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Workshop

Cinematic Lighting Shot Production

A Workshop
by Graham Cunningham

Light & Composite a Shot Using Maya, Katana, Arnold & Nuke with Graham Cunningham

advanced
4h 3m 28s
14 Lessons
A Workshop
by Graham Cunningham
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In this comprehensive workshop by Graham Cunningham, you will be taken through the entire process of lighting and compositing a cinematic shot using Maya, Katana, Arnold, and Nuke. This is an advanced course that builds on the Introduction to Katana workshop by Taeyoung Kim.


This 4-hour workshop begins with setting up OCIO for ACEScg, importing and preparing assets in Maya and Arnold, creating a layout and shot camera, managing your .tx files and color spaces, and details how to convert materials to MaterialX, and export everything to Arnold USD.


Next, in Katana, you’ll discover how to update the shot template, create some new macros, prepare Interactive render filters, and set up AOVs for multi-channel EXR output. You’ll see how to import your USD assets, optimize your scene, go through the lighting setup, and create and modify HDRI light textures (in a quick excursion to Nuke).


From there, the workflow proceeds to the creation of render passes, how to manage visibility and sampling, and render image sequences to disk using Katana batch commands. As the last step, Graham jumps into Nuke, where he shows how to assemble the render passes, split out light AOVs, adjust light colors and intensities. You’ll also explore how to add atmosphere using volume/fog renders and WorldP data, how to add fog FX using stock footage on 3D cards, as well as how to use cryptomattes to fine-tune results, add glow, lensflare, film grain, and apply a final color grade.


Upon completing this workshop, you will have a thorough understanding of what it takes to be a lighting compositing artist. Although project files and plugins are not provided, a list of the assets used are provided with this workshop.


Graham’s scene was built using the Tokyo Back Alley Kit from Big Medium Small. After assembling the scene in Nuke, Graham then utilizes animated Lingering Fog assets from Action VFX to build up the atmosphere.

14 Lessons

01Tools & Project StructureFree

In this workshop, Graham Cunningham establishes the technical foundation for a professional VFX pipeline by emphasizing proper software configuration and organized project management. Graham demonstrates how a structured folder hierarchy is essential for an efficient workflow in production environments. These preparatory steps ensure all software components communicate correctly and files remain organized throughout the lighting and compositing process.

Duration: 5m 28s

Tools & Project Structure
02Preparing USD Assets in Maya

This lesson reinforces a practical, ground-level approach to asset preparation for rendering pipelines. Graham explains that while many of these manual processes would be automated in large studios, understanding the fundamentals of material setup and color space management is essential. Graham highlights how to organize textures to create stable, production-ready 3D assets, successfully showing how to prepare purchased assets for professional rendering.

Duration: 21m 55s

Preparing USD Assets in Maya
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03Exporting USD Assets from Maya

Graham demonstrates that while modern collaborative file formats offer powerful capabilities for asset management, the process is highly technical and requires careful attention to hierarchy and export settings. Graham explains the value of technical directors in studios for managing these workflows and demonstrates why proper file naming and version control are essential for real-world production environments.

Duration: 23m 6s

Exporting USD Assets from Maya
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04Updating Katana Template

This lesson dives into an updated Katana 7 interface optimized for modern USD-based workflows while maintaining compatibility with industry practices. Graham highlights practical production techniques used in professional environments, including modular node structures and non-destructive rendering tools. These updates make the template more flexible and powerful while remaining accessible to artists learning Katana, bridging the gap between educational resources and real-world production requirements.

Duration: 24m 31s

Updating Katana Template
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05Updating AOVs

In this lesson, Graham demonstrates an approach to optimizing render workflows by consolidating multiple image channels into organized files rather than numerous separate ones. Graham explains how this system balances technical requirements with practical needs, recognizing that not all data passes are equally useful. While the implementation creates a streamlined interface, Graham highlights the remaining challenges in certain areas, providing both solutions and honest assessments.

Duration: 22m 15s

Updating AOVs
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06Lighting the Shot in Katana

Graham explains how starting with scene optimization and building up lighting through multiple strategic sources helps create dimensional, cinematic results. He highlights the importance of maintaining flexibility for adjustments in the final stages, reflecting industry-standard practices that allow for maximum creative control while still optimizing efficiency for the final delivery.

Duration: 30m 44s

Lighting the Shot in Katana
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07Setting Up Render Passes

In this lesson, Graham demonstrates that efficient rendering comes from understanding when to isolate lights and use visibility settings appropriately for each pass type. Graham explains how organizing outputs into versioned directories allows artists to iterate efficiently while maintaining control over each element. This separation of atmospheric effects and characters provides maximum flexibility during the final assembly.

Duration: 19m 33s

Setting Up Render Passes
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08Making a Group Read Node in Nuke

This lesson provides a practical solution for managing multiple image layers by creating a custom tool that consolidates separate files into one organized interface. Graham demonstrates how this approach significantly streamlines the workflow by allowing artists to toggle layers on and off through simple controls. Graham explains how managing all file paths from a single location makes assembling the final shot more efficient.

Duration: 10m 18s

Making a Group Read Node in Nuke
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09Building the Comp in Nuke

Graham explains a disciplined, non-destructive workflow for manipulating light passes. Graham demonstrates that by separating lights and using specific exposure adjustments, artists can iterate quickly while preserving the ability to update the original renders accurately. He highlights how focusing on organization ensures both creative flexibility and technical integrity during the final look development.

Duration: 15m 11s

Building the Comp in Nuke
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10Building the Comp in Nuke: Continued

This lesson highlights proper image channel management and efficient node cloning. Graham demonstrates how splitting lighting into separate passes and recombining them gives artists complete creative control over the final look. By splitting lighting into separate passes and recombining them in comp, artists gain complete creative control over the final look while avoiding common technical issues like black halos and incorrect alpha values.

Duration: 13m 33s

Building the Comp in Nuke: Continued
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11Adding Volume & Atmosphere

In this lesson, Graham demonstrates professional techniques for creating believable atmospheric depth without relying solely on heavy, time-consuming simulations. Artists learn how combining multiple efficient techniques, such as procedural noise and clever color extraction, can produce high-quality results. Graham highlights best practices for documentation so that the work can be easily handed off to other artists.

Duration: 21m 42s

Adding Volume & Atmosphere
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12Using Stock Footage FX Elements

This technique allows Graham to demonstrate how to add dimension to scenes efficiently by placing multiple 3D cards at varying distances. Artists learn how using background data for positioning helps these elements integrate naturally into the scene.

Duration: 10m 28s

Using Stock Footage FX Elements
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13Final Shot Polish

The lesson emphasizes that successful final imagery requires both technical knowledge and artistic judgment. Graham demonstrates how to use fresh perspective techniques, like mirroring the image, to critically evaluate the work. Great results come from constant comparison and subtle refinement, illustrating that technical execution must always serve the artistic vision.

Duration: 24m 9s

Final Shot Polish
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14Conclusion

In this final lesson, Graham wraps up the workshop by demonstrating the final steps of exporting a composition and expresses his thoughts on the outcome.

Duration: 35s

Conclusion
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Primary tools

For this workshop you’ll need:

Nuke
Katana
Arnold
Maya

* Note that these programs and materials will not be supplied with the course.

Skills Covered

Who’s this Workshop for?

Graham Cunningham's advanced workshop is designed for intermediate to experienced lighting artists, compositors, and technical directors working in film, television, or high-end commercial production. Artists with foundational knowledge of Maya, Arnold, and Nuke, as well as a solid understanding of lighting and compositing principles, will be able to fully leverage the depth of this training.


CG generalists, pipeline TDs, and aspiring lighting supervisors will also gain tremendous value from this comprehensive course. The workshop offers invaluable insight into professional production workflows, demonstrating how to integrate multiple industry-standard tools to achieve cinematic-quality results within modern VFX pipeline

Learning Outcomes

Once this workshop is complete, artists will have mastered the complete pipeline for creating professional cinematic lighting and compositing using industry-standard tools.


Key skills include:

  • How to set up OCIO for ACEScg workflow and manage color spaces throughout production.
  • How to convert materials to MaterialX and export scenes to Arnold USD format.
  • How to create custom Katana macros and set up AOVs for multi-channel EXR output.
  • How to optimize lighting setups and create custom HDRI textures for realistic illumination.
  • How to manage render passes with visibility controls and sampling optimization techniques.
  • How to composite multi-pass renders and manipulate individual light contributions in Nuke.
  • How to integrate atmospheric effects using volume renders and stock footage elements.
  • How to utilize cryptomattes for precise selections and apply finishing effects like grain.
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Workshop
Cinematic Lighting Shot Production
Light & Composite a Shot Using Maya, Katana, Arnold & Nuke with Graham Cunningham
A Workshop by Graham CunninghamSenior Lighting, Compositing & Look-Dev Artist
advanced
4h 03m
14 Lessons
Instructor Graham CunninghamSenior Lighting, Compositing & Look-Dev Artist

Graham Cunningham is a senior lighting, compositing, and look-dev artist with over 27 years of experience. He began his career as a generalist, working on visual effects for film and television at various boutique studios in Toronto.


In 2007, Graham joined Blizzard Entertainment, where he has contributed to cinematics for major titles including Diablo III, Diablo IV, Diablo Immortal, StarCraft II, Heroes of the Storm, World of Warcraft, Overwatch, and Overwatch 2, helping define the look and lighting of Blizzard’s iconic cinematic storytelling.

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  • Graham was arguably the most technically proficient member of myteam during my time at Blizzard and was key in evolving several of our lighting and compositing workflows, including major improvements to our color pipeline, image-based lighting, and subsurface scattering rendering quality. His ability to solve challenging problems and use of innovative techniques resulted in visuals that wowed our artistic leadership and raised the bar for his teammates.

    - Jon Lanz-Sr.
    Software Engineer / Technical Lead, Rendering and Shading at DreamWorks Animation

  • Graham led many shows as a lighting lead, crafting beautiful shots that have significantly contributed to some of the most memorable cinematic moments in the history of Blizzard cinematics. He possesses an eye for beautiful color balance and value structure, and has a deep interest in the details of lens choices and their characteristics.

    - Sheng Jin
    Associate Director / Back-End Supervisor at Blizzard Entertainment

  • Graham was arguably the most technically proficient member of my team during my time at Blizzard and was key in evolving several of our lighting and compositing workflows, including major improvements to our color pipeline, image-based lighting, and subsurface scattering rendering quality. His ability to solve challenging problems and use of innovative techniques resulted in visuals that wowed our artistic leadership and raised the bar for his teammates.

    - Jon Lanz
    Senior Software Engineer at DreamWorks Animation

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