When creating a 3D environment one has to consider lighting. Lighting can be used to visually depict certain emotions, atmospheres, genres and moods. Before placement in 3D environment one must also understand the technical boundaries and factors of lighting in order to display maximum realism and accuracy of the desired outcome.
With this understanding, I have located some useful pointers from John Boud's Lighting Design in Buildings (1973); split up into multiple categories for a greater understanding of lighting in the televisual industry.
Illumination
Chapter 2 (P. 5)
But the spontaneous first question about most lighting schemes is 'How much light do we want?' The answer depends on a number of factors, the most important being acuity and amenity
Visual acuity, or sharpness of vision, depends on how much light there is. We recognise this almost without a second thought; we acknowledge this every time we take something with small detail or subtle contrast to the window or the desk lamp to examine it.
Glare
Chapter 3 (P. 11, 12, 13)
Glare is difficult to define, partly because the word is used for a wider range of effects.
We are concerned with the discomfort caused by brightness and the ways of confining it within acceptable limits-which means, of course, that we must understand what those limits are.
The glare caused by an area of brightness increases very rapidly with that brightness (or, strictly objectively, its luminance)
Indirect or reflected glare is not easily subject to analysis, and is due as much to the finish of room surfaces and furnishing as to the lighting arrangement.
Over glare, in general, there are few absolutes; what would be intolerable in an office could be exciting in a fairground.
Brightness balance
Chapter 4 (P. 14)
Looking at the brightest part of a field of view is a basic animal reaction.
Making the visual task the brightest area one can see brings together conscious motivation and subconscious inclination.
It used to be said that working in a room lit by a desk lamp alone was 'bad for the eyes', or in some other way unsatisfactory, because the contrast between the work and the surroundings was excessive.
The region where brightnesses are too high is obviously associated with glare, the conclusion, however, is that glare is more difficult to avoid as general levels rise, it certainly seems to be borne out in practise.
Colour
Chapter 5 (P. 19)
The subject of colour embraces physics, physiology and psychology; colour is an important part of man's culture generally and it is expressed in art, taste and fashion.
The apparent colour of a surface is to some extent in the eye of the beholder.
We make a major advance in understanding the relationship of colour and lighting when we recognise the fact that sources with very different spectral compositions may all produce effects we accept as 'natural'-while we realise, of course, that there are others which do not.
Thursday, 27 September 2012
Wednesday, 26 September 2012
Neon lighting
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| http://www.swtor.com/info/media/concepts/nar-shaddaa |
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| http://images.wikia.com/swtor/images/d/d4/SS_20100730_NarShaddaa04_full.jpg |
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| http://images.wikia.com/swtor/images/d/de/CA_20100730_NarShaddaa04_full.jpg |
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| http://images.wikia.com/swtor/images/6/6b/CA_20100730_NarShaddaa03_full.jpg |
Fallout 3 and atmosphere
Some fantastic concepts of the numerous environments from the Capital Wasteland in Bethesda's Fallout 3 (2008). These concepts have been referenced as inspiration for my honours project, trying to define which direction I am going to take and what I want to do for my final piece. Here I have selected Fallout 3 to explore atmosphere in video games, focusing on how to what inspires atmosphere and how it is depicted/visualised.
Fallout 3 takes place in the nuclear fallout damaged ruins of Washington D.C, infested with scavengers and ferocious wild mutated animals. The harsh radiated streets, subways and plains are your only domain in which you must fight for your survival in the capital wasteland. Primarily full of gravel, rock and hard substances, with no sign of vegetation or plant life, the capital wasteland always presents a deserted atmosphere, creating themes of isolation and loneliness as well as anxiety and fear. The city streets are in ruin; collapsed buildings, obliterated subway tunnels, monuments in pieces and radiated waters surrounding the city limits. Studying these concepts, it is clear that atmosphere is driven or enhanced by genre therefore, selecting a genre for my project might help inspire ideas and practical examples, which in turn could then steer me towards a decision for my honours project.
All images found at: http://fallout.bethsoft.com/eng/art/fallout3-conceptart1.php
Staging
Continuing research in order decide what I want to do for my honours project, I asked myself what other important stages of pre-production are necessary if and when developing a 3D environment?
I have already covered mood in a previous blog update and would now like to focus on staging. If I choose to make an interactive environment in a location that has more than one character, studying character performance will be a necessary step.
Staging is the art of presenting an idea that it is clear to the audience, which could vary from personality, to body actions, to mood and other elements of character performance. Removing the element of staging from the production process of the concept will result in confusion and total lack of realism. Here are some key examples from Disney that have been highlighted to indicate the factors that contribute to the staging of the characters, accompanied by an elaboration of each staging example.
I have already covered mood in a previous blog update and would now like to focus on staging. If I choose to make an interactive environment in a location that has more than one character, studying character performance will be a necessary step.
Staging is the art of presenting an idea that it is clear to the audience, which could vary from personality, to body actions, to mood and other elements of character performance. Removing the element of staging from the production process of the concept will result in confusion and total lack of realism. Here are some key examples from Disney that have been highlighted to indicate the factors that contribute to the staging of the characters, accompanied by an elaboration of each staging example.
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Pinocchio (1940); Stromboli is enraged by Pinocchio's antics but pauses when he realises the crowd enjoys the comedic performance they are both accidentally presenting. |
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| Clenching Pinocchio tightly by the scruff of the neck, showing anger in his actions. The belly thrust upwards to symbolise authority. Secondary action with the left arm to highlight his enragement. |
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| The Sword and The Stone (1963); Madame Mim provoking Merlin to the point of a wizards duel by antagonising and slapping him. |
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| Madame Mim leaning forward, curving the spine, displaying authority and confidence in her actions. Merlin visualises surprise, as well as disgust towards Madame Mim's actions by thrusting out his chest, pursing up his face and dropping his eyebrows. |
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| The Rescuers (1977); Madame Medusa trying to show her kidnapee, Penny, that she cares for her dearly in order to win her trust, so she can get what she desires. This is reinforced with a pursed kissing face and a condescending tone. |
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| Medusa leans forward for an attempted sign of affection, mouth pursed for a motherly-like kiss and hands held together to try and symbolise innocence in her intended actions. Penny holds her teddy bear closer, showing fear and concern for Medusa's intended actions, as well as the sudden swivelling of the head to highlight her surprise/shock. |
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| Robin Hood (1973); Robin Hood wooing the sweet Maid Marian whilst fending off the henchmen of Prince John, using charm, wit and romantic gestures to symbolise his affection for the love of his life. |
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| Maid Marian with one hand on her chest/heart and head tilted to the side (eyes closed) to show flattery for Robin's romantic suggestions, with the other hand holding his harmonising the element of love between the two characters. Robin standing in a dominant/heroic pose, the spine slightly curved to highlight his bold characteristics, brow lowered, eyes open, holding her hand and head directly in alignment with Maid Marian's, Robin well and truly shows sincerity in his actions and intentions for his one true love. |
Monday, 24 September 2012
Mood
As previously mentioned, my initial idea for my honours project is to create a 3D environment of some kind with the inclusion of another element (suggested interactivity)
Production of a 3D environment has many stages and many important elements. Here I have decided to explore mood. Mood is inspired by many elements. Here, I have selected colour, composition and staging as a means to explore mood in the visual arts. Below I have referenced some interesting sections of Dream Worlds (2007) by Hans Bacher in order to reinforce this area of study.
(P.138)
Color should be used to create specific moods. Of course our cultural background plays a significant role in that. Countries closer to the equator are more colorful in all ways than countries in the northern parts. Yet everywhere around the world the same rules can be applied. Certain cool colors calm down the emotions, while hot colors create aggression in emotions. These colors can be used in different combinations to create different atmospheres.
The color in our films corresponds with specific events in the story, and just as there is an "emotion/action curve," there should be a "color mood curve.
The dictates of the color palette will begin with the different seasons that the film takes place during, as well as the times of the day, weather situations, and interior/exterior locations within the story.
Composition
(P.72, 74)
Composition in film is the harmonious combination of shapes and movement within a field that creates and interesting imaginative world for the audience. We want the viewers to forget that it is a movie, an artificial world they are watching. A good story is the most important thing, but it has to be set in a believable world. And it has to fulfill visual dreams that are the same around the globe.
The script, the mood and action in your scene as well as what has happened earlier and what will happen in the next scene will give you the keys for your composition.
Staging
(P.92, 93)
Staging is the placement of the characters within a set. The characters have to be part of the composition of the whole image and their placement in relation to each other has to work. If the characters are moving, choreographed movement has to be planned. For dialogue scenes, precise camera angles and cuts have to be prepared and the direction of the light and corresponding shadows defined in floor plans.
It is also important not to give everything away within the first part of the movie. You want to keep something special for the climax of the film, the most incredible combination of camera angles, movement and color. Start slow, take your time to establish the mood, and then accelerate with the speed of the story toward the climax. Staging here can be crazy, cuts very fast, and colors unusual. And slow down to the end.
These are important contributing factors to the development of my concept, primarily due to the fact that I cannot create or design a 3D environment and exclude mood. Without truly understanding and selecting the necessary colours in my 3D environment I might end up depicting the incorrect mood, genre and intended atmosphere, and thus, distort my desired intentions/designs. Ignoring composition would result in my project being less gripping, dull, unconvincing/unbelievable and more importantly completely lacking in any kind of emotional response and appropriate mood(s). Finally, turning an oblivious eye to staging would create rather catastrophic results because, without the correct placement of characters (if any) and the actions that pursue them, the incorrect emotional response will be conveyed to the audience, and thus ensue one mood - confusion.
Production of a 3D environment has many stages and many important elements. Here I have decided to explore mood. Mood is inspired by many elements. Here, I have selected colour, composition and staging as a means to explore mood in the visual arts. Below I have referenced some interesting sections of Dream Worlds (2007) by Hans Bacher in order to reinforce this area of study.
(P.138)
Color should be used to create specific moods. Of course our cultural background plays a significant role in that. Countries closer to the equator are more colorful in all ways than countries in the northern parts. Yet everywhere around the world the same rules can be applied. Certain cool colors calm down the emotions, while hot colors create aggression in emotions. These colors can be used in different combinations to create different atmospheres.
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| https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXgXX0SjISIzeVH3ItUdDdnOzdaze1u2IyPfosHxlLpk4F2kg4qu2FM_xyMgqL638pldbvh7COv-bp3aG-bos1_yyj7y2gFTNv5p7kxRMI4OE2ueTSVjICg0zkCMJcUsmrIFe09yC0W2Q/s1600/-8.jpg |
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| https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiahTRa6-sS-1uvDUaX_iRHgds8CmO1LXEDKZC92fASfubRLhoRaANWv523a81FL9vnZ003DffLoR1_MW0JeHwSKGTTLSvmOKWL2nmKdrIoB3lBF2idcAQn4nDTvtzB_a3ylgyiaFpB17g/s1600/-10.jpg |
The color in our films corresponds with specific events in the story, and just as there is an "emotion/action curve," there should be a "color mood curve.
The dictates of the color palette will begin with the different seasons that the film takes place during, as well as the times of the day, weather situations, and interior/exterior locations within the story.
Composition
(P.72, 74)
Composition in film is the harmonious combination of shapes and movement within a field that creates and interesting imaginative world for the audience. We want the viewers to forget that it is a movie, an artificial world they are watching. A good story is the most important thing, but it has to be set in a believable world. And it has to fulfill visual dreams that are the same around the globe.
The script, the mood and action in your scene as well as what has happened earlier and what will happen in the next scene will give you the keys for your composition.
 |
| https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpxINrwItWqE6GWqyqppK34nBxfqSKGEbFSSptKGhDE0NjbigikpMPIeR4UvrcAxQpgkbJ0GvuiMXshSMw1GAFAx6N2f-c45YYccmFiuPm_IcC2MQ-pLknXwjwuqoi_inkrQq_vnXfDPo/s1600/Composition2.jpg |
Staging
(P.92, 93)
Staging is the placement of the characters within a set. The characters have to be part of the composition of the whole image and their placement in relation to each other has to work. If the characters are moving, choreographed movement has to be planned. For dialogue scenes, precise camera angles and cuts have to be prepared and the direction of the light and corresponding shadows defined in floor plans.
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| https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSBfd3viamBQqUow-YxZW9DL5RgG1rXPFMJivoigRI-MJYfOoNHEOSLqAsMThNrHlTAf5QtSaWcxfSIL6erevszYK07jlCtm7ynelMyLQPNVo1hpk7B9Nuzpqn-EHCrCHz_kf0UL93MmE/s1600/staging4.jpg |
It is also important not to give everything away within the first part of the movie. You want to keep something special for the climax of the film, the most incredible combination of camera angles, movement and color. Start slow, take your time to establish the mood, and then accelerate with the speed of the story toward the climax. Staging here can be crazy, cuts very fast, and colors unusual. And slow down to the end.
These are important contributing factors to the development of my concept, primarily due to the fact that I cannot create or design a 3D environment and exclude mood. Without truly understanding and selecting the necessary colours in my 3D environment I might end up depicting the incorrect mood, genre and intended atmosphere, and thus, distort my desired intentions/designs. Ignoring composition would result in my project being less gripping, dull, unconvincing/unbelievable and more importantly completely lacking in any kind of emotional response and appropriate mood(s). Finally, turning an oblivious eye to staging would create rather catastrophic results because, without the correct placement of characters (if any) and the actions that pursue them, the incorrect emotional response will be conveyed to the audience, and thus ensue one mood - confusion.
Friday, 21 September 2012
Prologue
Using my initial idea, I realised I couldn't just have a 3D environment on it's own and that I needed another element; interactivity - despite the horrible reviews, I loved Duke Nukem Forever (2011), primarily for its level of interactivity and the style of art in which its done.
Being bold I figured I would throw another element into the mix to make my project more exciting and noticeable; lighting - reading up on Dream Worlds (Hans Bacher, 2007) I was inspired by the combination of lighting and shadows with mood and figured it would be a fantastic contributing factor to the other elements of my project.
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