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| Fundamentals of Lighting Design | |
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| Motivation | |
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| Off-Screen Space | |
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| Qualities of Light | |
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| Direct and Indirect Light | |
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| Cheating | |
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| Cheating in Live Action | |
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| Visual Goals of Lighting Design | |
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| Making Things Read | |
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| Making Things Believable | |
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| Enhancing Shaders and Effects | |
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| Maintaining Continuity | |
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| Directing the Viewer's Eye | |
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| Emotional Impact | |
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| Lighting Challenges | |
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| Your Workspace | |
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| Creative Control | |
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| Lighting Basics and Good Practices | |
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| Starting Points | |
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| Types of Lights | |
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| Point Lights | |
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| Spotlights | |
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| Directional Lights | |
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| Area Lights | |
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| Models Serving as Lights | |
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| Environment Spheres | |
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| Ambient Light | |
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| Controls and Options | |
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| Decay | |
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| Diffuse and Specular | |
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| Light Linking | |
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| Cookies | |
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| Lighting in Production | |
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| When to Light | |
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| The Feedback Loop | |
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| Naming Lights | |
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| Managing Versions | |
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| Exercises | |
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| Shadows and Occlusion | |
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| The Visual Functions of Shadows | |
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| Defining Spatial Relationships | |
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| Revealing Alternate Angles | |
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| Enhancing Composition | |
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| Adding Contrast | |
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| Indicating Off-Screen Space | |
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| Integrating Elements | |
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| Which Lights Need Shadows? | |
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| Shadow Clutter | |
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| Secondary Shadows | |
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| Shadow Color | |
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| Testing Shadows | |
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| Shadow Size and Perspective | |
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| Shadow Algorithms | |
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| Depth Map Shadows | |
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| Raytraced Shadows | |
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| Hard and Soft Shadows | |
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| Hard and Soft Light | |
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| Soft Shadows with Depth Maps | |
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| Soft Raytraced Shadows | |
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| Occlusion | |
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| Ambient Occlusion | |
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| Occlusion in Global Illumination | |
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| Other Types of Occlusion | |
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| Faking Shadows | |
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| Negative Lights | |
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| Shadows-Only Lights | |
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| Shadow Objects | |
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| Baking Lighting | |
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| Conclusions | |
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| Exercises | |
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| Lighting Environments and Architecture | |
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| Daylight | |
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| Sunlight | |
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| Sky Light | |
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| Indirect Light | |
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| Night Scenes | |
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| Practical Lights | |
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| Lighting the Light | |
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| Set Lighting from Practical Lights | |
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| Lighting Windows | |
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| Simulating Indirect Light | |
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| Corners | |
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| Sourcy Lighting | |
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| Global Illumination | |
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| Conventional Radiosity | |
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| Photon Mapping | |
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| Final Gathering | |
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| Caustics | |
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| Ambient Occlusion | |
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| Exercises | |
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| Lighting Creatures, Characters, and Animation | |
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| Modeling with Light | |
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| Directionality | |
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| Definition | |
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| Three-Point Lighting | |
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| Variations | |
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| Tools, Not Rules | |
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| Functions of Lights | |
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| Key Lights | |
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| Fill Lights | |
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| Bounce Lights | |
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| Rim Lights | |
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| Kickers | |
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| Specular Lights | |
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| Issues in Lighting Character Animation | |
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| Test Frames | |
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| Linking Lights to Characters | |
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| Technology Changes | |
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| Subsurface Scattering | |
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| Lighting Hair | |
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| Lighting Eyes | |
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| Exercises | |
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| Cameras and Exposure | |
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| Understanding F-Stops and Depth of Field | |
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| Matching Real Lenses | |
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| The Two-Thirds Rule | |
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| Hyperfocal Distance | |
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| Bokeh Effects | |
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| Frame Rates | |
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| Realistic Motion Blur | |
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| Shutter Speed and Shutter Angle | |
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| The Comet Tail Myth | |
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| Blurring Rotations | |
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| Video Fields | |
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| Film Speed | |
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| Photographic Exposure | |
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| The Zone System | |
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| Histograms | |
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| Matching Lens Imperfections | |
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| Lens Distortion | |
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| Chromatic Aberration | |
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| Vignetting | |
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| Lens Flares and Halation | |
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| Exercises | |
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| Composition and Staging | |
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| Types of Shots | |
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| Shot Sizes | |
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| Z-Axis Blocking | |
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| POV Shots | |
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| The Two-Shot | |
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| The Over-the-Shoulder Shot | |
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| Camera Angles | |
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| The Line of Action | |
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| Perspective | |
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| High-Angle and Low-Angle Shots | |
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| Camera Moves | |
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| Improving Your Composition | |
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| The Rule of Thirds | |
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| Positive and Negative Space | |
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| Graphic Weight | |
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| Lines | |
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| Tangencies | |
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| Framing for Film and Video | |
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| Formats and Aspect Ratios | |
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| Film Formats | |
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| Adaptation to Television | |
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| Cropping and Overscan | |
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| Exercises | |
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| The Art and Science of Color | |
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| Color Mixing | |
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| Additive Color | |
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| Subtractive Color | |
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| Hue, Saturation, and Value Adjustments | |
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| When Light Color Meets Surface Color | |
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| Color Schemes | |
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| Color Contrast | |
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| Meanings of Colors | |
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| Color and Depth | |
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| Tinted Black-and-White Images | |
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| Color Balance | |
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| Color Temperature | |
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| Picking Colors from Pictures | |
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| Understanding RGB Color | |
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| Importance of Red, Green, and Blue | |
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| Digital Color | |
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| 8-bit Color | |
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| 16-bit Color | |
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| HDRI | |
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| Compact Data Formats | |
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| Exercises | |
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| Shaders and Rendering Algorithms | |
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| Shading Surfaces | |
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| Diffuse, Glossy, and Specular Reflection | |
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| Specular Highlights | |
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| BRDF and BSSRDF | |
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| Anti-Aliasing | |
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| Over-Sampling | |
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| Under-Sampling | |
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| Filtering | |
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| Rendering at Higher Resolutions | |
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| Raytracing | |
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| Raytracing Acceleration Structures | |
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| Raytraced Reflections | |
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| Shadows | |
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| Transparency and Refraction | |
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| Reyes Algorithms | |
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| The Renderman Interface Standard | |
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| Reyes and Raytracing | |
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| Z-Buffer Rendering | |
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| Scanline Rendering | |
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| GPU-Accelerated and Hardware Rendering | |
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| Hardware Rendering | |
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| GPU Acceleration | |
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| Interactive Previewing | |
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| Exercises | |
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| Designing and Assigning Textures | |
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| Types of Texture Mapping | |
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| Color Mapping | |
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| Specular Mapping | |
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| Incandescence Mapping | |
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| Transparency Mapping | |
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| Displacement Mapping | |
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| Bump Mapping | |
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| Normal Mapping | |
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| Polynomial Texture Mapping | |
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| Other Mapping Techniques | |
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| Photographic Textures | |
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| Shooting Tips | |
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| Flatbed Scans | |
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| Stylized Textures | |
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| Texture Map Resolution | |
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| Alignment Strategies | |
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| Tiling Maps | |
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| Decals | |
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| Projections | |
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| UV Coordinates | |
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| Texturing Poles | |
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| 3D Paint Programs | |
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| Procedural Textures | |
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| Resolution Independence | |
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| 3D Textures | |
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| Animation | |
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| Appearance | |
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| Baking Procedural Textures into Texture Maps | |
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| Looks Development | |
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| Painting in Layers | |
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| Color First | |
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| Displacement First | |
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| Exercises | |
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| Rendering Passes and Compositing | |
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| Rendering in Layers | |
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| Background Layers | |
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| Matte Objects | |
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| Effects Layers | |
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| Alpha Channel Issues | |
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| Compositing With Straight Alpha Channels | |
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| Compositing With Premultiplied Alpha Channels | |
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| Rendering in Passes | |
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| Diffuse Passes | |
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| Specular Passes | |
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| Reflection Passes | |
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| Shadow Passes | |
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| Ambient Passes | |
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| Occlusion Passes | |
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| Beauty Passes | |
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| Global Illumination Passes | |
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| Mask Passes | |
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| Depth Passes | |
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| Pass Management Features | |
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| Rendering Many Passes at Once | |
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| Lighting in the Composite | |
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| Rendering Lights as Separate Passes | |
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| Relighting Tools | |
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| Matching Live-Action Background Plates | |
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| Reference Balls and Light Probes | |
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| Other Approaches to Matching Lighting | |
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| Exercises | |
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| Production Pipelines and Professional Practices | |
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| Production Pipelines | |
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| Planning an Animated Feature | |
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| Story | |
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| Layout | |
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| Preparing for Visual Effects Shots | |
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| Previsualization | |
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| Match Move and Virtual Sets | |
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| Rotoscoping | |
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| Core Departments | |
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| Art Department | |
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| Modeling | |
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| Set Decorating | |
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| Technical Directors | |
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| Character Rigging | |
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| Character Animation | |
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| Effects | |
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| Shading | |
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| Texture Paint | |
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| Lighting | |
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| Compositing | |
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| Film I/O | |
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| Visualizing Production Pipelines | |
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| Getting Work Approved | |
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| Working with Clients | |
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| Setting Expectations | |
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| Dealing with Changes | |
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| Supervising Lighters | |
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| The Chain of Command | |
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| Getting a Job in 3D Lighting | |
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| A Lighting Showreel | |
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| Credits | |
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| Quality over Quantity | |
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| Starting Strong | |
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| Do I Need to Specialize? | |
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| Internal Promotion | |
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| Job Security | |
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| Advancing in Your Career | |
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| Index | |