Curtis Johnson and the Creatives

Recently Curtis Johnson and Nadine Kalmes were in Chicago meeting with Creatives and Art Buyers.

Here's a couple shots of Curtis showing his portfolio:

 

Curtis Johnson at AbelsonTaylor discussing his imagery. 

 

Curtis chatting at Energy BBDO (above and below)

Showcasing new video work on the iPad

You can view Curtis Johnson's newest video series too!  Just click play below and go to "motion". 

Steve Bonini shoots Major League Baseball

Steve just finished a really cool job shooting Major League Baseball players in Las Vegas for Nike.

Matt Holiday of the Saint Louis Cardinals. (above and below)

"I thought it would be a really good idea to bring in a coach to assist me in getting the players fired up, so I hired a great guy who played in the majors for 13 years.  We had each player for about 45 minutes to an hour, so it was important to get right to business."

"We had a quick pow wow with the players where I told them what I wanted to achieve, then after that, I'd have a quick talk with the coach.  Pretty much, he spoke to them in 'baseball talk' and then they started pretend playing.  You really know you're shooting a pro when they get right into character.  Doesn't matter if it's bottom of the ninth with bases loaded, or against a seamless in studio.  Impressive, and the shots show it!"

Evan Longoria of the Tampa Bay Rays. (above)

Brian Wilson of the San Francisco Giants, 2010 World Series winners. (above and below)

And a few production stills:

You can't even tell these were shot on white seamless in the final images.

(left to right) Steve Bonini, Troy Tulowitzki of the Colorado Rockies, and Creative Director, Jeff Dooley, looking over the images of Troy on a tethered iPad.

CGI Nissan Murano by ALTER

Some of the newest CGI work by ALTER.

David Mitchell from ALTER was the CGI artist on this project.
We asked him a few questions about the creation of the image.

What were the challenges with this project, and how were they overcome?
David: The lighting style needed to fit a specific look to match the campaign. It is always easier to create a lighting scheme than to match one.

What elements went into making the Nissan Murano?
David: Lighting the car in 3D allowed us to get closer to the look than with photography. Retouching was also required to take the render to final quality.

How do you get it to look so real? I’m ready to drive off in this baby.
David: We use render engines that correctly bounce light for excellent realism. We use real world lighting methods and elbow grease.

Anything else you’d like to share about it?
David: The 3D models that were provided needed a lot of cleanup work to be usable, so I guess it involved a bit if grinding, welding and polishing.
This was a quick turnaround job and required long hours to meet the deadline but it was still a fun project. I'm looking forward to doing more.....perhaps with a little more time.