The Magic of Image-Based Lighting

Imagine conjuring up a mystical forest, complete with dappled sunlight filtering through leaves. Or a subterranean cavern where the only light comes from flickering torches held by weary adventurers. In the fantastical realm of Dungeons & Dragons, these enchanted locations are just a roll of a dice away. But how do you capture their magic for the players and viewers online – a format that's seen explosive growth with millions of views being racked up on YouTube and Twitch? Enter Director and DP, Graham Sheldon, who wields a powerful arsenal: Litepanels' Gemini RGBWW panels and Quasar Science's image-based lighting to transport the audience right into the heart of the adventure.

A Genre Redefined

Sagas of Sundry: Goblin Mode is a tabletop role-playing game (TTRPG) series that is part of the Geek and Sundry reboot. It is a digital property owned by Legendary Entertainment, the keepers of the flame for the Dune and Godzilla franchises. Goblin Mode features a group of comedians who embark on a D&D-esque adventure, with 95% of the content improvised. The show's episodes, ranging from 1.5 to 2.5 hours, are renowned for their dynamic and unpredictable storylines, making the production process particularly challenging. Prior to directing Goblin Mode, Emmy® award winner Graham Sheldon served as the DP on Dimension 20: Neverafter. Under the tutelage of director Michael Schaubach, Graham enjoyed his first taste of TTRPGs. “That was a lovely crash course in making a series like this”, he explained. With valuable experience under his belt, the first challenge he faced as Director and DP on Goblin Mode was determining how to visually represent a world where the story is constantly evolving. “The players cast spells, they do things that we don't expect them to do, so we wanted to mix the lighting in real time.” Graham explained. “From a lighting perspective, it’s a really exciting challenge.”

Pre-production

One of the challenges with filming a 20-episode TTRPG is that it could feel visually static. To create a sense of momentum as the ever-changing story progresses, Graham turned to Litepanels and Quasar Science. Filming in a small Los Angeles sound stage, each of the players were keyed by an overhead Gemini 1x1 Soft, with a 4’ Double Rainbow serving as an edge light. For the Game Master, Amy Vorpol, a Gemini 1x1 Hard was rigged as a backlight to create separation from the set design. To prevent light spilling across the set and softening the dramatic shadows you’d expect from a fantasy game, the lights were all equipped with grids. To complete the setup, four 2’ Double Rainbows and a Gemini 1x1 Soft were positioned above the table for on-demand lighting effects.

The Art of Adaptability

Unlike traditional scripted productions, Goblin Mode unfolds in real-time, demanding a lighting setup that could keep pace with the cast's unpredictable choices. To capture the magic of the quest, Graham collaborated with DP Kevin Stiller on a dynamic solution: image-based lighting (IBL), a technique that uses pre-captured images of real-world lighting environments to create realistic lighting.

By feeding video files into the Rainbow fixtures, Sheldon and Stiller could craft immersive and atmospheric effects that seamlessly mirrored the on-screen action. "We wanted our cast to be transported," Graham explained. To achieve this, every location, battle, and plot twist required its own unique lighting cues. Graham described this process as "mixing flavors," combining the vibrant colors and effects of the Gemini panels with the immersive power of IBL from the Rainbows. This powerful combination unlocked a wealth of creative possibilities, enabling the team to map out a series of potential events.

With over 40 meticulously crafted lighting combinations, the crew was equipped to handle any scenario, from fiery infernos and volcanic eruptions to magical portals and underwater battles. This flexibility ensured that the lighting always matched the tone and drama of the unfolding story, immersing the cast and audience in the fantasy realm. 

To trigger the lighting changes, Graham utilized a number of solutions. For IBL, OBS served a central hub to store the videos. These files were then imported in to Assimilate Live FX and controlled via stream deck for on demand lighting cues. To control the Gemini panels, the crew attached wireless DMX dongles and used Luminair Pro. While it was technically possible to network the lighting systems for unified control, Graham opted to maintain separate systems. “This gave us greater flexibility to adjust the lighting in a live production environment”. He explained.

Live production

One of the defining characteristics of Goblin Mode is its live stage feel. As Graham explained, "We don't really pause the action. We just keep going." To capture every angle of the unfolding drama, the crew rigged four FUJIFILM X-H2S cameras and an X-H2 mounted in the lighting grid, paired with SIGMA X-Mount lenses. With production often exceeding two hours, Graham emphasized the importance of reliable technology. "We don't have time for any hiccups," he stated. "Everything has to work flawlessly to maintain the live-to-tape experience."

As both Director and DP, Graham took a hands-on approach to the production, including the lighting cues. Following the story in real time, he made lighting choices that complemented the Game Master’s narrative. For someone who isn't deeply immersed in software on a daily basis, the flexibility and ease of use of IBL and Assimilate Live FX proved invaluable. As Graham reflected, "What first struck me was how easy it was to pick up." While he is an early adopter of new technology, he stressed the value of comfort and confidence when implementing new tools in a live production environment.

The future of IBL

Goblin Mode presented Graham with a host of unique challenges and experiences. As he reflected on the production, he recalled, "I can't imagine achieving these looks any other way." IBL, he noted, “felt like a natural extension of the traditional process work that he and his team had been accustomed to.” Yet, the resulting lighting effects were far from traditional, appearing incredibly authentic and immersive.

This series is a testament to the power of creativity and innovation in the world of TTRPGs. By carefully combining traditional storytelling with progressive technology, the show has created a unique and engaging experience for the cast and its global fanbase. As the TTRPG landscape continues to evolve, dynamic lighting will undoubtedly play a pivotal role in bringing these magical worlds to life.

For Graham, this experience was merely a taste of the potential of IBL. "I can't wait to translate and scale what I've learned into my scripted and commercial work," he expressed. Anticipating the future development of IBL software, Graham is eager to further refine his workflow and explore the boundless possibilities that this technology offers. As he concluded:

Watch Episode 1