3d art

opportunities to bring different specific
skill sets on board.
We work very closely with our neighbours
Blue Edge (blue-edge.co.uk), as their skill
sets complement ours very nicely – with
them producing a broad range of visual
solutions that our 3D content can be used in.
Can you give us some idea of the actual
production pipeline for producing an image
or set of images for a client?
NH: The process can vary depending on the
client and the stage of the design process
that we get involved in, but the basic formula
Undoubtedly there has been a slowdown,
although there is still plenty of work out
there. F10 was set up at the beginning of the
recession, and keeping overheads down was
always a priority
g
is to start with understanding the key
messages. From that we can decide on
exactly what the views are of, and so what
needs to be modelled. There is no point in
modelling things we don’t see, so it’s very
important to get this signed off straight away.
We then take the client’s 2D Cad files and
import them into 3ds Max. Plans, elevations
and sections are positioned in 3D, and a 3D
model built up from these. We stay in close
contact with the architect during this
modelling process, as quite often designs
are not final or are incomplete, until we
have all structural design signed off.
h
While working on the lighting and
materials, and with all views signed off, we
can start adding the extra design details
into the 3D model. When all this is complete
we render the scene out, using V-Ray
elements so we have total control when we
are in Photoshop. We will always do
a load of elements, in particular a good
selection of Multi-Matte elements for
individual object control, an AO pass,
depth, and also various lighting. Reflect and
refract ones are always handy.
Have you been involved in any, or would
you be interested in working in, the Gulf
states, which house a number of very highprofile
projects?
NH: We have done some big exciting
international projects, but not in the Gulf
states yet. We would love to get involved
in projects out there with other worldleading
architects.
The building and visualisation industries
have both been affected by the global
recession. Have you noticed any kind of
slowdown, and what have you done to
counter this downturn?
NH: Undoubtedly there has been a
slowdown, although there is still plenty
of work out there. F10 was set up at the
beginning of the recession, and keeping
overheads down was always a priority. In
this competitive market this means we can
keep costs low without sacrificing quality,
which seems to be a winning combination
with our clients.
g A concept hotel designed by
LCE Architects showing a
luxury development fitting
into the natural environment
h National Park, design
led by Mark Keville of
LCE Architects
What are your plans and ambitions for the
company in the future?
NH: We want to continue pushing ourselves
creatively and technically, and improving our
work so our reputation continues to grow.
We would love to get involved in
supplying architectural work to the
documentary or film industry. If there’s a
film being made that is set in Brighton 100
years ago that needs some scenes set on the
West Pier, then we can definitely help with
that right now!
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