Hi, I will create metro (only inside) model. Can you give me reason, how I can best use light ?
Now it looks like this :
I get only “neon light” - ( fluorescent light)
fluorescentfluorescent
Could you use an emission surface/material for your flurescent lighting in the train instead of what looks like a lot of lamps and play with the strength of the emission perhaps to achieve the desired lighting effect.
Well, it’s a start.
Lighting always depends on what you are trying to show. What do you want to highlight, what’s important?
Definitely look at reference, film, TV, photos, etc. Do you just want to show off your model, or is this part of a project that should tell some story?
The Warriors
Matrix Revolutions
Wikipedia:
If you can answer those questions, you can research more reference to show what you are aiming for. Then we can critique your execution of an idea, or suggest how to go about it. Have some fun with it, reference makes your job easier and makes it easier for others to give feedback.
yHere’s my suggestion …
“Storyteller, what do you want me to look at?”
“Stage lighting designer, what dramatic lighting will further the emotional and functional purposes of the show, and of this particular scene?”
The purpose of lighting, in drama, is not merely “to illuminate.” It is to direct. You know that the viewer’s eye will instantly (and, subliminally) be focused on the brightest and the most-contrasty point in the frame. You know that the viewer’s eye will then want to trace a roughly-circular path and wind up where it began. But, you also know that the scene will contain actors with which the audience has already become emotionally engaged. The screenplay gives you advance knowledge of what sort of dramatic action will take place in this subway car. Your lighting design should further this objective without drawing explicit attention to itself.
yHere’s my suggestion …
“Storyteller, what do you want me to look at?”
“Stage lighting designer, what dramatic lighting will further the emotional and functional purposes of the show, and of this particular scene?”
The purpose of lighting, in drama, is not merely “to illuminate.” It is to direct. You know that the viewer’s eye will instantly (and, subliminally) be focused on the brightest and the most-contrasty point in the frame. You know that the viewer’s eye will then want to trace a roughly-circular path and wind up where it began. But, you also know that the scene will contain actors with which the audience has already become emotionally engaged. The screenplay gives you advance knowledge of what sort of dramatic action will take place in this subway car. Your lighting design should further this objective without drawing explicit attention to itself.
Example from the previous post in this thread:
- Warriors: I’d move the camera forward. Who cares about the strangers in the foreground if the story doesn’t?
- Matrix: I guess the guy in the middle is the Hero because he’s the only one dramatically lit, but that sure is a busy frame chock-full of distractions.
- #3 is pure throw-away.
- I see two points of potential dramatic action, but damned if I can tell which one I should be focusing on. (Lighting could tell me!)
- Impossibly sterile.
Lighting serves the show. Never the other way around. Alfred Hitchcock famously put a light-bulb in a glass of milk. There was a reason for that . . .