was just talking with my friends about lighting and color palettes in movies, got me thinking about what kind of visuals would be cool for rqg! brainstorm under the cut.
- THE most important thing: pre time jump is warm-colored lighting, post is cool-colored lighting
- make sasha backlit as often as possible so she’s really just a silhouette; any other time, she should be just in the darkest area, and never the center focus of the shot even if she’s the main speaker in the scene
- the exception to these rules is during mr. ceiling, where she and everyone else should be completely visible in artificial blue/white - just waay too strong key lighting from the brain tubes, nowhere to hide
- azu of course is glowing pink. she makes everyone look lovely with just this nice soft lighting. particularly in the vaults when they’re headed to get the heart of aphrodite she should be like a beacon for everyone else
- grizzop actually also glows a very faint silver when he’s in combat! and when he’s taking damage to save his friends
- there should always be something red/brass/gold in hamid’s shot, even just in the background. as he gets more dragony, there can be a lot of reflections on scales that will draw the eye
- every scene with wilde, there should be at least one moment where the lighting cuts across his face as foreshadowing for the scar. maybe it starts as very subtle but by the scene in damascus where they’re figuring out they can trust fewer people it’s gotta be stark
- rome should be entirely hard lighting, borderline overexposure - think heat-haze. it should be super jarring shift between grizzop in damascus when he’s there
- when people are in quarantine I want an atla-esque playing around with angles of who is ‘behind’ the bars - wilde always behind them often for obvious reasons, with the rest of the party behind or not depending on what they’re talking about. zolf should never be angled to have him behind bars, but when he’s talking about his brother there should at least be a shadow of them across his face.
- cel should always have neon colors around them, whether on their person with potions and things or lighting, particularly in shoin’s with the oozes reflecting light against the walls
- the airship is the closest the lighting gets back to warm colors - would loove the aurora borealis to start out over-saturating things, but later in the background quietly shift the cooler palette along to something less natural than actual aurora greens and blues and towards more golds and purples and reds, culminating with a lot of really warm and jewel tones on the night of the bow bar
- the crash throws everything back into a cool palette. I KNOW the ship canonically turned all technicolor but with the right tone of light all that could look horrible and washed out against the snow.
- all of the ‘waiting rooms’ should be washed out backgrounds, with the characters standing in exceedingly vibrant contrast
- london stays in cool colors with deep shadows/not much fill lighting, up until the roof of the parliament when it reverts back to ambient lighting with those original warm tones with gold as the centerpiece, with guivres and the tower and blue as the shadow with the sky and the plants
