[Figure 4] Default lighting, shaded view from the camera for shot SF-02.

The Key-Light
Now it’s time to create and locate the lights. From the storyboards and the art direction of this shot, it is apparent that the character is the emphasis. The framing leaves little other choice, and the yawn is the obvious story point. With that in mind, start with the basic three-light setup. Although the shot does not at first glance lend it self to the strong key setup that exists in a scene with direct sunlight, it is still a good starting point. To identify the direction of the key, the scene is analyzed in terms of possible lighting contributions. The desk lamp in the corner has been chosen as the key-light for this scene, because it has an obvious presence in the environment. With a live-action background plate, the set lighting dic ates the starting point for the CG lighting. Before adding the fill and rim, the key can be tested by itself and adjusted to create to create the most pleasing composition the for the scene. Using only the key creates a high contrast scene and provides a base to build from with the other lights. Once the key-light looks good, the others are integrated much more easily. Do not underestimate the power of a single light source. For an excellent example of dramatic but minimal lighting, watch the classic film Citizen Kane. By using harsh lighting techniques, Orson Welles creates a world of striking contrast and visual intrigue. The character in shot SF-02, rendered with only a key-light, might not quite be up to Citizen Kane standards, but it’s a start (see Figure 5).

[Figure 5] Shot SF-02 rendered with the key-light only, from two different light positions.

It is common for a TD to work on multiple shots simultaneously, and many times similar shots are handled by the same TD to help maintain continuity. Shots SF-01, SF-02 and SF-03 are all similar shots and can likely utilize many of the same lights. A lighting rig, comprised of lights the scenes have in common, helps to maintain consistency. There are a number of ways to create the rig, the simplest being to create the lights, export them into a separate file and copy that file into each scene. If the setup is more complicated, involving constraint s to geometry the scenes share for instance, a simple scripted set of commands can automate import of the lighting rig. Lighting rigs are particularly useful on large productions with many shots of the same creature or character in similar lighting conditions.