I tend to stick to TotalLighting, Refraction, Reflection, Specular, and then maybe an AO pass with VrayDirt, but that often just leaves the shutlines looking too pronounced.
Other than that, just loads of multimattes to mask off each component.
No harm in a bit of that, as long as it’s not overdone. Some clients want a bit of imperfection to add to the realism of the shot. Some want their cars to look perfect.
Modelled always works best, no question.
There are real values you can use for a Phase One sensor. Off the top of my head it’s 51mm wide.
But usually, it’s just about making it look good, rather than matching to the millimetre.
Never used it. Sorry.
The camera match tool can be useful occasionally though, especially if you can get some kind of reference object in your shot.
Not in my experience, no.
The car companies will often be fairly clear on the sorts of angles they want to shoot, and then it’s up to the photographer and creative director to make it work.
Whether you’ll get a say as a CG artist will depend on the photographer and CD.
I’d maybe do a separate render with a VRaySun beforehand just for the shadow, but probably not use it in the scene with the HDR.
Ideally you’d have an HDR with a high enough range to give you a decent shadow.
Grant Warwick’s done a very interesting tutorial on HDR lighting as part of his Mastering VRay series, in which he deals with that very problem. I’d definitely check that out if you haven’t already.
I’m not 100% sure I’m clear on what you’re asking here, but if you mean a CGI dolly, then there are a few different places that do them. I know a couple of photographers that have built their own, or else there are people like Move and Shoot that hire them out.
Only the wheels, as you’ll often need them spinning, or the front wheels turned. Anything else is overkill for stills.
No chance. Just like Oliver said above, I found the material system infuriating. I’m happy to stick with Max, and the extra bugs they give us every year!
Cheers,
John