Create a sci-fi evening scene in Blender – half 3 · 3dtotal · Study | Create


In this tutorial, I will include the importance of the theory “Form Follows Function” and talk about the working process from 2D concept to 3D final design. Blender has been used as a tool to try out various compositions and integrate different props into a final scene in Photoshop.

That is the ultimate picture of this venture that illustrates how completely different props combine collectively.

Arrange last scene

After modeling and texturing all of the props, I arrange a digital camera to decide on a most popular angle. My Mac saved lagging when engaged on this scene because the file was too huge with many polygon meshes. At this stage, the foreground was lacking and my {hardware} couldn’t deal with it. To unravel this drawback, I made a decision to complete the foreground in Photoshop that might be talked about in step 4, utilizing photobashing method. Moreover, I enabled “Ambient Occlusion”, “Bloom” and “Display screen Area Reflections” in Render Properties for having a greater rendering consequence.

Combine all of the props collectively and activate render settings

Modify settings & render passes

I normally change the scene dimension to 130% to 150% for the next high quality picture. Earlier than engaged on the ultimate scene in Photoshop, it’s essential to render just a few passes resembling Eevee render, object ID, AO, mist, and depth of subject. As the method of making depth of subject isn’t the identical as others, simply enabling passes in View Layer Properties, I’d discuss in regards to the particulars in subsequent step.

Change scene size and turn on passes settings

Depth of field basics

I firstly set up two workspace windows side by side, opening Compositor and UV Editor. After that, I changed Render Result to Viewer Node in UV Editor. Next, I moved to Compositor section and input 2 new nodes, Normalize and Viewer, to connect with Depth in Render Layers Node. Blender would afterwards automatically calculate the depth between foreground to mid-ground and background.

Add further nodes in compositor and render depth of subject in UV Editor

Add background

After rendering all of the passes in Blender, it was prepared to leap to Photoshop. Because it was in area, I added some stars in and manually managed the quantities of stars in layer masks by utilizing a tender brush. Subsequent, I set the mix mode to Colour Dodge to make them look shinier.

Add stars into the scene

Clipping masks

This clipping masks method is similar because the step in chapter 2 step 7. I painted a stable form and masked the main points on prime, trying to find Earth texture first and portray over to wash up the picture noises. Then, I picked an air brush to attract a glow round it and set the mix mode to Lighten or Colour Dodge relying on last consequence.

Add an Earth in by using the clipping mask technique

Environment immersive

The image was a bit flat at the moment, so I separated the layers and created depth in between by adding some mist around with soft textured brushes. To pop up the focal point, I lightened up the main structure in Color Dodge blend mode and adjusted the opacity to 37%.

Create depth in between layers by including mist

Work on foreground

My preliminary concept of the foreground was to create a platform or some unused area equipments. I blocked out the silhouette first and tried to border the area station with some sharp edges pointing in direction of the focus. After that, I photobashed the main points and stuck the general shapes additional.

Add foreground with huge shapes and work on particulars afterwards

Refine particulars

The general composition was nearly there however one factor I noticed was that the hole between the foreground and the area station was fairly huge. Subsequently, I added a easy irregular form to steer eyes to the focus. As well as, I inserted extra lights right here and there to make the drawings look extra balanced with extra particulars.

Add extra particulars to make the drawing look extra attention-grabbing

Explosion results

The picture was primarily in a single tone in blue colour, so I wished so as to add one thing completely different that basically popped up the focus. Within the colour wheel, yellow is in reverse to blue and I believed that the yellow colour labored effectively on this scenario. To meet this concept, I added the explosion results with some tiny particles. This not solely made the drawing look extra colourful, but in addition confirmed one thing occurring there as effectively.

Present a greater storytelling with particular results

Colour grading

The final step was to regulate the general colour grading. Personally, I want utilizing the black and white technique to double test the values and tones. To brighten it up, I added highlights with a little bit of pink whereas utilizing the gradient device in Comfortable Gentle mix mode to darken the remaining components.

Repair the general brightness and distinction in grayscale

Shortcut of grayscale setting

This shortcut is helpful to test the drawing values and tones in grayscale. Listed below are the steps to set it up.

Step 01: Go to Proof Setup beneath View and click on on Customized

Step 02: Choose “Working Grey – Dot Acquire 20%” in Machine to Simulate

Step 03: Create keyboard shortcut. Go to Keyboard Shortcuts beneath Edit, after which change the shortcut title you like in Proof Colours.

Three steps to arrange the grayscale setting