Creating a Sci-fi Alleyway. Detailed Environment Techniques with Devon Fay – great inspirational tutorial on the gnomon workshop.
What a beautiful piece of art Fay’s “Sci-fi Alleyway” is. I love this feeling of rain-slick, beaten up alleyways filled with old tech and Japanese references. The image has really stuck with me and I can’t help but think of it when I look down narrow alleys in Belfast. Even during the weekend, I saw a poster in The Ramen Bar in Dublin and immediately thought, sci-fi alleyway!
This is the VR (or AR?) dream.
Summary of my notes from the tutorial:
01 Refine your idea
Define your idea. Find as many references that you can, e.g. stills from movies, images from real life culture. Pick some shots/photographs that you like and do block out studies of these to get inspiration from how they’re constructed. Start to narrow down the themes that you like and want to see in your final image. Photobash/create concepts of these themes.
Use a human model for scale and start to block out the composition that you want. This will require a lot of iterations of how walls and blocks are placed. Bookmark the possible camera angles that you want. Constantly consider how balanced the composition is and other compositional aids.
03 Finishing the blockout
Research the different construction elements of your scene. Try different blocked constructions in different layers. How is the place lived in? Consider story.
04 Find the crack:props
Jump into something that’s doable like a chair. Make quick concepts. Keep a constant eye on composition as the addition of detail might unbalance the scene. Consider how much time needs to be spent on an area. Will this be visible in the camera? It’s not one prop but the culmination of all the props that make the environment feel like a real place.
05 Detailed prop creation
Examine lots of references. Reuse old models that you’ve created.
06 Initial lighting set-up
Fay uses VRay. Use the optimal settings for speed. In Vray you can save irradiance maps instead of re-rendering these every time. For speed you can choose to only update this before bed at night.
07 Scene modelling
All the little details will make your scene seem real. Reuse materials and textures from past work as much as possible and from references that you’ve already gathered. Think of having a range of materials. Overall composition is more important than making a single prop perfect.
Keep thinking about the weight of areas in your composition and how the relative amount of detail draws the eye. Keep your environment functional for your characters. If something is off then maybe the character is explaining it through an action e.g. reaching a high shelf with retractable arms. Always consider the story aim. Is it about a particular character or is the story about the place? How do the characters live in this scene? How is this world inhabited? Continually ask these questions. Consider how depth is created with overlapping objects and avoid tangents.
08 Tools and Scripts
Useful scripts: chain creator, wire creator, zoomerator, spPaint 3D, rock gen
Fay uses Marvelous Designer for cloth simulation and Quixel Suite for texturing. Quixel suite uses maps for creating masks.
11 Custom photshop textures
Cut out bits of textures and reblend them together edges, adjustments and cloning.
12 Texture sheets and tilables.
Create a texture sheet for assets that appear a lot around your scene for example large sheets of sticker, logos etc. By working this way you only need to use one material for all your stickers and only need to adjust one material. Look for materials that you can download online and dissect why they look so good.
13 Final Lighting
Tweaking passes is a lot faster in Photoshop. Fay also renders the lights into separate passes.
14 Putting it all together in Photoshop