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Photos and Dumpster Diving

Friday, November 9th, 2007

Every once and a while Jenn gets asked about the photos in her shop. I’m proud to be her photo guy!

I’ve had the privilege to do a lot of product photo shoots with Teague’s photographer Doug Evans. And he’s shared more than a few tips with me. Thanks, Doug!

 

Here’s my little set-up:

  • Camera: Canon 20D
  • Lens: Canon EFS 17-85 mm IS zoom
  • Lighting: 3 500 watt tungsten heads
  • Ground: a sheet of clear plexiglass (from Home Depot) on top of white foam core (from Staples)
  • Backdrop: more white foam core

 

 

 

I love my camera. I’ve had it for a couple years and it has never let me down. If you’re interested in photography, I highly recommend getting a digital SLR. I had 35 mm EOS 650 since high school and had a lot of fun with it, but it wasn’t until I started shooting digital that I (think) I really started to understand photography.

Now for the dumpster diving. My lights were a lucky find. One day while walking past a dumpster I saw a big black suitcase-looking thing. Curious, I pulled it out and found a nice little set of photo lights! I used them as decoration for a long time until Jenn needed photos of her products. I tried using desk lamps, but my exposures were way too long to be useful. So I plugged in those lights I had found long ago, and they worked! I’ve used them for all the 900-some photos I’ve shot for Jenn.
Oddly enough, my tripod was a dumpster find too. Either I’m lucky or I have a problem.

 

Happy shooting!

 

 

Update!

A few things came to mind after I posted this, um, post.

I didn’t mention that I try to shoot at f5.6 with a 72 mm focal length. This is the max that my lens will do. Sometimes 72 mm is a bit too long because my tripod can’t get up high enough or whatever, but that’s my goal. Of course, being a non-full-frame sensor on the Canon means it’s really like shooting at about 115 mm. Shooting at f5.6 gives me a fair amount of shallow depth of field effect.

My exposures are usually about 1/20 of a second. I did mention that shooting with a desk lamp resulted in exposures too slow to be useful, and 1/20 isn’t really a fast shutter speed either, but it’s way faster than what I was shooting at. I would love to have some real flashes, but that is getting too fancy even for me – unless I found some in a dumpster.

I shoot RAW format and do all my image processing in iPhoto 7. I love iPhoto. It does a great job with RAW files and I love that the latest version makes nondestructive edits to your files – like Aperture, but cheaper. I do much of my exposure and gamma correction in iPhoto along with any white balance tweaks. I calibrate my camera when I shoot, but sometimes there is a slight drift a few K here and there. Did I mention that I love iPhoto?

I do any pixel level editing in Photoshop. Usually this involves miscellaneous touch-up and bleaching out the background to a pure white. I try to get the background pure white during the shoot, but in evitably, there is a bit of vingetting due to the zoom lens, or I have to shoot just slightly dark to capture the texture in the white felt that Jenn likes to use. White on white isn’t easy, but that’s what Photoshop is for.

I have some Automator scripts set-up to convert the large 8 megapixel images down to something manageable for the web. I keep 3 versions of every file – the RAW file (in iPhoto) a editted TIFF at full resolution (these are suitable for printing) and the low resolution JPEG. We keep the images cataloged by date and I archive to DVD-ROM at the end of each year.
I also find DIY Photography a great resource for tips and tricks.

I hope the added info was helpful, maybe even interesting…

Cheers,
J.

Round and Round

Saturday, September 15th, 2007

 

I showed this trick to a colleague yesterday and he said it was too good not to pass along.

I do a lot of my 2D product exploration in Illustrator. I used to be a dyed in the wool Photoshop guy until Illustrator 10 came out. I realized most of what I was doing in Photoshop could be done in Illustrator with files that were about a tenth the size and without the need for some other drawing tool – like Vellum. For me it’s all about getting to excellent results quickly.

Along the way, I became obsessed with the appearance palette. I think it’s a totally underrated tool and I haven’t found much written about it, but the example I’m about to share starts to show what it can do. Actually, I’ll start with something it can’t do. Or, at least – doesn’t do very well…

Let’s start with a square. Nothing special.

Next, go to Effects > Stylize > Round Corners. A predictable result.

 

But what about non-rectilinear shapes? A more common scenario in product design.

I took the square and yanked some of the control handles around just to make something funky. I don’t think I would design a product that looked like this…

Here I add the same Effect and, like you, I’m scratching my head. Why do I get this? Clearly this is not what that shape should have looked like with rounded corners.

This has been broken since Adobe introduced the “Round Corners” feature. Even the less flexible and more destructive “Filter” version of this tool does the same thing. So clearly they are just re-using the same broken code. There isn’t really any predictable way of adding corner rounds to a shape in Illustrator. I’ve played with Hot Door’s CAD Tools and have had mixed success in these situations too. So here’s my work around…

 

Start with the shape and add a Path Offset effect. set it to a negative number equaling your desired radius. Here, it’s -10 points.

 

It should look something like this.

 

Now we are going to “stack” some effects. This can be done by either choosing the effect again from the effect menu, or by selecting it right in the Appearance palette and selecting duplicate in the fly-out menu, or (as I do) just drag the FX layer down to the new/duplicate icon in the palette. Double click the duplicated FX layer and change the offset value from negative to positive. Also change the Joins type from Mitered to Round and boom, you have perfect radii on your shape.

You can save this as a “Graphic Style” and access it any time from the Styles palette. One thing to note though…

Obviously, this is only useful if all your rounds are the same radii. If you want to have different radii on each corner, I use the Expand Object command on a duplicate shape, change the offset values to the second desired radius and expand again. A little snipping together of the shapes will get you to your result. You lose the “live effect” aspect of it, but it’s the most accurate way of getting that particular result.

 

Lastly, here’s an example of how obsessive I can be with the Appearance Palette. Here are some connectors I’ve rendered. These are part of a library I keep handy so I can quickly populate a product design with all the right bits. They don’t use the above technique in particular, but the ideas are largely the same.

Each connector is completely rendered from just 2 circles (as shown at the far left). The reason I do this is simple; back in the day, when I used a ton of shapes to render simple objects, not only would my files become heavy and difficult to manage but, later – when I’d export my ideas to a CAD application like Alias, all that garbage would come with it and I’d have to clean-up everything I had done just to make the rendering look nice. This way, rendering entirely with the Appearance Palette, my render only consists of the two circles I care about when I get to CAD. It saves a ton of time in the long run is and is generally just easier to deal with.

Give me a brake…

Friday, July 13th, 2007

Ok, the real name of this post is “faking anisotropic shading for real-time rendering applications”, but that made even me yawn. But that’s what this post is about. It’s the first, in what I hope to be a series of tips and tricks revolving mostly around Alias Studio. I’ve found the documentation out there limited at best and this is my opportunity to give a little.

Just to set the expectations low – I seem to be blogging about once a month. So for what it’s worth – that’s my pace. On the other hand, if there’s anybody reading out there, please feel free to drop me a comment and let me know what you’re interested in and I’ll see what I can do.

So, when I was creating the shaders for the car renderings I posted about a while ago, I encountered a particular problem. One that I’ve encountered before, but never had the planets align to solve. Much of what I learn involves planets aligning and this time was no different. The problem was how to create a convincing anisotropic reflection effect that looks cool while tumbling the model live on the screen. If you’re not sure what this is all about Neil Blevins has a good explanation on his site here.

When I went to create a shader for the brake rotors, initially I used the same soft-chrome looking shader I created for the little rivets around the hub (and incidentally, this is the same shader the is used for the overall spoked portion of the wheel). It is just a basic Phong shader with the shininess turned down (broad highlights) and the reflectivity off to give it that bead-blasted look (no crisp reflections). But look at what I got on the rotor. Compared to the rivets, it was totally flat! Which makes sense I suppose, because the rotor itself is just a simple cylinder which is, well, totally flat on the ends.

While I was thinking about the problem, I started trying things. Things like using photographs to simulate the look – which works for static images, by the way, but I think it looks funny when you tumble the model. It’s a static image and thus loses all the luster of a real spun metal disc. Another approach was to use a bump map to actually create the tiny grooves on the surface of the rotor to get the effect. That has never worked for me – real-time or other wise. I consider it a brute force approach which tends to result in brutish end results.

I wanted the effect of an anisotropic reflection – not a physically accurate model of one. Of course, the answer was right in front of me. The hub portion of the rotor had a very dynamic highlight that responded to light in a very interesting way when the model was tumbled. The hub portion of the rotor was conical in section. The effect of light on metal with tiny circular ridges on it is also conical. So when in 3D rendering is the effect of a highlight in direct opposition to the surface geometry? When you use a bump map!

So, I added a simple ramp to the specular channel of my shader and got this. Sweet! It’s just a simple black to white ramp that follows the U direction of the surface. Since the end cap of the cylinder is essentially a revolve, the UV directions are circular and thus the ramp essentially shades the end cap like it was a cone – resulting the effect I wanted.

From there I started building a layered shader. The base layer was a simple gray Lambert. This would allow me to control the overall tone of the rotor. The next was to take my ramp-modified shader and tune it a bit. I made it 100% transparent with no color, no diffuse or anything else other than the specular with the bump mapped into it. Tweaking the shininess of the Phong shader controls the amount of “splay” in the highlight, while the intensity of the bump map controls the, um, intensity. I ended-up using a huge value (1000) for the intensity. This makes the virtual bump mapped cone quite tall. This may be somewhat related to the fact that I’m just using the default “Abstract IBL” rendering environment for this example – this scene just has a really strong single light coming down from the top. I’m sure if I used a scene with more complex side lighting, the value may not have to be so high.

As an experiment, I duplicated the anisotropic reflection shader I just made, layered that on top of the others and set the intensity of the bump map to -1000. So now I have two ramps layered on top of one another – one with a positive value and one of an equal, but negative value. This made the highlight symmetrical on either side of the center axis. It is hard to show in static images, but as you rotate the model, the effect is more obvious.

Lastly, I added yet another layer. This one has an image map of the cooling flutes. I used a solid projection for this. Three actually. One in specular to choke the highlight out of the holes, another in transparency to prevent the anisotropic shaders below from shining through and one as a bump map to get a highlight around each edge (this map had been blurred in Photoshop).

Here’s a slightly different view that shows how the conically shaped highlights travel across the rotor.

That’s it! I hope you enjoyed this first whack at a tips and trick series…       

Cheers,
J.

 

 

Rocking on the Moon

Friday, June 8th, 2007

It’s been a while since I last posted – looks like I’m averaging once a month – a far cry from once a week as my per my original goal. I’ll work on that.

Anyway, you know those lists that people make of the 10 or 20 things they have to do before they die? Well, I don’t have one of those. But if I did, one of the things that would have been on it was to see The Police play live – together.

Maybe one of the reasons I don’t have one of those list is because they they haven’t played since the mid 80′s and what’s the point in having a list with things on it that can never happen – or can they? Maybe I’ll reconsider that list.

Sting and the boys got back together and are touring this summer all over the world. I didn’t have a chance in hell of getting tickets and indeed didn’t have any until the day of the show when a friend of a coworker decided he wasn’t going to make it and I thusly happened upon some tickets. I had tried getting tickets the day they went on sale – but they sold out within minutes.

I went to the show in Seattle and it was fantastic. They sounded wonderful if not a bit rusty – but in a good way. They mixed it up just enough that us old time fans knew what was going on but weren’t bored for a minute. An in a very un-Seattle-like fashion, the crowd stood (yeah, on their feet!) and cheered them on for the entire set.

It seemed like every song went on forever and they entertained us with three encores – although, the intermissions between each were obviously just a ploy for a drink of water and possibly a quick discussion between a few 50-somethings about how nice the hotel bed will feel later.

Great show all in all – and while I won’t blather on about each song (they were all good, BTW) here is the set list from the show for your enjoyment…
It’s been a while since I last posted – looks like I’m averaging once a month – a far cry from once a week as my per my original goal. I’ll work on that.

Anyway, you know those lists that people make of the 10 or 20 things they have to do before they die? Well, I don’t have one of those. But if I did, one of the things that would have been on it was to see The Police play live – together.

Maybe one of the reasons I don’t have one of those list is because they they haven’t played since the mid 80′s and what’s the point in having a list with things on it that can never happen – or can they? Maybe I’ll reconsider that list.

Sting and the boys got back together and are touring this summer all over the world. I didn’t have a chance in hell of getting tickets and indeed didn’t have any until the day of the show when a friend of a coworker decided he wasn’t going to make it and I thusly happened upon some tickets. I had tried getting tickets the day they went on sale – but they sold out within minutes.

I went to the show in Seattle and it was fantastic. They sounded wonderful if not a bit rusty – but in a good way. They mixed it up just enough that us old time fans knew what was going on but weren’t bored for a minute. An in a very un-Seattle-like fashion, the crowd stood (yeah, on their feet!) and cheered them on for the entire set.

It seemed like every song went on forever and they entertained us with three encores – although, the intermissions between each were obviously just a ploy for a drink of water and possibly a quick discussion between a few 50-somethings about how nice the hotel bed will feel later.

Great show all in all – and while I won’t blather on about each song (they were all good, BTW) here is the set list from the show for your enjoyment…

Car Design…

Monday, May 21st, 2007

I don’t really consider myself a “car guy”. I enjoy racing games. I’ve seen the Pixar movie. I know my fair share of the latest models on the street and many of the classics. But I don’t crave them. I don’t talk about them all the time. I don’t care if I’m driving the latest or fastest. I can’t fix them. I’ve never seen Bullitt.

 

As a designer though, there is a certain allure. I never had the chance to take a legit transportation design class in college, but there was that temptation. That niggling little voice in my head that said, “yeah, cars are cool.”

There is just something inherently interesting about the shape of cars; the whole format; the platform if you will. Four wheels, two headlights, etc. It’s amazing there are so many variants out there. So many interpretations for a fairly limited archetype.

 

That little voice told me to give it a spin. Get it out of my system. I started this project, a long time ago. I just had to finish it so I could move on to other projects that I need to get out of my system. So about a week and half ago, I dug out my old files and started over. It’s nice to step away from something and come back to it. You see new things.

 

I started with this as my basic idea: make a “super car”. Yeah, I know – cliché, but if you have to get a car design out of your system, might as well make it big and fast (looking). I wanted something that evoked classic 60′s cars (Dinos and Cobras and such) but still feel modern. I always loved this era since car design really was about the shape of things rather than how contorted the sheet metal could be or how many vents something could have (all functional of course!). Keep it simple. Make it nice.

 

I know there is a lot missing with this one. No side markers. No exhaust (hydrogen power?). The grille isn’t really finished. I didn’t do an interior since I didn’t start from the inside-out and no-one could possibly fit in it… or maybe they could. I took the basic dimensions from a Murcielago; overall XYZ dimensions, the track width and wheel base (although I ended-up stretching it a bit).

 

I took this on as a personal challenge. There was a lot I didn’t know about car surfacing and overall proportions, but I know what I like. I like Cobras (as mentioned). Harald Belker’s Lexus from Minority Report is pretty cool. I love the DBR9 Aston Martin. The Ferrari P45 and Enzo are nice as far as super cars go. So yeah, I took bits and pieces from all of these to make my car. As such, I didn’t set out to make it fit any existing brand. I don’t have a name for this car. It’s working title was just J-car in all my 3D files. It could really use a logo on the nose and tail. Details…

As an aside, I should mention that all of this was done in AliasStudio 2008 running on my new Mac Pro. Overall, I am super impressed with the performance. The images are not renderings, but screen captures directly from the CAD application (with a bit of Photoshop for the depth of field and lighting effects). Real-time rendering has simplified my life in so many ways. I love to look at a product as it is developing and evaluate in under a variety of lighting conditions and in different materials. The “image base lighting” features added in the 2008 edition make for some fantastic images. These have a nice airbrush quality to them more than photorealistic. Not hyper real, but convincing. Maybe one day, I’ll do some Maya Mental Ray images of it.

This has been a really fun project. I learned a lot. I learned how many tools are in AliasStudio are tailored for car design that I don’t use on consumer products. I also picked-up some cool shading tricks that I may share at a future date.

Oh, and here’s one for the Cobra fans…