Lighting is a tricky beast. On the one hand, it seems easy - turn on a lamp, and point it at the area you wish to illuminate. On the other, there is a reason artists invest a large chunck of their budget into the proper light configuation. Different techniques, bulb colors, angles and brightnesses create wildly different feelings, as well as imitations of real life. A sunset is familiar to our eyes, but how does one recreate that with an electronic sun?

In my own studies, I've found, much like what is taught, that natural lighting is a nightmare for stop motion work: It is constantly changing brightness and direction, has limited color to work with, and has a set amount of useful hours during the day. Most artists in the field will tell you to block it out by getting blackout curtains or operating in a sealed off room.