Russian
CG Projects
For every new project, we try to understand the clients’ needs and to offer him a feedback of solutions and artistic guidelines adapted to the project.
I started working with CG in the 1980's when the TV station I worked at upgraded to a digital Grass Valley video switcher and Chryon Chroma-key system, we used POV-RAY and Caligari True Space.
For me the creation of a project or a render is not just a work with a computer and drawings. The most important for me is to bring satisfaction and happiness to my customers, because the art is a symbiosis of thinking and creating with love.
Our workflow is really straight forward: after our first meeting with the client we create a storyboard in order to have the necessary feedback, we do this roughly 3 times until everyone is satisfied with the camera angle, materials, the mood and - the most important thing - with the feeling we want to depict.
As you already know, the last days of October animago Awards has announced the winners of this year. Today we would like to introduce you Stefan Larsson from Japan. His CG animation "Spatial bodies" was chosen by animago expert jury as the best Architecture Film of 2016.
One of the most important thing is to look at the details in the real world and work on it. More you work on the details, more the scene will be realistic.
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.
You need to really enjoy what you do. ArchViz is a brilliant career but with many obstacles along the way.
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.
