Hosted in Blossom Street Studios on the 22nd of April, our second event will demonstrate a fashion story shot in a 100% virtual environment by fashion photographer Luis Monteiro and art director Saakshi Mathur.
Luis Monteiro's team, CGI artist Simon Allan and fashion retoucher Chris Roome will show how to create a CG environment that works with the organic nature of fashion shooting and how to allow the model to interact with virtual elements and the environment on set.
We will also explain the importance of lighting, mood and colour input from the fashion photographer and art director, followed by FAQs, nibbles and drinks.
We will also explain the importance of lighting, mood and colour input from the fashion photographer and art director, followed by FAQs, nibbles and drinks.
“What will I do?
I’m scared of fish!”
I’m scared of fish!”
Vogue regular Luis Monteiro and our very own CG artist Simon Allan share their thoughts on our rather unorthodox fashion shoot in a 100% virtual environment.
What was it like working on photography isn't dead project?
SA: A pretty interesting and rewarding project. Fashion photography is much more organic than TV promos and CGI for print. It's all about the moment between the photographer and the model and everything else has to accommodate that.
LM:
Agreed. It was very interesting and challenging... exploring new ways to create images with real energy and beauty.
How was the concept developed? Flying water-fish are quite something to come up with!
LM:
We worked on this project with Saakshi Mathur. During our trip to India we tried to understand what CGI was and what it could bring to fashion... we had to really pick our brains as we wanted to marry the two in a soft, gentle and fluid way rather than the more conventional manner CG is often used in advertising.
SA: It was a full-on collaboration. What was great about this project is that we all sat down together and developed a series of moodboards and sketched with Luis, Saakshi and Chris, so everyone could ask questions about what was feasible and how things could be done.
What surprised you whilst working on the project?
LM:
All the interaction and co-ordination within the entire the team. It was great having such an array of creative expertise at your fingertips, and it also meant we could foresee difficulties and work together towards a collective goal.
SA: I think it was a really good team effort. For me personally, I was surprised by how the clothes of the model can completely change the dynamic of an image. Britta did come up with some amazing outfits!
The prize question: how was it working with each other?
SA: Chris and Luis have both been stars. Two such talented people giving up their valuable time to this project has really pushed it beyond the ordinary.
LM:
Haha, thanks! You're making me grin. But yes, we had great fun and dynamics, really lovely team.
How do you feel about the final image?
LM:
Very pleased, I think we have achieved what we hoped to and made two worlds meet.
SA:
It's a good image and it's been quite a steep learning curve for everyone involved. The result is something really beautiful!
What was your favourite part of the project?
LM:
Photographing ... am I really obvious?
SA:
The creative design process. All the idea creation and brainstorming - lots of fun!
Any interesting or quirky stories?
SA:
One time I bought a Kitkat and it was solid chocolate.
LM:
?!?!?
Anything else you would like to add?
SA:
CGI and photography can work very well together because they are good at opposite things. Photography is excellent at capturing human nuances and expression, some thing very difficult in CGI. While CGI can create a back plate of infinitely varied and physically impossible situations - things very hard to fake convincingly in camera.
LM:
Definitely! I think it's a new medium to approach photography... very interesting and with great potential!
Thanks a lot for your views, looking forward to the 22nd!
When is it a good idea to use a CGI location?
CG environments can be a great alternative when set building or model making an environment to match your concept would be far too expensive, or even impossible. CG has come far beyond the plastic sci-fi age and now allows for the creation of photo-real, organic and warm structures and environments.
How do you go about creating a concept?
As with any job, a moodboard is a good place to start. Get the retoucher and CG artist involved from the word go. They will be able to discuss the possibilities to make the project happen.
What is a pre-vis?
Pre-visualisation, or 'pre-vis', is the first rough mock-up of the CG 3D environment. All elements will be blocked out as a wire frame without colours, reflections or surface properties that can be easily moulded to your vision. You can walk around the 3D environment just like on a real location scout to chose your angles compositions and amend, drop or create elements to your liking.
How can I help the team and model prepare for a shoot on CG location?
It is vital that the model knows what he or she's interacting with, so get hold of some print-outs of shots of the CG pre-vis environment, props and materials to help the model get into role. Be sure to prep the photographic team, stylist, makeup, hair etc. for the environment so they can prepare with suitable frocks. For example, in our shoot, the stylist knew the model would be standing in water, so avoided long, draping dresses.
What colour backdrop should I use for a blonde model or a dark haired model and why does it matter?
The hair can be complicated for both photographic images and CGI location shoots when compositing a model into a different background. A grey backdrop ensures neutral fringing through the hair and around the model, which makes comps a lot more believable. A little contrast is also advisable, so for blonde models use a slightly darker grey, and for dark haired models, use a lighter grey.
Should I be using a green-screen/ chroma keying as common practice on film sets?
No, photographic CG works differently than film. A simple grey background will ensure there is neutral fringing around the model, especially the hair. This will make the retouching a lot more straightforward.
What do I need to consider when I am shooting on set for a CGI location?
Whilst on shoot it's a good idea to record as much information as possible so that the CGI artist can recreate the scene to be as similar as possible to its real life counterpart. Make a note of the camera lens and measurements from the camera to the subject. If you plan to use props measure the dimensions and if possible place tracking marks on the back wall so that the virtual camera can be matched closely.
It's a good idea to brief everyone on the creative concept so they can visualise the environment that you are trying to create, it may be helpful to bring large printouts and props to the set to help the models understand the interaction they may need to have with a CG element.
Do I need to shoot on a tripod? - this would constrict my creative juices!
No, you are definitely not confined to a tripod, you are able to shoot as normal but it is best to add props and tracking marks to the background so it is easier for the CGI artist when it comes to placing the virtual camera.
What meta data do I need to give the CG artist after the shoot and why is it necessary?
The CGI artist needs to set up the virtual camera as closely as possible to that from the shoot so the more data you have the better. Most cameras record the meta data for you so you should have everything you need, the most crucial information is the lens and F stop.
What is rendering and how long will it take?
Rendering is when the CGI artist takes the scene in the 3D software and outputs the final image. This can take anywhere from a minute to a day depending on how large the image is, how much computing power there is available and how complicated the shot is. The CGI artist will be able to advise you during the project how long the render might take.
How adjustable are the props and equipment in CGI if I were to change my mind from the initial pre visual?
CGI has the great advantage of being amendable right through the production pipeline, unlike photography whereby radical changes require costly reshoots. However it does take time to make amendments and this should be factored in.
I have a fantastic shot which developed organically whilst on set and I really would like to use it- is there any way the CGI can be adjusted to enable me to use the image?
Yes, CGI can be adjusted after the shoot to accommodate different shots to those planned. Cameras and props can be moved, lighting can be adjusted, all after the shoot.
Once the project is complete would it be possible to later use the CGI data in another campaign?
Yes, the CGI data exists as a file on a computer that can be loaded up and changed anytime. Once it's been created it can be used and adapted again and again.
