The Log Ocean scene was a combination of one of the easiest and most frustrating scenes to make.
In terms of layout, it was incredibly simplistic, a slight hill leading down to a fallen log stretching across a wide ocean.
However, the process of creating an ocean of the appropriate scale proved intensive, and slowed down the process of tweaking and adjusting immensely.
The log ocean was constructed with two states, one in the midst of a storm and the other with a calmer sea.
The calmer sea was lighted with pale greys and a slight tint of yellow to provide highlights and contrasts for the characters.
Compared to the hill leading down to it and the early parts of the ocean, which I lit using intense reds and assembled to give a vivid skyline and clear lines of action, I found that actually creating the scene raised complex issues surrounding how to light it.
Primarily though, the skysphere gave a red tint that then needed some forced shadows from directional lighting and an ambient yellow light to help highlight it.
Here you can see a finished shot from the above environment, with a brown light being used to cast the highlights to create a more visceral effect.
This is probably one of my favorite shots, and the one I feel the lighting works best in.
The above shot shows another aspect of lighting this scene that had to shift between shots, as a brighter set of lights was needed for the shots that framed the rabbit against the sky, to ensure that the red tones didn’t blend too heavily.
The ocean itself was primarily the result of two layered ocean shaders using the 2D Water displacement texture in maya, set to generate a simple but effective sequence of waves and ripples.
The Log that stretched across it, both in the shot where it splinters and when it’s static, was an extended version of the tree I had modeled prior, with a light rig allowing the splinters to be moved in relation to the trunk itself.