Week 9
- 1 mar
- 3 Min. de lectura
March 02 - 08, 2026
For Week 9, the focus was on final visual cohesion and polish across the sequence. At this stage, mentor feedback emphasized subtle compositing adjustments, color consistency, and ensuring that all materials and lighting feel as though they exist within the same visual universe.
Mentors Feedback
This week’s critiques centered on color balance, lighting consistency, and further refinement to help reduce the overly clean or CG appearance of some shots.
For Shot 1, Kyle mentioned that the particles may be slightly oversaturated, though the interaction between the ground and the printer was working very well. Adjusting the particle saturation and ensuring consistent lighting spill between Shot 1 and Shot 2 were key notes.
In Shot 2, saturation also needed to be reduced, and mentors noted that depth of field and motion blur were missing, making the shot feel too sharp. There were also suggestions to lean into a slightly more mysterious mood by allowing some elements to fall into shadow rather than revealing everything clearly.
For Shot 3, mentors suggested tightening the depth of field further. This would not only guide the viewer’s focus but also help hide some of the lower resolution details in the painting surface. Color adjustments were also recommended, particularly desaturating the painting slightly and softening the edges of the paint interaction. The wood material received additional feedback as well. While improvements had been made, the surface still appeared somewhat plastic-like. Suggestions included darkening the wood slightly and softening the bump detail to make the material feel more natural.
For Shot 4, lighting adjustments were recommended to maintain consistency with the previous shots. The warm orange tone in the final shot felt disconnected from the rest of the sequence, and mentors suggested switching to a cooler blue light while slightly reducing overall brightness. There were also ideas about introducing subtle particle presence or fog in the final frame to maintain continuity with the earlier particle effects.
More broadly, mentors encouraged us to “dirty up” some of the CG shots by introducing elements such as stronger depth of field, vignettes, and subtle imperfections. These techniques help guide the viewer’s eye and prevent the images from feeling overly clean or synthetic. Additionally, we were reminded to watch for flickering in the backgrounds and ensure that camera progression between Shots 3 and 4 feels intentional rather than repetitive.
Week 9 Work Plan
Based on this feedback, we established the following plan:
Make sure all lighting match in colors (same universe) - Sofia
Dirty the CG/add vignettes - Sofia
4k renders for breakdowns
Poster Layout - Riley/Team
Shot 1
Particle Saturation down - Sofia
Light on floor glitch (blur) - Sofia
Shot 2
Match Spill Light with Shot 1 - Yiqi (fixed)
Particle Saturation down - Sofia
Dof - Sofia
Shot 3
Make Dof more marked - Sofia
Cut sooner - Sofia
Desaturate painting - Sofia
Wood darker - Sofia
Blur edge of paint - Sofia
Smooth wood displacement -Benji (no time to fix)
Shot 4
Particles follow up - Itim
Fix light to match other shots (kill orange light to blue, and darken it more) - Sofia
My Focus This Week
This week, my focus was on final compositing polish and ensuring visual continuity between shots. A large portion of my work involved balancing color saturation across the sequence so that particles, lighting, and materials felt consistent from one shot to the next.
For Shots 1 and 2, there was reduction on the particle saturation and we refined the lighting interaction with the environment, ensuring that spill light and particle color behaved similarly between both shots. It was also addressed a lighting glitch on the floor in Shot 1 and implemented depth of field adjustments in Shot 2 to introduce stronger visual hierarchy.
In Shot 3, we tightening the depth of field to guide the viewer’s focus while also helping to hide lower-resolution details in the painting surface. Also, desaturated the painting slightly, blurred the paint edges, and darkened the wood material to reduce the overly plastic appearance.
For the final shot, we adjusted the lighting color to better match the sequence, replacing the warm orange tone with a cooler blue and reducing overall brightness to maintain continuity with the previous shots.
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