The impressive Village Underground will be transformed in our third and final event on the 6th of May, a location and CG Element concept piece shot by Simon Hanna.
Simon Hanna's team, CG artist Matt Painter and Retoucher Alex Goodwin will walk through pre-visualisation techniques, vital on a set combining real-life and CG elements.
Featuring two separate shoots in the Village Underground and in a scaled down model of the location, this demonstration will give practical advice on creating and combining CG elements, models, lighting and location to obtain a truly breathtaking photo-real image.
Featuring two separate shoots in the Village Underground and in a scaled down model of the location, this demonstration will give practical advice on creating and combining CG elements, models, lighting and location to obtain a truly breathtaking photo-real image.
“Let’s grow a tree..
- out of the concrete!”
- out of the concrete!”
Photographer & AOP merit winner Simon Hanna and Retoucher Alex Goodwin tell us all about their location concept shoot that took them deep into the Village Underground.
What was it like working on photography isn't dead project?
Alex Goodwin: This was a really challenging and interesting project. We had quite unique scope and freedom, which proved at times part of the challenge. I'm working with CGI more and more at the moment so it was fascinating to get our teeth into a truly creative brief in order to really show off what we can do.
Simon Hanna: Being my first shoot using CGI I wanted the image to retain all of its photo-realism, not be cartoon-like or too hyper-real as CGI is often used. I worked very closely with Matt, researching textures, designs & architecture. I supplied him with loads of references for the CGI build so the finished elements brought character and authenticity to the image without appearing artificial in any way.
To start, everything appeared a little over-whelming, but actually became very natural very quickly. Initially I was pretty apprehensive about how real the tree would look in CGI, but I think you'll agree the result is astounding - Matt and Alex really did work their magic to create a living tree from my direction, sketches and photographs.
To start, everything appeared a little over-whelming, but actually became very natural very quickly. Initially I was pretty apprehensive about how real the tree would look in CGI, but I think you'll agree the result is astounding - Matt and Alex really did work their magic to create a living tree from my direction, sketches and photographs.
How was the concept developed? Trees in a Victorian railway coal depot?
SH: We wanted give the building some character and purpose by taking it back to its roots of industrial Victoriana. I drew references from one of my favorite films 'The City of Lost Children' (Marc Caro/ Jean-Pierre Jeunet, 1995) and my love of the surreal sets and narrative of photographer Gregory Crewdson. I discussed my ideas with Alex, Matt and Nicola and between us things developed quite organically. Luckily we all understood how the finished image should feel and were all absorbed in the narrative. The resultant image has a lot of charm and has certainly utilised the techniques and creativity of the whole team.
AG: Trees - why not? :) The concept evolved gradually from all of our ideas and was influenced by the history of the building. Simon developed the stylistic theme and once we found the location, we built low-res images of the space, drawing in CG elements. Inspired by the old train lines that form part of the architecture, we added a new dimension developing a narrative and concept that would push us all: Photographer, CGI Artist and Retoucher alike.
What surprised you whilst working on the project?
SH: The reaction that you get about CGI! Some people are amazed at what we have created, and how. Others are a little disappointed, in that it wasn't created in camera or Photoshop. There are very mixed feelings about the impact CGI has on photography. Many photographers feel it will deprive them of shoots, but there is a lot of bad CGI out there, both in it's application and visual aesthetics.
For me it is about keeping things real and embracing CGI so it merges seamlessly with the photography, strengthening the image. This in itself needs the creative and technical eye of the photographer to capture the feel of the imagery and ensure that things are photo-realistic throughout the whole process - from CGI to retouch. I'm certainly looking forward to my next CGI project and think that we can offer something that goes beyond the way CGI is generally used at the moment.
For me it is about keeping things real and embracing CGI so it merges seamlessly with the photography, strengthening the image. This in itself needs the creative and technical eye of the photographer to capture the feel of the imagery and ensure that things are photo-realistic throughout the whole process - from CGI to retouch. I'm certainly looking forward to my next CGI project and think that we can offer something that goes beyond the way CGI is generally used at the moment.
AG: My background is in illustration so I was able to make great use of it designing elements for Matt. And after all this time, the level of quality of CGI still surprises me! It really is possible to create believable objects now, whether organic or industrial elements. And it all fits into the environment so seamlessly...
How was it working with the others?
SH: We worked really well together - we all gave it 110% and I think from the image you can see that it is a proven formula! Working directly in collaboration with one another also means that we have developed a close working relationship and a quality of understanding that will translate into strong imagery for future commissions.
AG: Agreed, we have a great team! Matt works in a very methodical way; he always strives to make his output the highest quality he can. Simon is very motivated and full of ideas, he also knows how to take a good picture and provided me with everything I could need to make the image a success. I find working with CGI rewarding; there are so many clever things it can do. For example, Matt generated a diffused floor reflection for all the elements, which was a great help.
How do you feel about the final image then?
AG: I'm pleased with the personality of the final image. I think Simon did a great job of finding the right models and costumes for the shoot they really tie in well with Matt's CGI. As the image required me to comp together so many different elements (not just CGI but many different photographic elements as well) in a scenario that is so obviously fantastical, I am really pleased that in the end the image has such a convincing harmony and is so believable.
SH: I'm genuinely very chuffed. It has allowed me to create something that I am proud of, and that will hopefully bring with it a healthy amount of interest for future collaborations and commissions.
What was your favourite part of the project?
SH: Obviously shooting it is pretty up there!..... but I genuinely enjoyed every step of the process- from brainstorm sketches on serviettes to the final cmyk proofs. The highlight was when everything came together- the photography met the CGI elements on screen. I then really enjoyed the hours sitting with Alex finessing the image, creating the final look- bringing the image to life.
AG: I really enjoy having creative input as a retoucher when I'm involved in a project. I enjoy utilizing my illustration skills to develop the pre-visualizations (something that can be very important when dealing with CGI) and then get the satisfaction of pulling everything together at the end.
Any interesting or quirky stories?
AG: Just plenty of late nights with the usual madness!
SH: I spent hours searching around for the right looking bonsai; if all else fails I could develop my green fingers!
Anything else to add?
AG & SH: Thanks to all concerned who assisted/ aided/ funded and supported the project- your help is very much appreciated!
Thanks guys, looking forward to seeing you all on the 6th!
How was the concept created?
The concept was a joint effort between all of the creatives, to make the best of everyone's disciplines. Location specialist photographer Simon provided us with mood boards to suggest the type of location he was interested in and Alex's illustration skills helped the concept take shape. In meetings, Simon, Matt, Alex and Nicola developed ideas inspired by Gregory Crewdson, Banksy, Calum Colvin and the Victorian history of the Village Underground.
What would I need to discuss with the CG artist before the shoot?
In preparation for the shoot, discuss a few important factors with the CG artist to ensure you capture everything you need on the day. The information you gather will be vital for postproduction to operate seamlessly. Be sure to record:
a) Measurements: Obtaining detailed measurements of the location is highly recommended so that the CG artist can compose a rough pre visualisation. For the shoot prep, record defining features such as door heights & widths, room dimensions, window dimensions etc. We used the iron girders as markers. Also include:
- Position of camera in the space
- Height of the lens off the ground
- Distance of camera to position of CG object
Some rough reference shots and measurements from the location reccie, together with floorplans off the location's homepage, allow the CG artist to create a 3D version of your location, which you can use to plan your shoot. Should you be in a featureless space (a desert for example) lay down some markers and measure in between them, in order to be able to match up perspectives.
b) Camera info: Remember to record your camera angle on shoot, lens type, back type and any filters used. Some information can be found in your EFIX data but double check to make sure it's accurate as it is very useful.
c) Lighting & Camera angels: Using your 3D pre-visualisation you can experiment and decide on camera angles and lighting before the shoot. Should you want to change anything on the day, record this on your floor plan and include the type and strength of the light, and if you used any filters. Why not shoot an HDRI to record the positioning of natural and artificial lighting. Then the CG artist will be able to create virtual lighting for your CG Elements that perfectly match your real life lighting.
a) Measurements: Obtaining detailed measurements of the location is highly recommended so that the CG artist can compose a rough pre visualisation. For the shoot prep, record defining features such as door heights & widths, room dimensions, window dimensions etc. We used the iron girders as markers. Also include:
- Position of camera in the space
- Height of the lens off the ground
- Distance of camera to position of CG object
Some rough reference shots and measurements from the location reccie, together with floorplans off the location's homepage, allow the CG artist to create a 3D version of your location, which you can use to plan your shoot. Should you be in a featureless space (a desert for example) lay down some markers and measure in between them, in order to be able to match up perspectives.
b) Camera info: Remember to record your camera angle on shoot, lens type, back type and any filters used. Some information can be found in your EFIX data but double check to make sure it's accurate as it is very useful.
c) Lighting & Camera angels: Using your 3D pre-visualisation you can experiment and decide on camera angles and lighting before the shoot. Should you want to change anything on the day, record this on your floor plan and include the type and strength of the light, and if you used any filters. Why not shoot an HDRI to record the positioning of natural and artificial lighting. Then the CG artist will be able to create virtual lighting for your CG Elements that perfectly match your real life lighting.
How flexible is the lighting equipment in the 3d environment?
Lighting is a very important aspect for photographers to get involved in when working with CG elements and environments. CG lighting works exactly the same way as real life lighting, and 3D programs can believably replicate anything from spots to soft boxes, reflectors, flags, barn doors, snoots, honeycombs and even negative light, i.e. projecting shadows. You can move and change all lighting, adapt diameters, shape and strength very easily so you can accurately plan your lighting setup pre-shoot and amend or add lighting post shoot. Your technical expertise will help direct the CG artist to produce the light to create and match your creative vision.
What software did the CG Artists use?
There is an array of possible software that could be used as they have different strengths depending on the project. For this particular shoot we found Modo to be ideal.
What can I bring to the shoot to help the models understand the CG?
After initial meetings with the CG artist you will have pre-visualisations with a similar lighting and design to the real shoot location. It is a good idea to have these to hand when prepping everyone for the shoot and on location. This allows the models, stylists and crew/cast to envisage structural changes to the space and any CG elements they will interact with.
It is also a good idea to use props or pictures to help the models get into character. On set of our hero model shoot, a stunt bonsai tree allowed Malcolm to prune realistically with his sheers. This gave the shot a sense of authenticity as everything, including Malcolm's eye line, matched up.
It is also a good idea to use props or pictures to help the models get into character. On set of our hero model shoot, a stunt bonsai tree allowed Malcolm to prune realistically with his sheers. This gave the shot a sense of authenticity as everything, including Malcolm's eye line, matched up.
What do I need to remember on shoot?
Please record information such as measurements, camera info, lens type and angle and lighting setup (see question 2) and check the EFIX data is accurate. Also remember to shoot an empty backplate at exactly the same angle, lens and settings of your hero shot. This will make the retoucher's life a lot easier and your image comps more believable. An HDRI is also advisable.
Do I need to shoot an HDRI?
It is always a good idea to shoot an HDRI as it helps create lighting in the 3D software that perfectly matches the lighting setup of the shoot. On this particular job we did not have many reflective surfaces (merely the little splashes of water on the floor below the boiler), but when shooting with reflecting and refracting elements, and HDRI is essential for the CG artist and retoucher to bed the element into the back plate perfectly. You can find a tutorial for shooting HDRIs on our first event page: Shooting HDRIs.
What do I need to consider when shooting a miniature?
If you plan to use a marquette, let the CG artist know as they will be able to easily scale down the 3D real life location for you, giving you 100% precise measurements and dimensions to build your marquette from. This will ensure your miniature shot matches up perfectly with your location shot and avoids the 'comped in' feel.
Lighting also needs to be considered, so shoot with different light sources so you can match up light spill on the model with that on location. Again, this allows for seamless retouching.
Lighting also needs to be considered, so shoot with different light sources so you can match up light spill on the model with that on location. Again, this allows for seamless retouching.
Is my job over after the shoot?
No, far from it! As the photographer your skills are invaluable when art directing the project in the CG production and retouching post production stages. Sit down with your team and finess ideas, composition, colour and lighting post-shoot using CG lights. CG is very flexible and elements can be created post-shoot to match new images from the shoot day, but make sure to get the image signed off before the final high-resolution render to avoid extra time and cost involved in re-rendering.
How flexible are the CG elements such as the tree?
As the tree was made completely from scratch in our 3D software it is completely flexible so you can adjust, amend, move, grow or cut any part with ease. Our CG artist was able to create and amend everything down to the smallest detail in the leaves and twigs to ensure they fit perfectly around Malcolm's sheers and into the space.
We gave the tree the perfect complex colouring to suit the light spill from our new sky and shot tunnel and it's half vivid, half wilting character. Shadows were created from the 3D tree in Modo and projected onto the back plate. We took the chance to experiment with positioning, textures and lighting properties as everything can be changed right up to signoff before the high-resolution render.
We gave the tree the perfect complex colouring to suit the light spill from our new sky and shot tunnel and it's half vivid, half wilting character. Shadows were created from the 3D tree in Modo and projected onto the back plate. We took the chance to experiment with positioning, textures and lighting properties as everything can be changed right up to signoff before the high-resolution render.
What is rendering and how long does it take?
Rendering the process of combining CG elements, such as geometry, camera data and textures with the physical light to create a final 2D pixel based image with 3 dimensional effects. The settings are calculated with rays bouncing around the scene and entering the CG camera to produce the final shot.
The time for a render depends on various factors:
- The final output size (print resolution vs screen resolution)
- Dimensions (billboard vs editorial size)
- Complex lighting settings such as reflections or refractions,
- Complex materials such as fur or hair
- Simulations like water, fire or smoke
- And of course the computer power available to the artist or studio
The more complicated these factors the longer the render process. Discuss the options with the CG artist and they will be able to give you rough estimates on rendertime.
The time for a render depends on various factors:
- The final output size (print resolution vs screen resolution)
- Dimensions (billboard vs editorial size)
- Complex lighting settings such as reflections or refractions,
- Complex materials such as fur or hair
- Simulations like water, fire or smoke
- And of course the computer power available to the artist or studio
The more complicated these factors the longer the render process. Discuss the options with the CG artist and they will be able to give you rough estimates on rendertime.
Why did you use CG for this particular project?
Our concept would have been extremely difficult, even impossible to set build, as we weren't sure about how happy the Village Underground would have been to loose their roof. We could have shot all elements separately, then composited them together. However, this would have been extremely retouch-intensive and the elements were not guaranteed to perfectly suit the location or our photographer's creative vision.
CG allowed us to create perfectly fitting, fully adjustable elements art directed by the photographer that would fit into our shot back plate easily in retouch, thanks to measurements and data collected on the shoot day. Pre-vis streamlined the production and allowed our photographer to plan the shoot in advance so everything ran smoothly on the day. The pre-vis is also a great asset to have when presenting a project to a potential client, as a visualisation will give you an advantage in winning them over.
CG is a tool amongst others and should be evaluated as such. CG is very good at making impossible or unfeasible projects a reality and is more time and cost effective when chosen for suitable projects such as our Village Underground image.
CG allowed us to create perfectly fitting, fully adjustable elements art directed by the photographer that would fit into our shot back plate easily in retouch, thanks to measurements and data collected on the shoot day. Pre-vis streamlined the production and allowed our photographer to plan the shoot in advance so everything ran smoothly on the day. The pre-vis is also a great asset to have when presenting a project to a potential client, as a visualisation will give you an advantage in winning them over.
CG is a tool amongst others and should be evaluated as such. CG is very good at making impossible or unfeasible projects a reality and is more time and cost effective when chosen for suitable projects such as our Village Underground image.
