1

P L U S
#3
I SSUE #3
3
P L U S
#photorealism
@Ceiga
5
ceiga.co.uk
56
C O N T E N T S
8
14 26
40 28
64 58
7
Editor s Letter
Richard Bray
E D I T O R
info@ceiga.co.uk
Its been an interesting past few weeks for me. Ive started a web developer event(digitalcroydon.
net/event/), started a podcast about gaming( jumpshootreload.tumblr.com/) and began
dabbling in a little game development with Unity. Clearly something had to take a backseat and
unfortunately its been Ceiga magazine, so after 2 months Ive fnally put together another issue.
This issue of Ceiga Plus is similar to the frst as most of the images were submitted to me via email
instead of me going to look around for pieces of artwork, so it was a lot easier to get permissions
for. Again as its a Plus issue its still quite experimental, the general theme for this issue is photo
realism although the work by Dmitri Zakharov isnt all photo realistic its uniqueness to the usual
cg image really caught my attention so I couldnt not include it. Ive decided to add a few articles
from the blog into it to make it feel more like a magazine and less like a picture book. One is an
interview with Erik Andersson on his beautiful short flm Porcelain, the other is an article written by
Jane Chambers Senior, a 3D Artist at The Neighbourhood about an archvis project they worked on
for Fitzory Place, the article wasnt written for Ceiga but I thought it would ft well with this issue so
I asked if I could use it.
Aniket Bhatkar, Mrio Norgueira, Dulce Paes, Leandro Silva and Pedro Silva are a few other brilliant
3D artist that have their work featured in this issue but Im most impressed with the work of cover
artist Bertrand Benoit who has an extensive section at the end of the magazine only showing of a
fraction of this portfolio.
ANIKET BHATKAR
Aniket is a 24 year old Indian based Lighting and
Shading Artist with more than 2 years experience in
automotive and architectural lighting. His is really
excited by learning new tools & techniques. At the
moment he is learning Solid Angle Arnold and Vray
For Maya but his primary tools are 3D Studio Max and
Vray.
9
ANIKET BHATKAR
aniketartspace.com
Aston Martin 1963
11
Audi AirStrip Shot
Mercedes E550
Porsche 911
13
Chevrolet Cruze
MRIO NOGUEIRA
Mrio was born in 1977 in Marco de Canaveses
(Porto,Portugal), but now fnds himself in Funchal,
Madeira also in Portugal. He started working with
AutoCAD in 1997, but at present, with the desire to
make projects more enjoyable he works as Freelancer
creating 3D visualizations for Architecture using 3D
Studio Max, Vray and Photoshop.
15
MRIO NOGUEIRA
blog.rip3d.net
Zevo Kitchen
17
Zevo Kitchen
STUDIO 33
19
Zevo Kitchen
STUDIO 33
21
TWCL Penthouse
STUDIO 33
23
STUDIO 33
STUDIO 33
25
Zevo Kitchen
MAKING AN
ARTISTIC SHORT
FILM WITH CINEMA4D
I really liked the short flm Porcelain(vimeo.com/96251578) by Erik Andersson as soon as I saw it. Great use of music,
particle efects and lighting. Ive manage ask the creator the reasons behind the short flm.
1) Could you start by telling me a bit about yourself, what got
you started in 3D art and how long have you been doing it
for?
My name is Erik, I am 29 years old and living in Stockholm, Sweden.
I work as a director/3D artist at Roosterflms.se. I started learning 3D
about 5 years ago when I studied TV-production. Besides 3d I have
worked (and occasionally still do) as Director, DOP, Online, Ofine,
Producer & Colourist. Its hard to say what got me started, I guess Ive
never wanted to feel limited, I want to be able to manage everything
in the production chain, from script to grade, even though post
production probably is my favourite.
2) What inspired you to create Porcelain?
At frst I was doing a sci-f/space flm for an editing contest, but
the more I thought about the future, the more I got into what was
happening in this time and place. So I threw away about one week of
work and started from scratch. One video that inspired me was John
Legend Made to Love music video.
3) What was your process for creating it, did you create a
storyboard or make any sketches?
For this project it was very simple, I cant draw, barley sketch. C4D is
my sketch program. So I just opened up cinema 4d and sat there until
I knew what to make.
4) Ive noticed each scene has a diferent organic model. Do
theses symbolise something?
They all symbolise the decline of human civilisation. If you noticed,
27
it says greed on the bullet in the beginning. Greed that threatens
animals of extinction, greed to make money on animals for
entertainment or greed to exploit the earths resources.
5) Why did you choose to make the flm black & white?
Most of the flm is not technically black & white, but white porcelain in
a white studio makes it looks like that. I really like the clean look of it.
6) How did you fnd using CINEMA 4D to create this and what
problems (if any) did you come across when creating this?
I love Cinema 4D, mostly because of the simulation section. Since
everything is simulated on my flm (e.g. wrecking ball, and all the
shatters) I used a lot of particle efectors such as gravity, wind,
turbulence and also ramping the timescale. The hard part was
to break everything the way I wanted, cause I couldnt watch the
simulations in real time (and even when I could, the sim didnt look
the same as when cached) so every time I changed something I had
to clear and re cache and that kinda slowed down the workfow when
youre working with thousands of little rigid bodies.
7) The music in Porcelain is brilliant and it goes well with the
flm. Did you listen to the piece of music before making the
flm or afterwards?
The music defnitely played a big roll in this and it was chosen before I
started with the project, kind of like the workfow of a music video.
8) Final question. If you were to make Porcelain again now
what would you do diferently?
Vray in all its glory, but the render times were insane (15-30min/
frame), I just recently bought Octane 2.0 and I really enjoy it so far. I
tried to render the head shot scene with octane and came down to 1
min/frame even though the DOF was rendered out rather then added
in AE with depth pass as I did with Vray Or I would use Vray with a
render farm
DULCE PAES
After graduating in Graphic Design in 2008, the
portuguese Dulce Paes (now 27) decided that it was
time to follow her real love about interior design. She
specialized in 3D Studio Max and Vray and started
to create interior projects for clients from all around
the world. More than a job, its a passion that also
combines getting in touch with diferent cultures.
29
DULCE PAES
behance.net/dolcenea
Dinner with knowledge
31
Dinner with knowledge
Sunshine After Rain
33
Sunshine After Rain
Dinner with knowledge
35
Take A Shower
Sunshine After Rain
37
"Nice to meet you, Modern" said Classic
Stone with Stone
39
Dinner with knowledge
DMITRY ZAKHAROV
Dmitry Zakharov (Moscow, 1986) is a visual artist
living in Cologne. He is a designer, working on the
segments of video and animation. Zakharov expresses
himself in graphical ways with clear structures,
his compositions are determined by complex and
challenging nature.
Zakharov plays around with sound, shapes, colours
and textures in a way that is alarmingly complex
and structured but at the same time, he still know
how to remain simple. His works astutely combine
aesthetics and intent to deliver sleek, rhythmic
geometrical shapes that metamorphose into new
structures.
41
DMITRY ZAKHAROV
dmitryzakharov.de
43
45
47
49
51
53
55
A SENSE OF HOME
W
ere all familiar with what a chair should look like,
how a curtain should fall, or what a throw might look
like if it were draped over a sofa, because we see
these things everyday as part of the fabric of our
own homes. Because of that instinctive familiarity,
its no easy challenge to produce interior CG images that feel real and
faithfully replicate the reality of a space, particularly a luxurious duplex
apartment that does not yet exist, as with Fitzroy Place. However, this is
what we do!
When you think of home you dont necessarily think about a specifc
room or piece of furniture, but rather how the space makes you feel. It is
that instinctive emotional connection that people have with their environ-
ments that we look to invoke in our imagery. A home can at times be a
place to relax, or a cocoon from the outside world, yet can be adapted to
create a social and stimulating place to share with others. Maintaining a
balance between the diferent characteristics people want from a home is
essential to making an image accessible.
When it came to approaching Fitzroy Place, for me it was important that
our imagery properly translated the interior of the apartment, whilst con-
veying the emotive qualities that we all individually associate with home.
It was essential that we represented the design accurately, and that all the
materials, fxtures and fttings were correct; these fnishes are what help
to create the whole look and feel of a space, and subconsciously are the
physical characteristics we identify with the most.
Space designed with order, functionality, and proportion in mind does
not on its own make a place that connects with us emotively. To be an
engaging environment, a space needs to provoke and stimulate the
senses, which is why the use of materials and texture play an important
role to enrich our response to our immediate surroundings. Natural, high
quality materials are not just visually alluring, but possess their own unique
Crafti ng i nti mate i nteri or spaces for Fi tzroy Pl ace
(Republished with permission from The Neighbourhood)
57
textures that subtly afect how we react to them. Texture provides depth
and richness to a surface that appeals to our natural instinct to touch.
Coarse textures tend to appear hard and heavy because light cannot
travel undisturbed across a rough surface; this gives the visual illusion of
something more dense and solid in form. In contrast smooth and more
refective textures appear to feel lighter and softer in form. To understand
how we respond to texture is important and can be the crucial element
to the design, as it can transform the entire mood and atmosphere of an
interior. Soft, raised textures convey the sense of warmth and comfort; a
characteristic we tend to associate with home. It is this basic principle that
we looked to explore with more detail in our imagery for Fitzroy Place.
Fabric and the layering of soft furnishing is a key component to help a
space feel comfortable and relaxing; the use of soft accessories encourag-
es and persuades us to sit back and enjoy the intimacy of the space.
Throughout the scheme there is a beautiful balance of materials and
textures, used continually within the design and ftout of the apartment.
We looked to replicate and exploit this in 3D to help the images really
come to life. The living room shot combines a mixture of the hard and
soft elements that furnish the space, contrasting in texture and density, yet
working harmoniously together. The raw, cut stone cofee table centred in
the middle of the space and juxtaposed between two large, sumptuous
sofas adds a level of drama and tension. Despite this bold interruption,
the space maintains the feeling of comfort and warmth around the centre
piece. The key to this balance was to capture the warmth of the fre and
the soft luxuriousness of the sofas, dressed casually with a couple of cush-
ions and a throw to soften and enhance the allure of the space.
All of these features may perhaps appear quite efortless and chic, but
have been carefully thought through and constructed with detail to cap-
ture that instinctive familiarity, and create the feeling of a tangible space
that you could almost imagine to be real. For me it is crucial that the visual
efect of an image is not diluted by the medium that it was created in. It
can be easy to spot when an image is CG, but when technology is contin-
ually evolving these boundaries are slowing beginning to blur. It becomes
exciting when you begin to question if the image is in fact real!
Written by Jane Chambers Senior 3D Artist at The Neighbourhood
(the-neighbourhood.com). All images created for Fitzroy Place
(ftzroyplace.com), by Exemplar.
Axis Viana Hotel represents one of our newest works
where the main idea was to share two diferent
approaches: photorealistic and conceptual.
For the photorealistic views we used the two well-
know references of the project and tried to reproduce
them 100% equal to achieve the most precise and
accurate result possible. On the other hand, the three
conceptual views are focused in creating a personal
vision of the building in a post-apocalyptic future,
with all the environment and time consuming that this
scenario may be represented. Architecture developed
by VHM. Photographic references (view 1 and 2) by
Nelson Garrido.
59
LEANDRO SILVA &
PEDRO SILVA
www.facebook.com/leandrosilvarchviz
facebook.com/pages/ROOM/504982496240849?fref=ts
Axis Viana Hotel
61
Axis Viana Hotel
Axis Viana Hotel
63
Axis Viana Hotel
Bertrand Benoit is a 3d Artist extraordinaire! Focusing
on Architectural Visualization but can easily go deep
into the smallest details you can imagine (like sesame
seeds on a 3d recreated loaf of bread). Hes a long
time follower of this blog and participated in many
challenges usually, ending up as being one of the
winners!
65
BERTRAND BENOIT
bertrand-benoit.com
67
69
71
73
75
77
79
81
83
85
87
89
91
P L U S
c e i g a . c o . u k