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165
The Design Intent:
The asian motif in this shot is composed of architecture, the print pattern on the subject's top, and the design of shadow across not only the subject but the scene as a whole. These shadow/light combinations create a fan structure which overlays the architecture of the set. It originates on Julie's left hip area and propagates throughout using the simple expedient of the shades being placed exactly in the proper place to do so. The shades serve another purpose as an imminent visual feature of the setting by describing depth. The eye is drawn along the louvres to the character, then drawn aside and across her form where it is deposited to soak up the more subtle detail down the left side of the frame. Hopefully it catches the continuation of the fan. The light is engineered such that Julie's shadow is also cast on the shades as a counterpoint to the prominent shadows cast by the shades.
The Lighting Setup:
Two fresnel lights make this render what it is. One is used as the exterior light source which is the main or key light in this render. It is placed opposite shades as usually is the case in these scenes, but the brillliance of the detail comes from the light being "combed" by a fresnel lens which is part of the light. A fresnel lens sort of "purifies" the light so that even at low luminance, detail stands out making shadows that are clear and sharp without needing to risk overexposing the subject as would be the concern using another type of light.
The second fresnel light is placed directly in front of the character with the beam width and dispersion adjusted to provide very subtle fill to the face and to create extremely well-mannered and subtle specularity in the character's eyes as well as accentuating the specular highlight on her lips.
There are also several other subtle ring flash lights in the scene providing rim effect and side fill.
Finally, Real Moonlight has been added in the deep background as an illuminated element to balance the image visually. For this shot it is set to a near crescent in the waning phase.
The asian motif in this shot is composed of architecture, the print pattern on the subject's top, and the design of shadow across not only the subject but the scene as a whole. These shadow/light combinations create a fan structure which overlays the architecture of the set. It originates on Julie's left hip area and propagates throughout using the simple expedient of the shades being placed exactly in the proper place to do so. The shades serve another purpose as an imminent visual feature of the setting by describing depth. The eye is drawn along the louvres to the character, then drawn aside and across her form where it is deposited to soak up the more subtle detail down the left side of the frame. Hopefully it catches the continuation of the fan. The light is engineered such that Julie's shadow is also cast on the shades as a counterpoint to the prominent shadows cast by the shades.
The Lighting Setup:
Two fresnel lights make this render what it is. One is used as the exterior light source which is the main or key light in this render. It is placed opposite shades as usually is the case in these scenes, but the brillliance of the detail comes from the light being "combed" by a fresnel lens which is part of the light. A fresnel lens sort of "purifies" the light so that even at low luminance, detail stands out making shadows that are clear and sharp without needing to risk overexposing the subject as would be the concern using another type of light.
The second fresnel light is placed directly in front of the character with the beam width and dispersion adjusted to provide very subtle fill to the face and to create extremely well-mannered and subtle specularity in the character's eyes as well as accentuating the specular highlight on her lips.
There are also several other subtle ring flash lights in the scene providing rim effect and side fill.
Finally, Real Moonlight has been added in the deep background as an illuminated element to balance the image visually. For this shot it is set to a near crescent in the waning phase.
! REPORT
