Lighting Shot Assignments

Shot	Lighter	Length (frms)
14	Kelly	65
15	RJ	39
16	Siran	156
17	Siran	71
18	Jared	71
19	Jared	43
20	Brian	35
22	RJ	65
24	Siran	90
25	Kelly	250
26	Brian	90
27	Kelly	80
28	RJ	37
30	Brian	60
31 (32)	Brian	67
32 (33)	Siran	75
33 (34)	Jared	27
35	Kelly	300
36	RJ	370

31 (32)
actual shot number (shot number in vimeo video)

CompTips_Mask&Zdepth

1. how to get a mask for gus/ ground/ or whatever object u wanna mask out:

<1>.save your lighting file as a other one.
for example: i wanna a mask for gus in shot9, so i saved out my lighting file as other file called 'shot9_mask'.
<2>.create slim shaders with diffuse color of white or black. have the object u wanna mask out attached with color different than other objects.
Remove all the lights u already have, and create a new RendermanEnvLight with color: white;  intensity: 1.0; sample: 512, max v: 2.0.
for example: in shot 9 I wanna mask out gus. so I give him a black color, other set to white color in shader. and then this is my render:

IMPORTANT tips for the B&W slim surface u used in this file:
(1).u need to have the correct displacement attachment to the object. Other wise the mask u render out won't match the outline of your object in the beauty pass. I have already make the some of the surface shader on gus so u guys don't need to remake it. it's in assets/lights/12.0_lights/12.0_lights.proj/slim/palettes/shot12SnowAndBg.splt.
you can find those shaders by open your slim, and File/Open Palette. then open the file above, u will see some black surface shaders for different parts of gus in that palette.
Ask me if u dont know which one is supposed to be attached to which object (u guys have my number right~? lol)

(2) about the snow ground. first make sure u have the effect on it. second, when u make white surface shader for it. make sure change the ' object size' of ur slim shade to 200. otherwise it won't get the correct displacement.


<3>After u have the mask, then u can put gus and env in different render layer, which will also help speed up the render. and Then comp them together. like this:

<4>.If u need to create Zdepth pass for comp atmosphere effect of DOF. I have a way to cheat it.
save your mask file as another one call. 'XXX_Zdepth.ma' (Opppps, so many files >_<)
and then:
(1). connect all the diffuse color of all you surface shader to this mixcolor node: assets/lights/09.0_lights/mixColor_forZdepth.slim (the folder is really messy right now, sorry about that...). and in the SL_box, u can the value of float d to control how far it face into black.
(2). give your sky plane a black shader.
(3). in your renderman control, create a output pass called : 'DiffuseColor'. set it to TIFF. (that's the frame u want for your Zdepth render)

here is an example for shot9's Zdepth pass (I only render the Depth pass for my Env, cuz gus will be in focus all the time)

<5>.Final Comp with another fog layer in front of everything, together with LightWrap & EdgeBlur:

Notes before rendering

• Make sure Ray Traced motion blur is unchecked (under Render Settings>Features)
• Add these RenderMan attributes to cliff geometry:
• Subdiv Scheme
• Trace Bias: 0.1
• Trace Displacement: All

Passes for Rendering

Passes

• Beauty
• Ambient Occlusion
• Z-depth
• Any effects necessary for shot

Masks (Siran will update us on how to do this):

• Gus
• Flag

Environment Light settings

Colorbleeding (also used to calculate ambient occlusion)
Environment color: black
Intensity: 1.0
ONLY emit diffuse
Bake Shadowing: RenderRadiosity (check settings two posts down)
Environment Sampling Mode: Sampled
Samples: 512
Max Variation: 0.5 (IMPORTANT! This will take out all the ugly square artefacts in ambient occlusion pass)
Max Distance: 50 - 100 (depends on how your ambient occlusion looks)
Falloff Mode: maxdist-based

Spec

Environment image: hdr_mountains1.exr (found in light-vdev_rig>light-vdev_rig.proj>sourceimages)
Intensity: 1.0
ONLY emit specular
everything else the same EXCEPT...
Max Dist: measure from Gus to environment light 
Max Variation can also be taken up to 2.0

Atmospheric Shader to Fake Fog

Here is a link to the Pixar website that has the fog.slo file and general instructions on how to use it.  For our project, just grab the fog.slo file and place it in the top level of the shot directory you're working in. 

1.) Whatever objects you want to fade into the background, you have to import the material into the Maya scene and attach it from the Hypershade.

2.) Select the shading engine of the material and add the "Atmospheric" attribute from the extra renderman attributes pulldown.

3.) Attach the fog.slo to the Atmospheric attribute.

4.) From there, you can select the Atmospheric node in the hypershade and adjust the color the object fades into and the distance from the camera that you want the fading to start.

-R.J.

Naming conventions

Kelly asked me to post about naming conventions so that it'll be easier for us to communicate and help each other out.  The system I've been using for lights and cameras is:

objectLightIsFor_specialInfo(if needed)_TYPEOFLIGHT

ex) a yellow key light for gus would be: gus_ yellow_KEY
ex  a blue fill for the background would be: bg_blue_FILL
ex) a light for specular: snowSpec_KEY
ex) for environment lights: colorbleeding_LIGHT   occlusion_LIGHT
ex) cameras for specific passes: colorbleeding_CAM, SS_CAM, occlusion_CAM

I've found that identifying the type of object at the end in all caps makes finding and organizing things in the outliner much easier and faster.  Let me know if you have any concerns.

R.J.

Subsurface Scattering and Colorbleeding settings

For SubsurfaceScattering:

• Create SSset (Select Gus skin geometry > Create > Set options > name SSset)
• Create SSlightSet (Select all lights except for environment lights)
• Under RenderMan Controls > SSRender
  • Set Camera to SSCam
  • Set Object Set to SSset
  • Set Light Set to SSlightSet

For Colorbleeding:

• Create radiositySet (Select all geometry except for glass surfaces > Create > Set options > name radiositySet)
  • NOTE: Don’t forget to add all bounce cards to the set!
• Select colorbleed environment light
  • go into Attribute Editor and click the arrow next to Bake Shadowing (rmanRenderRadiosityPass)
  • Set Camera to radiosityCamShape
  • Set Object Set to radiositySet
  • Set Shading Rate to 10.0 for now (2.0 for final renders)

Final Render Settings

Here are the settings to use for final renders. DO NOT use these for testing lights. It's best if you half the resolution and take down shading rate to speed up lighting process until rendering final images.

In Render Settings:

• Common
  • File name prefix: <RenderLayer>/<Scene>_<RenderLayer> (right-click)
  • Image Format: Tiff16
    Frame/Animation ext: name.#.ext
    Frame padding: 3
  • Resolution: HD 720
• Quality
  • Shading rate: 1.0
  • Pixel Samples: 12.0 x 12.0 (to smooth out DoF and motion blur)
  • Filter: mitchell
  • Filter Size: 4.0 x 4.0
• Features
  • Motion Blur: ON
  • Ray Tracing
    • Trace Bias: 0.01
    • Max Spec Depth: 2

Depth of Field Settings:

• F Stop: 8 (maybe)
• Focus Region Scale: 1.0

Settings in RenderMan Controls:

• RenderRadiosityPass
  • Shading Rate: 2.0
• SSRenderPass
  • Shading Rate: 1.0
  • Pixel Samples: 4.0, 4.0

LightRig for Opening Shots (shot1-13)

Hey Guys:
The light rig for opening shots are already exported into the address: assets/lights/09.0_lights/09.0_lights.proj
There are two files,  one for the environment, one for Gus. which are:
shot09_EnvLightRig.ma
shot09_GusLightRig.ma

So to use the Light Rig, just import those two files into your lighting shot.
and here is the light link information:

shot09_EnvLightRig.ma:
 1.RenderManEnvLight1             linked to all the objects   used for emit Diffuse
 2.RenderManEnvLight2             linked to all the objects   used for emit Spec
 3.skyLight              linked only to the sky plane   used for light up the sky image plane
 4.groudKeyBlueLight/groudKeyYellowLight        linked to the cliff   used for light up the snow cliff, both only emit diffuse, and only yellow one have shadow
 5.groundKeySpecLight   linked to the cliff   used for light up the spec component of the snow, only emit spec
 6.groundAdditionalKeyLight   linked to the cliff   used for add additional brightness to foreground in order to create sense to depth and layer for shot09(you may not need this light in your shot, if not, just hide it)


shot09_GusLightRig.ma:
 1.gusKeyLight             linked to gus/sled  
 2.gusKeySpecLight             linked to gus/sled   give the charactor a soft spec highlight instead of a round spec highlight (thats why i used area light instead of spot light)
 3.gusFillLight              linked to gus/sled   used for light up the sky image plane
 4.gusBackLight        linked to gus/sled  you may need to move this light for your own shot
 5.gusBackSpec   linked to gus/sled  give Gus a soft spec highlight on the back side of the helmet. you may not need this light in your shot.
 6.gusBounce   linked to gus/sled but UNLINKED from the eyes

I putted the rigs into shot03 for a test, and here is the rendered image:

this is a rendered frame form shot9, which can be taken as the color reference.


You can see, it doesn't really match the shot but it still gives you a OK start for lighting.


Hope this helps! and just ask me if you have any question about the rig : )




 

Lighting Intro shots assignment

Lighters! Check out the project spreadsheet for your shot assignments:

https://docs.google.com/spreadsheet/ccc?key=0Akw17UNxZ6apdG5NUVFFNFNuUUVDX0ctWlFlMzg4dEE#gid=0

It would be helpful if you can update this throughout your process. Don't forget to send renders to Dave for feedback!

Lighting progress

Shot 9:

Shot 17:

Shot 25:

Shot 26:

Shot 30:

More Matte Paintings

These are still rough, especially the last one which is for the closing scene, but it should be enough to where people can start using them to light.  They are both in the lighting directory under matte paintings.

Shots to get ready to show Dave

Ready by 10/26
 

Shots	Member	Priority
4	RJ	O
9	Siran	O
15	RJ	O
17	Siran	X
24	Brian	X
25a, 25b	Kelly	O
26	Brian	O
30	Brian	O
35a	Kelly	O
36	RJ	O

O = must do
X = if time permits

 

Overcast Matte Paintings 1

Here are the first 2 matte paintings I've completed for the overcast scenes. Judging by the color temperature and value change between these two, it is possible that the lighter one may need a second version or an extension on the bottom for the shot where he jumps off the cliff that shows a progression into the darker purple.

 This painting is for the extreme wide shot where he's going down the vertical cliff, and any boulder/tree dodging shots that come after it.  There are background and foreground layers here so we can place the cliff between the two.

This painting is for the opening foggy shots.  I'm assuming the composition and tone values will be greatly affected by the fog that we put in from the effects team, so I kept the values more in a mid-grey range with the light portion where the flag will be.

Lighting thumbnails compilation

Lighting Team - Rig Assignments

Member	Lighting Rig	Shots
Siran	Intro	1 - 11
Siran/RJ (s18)	Sledding	12 - 20
Kelly	Airborne A	22 - 25a
Kelly	Airborne B	25b
Brian	Beautific vision	26 - 28a
Brian	Falling	28b - 34
RJ	Heaven	35a
RJ	Reality	35b - 36

FX paintovers

Concept for set-dressing of final shot

Lighting Paintovers

Sleddin Poetry

Announced by all the trumpets of the sky,
Arrives the snow, and, driving o'er the fields,
Seems nowhere to alight: the whited air
Hides hills and woods, the river, and the heaven.
— Ralpho Waldo Emerson