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3DTotal: Do you find that compositing the different render passes in post production is a more effective way of getting the right result, or is it simply quicker and more flexible?
Sanjay: Compositing in passes definitely offers one more control, but I would not say it is quicker. However, having as much control as possible (within reason) is always a good thing, especially when it comes to lighting.
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3DTotal: Your skills as a 3D artist are varied and cover a number of disciplines. What would you say is your favourite area and why?
Sanjay: On a personal level, I’d have to say it is designing creatures and completing them from concept to final render, which involves many disciplines. On a professional level, I do enjoy compositing quite a bit.
3DTotal: Can you tell us a little about the two architectural environments in your portfolio and the ideas behind them?
Sanjay: The “Back Alley” piece is actually based on a small outdoor alley at my old school. I spent about 30 minutes taking reference photos and then proceeded to model the alley as close to the original as possible. My original intent was to texture and light the set identically to how it appears in real-life, but I found the end-result rather bland and emotionless, and as a lighter, I find that the emotion behind a piece, whether invoked through lighting, gesture, composition, etc, is probably the most important aspect of a piece of artwork. Consequently, I re-textured and re-.
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lit the scene to give it a dramatic feel
The second architectural piece in my portfolio is based on a concept by Raphael Lacoste and depicts a Chinese mountain village during winter time. I started by modelling three different huts/houses, and then duplicated them and arranged them according the concept. The texturing was done with tileable textures, and the lighting with many spotlights and directional lights that were rendered out separately. The snowflakes are actually particles rendered as sprites. As with the previous piece, I wanted to create a sense of mood and atmosphere through the lighting and comp work. |
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3DTotal: You have an array of creatures in your portfolio along with some environments. Any plans to put the two topics together and have a monster in situ at all?
Sanjay: It is something I have thought about doing, but I would have to spend some time planning a story and a reason as to why the monster would be in that environment. Simply placing a monster in an environment for the sake of doing so does not make for a successful image, at least in my opinion. There should be a reason as to why that monster is in that situation, and the visual clues in the environment should tell a story.
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3DTotal: In terms of film, which creature designs have caught your eye as being successful and creative designs and why?
Sanjay:I’d have to say I really enjoyed Cloverfield. In the case of film, it wasnt simply about how well the creature was designed, but how well the creature was integrated and how it fit into the film overall. I really loved the fact that we didn’t see much of the creature until later in the movie. This kept me interested as well as intrigued, and I’d say overall that Neville Page, as well as the team that worked on Cloverfield, did an awesome job in presenting a well-designed creature in a first-person, “realistic” setting. |
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