Sewer...or something

i’ve been working on this sewer tunnel like thing, and…well, im posting my progress here!

Heres one.

Heres a bigger one, with water, and strangly darker.

What do i add next? Will it be "pants- :o -crappingly :o good?(someday)
C&C and ideas…

“Strangely darker” isn’t the word; try opaque.

What I want you to do now… is to stop modeling and start lighting the set. I want you to think carefully about what mood you want to set, and I encourage you to attempt two radically different moods. (In the first, this is the hallway to the Gates of Hell. In the second, this is a hallway in a day-care center on Sesame Street.) Do all of the work entirely with lighting. (Exactly what I said: don’t paint anything. No more modeling and no less; no props, no decoration. Just light.)

The first consideration you’ll have is, where you want the viewer’s attention to go. You’ll establish a pathway through the scene. The eye will find the brightest part of the scene and go from there. It should trace a loop through the picture and wind up more-or-less where it began.

The second consideration is mystery. A foreboding picture has lots of mystery; Sesame Street has none. Mystery is created when you can’t see where the light is coming from. Or, when an object is lit that ordinarily would not be, as in the famous “glowing glass of milk” in Alfred Hitchcock’s picture. Look around the Internet for pieces on creating mood with theatrical lighting: the web is groaning with them.

The final consideration is a more mundane, practical one: contrast. Light your scene, run a print of it, and take that file over to Gimp or Photoshop. Use the histogram tool to show you the range and distribution of light-levels. The ability of a video monitor to handle ranges of contrast is very limited. The ability of, say, a consumer color printer to handle the same thing is also limited, and in an entirely different way. Through your lighting, you control what “Zone” (referring to Ansel Adams’ “Zone System”) each particular area of the image is in. You need to light your scene to control, and to constrain, the range of brightness-to-darkness in the scene so that no area is completely black (unless you want it to be), nor blown-out completely white. Bear in mind that you can’t control the gamma-settings of the viewer’s monitor. If you’re shooting for television, just walk around an electronics store and look at the vastly different images on all those screens, all coming from the same signal! So you have to work within all those constraints to come up with a very forgiving lighting-design that actually works.

Once you have lit your blank scene, it will be much clearer and easier to decorate the set with a handful of accoutrements necessary to complete the mood. In the second picture, for instance, you might have Big Bird. In the first, you might have a handful of … feathers. :wink:

But my point is, the picture will never look good until the lighting looks good. That’s why a theatrical set-designer will work first to get the proportions right (sometimes rigging up sheets or scrims on an empty stage as a practical aid to visualization), then work with the LD to light it as it will be (and with the director to establish blocking positions for the anticipated actor moves), and only then will decide what props to add to complete the desired effect.

Remember that you are creating a totally artificial environment, that simply has to look plausible (not necessarily “real”) when viewed on a video screen. You want it to be compatible with the limits of the technology. You want it to fulfill the practical lighting requirements of whatever action is going to be played there. And, you want it to establish certain thoughts and feelings, subliminally or otherwise, in the mind of the viewer.

lighting update :smiley:

Oops, the spotlights are too low compared to the window

Spot light still misplaced. but this is more the feel i’m going for.

This is my fav. out of the three. i fixed the light position, added stars…
The lighting is done i guess…

Now i’ll work a bit on the detail.