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Old 05-22-2014, 12:21 PM   #16
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Hi man great to see progress on this piece, you've certainly taken onboard Lunatique's excellent advice. If I may - offer a possible option perhaps to explore in terms of lighting, that is try implementing a chiaroscuro approach. From an audience perspective, I know these renders are raw pre-vis however it seems the figure is receding/blending into the background rather than the compositional focal point - if that makes any sense to you... anyways just a thought keep going...

Cheers ;)
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Old 05-22-2014, 12:26 PM   #17
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Hi Sabkoi, thanks for taking the time to give some feedback. I appreciate it!
I will take the chiaroscuro link/concept in mind when I get to update the piece, pretty useful advice. I agree the figure looks like it's blending, I assume I can separate it from the background when I get to render it properly, and yeah, right now rendering is extremely sketchy.

Thanks again man!
 
Old 05-24-2014, 02:50 AM   #18
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He doesn't have to be lost in the shadows and with such dark average values. If this is daytime, then there will be ambient bounced light from the skydome that can fill in the shadows a little, so the shadows aren't so dark. Also, keep in mind that they human eye's dynamic range is not that narrow, so logically, there's no reason why the contrast has to be so extreme. Also, it's not hard to fabricate a surface to the right (off-camera, so we won't see it) that could bounce light back onto him to fill in the shadows a bit, such as a wall, a car, or whatever. As long as the lighting looks natural, it's not a problem.

The cast shadow from the railing as a premonition of the future is a great idea--definitely play that up in the image.

Be careful with the slant of the railing almost matching the perspective angle of the window's shutters. You don't want them to match so closely--it'll look awkward.
 
Old 05-24-2014, 06:04 AM   #19
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Actually I was thinking that the character being in such a dark place could help me convey the situation around him. I think it's cool if he seems to be swallowed by the city/corner, and falling into his dark future destiny. I don't want to over think the idea though.

Quote:
Originally Posted by Lunatique
The cast shadow from the railing as a premonition of the future is a great idea--definitely play that up in the image.


I did sketch the shadow from the railing on him, maybe I didn't do it clearly enough to be evident effective? The question is, how soft can I get the lighting from the bounce/skylight without losing the shadows from the railing? I'll have to search a balance, I would like that to be pretty easy to spot (but not too much either).

Thanks Robert, really appreciate your effort to teach.
Cheers!
 
Old 05-25-2014, 12:49 AM   #20
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I enjoyed post #7, your first lighting test because it suggestd a night scene with the character illuminated by headlights. It doesn't seem to be your intent so I'll just hang back and watch you work.
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Old 05-25-2014, 03:16 AM   #21
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Thanks man. Funny how much I failed to portray a the situation I had in mind. Even if that was not the idea, I will keep it as an option until I decide to go 100% with one or another. Thanks for posting. Cheers!
 
Old 05-25-2014, 06:27 AM   #22
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There is far more latitude in dynamic range than most people know how to manage properly. You'd be surprised by what an advanced artist is capable when it comes to manipulating/managing values very effectively, so that he gets to "have his cake and eat it too," in situations where he needs the lighting to achieve several goals at the same time.

If you want to manage your values effectively, use simple flat values to block in everything. Simplify down to just 5 flat values or so, and maybe add two more values if you absolutely need more detail in the dynamic range. But don't go overboard and use something like 10 values--that's just not smart for values management.

So be smart in how you manage the values in your tonal composition. Work out everything in advance. You can definitely keep him drowning in shadows and still convey the ambient light as well as the cast shadows from the railing--it just takes good planning.
 
Old 05-25-2014, 03:07 PM   #23
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Ok great, I'll pick five values and will settle the ideas with just that, and then build on it.
Thanks!

Last edited by JWRodegher : 05-25-2014 at 03:13 PM.
 
Old 06-10-2014, 05:05 AM   #24
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Hello there, I'm back at this. I've been crazy busy lately (pretty big travel ahead, I'll be working in Dublin for a year and I got dragged in planning everything out).

Enough with useless info, here I got to block everything out with 5/6 flat values. Let me know how it looks to you. Thanks a lot!
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Old 06-11-2014, 04:45 AM   #25
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Be careful about your lighting direction. You have a wall right behind him, and on the left side, you have a building that's also blocking light and casting a shadow. According to your lighting, it's almost like it's coming directly from the left (his right), but it can't be because there's a building blocking the light. The only way light can reach him is from above the building, and from that angle, the coverage of the highlights would be a bit different.
 
Old 06-11-2014, 02:20 PM   #26
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Oh I see. It should look like coming from the top as well and not so much from the side. I'll correct this specially in the highlights/rims. Thanks Robert.
 
Old 06-12-2014, 08:04 PM   #27
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Ok, update!
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Old 06-13-2014, 04:10 AM   #28
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Yeah, that looks much more credible.

Be careful though, because you have to make sure the cast shadow of the buildings actually match the lighting on the figure. For example, according to the current lighting direction, that background building should cast a much longer shadow towards us. And it's also very likely the foreground building will cast a shadow almost completely over the entire figure except for the very tip of his right hand's knuckles.

You can maybe use that window next to him and have there be another window at the other side of the corner, so sunlight is coming through the windows and hitting him. Otherwise, you'll have to shift the direction of the light a bit so he won't be in the corner's cast shadow.
 
Old 06-13-2014, 04:27 AM   #29
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I'll try by shifting the building shadows a bit and see if it makes sense. It's easier to test. If that doesn't work out, I'll try the window around the corner idea, that should work pretty well too.

Thanks Robert, I appreciate the infinite patience you're having with me.
Cheers!
 
Old 06-13-2014, 06:20 AM   #30
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Some touch ups, I believe the shadows directions from buildings make more sense now.
I also added a volume layer, I though it may add to the atmosphere of the piece.
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Last edited by JWRodegher : 06-13-2014 at 06:24 AM.
 
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