Category Archives: Making-of

The making of Calm

One of the key things in standing out from the crowd is developing your own individual style. Andrew Minakov is a master at this, with a focus on automotive renders.

We spoke with him to find out how he approaches creating an image and making it unique, with a look behind the thinking that went into creating the image “Calm”.

Andrew Minakov c_01
Calm

Read about how Andrew created “Calm”
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Dodge Charger ’69 by Dmytrenko Igor

This beautiful image of a ’69 Dodge Charger was chosen by a few sites to accompany the news of the release of Corona 1.4. In this article, artist Dmytrenko Igor takes us through how the image was set up, rendered and post production applied, all in under 3 hours!

Dodge 69 by Ihor Dmytrenko

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The Riyadh Residence – OAOA Architecture Associates by SO-ON

SO-ON (Something out of Nothing) is the creation of Guilherme Pinheiro and Mark Staddon, launched earlier this year in Brisbane, Australia. Here they talk about their recent work on the Riyadh Residence project, with a focus on how they created the unique perspective of the waterfall shot.

SO-ON Riyadh Residence final image

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“Construct” animation by Recent Spaces

‘Construct’ is a short abstract animation from Recent Spaces, briefly describing the process of architectural visualisation from initial architectural drawings to the final image.

Recent Spaces – Construct from Recent Spaces on Vimeo.

Read how the animation was created….
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How Cityscape Digital created the images for Blue Abyss, the world’s deepest indoor pool

Cityscape Digital were recently appointed by Blue Abyss, the company behind the ambitious project to build the world’s deepest indoor dive and astronaut training centre, as their VR Partner.  Cityscape Digital are producing a VR model and support imagery for design, communications and marketing needs.

As part of this work Cityscape selected Corona Renderer for production of the still press images. Using the latest VR and game engine based visualisation technology, Cityscape Digital is enabling a rapid iterative design process, where the client Blue Abyss, the designers and stakeholders can collaborate in an innovative way. As the design evolves, key target investors, users and general public will be able to explore the ground-breaking new Dive Centre long before it’s built.

Cityscape Digital worked with Blue Abyss to produce a VR model for live presentations and roadshows giving a compelling first person experience. For the recent press releases, Blue Abyss wanted a video and a hero image to really capture the public’s imagination. The video was produced using a live export from Unreal 4 and Cityscape selected Corona Renderer for the production of the hero image for the main press release.

Cityscape_Digital_Blue_Abyss_Final_1.5K_Branding_All

We had a chance to ask David Connolly from Cityscape Digital some questions about this exciting project!
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Romeu&Julieta – All Made With Love

Romeu&Julieta were listed as one of the top 10 digital art studios in the world by Larva Graphics earlier this year, and we got a chance to ask them some questions about their work on the “Trident + Lollapalooza 2016′ campaign – created in just 7 days!

Romeu&Julieta_Trident Lollapalooza Campaign Image 2

Read our Q&A with Jean from Romeu&Julieta….

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Francesco Legrenzi – The Making Of A Mountain Home Interior

Francesco Legrenzi of Legrenzi Studio prepared a ‘making-of’ for a project created in Corona 1.3, where he reveals some of his workflow secrets which eventually led to the creation of an amazing, photoreal interior.

Corona Renderer - Francesco Legrenzi - Mountain Home Interior 01

1. Introduction

First, I would like to personally thank Ondra Karlík and the whole Corona team for the enormous effort that has eventually resulted in what I believe is currently the best 3ds Max rendering engine for architecture and design. Many users around the world, from inexperienced students to skilled professionals, are now migrating to this wonderful program.

It’s been three years now that I have been using Corona in all of my projects. Our studio is relatively small, so we cannot use two different rendering engines. At one point, we had to make a choice. Three years ago it might have seemed risky. But it quickly turned out to be a very smart decision.

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