Following a talk with Phill discussing the logic driving our environment design, which resulted in the decision to deliberately re-appropriate set-pieces from the noir films that would inspire Dorian's idealism, I've been working on Dorian's office.
Here are some key reference images I've been using...
I'm being thorough in generating turn arounds for each major prop, figuring the more worked out in 2D, the less work in 3D. Here's the ones done so far...
From The Maltese Falcon
From The Maltese Falcon
From Office at Night (Hopper)
From Office at Night (Hopper)
From Double Indemnity
Here's an ensemble of the pieces modelled so far...
Within this post I looking at the work of ed hooper and his use of light and shadow to enhance our shots on screen. Following on I am going to look to see similar style used in feature films to gain a better idea on how to set up for our shots.
Ed Hopper | Chop Suey (1929)
This is an old piece of Hoppers work but works excellent for our cafe scene. Granted the window is covered by signs but the way the light hits only a few areas of the restuarant it works great for that dark tone which I would like to imply into the designs.
This scene is part of the horror sci-fi Legion , however although the diner appears dark and promtes something is about to happen which is dark. This is not necessary exactly what going to happen in our film but displays well the idea I am going for.
Ed Hooper | Chair Car
Ed Hooper | Sun In A Empty Room
Although these images aren't in a cafe is ineteresting due to the light shining in. Both picture show a dark room which is slightly lightened by the window light. It way I want the cafe to look.
I found this shot I found ideal in some ways for the street scene I like the idea that the street is completely dark and this leaves the character almost as silhouette. Perfect to create a dark tone for the night scene. Plus keeping with the Film Noir tone
This works well once again,The lights give minimal light to the street giving it a coldker twist tone. In essence applying a darker twist.
William Friedkin | The Exorcist
A movie influence is no doubt the exocist poster which shows a light shining down on a shadow figure. It is quite affective but I am divided by it being to sinister for our trailer or good use of shadow to play on our dark motive.
