These were my references for the 4 moods/sequences in the film. I followed color keys and frame color references for each master lighting set up.

Here is a breakdown of how I set up the master lighting for the film, and the process of a single shot. The artist would drop in the master lighting level in Unreal Engine as a base. Then would add "Character Lighting" that would flatter to camera.

We set up continuity quilts to ensure that the the team stayed consistent. We would then go shot to shot side by side and check all our values and colors. Here are two of the sequences with unique master light set ups.

I set up a master script in nuke to expedite the compositing process and keep the process consistent.

In the final stage in Davinci Resolve my director and I sat down and did a final continuity and color pass on the film. The primary goal of this was to pull the already existing colors forward and to ensure sequence consistency between shots.

We did a lot of testing. Unreal can be a bit finicky so we spent many hours finding solutions to various render issues.

Here is a breakdown of the pipeline and the softwares used.