Animation Guild | We are 839 Digital Magazine
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color script played an important role to figure out how all the colors in all the worlds could be distinct but still hold together. Felix was responsible for laying this groundwork with a time of day color script. "[This] was the first visualization of how everything sort of meshed together," he says. "Then we got a lot more specific when each sequence went into production. I would prepare some color keys to give everyone an idea of where we were heading, trying to create … a design language [for each land] and what their predominant color palettes would be just to keep them apart visually. … But what ties [them] together is the way we organized the color and the lighting cinematically. Because everything is subordinate to the tonal design." LIBRARY OF LIGHT Kumandra is inspired by the countries of Southeast Asia. Along with a mission to portray the region's traditions, cultures, art, and architecture as accurately as possible, the team also aimed to authentically create the " feel" of the region. Early research trips were taken, sparking discussions about humidity, the thickness of the air, and the way elements such as mist over water diffused light so close to the equator. They wanted to include all of these details in the movie, and to address this challenge, effects created an atmospherics library in pre-production. Culp says research about the different kind of volumes needed in the film led to Lighting Supervisor Ryan DeYoung putting together "panels and images that would describe kinds of volumes … volume that sits over the top of water, for example. And … mist, like outside, on a rainy day, on a dry day. What it would look like for dust, coming from sand, kickups of sand? Then we talked to FX about getting some of those put into elements that we could bring from a stockroom for placing into our shots based on the different worlds." The result, Odermatt says: "Lighting had free reign to apply all of the atmospherics library to be able to do what they needed to do compositionally." "As we went into our initial sequence lighting, we'd grab those atmospherics and start dressing them into the set," Lusinsky adds. "It's cool F E AT U R E below: Paul Felix's time of day color script. 34 KEYFRAME