ROY S. AHN
Lighting + LOOK DEV + COMPOSITor
STONE GIANT
Lighting Breakdown
Tailoring the lighting to this scene required great attention to detail. Small changes could result in overexposure and make the work look flat. To achieve the desired effect, I lowered the intensity of the lights and sharpened the shadows.
Compositing Breakdown
The focus of the compositing was using the atmosphere to give a better sense of depth and scale. This accentuated the character's silhouette, making her stand out against the many rocks that surrounded her.
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The Lone Tree
To create this piece, I took five rock models and populated them in Houdini. Then I made a proxy and exported it to Maya. Once in Maya, I moved individual rocks to certain areas to make a natural-looking cave environment. Following this, I sculpted the giant in ZBrush, textured him in Mari, and added additional rocks to him in Maya. The trees and roots were formed using Speedtree. I lit the scene in Maya and rendered it in Redshift. Finally, I composited the atmosphere in Nuke and adjusted its intensity to my liking.
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.
