Lighting and Rendering Masterclass with Katana – Trailer

Join Nihal Friedal, as he takes you through his Lighting Masterclass, designed to provide you with the full experience of a lighting artist. This comprehensive masterclass takes you through the lighting pipeline from start to finish. You’ll learn essential lighting theory and how to use Katana to create a studio-grade render.

Access the course here –…

Katana 5.0 – Redefining Your Workflow

Crack collaboration wide open with Katana 5.0. Reduce pipeline friction, build bridges across teams, and experience a whole new way to create.

Featuring our most powerful architecture to date, Katana 5.0 allows look development and lighting artists to stream their live renders to a running version of Nuke, so they can view their work in context of the final comp, in near-real time. Any changes made in Katana automatically update in Nuke for a more holistic view of the creative process.

Coupled with essential feature upgrades like Foresight+, USD workflow improvements and Hydra Render Delegate support, Katana 5.0 becomes a must-have for your creative toolkit.

The next generation of look development and lighting is now. Expect near-limitless creativity underpinned by seamless collaboration, reduced feedback loops and iterations, and a holistic approach to achieving that perfect final render.

00:00 Intro
00:26 Foresight+
02:22 Viewport Enhancements
04:34 Look Development
06:26 Refreshed Material Node User Interface
07:57 USD Workflow Improvements
08:47 Nuke Bridge

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Villeneuve & Deakins on Visual Storytelling using Lighting, Composition, and Framing

Denis Villeneuve and Roger Deakins have collaborated on some of the most visually stunning movies in recent years. In this video, Villeneuve and Deakins discuss their approach to visual storytelling in films like Sicario and Prisoners. Specifically, how cinematic lighting was used in their favorite scene from Sicario, how “cutting the frame” in composition focuses the audience, and how framing characters in wide shots can be just as effective as cutting in with close-ups.

In the first chapter, Deakins describes the technique of “cutting the frame,” in which shooting through a doorway or using the architecture of the set helps simplify the image. This effectively reduces the visual information and allows the viewer to focus where you want them to. In certain contexts or genres, this film composition technique can also create tension, as if these characters are unknowingly being watched.

In a scene that concludes Kate’s (Emily Blunt) character arc in Sicario, she is threatened by Alejandro (Benicio Del Toro) who holds a gun to her head to sign a document. As Deakins and Villeneuve point out, it’s such a simple scene in terms of cinematography techniques and film composition — two people sitting at a table talking. But the real visual storytelling is carried by the cinematic lighting. Kate is more evenly lit and exposed, while Alejandro is backlit, lurking and dangerous in the shadows.

For the final chapter, Villeneuve and Deakins talk about the director’s preference for holding shots or even entire scenes in wide shots. The example they point to comes in Sicario after the extraction/border shootout. As the rest of the team heads into the building, the camera stays wide to capture a tense argument between Kate and Matt (Josh Brolin) in the distance. Instead of cutting in with standard coverage, Kate is left alone, isolated in a wide shot. This type of visual storytelling challenges the viewer by breaking the rules of film composition.

As you approach visual storytelling in your next project, remember these tips. Use cinematic lighting to enhance the power of a simple dialogue scene; shoot through doors or around corners to focus the audience’s attention and/or create tension; and experiment with wide shots when showing a character in context as a more effective way to communicate their mental state.


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