Produced in 1992
SEIKO ALBA Watch Advertising
After returning from around the world in 1990, I brought the computer Macintosh II fx to my workplace in search of new expressions that are different from photographs and illustrations, based on the inspiration I got in India. Just around the time I bought the 3D software Shade (at that time, the software alone cost 1.75 million, and the Macintosh was 1.25 million yen ).
In 1992, I was asked to compete for the entire advertisement of a watch of a part of the SEIKO brand "ALBA". The agency, which was taken from the competition of the four companies, is allowed to handle almost all the magazines for the year and all the handling in Table 4 of "Shonen Jump", so the seriousness of the agency was well communicated.
Among them, I made some comp boards, but I put in a computer graphic plan. At that time, ALBA's item was a clock with a simple dial, and I once made an advertising CG for Puma's soccer shoes, so I thought it would be possible. Since ALBA is also a product of the youth market, I predicted that something new expression that was neither a photograph nor an illustration would be necessary. The presentation passed with this CG proposal. When this advertisement with complicated modeling is completed, it will be the first full-scale mass media advertisement made with MAC in Japan.
Produced in 1992
I can't see more and more.
I decided to use Shade. It was a battle of how to make it look good in a memory of only 8MB at such a Mac clock frequency. Immediately after pasting the PICT on the body and dial, "Not enough memory" is displayed and rendering does not proceed. Moreover, it is only after waiting for 15 or 20 minutes that the display appears. What's more, you'll have to wait two or three minutes just for the redraw.
It was natural that it was horribly slow. That's why I break up the modeling, render it in detail, and then synthesize it later.
However, when the modeling was combined, it could not be rendered on an 8MB Mac. And it turned out that it was impossible to make exactly the numbers and memory with the dial arranged regularly only with Photoshop 1.0, which was the debut, so as to make it even more chaotic. There weren't even layers at the time. I was hungry in hell if I had to stick it in by hand carefully and madly.
Illustrator is compatible with Photoshop.
However, I just heard the news that the data in Illustrator 88 is now readable in the new version of Photoshop. Thank you to Mr. Inomata of MdN at that time. Based on this information, the graphic data of the dial created with Illustrator will be converted with the new version Photoshop 2.0, and it seems that it will be solved at the last minute. It was such a messy era. But it was fun and it was my first experience.
Also, "Not enough memory" at the time of rendering was solved by combining the band part and the body part rendered separately at the same angle in Photoshop.
However, when I started rendering and kept spinning the computer, it froze on the morning of the third day, and that nostalgic bomb mark peculiar to Mac appeared many times. I thought I might be killed by the computer. I saw the Asahi at Tokyo Tower many times at the same desk and in the same posture. In this era, of course, you can render at once.
Produced in 1992
I had a dream after the accident.
It was both horrifying and fun to go to work in the middle of the night or in the morning and look into a 13-inch monitor to see Shade using a risk board to move four small dots. Sometimes it freezes after 3 or 4 days. Therefore, the date and time until the finish is often calculated back.
At that time, the large pictogram calculation time could be calculated by pressing the normal rendering button and measuring it with a stopwatch. In other words, if it is 60 minutes with a stopwatch, the area of large pictogram is 8 x 8 times, so 64 times is required. 60 minutes x 64 = 3840 minutes, that is, less than 2.66 days. Rendering is applied to the prepared modeling one after another.
However, there was a big accident in which a person accidentally unplugged the computer . I thought this was no good. I went to the balcony and smoked a lot. The deadline for the manuscript was serious. Only the words in my head that I have to somehow revive my precious child! On that day, I got home and Mozart's Requiem was flowing in my head. I was exhausted and fell asleep.
But I had a mysterious dream. What a rendering from the other side. .. Moreover, at the angle of Don Pisha. I saw it in a dream. How to revive! Okay! Whether it can be done with a computer.
So, in that case, I found that once I left the large pictogram in the positive direction, I could rotate the camera 90 degrees and then rotate it 90 degrees in the rendering dialog box to calculate from the exact opposite! !! (This was out of the gate at that time.) Finally, you can combine both in Photoshop into one. Thanks to that, I was able to work with plenty of time later. There is no point in advertising that is not in time for delivery even if it is of good quality.
I will omit the middle part, but the visual used in the summer campaign when the 3D-CG clock was finally made on the blue planet. I rendered about 8000 pixels on the top, bottom, left, and right, and composited them in Photoshop. Finally done. I was happy for 3 minutes as soon as it was completed, but I was immediately busy making the block copy. I took the completed set with me. It was barely safe.
This later became Billboard. Another person broke the advertisement page of Shonen Jump, brought it to a big camera, and said "Please give me this" and bought it. I was really happy about this.
Expression seeks technology, and technology seeks expression.
I think it's the venture spirit that the times may demand that we shouldn't forget. At that time, the large-scale computer for compositing was an anti-Mac, so plug-in software for import (input of a computer with a different format) was not developed, and it was an era when data was moved with difficulty for the first time.
Everything was in an environment where things were a little lacking or tingling, but I always had dreams. Opinions of CG came out from various people. There were various things such as being unable to go to the location where the real ones went. Anyway, I always flirted around saying that it was a virtual location, brought the location set into the computer, and enjoyed the feeling of weightlessness and the pure visuals of light and shadow in it. I was once told that I was a nerd. It's the same category as an urban legend.
Time is far away, and public opinion at that time has grown from anti-computer design to the present, beyond the times when computers must be. By the time I created the CG for this wristwatch, it was said that computers were running on dangerous objects or people. Could we imagine the world today 30 years from now? In other words, if the personal computer was an old steam locomotive, it is the same as the latest space station today. It has evolved that much. Quantum computers will come to Metaverse right there.
Produced in 1993
client: Hattori Seiko
project: ALBA magazine advertisement
cg / design: Nobuhiro Shibayama
ad: Satoru Yokokawa
cd copy: Tatsuro Sato
Produced in 1992
MDN 8/1992 in 1992
The attraction of manipulating 3D graphic software may be in the act of creating an object in an empty dark world and giving it light. Nobuhiro Shibayama, who was obsessed with this charm, brought advertising products into the 3D world, and Naoyuki Kato created a silent beauty in the 3D world. From their work, it seems that the imagination at the time of production is directly transmitted. Now, let's take a look at the back side of production that requires precision and patience.
Shooting feeling in a sterile room
Incorporate what actually exists into the 3D world
For me, who has always liked visuals that express "light and shadow" to some extent, Shade II, which is "software that creates light and shadow from scratch," is the software that I have dreamed of for many years. Taking as an example the magazine advertisement of Hattori Seiko's watch "ALBA", which was established as an advertising expression by incorporating real products into the computer world without gravity and air from recent work, 3D graphics I want to introduce the world.
(Nobuhiro Shibayama / Art Director)
Photographs are often used for the visuals of advertising expressions. Photographs are in the direction of creating advertisements using the power (presence) that "the thing certainly existed there". Of course, you can't take a picture of future events or the image you have in your head. However, I feel that 3D CG can create images of the future and the present progressive tense in my head.
3D graphics (including CG in general) have been mainly used to express fictitious objects in a fictional world. However, in the current 3D graphics, even at the level of a personal computer, it is at a stage where it is possible to realistically capture what is "not" as if it were "yes". If the mockup is complete, it may be possible to create an image of the product that will be completed.
However, even though it is real, CG at this stage has a unique texture that is clearly different from photographs. Digital texture. If this is an advertisement, it will be a merit and a weak point. However, when this texture, which is somewhat slippery, matches the product, it produces an unprecedented effect.
In this Seiko watch, the client's wish is "I want to give an electric tone to the finish, not a general photographic expression or video expression. A virtual reality taste, specifically the tone seen on the monitor. I want to put it on a magazine advertisement. " The situation was also based on the premise of 3D graphics rather than photography, "I want to float the product in a mysterious time, a mysterious space", and aimed at the effect of 3D Kurafix, so I compared it. I was able to communicate smoothly.
Let's see the actual work from here.
The request for advertisement production is made when the shooting product (final mockup) is completed. For the production, I received about 20 drawings and photography products.
As a concrete creation procedure, first, all the drawings are scanned by a scanner. Read this drawing (PICT) with "Get Template" on the modeling screen of ShadeII and trace it. Basically, it is read on a flat surface, and the thickness is added while switching the screen on the three-view drawing. As you can see, the shape model is on the wireframe.
Most of the drawings are drawn separately for each part. In addition, although each drawing is drawn at various scales, I entered it in a size that is easy to draw for the time being, and enlarged / reduced (resized) it when assembling. When enlarging / reducing, there are cases where numerical values are input by converting from the scale ratio, but in many cases, it is done according to the scale while looking at the photographed product. Gradually combine the parts and register them as a new set of parts.
Of course, I modeled only the part that can be seen on the surface, but the number of parts eventually exceeded 200 points.
Mapping data will be created at the same time as modeling. Mapping is a method for giving colors and patterns to created objects. In 3D, you don't draw a picture directly on the model. There are two main methods for this mapping. Wrapping method and projection method. The wrapping method literally wraps an object in its picture. In the projection method, a picture prepared from one of the x-axis, y-axis, and z-axis is projected. Both are colored for the first time when rendered. Not only the inclination but also the shadows are calculated and a picture is drawn on the surface of the model. The data for mapping needs to be created by PICT separately from the modeling data.
The mapping here is the dial, the ring-shaped scale, the floating sphere, and the background. The dial part is created as a picture and projected and mapped. Character parts such as logos were printed in clear print, scanned with a scanner, and then traced with Illustrator. The scale of the dial was also created accurately with Illustrator.
The scales and numbers engraved on the 45 degree slope do not look like they are simply projected and mapped. It will be stretched vertically from the actual characters. Therefore, we calculated the size of the top and bottom on a slope of 45 degrees and prepared the mapping data with the characters multiplied by the flat body.
No mapping is required for homogeneous models with no patterns. If you set the texture setting value and color for each modeling data and render it, it will be drawn as a textured object. The body and belt of the watch are textured and colored in this way. Texture settings are made in the Surface window. By default, all colors are white, so specify the color only where you need it. To express gold, BaseColor was set to black, Highlight was set to 70, Size was set to 46, Reflect was set to 20, and Metalic was set to 82, which was a brilliant yellow color. Similarly, for silver, BaseColor is black, Highlight is 56, Size is 56, Reflect is 24, and Metalic is 88, which remains white.
Once the modeling is complete, try rendering in scanline mode to get a feel for it.
The background part uses the bump mapping method. Bump mapping is a way to represent natural bumps. Here, it is created using two sheets of PICT data. First, draw a picture of uneven color. Based on that, create 256 gradation gray data. The first color unevenness picture that draws two graphics on the scale with black lines there and bump mapping are performed using this gray picture, but at this time the dark part in the gray picture is set to rise It has been done.
In bump mapping, you have to specify the light source as well as rendering, but considering that the clock will float on this background later, it is necessary to align the direction with the plateau that hits the clock. Otherwise, it will be an unnatural world.
The uneven background created in this way is actually a flat image that only looks uneven. This is used as mapping data. A three-dimensional background can be created by placing a flat plate on the background and projecting an image that looks uneven.
Preparing for rendering
Rendering is done in ray tracing mode when all the parts are ready, but at this time, it is necessary to keep the total memory size of System, application, modeling data, and mapping data within 8MB. This is because the RISC board dedicated to Shade II, which I was trying at the time of production, could only handle up to 8MB. For example, if you create 32MB of modeling data and mapping data, high-speed rendering using a RISC board will not be possible. For speedy work such as advertising, processing without a RISC board would be too time consuming and impractical. I have to obey the restrictions of RISC boards. (By the way, a 16MB RISC board is now available)
At first, the mapping data was created so huge that the software didn't work at all. The data size was too large. I removed INIT from the system folder one after another, made it a system folder containing only the system and finder, without KanjiTalk or even the clipboard, and resized the mapping data. In addition, I put together a lot of parts (organizing the browser), removed the invisible parts, and finally fixed it to a size that can be rendered on the RISC board.
There may be a method of partially rendering and synthesizing several images with Photoshop etc., but it is still more flexible to use the method of completing with one rendering for later corrections and corrections.
Rendering requires object placement, light source settings, and camera lens selection. This area is exactly the same as shooting in the studio. If you have a lot of experience in the studio, the setup will be good. Virtual camera lenses on the software are available from 9 mm to 720 mm. This time, I chose a wide-angle lens.
It's finally time to start rendering. There are two modes for rendering with ray tracing. There is a mode that renders with the actual number of pixels and a mode that renders at 1/64 the size. Actually, I decided to finish it with 5,800 x 4,696 pixels, but before that, I will render it with 1/64 size, that is, 725 x 587 pixels. This, of course, is something you should do to get a feel for the finish, but it's a good idea to measure the time it took to render with a stopwatch. This is because 64 times the time taken is a measure of the time it takes to render at actual size.
In the case of this watch, I fully mounted four ShadeII dedicated boards "New Super" on MacintoshIIfx and stepped on that it would be completed in four days, but it actually took four and a half days.
The rendered image will be PICT data. Load this into Photoshop and add some manual work to complete it. Subtle changes in shape are made, lightning is added, and the shine of the metal parts is emphasized.
I used an inkjet IRIS printer for output. The software is Photoshop. The paper is A3 size. Most of the works are output by IRIS in this size. It's not powerful enough to use for presentations without this size.
Here the client is checked. Since it is a precision equipment manufacturer, detailed checks of blueprints and pulling are included. The proofreading paper was filled with deficits. In addition to corrections to the shape, such as differences in the curve of the outer shape, there were enhancements to the glow appearing in the chronograph part (three small circles) inside the dial, and corrections to the camera angle. The demand for the shape part is particularly strict, and the limit that can be expressed by the current 3D graphics software is required. It took me two weeks to model so far, but it took another two weeks to finish the corrections I made here. What's more, it wasn't just two weeks, but two weeks including all night, which was honestly tough.
Operation time and rendering time will be a big problem to make 3D graphics at the personal computer level a "work".
It takes another three days to retouch and finish in Photoshop to make the final manuscript. If you are a cameraman, you basically have to provide the product and take responsibility only for shooting, but in order to create a 3D image, you do not have to take responsibility for the size of the needle and the shape and texture of hundreds of parts. It shouldn't be, and it's not the most workload.
The final manuscript was delivered as a 4x5 color film. This is because Macintosh 4-color film is not yet accepted by any printing shop.
Price of CG image and future development
It takes more than a month to create a 3D image.
Consider the production cost of shooting in the studio. The stylist's guarantee, the production cost of the object, the studio fee, etc. will be charged, and the price including the cameraman's shooting fee and the direction fee will be the shooting fee for the advertisement photo. It's hard to compare the case of CG with shooting, but in reality, the art director decides how to make the visual a photo, CG, or non-visual within the client's budget. I think it has been decided.
Currently, CG is still considered to be relatively expensive, but it is much cheaper than when I asked Lucasfilm Studio a long time ago. Furthermore, the division of labor of 3DCG will progress in the future. For example, a CG photographer, a lightman, and a renderer who are in charge of modeling but who are in charge of modeling, a background creator who creates a location scouting effect, and a CG photographer who integrates all of them to shoot, which plays a role like props and props. I think it will be an era when all the houses are available. If that happens, the form of work will change again, and images with new quality and power will appear, but the production costs corresponding to that will also have to be recalculated.
Projects are currently underway to capture shapes using 3D scanners, and these technologies will also present us with new forms of production.
The 3DCG of this watch was used for hanging advertisements in cars and magazine advertisements (2P, 1P). Design and block copy production are also my jobs.
Thanks to you, not only was the client happy, but the sales of the product seemed to be good, and I am happy. It seems that junior and senior high school students cut out magazine advertisements and brought them to the store to buy this watch.
The image is also used as a billboard ad, which wasn't originally planned. Because the final manuscript is film. We are ready to deal with these. I had never thought that a 3D CG image would decorate a large billboard until a few years ago, and I am deeply moved that it was produced on a Macintosh.
Currently, I am making a prototype of animation using the animation function of Shade II. Since it is modeled without any omissions, it is relatively easy to create an animation. I would like to continue trying various possibilities to see what kind of possibilities will be created in the 3D world. 1992