This is just my work so far:
(Just playing with textures)
I want one bright light source coming in from out of shot, illuminating the chair and mask, which cast a big shadow on the wall behind. I'm going to have a lot more detail in the scene I'm just trying to get the angle right, the last one is almost there I think but feedback is much appreciated.
More soon!
Hey Molly - you're going to hate me - I'm sure of it - but I think the 'looking down' view is the more effective - it just makes the whole thing seem more forlorn somehow; the second view, when we're sort of on the floor, looking up, is also very striking*; regarding the matte painting - why not consider using the matte painting as the frame through which the viewer is looking; so, for instance, you put us outside the window looking in? The conceptual advice I've given a few other students is, instead of looking on the matte painting as the 'poor relative' - try and put it at the heart of your composition. For example - if you're setting your room in one of those nuclear testing sites, then the view outside the window - of the desert, or of equally fake-looking houses etc. is IMPORTANT. Try ennobling the matte painting - as opposed to satisfying an assessment criteria; use the view as a plus!
ReplyDelete*the second composition - on the floor looking up - would give you a much better view of the window and the world beyond it; the way I imagine your scene (and I maybe way off) is a very gloomy interior and bright, bleached sunshine outside... Personally, using a matte painting to create a wall is a waste - because it would be quicker, wouldn't it - to model and texture a simple surface like that; use the matte painting to extend your world, not to tick the box...