Showcasing Edition in Parnell by MR.P STUDIOS

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The Making of Edition

Since we posted this showcase, we also published the making-of Edition in Parnell on Ronen’s Blog.

Check it out here!

Concept / Mood

In an oversaturated property market, where there are many great render studios creating lovely images, we felt this project warranted a different formula. When I talk of formulas, I am referring to the standard late afternoon/sunset shots or if a client is feeling ‘crazy’ they will run with 1 or 2 dusk shots to compliment the suite of everlasting sunshine for the remaining 20 shots. Let’s not forget that it is always sunshine and smiles in the 3D world of architectural visualization!

Auckland is known for its cloudy skies and rainy days, especially at this time of year (Winter). We like to keep real-world values, it gives a place a true sense of locality. Like all good restaurants, keep it seasonal where possible, don’t be afraid of rain or cloud. Our studio is really pushing clients to think about the time of year and locality when generating an overall mood for projects.

Everyone in the studio is a big fan of Iwan Baan’s work as a photographer, his super soft blue grade for dusk or silver white days really float our boats. We felt his tone and grade to his photographs would suit the Auckland mood perfectly. With this inspiration we presented a mood board to our client of the direction we wanted to take the images and to our surprise, they jumped straight on board.

Composition / Lighting

The facade of the building is made up of thousands of handmade glass bricks from Italy. This was a really important/expensive design feature to highlight, to do this we knew the shot had to be a silver dusk. We needed to play up the reflective qualities in the brick whilst still being able to see pockets of interior light within, giving the facade an ethereal quality. The ethereal quality of the facade was amplified further by elevating the camera position, this helped us make the cantilevered upper 3 floors float above the podium entrance/reception below, something the architects were keen for us to demonstrate.

New Workflow

This was the first set of images that our studio had used Corona for the entire project, normally we mix between V-Ray, OctaneRender and Corona Renderer.

We also grew all of the plants in GrowFX and made custom shaders using Megascans. Railcone was also used for the glass bricks, curbs, and some hard landscape elements.

THE THONG HOUSE by NISHIZAWA ARCHITECTS

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rom the architect. The perceived quality of life in buildings should come from the geometry and how that geometry connects to human beings”. It was the initial thought we had when being offered to design a row house in Phu My Hung, a new urban development area in the Southern Saigon. This project could be considered as another attempt to find a contemporary living manner in row house typology. The brief was to get rid of the way of living we used to have in common town house, where the staircase in the center along with the corridor to access spaces covered by four walls which isolate people inside his own world. The client is a nuclear family, consisted of the parents and two kids with the explicit wish to have a home fulfilled with natural elements while being able to improve the spiritual connection between each family member.

Winchester Walk Restaurant by

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This is a commissioned project of a restaurant on Winchester Walk by William Matthews Associates, UK.

Corona Renderer with Blender was used for the images. The animated Exterior loop was done with After Effects. Birds are 2d hand drawn animation by myself (yep..I do 2d animation) using Krita. Small post processing using Photoshop. Photo textures as well as handpainted textures by me were usedw for the renders.

Loving Corona with Blender.

Lakeside Home by

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After a long stint of rather repetitive projects, I decided to start a personal project around my true CGI passion: interior/exterior design. And since I’ve done a lot of interior scenes in the past, I figured it’d be a challenge to go all in on a exterior scene.

I really enjoyed being completely free in my creative decisions, not having to take into account the wishes of a client, the input of a creative director or producer. So I made a scene that few clients are likely to request: a rainy, moody scene with no direct sunlight.

While things went fairly smoothly, I did struggle a bit with getting the lake to look right and to have the ripples from the raindrops feeling more or less natural.