00:28Il nostro corso gratuito
00:29Il nostro corso gratuito, ossia il nostro corso gratuito
00:59di avere almeno la luce della luce di qualcosa di frizzare, o faiare, o cambiare color all'interno.
01:06La luce della luce è molto più un mondo che ha bisogno di sviluppare e di sviluppare,
01:12e noi cerchiamo di usare la luce della luce di essere una persona in un mondo che hai negociato con,
01:17e magari è il tuo amore, e magari è il tuo amore, e magari è il tuo amore,
01:20e è sempre cambiato e movimento dietro e vivo,
01:24e qualcosa che hai bisogno di contendere.
01:30Having worked on Dead Space One,
01:32and, you know, we were pretty much,
01:34our environments were the ship, the Ishimura ship,
01:37and we didn't have a lot of variety.
01:46And now, we're on this huge city,
01:49so, you know, there's all sorts of different lighting situations
01:52from, let's say, a Vegas-like shopping mall
01:55with bright lights and animation going all the time,
01:59that then that light starts to fail.
02:02It's kind of different than what we're used to seeing in the traditional dead space
02:07because it's brighter and a lot of the spaces that we have are really dark.
02:11Depending on the space, there could be anything from like ten lights to hundreds of lights,
02:16and in this space in particular, we have hundreds of lights.
02:20The challenge here is having all the lights, but also keeping it creepy at the same time.
02:25So you can see it's kind of deserted, you don't know what's going on.
02:28Sort of telling a story and seeing, okay, what's happened here?
02:33Why is there papers on the floor?
02:34So we sort of highlight those areas.
02:36Where the lights used to be all kind of going and panning and everything,
02:40now they're all sort of out,
02:42and it's just the long shadows from the light outside the window
02:44that have changed everything.
02:49The main character has a spotlight the whole time,
02:52and that really can dictate how the player sees things
02:56and what their experience is like.
02:58And it's really critical because we will light a space that,
03:02without you in it, without the player in it,
03:05really hasn't come alive yet and may feel sort of flat.
03:09But when you get the player's light in there,
03:12it really comes alive and you start to sort of only see that part,
03:15and all the other lights become like the supporting cast
03:19for the player's light to do its thing.
03:26So we went back and looked at classical paintings,
03:31a lot of Rembrandt and a lot of the Dutch masters around that time,
03:34when they started to really get lighting in a tangible way,
03:37and those paintings were really about how the light came in,
03:40would illuminate a scene.
03:42And I think you can see a lot of that in sort of our strategy.
03:45A lot of times you see like stuff set on spaceships, right,
03:47sci-fi stuff.
03:48There's a lot of like beeps and boops and green light and red light
03:52and pink light and sort of, I don't know,
03:54it's like this candy cane world of high-techiness.
03:57And again, just trying to sort of show off the high-techiness stuff.
04:02That can lead to sort of a fanciful, fantastical atmosphere,
04:05and that's not what we wanted at all, right?
04:07We want white and yellow lights that are sort of very realistic
04:12and conservative that really lead to a grounded, believable atmosphere
04:18where bad things are really happening.
04:24I think the best inspiration comes from just real life.
04:28So people, you know, the lighting team will come in and have examples
04:31or they'll even, you know, set up little tiny lights and do stuff at their desk
04:35trying to sort of create interesting shadows or create little stories like that.
04:40And yeah, that's, we're always looking for inspiration.
04:43for inspiration.
04:44How about that.
04:50Grazie per la visione!
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