P L U S
#3 1
I S S U E #3
P L U S
3
#photorealism
@Ceiga
C O N T E N T S
8
14
26
28
40
56
58
64 ceiga.co.uk 5
Editor’s Letter It’s been an interesting past few weeks for me. I’ve started a web developer event(digitalcroydon. net/event/), started a podcast about gaming( jumpshootreload.tumblr.com/) and began dabbling in a little game development with Unity. Clearly something had to take a backseat and unfortunately it’s been Ceiga magazine, so after 2 months I’ve finally put together another issue. This issue of Ceiga Plus is similar to the first as most of the images were submitted to me via email instead of me going to look around for pieces of artwork, so it was a lot easier to get permissions for. Again as it’s a ‘Plus’ issue it’s still quite experimental, the general theme for this issue is photo realism although the work by Dmitri Zakharov isn’t all photo realistic it’s uniqueness to the usual cg image really caught my attention so I couldn’t not include it. I’ve decided to add a few articles from the blog into it to make it feel more like a magazine and less like a picture book. One is an interview with Erik Andersson on his beautiful short film ‘Porcelain’, the other is an article written by Jane Chambers Senior, a 3D Artist at The Neighbourhood about an archvis project they worked on for Fitzory Place, the article wasn’t written for Ceiga but I thought it would fit well with this issue so I asked if I could use it. Aniket Bhatkar, Mário Norgueira, Dulce Paes, Leandro Silva and Pedro Silva are a few other brilliant 3D artist that have their work featured in this issue but I’m most impressed with the work of cover artist Bertrand Benoit who has an extensive section at the end of the magazine only showing off a fraction of this portfolio.
E D I TO R
Richard Bray info@ceiga.co.uk
7
Aniket is a 24 year old Indian based Lighting and Shading Artist with more than 2 years experience in automotive and architectural lighting. His is really excited by learning new tools & techniques. At the moment he is learning Solid Angle Arnold and Vray For Maya but his primary tools are 3D Studio Max and Vray.
ANIKET BHATKAR aniketartspace.com
9
Aston Martin 1963
Audi AirStrip Shot 11
Mercedes E550 Porsche 911
Chevrolet Cruze 13
Mรกrio was born in 1977 in Marco de Canaveses (Porto,Portugal), but now finds himself in Funchal, Madeira also in Portugal. He started working with AutoCAD in 1997, but at present, with the desire to make projects more enjoyable he works as Freelancer creating 3D visualizations for Architecture using 3D Studio Max, Vray and Photoshop.
MÁRIO NOGUEIRA blog.rip3d.net
15
Zevo Kitchen
Zevo Kitchen 17
STUDIO 33
Zevo Kitchen 19
STUDIO 33
TWCL Penthouse 21
STUDIO 33
STUDIO 33 23
STUDIO 33
Zevo Kitchen 25
MAKING AN ARTISTIC SHORT FILM WITH CINEMA4D I really liked the short film Porcelain(vimeo.com/96251578) by Erik Andersson as soon as I saw it. Great use of music, particle effects and lighting. I’ve manage ask the creator the reasons behind the short film.
1) Could you start by telling me a bit about yourself, what got
the more I thought about the future, the more I got into what was
you started in 3D art and how long have you been doing it
happening in this time and place. So I threw away about one week of
for?
work and started from scratch. One video that inspired me was John Legend – Made to Love music video.
My name is Erik, I am 29 years old and living in Stockholm, Sweden. I work as a director/3D artist at Roosterfilms.se. I started learning 3D
3) What was your process for creating it, did you create a
about 5 years ago when I studied TV-production. Besides 3d I have
storyboard or make any sketches?
worked (and occasionally still do) as Director, DOP, Online, Offline, Producer & Colourist. It’s hard to say what got me started, I guess I’ve
For this project it was very simple, I can’t draw, barley sketch. C4D is
never wanted to feel limited, I want to be able to manage everything
my sketch program. So I just opened up cinema 4d and sat there until
in the production chain, from script to grade, even though post
I knew what to make.
production probably is my favourite. 4) I’ve noticed each scene has a different ‘organic’ model. Do 2) What inspired you to create ‘Porcelain’?
theses symbolise something?
At first I was doing a sci-fi/space film for an editing contest, but
They all symbolise the decline of human civilisation. If you noticed,
it says “greed” on the bullet in the beginning. Greed that threatens
to clear and re cache and that kinda slowed down the workflow when
animals of extinction, greed to make money on animals for
you’re working with thousands of little rigid bodies.
entertainment or greed to exploit the earth’s resources. 7) The music in Porcelain is brilliant and it goes well with the 5) Why did you choose to make the film black & white?
film. Did you listen to the piece of music before making the film or afterwards?
Most of the film is not technically black & white, but white porcelain in a white studio makes it looks like that. I really like the clean look of it.
The music definitely played a big roll in this and it was chosen before I started with the project, kind of like the workflow of a music video.
6) How did you find using CINEMA 4D to create this and what problems (if any) did you come across when creating this?
8) Final question. If you were to make Porcelain again now what would you do differently?
I love Cinema 4D, mostly because of the simulation section. Since everything is simulated on my film (e.g. wrecking ball, and all the
Vray in all it’s glory, but the render times were insane (15-30min/
shatters) I used a lot of particle effectors such as gravity, wind,
frame), I just recently bought Octane 2.0 and I really enjoy it so far. I
turbulence and also ramping the timescale. The hard part was
tried to render the head shot scene with octane and came down to 1
to break everything the way I wanted, cause I couldn’t watch the
min/frame even though the DOF was rendered out rather then added
simulations in real time (and even when I could, the sim didn’t look
in AE with depth pass as I did with Vray… Or I would use Vray with a
the same as when cached) so every time I changed something I had
render farm…
27
After graduating in Graphic Design in 2008, the portuguese Dulce Paes (now 27) decided that it was time to follow her real love about interior design. She specialized in 3D Studio Max and Vray and started to create interior projects for clients from all around the world. More than a job, it’s a passion that also combines getting in touch with different cultures.
DULCE PAES behance.net/dolcenea
29
Dinner with knowledge
Dinner with knowledge 31
Sunshine After Rain
Sunshine After Rain 33
Dinner with knowledge
Take A Shower 35
Sunshine After Rain
"Nice to meet you, Modern" said Classic 37
Stone with Stone
Dinner with knowledge 39
Dmitry Zakharov (Moscow, 1986) is a visual artist living in Cologne. He is a designer, working on the segments of video and animation. Zakharov expresses himself in graphical ways with clear structures, his compositions are determined by complex and challenging nature. Zakharov plays around with sound, shapes, colours and textures in a way that is alarmingly complex and structured – but at the same time, he still know how to remain simple. His works astutely combine aesthetics and intent to deliver sleek, rhythmic geometrical shapes that metamorphose into new structures.
DMITRY ZAKHAROV dmitryzakharov.de
41
43
45
47
49
51
53
55
A SENSE OF HOME Crafting intimate interior spaces for Fitzroy Place (Republished with permission from The Neighbourhood)
W
e’re all familiar with what a chair should look like,
balance between the different characteristics people want from a home is
how a curtain should fall, or what a throw might look
essential to making an image accessible.
like if it were draped over a sofa, because we see
When it came to approaching Fitzroy Place, for me it was important that
these things everyday as part of the fabric of our
our imagery properly translated the interior of the apartment, whilst con-
own homes. Because of that instinctive familiarity,
veying the emotive qualities that we all individually associate with ‘home’.
it’s no easy challenge to produce interior CG images that feel real and
It was essential that we represented the design accurately, and that all the
faithfully replicate the reality of a space, particularly a luxurious duplex
materials, fixtures and fittings were correct; these finishes are what help
apartment that does not yet exist, as with Fitzroy Place. However, this is
to create the whole look and feel of a space, and subconsciously are the
what we do!
physical characteristics we identify with the most.
When you think of ‘home’ you don’t necessarily think about a specific
Space designed with order, functionality, and proportion in mind does
room or piece of furniture, but rather how the space makes you feel. It is
not on its own make a place that connects with us emotively. To be an
that instinctive emotional connection that people have with their environ-
engaging environment, a space needs to provoke and stimulate the
ments that we look to invoke in our imagery. A home can at times be a
senses, which is why the use of materials and texture play an important
place to relax, or a cocoon from the outside world, yet can be adapted to
role to enrich our response to our immediate surroundings. Natural, high
create a social and stimulating place to share with others. Maintaining a
quality materials are not just visually alluring, but possess their own unique
textures that subtly affect how we react to them. Texture provides depth and richness to a surface that appeals to our natural instinct ‘to touch’. Coarse textures tend to appear hard and heavy because light cannot travel undisturbed across a rough surface; this gives the visual illusion of something more dense and solid in form. In contrast smooth and more reflective textures appear to feel lighter and softer in form. To understand how we respond to texture is important and can be the crucial element to the design, as it can transform the entire mood and atmosphere of an interior. Soft, raised textures convey the sense of warmth and comfort; a characteristic we tend to associate with home. It is this basic principle that we looked to explore with more detail in our imagery for Fitzroy Place. Fabric and the layering of soft furnishing is a key component to help a space feel comfortable and relaxing; the use of soft accessories encourages and persuades us to sit back and enjoy the intimacy of the space. Throughout the scheme there is a beautiful balance of materials and textures, used continually within the design and fitout of the apartment. We looked to replicate and exploit this in 3D to help the images really come to life. The living room shot combines a mixture of the hard and soft elements that furnish the space, contrasting in texture and density, yet working harmoniously together. The raw, cut stone coffee table centred in the middle of the space and juxtaposed between two large, sumptuous sofas adds a level of drama and tension. Despite this bold interruption, the space maintains the feeling of comfort and warmth around the centre piece. The key to this balance was to capture the warmth of the fire and the soft luxuriousness of the sofas, dressed casually with a couple of cushions and a throw to soften and enhance the allure of the space. All of these features may perhaps appear quite effortless and chic, but have been carefully thought through and constructed with detail to capture that ‘instinctive familiarity’, and create the feeling of a tangible space that you could almost imagine to be real. For me it is crucial that the visual effect of an image is not diluted by the medium that it was created in. It can be easy to spot when an image is CG, but when technology is continually evolving these boundaries are slowing beginning to blur. It becomes exciting when you begin to question if the image is in fact real! Written by Jane Chambers Senior 3D Artist at The Neighbourhood (the-neighbourhood.com). All images created for Fitzroy Place (fitzroyplace.com), by Exemplar.
57
Axis Viana Hotel represents one of our newest works where the main idea was to share two different approaches: photorealistic and conceptual. For the photorealistic views we used the two wellknow references of the project and tried to reproduce them 100% equal to achieve the most precise and accurate result possible. On the other hand, the three conceptual views are focused in creating a personal vision of the building in a post-apocalyptic future, with all the environment and time consuming that this scenario may be represented. Architecture developed by VHM. Photographic references (view 1 and 2) by Nelson Garrido.
LEANDRO SILVA & PEDRO SILVA www.facebook.com/leandrosilvarchviz facebook.com/pages/ROOM/504982496240849?fref=ts
59
Axis Viana Hotel
Axis Viana Hotel 61
Axis Viana Hotel
Axis Viana Hotel 63
Bertrand Benoit is a 3d Artist extraordinaire! Focusing on Architectural Visualization but can easily go deep into the smallest details you can imagine (like sesame seeds on a 3d recreated loaf of bread). He’s a long time follower of this blog and participated in many challenges – usually, ending up as being one of the winners!
BERTRAND BENOIT bertrand-benoit.com
65
67
69
71
73
75
77
79
81
83
85
87
89
P L U S
91
ceiga.co.uk