blue zoo #4 LIGHTING, COMPOSITING AND WORKFLOWS
3D World’s in-depth series on leading UK animation company Blue Zoo has so far covered the studio’s journey and approach to producing joyfully compelling stories, its visual and story development processes, and its animation pipeline. In this fourth instalment we take a closer look at Blue Zoo’s lighting and comp workflows, the tools they use to create their stunning animated aesthetics, particularly challenging projects, integrating complex effects and, as ever, we get their top tips for aspiring artists that want to add professional lighting and comp to their own projects. So, without further ado, let’s lift the lid on the art of lighting and comp for 3D animation.
THE POST PROCESS
Arthur Tibbett is a CG supervisor at Blue Zoo. His responsibilities include the design and implementation of new workflows covering both the technical and artistic aspects of an animation pipeline, as well as adopting strategies to tackle unique creative challenges, which he cites as one of the most enjoyable aspects of his role.
“I work with artists and technical directors (TDs) to help solve problems,” he tells 3D World, “I’m often involved with projects we do in the short form team from the very start to the end, helping artists and giving feedback and quality control with directors and creative leads.”
Tibbett is no stranger to Blue Zoo’s lighting and comp departments and the work they do to
