ROY S. AHN
Lighting + LOOK DEV + COMPOSITor
STONE GIANT
Lighting Breakdown
To give the impression of the larger environment outside of the frame, the light is occluded by what appears to be unseen additional walls of the cave. I wanted to create an extreme God ray effect, so I added small openings for the light to pass through. Cultivating the correct degree of exposure for the giant was particularly challenging. My goal of displaying the individual rocks that he was composed of conflicted with my desire to maintain the darkness that shrouds his silhouette. Developing this balance required the use of very soft, low intensity lighting close to the giant.
Compositing Breakdown
Most of the compositing process was focused on adjusting the atmosphere around the stone giant to generate additional depth. This was also accomplished by over-exaggerating the God rays. These details contributed to the overall grand scale of the scene.
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Anecdote
To start off, I modeled the proportions of the girl and her props in Maya. I then used ZBrush to sculpt her details and features, as well as pose her. Her clothing was created using Marvelous Designer. After this, I textured the whole scene in Mari. I used Maya to form the background and design the lighting. XGen was used to form the character’s hair. Everything was rendered in Redshift, and finally I composed the atmosphere and performed color corrections in Nuke.
The Plastered Port
To begin, I blocked out the scene in Maya. Then I sculpted the assets in ZBrush and textured them in Mari and Substance. I used Maya to place the assets within the scene and to light the setting. I then rendered the project with Redshift. Finally, I composed the atmosphere and lighting effects in Nuke.
Fortuitous Vendor
I formed the tree, leaves, and branches in Speedtree. As for the assets, I modeled them in Maya, then textured them in Mari and Substance. I then used Houdini to simulate movement in the branches, leaves, and debris, creating a variety of movements to achieve an overall desired effect. I animated the lights and composed the scene in Maya. Everything was rendered in Redshift, and I added multiple smoke footages in Nuke and dialed them to appropriate intensity to create the fast-moving atmosphere effect.
