Help on matching lighting from a Lego Movie Scene?

[Son_of_Numenor (Samuel)]

@troy_s

You won’t be matching the result without matching the exact transform chain

Okay, that makes sense. I see what you’re saying about the ACES stuff too. It definitely does have problems. As I mentioned above, I don’t really know anything about color management, but it seems important. What would be the best way to learn about it if I wanted to delve deeper into it?

@troy_s

Your primary left window light is not cut the same way it is in the shot.

Yep, you’re right. I found this out Monday when I was combing through the film and saw that window from a different angle. I had built the model wrong in my scene, so it was definitely messing up how the light looked.

@troy_s

Place gobos to constrict and shape the light just outside the window, and increase the intensity of that light

I hadn’t even considered this. It’s a great idea.

@troy_s

Your floor Lego is the wrong albedo mixture.

Thank you for pointing that out, because I wouldn’t have seen it! After reading your post, I changed the color and did a quick render and the new color matches the reference.

@troy_s

you should be able to apply the glow threshold sufficiently high to not have it appearing on anything beyond the hottest scene values.

Good to know!

Thank you for all the advice! It’s super helpful. I’ll get to work on it.

[troy_s]

@Son_of_Numenor

I don’t really know anything about color management, but it seems important. What would be the best way to learn about it if I wanted to delve deeper into it?

First is to realize what a significant impact it has on the work; it’s the pixels. Then start with basics and learning how a pixel works. I’ve started on a series that you might find helpful, or not. Hard to know. It’s made the rounds at a few post houses.

The Hitchhiker's Guide to Digital Colour

While it isn’t quite yet at the subject of gamut mapping, and scene referred versus display referred, there is enough there to at least get you asking the right questions hopefully.

@Son_of_Numenor

I found this out Monday when I was combing through the film and saw that window from a different angle.

Bear in mind that every shot will be cheated. There isn’t going to be the “as seen” consistency, although it can give you a decent idea of geometry. I’d wager that the light in the shot in question has been carefully cut and carved specifically for that shot.

@Son_of_Numenor

I hadn’t even considered this. It’s a great idea.

Get the light in the proper position and angle in the broad strokes, then work on gobos to block the light and sculpt it to match.

@Son_of_Numenor

Thank you for all the advice!

Your model and such is in the ballpark, but as you have found out, the more subtle position of a hot light can dramatically influence the overall result.

I’d wager that if you block in the three fills and the two primary sources, and spend a bit of time sculpting that primary left source through the window, you’ll see a significant step toward matching the original shot.

[insolitus]

Sorry for hi-jacking the thread, but thanks for the awesome link Troy!

[Son_of_Numenor (Samuel)]

@troy_s

I’ve started on a series that you might find helpful

Thank you! It’s really fascinating so far. I’ve never stopped to consider this kind of stuff (because I didn’t understand it), so it’s fun (and helpful) to have someone explain it.

@troy_s

I’d wager that the light in the shot in question has been carefully cut and carved specifically for that shot.

You’re right on. Since I read your last post, I’ve been noticing how the lighting in the movie is inconsistent when the same room is seen from different angles.

@troy_s

I’d wager that if you block in the three fills and the two primary sources, and spend a bit of time sculpting that primary left source through the window, you’ll see a significant step toward matching the original shot.

Cool. Thank you again for all your help! It’s been what I needed.