Anyone who knows Brackenwood knows that lighting is very important to me. In the Brackenwood movies, almost every colour has at least one tone variant. Grass for example generally has 2-3 colours – a base green, with a darker green for shadow tone and/or a lighter green for highlight. Of course this also goes for characters; in “Prowlies at the River”, Bitey’s main colours (hair, skin, horn) each have base and tone. Lighting got a little crazy in “Waterlollies” and “The Last of the Dashkin“, where characters had 3-5 colour variations for each base (light, dark, reflect, highlight, line).
The past couple of weeks have seen me working on lighting for Dashkin characters. Painting colour directly onto the character would mean the same lighting direction in every environment. But what if I want Bitey to be lit from the front as he runs toward a sunrise? How about a cavern level where he’s underlit from glowing mushrooms? Would I create a separate hand-painted set of Bitey animation states for each of those situations? Well no, that’s out of the question for pretty obvious reasons.
Unlike the movies, lighting in Dashkin is dynamic, which means that the character is lit by whatever lights are in the level. In the open grasslands this would probably be sunlight or moonlight, but in forests and caverns, there are more varied and movable light sources such as low light (sunset, sunrise), back-lighting, dappled shadows, light beams, glowing creatures and under-lighting.
I’m creating character light maps using Toon Boom Harmony’s light shading, then hooking them up in Unreal. It is a pretty tedious, sometimes painful process but the results speak for themselves. As you can see below, we have variable lighting on the character. In this test scene I’m using a particularly strong, white spotlight to accentuate the effect of the light map.