Sci-fi corridor scene

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  11 November 2012
Now the lighting is better but the foreground is a bit too dark. Consider adding just a tiny bit of light from behind the camera but not right behind it because that will flatten the scene, put it a bit from the side.
3D/VFX artist, photographer, entrepreneur.
  12 December 2012
Just done what I might consider to be the final render. That said, I'm not to happy with a couple of textures, particularly on the far wall surrounding the door so might change that later today. Anyway, if anyone would like to make some suggestions now's the time.

High Resolution Image [5000px wide]

Of course the final render isn't really the final image, I will have a lot of work to do in Photoshop - lots of smoke, lights, slight blurring in the foreground etc. I also think I'll leave the image in greyscale.
  12 December 2012
I think its a little too dark, & I do not understand the choice to be black & White.

It does not have to all round bright, but I think selective bright spots will be nice.

I do also think the ceiling looks a little dull & simplified. If you intend to work further, I think this is the area to work on.

Nevertheless, I think it looks great & stay close to the original concept.
My WIP Thread:
Next Gen Lara Croft 3D Model Fanart
  12 December 2012
The lack of colour doesn't actually bother me. Still, I might try something out akin to:

We'll see
  12 December 2012
Nooooooooo! You can still do so much more with this image! I've done a quick paintover below (hope you don't mind). Basically, I've enhanced the feeling of rim lighting on the geometry around the light source. This is very important for aesthetic, because the contours of the lighting help to enhance the shapes in your scene. I've also added small emergency type lights along the track on the floor, enhanced the feeling of volumetric lighting from the ceiling, added some dust particles, added some texture detail here and there, and introduced some warm tones to the shadow areas - the latter is because the warm browns and reds contrast well with the green/yellow lighting. Of course this is just one rough idea, but I'm just trying to get your brain revved to think of more things you could do with the scene.

  12 December 2012
I hereby promise to spend more time on this image.

Seriously Leigh, thanks! I love the paintover you've done. I doubt I could have come up with a colour scheme like that, it's rather ugly yet beautiful. I'm noting the lovely subtle texture work on the structure (seriously, you should paint textures as a job...).

I have most of the 3D objects UV unwrapped so I should probably take advantage of this regarding the foreground objects.

I'll post an update soon, I still aim to get this image finished by the end of the year.
  12 December 2012
Heh, the ugly yet beautiful look is exactly what I was going for! Remember, colour is a powerful aesthetic component of an image. Together with the lighting, the colour makes up the atmosphere and mood of the image. It sets the tone. It's best to paint a bunch of quick colour concepts to find a scheme that works well, and when you have scenes like this with strongly contrasted lighting, it's fun to start experimenting by using complementary colours, in this case red and green, and variations of both for the shadows and highlights. A quick way of doing this in Photoshop is by using Colour Balance adjustment layers set to highlights or shadows, depending on which you're adjusting.

Unwrapping the model and doing custom texture work is a great idea. Remember: textures help to give your scene a sense of scale, so be sure to add lots of small details to help sell the scale of a large, cavernous interior.

When it comes to rendering, you might want to consider rendering your lighting to different passes that you can then adjust in Photoshop afterwards. This gives you more control and also allows you to make a lot of adjustments without having to re-render. Each light source can be rendered as a separate pass for ultimate control.
  12 December 2012
So, I might have finished this image now. Unless someone else has something insanely helpful to add of course

Hi-Res Image [5000px wide]

  12 December 2012
You could bring in some character(s) on the "hot-spot" to deliver some kind of a story.
I don't mean 3D characters, just some Photoshop work with silhouettes (they will surely look like silhouettes in this foggy scene).
You could make one man standing (with a sword, or gun), or two characters fighting, or one wounded character laying down (though, that would be a tricky because you need a great pose for it).
Or whatever you feel it's good.

As for the hi res image. The top stones (or whatever they are) looks like they have stretched texture on them (not uvw-mapped). Maybe the texture is like that (if that's the case, I advice changing the texture).
I am not sure about the Dof in the front cables lying on the ground. Doesn't look natural to me, and I don't think it would be there if this is a real camera (maybe I am wrong).
If you really want a dof, maybe remove it on the cables, and add some object much more closer to the camera (maybe some cable hanging, or some barrel).
But watch-out, so it don't distract the scene focus.

Overall, very nice progress, and I am really glad you didn't give-up on this.
Now it's the time to be extreme!
  12 December 2012
You make some interesting points. I agree with you regarding the depth of field but I accidently flattened my photoshop image (!) so I'm not going back to lessen the dof as that would mean redoing all the smoke etc. Anyway the dof isn't too bad in my opinion so I'll leave it be.

The 'stretched texture' you saw could be around the light tunnel. The problem is probably with the actual texture and not its mapping coordinates. I was going for a leaky stained steel look... but might go back into Photoshop to reduce that appearance later.

I think some characters could be a nice addition but no fighting characters, it's just not what I'm going for here sorry. Think more along the lines of some futuristic oil rig with (messy) engineers and mechanics on board. Seriously, they really should tidy their cabling away.

Here's a loose sketch. Any thoughts on the characters or composition?

  12 December 2012
I like it. I think the people help to create a sense of scale in the image, which is good. I still feel you could push the complementary colours a little though - those warm reddish and brown tones to contrast against the green. It doesn't have to be strong, but just a little more of it will give the colour a little more impact and interest, because right now your image is a little monochromatic.
  12 December 2012
I like that characters very much, and also a whole picture, because even in a thumbnail size, you can tell what's going on (which is very important, imho).
That being said, the far left character is a bit unclear, and maybe you should consider moving all 3 characters to the right a little bit, so left character is more shape-defined.

I got one more idea.
You can bring another character in the front dark area (hanging like a ninja on the top-left roof panels). So, the character that are in front of picture could look like a ninja character (hardly visible), covered in darkness, and is trying to trick, or kill, the guards, to get into the light.

Sorry for my bad english.
Now it's the time to be extreme!
  12 December 2012
I really like what you've done here. The modeling, texturing, and lighting provide a great atmosphere. But I think the figures are too static. I don't have a great idea at the moment as to how to make them more dynamic, but I think there's more you could do with them. I think they're needed, just in some more dynamic scenario. Hope that helps.
  12 December 2012
I pushed the complementary colours although I've been staring at this image for countless hours so I'm not too sure if it's working. Is there enough warm tones or am I being a little timid. Here's a 'before' and 'after' image:

The characters are 'finished'. Any tips? I've been learning to draw human anatomy for 6 months so they look just about okay. No ninjas.
  12 December 2012
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