While making various tweaks to the camera angle and position, I’d lost a certain amount of depth to the image, and the camera was leveled with the table.
The main iteration points were to adjust the camera angle and some compositional elements to make things look more interesting. The shot on the left is my composition prior to David’s feedback, and the image on the right was after. Then, keeping in mind that the jug had to be central to the composition, I started to block out the scene in a rudimentary manner.
I started with a fresh mood board using PureRef to help establish the classical feel I was going for while still conveying a certain level of luxury and intensity. I then decided to blow the cobwebs off the still life project and set out to redefine it. Fast forward to late 2020, Toolbag 4 was in its alpha/beta phase, and I created an asset for the occasion ( Nagra D-II) to test new features such as the ray tracing renderer and scene management tools. Unfortunately, as impressive as Toolbag 3 was, it wasn’t quite up to the task, the idea mothballed, and new projects came and went in the interim. I wanted to capture the feel of a classical still life painting with the then newly released Toolbag 3, hoping that the advancements in real-time rendering would allow me to bring it to fruition. This project started about four and a half years ago as a single asset (the ornate jug) built for the Toolbag 3 alpha test phase. To learn about how I approach hard surface modeling and baking in Toolbag, check out my previous article with Marmoset, Baking A Hard Surface Weapon in Toolbag. In this breakdown, I will run through some of the processes I used to create the final renders, from initial scene setup to lighting. Welcome to the breakdown of my recent Still Life project. Hello everyone! My name is Ben Armstrong, and I currently work as a Senior Environment/Prop Artist at Sumo Digital in Newcastle, United Kingdom.
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