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Lighting DreamWorks projects with Greg Jennings

DreamWorks lighting specialist Greg Jennings has worked on top titles, including Scared Shrekless, and reveals what it's like working at a top animation studio.

 

Images courtesy of Dreamworks, and used with permission

DreamWorks lighting specialist Greg Jennings has worked on top titles, including Scared Shrekless, and reveals what it's like working at a top animation studio.

Greg Jennings is a CG supervisor specializing in lighting who currently works at DreamWorks. His latest project is Penguins of Madagascar, but he has worked on many top animated movies such as Kung Fu Panda 2 and Scared Shrekless. His training began with sculpture and resin modeling, before he came across 3ds Max and changed the course of his career completely. He hasn't looked back since, and talks to us about his work at DreamWorks and future plans.

3dtotal: Hi Greg, thanks for agreeing to an interview with 3dtotal! To start, could you tell us a little about your background in digital art? Where did it all begin?

Greg Jennings: It all began while studying sculpture applied to synthetic materials in France. I was doing sculpture and resin molds but didn't really know where it would lead me. Then, for my final degree project, I decided to look into computer graphics and started thinking of ways to integrate some 3D elements.

I looked up what was available and came across 3ds Max which was a revelation. It didn't really help me get my degree but from that moment I knew that I wanted to work in CG.

The following year, I started a new course in Paris and then moved to the North of France to study in Supinfocom for two years.

3dt: In the past, youve worked on a variety of projects: How does working on cartoons at DreamWorks compare to live-action feature films at BUF Compagnie, both in terms of work and atmosphere?

GJ: The main difference is the rhythm. Working for BUF was very hard but rewarding at the same time.

It's a great experience for any junior artist because it is a very demanding environment and even though the work isn't very sexy in the beginning (a lot of rotoscopy, model integration, paint fixing) one can evolve and get to learn many aspects of a VFX production, very fast. I actually didn't stay very long, but only because I wanted to try working as a freelance on shorter projects.

On the other hand, at DreamWorks, artists have more time to complete their work and the whole atmosphere is much more pleasant and friendly. It's a totally different culture compared to France and I have come to really appreciate this kind of environment in the long run.

Lighting-wise, I find that working on animated features is more interesting because it is closer to painting and we cheat a lot of things whereas in VFX it's more about matching the live plate.

The other aspect I like is the different interpretation of light from one movie to another Kung Fu Panda is very graphical and has bold colors whereas Shrek uses a more realistic approach.

 

Natural sun lighting in Madagascar 3
Images courtesy of Dreamworks, and used with permission

 

Depicting a natural sunny African scene in Madagascar 3
Images courtesy of Dreamworks, and used with permission

3dt: Animation sounds like a lot of fun! Do you have any favorite projects to date? Or any that have been particularly challenging?

GJ: Every project has some good and bad in it, but I think it is essential to always focus on what each project can teach you as an artist. If I don't like the style I try and learn some new techniques, in return if the shot isn't challenging technically, I spend more time on trying to push it artistically.
Among the projects I have had the privilege to work on, I have fond memories of being part of the Madagascar 2 team. It was my first experience at DreamWorks and I learned a lot from the Production Designer, Kendal Cronkhite which was invaluable.

Merry Madagascar and Scared Shrekless were also amazing experiences because I was supervising a team for the first time. The Indian team had recently been put together and it was a challenge to find the right rhythm but it all worked out really well in the end and I'm very proud to have taken part in this endeavor.

I also enjoyed Kung Fu Panda 2 because it was a fresh project with awesome graphical sequences which allowed a painterly approach.

The end shots in Shrek Forever After and the opening of Madagascar 3 were also interesting to work on because they are hero shots which need extra attention and I like to have that kind of pressure.

 

A still from Kung Fu Panda 2
Images courtesy of Dreamworks, and used with permission

 

Distinct orange lighting in this scene from Kung Fu panda 2
Images courtesy of Dreamworks, and used with permission

 

Dramatic and atmospheric lighting set up in Kung Fu Panda 2
Images courtesy of Dreamworks, and used with permission

3dt: Is there any project or story (new, old or imagined, and by any production company) that you would really love to do the lighting on?

GJ: I would have loved to work on DreamWorks' The Croods, Animal Logic's Legend Of The Guardians: The Owls Of Ga'Hoole, Blur's Star Wars: The Old Republic game cinematic, and Pixar's Ratatouille. I like working on rich environments where the lighting can nicely catch on details, and I feel that all of these movies are very successful in conveying an ambiance through lighting.

3dt: Though you began as a CG generalist, youve moved into the specialist area of lighting. How did you find yourself in such a niche area is it something youve always wanted to do?

GJ: For my student graduation short film, I was deeply involved in trying to find the right look, and part of that was trying out shaders and running all sorts of lighting and compositing tests. As we got into production, we had to split tasks and I naturally was drawn towards this part of the work, even though it wasn't until DreamWorks made me an offer that I considered specializing in it. I really enjoy it, but sometimes feel frustrated because I want to jump in and fix some models or tweak the camera a little.

I think that generally I have always liked to create pictures in any form or using any kind of medium, so it makes sense. The good thing at DreamWorks is that we take care of our own compositing as well, so I have control over the end result.

 

Shadow and lighting in Rise of the Guardians
Images courtesy of Dreamworks, and used with permission

 

Lamp lighting in Rise of the Guardians
Images courtesy of Dreamworks, and used with permission

 

Daylight highlights and shadows in Rise of the Guardians
Images courtesy of Dreamworks, and used with permission

3dt: Youre lighting style in the DreamWorks productions is quite distinct, can you tell our readers how you go about designing and applying lighting to the scenes? Is it purely creative and trial and error, or is there a method to the process?

GJ: As a lead lighter, I find it essential to be very methodological. I usually spend the first day or so going through the sequence and breaking things down, taking notes and thinking
about how to optimize things. I then start grouping geometry, building layers, putting things aside and globally making things easy to find and work with.

It's important for me to take the appropriate time during this process because if the foundations of the setup are solid and I have a full understanding of the needs of the sequence, then everything else is pretty straight-forward.

In parallel, I start the lighting rig and try to rough in the basic intention of the key shots, refining things gradually throughout the following days. When I reach 50%, I usually pick a few frames and do paint-overs (or play around with values in NUKE) which helps me focus on the next steps and allows me to very quickly take the shots to a solid 75% state.

I also look at a lot of real world photo references or try and find interesting stills from movies I've seen. It is often a great start to understanding how the light or materials react in a specific scenario, even though we often have to tone it down or interpret it graphically because of the cartoony feel of our movies.

The final step is to start breaking the 'logical' rig and fine-tune the lighting with localized light sources that will help balance the final image and enhance important story points this could be an action, an object, or just highlighting the hero character. At the end of the day, the final image should feel naturally lit but have a strong narrative statement.

 

A variety of lighting types in these stills from a scene in Shrek Forever After
Images courtesy of Dreamworks, and used with permission

3dt: That sounds like a lot of work! How long does this process take, and do you have a team the helps fill in some of the areas?

GJ: Usually the setup of the sequence takes around 6 weeks, along with a few key shots that will set the look for production lighters, but this time frame can vary according to the schedule, the complexity of the sequence or the story changes.

In the beginning we work closely with TDs (technical directors) who help copy over the templates and take care of a few things such as running test frames of the diffuse maps to check on the surfacing status of the sequence, baking static exposure maps and regioning the scatter assets. After their initial pass, I will usually go in and start adapting things to the sequence as well as flagging technical issues some things I fix, others I kick back to TDs or other departments.

3dt: Youve also mentioned that you use a lot of real world photo references, is there anything in particular that inspires your lighting choices?

GJ: I look for stock pictures or 'analytical' pictures that just give me a reference of what things look like, but most importantly I try and find paintings, fine art photography, or sketches that give me a wider spectrum of ways to interpret the feeling conveyed in the shot. I then make a selection, balance things out in my mind or on paper and come up with my own interpretation of how I feel the shot could be lit, or how far I can take an idea without compromising the art director's vision. It's a constant balancing act.

 

Fire lighting in Scared Shrekless
Images courtesy of Dreamworks, and used with permission

 

Generating the impression of TV lighting in Scared Shrekless
Images courtesy of Dreamworks, and used with permission

 

Contrasting lighting in Scared Shrekless
Images courtesy of Dreamworks, and used with permission

3dt: Aside from lighting, is there any area of digital art that youd like to branch into?

GJ: Yes! I'm increasingly interested in modeling and some aspects of visual development but it's just a hobby for now.

I feel blessed to be working with some very talented friends but when I see them work on visual concepts I feel these people are in a class of their own.
I'd like to move towards darker content at some point, maybe game cinematics if there is an opportunity.

I love the bright colors and furry characters but sometimes I want to push the contrast and create more dramatic scenes with a more photographic approach.

That's the next step for me hopefully!

3dt: Do you have any advice for aspiring lighting specialists, on making it in the industry?

GJ: Be bold and adventurous! Go abroad, discover new cultures, meet new people, be curious about everything, and let coincidence guide you. This industry is full of people that come from very diverse backgrounds and that is part of what makes it so interesting.

I believe aspiring artists should also have some kind of background in traditional arts and experience other mediums as much as possible. Photography is great to learn more about lenses and how film reacts to light, about framing, black and white vs. color for contrast and composition, exposure, which are all key aspects for lighters.

3dt: Thanks for agreeing to do an interview with 3dtotal!

 

Images courtesy of Dreamworks, and used with permission

Related links

Check out Greg Jenning's personal site

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