Image courtesy of Carlos Terroso.

Breaking Down the Maya Workflow of a 3D Barber Shop Crime Scene

By - - Arnold , Maya , Mudbox
Duration
4 mins

 Multidisciplinary 3D artist Carlos Terroso, breaks down his 3D Barber Shop Crime Scene.


Job: Film Noir Scene
Duration: 10 days
Software: Maya / Mudbox / Substance Painter / Arnold / Nuke

 

Pre-production


In this work, I worked with Marta Mollá to create a film noir scene that was accompanied by a script. The process began with extensive documentation based on different movie scenes. We started with references from film classics such as Touch of Evil, The Asphalt Jungle and The Maltese Falcon. It was important for us to create a scene with typical elements of film noir such as the femme fatale, disappearances, murders, detectives and love stories.

Aesthetically, we were inspired by more contemporary references such as Once Upon a Time in America, L.A. Confidential and Casino.

The next step in our project was to develop a film noir synopsis.


References


We used multiple references of old-looking barber shops. We found a picture of Greg Mimbs that was perfect as inspiration.

For lighting and textures, we chose three films as references: Once Upon a Time in America, Casino and Party Girl.

Composition references for 3D film noir scene created in Autodesk Maya.

Look references for 3D film noir scene created in Autodesk Maya.

Project deadline for 3D film noir scene created in Autodesk Maya.

Layout


The composition of the photograph we had found was perfect. I blocked out a layout to establish the proportions and dimensions of the scene. 

Blocking in layout of 3D film noir scene created in Autodesk Maya.

Layout of 3D film noir scene created in Autodesk Maya.

Modelling


We had references for each element in our scene. When it was time to start modeling, we chose to divide the assets in the following way:

Marta – Barbershop chair, Ceiling lamp, Round table, Trash, Chair, Magazine rack, Umbrella stand, Dryer, Calendar, Bottle 1, Bottle 2, Box 1, Box 2, Scissors, Clothes rack, Telephone.

Carlos – Washbasin, Furniture and drawers, Walls and floor, Mirror and lights, Bench, Pictures, Awning, Hat, Jacket, Necklace, Razors, Signs on the door, Mop, Tickets, Photography.

Small details like the broken chair were later added in Mudbox and the mapping was done with UV layout and Maya.

Modelling of 3D film noir scene created in Autodesk Maya.

Modelling of 3D film noir scene created in Autodesk Maya.

Modelling of 3D film noir scene created in Autodesk Maya.

Lighting


We used three-point lighting for this scene. The fill light and the key light were outside, and another fill light came from the inside. We chose to use warmer tones for the light coming from behind the door.

Lighting of 3D film noir scene created in Autodesk Maya.

Lighting of 3D film noir scene created in Autodesk Maya.

Texturing


I divided the scene into eight UDIMs and managed them in Substance Painter.

The photographs that are on the walls are all from a photographer named Weegee.

Texturing of 3D film noir scene created in Autodesk Maya.

Texturing of 3D film noir scene created in Autodesk Maya.

UDMIs of 3D film noir scene created in Autodesk Maya.

Composition


Finally, it was time for the final render. Although the image itself was almost finished, I rendered each of the lights with their AOVs (diffuse, specular, transmission and Zdepth). The composition in Nuke was simple: I corrected small details and added a glow to the exterior lights to give the image our desired look.

Composition of 3D film noir scene created in Autodesk Maya.

Composition of 3D film noir scene created in Autodesk Maya.

End Result


3D Barber shop crime created in Autodesk Maya.


This breakdown was originally posted on Carlos Terroso's website, www.carlosterroso.com

 

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Tags
  • Arnold
  • Maya
  • Mudbox
  • Maya
  • Mudbox
  • Environment
  • Lighting and Rendering
  • Texturing
  • Workflow
  • Film & VFX
  • Games
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