Still image from the work-in-progress Ginevra.
As I chug through production on Ginevra, I am struck by how much I’m learning about top-lighting. This scene was especially challenging, involving seven lights and one matte to cast shadows. I thought it might be interesting for others to see exactly how the lights are set up to achieve the look above. This scene is meant to place at dawn, with the sun rising on the right side of the scene.
A composite showing the multi-plane animation stand in its entirety, along with close up shots of the various clips lights and filters on the sides, top and bottom.
Two lights shining through a piece of orange construction paper onto more red and orange construction paper below the stand. This produces the strong dark red lighting in the left side of the frame.
One light shining through an orange opaque sheet onto orange construction paper under the stand. This produces the brighter orange light coming from the right side of the background.
One light shining through an opaque piece of white tissue paper on the middle level of the stand. This produces the strong shadows that define the tiny ‘trees’ of the background forest cut-out.
Two lights (one with a piece of orange opaque gel taped closely to it) shining through a carefully positioned black matte. This produces the effect of light shining through the pillars of the balcony.
Side bounce lights. These produce a slight orange/blue tint on the left side of the lady cut-out, and a more blue tint on the right side of the lady cut-out.
And here is the final shot again, after it is photographed through the overhead camera using my Dragon frame-grabbing software.
Hope this walk-through is useful for someone out there! See my Instagram account for the latest behind-the-scenes shots of this production.