Outpost were approached by international agency Sheiks Legend and asked to create a striking promotional image for both print and digital media.
Rhys White explains “Our goal was to create a high resolution, highly detailed image that felt tangible, something that looked like a physical sculpture of significant size and weight. Particular attention was paid in crafting imperfections such as grit, fine pits and scratches across the surface of the model.
HDR Light Studio was the perfect tool to devise the level of lighting realism required to produce the desired look. Using a decimated version of the final geometry, multiple lighting setups were created quickly and accurately to suit a range of metal materials. These subtly unique lighting passes and their corresponding materials were rendered separately using V-Ray and then composited to produce the final result.” Continue reading
Thanks to Matt Workman for letting us re-post this interesting article about his unique HDR Light Studio previs workflow for a video shoot.
Author: Matt Workman
In this article I walk through my process of lighting a “Social Videos Series” for BMW and the Super Bowl XLVII. First, visualizing the framing and angles in Autodesk Maya, then designing the lighting and reflections using HDR light Studio, and finally translating those results into a real world lighting set up.
INTRO / CONCEPT
In January 2013, producer Daniel Roversi @ KBS+ contacted me about a “Social Videos Series” for BMW. I was given several reference photos of what angles we were looking to capture and some basic CAD files of the cars. I collected a large sample of BMW renderings and photos from their previous campaigns as reference for lighting and framing. BMW is a very well known brand so I wanted the cars “read” as BMW and to stick with their overall lighting style.
“Part of the concept is the ability to react almost in real-time to events. We estimated, approved, pre-produced, shot and edited in 10 days.” It’s a new frontier in advertising where brands are in direct contact with their customers through outlets like Facebook, Youtube, and Twitter. When the Ravens won the Super Bowl the “Winner” spot was released within seconds.
FRAMING / ANGLES
Using the floor plans of the stage and some reference photos I had taken on the tech scout, I recreated the stage and cyc in 3D using Autodesk Maya. It was important that any angles and lighting setups I created in 3D could be possibly within the physical restrictions of the stage. After calculating where the camera would need to be for each angle (front, three quarter front, and profile) with Maya’s 3D camera I was ready to start lighting.
LEFT MONITOR: Canon C300 live video tap, RIGHT LAPTOP: Autodesk MAYA running HDR Light Studio 4.0 + Maya Plug-in
If you work within the world of computer graphics, unless you have been hiding under a rock for the last few months, you will have seen the big news coming from Maxon and Adobe – the launch of CINEWARE!
In an industry first, Maxon have built a live connection within After Effects so users can work with their 3D content inside their compositing workflow. You can import native CINEMA 4D scenes as assets in After Effects and utilize CINEMA 4D’s powerful multi-pass workflow as layers to achieve your vision. Update the CINEMA 4D scene at any time and you’ll instantly see the results inside After Effects. There’s no need to wait for long renders or manage intermediate files because the CINEMA 4D render engine is built right in After Effects. Your 3D workflow has never been easier.
Here at Lightmap we are very excited by this new solution that breaks down the barriers between 3D and compositing. Our excitement grew when we discovered HDR Light Studio had been used to light some of the content used for the big launch. One of our users lit the impressive Whiskey animation with fluid simulations using HDR Light Studio. It was perfect for such refractive and reflective materials to use HDR Light Studio to place the highlights perfectly. We helped our user meet a tight deadline and the job rendered fast using image based lighting. The results rendered with the native CINEMA4D renderer speak for themselves. The shot looks gorgeous.
weareflink have just shared with us an excellent new spot they produced for the VW CrossBlue Coupé, shown at the Shanghai Motor Show 2013. HDR Light Studio 4 played a significant role in lighting the car exterior and interior shots, and was used in conjunction with Cinema 4D and V-Ray. The results are excellent.
They also kindly shared with us some screen grabs of HDR Light Studio in action with their scene. So you can see how the HDR environments were augmented with additional lighting to craft the look of the car. The black and white views are from HDR Light Studio’s LiveLight view which provides feedback on reflections and illumination, allowing the artist to concentrate on controlling the light across the vehicle surfaces without the overhead and distraction of the final scene materials – which would be slow to render with a complex model.
A big thanks to Andreas Lampe and Torben Kliefoth for sending us your amazing content.
Here’s the final video – enjoy!
VW CrossBlue Coupé – Shanghai Motor Show 2013 from weareflink on Vimeo.
Framestore have been using HDR Light Studio to light variuos shots recently. We caught up with Andy Rowan-Robinson, CG Supervisor, who explains their use on a recent TV spot for Qualcomm.
“In the Snapdragon spot HDR Light Studio was used from blocking out the lighting right through to adding the final tweaks. It allows an extremely quick method to correct our orientations and quickly balance the base HDR images that we send to our renderer. We can play with the general levels of these base images before we go in and lighten and darken specific areas on the fly to create the shape and look that we are after. Continue reading
Here’s a great project lit with HDR Light Studio and kindly shared with us by Guillaume Gaillard of ‘GHiOM‘.
It was created with 3ds Max and rendered in V-Ray.
Thanks dude! It’s a great project and good job on the lighting.
Client : Citroën
Agence : Fullsix
Date : 2012
3D model : GHiOM Guillaume Gaillard
3D Animation : GHiOM Guillaume Gaillard
3D Lightning : GHiOM Guillaume Gaillard
3D Rendering : GHiOM Guillaume Gaillard
Compositing / Particular / Color correction / opticalFlare : GHiOM Guillaume Gaillard
We all like nice surprises, and it was a very nice surprise to find out that HDR Light Studio was used to light the photo-real CG renders for the ‘Surface’ launch – the advanced new tablet computer created by Microsoft. Even better, it’s nice to know that the team at Microsoft continue to use HDR Light Studio for forthcoming images of the new Surface Pro and beyond, it’s now an essential part of their CG lighting workflow for marketing images, be that in KeyShot, Maya… in fact any renderer. The beauty of HDR Light Studio is it supports any software using image based lighting – so once you learn it, you can take it to any 3D software for great photo real results. Continue reading
We fell in love with this project when HDR Light Studio users Souverein Weesp emailed it to us. So we asked if they would reveal how HDR Light Studio helped to create the shot.
Caetano Brasil, Tiago Aiello and Felipe Roque have used HDR Light Studio to light some amazing CGI shots of the new Citroen C3. They are big fans of HDR Light Studio and now use it on most jobs. We are so pleased they do!
To see more images from this project, please visit the Digital Art Served web site where these amazing images are featured:
Mercedes – Through and Through from danDifelice on Vimeo.
Framestore NYC were beta testers for the new HDR Light Studio 4. They put it to good use on a recent commercial for Mercedes. Andy Rowan-Robinson, CG Supervisor, FrameStore NYC, explains their use of HDR Light Studio 4 for the spot “….we used HDR Light Studio on base HDRI images that were shot on location. These were taken into HDR Light Studio – working as a plugin in combination with Maya and LightPaint – to enable us to accurately place highlights and darken / bring up the original HDRI as required to shape the lighting. It turned out to be an efficient and fun way to light – we could get feedback quickly from the Lightpaint window and take it across for higher quality renders in our renderer in Maya.”
For more information on this commercial visit the Framstore web site: http://www.framestore.com/work/mercedes-through-and-through