Lighting for Animation_ The Art of Visual Storytelling ( PDFDrive )

Q. Where do you think the future of lighting is headed?
A. We are heading pretty fast towards real time technology, and it’s a very exciting time to be a lighter. A day will come soon when “ren-
dering” as we know it today will be a concept that will pass into history books, much like VCR tapes and phones with rotary dials. We will
have full-blown global illumination with all the bells and whistles, and adjustments will be instantaneous. It would be a mistake, though,
to think that this change will spell the end of lighting artist as a profession, just because software and hardware will be sophisticated
enough to automatically do the grunt work that we do now. The “Make Pretty” button does not exist now, nor will it ever, because beauty
is a highly subjective concept that cannot be replicated by a machine.

Computers are still just a tool, and there will still be a need for an artistic eye to shape the look and feel of sets through lighting, to make
the characters look appealing and to balance all of the elements together.

Q. If you could tell yourself one piece of advice when you were first starting out in this industry, what would it be?
A. Work hard, and don’t let your spirits get dampened by the naysayers. There will be plenty of people who will tell you that it will be
hard or even impossible to get a job when you are first starting out. The industry is small and competitive, but if you really want to be
part of it, you can make it happen. There will be ups and downs, and your journey may take you where you never thought it would, but
understand that you can have a fulfilling career even if you are not working for one of the “big” studios. As long as you are happy doing
what you love, that’s all that matters.

Q. In your opinion, what makes a good lighting artist?
A. Understanding how to use the light and shadow to manipulate value, create contrast, and to use that contrast to your advantage.
Understanding how colors relate to one another, and how to make them play with or against each other. Color theory is important, and
a lighting artist that uses it well will be able to create a more successful image.

250 Lighting for Animation

Interview
with Kurt Kaminski

Lighter :: Walt Disney Animation Studios.

Q. What is your current job/role at your company?
A. I’m currently a Lighter at Walt Disney Animation Studios and previously a Lead Lighter at DreamWorks Animation.

Q. What inspired you to become an artist on CG films?
A. I’ve always been attracted to the freedom that comes with making something from scratch. Cartoons and animated films allow for
visual and narrative ideas to flow uninhibited by the laws of nature, and in that way are kind of a direct connection to the imagination.
Computer graphics gives us a huge array of tools to play with these ideas at a high level. Of course, seeing this stuff in action had the
biggest impact on me as a kid. Films like Who Framed Roger Rabbit?, Jurassic Park, and The Nightmare Before Christmas gave me an itch
that I didn’t know how to scratch until I started pursuing computer graphics.

Q. What non-CG artwork inspires you?
A. There’s just so much out there. I like art that helps us see things in larger or totally unique contexts that we would otherwise be oblivi-
ous to. Edward Burtynsky and Ernst Haeckel come to mind, as well as what David Wilson has done in the Museum of Jurassic Technology.
Some of the art stemming from the sciences is really amazing as well. I’m a huge fan of Michael Hansmeyer and Henry Segerman. Nature
is the ultimate inspiration.

Master Lighting 251

Q. When first starting your master light rig, what is your approach? Do you light right away? Do you look at reference? Do
you do paintovers?
A. My approach to lighting anything is “broad strokes,” so finding the things that are contributing the most to the look is the first order of
business. What is actually happening in the sequence? From there, depending on the complexity, I might start lighting right away (a sun-
ny exterior, for example), or I’ll gather information via paintovers, photo reference, and other films. At the same time I’ll begin considering
the unique challenges each sequence comes with, such as heavy effects or computationally expensive set pieces. At some point images
start happening, more information is collected, and the process is underway. The manner in which the rig actually comes together is
different for every sequence. I learn something new every time.

Q. How does your approach change between master lighting a shot versus lighting an individual shot?
A. The approach stays the same—broad strokes. Getting the main ideas and biggest contributing factors down first still applies to individ-
ual shots as much as it does to developing the rig, it’s just that your brush strokes will get smaller and more precise until the shot is finaled.
The biggest practical difference with individual shots is the shift in focus to character lighting. The environment will usually be pretty well
established by the rig, so now it’s all about getting the characters to look good.

Q. What do you think is lighting’s largest contribution to an animated film?
A. We are hardwired to understand lighting phenomena, so when we see it in an animated film it helps to draw the viewer in, adding
belief and gravity to the story. The result is lighting’s biggest contribution—making it look amazing.

Q. Where do you think the future of lighting is headed?
A. Technologically, lighting has been on a path towards ever more physically accurate models, even in animated films. The current trend in
adopting stochastic raytracers demands that lighters have an increasingly intimate understanding of how light behaves in the real world.
Beyond that, I expect greater integration with compositing and further crossover with video games as their tools rapidly become more
filmic. Virtual reality is also an interesting prospect and presents a bunch of new aesthetic challenges for the next generation of lighters.

252 Lighting for Animation

Q. If you could tell yourself one piece of advice when you were first starting out in this industry what would it be?
A. Broad strokes!
Q. In your opinion, what makes a good lighting artist?
A. Someone who is both a great photographer and a fearless problem solver will almost certainly be an excellent lighting artist.

Master Lighting 253



11

Closing Statements

Having a successful career as a lighting artist takes more than just
the technical and artistic abilities already discussed in the book.
Like any career, there are the ins and outs of the logistics of the
industry that must be taken into consideration. Just as there is no
magic button for lighting a shot, there is no single answer to how to
become a successful artist in the industry. There are many elements
that should be considered when beginning a career and continue
to be focused on when moving forward. The common question is:
What are the keys to landing the first job and how does one become
successful once in that job? This chapter will explore these more hu-
man elements that go with getting your first job and being success-
ful in this industry.

Still from the animated short The Fantastic Flying Books of Mr. Morris Lessmore.
Property of Moonbot Studios.

Getting Started as a Lighting Artist train is the artist’s eye and ability to take that technical knowledge
and turn it into a beautiful image. By demonstrating these abilities,
Getting a first job in this industry can be a daunting, stressful, and the artist can visually demonstrate that he or she is ready to tackle
difficult process. It can try the patience and shake the confidence the challenges of the job.
of even the most talented artists. This is an exceptionally difficult
time, but artists can take comfort in knowing that anyone who has Less is More
ever been successful in this industry started out in the exact same
situation. It is often said that a demo reel is only as strong as its weakest
element. That is because a demo reel is regarded as a collection
Demo Reel of the best work created by that artist. It is meant to exemplify the
artistic ability and aesthetic judgment of that artist. If one piece of
The demo reel is the most important weapon an artist has when the demo reel is below par compared with the other work being
hunting for a first job. In short, a demo reel is a one- to three-min- displayed it will be perceived that the artist may not have the aes-
ute video compilation of an artist’s best work. An education and thetic aptitude to distinguish that work from others.
degrees are great, but if an artist cannot demonstrate the ability
to translate that knowledge into beautiful images then it does not This means the artist must make difficult decisions. Often art-
matter. Recruiters and companies need the artist to demonstrate ists have too many emotional connections to work that can thwart
the skills to do the tasks they will be paying him or her to complete. their judgment. Maybe a specific shot took months to complete
and the artist could never imagine editing it out after working on
The first thing anyone reviewing a demo reel will look for is it for so long. Or a shot is about the artist’s relationship with a loved
the ability to demonstrate the core, aesthetic concepts of being a one and therefore carries extra weight even though the visuals are
lighter. Does the artist understand how to create mood and influ- weak. In these situations artists would be wise to seek the advice of
ence the story through lighting? Does the artist know how to bal- others whose opinions they trust. They should ask several people
ance light and color to make an aesthetically pleasing final image? what piece is the strongest and which is the weakest, then listen
The ability to do this repeatedly in multiple lighting circumstances carefully to the responses and take action if the opinion is in gen-
is exactly what a feature animation house is looking for. eral agreement.

Generally speaking, the software or renderer used in creating Smart edits are extremely important to the construction of
the work for the demo reel is secondary. Many animation studios a successful demo reel. Be sure that the strongest work is in the
have some form of proprietary pipeline or renderer and know they beginning. Many times reviewers will never reach the end of the
will need to train any incoming artist on this. What they cannot reel if the first few images do not pique their interest. As an artist,

256 Lighting for Animation

you need to engage the reviewers immediately, otherwise you that the work demonstrated on the reel must directly relate to the
may lose the reviewers’ attention before they can review your best job in question. The demo reel should be the artist’s absolute best
work. This is why it is important to put your best work first. work that is applicable to the job. Only if the traditional artwork
falls into this category should it be included and only at the very
Cater the Demo Reel for the Job end of the reel.

The person reviewing the reel is trying to decide if his or her com- Demo Reel Integrity
pany should invest a large amount of money into a particular artist
to complete a specific task. The specific task will vary depending This should go without saying, but artists should never, ever falsify
on the studio. Some studios will require more compositing while information on a demo reel. They should not add work that is not
others will require shading work. Some studios will want to see theirs and they should never claim to have done more on a shot
more photorealistic environmental renderings while some studios than they did. This can be the fastest way to not only lose out on
are more stylized and focus heavily on character lighting. one job opportunity, but also completely ruin a career.

So, as an artist, give them what they want. Demonstrate the Even though this seems obvious, there are countless occur-
skills they are looking for and prove their money will be spent rences when this has taken place. Reviewers have even encoun-
wisely by hiring you. Do not waste their time with a bunch of work tered instances where they see their own work on an applicant’s
that doesn’t apply to the job. If the company is about creating an- reel. What do you think that applicant’s chances are of landing that
imated features with strong character lighting, they will overlook job? Worse yet, after it is revealed that the applicant lied on his or
a shot that proves an artist can integrate a cell phone into an ab- her demo reel, what are the chances that artist will get hired at that
stract background. It is up to you, as the submitting artist, to cater company ever again? This industry is incredibly small and word of
the reel to convince the reviewer that you are able to complete these types of events spread quickly. The end result is that an art-
the task. ist’s reputation acquires a huge blemish that may never go away.

Including Photography Connections
and Other Traditional Artwork
Connections are such a powerful tool when job hunting. Reach-
This topic is difficult and opinions tend to vary widely. While photo- ing out to former co-workers, college classmates, and acquaint-
graphs, paintings, sketches, or other traditional artwork can distin- ances can be an amazing way to find out about employment op-
guish the artistic skill of one artist versus another, they should only portunities. Connections can inform artists of jobs before they are
be used if the work is exceptional. It cannot be stressed enough even posted. Jobs are frequently obtained through connections as

Closing Statements 257

opposed to just submitting a demo reel and resumé because between projects and this makes it difficult for artists to prove their
these submissions can be accompanied with a good word from worth and grow quickly. Smaller studios also give artists the oppor-
someone already at the studio. tunity to spread their wings and have a hand in a larger part of the
pipeline, while the larger companies will make artists specialize.
For those reading this that are still in school, these connections Also, the shorter turnarounds at commercial houses can lead to
are already being formed. The work ethic and reliability displayed more frequent job openings while the larger houses can go years
even at this point can influence landing a job several years down without lighting positions becoming available.
the road. Recruiters will often asked current employees that went
to school with a candidate what their impressions of that person Managing an Online Profile
were. Was the candidate a positive person who was easy to work
with? On group projects, did the candidate contribute a fair share One of the first things some companies do when interested in
and prove to be a good team member? There are instances where a person is to complete an online search. This will lead to social
a person’s behavior when in school will jeopardize the opportunity media accounts, projects the artist worked on, personal websites,
at a job several years later. and any other information that is readily available about the artist
online. This is an inevitable truth so it is best for the artist to ensure
Applying for Jobs that his or her online persona is not a liability.

Early on in an artist’s career it can be difficult to determine which There are the obvious elements that exist online that anyone
job openings are realistic opportunities. The opportunities at the applying for a job would be wise to remove. A good rule of thumb
top feature animation studios could be the main focus of recent is to try and remove anything compromising that you wouldn’t
graduates, but often the major studios will not even consider want your mother to see. Anything that depicts the artist doing
someone without industry experience. The best bet for students anything illegal should be removed, or anything that shows gen-
and young artists is to focus either on entry-level artistic or techni- eral immaturity.
cal positions within those companies or on jobs at smaller houses.
Should artists remove all photos of parties and having fun? Ab-
Smaller companies are actually a great way to go for artists early solutely not. It is actually a good thing to show that an individual
in their careers because of the opportunities they provide. These has a bit of a personality and has interests outside of work. This
companies are often working on shorter projects like commercials industry is very relaxed, but the competition for positions can be
or television shows. These shorter deadlines mean artists get to tight and even a small implication of bad decision making can be
work on many projects and quickly expand both their knowledge the breaking point between getting a job and not.
and their demo reels. Larger companies can take a year or more

258 Lighting for Animation

Negativity can actually hurt a candidate more than anything. If ask if the interviewee has any questions and it is always a good
the online search reveals someone that complains a lot and is gen- sign when a candidate has questions queued up and ready to go.
erally a negative person, that could be a big red flag to a manager. • Practice answering questions in the mirror or with someone else.
Remember, the employer is wondering if an individual is some- This practice will make the real thing much more manageable.
one he or she wants to spend eight to fourteen hours a day with, Displaying confidence can be a tricky thing because the artist
five to seven days a week. If that person spends hours every day must show pride in his or her own ability while maintaining a level
complaining, then it is an issue. The worst situation is if the online of humility. Over-confidence can easily be read as arrogance and
profile shows the candidate complaining about a previous job and can be off-putting to the interviewer. The last thing the interview-
boss, because chances are he or she will do the same again. So be er wants is to bring in someone who is a “know-it-all” and will be
aware of the online representation of yourself and make sure it is difficult to train. Finding a nice balance between the two will lead
not making it harder to get a job. to a good interview.
One approach is to treat each interview like seeing an old friend
Interviewing for the first time in years. Treat the interviewer as if he or she is fa-
miliar and therefore comfortable and the interviewee is just having
The key for any artist interviewing for a position is to be prepared a chat to catch up on the last few years. This will make the can-
and confident in one’s abilities. Being prepared starts with re- didate’s greeting warmer and more sincere and the conversation
searching the company. Discover the history of the company, es- more natural. When this is working at its best, the interviewee will
pecially the projects they have done and the current projects they take the lead of the interviewer and reciprocate the warmth.
are working on. Nothing is worse than going into an interview at After the interview is complete, make sure to follow up with a
one company and praising the work done on a commercial or film thank you email or letter, something that shows appreciation for
when it was actually created by a rival. them to have taken time out of their busy day to conduct the in-
terview. This is an old practice, but it is still appreciated.
Other preparations prior to the interview include:
• Make sure to know where the interview is being held and how It’s Not You … It’s Me

long it takes to get there. Tardiness makes for a terrible first im- Something that often gets misunderstood by those first entering
pression. the industry is that so much of landing a job comes down to tim-
• Wear something professional that is comfortable. The goal is to ing. There are instances in which it doesn’t matter how great the
be presentable while still being loose and relaxed. This industry demo reel was or how well the interview went, other external forces
is very informal so something clean and casual is perfectly fine.
• Prepare questions for the interviewer. Inevitably, he or she will

Closing Statements 259

determine whether or not a candidate will get the job. An artist can control so it is important to focus on what is manageable dur-
could be charming and talented and exactly what a company is ing a salary negotiation.
looking for, but sometimes there are extenuating circumstances.
The starting point for salary negotiation is to understand who
One is the availability of the position. There have been times has the leverage. Unfortunately, when it is the first job, the compa-
when a candidate has interviewed for a position and everyone ny normally has almost all the leverage unless the candidate has
agreed he or she would be a good fit for the role. Then something multiple offers. They know there are many young artists that want
happens and the money that was delegated to hiring that position a particular position and can therefore find the one that will accept
needs to be reapplied elsewhere and the company can no longer the salary they are willing to pay. In other circumstances later in
afford to hire anyone new. So even though the interview was great an artist’s career, when one company is trying to hire artists away
and the department loved the candidate, there was no longer a from another company, then the artist will have more leverage and
position available. room for negotiation. In either case, it is important to understand
the dynamics of the situation so the negotiation can be managed
Another situation is when a position has already been offered successfully.
to one artist, but the company continues to hold interviews in case
that initial artist turns it down. So it doesn’t matter how great those The other main area of focus is for the artist to realistically as-
other interviews are, if the person who was first offered the job ac- sess what amount of money he or she will be willing to take to
cepts, no one in those additional interviews will get the job. This accept the position. There are multiple factors at play including
does not mean the artist should not try because a good interview cost of living for the given area. It is much more costly to live in
could open opportunities in the future. If the candidate makes a Los Angeles, London, or New York City versus other cities. Does the
good impression, the employer will most definitely remember that company cover other expenses like health insurance, retirement
person for future employment opportunities. Regarding the imme- savings, and/or paying to move the artist? Does the company offer
diate position, there was nothing that could have been done to overtime or a bonus based on the success of projects? All of this
receive that job offer so, sometimes, it is an “It’s not you, it’s me” will play a role in the negotiation process and determining how
scenario. much an artist will need to live in a certain location.

Salary Negotiation

The first job offer has come in. Congratulations! Now is the time to
start the salary negotiations. Salary negotiations are absolutely an
art and each situation is unique. There is only so much the artist

260 Lighting for Animation

Thriving in the Industry at the company have probably been doing this for a number of
years and have a great deal of experience. While a new hire’s own
The treacherous waters of finding a job have been navigated experiences and past work are extremely valuable and could
and now it is time to start the new career. Obviously, the most benefit the new company, when first starting out it is better to
important thing is to show up and do the job as proficiently and as listen, learn, and focus on becoming familiar with the new envi-
well as can be done. There are, however, some other bits of advice ronment.
that have been learned over the years that could definitely benefit
those just starting out. For the first few weeks at a new job, new hires should have a
notepad glued to one hand and a pen to the other. They should
First Impressions Stick listen intently to everything said and jot down notes as they go.
Even if the note is using some in-house jargon that is not yet un-
The first few weeks at a new job are of the utmost importance for derstood, still write it down and figure it out later. This practice will
establishing a baseline for long-term success at a company. These benefit new hires in a number of ways:
are the days when a new worker will meet and possibly complete • It will make it visibly clear to those conducting the training that
his or her first assignment with supervisors and co-workers. How a
new employee behaves and performs during this time period will they are listening and retaining the information.
create an identity that could stick for a number of years. Is this per- • After the demonstration, new hires will often have questions
son an employee that comes in on time and delivers the assign-
ment ahead of schedule? Or is this someone that says something about sections that were covered in the demonstration. They
is going to be done and then takes a week longer than expected can refer back to the notes instead of asking the person to
to finish it? Is he or she polite, hard-working, and extremely grateful re-explain something that has already been covered. Nothing
to be working in that environment? Or does he or she complain annoys a busy person more than having to explain something
often and seem hard to work with? These first impressions greatly multiple times to the same person.
matter so it is best to be aware of how you are displaying yourself • By not asking obvious questions, new hires can appear as
to the new co-workers. though they are intelligent people that only need to be told
something once—a skill highly sought by any supervisor.
Be Humble and Be Grateful for Others’ Time
Be Fast
Confidence is a great thing, but when first starting a job it is best
to err on the side of humility. Understand that the artists already The first thing any artist wants to do is come into a studio and
prove he or she can make beautiful images. This is clearly impor-
tant and definitely something worth striving for. The one element

Closing Statements 261

that gets overlooked that is probably more important is speed. tic answer to the question of “When is that assignment going to be
The easiest way to impress supervisors is to complete assignments completed?” If you are working on something that will probably
quickly. This is because new artists are often given the lower priority take two days there is the temptation to say it will only take one,
shots and ones with a lesser difficulty. While the temptation may to have others be impressed with your efficiency. The problem
be there to spend countless hours tweaking and perfecting every is when something goes wrong, as it always seems to, then the
pixel of these shots, it is often most important to get a solid image assignment will still take two days to complete. Now the assign-
rendered out quickly and available for review and approval. This ment is late and everyone is disappointed. Conversely, imagine if
isn’t to say that the artist should make aesthetically poor images. It you had set the expectations lower by saying that there may be
is just far more important to have three good-looking shots ready some issues and the task could take upwards of three days. Then
for review rather than one great one. you still deliver it in two days and everyone is happy because you
delivered the assignment early. It is the exact same outcome, but
Be Someone You Would Want to Work With in one situation everyone is happy with you, while in the other
they are disappointed.
The easiest way to describe how to behave when first getting a job
is to visualize the ideal co-worker and then be that person. The first Always Hit the Notes
step is just to be a positive member of the team. Do not sit around
complaining to everyone or whining about the task at hand. Does There are times when an artist will disagree with the notes given by
this mean everyone needs to have bubbly, upbeat personalities? the director or supervisor. Lighting is subjective and this will defi-
Absolutely not. Be yourself and just focus on the positives, and al- nitely happen on occasion. There may be a temptation to demon-
ways maintain the attitude that you are going to get things done. strate artistic prowess and ignore this note and do it another
way. This is the worst thing new artists can do if they would like to
Be Reliable have a chance at getting their idea in the final product. No matter
how good it looks, the supervisor’s first thought will be, “This is not
When you say you are going to get something done by a specific what I asked for.”
time, get it done. The last thing co-workers want to hear is a bunch
of excuses, so figure out a way to get it done. A great way to get on The thing to do is to hit their note exactly. Then do a second-
your co-workers’ good side is to be someone that can be counted ary version of the same shot with the look the artist envisioned.
on to deliver. This can be done through lighting, but it could be equally effective
through a quick mockup in the composite or even just a single
One facet of delivering work on time is managing expectations. frame still. This will do a few things:
When first starting it is common to want to give the most optimis-

262 Lighting for Animation

1. It will show the director or supervisor the respect they deserve. • Avoid sarcasm until a higher level of comfort is obtained with
They probably have a lot of experience in the industry and as- co-workers. Sarcasm or any humor that requires a tone of voice
cended to the position they occupy by having a good eye that can be completely lost in an email and the sender can be misin-
should be trusted. Put yourself in their shoes. You would want terpreted as being rude or impolite. At first it is best to avoid those
your notes to be hit, too. problems altogether until a stronger reputation is established.

2. The two versions can quickly be compared and the director or • Limit emoticons and exclamation points. Although they are
supervisor can quickly make a decision based on two visuals perfectly acceptable for some, others view these as unprofes-
instead of theoretical ideas. sional and childish.

3. Even if the alternative look the artist has created is not chosen, • Do not send email links to funny articles or video clips. Again,
this shows initiative and the fact that the artist tried to push the a new hire is trying to make the impression of being a focused,
envelope and did it in a respectful and professional manner. hard worker and these types of email give the impression of
someone slacking on the job. Other people may send these
Email Etiquette types of links, but until new hires are established it would be
wise to avoid them.
In most companies, much of the work and communication is done
via email. These emails can be tricky and require a certain etiquette. • Finish the email thread. If an email thread is reviewed after it is
To start, stick with these simple rules until the email culture of a completed there should always be one final email with a sim-
certain company is determined: ple “Thanks” or “My pleasure” that shows all participants that the
• Keep emails short and concise. People are extremely busy and conversation is done.

receive a lot of email. If the main purpose of the email is buried Learn the Office Rules
in the second paragraph, it will get overlooked. Try and limit
emails to just a few sentences. Every office has special rules that all employees must follow. These
• If someone sends an email requesting that an artist do some- rules are unique to specific offices and can be the source of much
thing, always respond as quickly as possible that the email has frustration from veteran employees if the new people don’t adhere
been received and the task has begun. Even a simple response to them. The rules are usually like:
of “On it” works perfectly fine. If no response is received, the • If someone finishes the coffee, make a fresh pot.
sender may think the email was missed and become frustrated • Don’t eat other people’s food from the common refrigerator.
even if the work is being done. This is just good communication. • Make sure to put the proper recyclables in the proper bins.
• Maintain a respectable volume.

Closing Statements 263

These things may seem inconsequential, but they could be a huge Final Thoughts
source of irritation for co-workers.
In many ways, this is a unique and rewarding career path. We get
Recommendations to make pretty pictures all day long and generally entertain people
with our work. We are able to satisfy the artistic side of our brains
The same way you will reach out to your connections when job while simultaneously tackling technical issues. Some of these im-
hunting, others will reach out to you once you have established ages will last a lifetime and will always be a source of pride. We
your career. In fact, the situation will often arise when a company hope you will join this industry and help make the world more
is looking for new hires and will turn to existing employees for rec- beautiful, one frame at a time!
ommendations. Recommendations are not something to be taken
lightly. We all have friends looking for jobs who we would love to
help out, but are you willing to stake your reputation on the line for
that individual? Take a minute to think this over and be realistic. If
that individual comes in and performs poorly, the disappointment
and negative burden will be placed just as much on you as on him
or her. Only give official recommendations when you are absolute-
ly certain that person will perform admirably.

264 Lighting for Animation

Interview
with Deb Stone

Manager of Recruiting and Talent Development :: Blue Sky Studios.

Q. What is your current job/role at your company?
A. I am the Manager of Recruiting and Talent Development at Blue Sky Studios.

Q. What inspired you to work in the CG industry?
A. I was lucky and actually fell into this industry but have been inspired to stay in it ever since. I have worked for two major studios in this
industry and there is one thing that has never wavered: it’s the people that make this industry what it is; they are passionate and excited
about the work they do and it keeps me inspired to be around them every day.

Q. You have seen countless students’ reels. What is something that makes one student reel stand out from the rest?
A. It is a challenge for students to make their reels stand out these days. The reels that do stand out show tests related to the specific
discipline they are applying for and each test in the reel is artistically and technically sound. We need to see that the person really has an
understanding for their craft. It’s the reels that think outside the box showcasing personal tests or shots from a short that go above and
beyond a standard classroom test. I’m constantly telling students to show only their best work. The worst thing in a reel will hurt their reel
the most.

Closing Statements 265

Q. When speaking with potential candidates about a position, what are you looking for? Positive attitude? Good commu-
nication skills? Clear knowledge of the subject matter?
A. First and foremost, for most disciplines a strong reel is the most important thing. Once a candidate makes it to a phone or in-person
interview, they need to have a positive attitude, good communication skills, and knowledge of their craft. Depending on how technical
the position is there could be a lot of detailed questions that a person will need to be prepared to answer. It’s also always important that
we can tell from an interview that the person will be a good team player and that they are humble and eager to learn.

Q. What advice would you give someone going into an interview? How can they put their best foot forward?
A. I think there are three things a candidate can do to prep for an interview.

1. I know it’s hard, but try not to be nervous; try to be yourself. Sometimes nerves can get the best of someone, which makes it hard
for the interviewer to really get a feel for who the candidate really is.

2. Prepare yourself for the interview, do some research on the company, make sure you know about the history of the company and
why you as a candidate are interested in that company.

3. Enthusiasm and humility go a long way!

Q. What is the worst thing someone could do in an interview?
A. The worst thing someone could do is lie. It is important that the candidate can explain everything in their reel and on their resumé.
For example, if a candidate says they are knowledgeable about a specific tool, that candidate had better be able to clearly articulate their
understanding and explain how they have used that tool in the past. As a candidate you never want to get a question in an interview that
you can’t answer, especially if you say you are knowledgeable about that topic on your resumé.

Q. What should someone include and exclude in their reel?
A. A reel should contain only the person’s best work. There is no right or wrong answer on how long a reel should be, but for students a
reel should only be a few tests or projects. Reels should also start with the candidate’s strongest piece and contain only their best work!
(Am I sounding like a broken record yet?)

When applying to a company, candidates should tailor their reels for that company. For example, feature animation studios (for the
most part) want to see people who are more specialized in a skill set where smaller studios may want to see people who are generalists.

266 Lighting for Animation

There is also a difference in styles between features, TV, and games. It’s OK to create multiple reels; just make sure when applying to a
company that you know what they are looking for.
Q. In your opinion, what makes a good lighting artist?
A. A good lighting artist has a good artistic eye and can make their shot look like a piece of art. They understand how to frame their char-
acters and how to play with highlights, shadows, and ambience in a way that makes the viewer intrigued to keep watching. The lighting
in a shot should guide the viewer’s eye to the action and should not be distracting.
Q. If you could tell yourself one piece of advice when you were first starting out in this industry, what would it be?
A. The industry is really small, so get to know as many people as you can and build your network. You never know when your connections
and networks will help you land your next job, so always be nice! You don’t want to tarnish your reputation by being a jerk.

Closing Statements 267

Index behind-door light source 30, 31 chatter (noise) 93, 95; reducing 176-7
Belasco, David 119 Cholich, Eldar 248-50
2D motion blur 176 Ben Hur 69 color 14-15, 27, 184; ambient 157; complementary
3D imagery 228 Beversdorf, David Q. 26
Bierstadt, Albert 32 colors 20, 186; good and bad characters 22-3; hero
A biological interpretation of color 106-7 color 130-1; interior lighting 138-9, 140; key light 72;
bit depth 93 materials 153-5, 157; and mood 14-15, 106-9, 125;
A/B comparison 246 black background 78 overall 153; processing reference 34, 36-8; prop-
acromegaly 28 black points 147 erties of light 52-3; reflected 155; shadows 39, 59;
actual object reference 34 blinn shader 88 specular 154
Adams, Ansel 116; zone system 121-2 blue 52-3, 106-7 color corrections 168-70
additive color mixing 36, 52-3 Blue Sky Studios 21, 23, 96, 179 color keys 68, 97, 236, 237-8
aerial perspective 144-5 blur 110, 116; edge blur 171-2; motion blur 95, 176 comics 229
Alarm 154 bounce light 37, 38, 76, 190, 202, 216; role 73-4 commercial work 230
aliasing (stair-stepping) 93 Brave 131 common CG lights 48-51
alpha channel 164; color corrections 170 broad strokes approach 252, 253 comparisons: changes 78-9; matching shots 246
ambient color 157 Buckland, Wilfred 119 complementary colors 20, 186
ambient lights 51 bump mapping 155 compositing 151, 164-77, 244; 2D motion blur 176;
ambient occlusion 86-7, 167 Bunny 23 character beauty lighting 202-3; color corrections
ambient shadows 56 Burtynsky, Edward 251 168-70; depth of field 174-6; diffusion 172; edge
animated values 33; avoiding in the master rig 242 blur/light wrap 171-2; final touches 171-7; layering
Ansel Adams zone system 121-2 C 164-8; lens effects 174; reducing noise 176-7;
aperture, lens 115-16 vignetting 173
appetite 106-7 Calahan, Sharon 43-5 compression 91
Archer, Fred 121 Campbell, Heather 26 confidence 259
area lights 50-1 career development 254-67; demo reels 256-7; connections 257-8, 267
artifacts: lens effects 174; render 93, 95 contact sheets 235
artificial light sources 139-40 getting started 256-60; job applications 258-60; contrast 16, 17, 108-9
artistically positioned shadows 114 learning in the first job 260-3 contrasting elements 112
aspect ratio 69 Cars 2 44 cornea 135, 136, 137
atmospheric perspective 144-5 Cartoon Saloon 96 corners 143
attribute layers 83-5 cast shadows 56 cultural interpretation of color 107
Caza, Philippe 229 Cunningham, Imogen 116
B ceilings 143
Cel Animation 165-6 D
Bambi 145 CG lights, common 48-51
beauty lighting 200-8 character beauty lighting 200-8 dance floor 219, 222
beauty render layers 82-3 character and environment walkthrough 209-17 Dart, Kevin 125
Beddini, Andrew 62-4 character lighting 130-7, 193; multiple characters 221, 222 Day, Doris 109
character style sheets 42, 68, 236 dead-eyed characters 135

268 Lighting for Animation

decay, light 34, 40, 55, 185 F Goldwyn, Sam 119
DeMille, Cecil B. 119 Google Images 249
demo reels 126, 179, 256-7, 265, 266-7 falloff 34, 40, 55, 185 green 52-3, 107
depth of field 115-16, 174-6, 190, 193, 211-12 false memory 26-7 Gribouille 228
diffuse illumination 54-5, 211 Fantastic Flying Books of Mr. Morris Lessmore, The 15, 19, Groomes, Red 195
diffuse layers 84 Group F64 115-16
diffusion 16, 141, 172, 211, 215, 225 122, 171
direct lighting 35, 37 Feral 85 H
direction of light 34, 35 Ferriss, Hugh 63
directing the viewer’s eye 14, 18-20, 98, 102, 110-16, Figueroa, Anuar 209 Haeckel, Ernst 251
fill light 35, 73, 76, 201, 202, 211 Hallmark commercial 231
126; character and environment 209-10; character Film Noir 109 Hansmeyer, Michael 251
lighting 132-3 film reference 33 hard shadows 39
directional lights 49 final render settings and tricks 95 Harper, Charley 125
disagreements, managing 262-3 Finding Nemo 124 HDRI data 230
disco ball 220-1, 222, 223, 224, 225 fine arts: gathering reference 32; painting see painting Heda, Willem Claeszoon 118
displacement 155 first impressions 261 hero color 130-1
distance to camera 115-16 first job: getting 256-60; working and learning in high key lighting 102
distant lights 49 Hill, Brian 178-80
documentation 242-3 260-3 Hillier, Ashleigh 26
Druillet, Philippe 229 floating point images 93 honesty 257, 266
Dungeon Keeper 2 231 floors 143, 219, 222 horror films 16, 17
Dusseault, Yannick 124 focal length 115-16 HSL color method 53
focal point 110 HSV color method 53
E focus: more defined 132-3; racking 174, 175 Hudson Valley school of painting 195, 249
food 106-7 hue 53
edge blur 171-2 Ford, Walton 63 humility 261
Edmond était un âne (Edmond was a Donkey) 75, 111 frame blending 176-7
eliminating unnecessary lights/geometry etc 70, 242 framing the character 133-4 I
email etiquette 263
Emperor’s New Groove 108 G I, Pet Goat II 115
environment 57; character and environment Ice Age 22
gamma 71; color correction 169 ideal co-worker 262
walkthrough 209-17 Giant 109 image file types 91-2
Epic 21, 22-3, 98 Giménez, Juan 229 image outputting structure 94
exaggerated values 79 gist memory 26-7 image plane 78
expectations, managing 262 glass 160 image size 70, 94, 95
exterior lighting 29, 144-7, 188 goals of lighting for animation 14 Impressionism 195, 249
eye dings 136, 137, 185, 205 gobos 49, 60-1, 146, 186; gobo maps for multiple incandescence 157
eyes 135-7, 193, 203, 205, 206, 214 Incredibles, The 15, 124
characters 220, 221, 222, 223
God rays 56, 146
Goldsworthy, Andy 229

Index 269

indirect lighting 35, 37-8 layers, render see render layers master lighting rig 240-3
intensity of light 54; interior lighting 138-9, 140; pro- leading lines 110-11 master shots, picking 238-9
learning in a first job 261 matching shots to master 244-6
cessing reference 34, 35; well-lit shots 102-7 lens effects 174 materials 151, 152-63, 179, 180; common adjustments
intensity wedges 79, 80 lens flare 174, 225
interactive light placement 78 Leonardo da Vinci 145 to shaders 162-3; simulating specific materials 158-
interior lighting 30, 138-43, 188 Leucotopia 103 61; surface attributes 153-7
Internet 34; online photo reference 44; online profile library, reference 41 matte layers/passes 89-90, 170, 225
light decay 34, 40, 55, 185 McCorkle, Rocky 120
management 258-9 light direction 34, 35 memory 26-7
interviewing 259-60, 266 light intensity see intensity of light metals 158
iris 135, 136, 137 light linking 81, 163 Missing Scarf, The 132
Iron Giant, The 96 light over dark 19, 20, 132, 133, 184 mockups 68
isolating lights 78 light wrap 171-2 Moebius 229
isolating problems 79 lighter’s toolbox see toolbox, lighter’s mood 149, 190, 195; color and 14-15, 106-9, 125;
isolating the render 70 lighting attribute layers 83-5 setting 14-16, 63, 102-9, 125
lighting over black 78 ‘Mother Bird’ Hallmark commercial 231
J lighting scenarios see scenarios motion blur 95, 176
lighting walkthroughs see walkthroughs multi-pass approach 179
Jansen, Théo 229 lightness 53 multiple characters 218-26
job applications 258-60 linear workflow 71-2 multiplication: color correction 169; merge operation
JPEG file format 91, 92 linking, light 81, 163 166, 167
‘Just Like You’ 231 Little Freak 16, 75, 103
Juste de l’eau 132 live action plate 229-30 N
longer shots 94
K look development 236-8 naming conventions 94, 240, 242
lossless file formats 91 naturalism 99
Kaminski, Kurt 251-3 low key lighting 103 negativity 258-9
Keillor, Jocelyn 26 Ludwig, Carl 23 newly hired artists 260-3
key light 35, 36, 148-9; character beauty lighting 201, luminance key 212 noise 93, 95; reducing 176-7
Nosferatu 16, 17
204-5; character and environment 210, 216; creat- M
ing 76; high key lighting 102; low key lighting 103; O
rim key lighting 104; role 72 Mabille, Yann 228-31
key to fill ratio 35, 73 Mac and Cheese 112, 144 observation see reference
kick lights 74, 76 Marilyn Myller 104 office rules 263
Knapp, Michael 96-9 master lighting 232-53; compositing 244; layers 243, Oga, Kazuo 124
Oli, José Manuel Fernández 124
L 244; lighting pre-production 234-5; look develop- omni lighting test 162, 163
ment 236-8; shot lighting 244-7, 249, 252 online photo reference 44
L3.0 133 online profile management 258-9
lamps 139-40
landscapes 144-7
layering 164-8; common methods 165-8

270 Lighting for Animation

OpenEXR file format 91 Q rim lights 74, 76, 184, 185, 191, 202
Out of the Past 33 Robots 180
‘over’ merge operation 166 quadratic light decay 55 Rockwell, Norman 24-5
overall color 153 quick sketches 68 role of lighting 14-17
overnight render settings and tricks 94-5 rotation wedges 79-81
R rotoshapes (rotos) 170, 207
P Ruckus Manhattan (Groomes) 195
racking focus 174, 175 Runaway (Rockwell) 24-5
painting 24-5, 32, 44, 195, 249; still life 118; with light Ratatouille 44, 124
118-20 raytracing 23, 252 S
real time lighting 45, 63, 231, 250
passing shadows 104-5 rebalancing materials 162-3 salary negotiation 260
Penny Dreadful series 231 recommendations 264 saturation 53, 108-9
Phillips, Nicole 26 red 52-3, 106-7 saturation over desaturation 132, 133
photography 257; gathering reference 29-31 reference 24-45, 68, 249; effects of ignoring 27-8; Saturday Night Fever 218, 219
photorealism 126, 196 saving frames 78-9
physical reference 34 gathering 29-34; importance of 26-7; organizing scenarios 128-49; character lighting 130-7; exterior
Picture of Dorian Gray, The 134 41-2; processing 34-40; utilizing 41
Pio 130, 157, 162, 163, 170; character beauty lighting reference library 41 lighting 144-7; interior lighting 138-43; see also
reflection 191; specular 154 walkthroughs
200-8 reflection maps 220, 223 Schachter, Dan 26
Pixar 124 reflection passes 87-8, 137, 205, 223 sclera 135, 136, 137
placement of lights: interactive 78; and mood 102-7; reflectivity/reflected color 155 ‘screen’ merge operation 167-8
reliability 262 secondary lights 37-8, 189
wedge for 79-81 Rembrandt Lighting 119-20, 121, 201 Secret Life of Kells, The 96, 112
plastic 159 removing unnecessary lights/geometry etc 70, 242 Secret of Nimh, The 96
‘plus’ merge operation 166-7 render artifacts 93, 95 Segerman, Henry 251
pockets of light 113, 210-11 render layers 81-90; beauty 82-3; diffuse/specular 84; Selznick, Brian 96
point lights 48, 225 keeping to a minimum 243, 244; layering 164-8; sequences 234
Portnof, Gabriel 194-7 lighting attribute 83-5; setting up 81-2; shadow shaders, common adjustments to 162-3
positioning see placement of lights passes 82, 84-5, 167, 203; specialty layers 85-90 shadow passes 82, 84-5, 167, 203
pre-lighting phase 68-72 render mattes 89-90, 170, 225 shadows 56-61; artistically positioned 114; color 39, 59;
Premier Automne 112 render quality 93 directional lights and 49; interior lighting 140; light
preparing the shot 69-70 render settings, modifying 69 properties for 60-1; and mood 16, 17, 104-5; pro-
procedural maps 153, 154 render time 51, 63, 242 cessing reference 34, 39; qualities 58-60; size 58, 59;
procedural materials 180 render workflow 91-5 softness 39, 60; types 56; visual contribution 57
properties of light 52-6 RGB light layers 90 shape: of artificial light sources 140; of shadows 140
pupil 135, 136 RGB mattes: layers 89-90, 205, 207; with material files 163 shaping: in fill values 211; subtle 143; visual 14, 17,
purple 107 RGB specular pass 223 102, 117-22, 125-6, 187, 189
RGB values 52-3 Shave It 105, 112, 132
rim key 104

Index 271

shot continuity 247 T volumetric lights 56, 111; character and environment
shot lighting 244-7, 249, 252 214, 215, 216; multiple characters 221, 225
Shrek 27-8, 130 Tale of Mr. Revus, The 75, 113
size: image 70, 94, 95; shadow 58, 59 Tan, Shaun 96 W
sky light 201 TARGA file format 91
Sleeping Beauty 96 television reference 33 walkthroughs 198-231; character beauty lighting
slide viewer comparison 246 texture maps 153, 154 200-8; character and environment 209-17; multiple
smaller companies 258 TIFF file format 91, 92 characters 218-26
softness 16, 211-12; shadows 39, 60 Tillet, Maurice 28
Song of the Sea 19, 96 tilt-shift 116 walls 143
spatial relationships 57 time of day 29, 57, 58 warm over cool 19, 20, 132
specialty layers 85-90 time of year 29 Warrens of Virginia, The 119
specular illumination 54-5, 211 timing, job search and 259-60 water 160
specular layers 84 tonal range 121-2 Wedge, Chris 21-3
specular reflection/color 154 toolbox, lighter’s 46-64; basic properties of light 52-6; wedges 79-81
specularity 133 well-lit shots 100-27; directing the viewer’s eye 102,
speed 261-2 common CG lights 48-51; shadows 56-61
spotlights 49-50, 111, 202; disco ball 220-1 traditional artwork 257 110-16; emphasizing the mood 102-9; visual shap-
spread angle 87 translucence 156, 216 ing 102, 117-22
squinting 110 Trappers’ Camp, The (Bierstadt) 32 Weston, Edward 116
sRGB 71 Tre3 209-17 white balance 142
Staub, Josh 124-7 Tyrian purple 107 Whole 157
Still Life with Oysters, a Rummer, a Lemon and a Silver Wilson, David 251
U windows 141, 160
Bowl (Heda) 118 wood 159
stochastic raytracers 252 Uesato, Haji 148-9 Woods, Lebbeus 63
Stone, Deb 265-7 Uesugi, Tadahiro 125 work-in-progress (WIP) renders 69, 94
storyboards 234 under-lighting 103 workflow 64, 66-99; creating lights 76-7; creating
storytelling 195 unnecessary lights/geometry, removing 70, 242 wedges 79-81; interactive light placement 78;
studio pipelines 151, 152 utility lights 75, 76 isolating lights 78; isolating problems through
style sheets 42, 68, 236 exaggerated values 79; light linking 81; never light
sub-surface scattering material 161 V over black 78; pre-lighting 68-72; render layers
subtle shaping 143 81-90; render workflow 91-5; saving frames and
successful shots 182-97 value 53 comparing changes 78-9; understanding the roles
surface attributes 153-7; simulating specific materials variation 133 of each light 72-5
Vendedor de Humo, El 102 Wyeth, N.C. 21
158-61 video reference 33
symbolic color 108 viewing tricks 246 Z
vignetting 114-15, 173, 187, 189, 192
virtual reality 252 z-depth pass 175, 176
visual shaping 14, 17, 102, 117-22, 125-6, 187, 189 zone system 121-2

272 Lighting for Animation