Hi Jamestown,
There is no tutorial to my knowledge. It has certain two main parts to get this aesthetic established: Light and material. (I exclude the orange/yellow illuminated material here, as well the acrylic).
Material
I would explore two ways to get the dark anthracite material, one way is to got with blurred reflections. The other one with animated noise and “sub-frame motion blur”. Both methods are not very fast render-option, and the latter one is for stills only.
In the material channel “reflection”, you find a “blurriness” parameter, with some other parameter. This would be the simplest way. As I know that some artists will not happy with this, I developed another method.
You set the reflection for the material, but not blurred. Then you place a noise into the “bump” channel, and animated the noise. In the render settings you take the highest sub-frame motion blur setting that you can get. If 49 frames are an option for you time wise, great. The noise in the bump channel works now like a temporal shader. As it is animated, the sub-frame motion blur changes the surface each time. In that way you get the light from all over the place into your surface. The motion blur “samples” these light information to a single image. A silky-metallic surface is the result.
The silver metallic surface, I would experiment with reflection and anisotropic shaders such as “Lumas” or materials with anisotropic options, e.g., Nukei
Both material have certainly more influence from visible light source, than directed light to them. Just a little bit of anisotropic, but perhaps, just one pass reflection, and another one blurred, and these composed later. There is a wide variety of appearances of such surfaces and I can’t really tell what the finer details are wanted. If there is a “lacquer” on top of it, perhaps multi pass is faster than to model a clear coating. Starting with a diffuse pass and perhaps leave the specular pass completely off for that.
In any case, use multi-pass rendering, to compose the material-channel results later on—layer wise. A color grading session is certainly helpful as well. To use some other standard composting “effects” might help as well.
Light
The light is more or less based on reflection. So an illuminated object, perhaps with a gradient to “vignette” the edges, should do a nice trick. Keep here in mind that reflective objects react different to light source than diffuse objects. This is normally thought in any 1x1 photographic course. I mention it, as it depends on the camera position as well. The camera for such shots should be set up first.
Note
These are very nice surfaces and they might take some trial and error, as the mix of surfacing, light/visible light as well its position plus direction, and camera position is critical. As I assume that you have our own variation in mind, and not a straight copy, I have given you a recipe instead of a scene file.
All the best
Sassi