Tag Archives: CGI

Photographer: Nick Meek CGI Artists: Kristian Turner Post Artist: Maria Luisa Calosso

Tokyo Maserati Bora with Nick Meek

Our friend Nick Meek approached our London team with this evocative night shot from Tokyo.

Tokyo Night Garage - Nick Meek

He took it a while ago and always loved it, but kept feeling it needed something extra. He began to wonder what it would look like if the rolling gate was opened  – just enough to reveal something special.

Researching vintage cars, he found an unusual and elegant 1970s supercar with a plum paint and golden trim to the scene, and asked us if we could add it to the scene.

Excited about this extraordinary request we reached into our magic bag of CGI tricks, lifted the  door and settled on parking this sweet Maserati Bora inside the garage. See the process in the video here:

After a successful collaboration process, we’re all happy with the atmospheric result.

Photographer: Nick Meek CGI Artists: Kristian Turner Post Artist: Maria Luisa Calosso

 

Red Car, Red Room

We were so happy with how the Maserati turned out that we wanted to work with it some more. A CGI group challenge, themed on “Red Car, Red Room” was the perfect place to take the car out of the garage and reveal it in all its glory. Take a closer look at the exotic and gorgeous Maserati Bora in detail here.

Maserati Bora CGI

Crop detail of the gold trim:

Maserati Bora CGI (crop)

 

Software:
Autodesk Maya
Chaos Group V-Ray
Adobe Photoshop

Credits: Tokyo Garage
Photographer: Nick Meek
CGI Artist: Kristian Turner / Recom Farmhouse
Post Artist: Maria Luisa Calosso, Kate Brown / Recom Farmhouse

Credits: Red Car Red Room
CGI Artist: Kristian Turner / Recom Farmhouse
Post Artist: Pêpe Alram / Recom Farmhouse

100% – Porsche Panamera

We relished the challenge of creating this CGI Porsche Panamera in the rain for a campaign from Kemper Kommmunikation with photographer Erik Chmil.

Here’s a look into how we made it. There’s a selection of 100% crops to zoom in on the details, and a video where you can feast your eyes on the perfectly rendered raindrops on the CGI Porsche.

We used Autodesk VRED to make the car. This execution, with its intricate raindrops, was particularly interesting. The finished image (above) is packed with finely observed details.

As always, the CGI process is grounded in observations of reality. CGI artist Ivo Stanev spent time studying the interaction between the raindrops and the surface of the car. The water acts like hundreds of tiny lenses and we found the best way to light them was to use high resolution HDRI spheres.

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Due to their hemisphere shape, formed as the round drops hit a flat surface, the raindrops catch light from the many sources in a night scene like this- street lamps, headlights, windows and so on.  This is what makes them sparkle.

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Mapping techniques:
To do this, we used high-resolution rain textures with displacement mapping. However, because we wanted to be flexible it was important to react quickly to changes, so we used both triplanar and UV mapping (the process of projecting a 2D image to a 3D model’s surface for texture mapping )

Working with triplanar mapping gives us flexibility because we can easily change the form of the raindrops,  especially as the CGI modelled Porsche has High Density Geometry. A good example is the windshield, where UV mapping allowed is to model windscreen wipers with a specific movement. For the rest of the car we used triplanar mapping for flexibility.

It was important for us to show the effect of the wind, changing the shape of the raindrops as they move along the surface of the car’s body.

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Also some elements are not as simple to add as you might imagine! We wanted moving, blurred windscreen wipers of course…so we carefully painted where and how the raindrops moved, depending on the motion of the windscreen wipers.

crop1_screen

The rendering took a lot of time as well – we used full Global Illumination with a lot of samples…and of course only one HDRI sphere wasn’t enough, so we had to use two or three of them.

We are really pleased with the end result – the painstaking work paid off beautifully.

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Fly though the details in our video here…

Client: Porsche
Agency: Kemper Kommmunikation
Photographer: Erik Chmil
Creative Director: Nadine Kubis
Post-Artist: Thomas Fritz / Recom Stuttgart
CGI Artist: Eugen Albrandt / Recom Stuttgart
CGI Artist: Ivo Stanev / Recom Stuttgart

Mustang with Uli Heckmann

A quick peek on-set, and behind the scenes with the photographer –  shooting with Uli Heckmann, for the launch of the new Mustang 2018 with GTB (formerly Team Detroit) and JB5 Productions.

The car wasn’t yet available for shooting, so we took shots of  last year’s model as a stand-in to refer to, and then added this year’s car in CGI during post-production.

We always seem to be up ladders – shooting the models, and background separately. The stand-in car helps to get the lighting as realistic as possible.
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The final shot with all elements combined, including CGI car swapped in.

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Setting up the camera at the bridge – shooting HDR domes along the bridge with the Lizard to make a 360 light capture for the CGI car.

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Final shot using the lighting captures for perfect realism on the CGI car

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Stumptown brewery location. We shot all around this area, exploring different locations, areas and different talent options.

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Final shot – This was put together from a number of different elements from the day’s shooting. 

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Audi A5 and S5 Coupé

New work for Audi, a dark and dramatic concept with a technical look in a virtual world, to emphasise the high level of intelligence in the cars’ systems.

Working with photographer Markus Wendler, we built a futuristic architectural vision to set the cars in, underscored by abstract, rhythmic patterns of pixels, dissolving and coalescing.

Enjoy a trip behind the scenes in our video, from initial research, via glimpses into the technical elements to fly-throughs of the individual images. Or delve into further details below….

Once the concepts were decided, Markus Wendler travelled to China for the photography, centred around Zaha Hadid’s spectacular Opera House in Guangzhou…very poignant to be working so closely with her complex and beautiful shapes at the time of her death. Because of the organic forms of the building – inspired by the pebbles of its riverside location – it would have been very hard to figure out distances and shapes afterwards. So while Markus began shooting the backplates, his assistant Kolja Schoepe  was making invaluable PhotoScan captures, so our CGI artists could recreate the location digitally. He used the latest Canon EOS 5DS R for this and the results were very impressive – the best we have seen yet with PhotoScan.

Photoscan - Zaha Hadid

Meanwhile, as well as shooting the settings, Markus was working on the composition. This was quite a challenge as the angles for the cars had already been determined. With experience and care, he was able to successfully combine the wider angle backgrounds with the long lenses used for the cars.

Richard Jenkinson, CGI Artist at Recom Berlin, explains how we handled the creation of the geometry and distribution of the pixels in 3D:

cgi_tunnel

“After the point clouds were created using Photoscan, we imported them into Maya to make the initial models. Then we worked on grid patterns – enjoyable but surprisingly challenging to keep convincing.”

Proximity
“When we’d made the grid patterns to represent pixels, we made a build up for each area. This allows the retoucher to add or remove density where required. Then…rinse and repeat, eleven times.”

1. Initial pixel distribution for the ‘Tunnel’ image:
scene5_pixelonly_-12

2: Another pixel distribution, for the ‘Circle’ image:scene2_pixelonly_-127

Markus joined us again in the studio in Berlin, to fine tune the cars and perfect their lighting and placement within the sets.

Jonas Braukmann, CGI Director at Recom Berlin, filled in further detail on moving from the three-dimensional model to the two-dimensional finished product. As a big project with eleven images, this demanded maximised flexibility so we could work closely with the creatives at Kolle Rebbe on individual areas within each one.

“We needed control over pixel density in certain areas, to keep the illusion of natural flowing pixels, whilst keeping realistic vanishing points. The ‘rule of proximity’ was a big challenge – we needed different density levels and subdivided pixel layers in different levels of order and randomness.”

The catalogue, the first for the new Audi A5 coupé and S5 coupé design, is now in use throughout Germany.

Audi Catalogue

Final Images.
The elegant shape of the catalogue demanded super-wide panoramic versions to form extra long images for the double page spreads inside.

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Client: AUDI AG Agency: Kolle Rebbe Creative Director: Jörg Dittmann Art Director: Marcus Kubicke Photographer: Markus Wendler CGI Director: Jonas Braukmann CGI Artist: Eugen Albrandt, Richard Jenkinson Post Artist: Jonas Braukmann, Jonathan Clarke, June Lee Art Buyer: Kathrin Grün

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recom_wendler_kollerebbe_audi_5

recom_wendler_kollerebbe_audi_3

Credits:

Agency: Kolle Rebbe
Creative Director: Jörge Dittmann
Art Director: Markus Kubicke
Photographer:  Markus Wendler
Producer: Tim Michel
CGI Director: Jonas Braukmann / Recom Berlin
CGI artists: Eugen Albrant, Richard Jenkinson / Recom Stuttgart & Recom Berlin
Post Artists: Jonas Braukmann, Jonathan Clarke, June Lee / Recom Berlin
Art Buyer: Katrin Grün

Making of: Lamborghini Aventador with Marc Trautmann

Marc Trautmann came to us with an idea for a creative collaboration between CGI, photography, and architecture. The astonishing sculpted form of the Lamborghini Aventador would be set in deconstructed architectural elements, inspired by Daniel Libeskind, with both the car and the setting realised entirely in CGI.

“The concept of the personal CGI work was to create power and dynamics by dissolving conventional spatial structures.”

We loved the idea of creating an environment that would mesh perfectly with the extravagantly powerful style of the car, the challenge of making such an impossible setting look believable, and of course the collaboration between three creative disciplines.

1.Sketching out ideas

The first stage is to sketch out the initial concepts – no matter how technological the execution, there’s still nothing like breaking out the sharpies and sketchpads for free experimentation and collaboration in the early stages.

Initial sketches

 

2. Moodboard: structure, architecture, light.

When we are planning a deconstructed architectural enviroment, it’s vital to find reference for the elements so that they are completely convincing. We looked for abstract shattered planes and shards to inspire ideas, but also for reference of how light would move and react between the shapes. And we sought out architecture – both imagined and built – that was close to our vision, to see how it is structured in reality.

Moodboard_architecture and structure

3. Architectural session 

Marc worked with Franken Architekten to construct and then deconstruct a setting around the car. Originally created in architectural CAD, they were exported as .dwg files for us to work with in Maya.

1511_150407_MTR Aventador_Top 1511_150407_MTR Aventador

1511_150407_MTR Aventador_Perspective_01

4. Initial tests with the car

Once the initial concept is drafted, we began to refine the ideas in Maya. We experimented with different directions and angles and light sources within the architectural setting.

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Aventador_03_KTT_f78 Aventador_03_KTT_f34

Once we were happy with the angles and the placement of the car, we crafted preliminary passes on lighting and mood.

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Aventador_09_KTT_masterLayer

5. Materials.

The next stage is to look in detail at the textures of concrete, steel and glass – once again, we make moodboards of real-world examples.

Moodboard 2 - Materials

For the detailed observations to make the renders perfectly convincing, we used material references from Marc Trautmann – the concrete floor of his studio had the perfect worn industrial texture we were after.

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With the textures in place, we worked with Marc in developing the background further. Together, we sketched out where texture and lighting should be refined and perfected.

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6. Last adjustments
We tested colour and mood  variants, fine-tuning the lighting and perfecting the dynamism and balance between the structures of the car and of the deconstructed setting. High resolution rendering in Vray shows how the details are coming together here.

Aventador16_12_KTT

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7. The final artwork – three images of an extraordinary car in an extraordinary space.

Concept & Creative Director: Marc Trautmann Architecture: Franken Architelten CGI Artists: Kristian Turner, Anna Toropova / Recom Farmhouse Post Artists: Kate Brown, Riikka Eiro / Recom Farmhouse

Concept & Creative Director: Marc Trautmann Architecture: Franken Architelten CGI Artists: Kristian Turner, Anna Toropova / Recom Farmhouse Post Artists: Kate Brown, Riikka Eiro / Recom Farmhouse

Concept & Creative Director: Marc Trautmann Architecture: Franken Architelten CGI Artists: Kristian Turner, Anna Toropova / Recom Farmhouse Post Artists: Kate Brown, Riikka Eiro / Recom Farmhouse

Fly through the modelling and see how we built up the image, in our behind the scenes movie here!

See the full series on our site here

Concept & Creative Director: Marc Trautmann at Schierke
Architecture: Franken Architekten
CGI Artists: Kristian Turner, Anna Toropova / Recom Farmhouse
Post Artists: Kate Brown, Riikka Eiro / Recom Farmhouse

CGI by Recom Farmhouse for Virgin Broadband - Detail

100% : Virgin Broadband

Cable specifications! Some might say it’s strictly of interest to your more hardcore nerd, which of course we are. But this is what brings everyone the high speed internet we all love. So we thoroughly enjoyed the challenge of creating Virgin’s DOCSIS®3 Tech cable for a multi-platform campaign – both still and moving assets for print and video adverts.

One of the main challenges was creating a photo-realistic cable. This sounds a lot easier than it is, because when you look at a seemingly smooth metallic material in extreme close-up, it is never perfect. The minute imperfections are actually what gives metal its particular character. In previous campaigns, the cables were photographed – setting the bar high.

We developed custom shading networks including microscratch details giving them the imperfections of the real materials.

Virgin_materials

The braiding of the cable housing is perfect, right down to the compression of the snipped ends in the wires.
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A myriad of tiny details were included, such as the champfering of the cable housing shown here.
cgi_by_recomfarmhouse_for_Virgin_3_cable

Every bend and kink of the copper wiring was faithfully replicated
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For flexibility in animation we developed a rig with which we could quickly adjust both the shapes and the timing of the cable’s growth.
Virgin_roll_animation_625

We made three executions of the idea – Home, Gaming and Video versions.
CGI by Recom Farmhouse for Virgin Broadband - Cable

CGI by Recom Farmhouse for Virgin Broadband - Cable

CGI by Recom Farmhouse for Virgin Broadband - Cable

..and the video work formed the backbone of the motion campaign

The ads were shown all over the UK in an enormous variety of formats, all working well due to the extremely detailed CGI.

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Credits:
Made in Maya
Rendered with V-Ray
Animation composited in After Effects
Stills retouching in Photoshop

Making of : Kronenbourg 1664 campaign

The latest Kronenbourg 1664 campaign for French advertising agency Herezie has been a great creative challenge. Working closely with the agency from pitch, through studio and location photography to CGI and post production, we were briefed to extend the iconic 1664 ribbon beyond the confines of the bottles label. The creatives at Herezie wanted us to push the boundaries of possibility, playing with perspective and scale in order to create a perfect red cross. Hence, we crafted pink flamingos flying over real beaches, a string of buoys floating on the Mediterranean Sea, a luxurious rooftop bar overlooking the Seine River with laser beams lighting up the city’s night sky which, together with the beer, continue the red ribbons of the 1664 logo.

Recom Farmhouse 1664 advertisign campaign with Alessandra Kila

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Making of : FULL CGI LANDSCAPE for AUDI QUATTRO

This is the biggest out of home campaign Hamburg agency Kolle Rebbe has ever produced and it was also our most complex CGI production ever!

For Audi we created a full CGI winter landscape spiralling within itself: road, trees, rocks, snow, clouds and sky all curl around into a perspective that would have been impossible to photograph. In these scenes the cars, also created in CGI, are speeding on a snowy road next to ski runs with real competing athletes.

Audi_RFH-6Audi Quattro Winter Campaign
Audi Quattro Winter Campaign (detail)

With a total of 52 motives distributed in 180 ski areas in Germany, Austria, Italy, Switzerland and France, the teams in Berlin, Stuttgart and London joined forces to produce these mind twisting visuals under extreme time pressure. The heavy geometry of the landscapes required us to create a new pipeline to handle the different assets and be able to sculpt, texture and light the scenes in real time.

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Making of : Mercedes Sprinter

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Kai Tietz approached us with yet another awesome Mercedes-Benz Sprinter advertising campaign – and we were happy to be part of the usual Team. We worked together with photographer Martijn Oort to create a series of visuals for the new Sprinter Edition campaign. Martijn was responsible for the photography part and CG supervision. He photographed the backplate and all the people. We created the vehicles and other key elements of the images in CGI. Kai Tietz managed the whole project in the background. Continue reading

Making of : IN THE GARDEN by Clemens Ascher

RecomFarmhouse_Ascher-3

Clemens Ascher’s latest series “IN THE GARDEN” depicts scenes from an indoor garden complex.
The world he represents appears to be entirely artificial, a plastic utopia carefully designed to deliver happiness and comfort to its inhabitants. The bright and saturated colours in these pictures are seemingly trying to compensate for the void in which these people live.

We have helped our friend Clemens in constructing this dystopian vision by adding some CG elements to his pictures. Together we discussed the set prior to his shoot and we came to the conclusion that models, plastic plants, carpets and placeholders for walls were going to be photographed, whilst windows, final walls and all other architectural elements would be created in CG.

Photographer: Clemens Ascher Fashion Stylist: Alice Whiting

Hair Stylist: Craig McAtear CGI Director: Kristian Turner / Recom Farmhouse 
CGI Artist:  Florian Einfalt / Recom Farmhouse Post Artist: Pepe Alram, Kate Brown, Andrea Tosello / Recom Farmhouse

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