.
This book is not designed to teach software packages—there are
websites, instructional manuals, online demos, and traditional
courses available to teach you how to operate specific computer
programs. That type of training will teach you how to create an im-
age; this book will teach you the technical skills you need to make
that image beautiful.
CRC Press
Taylor & Francis Group
6000 Broken Sound Parkway NW, Suite 300
Boca Raton, FL 33487-2742 Trademark Notice: Product or corporate names may be trademarks or registered trademarks,
and are used only for identification and explanation without intent to infringe.
© 2017 Taylor & Francis
Library of Congress Cataloging in Publication Data
CRC Press is an imprint of the Taylor & Francis Group, an informa business Katatikarn, Jasmine.
Lighting for animation : the art of visual storytelling / Jasmine Katatikarn and Michael Tanzillo.
This book contains information obtained from authentic and highly regarded sources. Rea- pages cm
sonable efforts have been made to publish reliable data and information, but the author and ISBN 978-1-138-01867-9 (pbk.) — ISBN 978-1-138-01866-2 (hardback) — ISBN 978-1-315-
publisher cannot assume responsibility for the validity of all materials or the consequences 77959-1 (ebook) 1. Computer animation. 2. Computer graphics. 3. Photography—Lighting. 4.
of their use. The authors and publishers have attempted to trace the copyright holders of all Visual communication. I. Tanzillo, Michael. II. Title.
material reproduced in this publication and apologize to copyright holders if permission to TR897.7.K385 2016
publish in this form has not been obtained. If any copyright material has not been acknow- 777’.7—dc23
ledged please write and let us know so we may rectify in any future reprint. 2015020224
Except as permitted under U.S. Copyright Law, no part of this book may be reprinted, repro-
duced, transmitted, or utilized in any form by any electronic, mechanical, or other means, now ISBN: 978-1-138-01866-2 (hbk)
known or hereafter invented, including photocopying, microfilming, and recording, or in any ISBN: 978-1-138-01867-9 (pbk)
information storage or retrieval system, without written permission from the publishers. ISBN: 978-1-315-77959-1 (ebk)
For permission to photocopy or use material electronically from this work, please access Typeset in Myriad Pro
www.copyright.com (http://www.copyright.com/) or contact the Copyright Clearance Designed and typeset by Michelle Staples
Center, Inc. (CCC), 222 Rosewood Drive, Danvers, MA 01923, 978-750-8400. CCC is a not-for-
profit organization that provides licenses and registration for a variety of users. For organiza-
tions that have been granted a photocopy license by the CCC, a separate system of payment Visit the Taylor & Francis Web site at www.taylorandfrancis.com and the CRC Press Web site
has been arranged. at www.crcpress.com.
Contents
Acknowledgments 9
Introduction 11
1 Why We light 13 3 The Lighter’s Toolbox 47
The Role of Lighting 14 Common CG Lights 48
Creating Visual Shaping 17 Basic Properties of Light 52
Directing the Viewer’s Eye 18 Shadows 56
Final Thoughts 20 Final Thoughts 61
Interview with Chris Wedge— Interview with Andrew Beddini—
Director :: Blue Sky Studios 21 Technical Supervisor of Imaging :: Blue Sky Studios 62
2 Observing the World Around Us 25 4 The Lighter’s Workflow 67
The Importance of Reference 26 Pre-lighting 68
Gathering Reference 29 Understanding the Roles of Each Light 72
Processing Reference 34 Let There Be Light! 76
Utilizing Reference 41 Render Layers 81
Organizing Reference 41 Render Workflow 91
Final Thoughts 42 Final Thoughts 95
Interview with Sharon Calahan— Lighting Director of Interview with Michael Knapp—
Photography :: Pixar Animation Studios 43 Art Director :: Blue Sky Studios 96
5
5 Dissecting a Well-lit Shot 101 7 Materials and Compositing 151
Telling the Story by Emphasizing the Mood 102 Materials 152
Directing the Viewer’s Eye 110 Simulating Specific Materials 158
Visual Shaping 117 Common Adjustments to Shaders in Lighting’ 162
Final Thoughts 123 Compositing 164
Interview with Josh Staub—Visual Effects Supervisor and Layering 164
Lighting Supervisor :: Walt Disney Animation Studios 124 The Final Touches 171
Final Thoughts 177
Interview with Brian Hill—
Supervisor of the Materials Department:: Blue Sky Studios 178
6 Lighting Scenarios 129 8 Honing the Artistic Eye 183
Character Lighting 130 Image Breakdowns 184
Eyes 135 Interview with Gabriel Portnof—
Interior Lighting 138 CG Supervisor :: Dreamworks Animation 194
Exterior Lighting 144
Final Thoughts 147
Interview with Haji Uesato :: Blue Sky Studios 148
6
9 Lighting Walkthroughs 199 11 Closing Statements 255
Lighting Scenario One :: Character Beauty Lighting 200 Getting Started as a Lighting Artist 256
Lighting Scenario Two :: Character and Environment 209 Thriving in the Industry 261
Lighting Scenario Three :: Multiple Characters 218 Final Thoughts 264
Final Thoughts 227 Interview with Deb Stone—
Interview with Yann Mabille— Manager of Recruiting and Talent Development
Creative Director/Partner :: Interstate 228 :: Blue Sky Studios 265
10 Master Lighting 233 Index 268
Lighting Pre-production 234
Look Development and Master Lighting 236
Creating a Clean Rig 240
Final Thoughts 247
Interview with Eldar Cholich—
Lighting Lead :: Blue Sky Studios 248
Interview with Kurt Kaminski—
Lighter :: Walt Disney Animation Studios 251
7

Special Acknowledgments
This book could not have been completed without the help and support of so many
people. We want to thank all the artists and filmmakers who submitted the amazing work
to help make this book more beautiful, including Housein Rodrigo Cornell (modeling)
and Joshua Merck (rigging/animation) for their help bringing our LightBulb Family to life.
To our friends and family we want to say thank you for your unconditional support.
Especially Vadim Turchin and Susan Tanzillo, whose contributions were essential to the
successful completion of this project.
9