Skip to content
Pablo Rodriguez

Mood Lighting

  • Color and light focus: “Once you move past animation, you start to get into lighting, and that’s where, if you’re really into color, and you like to see how light reacts in an environment, you are painting the look of the world with color and light”
  • Foundation elements: “We have our sets, we’ve got our characters, we’ve done, we start thinking of how are we going to light this, and we begin lighting the film”
Final Stage
  • Critical phase: “This is a big, big last stage of the film. This is where all that thinking theoretical becomes the practical”
  • Real-time adaptation: “The lighting team is setting up the virtual lights to match the color keys, which are our road map, but we are running in, now we’re working with the fourth dimension”
  • “Things are moving, time is happening, emotions are changing, sort of in real time in front of us, and so the lighting needs to do so as well”
  • Heroic moments: “Our character is going to step into their heroic moment here. We are going to shut down the lights behind them and bring it up in the foreground”
  • Loss and sadness: “Oh no, they’ve lost something, and let’s externalize that emotion, let’s bring the lights down”
  • Performance comparison: “It’s almost like a live performance in a way”
  • Production timeline: “We spend about a year doing just that, lighting every single shot, trying to perfect it and represent these emotions in a way that’s never been done before”
  • Audience goal: “To ensure that they land with our audience in a way that is unique to them”

Gwen's World Example

“When we have something like Gwen’s world in Spider-Verse, Gwen’s world doesn’t obey light, it’s a mood ring, it obeys feelings, how do you translate that into a two-dimensional painting? The best part is figuring out those challenges”

  • Material application: “Once you’ve painted the textures in those other softwares, then you’re saying give me those textures that have been painted and now apply material properties to those things”
  • Surface differentiation: “Shading techniques that make something like a t-shirt versus somebody’s skin respond differently to lighting”
  • Dual function: “Texture painting not only gives those objects color, but it also determines how light is going to affect those objects”
  • “Are they shiny, are they dull?”
  • Technical explanation: “A shader is a short program that renders graphic data, so it basically says how is a 2D image, how is light going to affect it?”
  • Material failure example: “You could have this beautiful model of a tree and you could paint the bark and every single leaf by hand, but if the wrong shader is applied, the tree might end up looking like plastic”
  • Interconnected process: “So the better the textures, the better the shading, and the better the shading, the better the final rendered image. They all go hand in hand”
  • “We use Katana for lighting and rendering. It’s now become a very common software used in the industry”
  • Setup phase: “In your software, in your Katana, you place your lights, like I’m sitting here under certain lights, you light your characters, you light your world”
  • Render farm processing: “Once you’ve done that, you need to kind of send it away to the render farm to process all the pixels, bounce all the rays around, calculate all the materials you’ve set up”
  • “Your material, your cloth, it has to do all of those calculations, and then give you those pixels to make up your picture back”
  • Early exploration: “Then if you want to get into Unreal or real time, learning the Unreal Engine is super valuable”
  • Preview advantages: “Unreal Engine has created this opportunity for us to actually be doing previews and explore 3D much earlier in the process using lighting”
  • Performance improvements: “Not only is it faster to play back than it ever was before, but you also get this dramatic, dynamic lighting being part of it”
  • Interactive capabilities: “Being able to light in real time, change the time of day just as you’re walking around, it’s pretty cool”
  • Massive collaboration: “We have all the incredible tools of doing it in a computer, and yet we want it to feel naturalistic at times. It is a Herculean effort”
  • Scale description: “I’m talking hundreds of lighting artists working together for years to pull a film off like this”

Quiz Question: What properties does texture painting give to a 3D surface?

Full Correct Answers:

  • Color ✓
  • Light Shading ✓

Incorrect Options:

  • Squash & Stretch (animation principle)
  • Polygons (geometry structure)
Quiz Summary

Texture painting provides: Color + Light response properties

Lighting represents the final creative stage where theoretical concepts become practical reality, requiring hundreds of artists working for years to paint emotions with light and color. The process involves complex shader programming and render farm calculations to achieve naturalistic results that respond dynamically to character emotions and story beats.