also used for animation films? I know they do the teal orange effect but then I thought I read something about companies like Pixar use color scripts or key lighting? I guess this is atmosphere lighting off of the color scripts which I think color scripts are any type of textures in that scene. so the light is based off those colors?
There is no such thing as “cinematic lighting.” Each scene presents a certain set of lighting challenges that must be addressed, whether one is talking about CG, film, or, nowdays, HD. There are also many directorial decisions that are made. For example, I predict:
- In the first shot, "I suspect that there is something special about that house at nine o’clock in the frame.
- In the second still, “the frog is unimportant but something about time probably is, or soon will be.” (Also notice how her face is in tack-sharp focus, as is the clock well behind her, but her sleeves are not. She is also noticeably cross-eyed.)
- In the third still, our primary attention is to be on the heroine, and only secondarily upon the hero because she’s looking at him. We’re supposed to be focused on her reaction to whatever she is saying." (Once again, her sleeves are soft while her eyes are tack-sharp. Juliet’s tresses are warmly lit while Romeo’s head is not; and so on.)
Studio CG techniques very commonly make very heavy use of compositing, such that what you see on screen is generally not the product of any single render, but many. The “delicious light” on The Star™, Juliet, might be the “comp” of half-a-dozen separate renders or more. Also, within a scene such as your third still, I’d bet that the brightly-lit patch of greenery stage-right of Romeo was more or less separately rendered. They’re taking all sorts of liberties with focus and depth-of-field in the name of cinematic effect.
The technical parameters of the scene – so-called “color timing” and “tonal/density range” – are formally and carefully prescribed so that renders made by different work-groups (or contractors) over the course of a very long project can, in the end, be “cut together” to form a finished movie. But these are very deliberate decisions for which there is no formulaic solution.
Other techniques to which you refer, such as “key lighting,” are simply cinematographic lighting techniques that are also implemented in the world of CG and for the self-same reasons.