I started working with CG in 2007, I've learned a lot from this work in ten years and still learning a lot every day. I'm a professional architect and a founder of DOD3dstudio since 2015. I like the art that involves this whole arch-viz world and the way it impacts on others. Every project is different to me, every one of them has a special message to deliver and so is the way I face them.
Today we continue our animago Award 2017 series of articles by introducing you the winner in Best Still nomination - 3D visualization artist Marek Denko. We talk about his way in CGI and behind the scenes of creation and development of his latest awarded project, "Her Eventual Hesitation".
Hello, my name is Jacinto Monteiro, I graduated as an architect, back in 2001, in Portugal, and started working in this profession for 6 years. In the peak of 2007/8 crisis, with my girlfriend pregnant of my only child, I decided to quit my architectural job and had a fresh start as a digital artist. High risk and drastic decision that changed my life completely, luckily for better.
Our names are Hugo Ferreira and Pedro Teixeira, we are an architect and product designer managing the Okdraw Studio in Portugal. We always knew each other since the young age, and when in 2012 we realized that we were both working in the 3D area but in different ways, we decided to merge our knowledge and work towards architectural and product visualization.
Algorithmic released Substance Painter 2.3 with Photoshop export.
RandomControl demonstrated a new feature of the upcoming version of ArionFX for Photoshop: Upcast, that allows to define a minimum pixel brightness threshold above which an amplification factor will be applied.
I dropped out of school when I was obsessed enough with Max and render engines, spending 12-14 hours a day just testing every area. After some time I started getting contacts via the forums where I had posted my renderings to share with others.
My "secret" tool is Vray2SidedMtl. It's a cool way to create realistic leaves for vegetation and, in my opinion, it's better and also faster for rendering than using translucence map.
For achieving photorealistic results general taste in design is far more important than just a technical knowledge of the software.
The key for photorealistic vegetation, besides correct tools, is understanding how it behaves, what it does, what it smells like.
My way to achieve photorealism in lights and materials is always having good references and working strictly based on them.
Analyze distance to vegetation on your render and real necessity for detailed materials - this way you shorten rendering time.