PGD - Yeah, the mud shot was a lot of fun to work on. It’s a bit of a change from Porsche’s usual brochure shots, and it was great to have a bit of freedom to make a mess!
kimgar - I’m sure you’d quickly get bored if you looked through all 80!
congratulations.
beautiful renders…and nice to see.
i have just one critique and one “funny” thing:
- the last image (the one with the four Porsche). It seems that the car are a bit scaled down. I know that certainly is all at right scale but looking to it I have this feeling.
- probably not your choice and for the time spent by one person looking at this image it doesn’t matter but the first image is possible to read as follow “I’m an European driver (the car plate say us it’s a German car) that is driving all night long and at the dawn I was tired and I was losing car control and at the last second I’ve avoid a crash with the guard-rails”
Really nice job!
The mud one is good but I think the third is perfect as integration.
bardo -
I agree about the car in the left hand lane! It was actually flipped the other way for most of the time I was working on it, but I guess it suited the layout of the catalogue better this way round, so we’ll have to pretend it’s a one-way road!
kosso_olli -
It was Stephan Romer - www.romerphotography.eu. We’ve done an awful lot of work with him over the past few years.
But he wasn’t just there for supervision - he shot all the backgrounds, drivers, models, and basically ran the show. He’s an extremely talented guy.
I’ve never worked with Willie. I think he uses The Scope for his CGI, but I may be wrong.
Ah, Stephan Romer. I never met him in person, but I have heard a lot of good things about him.
Willie has been working a lot with a company nPixo. Most of their cgi staff are now working for the Frankfurt division of the company I work for. That’s why I ask. Good to hear that these jobs were done with Vray, and not something like Maxwell, which The Scope uses. They are just a stones throw away from my Hamburg office by the way. They did some incredible jobs in the past. But with the wrong renderer, as I said
Yes, I am pretty much working only for the company with the four rings… Loads and loads of cars, but I don’t have a problem with that. Although I have to say that I don’t really like the visual style Audi prefers, I think it is way to clean and technical. There are other brands with a more emotional style, like Mercedes-Benz for example.
Hi Wilyman, Gorgeous work! Would be great to know what your raw passes look like, and how much post / retouching is involved,
Do you separate out the elements of your car paint, i.e. base, metallic clear coat?
I think I’ve answered your questions in the other thread, but as promised, here’s an example of a raw render (over a partly retouched background) and then the final retouched shot.
The Daytime Running Lights were rendered separately, which is why they aren’t in this image, but other than that, there are just four layers to the render - TotalLighting, Refraction, Reflection and Specular.
The retouched file probably has about four hundred!
No worries John. It´s really nice to see this sort of before and after info, thanks for sharing that. I saw your comments in that other thread and I can certainly concur. I tend to work in a very similar way.
Hi John, Sorry for the late reply,
Your a man of your word, Fantastic! and the raw looks great!
Also good to see how the colours have been pushed and pulled out afterwards, definitely a good benchmark to get to in cg!
Yes you have answered a lot of my questions on the other post, I think a lot more stuff has been posted since I last looked so I need to have a read through to see what everyone is saying.