I recently blogged about our first verified views project as a new studio. I am pleased to say that the planning application has now gone in and the images can be released. The project is called Assembly Bristol and is a development by Axa real Estate and Bell Hammer.
I can now report that Martin Richardson images has successfully completed their first set of verified views. Other terms for verified views are verified visual montages (VVMs) or accurate visual representations (AVRs ). The images we have just done are to support an upcoming planning application for a key development in Bristol.
Here is how we did it….
First we carried out our own in house photography to shoot a selection of back-plates. At the same time we carefully noted camera/lens data, and camera position. Then using data from Longdin And Browning Surveys Ltd fed into a proprietary script we generated cameras in 3D space. The cameras were located in exactly the same place relative to the 3D model of the scheme as the real life camera positions would be if the scheme was built. This means that when we place the rendered CG image of the scheme over the back-plate it fits precisely in the right place.
The next step is the lighting. For this we match the time of day and weather conditions. With this done and using our already generated 3D cameras we were then able to render images of the scheme. Because of the position of the cameras relative to the scheme the perspective of the renders look as they would if shot through through the lens of the camera that shot the back-plates. With Photoshop we then composited the CG renders into their relevant back-plates. We make sure that the scheme sits correctly and any parts that would cover the foreground are masked. This allows the foreground to show in front of the rendered scheme as it should. We then make final colour and tonal corrections to balance the elements of the image.
Using this method we produced a set of highly accurate photo-realistic verified views and all to a very tight deadline.
At this time we cannot reveal any details to you at this stage. Hopefully this will change very soon and we can update the blog and reveal the images…..
22 Bishopsgate at dawn
In my previous role as head of arch-vis at River Film, I completed a series of images of 22 Bishopsgate. These photomontage images were designed to illustrate how 22 Bishopsgate would relate to the city around it.
Although completed for some time this image only recently came into the public domain allowing it on our website. This image shows how of 22 Bishopsgate would be seen from Saint Paul’s Cathedral at dawn.
22 Bishopsgate project brings a rare opportunity…
22 Bishopsgate would be a major addition to the London skyline. Because of it’s importance to London, the views from the cathedral are carefully protected. Considering the size of the scheme it was no surprise that a view of 22 Bishopsgate from the top of Saint Paul’s was required.
I was lucky enough to be able to gain access to the Stone Gallery and the Golden Gallery at Saint Paul’s Cathedral. It was from the Stone Gallery that I was able to photograph the sunrise over the City. From these photographs, I would create the backplate for the photo-montage image of 22 Bishopsgate you can see above.
I was there to start taking photographs at first light, the first exposure was at 5:41 am. I continued shooting until 8:30 am. It was a beautiful experience from start to finish. I walked through the Cathedral in the dark before sunrise, I walked through the Whispering Gallery, the vast Cathedral was perfectly silent and still. I climbed to the Stone Gallery and set up to photograph a glorious sunrise over London, the city towers silhouetted by the ever changing sky. It was fantastic and the knowledge that I was capturing such beautiful backplates made the shoot one of the highlights of my career.
Planning and patience…
While there is always an element of luck to get the right conditions my chances of success were maximised by planning and organisation. I waited for the best weather, got there early and was prepared to stay for several hours shooting almost constantly. This meant that back in the studio I had my pick of many stunning images to use as a backplate. The lighting, the clouds the colours, are ever changing as the sun rises. With such great material, the options for a project like 22 Bishopsgate are wide and truly exciting. I hope you like the image. As I said earlier this is one in a series, there are still two more to come…
I would like to thank Oliver Caroe for getting up so early and allowing me access for a such a long length of time to get what I needed.
It’s been a very busy six months and now we have new work filtering through to show.
432 Park Avenue was one of the first projects we did. As it was a retail project it required a degree of creativity, designing and implementing the retail spaces and shop facades.
This was a lot of fun playing around with different elements and designs. There is quite a mix in there including a gold-plated dinosaur! As always we had to create fake versions of real shops so whilst we had to be creative we also had to achieve a recognisable look for each retail space.
The project was done for River Film and Wordsearch and I had the pleasure of working directly with Matt Flynn.