bensons guidelines

3d Lifestyle

Set Up & Output Specifics

Technical Approach

Camera & Lighting Approach

Animated sequences

Draft Process & Targets

DO'S & DON'TS

Set UP & OUTPUT SPECIFICS:

All main cameras should typically show the bed at a 3/4 angle (always showing the right side of the bed) as shown in the images below and the bed should be centred in the lifestyle image (vertically & horizontally). This is to allow Bensons to add text around the image for banners in store etc..

See example of Harvard main lifestyle image.

Artist brief - Image Size & Resolution: 300 dpi, 6000 x 4500 pixels (6K 4:3 ratio) is required for all Bensons imagery and must be stated on the artist brief.
RT brief - for final outputs:

Output - 6k - 6000 x 4500 & 3k - 3000 x 2250

TECHNICAL APPROACH

For Bensons and most of our clients we are creating new sets or we are rehashing older sets that we delivered in the past. We can have access in this information in briefing stage.

For a new set we are always using the template 3Ds MAX scene file that lives here.

R:\06_TEMPLATES\02_PRODUCTION_TEMPLATES

In general the purpose of rehashing an older set is to create new images faster than if we were starting a new set from the beginning. In order to achieve this successfully there are a couple of things that the Artist must check at the beginning of the project.

First we need to check the old 3Ds Max scene file that we should rehash and make sure that the file is clean and organised.
Next we should check the old comp files in Fusion and Photoshop and make sure that they follow the CCW workflow and that they can be easily re used.
We need to check how many Bid days we have for the new set. This is very important because it will help us decide if we can relight the set from the beginning or create fresh new comp files in case the old project was not in a good condition so it can be reused .

If the older set doesn't follow the CCW workflow the Artist needs to make aware the Lead Artist of the project so they can decide together how to proceed. In some cases is easier to take all the elements that stays the same from the old project and make a new fresh scene from the beginning.

Below you can see some sets that has been rehashed :

CAMERA APPROACH

position & focal lenght

For Bensons we only do interior images to show their products. For that reason we are using Focal Length 45 mm and we are placing the camera roughly in 1,10 m from the floor level. We are trying to avoid wide lens in order to show the room and the products that they are included in it with minimum distortion. In most of the cases you should probably activate the camera clipping plane .

Lighting Approach

overcast lighting with or with out soft directional lighting

For Bensons we have freedom to light our sets with or without directional light. Most photographers know that a cloudy or overcast day produces really soft light that can be flattering on the human face . This means, even light is falling over your entire scene.
In some cases you will probably notice that the overall L&F of your images is dull and flat with overcast lighting. This can be caused from a couple of reasons like:

The architecture of the space isn't helping the light to fall nicely in the product and the room overall.
Small openings
Bensons produce a variety of products, from expensive and luxurious products to cheaper ones. When the product is low budget usually we add directional light to make it look more interesting and create a more dynamic render with contrast.

In cases that we are using directional light we are trying to create soft shadows. We don't want sharp shadows because they are taking the attention from the product . Below you can see 2 examples, one with overcast lighting and one with directional lighting.

ANIMATED SEQUENCES

bensons animation guidlines

For Bensons we are providing Life Style still images and animations. We can have access in this information in briefing stage. For the animations we need to have a few things in mind

We must first deliver the still images and then start with the animation.
Still images and animation must have consistency, for this reason when we are creating the still images we should do the post production only in fusion and exclude photoshop from the workflow .
If we have animation we must use 3D environment and not backplates outside of the windows to avoid issues with parallax. We have in our data base 3D Animated tree models or we are using still 3D tree models with fake leaves animation. The wind speed must be low so it is not taking the attention from the product.
We have a template scene file that has animated cameras that we are mostly using for Bensons. At the beginning of the animation we should merge this file in the 3D Scene file. The template scene file lives here
R:\06_TEMPLATES\02_PRODUCTION_TEMPLATES\BENSONS_CAMERA_ANIMATION_TEMPLATE
Next we should do adjustments so we can be aligned with the brief .
Make always sure that the scene setup is with PAL frame rate settings (25 fps)
We are delivering animation in FULL HD resolution (1920 X 1080)
We have 3 different template settings in RP Manager for animation, Low, Mid and high settings so you can load them with one click. In some cases though we need to customize them.
We must always make sure that we are rendering raw image files in order to use the Denoiser pass of V-ray and the lens effect pass. Advise always the Lead artist of the project before you submit.

DRAFT PROCESS & TARGETS

draft a

Draft A // First look

This is where the Styling Team, Lead Artist and Artist get together to chat through the first iteration of the work.

Architecture – Realistic & true to SB? (styleboard)
Lighting – Achieving L&F (Look & Feel) is it enhancing the product?
Cameras – Composition looking good, are we showing off the product?
Product – Accurate and complete?
Décor & – True to SB and working with product?
Propping - True to SB? Is the propping story working?
Are we meeting client requirements?
Background / Backplate – Is this suitable for the space/client/inhabitants/demographic?

draft b

Draft B // General comments

Art Director and Head of Styling become involved from draft B stage.

Have all previous internal comments been completed?
Architecture – Are details and materials correct?
Lighting, cameras and composition check. Accurate to Sb? All confirmed? DRAFT B is the time to change the base elements!
Product – Are the configurations correct? Door profile, handles, fabric finish/colour?
Décor – Textures and finishes correct?
Props – True to SB and working in the set and accurate to references?
General check of shaders & textures
Are there the correct number of shots / crops?
Sharing - Is this to be shared with the client at this stage?
Background / Backplate – Do we need to make changes?

draft c

Draft C // More Detailed comments

NB: Drafts do go beyond draft C depending on client amends etc.

Have all client comments been addressed?
Architecture – Is it realistic have previous comments been actioned?
Decor – Is it true to SB? is something not working? This is the chance to swap things out
Cameras? Do we need some additional/alternate options - are the cameo shots working?
Props – Is it true to SB? Too much/too little? Are all propping stories coherent and adjusted for cameras? This is the time to add more/less/swap something out.
Detail checks – quality QC on whole image – check nothing is floating and that all materials are present and correct.
Product checks – shadow gaps / finishes / handles
Photography / Comping - Ready for shooting & comping .

RULES

DO'S

We can differentiate slightly the camera position from set to set.

DON'T

Don't change the camera focal length , keep it always 45 mm.

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