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Design stage followup and crafting visuals so the owner can approve the interior design of this penthouse in Tel Aviv, Israel.
This was a unique project in that we followed up the design stages one room at a time, doing many versions to show the owner how everything will look like.
This image was created last year as an experiment in creating a decent quality image using less than 30,000 polys (total came to around 22,000). The model geometry is fairly simple in nature, modeled primarily from half a cylinder and a cube at the far end, as well as a plane manipulated to look like steps. The low poly model was compensated for by having quite intricate texturing applied to it to give the desired effects. (I would insert an image of the shader tree, however I have since lost the project to a crashed hard drive). Obviously Photoshop played a part in inserting the people, but other than that and some adjustments to the contrast the post production for this was minimal.
Inspired by TokyoGenso.
A series of visuals for Gira. Showcasing their latest building control systems and switches in cgi environments.
The goal was to create these visuals full cgi environment without any post production to easily change camera positions. And also to have the ability to quickly do animations out of it.
Villa-ge is a beachfront villa with outstanding amenities and stunning coastal views, located in Pylos, Peloponnese, Greece, designed by k-studio architecture firm.
The design is inspired by the local vernacular architecture of Peloponnese and the natural topography of the area. Elements such as natural stone walls, arched openings, hammered concrete slabs and stone pavings compose the design palette.
Architecturally, it makes a complex system of interchanging experiences of stone volumes and their courtyard gardens, interconnected by clear circulatory paths moving through zones of social and private spaces.
The main 3d model of the project was done in Rhino 3D. The model was exported in parts from Rhino in .fbx file format into C4D. It is a very convenient file format because you can keep all your texture information and you can quickly replace any of them.
A lot of the geometry of the scene was remodeled or optimized inside Cinema. Like the stone walls and the landscape surface.
For the grass and plants scattering I used Forester Multicloner. I used Vertex maps to select areas of distribution and also in some cases I used different models with high, medium and low polygon count, and distribute them based on the Camera position (LOD).
Vertex maps were also used in some Layered Corona materials, like the one on the ground.
For randomization of some textures, like the wooden slats or the paving tiles, I used a script I found here to randomly select children objects. With this method I quickly applied different materials (same material with different shades) on the children objects. Then all children were merged in one single object.
For the lighting of the scene I used different methods depending on the mood and the camera. For the interior scenes I used Corona sun and Sky only. This was prefered here because an issue for this project was the Greek summer mood, which has a very high and strong sun. This was difficult to achieve with an HDRi image (even though I “hacked” an hdri in PS to move the sun higher) because most of the hdris I had, have the sun in low position. I needed a sun at about 70 degrees to achieve correct shadows.
For the exterior views I used two different HDRi images combined with corona sun.
All images were saved in CXR file format in order to edit after in the Corona Image Editor (CIE). It was also used for the denoising part. I had the option “Gather data for later” enabled in corona settings for the denoising, so I applied it in CIE.
The final post was done in PS. Some color adjustments in Camera Raw and some small touches were done with a wacom pen.
Altitude
