This week we watched a Japanese CGI film called Gantz: 0. It was a sci-fi monster flick that was filled will flashy visual effect but want I think stood out the most was the the more somber moments in the film that were elevated with excellent uses of color grading.
Digital Frontier published an interview with the lead artists and director of the film and they shared they experiences as the looked back on the film’s production pipeline.
They placed importance on the color script in order to depict different regions of Japan as well as the internal turmoil the main character is feeling. For example, “At the beginning we use peaceful blues to express Kato’s anxiety.” (Digital Frontier) I feel like we can doing something similar with keeping tones muted during the beginning of the commercial and then bring in the warm tones of the cove lights at the end or add a filter that would defocus the background once the box packaging enters the scene.
During preproduction they also went location scouting, which in a way feels like all the times I’ve walked in a department store this semester and gone straight into the kitchen and home appliances aisle. Interior designing the kitchen had to be done in a way that everyone’s assets could be seen and the mascot character wasn’t lost the the kitchen mess.
The director Mr. Kawamura also talks about how during the animation phase t”he color script and the color key were laid aside during animation and afterwards the camera and effects team used the color script and color key to bring the true, final vision to life.” So most of the work after that for the film was compositing in order to get back the visual style and from the concept art and color script. below is an example of the background and lighting being merged with the characters to make the final shot.
Overall the the production team for the film talked about the difficulty managing so many artists so I feel like we’re doing pretty alright in a team of three.
What I’m Working On: lighting
This week I been have been given the task to finalize the lighting of the commercial as the character needs a little time for a re skinning after some feedback so I will take over. I am about to finish it this week in time to get some rendered shots for our week 8 presentation.
For lighting we have been looking at references of interior lighting without a source of natural light. Vray can also use real kelvin temperature setting so we’ve decided to use that over the color option as the lights can look a little artificial. With a suggestion from the lecturer we are going to use vray plane lights with a warm temperature underneath the shelves to create a nice cove light effect so the kitchen doesn’t look too sterile like a hospital and then vray mesh lights attached to a bulb model for the main lights at a cool temperature setting. Below is the chart I’m using to create the right ambiance for the kitchen. It the lights are too warm it will like like the chef is in his home kitchen which we want to avoid.
Here’s a light test with the cove lights
There were initially several more lights in the scene but I’ve decided to reduce the lights after informing the team leader as I was worried too many lights means more calculation and thus a longer time to render.