American Cinematographer - February 2016 - 28

Based on storyboards selected by Aron, Voy paints lighting concepts such as these to establish the
desired tone and palette. These "LCs" are then given to the lighting artists at overseas studios CGCG and
Virtuos-Sparx to use as a guide as they light the actual animation.

28

February 2016

American Cinematographer

assets from the design department and
following notes about lighting and effects
that came out of discussions with Filoni,
Aron and others.
"The interplay of light and dark is
the unconscious part of [the second]
season," Filoni notes. "Ezra's struggling
with becoming more powerful. When you
become more powerful, there's always the
danger of seizing that power for yourself,
even when you think you're doing good for
other people - Anakin went through that
[in the prequel films]. So, especially in the
Jedi-centric episodes, you'll often see
people standing at the edge of a shadow.
That's all very orchestrated."
Voy, who joined the production of
The Clone Wars at the same time as Aron,
notes that the lighting concepts on Rebels
are "pretty similar to what we did on Clone
Wars, but with a shorter turnaround." For
each episode of Rebels, Voy has two weeks
in which to make all of his lighting concepts
and assist the overseas studios with the
matte paintings that will be composited
into the final animation. "I'll try to get my
first pass of everything finished in a week,"
he explains, "and then use the next week to
do any revisions we need."
Asked how the crew decides what
frames will get a lighting concept, Voy
offers, "Joel will have an idea of what shots
he wants to get a pass at because they
might be especially difficult - if there's a
complex effect, or if we have a new set,
we'll try and get a painting. So he picks the
ones that might [require] the most back and
forth with the overseas studios, where
having a painting can help hammer it out
on our side so we can send it over and say,
'Try and match this as closely as possible.'"
Before the lighting artists at CGCG
and Virtuos-Sparx set to work lighting the
raw animation, Aron leads the overseas
team through a "lighting kickoff." As Aron
explains, "We go through every single shot
and I explain how the characters should be
lit, how bright the background should be,
where the focus should be.
"I dwell more on the first time you
see a character than anything," he emphasizes. "The first time you see any character
in any episode, I want it to look like a
portrait. I don't care what the light is on the
set; I want a top-down 45-degree key [light]



Table of Contents for the Digital Edition of American Cinematographer - February 2016

Contents
American Cinematographer - February 2016 - Intro
American Cinematographer - February 2016 - Cover1
American Cinematographer - February 2016 - Cover2
American Cinematographer - February 2016 - 1
American Cinematographer - February 2016 - 2
American Cinematographer - February 2016 - Contents
American Cinematographer - February 2016 - 4
American Cinematographer - February 2016 - 5
American Cinematographer - February 2016 - 6
American Cinematographer - February 2016 - 7
American Cinematographer - February 2016 - 8
American Cinematographer - February 2016 - 9
American Cinematographer - February 2016 - 10
American Cinematographer - February 2016 - 11
American Cinematographer - February 2016 - 12
American Cinematographer - February 2016 - 13
American Cinematographer - February 2016 - 14
American Cinematographer - February 2016 - 15
American Cinematographer - February 2016 - 16
American Cinematographer - February 2016 - 17
American Cinematographer - February 2016 - 18
American Cinematographer - February 2016 - 19
American Cinematographer - February 2016 - 20
American Cinematographer - February 2016 - 21
American Cinematographer - February 2016 - 22
American Cinematographer - February 2016 - 23
American Cinematographer - February 2016 - 24
American Cinematographer - February 2016 - 25
American Cinematographer - February 2016 - 26
American Cinematographer - February 2016 - 27
American Cinematographer - February 2016 - 28
American Cinematographer - February 2016 - 29
American Cinematographer - February 2016 - 30
American Cinematographer - February 2016 - 31
American Cinematographer - February 2016 - 32
American Cinematographer - February 2016 - 33
American Cinematographer - February 2016 - 34
American Cinematographer - February 2016 - 35
American Cinematographer - February 2016 - 36
American Cinematographer - February 2016 - 37
American Cinematographer - February 2016 - 38
American Cinematographer - February 2016 - 39
American Cinematographer - February 2016 - 40
American Cinematographer - February 2016 - 41
American Cinematographer - February 2016 - 42
American Cinematographer - February 2016 - 43
American Cinematographer - February 2016 - 44
American Cinematographer - February 2016 - 45
American Cinematographer - February 2016 - 46
American Cinematographer - February 2016 - 47
American Cinematographer - February 2016 - 48
American Cinematographer - February 2016 - 49
American Cinematographer - February 2016 - 50
American Cinematographer - February 2016 - 51
American Cinematographer - February 2016 - 52
American Cinematographer - February 2016 - 53
American Cinematographer - February 2016 - 54
American Cinematographer - February 2016 - 55
American Cinematographer - February 2016 - 56
American Cinematographer - February 2016 - 57
American Cinematographer - February 2016 - 58
American Cinematographer - February 2016 - 59
American Cinematographer - February 2016 - 60
American Cinematographer - February 2016 - 61
American Cinematographer - February 2016 - 62
American Cinematographer - February 2016 - 63
American Cinematographer - February 2016 - 64
American Cinematographer - February 2016 - 65
American Cinematographer - February 2016 - 66
American Cinematographer - February 2016 - 67
American Cinematographer - February 2016 - 68
American Cinematographer - February 2016 - 69
American Cinematographer - February 2016 - 70
American Cinematographer - February 2016 - 71
American Cinematographer - February 2016 - 72
American Cinematographer - February 2016 - 73
American Cinematographer - February 2016 - 74
American Cinematographer - February 2016 - 75
American Cinematographer - February 2016 - 76
American Cinematographer - February 2016 - 77
American Cinematographer - February 2016 - 78
American Cinematographer - February 2016 - 79
American Cinematographer - February 2016 - 80
American Cinematographer - February 2016 - 81
American Cinematographer - February 2016 - 82
American Cinematographer - February 2016 - 83
American Cinematographer - February 2016 - 84
American Cinematographer - February 2016 - 85
American Cinematographer - February 2016 - 86
American Cinematographer - February 2016 - 87
American Cinematographer - February 2016 - 88
American Cinematographer - February 2016 - 89
American Cinematographer - February 2016 - 90
American Cinematographer - February 2016 - 91
American Cinematographer - February 2016 - 92
American Cinematographer - February 2016 - 93
American Cinematographer - February 2016 - 94
American Cinematographer - February 2016 - 95
American Cinematographer - February 2016 - 96
American Cinematographer - February 2016 - Cover3
American Cinematographer - February 2016 - Cover4
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