Cre­ate strong cin­e­matic vi­su­als

Film in­dus­try con­cept artist Chris Rose­warne ex­plains his pro­duc­tion process, as he mod­els, ren­ders and paints a cin­e­matic keyframe

ImagineFX - - Issue 142 Christmas 2016 -

A Björk video in­spires Chris Rose­warne to paint a ro­bot.

The trick to cre­at­ing a cin­e­matic vis­ual is all about be­ing will­ing to lose de­tail, be­cause the em­pha­sis then shifts from the de­sign of your model to the look of the shot it­self. I’d achieve this by ob­scur­ing parts of the de­sign in the shadow, or knock back de­tails of cer­tain ele­ments through the use of at­mo­spheric light­ing.

It’s be­cause of this that your de­sign needs to have a quick, strong read and a bold sil­hou­ette, to en­able it to be back­lit or hit with key light­ing from the side. These are just a cou­ple of cin­ema’s light­ing tech­niques for di­alling up the drama in a scene, and we’re go­ing to be em­ploy­ing them in this work­shop.

Bear­ing this in mind, we’ll model with a high level of de­tail in ar­eas of in­ter­est and keep the rest bold and sim­ple. I like to make the soft­ware do the work so we’ll use com­po­nents in SketchUp wher­ever pos­si­ble to keep mod­el­ling time down to a min­i­mum. All edges will be bev­elled be­cause KeyShot will pick these out in the ren­der, which is es­sen­tial in low-light en­vi­ron­ments and an im­por­tant fac­tor in mak­ing your mod­els look be­liev­able. They’ll cre­ate slices of shadow or high­light that will help to de­scribe the form.

Ren­der­ing soft­ware, while pro­duc­ing photo-re­al­is­tic im­agery, tends to ren­der to 100 per cent black in cer­tain ar­eas, so we’ll be lift­ing and colour­ing the black point in Pho­to­shop, paint­ing in at­mos­phere and, with a “less is more” ap­proach, di­alling back de­tail to fo­cus and lead the eye. The free SketchUp plug­ins Round Cor­ner and Cen­ter Point All from www.sketchu­ca­ will come in handy for this work­shop. Okay, let’s get this show on the road.

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