Part 4 in the “Behind Closed Doors” series I have been working on. I will be posting some cinemagraphs of a few of these shortly. Stay tuned!
This is a simple video that shows the steps used in creating this image. The room set was created entirely in CGI with the exception of some of the foreground props, a few props in the bathroom and the clothing on the chair and floor using Cinema 4d and Arnold Render. The video shows the transition from wireframe to the final render and also the post render work in photoshop.
Since the room set was created before the talent was photographed I had a precise plan for my lighting set up for the studio shoot. Since the final render was not initiated until after the talent shot was selected it allowed me the opportunity to adjust the room set to the suit the talent’s pose and also, if needed, to tweak the lighting within the cgi set to match the talent’s lighting. From there a lo res render is made and a rough comp of the scene is created in photoshop. Final tweaks to the cgi set are made and the scene is rendered. I use Arnold Render for Cinema 4d. This render engine is capable of producing stunning images but it will bring your computer to it’s knees especially if you plan on rendering in the background and continuing to work on other projects. For this reason I pass the scene files off to my render machine, a Mac Pro 12 core with 64 gig of ram, identical to the machine I use for everyday work, with the exception of a processor upgrade installed by a company here in the UK called Create Pro. The machine is dedicated to rendering only. The render at the resolution required took 39 hours…ouch! That being said I could have optimized the render settings and sampling to reduce the render time with negligible impact on the final scene but since I had time I let it fly with the higher sampling rates. So…planning your work and optimizing the render settings is crucial in order to allow for enough time to render especially with tight deadlines. The scene is also rendered in passes which may include a specular, shadow, depth, etc. A final ambient occlusion pass is made as well. Once all of the render files are generated it’s off to photoshop for the final composition and grading.
The talent and detail props were photographed with a Sony A7R II with a Sony 24-70 zoom at 35mm focal length which matched the viewport camera in C4d.
Thanks to Lisa Clor (www.LisaClor.com) for her brilliant styling and our wonderfully creative talent Billy Wright (Ugly Models UK) .
Our book, “Emmy and the Whale” Is finally here! We are proud to present this book to the world. The book is about a young girl’s magical adventure with a majestic whale. Julian Burrett is the book’s author and I am responsible for the artwork.
The imagery was created by combining photography and CGI, where our talent, “Emmy” was photographed in studio with a Sony A7r, and the CGI was modelled and rendered in Cinema 4d, my go to software for most things CGI. Thousands of hours went into the creation of this book and we think it will become a favourite of children and their parents too!
Please have a look at the website: http://www.emmyandthewhale.com or the Emmy and the Whale Face Book page for a closer look. You can also make direct purchases from the website. We also ship worldwide.
Some of the words used to describe “Emmy and the Whale” from folks who have just received there copy: Magical, stunning, mesmerizing to name a few. Enjoy!
Here is a collection of images I photographed recently on the Isle of Skye in Scotland. This is my third trip to Skye and I spent a week there with my son who is a producer for a news channel and also an avid photographer. We rented a cabin that turned out to be in the middle of no where…actually if you go to “no where” and drive for a few more miles that’s where we were based. The weather was dodgy all week with frequent rain and periods of overcast. But on Skye the weather can change dramatically in a matter of minutes so we were only truly rained out once while attempting to shoot the lighthouse at Neist point. (we later returned on a better evening and while the light was good, we were met with winds of 45mph+ while standing atop the cliffs.) In all I think the weather was a plus as it provided much drama to the sky and interesting lighting. We flew into Inverness from London but still managed to drive over 1100 miles. Had one punctured tire, and countless near misses with sheep, cows, and misc. wildlife that inhabit the island. Met some great people and can’t wait to return in winter.
All in all a very productive trip although we did work our asses off for these images! Lugging a 28 pound backpack filled with digital and film gear as well as a 10lb tripod up the Old man of Stor is no picnic. Next time I’ll pare down the kit…live and learn. Oh yeah..did I mention the midges? At times these were beyond annoying…li’l buggers are everywhere. Even had one make his way onto the sensor of my Sony. Lens changes were frequent so thankfully he escaped before too many images required post work to remove his likeness…hope he enjoyed the sonic sensor cleaning ride as the Sony really shakes that thing.
I shot a mix of digital (Sony A7rII) and film (Horseman 985 6×9 camera with Ektar 100 film). Both cameras performed well in some rather bad conditions at times, wet, windy, muddy etc. The Horseman is a tank! The 6×9 negative scans are incredible. As always the Sony A7rII exceeded my expectations. Lenses used on the Sony: Olympus OM primes, 18mm, 24, 100, 200mm as well as Zeiss 55mm, 24-70 and 70-200. for the Horseman, 65mm, 105mm and 150mm Topcor lenses.