The Rapscallion scene is based on The Rapscallion Bar and Grill on Lower Greenville in Dallas, Texas. It was chosen because it has a classic bar design with a modern touch.  This scene was also chosen due to the complexity of the amount of assets created and surfaced.


Thanks again to Eddie Eakin, the beverage director for The Rapscallion for permission to research and model the bar that he designed. Of course, artistic changes were made like the exposed ceiling and types of barstools used.



To start the Rapscallion, as much reference was gathered as possible. Orthographic images and blue prints were used whenever possible to ensure that the scale of the scene was accurate. To accurately model custom sized objects like the bar top, I took measurements at The Rapscallion and created a guide to start blocking.

To fill in the scene, many small objects needed to be modeled. Some of these like bottles and glassware would be copied a lot. Clean geometry was needed to keep the poly count as low as possible. Other items that would have more focus in shots or required more detail were modeled and then optimized.

Once the initial blocking was finished of the Rapscallion bar, the scene needed to be expanded so that more shots could be taken. This is where some artistic license was taken and the rest of the room was planned. Each stage of blocking was done in a different color to plan out the pipeline for the week.

One caveat that Mr. Eakin had in giving me permission to model his bar, was that a tiki cup was included somewhere in the scene. Below is the initial blocking and then improved model with better geometry. Also, below is an image showing how the tiles were broken up to give variation. This brought some realism to the areas with tiles.

To achieve a Noir mood the lighting was key. Shadows would play a large role in this. Photometric IES lighting was used to create realistic shadows on the walls on the bartop. Below is some insight on the lights used in the scene.

Once the lighting phase of the pipeline was completed, it was on to rendering out the passes to be used in the final composition phase. For the Rapscallion an Atmosphere, Ambient Occlusion Shadows (one with a wide spread and a second with a tighter spread), Specular, Self Illumination, Diffuse and  a Beauty pass were created and compositied together in Photoshop.