lion a long way home ch 6 questions and answers

How far can you go ? I personally have rotated lights, tweaked their intensities and even their temperatures between shots !īut does it mean you can do anything ? Let’s have a look at an example that does not really work. I would never hesitate to adjust my lights to make your shots look as good as you can. When shooting the dialog coverage, director Martin Scorsese and cinematographer Robert Richardson reset the lights for all the closeups so that the actors were always backlit.” Speed Racer James Gurney, commenting on Hugo Cabret : “ a lighting continuity issue that was so distracting to me that it took me out of the film. I really like James Gurney’s blog but I completely disagree with him on this one : The strong rim on Sacha Baron Cohen looks visually similar between shots. Did you notice it ? Has it bothered you ? It does not bother me because the shots are still part of the same world. Robert Richardson did a very good job in this dialogue sequence.Īctors are always backlit ! The lighting setup has been adjusted on every shot. Here is another example from the same sequence. A note to all supervisors : pixel f#cking makes artists miserable. If I recall correctly, it has been demonstrated that the human mind focuses more easily on details rather than the big picture (it may have something to do with left and right brain). At the end of the day, it is more important to respect a global feel about the shots rather than commenting on a slight change of rim on a background character. In the second shot, they explain their motivation : Why did they come ? We need to shed some light on them.įrom Dave Walvoord : “Audiences are incredibly forgiving with light direction inconsistency.”Īnd I think Craig and Dave are right ! My advice is as long as the shots belong to the same world, we’re good. In the first shot, the bad guys come out of the woods as an element of surprise. What is important in the example above ? Storytelling. This statement empowers you as an artist. We prefer you to make a bold statement rather than being shy artistically. Continuity is important but shots do NOT have to match 100%.Ĭraig Welsh used to tell us : We would rather break continuity than having an ugly shot in the movie. Has it bothered anyone ? Not that I know of. It is a direct cut ! Bane is in complete shadow. Be prepared !Ĭamera angle is so different that you get away with it. This is a perfect example of what we are allowed to do on an animated feature film. I have set the Master Lighting for this sequence and lit a couple of shots. CG examples Lego Batmanįirst one comes from Lego Batman. Craig and Grant have a complete different take on the subject. Ilion and Illumination really pay attention to continuity. You may get a very different response between studios. Each studio has its way of doing things : one may say that it is cultural.įrom what I have experienced, it really depends on the supervisor you work with. And those who think we have a certain leeway between shots. There are like two different ways of seeing this : the purists of continuity who think all the shots must perfectly match.

It is one of the biggest topic in animation studios nowadays. The whole question is there : how far can you go without disturbing the average spectator ? Until we realized there was a certain flexibility with this rule. For readability and not confusing the viewer, shots from a sequence must look similar and have a visual coherence. ContinuityĬontinuity is the maintenance of continuous action and self-consistent detail in the various scenes of a film. Meanwhile you can check this amazing link. In the version 2.0 of this book (release in Q4 2020), I’ll do a proper paragraph per objective. Nonetheless, I have tried to come with my own rules and see how they would fit in this list. This list looks pretty much complete to me ! I cannot think of more objectives than these ones.

Revealing character personality and situation.I could not come with a better list of objectives of lighting than the one presented in the book Matters of Light and Depth by Ross Lowell.

Are directors of photography the new painters ? These principles have been developed by artists through centuries and have been adapted to our medium.

We are going to review here some universal principles that can be applied on any CG movie.

Lion a long way home ch 6 questions and answers