Sketchup, federate and visualise in Navisworks or 3DS Max, animate in Terms of models etc, is always different. Might want to focus on a specific area, and what we can get our hands on in Each time we do this kind of work it’s slightly different, either aĬlient will require something different, there’s all sorts of budgets, a client
HOW TO ADD CARS IN LUMION 8.0 PRO SOFTWARE
Played with many software solutions to get the kind of results our clients areĪfter. Contact us for more information: A Demo Reel / Mashup of some recent work… Shooting this was a great adventure, and a memorable night-made sweeter by the fact that I successfully executed the vision.This video is a mashup of various Construction Animations we’ve done over time. I had to place gaffer tape on all the interior lights because the exposure needed to be 30 seconds to pull in the Milky Way, and the lights would have blown out the image. This was in Death Valley, California it took me two hours in 110-degree heat (after dark, no less) to set it up. The image on the left is a personal favorite: the Starlight Headliner in the Rolls-Royce Wraith Black Badge, with the actual Milky Way in the background. The answer is partly obvious-don’t shoot the car from the side-but it also involves finding nicely balanced strategies for filling the frame, It could be using a segment of the car or having prominent foreground or background objects. The challenge is creating satisfying vertical composition of overwhelmingly horizontal subjects. Vertical images look better on mobile devices, so don’t forget to fold some into your shooting. The best way to do that is to use longer exposures, which you can do in situations like this-even just one or two seconds-if you have a tripod.Ĭar Photography Rule #10: Shoot vertically
HOW TO ADD CARS IN LUMION 8.0 PRO ISO
(Higher apertures also generate the flares from points of light, as seen in the headlights.)Īlso, try to keep the ISO as low as possible, to reduce the amount of grain in the final image. This was shot at about f/14, but I should have gone a bit higher, since the background is a hair out of focus. Pay attention to clouds, and work hard to get the shot dialed-in, relative to the exposure.Īlso, remember that if you want foreground and background equally sharp, bump up the aperture's f-stop to higher values-between, say, f/14 to f/20-while adjusting the exposure to compensate for the increasingly dark image. But don’t pack it in once the sun goes down: I shot this BMW i8 one evening when it was clear that the sky was shaping up to deliver some spectacular colors after the sun set. The hour after sunrise and the one before sunset offer the best light for photos low-angle sunlight adds warmth and texture to the image, and the generally-dimmer lighting allowing you to balance the image elements more easily. The rule of golden-hour shooting is hugely important. You don’t have to know everything about photography, but just taking your time and thinking out even a couple of the many aspects that go into a good photo can make a world of difference. Don’t just take a snapshot in front of a cool building or a mountain instead, pay attention to composition, lighting conditions, background, angles, camera settings, and so forth. The overarching take-home, however, is essentially the same as it would be in other forms of photography: Think about what you’re doing. The 14 examples below-learned over my years of automotive photography-illustrate some key considerations and strategies for shooting cars. But if you put just a bit more thought and effort into it, you can create images that you’ll be as proud of as you are of the car itself. You can, of course, take it to a cool spot, snap some images with your smartphone, and be done. If you have a car you’re proud of, eventually you’re going to want to take some memorable-and sharable-photos of the wonderful machine.
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