ceiga-plus3

8/11/2019 ceiga-plus3

1/92

P L U S

#3


2/92

I SSU E #3


3/92

P L U S


4/92

#photorealism

@Ceiga


5/92

ceiga.co.uk

56

C O N T E N T S

8 14 26

4028

6458


6/92


7/92

Editors Letter

Richard Bray

E D I T O R

[email protected]

Its been an interesting past few weeks for me. Ive 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 its been Ceiga magazine, so after 2 months Ive nally put together another issue.

This issue of Ceiga Plus is similar to the rst 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 its a Plus issue its still quite experimental, the general theme for this issue is photo

realism although the work by Dmitri Zakharov isnt all photo realistic its uniqueness to the usual

cg image really caught my attention so I couldnt not include it. Ive decided to add a few ar ticles

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 lm Porcelain, the other is an ar ticle written by

Jane Chambers Senior, a 3D Artist at The Neighbourhood about an archvis project they worked on

for Fitzory Place, the article wasnt written for Ceiga but I thought it would t well with this issue so

I asked if I could use it.

Aniket Bhatkar, Mrio Norgueira, Dulce Paes, Leandro Silva and Pedro Silva are a few other brilliant

3D artist that have their work featured in this issue but Im most impressed with the work of cover

artist Bertrand Benoit who has an extensive section at the end of the magazine only showing o a

fraction of this portfolio.


8/92

Aniket is a 24 year old Indian based Lighting andShading 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.


9/92

ANIKET BHATKAR

aniketartspace.com


10/92

Aston Martin 1963


11/92

Audi AirStrip Shot


12/92

Mercedes E550

Porsche 911


13/92

Chevrolet Cruze


14/92


15/92

MRIO NOGUEIRA

blog.rip3d.net


16/92

Zevo Kitchen


17/92

Zevo Kitchen


18/92

STUDIO 33


19/92

Zevo Kitchen


20/92

STUDIO 33


21/92

TWCL Penthouse


22/92

STUDIO 33


23/92

STUDIO 33


24/92

STUDIO 33


25/92

Zevo Kitchen


26/92

MAKING AN

ARTISTIC SHORT

FILM WITH CINEMA4D

I really liked the short lm Porcelain(vimeo.com/96251578) by Erik Andersson as soon as I saw it. Great use of music,

particle eects and lighting. Ive manage ask the creator the reasons behind the short lm.

1) Could you start by telling me a bit about yourself, what got

you started in 3D art and how long have you been doing it

for?

My name is Erik, I am 29 years old and living in Stockholm, Sweden.

I work as a director/3D artist at Roosterlms.se. I started learning 3D

about 5 years ago when I studied TV-production. Besides 3d I have

worked (and occasionally stil l do) as Director, DOP, Online, Oine,

Producer & Colourist. Its hard to say what got me started, I guess Ive

never wanted to feel limited, I want to be able to manage everything

in the production chain, from script to grade, even though post

production probably is my favourite.

2) What inspired you to create Porcelain?

At rst I was doing a sci-/space lm for an editing contest, but

the more I thought about the future, the more I got into what was

happening in this time and place. So I threw away about one week

work and started from scratch. One video that inspired me was Joh

Legend Made to Love music video.

3) What was your process for creating it, did you create a

storyboard or make any sketches?

For this project it was very simple, I cant draw, barley sketch. C4D

my sketch program. So I just opened up cinema 4d and sat there u

I knew what to make.

4) Ive noticed each scene has a dierent organic model. D

theses symbolise something?

They all symbolise the decline of human civilisation. If you noticed,


27/92

it says greed on the bullet in the beginning. Greed that threatens

animals of extinction, greed to make money on animals for

entertainment or greed to exploit the earths resources.

5) Why did you choose to make the lm black & white?

Most of the lm 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.

6) How did you nd using CINEMA 4D to create this and what

problems (if any) did you come across when creating this?

I love Cinema 4D, mostly because of the simulation section. Since

everything is simulated on my lm (e.g. wrecking ball, and all the

shatters) I used a lot of particle eectors such as gravity, wind,

turbulence and also ramping the timescale. The hard part was

to break everything the way I wanted, cause I couldnt watch the

simulations in real time (and even when I could, the sim didnt look

the same as when cached) so every time I changed something I had

to clear and re cache and that kinda slowed down the workow wh

youre working with thousands of little rigid bodies.

7) The music in Porcelain is brilliant and it goes well with th

lm. Did you listen to the piece of music before making the

lm or afterwards?

The music denitely played a big roll in this and it was chosen befo

started with the project, kind of like the workow of a music video.

8) Final question. If you were to make Porcelain again now

what would you do dierently?

Vray in all its glory, but the render times were insane (15-30min/

frame), I just recently bought Octane 2.0 and I really enjoy it so far.

tried to render the head shot scene with octane and came down to

min/frame even though the DOF was rendered out rather then ad

in AE with depth pass as I did with Vray Or I would use Vray with

render farm


28/92


29/92


30/92

Dinner with knowledge


31/92



32/92

Sunshine After Rain


33/92

Sunshine After Rain


34/92



35/92

Take A Shower


36/92

Sunshine After Rain


37/92

"Nice to meet you, Modern" said Classic


38/92

Stone with Stone


39/92



40/92

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.


41/92

DMITRY ZAKHAROV

dmitryzakharov.de


42/92


43/92


44/92


45/92


46/92


47/92


48/92


49/92


50/92


51/92


52/92


53/92


54/92


55/92


56/92

A SENSE OF HOME

Were all familiar with what a chair should look like,

how a curtain should fall, or what a throw might look

like if it were draped over a sofa, because we see

these things everyday as part of the fabric of our

own homes. Because of that instinctive familiarity,

its no easy challenge to produce interior CG images that feel real andfaithfully replicate the reality of a space, particularly a luxurious duplex

apartment that does not yet exist, as with Fitzroy Place. However, this is

what we do!

When you think of home you dont necessarily think about a specic

room or piece of furniture, but rather how the space makes you feel. It is

that instinctive emotional connection that people have with their environ-

ments that we look to invoke in our imagery. A home can at times be a

place to relax, or a cocoon from the outside world, yet can be adapted to

create a social and stimulating place to share with others. Maintaining a

balance between the dierent characteristics people want from a home

essential to making an image accessible.

When it came to approaching Fitzroy Place, for me it was important th

our imagery properly translated the interior of the apartment, whilst co

veying the emotive qualities that we all individually associate with hom

It was essential that we represented the design accurately, and that all materials, xtures and ttings were correct; these nishes are what help

to create the whole look and feel of a space, and subconsciously are th

physical characteristics we identify with the most.

Space designed with order, functionality, and proportion in mind does

not on its own make a place that connects with us emotively. To be an

engaging environment, a space needs to provoke and stimulate the

senses, which is why the use of materials and texture play an importan

role to enrich our response to our immediate surroundings. Natural, hi

quality materials are not just visually alluring, but possess their own uni

Crafting intimate interior spaces for Fitzroy Place

(Republished with permission from The Neighbourhood)


57/92

textures that subtly aect 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

reective textures appear to feel lighter and softer in form. To understand

how we respond to texture is impor tant 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 encourag-

es 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 tout of the apar tment.

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 coee 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 re and

the soft luxuriousness of the sofas, dressed casually with a couple of cush-

ions and a throw to soften and enhance the allure of the space.

All of these features may perhaps appear quite eortless and chic, but

have been carefully thought through and constructed with detail to cap-

ture 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

eect 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 contin-

ually 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

(ftzroyplace.com), by Exemplar.


58/92

Axis Viana Hotel represents one of our newest works

where the main idea was to share two dierent

approaches: photorealistic and conceptual.

For the photorealistic views we used the two well-know 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.


59/92

LEANDRO SILVA &PEDRO SILVA

www.facebook.com/leandrosilvarchviz

facebook.com/pages/ROOM/504982496240849?fref=ts


60/92

Axis Viana Hotel


61/92

Axis Viana Hotel


62/92

Axis Viana Hotel


63/92

Axis Viana Hotel


64/92

Bertrand Benoit is a 3d Artist extraordinaire! Focusingon Architectural Visualization but can easily go deep

into the smallest details you can imagine (like sesame

seeds on a 3d recreated loaf of bread). Hes a long

time follower of this blog and participated in many

challenges usually, ending up as being one of the

winners!


65/92

BERTRAND BENOITbertrand-benoit.com


66/92


67/92


68/92


69/92


70/92


71/92


72/92


73/92


74/92


75/92


76/92


77/92


78/92


79/92


80/92


81/92


82/92


83/92


84/92


85/92


86/92


87/92


88/92


89/92


90/92


91/92


92/92

c e i g a . c o . u k

ceiga-plus3

Documents

Transcript of ceiga-plus3