voltaire_ira

well, here's my final.
just caught in the traffic, i guess...and look who's crossing the street!?!
a rare sight indeed...hehehe
Good luck to everyone, its been really fun!

Attached Images

John Voltaire M. Garcia - FINAL.jpg (182.3 KB, 608 views)

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hbetter

The image is lacking textures. The modeling is also too flat. I should be able to distinguish the depth between glass and exterior wall. Point of view is good. I like the introduction of subject matter. A child walks the city yearning for a Lamborghini.

ehanson

Way, way too much emphasis on the cliched car, too low a station point, erroneous scale of foliage, and not enough attention to texturing. Easter egg of Beatles unecessary. What is this image about?

matthewbannister

The people are not intergrated well. The models of the architecture need detail and attention to materiality.

Arnold Gallardo

Obviously the subject matter in this illustration/render looks like to be the car with the incidental buildings showing, as an Arch-visualization this does not seem to be working.

It was also hard to determine what is the dominant lighting and where is is coming from because directionally it is coming from the right side but the cloud cover either suggests this is right after a storm or between cloud breaks and that to the eye is confusing. The shininess of the road tells me that it just rained but the people walking have summer clothes and are not wet. The texturing of the yellow stripe on the roadway can be improved so it does not stick out and it needs to be eitehr dirtied a bit as well as to have a porosity feeling to it. Have you ever looked close and inspect how these roadway markings are up close? They do not have a staright edge but have a randon feathered as well as splashy feel to the edges since they are not just paint but also contain ground up agregate mixed with resin and paint in some instances.

The scale of the leaves and texture of the trees specially on the right side is not relative to the distance from the camera, it looks off. The modeling of the bus needs work and is a bit distracting because it is seen as a cubic refletcive block instead of instantly registering as a bus. It also lack the route number (Q10 or M-22 or even just DOWNTOWN etc.) and destination. the traffic light arm needs an 'end cap' most roadway lighting system in most cities have standardized fixtures and equipment. These can be researched online as well so this also is part of evoking an image as well as memory.

Finally your choice of camera angle and perspective feels it is a bit cramped and quite tight visually. The barrel distortion suggest this was 'imaged' with a wide angle lens of say 18mm if not 14mm. However the car does not show this distortion, as well as the people so the image oevrall does not integrate well and is not cohesive. Even if this is all CGI, this field owes a lot to painting,photography as well as the graphic arts so you need to be aware of how things work in those otehr fields to improve your 'image making'.

We all gather information in our lives without specifically noting (subluminally and unconsciously) it but when we look at something we instantly know something is off but cannot register right away what it is. As an arch-vis person you need to be more careful in adding elements to your composition because they are percieved even if they are not imemdiately 'seen'. This is why in the movies everything is scrutinized and everything placed int he scene is there for a reason to 'sell' the image that we see. I do hope that makes sense.

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Arnold Gallardo
Visual Content Creator
Technical Writer

Author:'3D Lighting: History,Concepts
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Lon

If the subject of this image is meant to be the hero building in the background, then it's fallen well short of the mark. If it's meant to be about the car, then 75% of the image could disappear.

The environment is reading flat, the people (take out the Beatles) need more attention to style. A fanny pack next to the Ferrari is a cruel joke. The images reads in this order - the license plate, the car, the man/ woman in yellow, the overgrown floiage and the rest.

Be careful where site elements are placed, it's good practice to massage them into more flattering locations. Here, the traffic light coincides with the edge of the building, and it could look better if it were moved slightly.

Ernest Burden

This rendering never quite pulls together. The surface treatments are simplistic in parts, yet overly detailed in others. Detail is not consistent, and there is no way in. It has good moments, just not enough of them.

The single most eye-catching thing here is the Ferrari, and its right there in the middle, not helped by a high-contrast plate that draws the eye away from all else. We are looking from knee level so the cars become a barrier to the scene. It would be much better th only see the last half or so of the Ferrari, leaving an opening to see the crosswalk and feel like there is any room for us here. A higher view would avoid the boxed-in feeling by seeing over the cars. Detail goes from massing to too-much with the vehicles. Either one could eork, but pick one and stick to it, your picture would be much better.

The architecture is oddly simplistic, without any surface detail, yet the street done like a metal, blurred reflections and all. The taller building gets away with the simple treatment, the two in front of it don't. They just end up looking unrealisticly smooth. The poles add nothing, as the buildings are vertical, the road horizontal. Add the poles and that gets watered down.

Everyone is walking away.

The sky works well with the overall lighting and the glare off the tall building, again less successful on the front two.

The best pat is the trees. They feel very lush, just the right green, picking up bits of light. I cannot tell if they are 3D or maps but either way I like them. Compositionally, though, they occupy four corners of the non-cars rendering. Better to have them more heavy on one side, let the architecture soar on the other.

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Ernest Burden III
AcmeDigital
architectural rendering