We spoke with Felipe Mirez, Visual Director at Falcon Northwest in Medford, Oregon about his experience in working across different industries, challenges he’s faced as a CG artist and how HDR Light Studio plays a key part in his workflow.
Congratulations to Felipe and his team for being awarded ‘Best Regional TV & Multi-Market Cable – Use of Animation’.
Lightmap:What sparked your interest in animation and becoming a Multimedia Animation Artist?
Felipe:Long ago as a kid, I was watching Star Wars for the first time. I was awe-stuck looking by the animation and this is where it all began. I started pursuing stop-motion and 2D animations as hobby and I just couldn’t stop loving it. Fortunately, the new world of CGI started to flourish in the early 90’s and I was fortunate to witness and experience the trend. Continue reading →
We came across a stunning piece of work by Japanese 3D artist Masayoshi Shinohara. A lifelike portrait of Nozomi Sasaki, a fashion model in Japan. We were pleased to discover the shot was lit with the help of HDR Light Studio. So we got in touch with Masayoshi to find out how HDR Light Studio helped with the lighting process in Maya with Arnold Render.
“I took photos for reference. For the test, I used an exterior HDRI for lighting. But when I compared the reference with test render image, I could see I needed more natural sunlight and soft shadows, and I noticed the specular and reflections were not high enough.
I used HDR Light Studio to settle these problems easily. LightPaint helped me a lot. Increasing/decreasing light in a moment. I could change the light direction exactly as I wanted.
The realistic reflections in the eye, and skin specular – these are made using HDR Light Studio’s preset light source content. There are lots to choose from. Then I made fine adjustments in each light’s properties. It’s a simple workflow.
My final render is using only one SkydomeLight with a HDRI map from HDR Light Studio.”
Additional Project Details:
Modeling and details done in ZBrush.
Texture painting in Mari.
Hair using GeoMayaHair.
Rendered in Maya, Arnold (alShader).
To see more of Masayoshi Shinohara work, visit: shimasay.com
It’s about fluid dynamics, color, taste, and chocolate and caramel in a loving embrace. Everything was created in 3D and sculpted in Mudbox. Lighting was done in HDR Light Studio 5 and rendered with Maya/Mental Ray.
Innovative computer graphics lighting tool adds revolutionary new Area Lights feature.
1st March 2016 – Today, Lightmap announced the immediate availability of HDR Light Studio version 5.3. This new release adds ‘Area Lights’ to its feature set, allowing users to interactively create and control both HDRI Map and set of Area Lights with the same ‘artist friendly’ ease of use that has made HDR Light Studio a favourite lighting tool with professional 3D artists world-wide.
The ‘Maya’ Connection is the first to take advantage of the new Area Lights feature, supporting all leading renderers: MentalRay, V-Ray, Maxwell, Arnold, Octane, Redshift, RenderMan and Iray for Maya.
3ds Max, Cinema 4D, Modo and Nuke/Octane Connections will be updated soon to support the new area lights feature.
“We are very excited about the HDR Light Studio 5.3 release. The ability to control both the environment map and area lights using one unified lighting workflow is a totally unique approach and a significant evolution of our software. In fact it’s the biggest update we have ever made” says Mark Segasby, Lightmap CEO. “Our customers love how fast they can block out lighting and adjust it using HDR Light Studio’s interactive HDRI map, and how fast this renders. By adding the ability to promote a light from the HDRI map into 3D, users can use all of HDR Light Studio’s controls and content to light details on their models too.”
Left: Area Lights in the Maya scene Right: Area Lights lighting effect
Left: Just the HDRI map lighting Right: Area Lights and HDRI map lighting together
Thanks to Matt Workman for letting us re-post this interesting article about his unique HDR Light Studio previs workflow for a video shoot.
Author: Matt Workman
In this article I walk through my process of lighting a “Social Videos Series” for BMW and the Super Bowl XLVII. First, visualizing the framing and angles in Autodesk Maya, then designing the lighting and reflections using HDR light Studio, and finally translating those results into a real world lighting set up.
INTRO / CONCEPT
In January 2013, producer Daniel Roversi @ KBS+ contacted me about a “Social Videos Series” for BMW. I was given several reference photos of what angles we were looking to capture and some basic CAD files of the cars. I collected a large sample of BMW renderings and photos from their previous campaigns as reference for lighting and framing. BMW is a very well known brand so I wanted the cars “read” as BMW and to stick with their overall lighting style.
“Part of the concept is the ability to react almost in real-time to events. We estimated, approved, pre-produced, shot and edited in 10 days.” It’s a new frontier in advertising where brands are in direct contact with their customers through outlets like Facebook, Youtube, and Twitter. When the Ravens won the Super Bowl the “Winner” spot was released within seconds.
FRAMING / ANGLES
Using the floor plans of the stage and some reference photos I had taken on the tech scout, I recreated the stage and cyc in 3D using Autodesk Maya. It was important that any angles and lighting setups I created in 3D could be possibly within the physical restrictions of the stage. After calculating where the camera would need to be for each angle (front, three quarter front, and profile) with Maya’s 3D camera I was ready to start lighting.
LEFT MONITOR: Canon C300 live video tap, RIGHT LAPTOP: Autodesk MAYA running HDR Light Studio 4.0 + Maya Plug-in
Framestore have been using HDR Light Studio to light variuos shots recently. We caught up with Andy Rowan-Robinson, CG Supervisor, who explains their use on a recent TV spot for Qualcomm.
“In the Snapdragon spot HDR Light Studio was used from blocking out the lighting right through to adding the final tweaks. It allows an extremely quick method to correct our orientations and quickly balance the base HDR images that we send to our renderer. We can play with the general levels of these base images before we go in and lighten and darken specific areas on the fly to create the shape and look that we are after. Continue reading →