Why did we make this "film"?
To learn more and improve results. However, neither of the two is the main…
The main thing is to get excited, but what for?
To show you how we are able to tempt your customer and generate more profit for your company.
This is the most important thing. That is why we are useful to you. Below we describe some aspects of the process.
INTRODUCTION
In all our work we try to go one step further. Sometimes it is a matter of technical advances. Other times they are actions related to the rhythm of the film. The more confidence we receive from the client, the more we give him. On this occasion, in the spirit of continuous R&D, we decided to develop our own project.
The client does not exist. This fact freed us to give the best of ourselves. We wanted to test improvements in the visualisation of both indoor and outdoor spaces.
THE CHOICE
We chose a project by A-cero architectsas you know,
the firm led by architects Joaquín Torres and Rafael Llamazares.
For several reasons that I will explain later, we chose a house already built in Marbella.
Its sculptural volume and the diversity of spaces were decisive in its choice.
SEARCH FOR INFORMATION
Obviously, we did not have the technical information and even less in digital format.
As usual, we started searching the internet.
We soon realised that this information was not going to be enough.
We bought the book “VIVIR EN LA ARQUITECTURA A-CERO” (LIVING IN A-CERO ARCHITECTURE) published by the architecture studio itself.
With the information we got from him and the complete information that can always be found on his website, we got down to work.
All the challenges were difficult. That’s why we chose this house.
VEGETATION
We could have chosen not to be faithful to what exists, but in this case, that was the challenge.
Try to recreate, as best as possible, what was already built.
As you can imagine, due to the difficulty of reproducing the same exact vegetation species,
the file got more and more loaded. Thousands and thousands of polygons began to fill the scene.
INTERIOR DESIGN
In the case of A-cero architects, when they plan a house, interior and exterior design always go together.
There was no other option. The challenge was, once again, the absolute correspondence between reality and representation. All the elements were custom-made.
From the most special furniture to the unique details.
EXTERIORS
In addition to the aforementioned vegetation work, attention to detail was an obsession: various pool chairs, sculptures, furniture, recessed lighting, etc.
You can imagine the hard texturing work involved in a project of this nature.
THE CAR ARRIVING HOME,
occasion to convey that we are not alone.
BUTTERFLIES
Modelling and animation to convey life.
"TOUCHES OF ACTION".
Giving the scenes an added credibility.
3d animated birds and real birds
PEOPLE IN CHROMA AND 3D
It was the first time we incorporated characters filmed with chroma key backgrounds.
Improvable, but more than acceptable for a first time.
RAIN
Post-production supported by sound and grooves in the water.
CURTAINS IN MOTION
The freshness of a light breeze.
Trees in motion
Both 3D and real, incorporated in post-production for the final shot.
Rose petals
A nod to American Beauty.
sun lounger awnings
Have you noticed that the fabrics of the sun loungers move slightly in the breeze?
I wish I could have hired a beautiful actress but the budget did not allow it.
CROMA
That is the reason why you have to suffer my presence. And it is also the fact that gives reason for the title: ALONE.
As we show at the end, this work would have been impossible to do “alone”. The great teamwork with César Ramos and Pablo Rapún has made it possible.
I am very proud of the team we are.
LIGHTING OF THE SCENES
When it comes to visualising such a volumetrically attractive building, everything is easier.
For this reason, we tried to “film” it in many lighting situations:
cloudy, rainy, morning sun, sunset, night…
RENDER TIMES
The scenes were very heavy “polygonally” speaking. As we added more detail to the scenes, we knew we would suffer more and more with rendering times.
We didn’t care. We wanted it that way, no matter what. Just a hint: some night images in HD 720 took more than 90 minutes to calculate.
POST PRODUCTION
Different lighting situations lead to very different results in the image.
We wanted the post-production to help us match the overall look.
Obviously, we also used numerous effects such as lens flares, depth blur, motion blur, etc. But this has fewer secrets.
DURATION, MUSIC AND SOUND EFFECTS
The length of the video is out of the ordinary and not advisable. In our productions we do not recommend such a long duration. This was a special case. We needed that length to show everything we wanted to show and at the desired pace. The choice of music was not easy or quick. If its rhythm was faster than that of the images, it did not fit well.
However, if we used very repetitive and slow music, the film was endless.
I think with the choice of: “Waters in motion” by Sonic adventure Project, we got the perfect background for the production.
The small sound effects of the car rolling at the beginning and the chirping of birds helped to add credibility to the overall atmosphere.
CONCLUSION
It has been a very hard visualisation exercise but it has been worth it. We learned a lot and I hope you understood a concept:
We know how to seduce your client by showing your project. Remember this.
To celebrate the tenth anniversary of this milestone, we have prepared a sequel: both
Here ‘s a preview below but I’ m afraid it ‘s not for you. It is only for brave promoters.