There would be no point to modelling, texturing, rigging and animating when no light is provided to view the scene in 3D animation. Lighting provides not only illumination, but also allows for personal composition of a shot, highlighting or bringing about a specified focal point for an important area, object or character in the scene. Lighting can also be an important narrative element, such as using it for implication or to develop a specific mood. It may tell time and in some cases even place. (Bordwell &Thompson, 126)
There are many ways to light a scene/ shot, but the most traditional and commonly used technique is that of three-point lighting. Three-point lighting is widely used over many different mediums (theatre, film, photography and 3D animation) as it is so effective in its result. There are alternative lighting techniques that are also used but rarely and are for a specific effect/ mood.
Three-point lighting refers to just that, illumination is made by three lights (key, fill and backlight). This lighting system makes sure that the subject is illuminated and this type of lighting is excellent when illuminating textures. (Van Der Byl, 18). The three point lighting technique is mainly used as a guide for lighting, so one may also choose to add other lights to this setup to further illuminate the scene or enhance the mood.
(Kusan, 1)The first and foremost light in this setup is the key light. This is the main light that is on the subject/ focal point. This light can also stand alone in alternative lighting setups as it may be used for a specific motive the script/ action called for. (Kerlow, 213) In live action films it may shine just over and to the side of the camera in a ¾ angle and in 3D animation it is used usually just to the side of the front of the subject with added elevation that may mimic the ¾ guideline. (Park, 251) The intensity is generally high and the light is therefore quite harsh when on its own. (Van Der Byl, 18)
Key lights are usually brighter than the other lights used in the scene (this is dependent on the scene’s needs and specifics) and is used as the major illumination, the main light and will define the subject illuminated. It also provides shadows (if allowed by the user of the 3D software) that may be filled in by the fill and backlight. (Kerlow, 213)
The fill light is to take up the illumination that cannot be done by the key light. Hence the name ‘fill’, this light ‘fills’ in shadows with a soft light and illuminates areas that are not illuminated by the key. Black areas in the ‘real world’ are not usually a hard black and so the fill light is used to create a more realistic scene unless the aesthetical needs are different. The fill light is of a lower intensity as it does not want to create harsh shadows as its purpose is to do the opposite. (Van Der Byl, 18)
The fill light may be used to “define the overall color tone” of the scene. (Kerlow, 213) These lights may be tinted and soft to prevent shadow projection. This light is usually placed at a relative side angle to the key light and is usually lower than the key. (Kusan, 1)
Now that the front of the subject is lit, from the key on one side, and the fill on the other, usually relative to the key, the back of the object needs illumination. Backlights are placed at the back of an object and most commonly, just off-centre to the object. (Park, 251) It is essential in 3D animation as it prevents the object from appearing as a 2D object and allows the object and the scene to have depth. It acts as a separation between the subject and the background. (Kusan, 1)
It is usually more intense than the fill light but never as intense as the fill unless a scene’s mood/ narrative calls for such lighting, such as the silhouette (an underexposure of a subject) effect to produce an unknown strange character or object. However, in the silhouette setup, the backlight may be called a key as it may be used as the only light to illuminate the subject. (Rowse, 1)
Other lights may be inserted into the three point lighting system for extra illumination such as a eyelight (to illuminate the eyes more and provide a ‘twinkle’), a hairlight for extra illumination of the head, a background light lighting the background of the subject, creating more depth and a kicker light that is similar to a backlight but is at a lower angle and further emphasizes the separation of the subject from the background. (Kusan, 1)
Although the three-point lighting system is the most widely used, others like to use alternative techniques in their films/ animations. One common lighting system is that of ‘flat lighting’. This lighting system can be made up of two key lights at opposite ends of the subject (like the three point lighting system without the backlight and the fill in replaced by a key light). Or, the flat lighting can be created with multiple ‘neon’ lights that fill most of the ‘ceiling’ creating an overall flat light over the scene. This lighting system is usually used for sets such as newsrooms or sitcoms that take place in big studios and the lighting can be mimicked in 3D animations where the situation is similar or can be used as a quick fix. (Ozer, 1)
Comparatively, three point lighting is the easiest means of creating a quick efficient lighting rig. The system is quick, efficient and effective. It creates a more 3D effect whereas flat lighting gives a 2D effect and look. With more depth, and an easy setup, almost anyone can use this setup of lights. The problem with both of these lighting setups is that they do not allow for personal alteration and it each scene has a different mood, need and feel and the lighting should represent such, not a generic overused lighting system such as three point lighting and flat lighting. Experimentation brings upon the best and most unique results and gives the film a more original look and mood.
There are many other ways of lighting, but that most standard technique is the three point lighting system. It is effective, efficient and allows room for alteration and may be dependent on mise en scene. However, it is limited by its main setup and alteration from this may cause it to be seen as another lighting rig. People who use three point lighting may find themselves stuck in this generic form of lighting and will not falter from it as they seem to see it as the best solution for everything. Flat lighting is for a ‘quick fix’ as little effort is needed to pull off this lighting system. Each scene should, however, require a different lighting system needed for different moods, textures and mise en scene.
Works Cited
· Bordwell, D & K, Thompson. Film Art: An Introduction. 2nd Ed. Singapore
· Brooker, D. Essential CG Lighting Techniques with 3ds Max. 3rd Ed. UK
· Kerlow, Isaac.V. The Art of 3-D Computer Animation and Imaging. 2nd Ed. Canada
· Kusan, D. Film Lighting Basics. The Basics. Little Film School
· Ozer, J. Setting up Flat and Three-point Lighting. Streaming Learning Center
· Park , John USA
· Rowse, D. How to Photograph Silhouettes in 8 Easy Steps. Photography Tips & Tutorials. Digital Photography School
· Van Der Byl, L. Lightwave 3D 8 Texturing. USA
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