What’s the company’s philosophy when it comes to CGI and photography?
The MD, Chris Heeley, was always adamant that we weren't creating CGI — we were reproducing studio photography using a different tool set. Instead of using a physical camera and a boom with a light at the end of it, we were using a digital light, but it still needed to be the correct size, the same intensity that it would be in the studio.
In terms of camera positioning and settings, if it doesn't look like studio photography, or what the client is expecting, then it’s irrelevant. And that goes into the fine details and the settings of V-Ray, too.
What did you do before you joined Set Visions?
I did product design and focused on 3D visualization at university. When I graduated, I went into architectural visualization. I worked for a global architectural company for a long time.
Somebody asked me a while ago, "How did you get into this? How do you do all this 3D stuff?" I said, "You know all that time that usually people spend sleeping? You take that time, and you do CGI. After about six months you'll get some results."
One of the fantastic things about V-Ray is the way Chaos Group has constantly updated the engine, the features, the usability, to the point where we’re now more efficient as a business.