Image refrences for warehouse

I started looking at working warhouses showing how they are cramped spaces filled up with storage. I like the different camera views because it allows to start thinking of how the space would look in a close up, bird's eye view or long shot.

I then found examples for abandoned warehouses as another potiential for the narrative as a space not used for it's actual function but as a home for the character but this is still opened to multiple possiblities at this stage.

Digital Set Pipeline Renders and Final Scene

Final Scene

This is the final scene of the asylum patient's cell, I chose this perspective because the space feels very claustrophobic identifying that a person is restricted and stuck within. When I combined the amb occulsion and beauty renders together, it gave the scene a little extra light and defined shadows further. I have added both of the previous render passes below show the slight change of improvement in the final image.

Beauty Pass

Ambient Occlusion Pass

Digital Set Pipeline Light tests

 The above images are all experiments with lights and camera positions. I tried area lights, point lights and directional lights to work out how much light I wanted to flood in to create the creepy atmosphere. I also looked at intensity, thinking about how much light I want fill the front and back of the scene. I decided that three area lights around the front and a point light in the centre were most successful.

This is the lighting I chose because it is close to what I envisioned in the concept. The matte painting can still be seen but also a wall of shadow concelling what is blocking the door way. The rest of the room has been subtlley lit for an errie atmosphere.

Matte painting

Final matte painting - darker

This is the final matte painting that I will use for the final scene it depicts a door leading into a cell but the entrance is block with a broken wheel chair. I had to darken the painting so that it represents what we can make out in the darkness. Below I have included all development and preparatory steps taken to reach this stage.

Began blocking out painting

Experimenting with a narrow distance perspective

Experimenting with a closer perspective adding the broken wheel chair and open door

adding skirting boards and door frames

starting to increase shadow

More shadow and texture for the door

Experimenting - pushing the close view back and strenching out walls, floor and ceiling

Adding shadow to match the back image

Adding shadow and green highlight

Bringing back image foward again

 

Lightened image and deleted green highlights so can be lit with scene in Maya

Digital Set Pipeline Texture maps - Textured scene

Texture map - bottom skirting board colour

Texture map - bottom skirting board bump

  

Texture map - bottom skirting board spec

Texture map - ceiling and floor colour



Texture map - ceiling and floor bump

 Texture map - ceiling and floor spec

Texture map - door colour

Texture map - door bump




 

Texture map - door spec








 Texture map - walls colour







Texture map - walls bump

 

Texture map - walls spec

Texture map - wheel chair cushion colour

Texture map - wheelchair cushion bump

Texture map - wheel chair cushion spec

Texture map - window frame colour



 

Texture map - window frame bump




 

Texture map - window frame spec




These are all the texture maps for various objects in the scene I decided to be seletive with the maps because I didn't want the scene to be over filled with texture. I produced bump and spec maps to make the selected textures more realsitic than just a flat image.

These are shots of the textured model, I had to edit the bump values down to lower the level of texture. I had a few problems adding the textures because the file was not recognised but I resolved this by recreating the maps.