This time it’s a phone. Last time it was matte textures and more Rembrandt set up, this time I tried to do the opposite of that. I made an advertisement for iphone6 for my assignment. I textured and lit the scene in MAYA.
This time I tried out exterior lighting, for the first time. It is a beautiful lighthouse scene, which I textured and lit in MAYA.
The time of the scene is around midnight.
This time I worked on lighting and texturing an art studio file. It was really fun to work on it, I had to try out many light maps before I found how I wanted to show it. I worked on MAYA and MAYA Software Render.
The time is around 3:45 in the afternoon when the sun throws completely diagonal rays.
I just started of learning about lighting basics.
Rembrandt’s paintings serve as the basis for dramatic lighting still, even after four centuries. The infamous paintings have very intentional in directing one’s eye, in showing depth of character – grave characteristics and a feeling as if there is a lot more than meets the eye (there is). The paintings are also political in nature, hence the lighting is of substance.
The following are some examples of lighting
This is when you place the light slightly above the subject and aligned to the center of the face so that there is an even shadow under the nose.
This is a great beauty setup, with a light above and one below the face
This is for accent. It’s a five point lighting.
HARD KEY WITH KICKERS
This is a setup with two kickers behind the subject on opposite sides, this lighting is hard.
KEY WITH A CLOSE SOFT BOX
This is a classic Rembrandt setup. With a close soft box we get softer shadows.
KEY, FILL AND RIM
This a classic three point lighting.
This is a classic Rembrandt setup with the light facing the opposite side to the side of the face facing the camera used to create a triangle of light on the face.
REMBRANDT WITH A SILVER BROLLY
The light is placed in such a way as to create a triangle on the face. The reflector helps the light to spread further.
The light is placed in such a way as to cover one part of the face in shadows.
SPLIT WITH FULL
The light should be placed on one side of the face as to cover the other half in darkness and a reflector is placed on the opposite side to fill in shadows.