Lighting
In the first image I created the classical situation in the pyramid, but with a less dark and friendlier lighting letting you in right away. There is a direct yellow light and I played with the classical feature in which the less lighted area is blue. Of course, I tried to give the entire scene an orange tone to communicate cheerfulness.
Sitting and Framing
In the second image I wanted to create another unusual situation, i.e. in the bathroom. I tried to show the mummy embarrassed, as if he were just seen by a person at the door. That is also why it's done with wide angle framing. Fortunately, the rid has managed very well. Even in this scene in which the anthropoid model tends to have problems, above all with the pelvis and with the legs. I think it is very important to avoid symmetry. Otherwise, the eyes tend to rove around the scene always finding new things, like crooked feet or a bent back.
Lighting 2
I put some planks or something like that in front of the light coming into the bathroom. I wanted to break the light coming in to create a shadow-light effect to let the composition quiver better. I also added a blue light, with the decay activated, to lighten just a bit yet not the entire area. That was very difficult. I then put more brightness closer to the observer just to create a snap shot effect.
Environment
I prefer an environment rich in details instead of a classical clean 3D interior. I looked for references for bathrooms and tiles and as I found the right ones I preferred modeling them rather than using a simple bump or displace in order to have a better control of the reflections. Also, in this case I wanted to take a tile away or to dirty another one with various textures just not to have symmetry, as I explained before. I also later added some water just to have more reflections and light-strokes.
Render
I did the render in many steps: beauty pass of the environment, beauty pass of the mummy, ambient occlusion, specular, Z-depth to simulate the depth of field and then many more steps to stress or to decrease reflections and light-strokes. The ambient occlusion, very useful in the environments, is vital to the character because it stresses the model and creates all the little shadow areas which would get lost in the main context. I used a 2000*1600 resolution but, thanks to the various phases, every step was shorter than 5 minutes.
Compositing
After all that, I started compositing it with photo editing programs like Photoshop, unifying all of the levels and weighing them out as you like. The ambient occlusion has to be rendered in Multiply and I kept it to 60% not to weigh the shadows down too much. I then duplicated the beauty pass and I inserted it blurred in screen, thwarting it a little to light some areas up in order to give a burnt film effect. The compositing can change an image drastically and it’s a up to each person to use it in the best possible way.
I finished up this piece using Photoshop to fix the problems and stress what we are interested in the most in the image.
About the Artist -
Guido Zatti
born in Treviso on the 29th of August 1978,
living in Parma where he works very often by the TaxFree Film ( www.taxfreefilm.it ), a company of Franco Tassi specialized in commercial 3D for national and international televisoon.
Moderator and haunter of Treddi.com. Web: www.guidozatti.com
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