ROY S. AHN
Lighting + LOOK DEV + COMPOSITor
STONE GIANT
Lighting Breakdown
To create the outdoor, seaside setting, I focused on the sharpness of the shadows. I wanted to maintain the overall darkness of the scene, accentuating certain sections. Adjusting the shadows and brightness made this possible with very low fill light.
Compositing Breakdown
In pursuit of vagueness of form, I restricted the amount of lighting. Small reflections and other minimal details indicate the existence of assets. To set this mood, I fine tuned the saturation and added a normal pass to liven up the highlights.
Click Images For More Information
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.
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.
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.
