The highlights in her image are warm as well and not very intense. This makes it feel like it’s foggier than it really is. I think this is the key to the look: brightening and warming the shadows, and thereby flattening the shadow’s depth.
This raised the red channel up off the bottom, making the shadows brighter with a warm tint. Her shadows have a warm quality to them, so I adjusted the Lift of my image towards red slightly. Keep in mind that adjusting the intensity of one color affects the intensities of other colors. The Color Wheels are powerful adjustment tools that control different parts of your image.īy pulling the center point closer to a color, you can start coloring the specific parts (shadows, mid-tones, highlights) of your image. Since I wanted this to be a dark foggy forest, I allowed myself to use the Volumetric Fog’s Emissive as a way to brighten my shadows instead of using a Skylight to bring up the ambient light. Though the scene is set at night, the directional light ended up being surprisingly bright to express the moonlight. Lightsįor the natural lighting, I’m only using the Directional Light and Exponential Height Fog. I placed other cameras around the forest for fun and to see what the environment looked like while I made lighting adjustments throughout the project. From there I knew I wanted to get a composition similar to Gaydakov’s work: the car stopped, headlights on the fallen trees. I think this is an important step for keeping your adjustments consistent for the rest of the project. Once I found a good location, I placed a camera to lock down my working angle. I scouted around the Environment Set map until I found an angle I liked. I primarily used the Environment Set for the setting, the car from Desert Gas Station, and Soldier Gas as the guy running down the hill. I really don’t like to spend a lot of time modeling and texturing and often use asset packs so that I can focus on lighting. I have been teaching myself a little bit of color grading in Davinci Resolve, so I applied what I’ve learned to achieve a similar look. I really wanted to capture a dramatic cinematic look. These two pieces sold me on the ominous foggy forest setting.
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