How to Recreate Lighting Effects from Different Movies in Arnold & Nuke

Introduction

I’m Pejman Rajabi. I was born in 1993 and studied computer software. I have been working professionally in the fields of texturing, lighting, and look development for several years. How did I get interested in 3D art? Seeing animations, I always wanted to be able to make animations one day. I was very interested in computers, and when I found out that 3D software can create 3D models, I was very excited. It was interesting to me that an object can be created in 3D, using computer software and given life.

When I started learning animation, I realized I needed to specialize in a skill because I always wanted to work in an animation studio one day. At first, I became interested in lighting in animation because an artist can tell a story using light. This was very interesting to me. I was always fascinated by the color and light of Pixar Studio’s animations. For example, in the animation of “Up,” in a sequence without any dialogue, only the art of lighting could convey the feeling of sadness and happiness to the audience.

From the very beginning, I decided to specialize in lighting and become a professional artist. I also studied light theory in physics. When you improve your knowledge of lighting in the real world, you can implement the same rules in animation. Currently, I am working in a studio as a Texture and Lighting Artist in the animation and VFX industry, and I have participated in various animation and film projects in Asia.

About the Lighting Styles Project

The Lighting Styles Project was born out of my fascination with the unique ways that different films use lighting to tell stories and convey emotions. I’ve always been inspired by how iconic films can evoke distinct moods purely through lighting, color, and composition. This project was an opportunity for me to dive deeper into those cinematic techniques and challenge myself to recreate them in a 3D environment.

Inspiration & Starting Point

The idea for this project came from studying the works of legendary cinematographers and directors, who have mastered the art of visual storytelling. Films like Amélie, John Wick, and Double Indemnity are prime examples of how lighting can become a character in itself. Each of these films has a very distinct lighting style that contributes to their atmosphere — whether it’s the whimsical warmth of Amélie, the cool, neo-noir tones of John Wick, or the high-contrast chiaroscuro of classic film noir.

Working with References & Lighting Types

My process began with extensive reference gathering. I watched key scenes from each film multiple times, paying close attention to how light was used to highlight emotion, shape the environment, and guide the viewer’s eye. I created mood boards to capture the essence of each style, focusing on color palettes, light direction, contrast, and shadow play.

Understanding the logic behind the lighting choices in these references was crucial. For example, in Amélie, the warm, saturated tones are used to create a sense of nostalgia and whimsy, while the harsh lighting and shadows in Double Indemnity emphasize the tension and mystery typical of film noir.

Movie Selection Rationale

I chose these specific films because each represents a distinct lighting style that I wanted to explore. Amélie’s playful and saturated color palette was a great study of how color and warmth can evoke emotion. John Wick’s sleek, modern look, with its cool tones and vibrant highlights, offered a different challenge, focusing on stylized and high-contrast lighting. Double Indemnity allowed me to dive into classic film noir lighting, which is all about dramatic shadows and strong contrasts. By selecting these movies, I could showcase a wide range of lighting techniques and demonstrate how each one serves a unique narrative purpose.

The Creative Process & Challenges

Throughout the project, I constantly revisited my references to stay true to the original styles, while adding my personal touch. One of the key challenges was balancing accuracy with creativity — capturing the spirit of the references without simply copying them. I experimented with different lighting setups and color grading techniques until I felt that each shot authentically reflected the mood and style of the original film while still feeling fresh and unique.
 
A 3D Artist must have a strong eye. First, be a critic of your own work. Now, how can we train our eyes to create the best points or the best art in an image? By watching movies and animations and the artworks of other artists. Today, there are creative techniques in film and animation lighting. I always think about how this light was created when I watch a movie or an animation.

Therefore, when seeing shots from movies or animations that have interesting and professional lighting, I first take a snapshot of it and decide to recreate the same light with a 3D character in the software. The best practice for a lighting artist is to recreate the lights of movies and animations. It can increase the artist’s creativity and ability.

When I take snapshots of different movie sequences, I archive them as reference images in different lighting modes, because a lighting artist always needs references for lighting. After gathering the references, I first analyze the light angles and mood of that scene. For example, I check the light angle or light intensity and the direction of the shadows, et cetera.

For example, in the film Angel Heart (1987), I was interested in recreating the light of one of the shots. At first, I took a snapshot and analyzed the angle of the light and the direction of the shadows on the character’s face in Photoshop.

Always remember to first find the direction of the Key Light with the angles of the shadows. If you have trouble finding the direction of the shadows, just level the image a little in Photoshop, like the image below:

About the Character Model

To recreate the light, you don’t need to model the character, because the goal of your exercise is just to recreate the light based on the selected reference, and you shouldn’t waste your time modeling the character. For this project, I utilized a pre-existing character model called Digital Emily, which is a scanned 3D model available for free. The model is widely recognized for its high-quality detailing and realistic representation, making it an excellent starting point for lighting studies. I also made sure to credit the original source for the download, providing transparency for viewers.

Using pre-made models like this is a common practice in lighting studies, as it allows the artist to focus more on achieving the right lighting, composition, and atmosphere without needing to invest time in creating the model from scratch. My primary goal was to demonstrate advanced lighting techniques and color grading, so using a reliable pre-existing model was perfectly suited for this purpose. You can use free and ready-made characters found on the Internet. I obtained Emily’s character from here. This character is completely free for practice purposes. I tweaked the shading and skin of the character a bit to get a better look.

Lighting, Rendering & Compositing Setup

For this project, I focused on creating a photorealistic look, by carefully integrating my lighting, rendering, and compositing workflows. Here’s a breakdown of my process:

Lighting Setup in Arnold

I used Arnold for rendering because of its flexibility and ability to handle complex lighting scenarios. The lighting was designed to match the mood of the reference while keeping the colors rich and vibrant. I used a three-point lighting setup as a base, with a Key Light that was slightly warm, a Fill Light with a cooler tint, and a Rim Light to separate the subject from the background. Additional area lights were strategically placed to enhance specific details and give more depth to the scene.

Therefore, I tried to approach the composition of the image with the camera in the software, according to the reference images. (For this, you can import the reference image as an image plane in the camera).

Then, according to the light analysis in the reference image, I create the lights in the software and try to match the light position exactly with the reference. When I have done the lighting, I constantly compare the direction of the shadows and the direction of the lights with the reference image below. In the end, for the composite process, I output my rendering in EXR format so that in Nuke, I can tweak each pass of lights, et cetera.

In Nuke, I try to match the color level of the rendering image with the reference image. In the composite process, I work very obsessively on the colors to get exactly closer to the reference.

Rendering with AOVs in Arnold

To give me more control in post-production, I rendered out multiple AOVs (Arbitrary Output Variables) like diffuse, specular, reflections, and Subsurface Scattering. This allowed me to fine-tune each element separately when compositing. I also rendered passes for depth and ambient occlusion, which were essential for adding extra detail and enhancing the overall depth of the scene.

Compositing in Nuke

In Nuke, I combined all the AOVs and layered them to achieve the desired look. I began by balancing the lighting passes. Nuke’s powerful node-based system allowed me to make non-destructive adjustments and quickly experiment with different looks.

Integration of Arnold & Nuke

The seamless integration between Arnold and Nuke was key to my workflow. I imported the rendered AOVs into Nuke, where I could tweak each pass individually, enhancing highlights, shadows, and mid-tones. The flexibility of working with separate passes enabled me to add subtle effects like lens flares, glows, and slight color aberrations without affecting the original render.

Final Touches

Once the basic compositing was done, I focused on adding some fine details, such as subtle film grain, vignetting, and a slight bloom effect on the highlights. These additions helped bring the scene together and reinforced the cinematic feel I was going for.

Post-Production Adjustments for the Amélie Shot

For this particular shot inspired by Amélie, my main focus was to capture the movie’s iconic color palette, which is known for its warm, saturated tones with a slight greenish tint. Here’s a breakdown of my approach:

Reference Gathering

I started by collecting references from key scenes in Amélie. The movie is famous for its unique color grading, particularly its combination of warm yellows and greens. This step helped me establish the overall mood and lighting direction.

Lighting Setup

I focused on using soft, diffused lighting to mimic the film’s look. I set up a Key Light with a warm tint to simulate natural sunlight, combined with a subtle fill light that had a slight greenish hue. The intention was to balance the warmth with a touch of coolness, giving it that cinematic, nostalgic feel.

Color Tint & Shading

To achieve the specific color tint, I relied heavily on tweaking the shading and light color within my 3D software. The key was to maintain the warmth while introducing a hint of green in the shadows and mid-tones.

Post-Production in Nuke

In post-production, I adjusted the color balance and curves to enhance the greenish-yellow tint further. I made selective adjustments to the shadows, highlights, and mid-tones to achieve the distinctive Amélie color palette. Additionally, I used a subtle vignette to add depth and draw the viewer’s attention to the center of the frame.

Final Adjustments

To add the final touch, I applied a gentle film grain and slightly desaturated some of the colors to make it feel more like a scene from the movie. The goal was to make the shot feel both nostalgic and stylized, staying true to Amélie’s visual storytelling.

Establish the Mood in the Double Indemnity Shot

The key to capturing the moody, film-noir atmosphere of Double Indemnity was a combination of strategic lighting, contrast, and the careful placement of reflective surfaces. Here’s how I approached it:

Lighting Setup

Film-noir scenes are characterized by high contrast, strong shadows, and dramatic lighting. I used a low-key lighting setup, with a single Key Light placed at an angle to create sharp, defined shadows. This helped emphasize the Chiaroscuro effect, which is central to the classic noir look. I also added subtle fill lights with a cooler tone to balance the shadows, while keeping the overall mood dark and mysterious.

Achieving the Reflection

The reflection was a critical part of the shot, adding depth and an element of visual storytelling. I carefully positioned a reflective surface (such as a polished floor or a glossy table) to catch the light at just the right angle. In the 3D setup, I adjusted the roughness and glossiness of the material to control the clarity and intensity of the reflection. The goal was to have a slightly blurred, almost ghostly reflection that adds to the tension and unease of the scene.

Camera & Composition

The composition played a big role in enhancing the mood. I positioned the camera at a low angle, typical of noir cinematography, which added a sense of power and drama. The reflection was framed in a way that subtly draws attention without overpowering the main subject.

Post-Processing & Final Touches

In post-production, I further enhanced the contrast and adjusted the levels to push the highlights and deep shadows. This gave the shot that classic noir look with its rich blacks and stark whites. Additionally, I added a slight vignette and some film grain to mimic the texture of old film stock.

Approach to the John Wick Shot

For the John Wick shot, the color palette was a critical element in conveying the movie’s signature mood — cool, sleek, and intense. Here’s how I approached the color choices and their impact on the tone and atmosphere:

Color Palette Selection

The John Wick films are known for their use of deep blues, purples, and teal tones, which create a cold, urban, and almost futuristic atmosphere. I chose a similar color scheme, focusing primarily on cool tones with hints of cyan and magenta. These colors evoke a sense of mystery, danger, and sophistication — perfect for capturing the essence of the character.

Post-Production & Grading

In post-processing, I fine-tuned the colors using color grading techniques to ensure a cohesive and cinematic look. I pushed the shadows towards a deep blue and adjusted the mid-tones to emphasize the teal and purple hues. The highlights were slightly desaturated to maintain that cold, steely feel without overwhelming the shot with too much brightness.

Impact on the Overall Tone & Atmosphere

The resulting color palette, with its dominance of cool tones and controlled highlights, creates an atmosphere that’s both stylish and ominous. It reflects the character’s calculated yet ruthless nature while maintaining the sleek aesthetic that’s become a hallmark of the John Wick franchise. The colors, combined with the lighting and composition, help convey a sense of tension and controlled chaos, mirroring the world in which the character operates.

Challenges, Lessons & Advice

Main Challenges

One of the biggest challenges in this project was balancing stylization with realism. Capturing the distinct moods from well-known film references like Amélie and John Wick required a deep understanding of both lighting and color theory. I had to carefully analyze the subtle interplay of colors, light, and shadows, while still maintaining a visually appealing composition.

Another challenge was integrating various tools like Arnold and Nuke seamlessly. Managing complex AOVs (render passes) and combining them in post-production without losing control over the final image was a crucial part of the process. It required meticulous attention to detail and the ability to refine each layer while keeping the overall look cohesive.

Lessons Learned

This project reinforced the importance of planning and pre-visualization. Before diving into the technical aspects, I learned that spending time on reference gathering and creating mood boards helped streamline the entire workflow. Understanding the storytelling aspect of lighting and how every element — from the Key Light to the smallest reflection — contributes to the narrative was a critical insight.

I also realized that flexibility is key. Sometimes, the initial lighting setup doesn’t produce the desired effect, and being open to experimenting with different setups and color schemes can lead to unexpected and better results.

Advice for Fellow Artists

Understand Your References

When working with a specific style or trying to replicate a cinematic look, don’t just replicate the colors and lighting. Analyze why they work. Understand the intention behind the lighting choices in the original reference and how they serve the story.

Master the Fundamentals

While it’s tempting to jump into advanced techniques, having a strong foundation in the basics, like light direction, color temperature, and composition, is essential. The most sophisticated setups often rely on simple principles done right.

Don’t Skip the Details

Small details like subtle reflections, the right amount of contrast, and even the tiniest color adjustments can make a huge difference in the final result. Pay attention to these details, as they often determine whether your work feels polished or unfinished.

Stay Curious & Keep Experimenting

Lighting and look development are as much about creativity as they are about technical skills. Always be willing to try new techniques, test different setups, and push your boundaries. Experimenting can often lead to breakthroughs and unique styles that set your work apart.

Get Feedback Early & Often

Sharing your work in progress with others, especially other artists, can provide valuable insights. Fresh eyes can catch issues or provide suggestions that you might have missed.

Pejman Rajabi, Look Development & Lighting Artist 

Interview conducted by Amber Rutherford