WIREFRAME: Computer Generated Imagery (CGI) starts with a model. Either we create it or we get it from the client or–as in this case–from another modeler. 

STEP ONE: Often times we will start by applying a "line art" type material to the product so we can examine it more carefully. Before we get too far into the project, we want to split any surfaces that we're going to treat differently. Looking at the model this way helps us to do that. Having the file organized from the start is paramount to managing the creative process efficiently.

POSITIONING: We generally apply a clay material to the surfaces so we can concentrate on composition. We position the product on the set and we adjust our camera and pick a lens. The clay material and a basic lighting environment let us do this with the least amount of distractions.

LIGHTING: To begin the process of lighting the product, we pick off-the-shelf materials that have similar reflective properties to the different parts of the real-life product. We try to get the light 90% right and then we go to work on creating photo-realist materials.

SURFACES: Seldom are the off-the-shelf materials good enough to convey photo-realism. The difference maker in the art of CGI is material and light. It's a tedious process creating materials from scratch and then refining them and refining the lighting environment until the end result is just right. But, it's worth the effort. In the example below, we've gotten pretty close.

ENVIRONMENT: In our real photo studio, we will often use a sweep, reflective cards and/or flags to manage how the light affects the product. In this case you can see how adding a background really brings the product to life. 

SWAPPING MATERIALS: One of the most powerful bi-products of CGI for product imagery is the ability to quickly create additional images from the same model. Below, we've created a frosted glass version of this product.

CLIPPED OUT: Here is an example of the final image clipped out and placed on a white background. This is typically how we deliver the image to the client. When the product is clipped out, it gives the client maximum flexibility in how the image is used. For some clients, we add a shadow layer back into the file that they can turn on or off based upon how they are using the file.

DRAMATIC: Up to this point the intent has been to get the material finishes right and present the product in a simple environment. Below is the same model featured in a bit more dramatic setting.  

GET A LITTLE CRAZY: We just couldn't resist going one step further. We're deviating from the product as it exist per se, but we thought an 18k gold cap and etched glass might make this image a bit richer. We also created a dramatic background and lighting dome to add intrigue–and we hope make you want to buy the product!

See more of our work at: www.thomasburke.com