There was some additional lighting elements needed to be applied to certain shots because they rendered quite badly, either due to being too dark or not helping to attact the attention of the viewer.
Like earlier, I set up fill/back lights to help make the character more identifiable and the focal interest of the shot. Yet, when the night time scene occurred, I realized during rendering that it was too dark, so I need to cheat the lighting more. I actually had to break the animation of the lights positioning for moonlight and move it so that the window frame shadow wasn’t covering the characters face. Then I added a back light in front of the character to produce a soft halo effect around him to make him standout. This was even prominent in Shot 4, where the character was shilouetted from behind, so I applied a omni light to make him naturally present within the scene.
Furthermore in the figures below, I added another volumetric fallout point light to make as a render pass. Effectively, the idea like in my earlier conception, was to have a bloom effect to emphasise the dreamlike daze the character was in, as well as to add more ‘depth’ and ‘texture’ found with the use of lens flare. In these renders, it helps highlight the direction of the sun/moon and also blends the lighting more naturally into the scene.
But the real challenge came from setting up Beth’s sky and water. They were wonderful designs, but I needed to make they work coherently with the time of day using the light. At first I was rendering and saw that the water rendering regardless of illumination, but it turns out I had a luminance pass activated, so that’s it fixed.
Looking at the renders above and then the lighting rig below, you can see how I everything worked out with greater fluency. You can see the spotlight’s animation curve from day to night, but also notice the additional light curve behind it. I actually created a light that was independent to the ocean shader because I could animate the lights reflection on the water to follow the spotlight rather than reconfigure the entire lighting rig. This then also influences the colour and intensity of the water, while a plane added with Beth’s sky textures pointing from the direction the camera is.
With the sky and water added and the lights that influence them, I can now render clean, more polished outcomes to composite.