Shot 160: Regina's 1st Pass

 Here's an overhead screencap to show the layout of the scene.

 

Our key light comes from an off-screen source we never see.

The rim light comes from the computer keyboard.

 

The fill also comes from an off-screen source we never see.

 

The edge light come from the pov.

And here's how they all look together.

Shot 060: Eman's 1st pass

 The light from the screen is the key light. 

The light from the dream machine is the rim light.

 

 The lights from the paintings are the fill lights.

 

Here's how they all look together.

 

And here it is in motion.

Shot 050: Nick's 1st pass

The light from the dream machine serves as the key light.

The light from the screen serves as the rim light.

 The lights from the paintings serve as the fill.

 Here's how they all look together.

Shot 040: Dark Boomer

Boomer is now silhouetted in his respective frame to further conceal his identity, and contrast him with the much lighter Lefty.

Lighting the Monster Shot (140)

Whew! This shot... THIS freaking shot nearly killed me. On the positive side, I do have lights that look good from every conceivable angle, which should make lighting the remaining shots MUCH easier.

Compositing

Shot 150 (Hue Animation Test)

Testing animated hues on a scene where Boomer sinks from a seething rage to a defeating depression and hands the narrative emphasis over to Lefty, whose... also sad.

 

  The hue is adjusted by feeding the "Key only" sequence through two hueCorrect nodes, the start hue and the end hue, and animating the Mix attribute in the corresponding Merge (over) nodes. I tried "Set key on all knobs" on one hueCorrect and Merge node, but it didn't seem to do anything.

  

​This was actually Cassie's setup for Stage Fright, so I'm not exactly sure why she didn't just feed the depth map through the filter attribute of the ZDefocus. Applying the Zdepth sequence as a depth map to the beauty sequence via a ShuffleCopy node in nuke seems to work just fine after adjusting the focus in a ZDefocus.