Due to the lack of time remaining, I have made the conscious decision to cut volume primitives from the animation. Yes, while the ray of moonlight accentuated the atmosphere and characters the ominous, smokey tone of samurai cinema, it just isn’t practical in a short space of time due to the inflated render time. As a result, we’ll return to it for clean ups when it comes to January’s deadline. Sexy visuals will make a comeback.
As a compromise, I thought that I would relight the scene in a different ambiance. I decided on a more subdued low key light set up. I thought of the sophistication of modernist interior design and how soft LED lights have a defused shine directly from the ceiling in a single direction. It’s almost like energy saving bulbs that illuminate softly when turned on. I used low intensity volume lights to capture the tone I wanted to set and duplicated them within the scene to create scattering. The goal wasn’t to recreate the exact lighting set up of a kitchen rather than to cheat my key lighting on the characters. I have a centralised illumination on the chopping board, but also left enough shadow to give the stylisation of the genre. With the detail of the set design, I wanted to give enough light to it to make it viewable to the audience, but only enough so that I could keep the logical understanding of the character positions. If the audience don’t know where they are, they’ll never understand the movement.
I added a subtle volume light into the corner off the room to convey a source light while turning off the shadows on the several volumes on the table to avoid scattered shadows. I wanted a simple shallow shadow to take away attention. I added a spot light through the kitchen window to maintain the moonlight, but increased the brightness of the blue and lowered intensity in order to avoid a high saturation.
At this point, as the cameras are added, lighting will continually be adjusted in order to ensure the characters are well lit and that it blends naturally to our style.