Just for fun here's a 360 of the living space at the Joshua Tree Residence. For best effect view it on your phone and then spin round!
Over the last few months, I have been designing a house for a private client in Joshua Tree, California. As the design developed I thought that it was something that would catch a little bit of attention in the press if I showed it in its best possible light (I never imagined it would go viral). I was already using the computer to make simple 3D maquettes and with the design locked off, it was fairly straightforward to build a detailed model of the house on the computer. The context was the real challenge. The client had provided me with a topographical site plan as a PDF, which I had been sketching over. He had also provided me with photographs of the site, but the photographs weren't quite sufficient for me to use to make some nice images of the scheme - I wanted to be able to surround the building with context, in 360 degrees, so that we could get the shadows and reflections across the building. To solve the context problem I devised this rather satisfying workflow which I thought warranted sharing.
First of all I opened the pdf in Adobe Illustrator and exported it as a DWG. I then opened the drawing in Autocad and scaled it to the right size, cleaned it up, and joined fragmented contours into continuous polylines (I later realised that this could have been done automatically in 3DS Max with SiNi plugins). This drawing was then imported into 3DS Max and each contour was raised to its correct height (this was tedious and I'm unaware of any shortcuts).
With the contours set out in 3D space I then used the Terrain Compound Object to create a surface from the contours. This generates a surface that is detailed but an ugly mesh to work with - it's all triangulated.
At this point, I identified some areas around the building that where cliffs and rocks, rather than sand surfaces. I duplicated the terrain surface, drew a 2D polyline around the area that I wanted to be more detailed and cropped the landscape surface down.
Next, I centred the surface's pivot point to the centre of the surface and then added a point helper to the scene and aligned it to the pivot point. This is to help align the detailed surface in the right place, later in the process.
Now I did a quick UVW Unwrap on the surface.
I moved the surface to 0,0,0 in model space and exported it to Mudbox. (I found that if I didn't move it to 0,0,0 first I had difficulty viewing the mesh in Mudbox.) With the UVW mapped, nicely regular mesh in Mudbox I could work detail into it easily, before taking it back into 3DS Max and using the helper to locate it in the right place.
The final step was just to adjust the original, main landscape surface so that the detailed surfaces sat over it well. I made a bunch of rocks in Mudbox and then used Forest Pack Pro to scatter these and vegetation over the landscape.
SiNi's plugin was really the kingpin in this process. If you do visualisation work and aren't familiar with SiNi I recommend that you check them out.
On Wednesday evening I'm presenting my work and, in particular the making of Space Baby, at the 3DS Max London Users Group. I'll be showing some of my workflow and how I created Jack's space suit with Marvellous Designer.
For more information go to - https://www.meetup.com/3DSLondon/
Come along and say hello over a pint.
If you've not been before you should, there's always interesting stuff being shown (this week being a perfect example) and beer - a winning combination!
This visualisation is of a proposed 8 storey office building, with retail and coffee shop at ground floor. You can compare the final image with the computer model below to see what we did in 3D. I prefer to create as much of the image as possible in the 3D model and keep photoshop work to a minimum. Partly that's just how I like to work, but it has the giant benefit that it increases our ability to adopt client changes as late into the process as possible, and minimise the impact of that one final tweak to the design.
People often ask me how does CGI work, or how do I create my images and I've always felt like I wasn't giving a particularly good answer so I've made this short video as an introduction for the uninitiated.
And signup for our newsletter to receive a 3D model of the cup - whitakerstudio.co.uk/how-does-cgi-work-newsletter-signup
A free piece of 3D software for you to play with is Sketchup - sketchup.com/
I made this model just before Christmas for an image I was working on and then revisited it last week to get it ready for selling online. While getting it ready for sale I made this little film of it which I find oddly enjoyable and hypnotic if watched on repeat. So here it is for your enjoyment too!
You can purchase the model on turbosquid.
Here's one of the props that I've created for a fun set of images that I've been working on this week. The actual images will follow soon...
An image that I have been working on recently that I quite like. More from the series to follow...
Since experimenting with 360 videos last week, Facebook have now introduced 360 photographs and it turns out it is incredibly easy to produce and upload cg images, although it does require you to go through a couple of steps. So here is a little tutorial for anyone needing to create 360 content.
We use 3ds Max and V-Ray here at WS so the first part of this tutorial will describe the settings specific to our pipeline, but can be translated to other renderers. The second part will look at what you need to do to prepare your rendered image for upload to Facebook, regardless of software used.
Stage 1 - Render Settings
Set up your camera as you normally would.
Render settings are largely the same as your normal preferences, however under V-Ray > Camera select Spherical Panorama for type and check Override FOV, entering 360.0 for the horizontal override and 180.0 for the vertical override.
Finally, Facebook needs your image to be in a 2:1 ratio with the maximum recommended dimensions being 6000 wide by 3000 high.
Now you can hit render! We normally save out as 32-bit EXR with render passes and you can still do this, editing your image in Photoshop as you see fit before saving out as a jpg.
Stage 2 - EXIF editing
With your image rendered you now just need to add some additional information into the EXIF data so that Facebook interprets it as a 360 image rather than a normal flat 2D image.
For this you need to visit theexifer.net. Upload your image and then click eXif.me. Here we need to enter Ricoh for Camera Make and Ricoh Theta S for Camera Make. This will fool Facebook into believing that the image was taken with a recognised 360 camera.
Now you can download your photo with its corrected EXIF data and upload it to Facebook.
Over the last several months Ron Arad Architects have been designing a cancer treatment centre in north east Israel that will serve Jewish, Christian, Muslim and Druze communities in both Israel and Palestine.
Whitaker Studio crafted these four images for Ron in preparation of the project’s public launch this week.
You can read more about the project on Dezeen.
At the start of September I spent some time in Cloud & Horse’s photo studios shooting with actress Jennifer Dawn-Williams. The shoot had been meticulously planned to allow the resulting photographs of Jennifer to be blended seamlessly with computer generated images of a penthouse apartment in Tokyo.
With the photographs taken they were then composited in Photoshop to achieve the stills that I wanted and this video shows a quick breakdown of that process.
The complete set of images can be seen on my website.
Here are 3 brand new images of the Tokyo penthouse that I was working on earlier in the summer. You can see the complete set of images on my website here.
At the start of September I spent some time in Cloud & Horse’s studios shooting with actress Jennifer Dawn-Williams. The shoot had been meticulously planned to allow the resulting photographs of Jennifer to be blended seamlessly with computer generated images of the apartment.
I will try to post soon a short animation of the post production layering of the images.
The High Life
A new series of images of a Tokyo penthouse.
The model has been built in 3DS Max with the towers in the foreground being created using Itoo Software’s railclone and forest pack. You can see a tutorial for populating the floors of the towers here.
Furniture and props have come from a variety of sources. The books are nearly all from model+model and distributed using their excellent Bookmanager plugin. The rug in the living space is Paul Smith Carnival created with Vray Hair.
A recent architectural visualisation from the world of Whitaker Studio.
This was my first ever design project at university 15 years ago. The idea for the climbers hut was based on a piece of climbing equipment that can be lodged into cracks in the rock face to arrest a climber’s fall.
The hut consists of a Cor-ten steel cage with oak cladding infill and a smooth, curved plywood interior. Once the hut has been lowered into the cliff face and has wedged itself into place the floor joists can be inserted to ensure a level surface. The lower area is for storage of equipment while the upper area is for sleeping and cooking.
I revisited the project as an excuse to experiment with particle systems in 3DS Max. The snow capping on the foreground was produced by raining over half a million particles down on the model and then turning them into a mesh. The images where rendered with Vray and a small amount of photoshop. HDRI skies are from Peter Guthrie’s shop and the rock face textures were made from images sourced from CG Textures.com