Episodi
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On this week’s session, I’m joined by Lon Grohs from Chaos Group in Los Angeles. You probably know Lon from his days at Neoscape, but today he’s an integral member of the Chaos Group executive team — overseeing company strategy, brand, and founder of the Chaos Group Labs. On this session, we focus mainly on the six degrees of freedom in VR as well as upcoming projects that are cooking up in the Chaos Group Labs. He’ll be in attendance at the SOA Academy Day this weekend, 6-7 October 2017.
Here is your chance to get to know a little more about Lon before then.
Big News in VRWe kick off this session with big news — Chaos Group just announced that they would be joining forces with Epic Games to make V-Ray for Unreal Engine. Lon says it’s been on their radar for awhile, and now it’s finally happening. The goal with this merger is to make the dream of seeing ArchViz projects in real-time a reality. Although a timeline isn’t in place yet, they’re working to create as many ways as possible to improve the AR and VR experience by building a bridge to the real-time engines their customers are using.
Six Degrees of Freedom (6DoF)Lon also shares their plans to open up the doors to VR from three degrees to six degrees of freedom. Six degrees of freedom will give architects and their clients the ability to move around freely in their renderings. Lon calls this a “room scale” experience, and the most natural experience that you can have in a virtual space. He shares the technologies that will create the best VR experience, including Nozon and Lytro, and the differences between the two.
Artist or Client — Who’s Using VR?In my experience, VR is more user-friendly for the artist than it is for the client. When I asked Lon who should expect to have the most significant experience with these technologies, he told me it is for everyone. From the artists and their team to the client presentations, their goal is to create a technology that can easily be used throughout the entire project. Although still in the experimental phases of creating the six degrees of freedom in every VR experience, Lon and his partners at Chaos Group are definitely well on their way to figuring it all out.
We discuss the role that architectural education had in Lon’s career, upcoming projects, new technologies, and some of Lon’s biggest ideas yet. A whole lot is coming down the pipeline at Chaos Group, and you can hear all about inside this session of The SpectRoom with Lon Grohs.
Key Takeaways
[02:30] Big News in real-time and VR
[07:40] What does six degrees of freedom look and feel like?
[11:18] Achieving the most natural experience you can have in a photorealistic space.
[12:27] Technologies that create the best VR experience.
[21:43] Using VR from project beginning to end.
[26:00] Lon’s work at Chaos Group.
[30:17] Upcoming projects and technologies.
[32:57] The role architectural education had in Lon’s career.
[41:18] Transitioning from Neoscape to Chaos Group.
[45:26] Looking inside Chaos Group Labs.
[47:38] Hiring info and how you can connect with Lon.
Main Quotes
“VR is an architectural superpower.” — Lon Grohs
“Showing a still image will always work.” — Ronen Bekerman
“I want to see ray-traced AR in a meaningful, fast way.” — Lon Grohs
“It’s very easy to have too many ideas.” — Lon Grohs
Software Mentions
V-Ray
Corona Renderer
Presenz
Starvr
Unreal Engine
Turbosquid
Name Dropping
Chaos Group
Nozon
Starbreeze
Lytro
Neoscape
Chaos Group Labs
Chaos Group Blog
Chaos Group Podcast
Sponsor
Yulio
AXYZ Design
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Today I’m joined by a previous guest from TSR 002 — Victor Bonafante from Beauty and The Bit in Madrid.
Victor’s story in ArchViz started by being fired when he was working as an architect back in 2008, serving the first clients out of his big room at home, growing over time to form Beauty and the Bit with co-founder, Lina, to a team of seven people today. They’re all animals cooking images for big clients such as Big, COBE, and KPF.
We’ll talk about their image making approach and process, how to grow as an artist and studio, and why asking the client to leave the artist working on his own is key to getting the best results.
The Start of Beauty and the BitYou can hear all about Victor’s backstory on our interview from SOA Academy Day #6, found in The SpectRoom on session 002.
Today we’re diving right into the details of Beauty and The Bit, starting with the work Victor did for his first client and transforming that into his own studio. He began as a one-man show working from home but quickly grew into more. Just one month after starting out, Victor was approached by three other companies. The snowball started rolling, and the work hasn’t stopped since.
Refining the WorkBeauty and The Bit have grown by word of mouth because clients were happy with the projects they were producing. Victor shares the approach that he takes to creating successful images and the changes that he’s made to the process along the way. He says he started out quite impatient, but as he’s matured, his images have improved.
We talk about the division of labor in the studio, ways that he’s kept the team from recreating the wheel, and why refining the work they do every day is the key to their success.
Growing Little by LittleVictor says he’s satisfied with slow growth at Beauty and The Bit. He doesn’t believe in shortcuts, and that is the perfect approach to creating a quality, unique, or even iconic project. Those types of high-quality projects have put a seal of recognition in their studio, and Victor is always willing to research the best way to approach each project to get it done to their standards.
We talk about the animals in the studio, the things they do to keep everyone oriented in the kitchen, and what applicants need to do to be considered at Beauty and The Bit.
It’s all inside this session of The SpectRoom with Victor Bonafante.
Key Takeaways
[01:41] Meeting Victor (again).
[03:40] The beginnings of Beauty and the Bit.
[08:35] A look inside the studio and at its employees.
[11:10] The evolution of creating successful images and the division of labor.
[15:20] Victor’s main goal and major challenges in image making.
[17:56] The elevator pitch doesn’t mean much to Victor.
[20:22] Current projects at Beauty and the Bit.
[24:30] Applicants just have to wow Victor.
[28:12] Evolving away from Photoshop.
[31:09] Shifting the typical ArchViz approach.
[34:55] Timeline for creating a SketchUp concept and the workflow that follows it.
[39:28] Is animation in the future at Beauty and the Bit?
[42:45] The impact that being in Madrid has on Victor’s style.
[44:41] All about Image of the Month and ArtStation.
[48:43] Why the animals?
[51:38] What Victor does for fun (since he can’t dive in Madrid).
[53:21] Where you can find Victor this year and online.
Main Quotes
“If you’re not an animal, you’re not at Beauty and the Bit.” — Victor Bonafante
“The main goal is to refine our work day by day.” — Victor Bonafante
“If you improve the way you do things, you will never run out of work.” — Victor Bonafante
“If you grow based on a formula, you are screwed up.” — Victor Bonafante
“Always question the way you work.” — Ronan Bekerman
“I don’t believe in shortcuts.” — Victor Bonafante
“Your best rendering engine is your brain.” — Victor Bonafante
Software Mentions
Photoshop
SketchUp
Name Dropping
BIG Architects
COBE Architects
KPF Architects
3XN Architects
Sponsor
AXYZ Design
Quixel Megascans
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Episodi mancanti?
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Today I’m joined by a previous guest from Session 001 — Pedro Fernandes from Arqui9 in London. Pedro’s story spans Australia, Portugal, and London. We talk about his days as an architect in Australia and Portugal, and his gradual move toward visualization as he was teaching fellow architects in the Lisbon office about rendering, only to find out that he loves doing visualization.
Upon seeing that fork on the road, he went right and never looked back.
We dive into the Arqui9 way of making images, discuss why London is the best place for this, and talk about Arqui9 Learn teaching.
The Long Progression to Arqui9Starting out at university, Pedro always had a passion for visually demonstrating the work he was doing. He really began cultivating his passion for 3D after internships in Lisbon and, and as his interest grew, so did his experimenting. He joined forces with three friends to create architecture, 3D, and design. As more information became available on the internet, he sourced as many tutorials as he possibly could, including many of the blog, which can be found here.
This started in 2008, when the economic downturn gave him the opportunity to depart from architecture and focus more on 3D design. After sending his portfolio all over, he started at Vyonyx in London and eventually formed his own company.
The Drive Behind the WorkAfter working for several companies in different countries, Pedro decided to work for himself, and he never looked back. He gets to do what he loves, working for clients he loves, and he considers himself among the luckiest people on earth.
He has always worked toward the goal of working with certain people, and that desire has driven him to keep working harder and better, even on the days when he wishes that he’d never started down this road.
Crafting Visuals at Arqui9Pedro creates unique images that always catch my attention, and have been featured on the blog several times as “Best of the Week.” On this session, we discuss how he has passed his unique vision on to his team, where he gets his inspiration, and how he incorporates the talents of each artist into the work that they do. He appreciates that his work isn’t better or worse than anyone else’s, and appreciates the differences in visuals. Recognizing this has helped him identify what he wants to accomplish with his work, and pushes him to achieve it.
You’ll be inspired when you hear about this and more — including why London is the best place for ArchViz and the why behind Arqui9 Learn — in this session of The SpectRoom with Pedro Fernandes.
Key Takeaways
[1:46] The gradual progression from Uni to 3D design.
[6:38] If you study architecture, you’ll be prepared for anything your career may bring.
[9:22] Why Australia? Pedro details the lessons he learned down under.
[14:58] From Lisbon to Arqui9 — how Pedro decided to take a risk on himself.
[18:10] The dream client in the elevator won’t see much from Pedro.
[20:21] The driving factor for Pedro starts with luck and love.
[25:18] The approach for crafting visuals at Arqui9.
[31:16] The workflow among their 7-person team is a collaborative one.
[37:00] Mixing still images and technology.
[42:35] Selecting a new artist starts with finding a good, moral person.
[46:37] Why London is the best place for ArchViz.
[48:58] Pedro highlights the managerial skills he gained in Australia.
[52:55] All about Arqui9 Learn.
[59:28] How you can connect with Pedro.
Main Quotes
“Being able to show your ideas how you want to have always seduced me.” — Pedro Fernandes
“We are some of the luckiest people on earth.” — Pedro Fernandes
“You’re going to have good days, bad days, and days when you wish you’d never done this.”
— Pedro Fernandes“The magic is the artist instilling their own experience into the image.” — Ronen Bekerman
“The 3D program may not seem like an essential thing, but it’s very essential.”
— Pedro Fernandes“I’m not gonna lie — good work gets you far.” — Pedro Fernandes
Software & Hardware Mentions
SketchUp
Kerkythea
3DS Max
Wacom
Photoshop
V-Ray
Corona Renderer
Name Dropping
Arqui9
Arqui9 Learn
Arqui9 on Youtube
Pedro Fernandes
Vyonyx
3D Symposium Barcelona
Sponsors
Quixel / Megascans
AXYZ Design
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Today I’m interviewing Santiago Sanchez from Tresde ArchViz Studio in Ecuador. In this session we talk about his journey, starting out as an industrial designer as he was looking for a creative outlet, becoming self-employed after a bad work experience, and how being inspired by Alex Roman led him into the State of Art Academy Master Class.
After that, things took a new speed with the Best Of Week pick on the blog, and he reconnected with his DNA from home to become more of a teacher of ArchViz these days.
We’ll also dive into the process of making the METEORA project, which is featured on the blog here.
The Industrial DesignerSantiago studied industrial design at university because he was looking for something related to design. The design degree concept was completely new in Ecuador at the time, and he was drawn to it. He knew that the creativity he had felt since childhood couldn’t be applied as well in any other field as it would be in the design field.
After a bad experience with an employer, he decided to go on his own and turn his attention to architectural visualization, and once he saw Alex Roman’s short film The Third & The Seventh there was no turning back.
The Journey to ImprovementSantiago may not call himself a perfectionist, but after opening his own office, he set his standards very high. When comparing his work to images that were being created around the world, he knew when his work wasn’t good enough. That’s when he decided to attend a Master Class at State of Art Academy in Italy.
He was present at the first International SOA Master Class, and calls the experience “absolutely great.” It was there that he learned that approach and philosophy are the keys, and that everything else is just a tool.
Winning the Image of the Week was the ‘Beginning of Everything’After winning Image of the Week in July 2012 with “Vanilla Room”, Santiago says everyone began to love his work, and his website exploded. The exposure he had on the forum was a complete turning point for him, and the momentum still hasn’t stopped.
Today, his studio is as busy as ever, and Santiago is teaching even more than he is creating projects. He has created a post-production training and a Corona Renderer training, both of which are available online, and he shares his philosophy on the amount of work that he believes students should be doing in each.
All about the Making of METEORASantiago has been showcased on the blog three times, with the most popular images being METEORA. In our conversation, we dig deep into the process of making of these images, how Santiago did what he did, and what he learned along the way.
Discover all this and more, on this session of The SpectRoom with Santiago Sanchez.
Key Takeaways
[1:15] How Santiago came into the ArchViz business.
[6:30] The Alex Roman short film that inspired Santiago to open his own office and attend SOA Master Class #1.
[11:27] The journey that started with winning Image of the Week.
[15:18] What the Tresde studio looks like today.
[17:25] Finding the balance between post production and renderer work.
[26:10] Diving deep into the making of METEORA.
[41:10] What to expect when using Corona Renderer in interactive mode.
[45:10] The workflow doesn’t change for commercial projects.
[47:30] Other tools in Santi’s toolbelt.
[49:15] Investing time in creating physical reactions give you the greatest results.
[55:32] Life outside creating images.
[58:45] The spot-on elevator pitch.
[1:00:58] Future plans for Santiago, and how to connect with him.
Main Quotes
“After I saw The Third & The Seventh, I decided this is what I want to do for the rest of my life.” — Santiago Sanchez
“Approach and philosophy are the keys, everything else is just a tool.” — Santiago Sanchez
“I feel that I have more freedom inside the artistic approach; inside the 3D.”
— Santiago Sanchez“The faster you can develop a project, the better result you can get, everyone is going to be happier — you and your clients.” — Santiago Sanchez
Software Mentions
V-Ray
3DS Max
Corona Renderer
AutoCAD
Name Dropping
Tresde Archviz Studio
METEORA
Alex Roman
Vyonyx
Peter Guthrie
Tresde on Youtube
Tresde on Behance
Sponsor
AXYZ Design
Quixel / Megascans
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From the time I last interviewed Luis, at SOA Day #6, he has left Hyas Davidson to create his own London-based architectural visualization studio arsvisualis. In this session, we’ll talk about his journey as a graphic designer, from his home country in Venezuela to London, the major stepping stone that is Hayes Davidson, and all the way back to his initial passion, which is creating a killer image that tells a story.
The Investigator of ArchitectureEven though he considers himself more of an investigator of architecture than a participant of architecture, Luis says he doesn’t spend loads of time designing architecture. But he does recognize the emotion that architecture can inspire in people, and the way it can make them feel things based on the composition and lighting of the image, and such. He calls it psychology, I call it the driving factor for his ability to create such good art.
Making the International LeapWhen Luis decided to move from Venezuela to London, he started researching some of the most inspiring 3d artists of the time, including Alex York and Ian Becks. He quickly discovered that they had one major thing in common — their time spent at Hayes Davidson. As soon as Luis moved over to London, he applied at the leading studio, and not long after, he was hired on as a freelancer. It was there that he learned many of the essentials, from using architectural images as references, to the psychology behind the images. All around, Hayes Davidson gave Luis the necessary education to get his skill set where it needed to be.
The Process of Creating A Killer ImageLuis approaches his work like an investigator. Ask the right questions, figure out the target audience, and always let the project dictate the style of the image. He explains why early images don’t need to look as stylized and complete as the final images, and it all has to do with getting the clients to see the the journey the images are taking. Luis himself is comfortable with the entire process from early design stages to the high end marketing, and considers any image that makes people feel when they see it, a successful project.
Luis shares three essentials for getting clients on board, and it all starts with listening. Patience is essential — being really disciplined and honest with yourself about what it will take to get the results that you are looking for. And always keep an eye out for inspiration, because it may come in the most unexpected places. You’ll want to hear the details of his creative process and more, so be sure to listen to this session of The Spectroom, with Luis Inciarte.
Key Takeaways
[1:44] All about Luis and how he got into the ArchViz business.
[8:37] The transition from lonely Venezuela to thriving London.
[14:47] A look inside the business at Hayes Davidson.
[17:07] Scratching the ever-present self-employed itch.
[18:52] The creative process from asking questions to eliciting all the feelings.
[23:36] Getting clients on board starts with listening.
[25:25] The elevator pitch for Luis Inciarte (and yes, even the phone battery is dead).
[28:13] A look inside arsvisualis staff and workflow.
[35:37] The makings of a killer image.
[43:03] Effective images start with good storytelling.
[46:04] How Luis is minimizing the learning curve in his studio.
[50:23] Luis needs two new employees — here’s what he’s looking for.
[53:38] Current projects at arsvisualis.
Main Quotes
“I’m a slightly impatient person.” — Luis Inciarte
“It’s a lot easier to get your message across when you have beautiful architecture to go with it.” — Luis Inciarte
“As long as you get people to feel when they see your images, then you’ve succeeded.”
— Luis Inciarte“Always keep an eye out for inspiration.”— Luis Inciarte
“I want people who have a continual thirst for learning.” — Luis Inciarte
Software Mentions
wacom
Maxwell Render
Name Dropping
arsvisualis
Hayes Davidson
The Boundary
Sponsor
Quixel
Megascans
AXYZ Design
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Today I’m joined by Jakub Cech from eesome in Slovakia. He’s well known on the blog and has worked with architects like Rem Koolhaas and Isay Weinfeld. This session comes out after one year, in which Jakub took time off to create a collection of 30 images in his book Beautiful Computer Generated Images. This effort recently culminated with a new website and brand called eesome.
In this session, we’ll discuss how he started with CGI, Alex Roman, the phone call from Watson&Co. that made a big change and more.
Teenage Passion Turned ArchViz CareerJakub’s work on behance.net was noticed by a major American branding company when he was just 18 years old. He received a phone call from Watson&Co., created a rendering for them, and began working remotely for them. That was a turning point for the direction of his career, but he has always maintained the overarching goal of creating images that he likes.
Jakub’s Approach for Crafting VisualizationsAs someone who has only had three or four clients so far in his career, Jakub’s approach to each client is understandably varied. The workflow starts with understanding the project and the type of people that are being targeted. He has discovered that understanding his client’s perspective is essential to getting the best images created. He can spend up to eight months with a client in America, while a client in Slovakia may only require up to six weeks of non-stop work to produce the same images. While the approach may vary, the work that is done is always completed to his personal and unique standard of satisfaction.
Working with a Branding CompanyEven though he’s never worked in an office with multiple CGI artists, working with a branding company like Watson&Co. gave Jakub a different view of the overall process, from fonts and color to lighting and branding. While there, he worked with designers, graphic designers, web designers and more, and he calls his time there “very intense.” Interacting with multiple disciplines was very enriching for him, and helped to widen his point of view while crafting his images.
All about Beautiful Computer Generated ImagesIn comparison to the time spent on commercial projects, Jakub is working more now than ever. His decision to take time off from work to focus on a project that he believed in was inspired in part by Alex Roman. In our conversation, he shares his comprehensive goal of always creating images that he likes, as well as his desires for future collaborations.
Key Takeaways[02:20] Jakub details his first encounter with 3D imaging, and the path it took him down.
[8:25] Visualization became the subject of Jakub’s work while he was still in high school.
[20:00] Jakub’s goals and challenges in the architectural visualization field.
[22:17] An elevator pitch to a dream client.
[24:58] Jakub’s approach for crafting visualizations.
[33:15] How working with a branding company enriched Jakub’s view on the overall process.
[38:20] Jakub’s tool-set has a surprising component in it.
[42:08] All about the Beautiful Computer Generated Images series.
[48:16] Thoughts on VR and real-time technologies.
[55:05] If still images alone aren’t enough anymore, add this to your client offering.
[57:40] How you can connect with Jakub.
Main Quotes“I’ve always felt different a bit in terms of how I see things.” — Jakub Čech
“My main goal was always to do a picture that I’m going to like.” — Jakub Čech
“I like totally different elements in pictures than I think most people do.” — Jakub Čech
“I always try to represent my own taste.” — Jakub Čech
“I don’t think still image is going to die … it’s going to be there for ages.” — Jakub Čech
Software Mentioned3DS Max
Corona Renderer
V-Ray
Name DroppingWatson&Co.
Alex Roman
Rem Koolhass
Isay Weinfeld
SponsorsAXYZ Design
Quixel / Megascans
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Traveling the road from animation to architectural visualization, this session brings you Alex York and Iain Banks from the London-based studio Recent Spaces. They have a remarkable body of work, and we dive into why they are in the business, how they do it and what makes them stand out. They have a somewhat unique perspective as animators that are excelling in the ArchViz world. Here are some of the highlights from this session of The SpectRoom. Why ArchViz Beats Animation The pathway that takes you from absolutely nothing to a fully animated scene is a very complicated one. Comparing that to the modular and linear process of architectural visualization — which Alex and Iain have found comes with the huge appeal of being able create a scene rapidly and then focus intensely on the details. That gratification is what has kept these two firmly based in architecture. Animated Stills are Becoming A Client Favorite Transitioning from still images to animated stills allows clients to see a more natural pathway through projects. Alex and Iain have fine-tuned the art of taking their images and creating less CGI and fly-through, and a more filmic approach to the building by viewing them like an architectural photographer would do. They’ve also found a few other tricks that clients are enjoying as well. Corona Renderer is the Perfect Replacement for V-Ray In the Recent Space tool box you’ll find Corona Renderer, 3ds Max, Forest Pack, and RailClone, but you won’t see much of V-Ray anymore. We talk about the reasons why, and it all has to to do with being an artist — not a technician. Alex and Iain have found that Corona Renderer allows them to spend their time and energies on their true passion, and to create the high-end renderings that their clients want. Photographers and Visualizers — Who Gets the Credit? Architectural visualizers know how difficult it can be to get full credit for their images, especially in comparison to architectural photographers. Copyrights and image credit goes to photographers, and their position of prestige is much more established. Visualizers, on the other hand, are still seeking to secure the same place of respect. Alex and Iain share their thoughts on the difference between the two, and potential solutions to the problem. Key Takeaways [1:12] Alex and Iain take us down the road from computer animation to architectural visualization. [7:00] Disadvantages that come with not being from the world of architecture… if there are any. [9:00] The transition from still images to animated stills. [11:28] How experiences at Hayes Davidson shaped their decision to create Recent Spaces. [15:20] The 30-second Recent Spaces elevator pitch (minus the VR goggles). [19:23] What their project workflow looks like, including the details that make it perfect. [22:14] The tool set line up, and how it works for them. [27:17] Detail-oriented employees are invited to apply at Recent Spaces. [29:18] Work-life balance starts with setting boundaries with clients. [32:22] Photographers and visualizers — how can both get the credit they deserve? [37:10] What the London archVIZ community is all about. [38:52] The future of work at Recent Spaces means filling the animating needs of visualizers. [43:00] To capture the attention of Alex and Iain, just send over some images. Main Quotes “I’m obsessed with the details.” — Alex York “As a visualizer, it’s very important that you not get bogged down in what ‘they’ want.” — Iain Banks “What we’re trying to do is move away from CGI.” — Alex York “We try very hard to produce images that are not just accurate in detail, but are really beautiful in a classy and understated way.” — Alex York “We want our employees to enjoy working here, and to produce something that is amazing.” — Iain Banks Software Mentions Forest Pack V-Ray Corona Renderer 3D Max RailClone Name Dropping Recent Spaces CGTalk Hayes Davidson The Boundary Sponsors Quixel Megascans
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In this session, we discuss the transformation Peter Guthrie and Henry Goss made from practicing architecture alone, to joining forces to form one of the most interesting and fastest growing ArchViz studios in London today. These two have created a total powerhouse, and they’re here to share the story of their success. Here’s just a bit of what you can expect on this session of The SpectRoom.
Creating The BoundaryPeter and Henry share the driving reasons and goals behind their decision to join forces and create The Boundary. From friends to business partners, as their individual capacities increased they decided to raise their game and share the burden of their work together. Although they just call it the next logical step, the results have been incredible.
Current Projects and What’s in (their) StoreDespite detouring from traditional architecture, Henry and Peter are more involved in architecture and design than ever before. They’ve been working with their heroes on fundamental design details from an early stage, including Peter Zumthor on the Los Angeles County Museum of Art.We put Corona Renderer up against VRay, discuss animations and VR deliverables, and examine what it means at The Boundary to be a project manager, 3D artist, or project visualizer. We also chat about The Boundary Store, which they’ve set up to help people gain access to their scenes. The store is evolving to become a place where people will go to find the top brand, top-quality images.
We put Corona Renderer up against V-Ray, discuss animations and VR deliverables, and examine what it means at The Boundary to be a project manager, 3D artist, or project visualizer.We also chat about The Boundary Store, which they’ve set up to help people gain access to their scenes. The store is evolving to become a place where people will go to find the top brand, top-quality images.
We also chat about The Boundary Store, which they’ve set up to help people gain access to their scenes. The store is evolving to become a place where people will go to find the top brand, top-quality assets.
Five Years into the FutureWhen I asked Peter what we need to start thinking about now so that we are still relevant five years into the future, he admitted that although he may not be excited about VR and augmented reality, he is passionate about creating beautiful images, moving images, and films.Henry recognizes that the change will be constant in this industry — there will always be other companies coming up behind you, so you must constantly push forward with your energy. And that thrust toward success is the future of business at The Boundary.
Henry recognizes that the change will be constant in this industry — there will always be other companies coming up behind you, so you must constantly push forward with your energy. And that thrust toward success is the future of business at The Boundary.
Key Takeaways[1:00] Henry and Peter share the road that leads each of them to architectural visualization.
[8:45] The benefits of ArchViz allow not only for graphics to become buildings but also for a lot of the best work to become individual works of art.
[12:14] Architect vs. photographer — who deserves more praise?
[15:58] The perfect 30-second elevator pitch to explain what visual architects are all about.
[22:00] One major perk of the business is the level of stress that comes with “just” drawing images.
[23:46] How Peter and Henry decided to create The Boundary.
[26:58] The Boundary’s approach to projects.
[34:50] Their dedication to R&D, new technologies, and new methods keeps pushing the industry forward.
[41:30] Peter shares some of the major benefits of animation.
[44:01] Experiences that have shaped the office environment at The Boundary, including training at State of the Art Academy.
[46:56] Henry outlines the division of labor within The Boundary.
[50:40] The sweet spot number of staff for their company, and how they are creating a tight-knit group that is having fun together.
[54:00] If you want to work at The Boundary, Henry has a few tips to help you get the job.
[1:00:16] The future of business at The Boundary.
Main Quotes
“A really powerful architectural image remains a really powerful architectural image in perpetuity.” — Henry Goss
“Architectural visualization is the key to the garden of architecture.” — Ronen Bekerman
“We are aiming for an image that looks as good as a photograph.” — Peter Guthrie
“A tight-knit group is required for a really creative environment.” — Henry Goss
“Keeping up to date with rendering technologies is a continual process, but what we love doing is making beautiful images.” — Peter Guthrie
“You can’t ever stand still in any rapidly-developing industry, including computer technology.”
Sponsors
— Henry GossAXYZ Design
Quixel / Megascans
Software Mentions
Sketchup
After Effects
Premiere
Photoshop
Corona Renderer
V-Ray
Unreal Engine
TurboSquid
PG Skies
Name Dropping
The Boundary
Peter Zumthor
LACMA
Magnus Strom Superhouse
Magnus Strom Architects
Richard Murphy Architects
State of the Art Academy
The Boundary Store
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On this last SOA Academy Day special, I’m joined with a host of talented individuals, including Teddy Bergsman from Quixel, Paul Nichols from Factory Fifteen, Frederick and Nicholas from Allegorithmic, Andreas Landgren from Tomorrow, Timothy Hoffman from Double Negative, Ondřej Karlík, Adam Hotovỳ, and Jaroslav Křivánek from Corona Renderer, and Panos Ioannou and Gamma Basra from Foster and Partners for KS Group. These companies have a distinct view and role in architectural visualization that you’ll definitely want to hear, but first, a little bit about each.
Quixel
The Scanmaster creator of Quixel, Teddy Bergsman, has also generated Megascans, a massive online scan library. His team is now pushing 50 people, and his work has been used all over the world, including in the recent film The Jungle Book. His vision was clear from the beginning, and his intense dedication to achieving his goal has definitely paid off.
Factory Fifteen
Joining me from Factory Fifteen is Paul Nichols. This company has both a design-led approach to filmmaking and a narrative-led approach to architectural visualization. They consistently work on two very different projects — one in film and one in architectural visualization — and they have managed to have great success with both.
Allegorithmic
This software company started with gaming, and has grown to the architecture and design industries. They also develop reference tools for next-generation PBR material content. Frederick and Nicholas share their thoughts on the future of archviz and the benefit of using their architectural library, which contains all of the materials an artist needs for their renderings.
Tomorrow Visualization
Tomorrow Visualization focuses on creating change. They’re not just making images, they’re part of a design process, and that is the reason that they go to work every day. The structural process they follow is based on reality, and that is what people either love or hate about their images. We talk about what is included in their standard work and their competition work, and why a prospective employee needs to be a “really nice person.”
Double Negative
Double Negative joined us at SOA Day #7 to demonstrate methods from television and film using software such as Mari, Maya, and V-Ray. In our conversation, Tim Hoffman shares his opinion on the most important things that archviz masters can learn from the film industry.
Corona Renderer
Corona has established itself firmly in the industry, being used in many studios, including my own. They share what improvements can be expected from the newly released version of their software, news about user training through Corona Academy, and future plans for other platforms and solutions. They talk about how they plan to divide their time between development of new features and building new advanced technologies into their algorithms, and time has shown that their efforts have certainly paid off.
Foster and Partners
Panos Ioannou and Gamma Basra join me to discuss how they have grown from a small company of 7, to a major production house that can no longer produce all of their work themselves. Fosters focuses on design follow-up rather than the marketing process itself, and they’ve got a clear vision for the future of their company. Looking to work at Fosters? Listen on to hear what they require from potential team members.
Key Takeaways
[1:08] Teddy Bergsman’s vision of the future of Megascans was clear from the beginning.
[6:33] Megascans is destined to affect archviz in very good ways.
[12:28] Any future work by Teddy Bergsman is undoubtedly going to be successful.
[14:50] The team at Factory Fifteen specializes in animation and films as well as archviz.
[21:27] Paul Nichols muses on the future of VR.
[24:43] Teaching reaffirms the way you do things in the studio — and the reasons why.
[26:30] Ambition is the first thing that will capture the attention of Factory Fifteen, but a love for techno music doesn’t hurt either.
[29:14] Allegorithmic’s goal is to minimize deficiencies in architectural visualization software tools.
[35:00] The aim of the Allegorithmic library is to have 100% of the materials needed to get a rendering done.
[38:24] Tommorow Visualization is focused on creating change.
[42:50] The structural process of how placement is made in images is always based on reality.
[45:56] Competition work can be even more creative than standard work.
[51:45] How many architects are working in the visual effects industry?
[57:17] What to expect from the newly released version of Corona and from Corona Academy.
[1:02:26] Corona’s future plans for other platforms.
[1:10:48] Why Fosters can no longer do all of their work themselves.
[1:15:09] Growing a team to this size brings with it several lessons learned.
[1:16:11] Hiring on at Fosters means achieving these things — starting with a willingness to continue learning.
Main Quotes
“As you become obsessed with something, it’s the only thing you think about, the only thing you read up on, the only thing you dream about… and I still do.” — Teddy Bergsman
“So much of our work is about collaboration with other people.” — Paul Nichols
“It’s a very bold statement to create change, but that is the purpose — it’s why we do what we do.” — Andreas Landgren
“You learn and understand how other people work … you gain knowledge using external people.” — Gamma Basra
“Always undersell yourself and over-deliver.” — Gamma Basra
Software Mentions
Quixel
Megascans
Allegorithmic
VRay
Mari
Maya
Corona Renderer
Sketchup
Name Dropping
Teddy Bergsman
Factory Fifteen
Tomorrow
Double Negative
Foster and Partners
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Jumping ahead one year, this session takes us to SOA Academy Day #6. On this session I talked with Peter Guthrie and Henry Goss from The Boundary, David Bullock, John Hodgkins and Luis Inciarte from Hyas Davidson, John Sellings and Silvia Tossici from Squint Opera, Victor Bonafonte and Eva Bonafonte from Beauty and The Bit, and Johannes König and Christian Zöllner from Bloom Images. If you’ve ever wondered how to land a job with one of these incredible companies, or what to expect from their office culture, listen on to this special session of The SpectRoom.
The Boundary
Sharing an update on the first year of their new business, Peter and Henry call their first year “an incredible one.” They cover how they’re keeping updated on new technology, including Unreal Engine, the plans for their new shop, and what they’re looking for from potential employees. Their morning routine starts with sleeping in, and their motivation comes from learning new things and having fun, but I’ll let Peter and Henry explain how that works for them.
Hyas Davidson
Hyas Davidson pioneered architectural visualization with 25 years behind them. They have produced over 20,000 CGI images in those years, and it was a real pleasure to sit down with David, John, and Luis, at SOA Academy Day #6. From planning to marketing, those years of experience give them an edge over their competitors, that they detail in our conversation. When looking for new employees, the first thing they want is someone with a good eye, and possibly someone who is exceptional at a game of squash.
Squint Opera
Squint Opera is a creative studio and production house based in London that produces extraordinary work in everything from video content and animation, branding, websites, design, games, and strategy. I chatted with Silvia, who is an intern-turned-3D artist, and John, music- producer-turned-technical editor. They share some of the technology tools they’re using, what they’re looking for in new hires, how they train their employees to meet the Squint standards, and one major perk that’s located just downstairs from their main office.
Beauty and The Bit
Victor and Eva are the husband-wife team at Beauty and The Bit, which is based out of Madrid. They specialize in architectural illustrations and visual creation. In our conversation, they share their approach to testing out new technologies, what they’re looking for in new employees, and what they love to do in their spare time — provided they happen to find some.
Bloom Images
Bloom Images splits their efforts between two offices — one in Hamburg and one in Berlin. We chat about how they manage multiple locations, the ideal team size, and how they use people leaders to develop their whole team. They give a glimpse into their newest venue — set design, creating surroundings for advertisements for games, movies, and more, and again, share what they’re looking for from anyone that is looking to join their team.
Key Takeaways
[:54] First up — an update from The Boundary partners Peter Guthrie and Henry Goss.
[3:00] Potential employees have to bring this to a successful company like The Boundary.
[8:20] The morning routine and the motivation at The Boundary.
[13:10] What an employee ownership company looks like at Hyas Davidson.
[14:28] 25 years of experience, and model of London, are just two of the HD secret weapons.
[18:45] Hyas Davidson wants raw talent — and they know how to spot it.
[20:10] What team building fun looks like to David, John, and Luis.
[22:47] Projects for the company can also be personal projects.
[29:18] Passion and solid new ideas are must-haves for new hires at Squint Opera.
[33:05] The training process comes from multiple sources, and it works perfectly.
[38:12] A look at the current projects at Squint Opera.
[41:54] Artists should focus on this to fit the Beauty and The Bit studio style.
[44:15] Free time — when you find it — has to profit you well.
[48:06] What it takes to be noticed by a large company like Bloom Images.
[51:35] The newest venues for design at Bloom Images.
Main Quotes
“We all have specializations, but we all have to be able to do everything.” — Peter Guthrie
“What we’re looking for is raw talent, and we can see pretty quickly if an artist has got a good eye.” — David Bullock
“It’s not a matter of technical ability, but to have a trained eye for storytelling.”
— Victor Bonafonte“We’re looking for people who share the same world of ideas and languages with us.”
— Christian Zöllner“What connects us is the quality of the outcome, and also the idea on how to solve the problem.” — Christian Zöllner
Software Mentions
Unreal Engine
Corona Renderer
VRay
Name Dropping
Peter Guthrie
Henry Goss
The Boundary
Hayas Davidson
Squint Opera
Beauty and the Bit
Bloom Images
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This session represents the inception point of this podcast. Nearly three years ago I interviewed a host of inspirational people at SOA Academy Day #5. On this session you’ll hear from Mats and Trond from MIR in Norway, Adam Hotovỳ and Juraj Talcik regarding Corona Renderer, Peter Guthrie, Christiaan Klaassen from DBOX, and Pedro Fernandes from Arqui9. Here’s a bit about each of the guests I talked to on this session.
MIR
Located in Norway, MIR is a big source of inspiration to me in many aspects, not just in their visuals but in the way they go about doing their work. They dedicate one week to each of their projects, which allows them to remain focused and undistracted, and to deliver a high-quality product on-time. In my conversation with them, Trons and Mats describe this process, as well as their disciplined approach to their art, how they plan to develop their visualizations in the future, and what hopeful potential employees should do - and not do- to gain their attention.
Corona Renderer
Corona is a high-performance photorealistic renderer software program based in Prague. I talked with Adam Hotovỳ about some of the milestones Corona was working to meet at the time of SOA Academy Day #5- back in 2014. Juraj Talcik also had plenty of great things to say about why he and Veronika Demovicova prefer to use Corona over other rendering programs.
Peter Guthrie
At the time of this conversation, Peter Guthrie and Henry Goss were two days into their adventure at The Boundary. The incredible success of their company is a topic that will be featured in a future session of The SpectRoom.
DBOX
DBOX is a complete agency full service company, taking their clients from branding all the way to the publication of a project. I’m talking here with Christiaan Klaassen about CGI, how synchronization happens with the whole team, and the incredibly detailed work they put into each project.
Arqui9
Based in the UK, Arqui9’s Pedro Fernandes stresses simplifying your portfolio and specializing in your greatest area of strength. He also has some great tips for artists that are looking into going out on their own that you’ll definitely want to hear.
Key Takeaways
[:50] Mats and Trons from MIR describe their dedicated week-long creative process.
[5:40] The fundamentals of MIR- not the latest techniques- are what contributes most to their success.
[9:56] A glimpse at what makes Mats and Trons’ partnership work.
[12:30] What should potential employees focus on to gain attention at MIR?
[17:15] Juraj Talcik explains why he made the switch from VRay to Corona.
[20:50] Adam Hotovỳ calls his transition to Corona as a natural and necessary one.
[25:15] Peter Guthrie announces the inception of The Boundary.
[29:13] Christiaan Klaassen talks about his favorite projects at DBOX.
[34:50] Pedro Fernandes shares tips for artists that are looking into going their own way.
[39:20] Does being an architect give you an advantage in visualization? Pedro explains why definitely does.
Main Quotes
“Quality before quantity in a portfolio submission.” — Mats Andersen
“You just press render and that’s it. You’re there.” — Juraj Talcik
“The most important thing for our image is a narrative, it’s telling a story.” — Christiaan Klaassen
“Simplify (your portfolio) and choose only the best pieces.” — Pedro Fernandes
“Never, never, never feel down. Just get knocked down, get back up.” — Pedro Fernandes
Software Mentions
Corona Renderer
VRay
Name Dropping
Trond Greve
Mats Andersen
MIR
Corona Renderer
Adam Hotovỳ
Juraj Talcik
Peter Guthrie
Christiaan Klaassen
DBOX
Arqui9
Pedro Fernandes
The Boundary
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The SpectRoom is a weekly experiment. Yours truly, exploring the creative minds of architectural visualization. Finding out what makes us all tick and push our limits. I’m always curious about what it is we do, how one goes about doing his work and why is he doing it in the first place! This podcast is an interview show, trying to find out the why, the how and the what of each of my guests. Expect to hear me talk with 3d artists like yourself and also software developers, content creators, architects, photographers and creative people that will inspire you. I’m embarking on this journey, hoping you'll join the ride, see how things take shape and evolve based on what happens along the way. Much like the way the blog has grown to its current state. Why doing a Podcast? I love Podcasts! I consume podcasts on a multitude of topics during my commute to work and back every day. It is an excellent way to look into the creative minds of our industry as they are telling their story in their own unique voice. It is about time audio came into the mix ;) This is the SpectRoom.
