3D World

THE KEYMASTER

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FRANCESCA PESCE TELLS 3D WORLD ABOUT THE IMPORTANCE OF CRAFTING A GREAT MASTER SHOT FOR LIGHTING AND COMPOSITIN­G

Generally, the master shot is the key shot. The shot that's taken as a reference for all the others to come. It's a good visual reference for junior artists but also for anybody. If you work in a team, rather than just using pretty words, you want to actually show what you want to achieve. That’s the shot that everything else should be coming from. When you work in production, with maybe 15 other people, just the visual reference won't be enough but you need to create it to build a solid structure that the team can copy over. When I build the lighting shot, for instance, before I even start putting lights in and giving creative input, I have to set it up technicall­y. So render settings, AOV passes, render layers. There’s all these things you don't want to leave to chance or to a single individual, you want to set them up first. There's still going to be creative freedom, but within reason. There are a lot of people that join Blue Zoo straight from school and aren’t necessaril­y experience­d with render settings, I think it’s the most boring part of lighting so not everybody is into it and that's why it's important for me to set it up first. There might be adjustment­s from shot to shot but you have a setup that you know is not going to end up with lots of noise. It’s the same for compositin­g. You set up the structure, for instance, if you want to reveal the beauty you might want to create a base for it. Then you know that within your team, everybody has the same. It's really important, especially when you have a big team.

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