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Current time:0:00Total duration:6:22

Video transcript

once master lighting is complete we then begin shot lighting in shot lighting we are adjusting the lights to support the individual shot one of the goals of shot lighting is to direct the viewers attention to get them to look where we want them to oftentimes a shot will have a lot going on that could grab the audience's attention here's an example of a very busy shot from cars 3 first with master lighting and here it is with final shot lighting in shot lighting we added more light to the tops of the cars from the track lights this helped to give the cars more contrast and it emphasized the fact that the cars are being lit by the lights on the track the additional contrast makes the shot more dramatic we also added more light to the dirt where the cars are driving and darkened the ground close to camera this gave the shot more depth and helped the audience look where we wanted them to as the cars swing around to the other side of the frame and shot lighting we continue to keep that strong top light which helps to carve him out from the background and shot lighting we artificially darkened the foreground car as the camera passes it this helps keep the focus on McQueen even though we can't see him on the other side losing the audience's attention even for a split second can make the shot less clear finally when McQueen comes back into view we shot let him so that he was brighter on the top and darker on the side to help him feel dimensional we also moved his key light so that he would have as much shaping as possible by keeping the green car on the left a little darker we make sure that the audience's attention stays fixed on McQueen another goal of shot lighting is to make shots work in context meaning that one shot cuts smoothly to the next as an example here are two consecutive shots from cars 3 in this first shot we introduce Miss fritter the school bus she is an over-the-top character and we wanted to reveal her theatrically with lighting however in the master lighting she was getting enough light that she could be seen standing behind crews in McQueen so in shot lighting we darkened her and then animated on a spotlight as a way to dramatically introduce her in the master lighting of the second shot you can see that the spotlight existed but it was moving around by locking down the spotlight onto the characters and shot lighting we not only create that theatrical moment we also improve continuity a third goal of shot lighting is to make characters look appealing from the camera angle of the shot in this example from Toy Story 3 Lotso is meant to look mean and even a little evil and master lighting there is a red light that is coming from the left side of the screen but it isn't doing much on lot so so we added a new light onto him from that direction to emphasize the red and also give him more shaping on his face we also added more red light to the bug character and Ken who are behind lot so this serves to not only give them more shape but to also support the idea of the red light in the background since the light is red it reinforces the idea that there are lots of henchmen for more examples of shot lighting let's hear from two of our shot lighters my name is Lee Hundley I'm a lighting artist at Pixar we usually start with the DP for initial review so we'll be on the same page on what's the most important elements in the shot the DP may ask for some separation between character and background then we need to knock the background out by lower the contrast and bring more contrast to the foreground sometimes there might be background elements that's drawing unwanted attention we want to tone that down you know one of the things that I had in family dinner was the in the Far background you see the kitchenette which has a bunch of chrome things in it and they were a little bit shiny they weren't specific to the story they were just sort of atmosphere and you would see this kind of flashy stuff in the back behind him and it's like well that's visually not quite working it's close but not quite and so I dimmed them down a little bit so it wasn't so distracting and we kind of sweeten things as we refine and polish here's a shot that is very typical Shou lighting scenario this is over shoulder character conversation when they just got this shot starting from master lighting everything worked out pretty well except that we want to have more emphasize on the main character that's facing the camera and we want to push the background further so we don't pay much attention to I added a key light and tweaked intensity to give this main character a more interesting and appealing look and add more atmosphere to the background so there's less contrast also this shot will require some detail work for example there is this metal badge on the main characters hat and we want to bring out that metallic quality I added a special kick light to the badge only to bring out this back from the meadow and because of the bring of the Hat is black versus a black hair we want to create some separation I also added a rim light to have some kick on the edge of the brim of the Hat so it separates from the dark hair now that you have a sense of shot lighting works it's your turn to try it out let's return to the previous exercise that you set up the master lighting in we can now take a closer look at one of the camera angles and shot light to it your goal in the next exercise is to match this color key by selecting the correct lights and adjusting your light parameters after this exercise you'll have reached the end of this lesson on lighting congratulations if you want to learn more about the science of color check out our lesson on color science or if you want to learn more about how we render images check out the rendering lesson both of these lessons are relevant to lighting so check them out