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my department is we are very early in
the process we help the developers
create images and animations and
illustrations early in the in the
product development process so we are
our work rarely meets the customer it's
about getting them further in their
process in a short amount of time so we
have helped them in their in their
process that's what we do our day-to-day
job is like we receive mostly SolidWorks
files from the developers we take them
into Max and convert them and perhaps
edit the mesh a bit apply materials from
our model Bank or we create materials
from samples and makes a lot of images
for them to look at with different
materials and different geometry so that
they can make decisions from these
images if we need a photographer to look
at our images what we can do it better
we have them here if we have a need a
new script we have technical developers
here that can help us with that so
there's a lot of competence and that's
that's really nice to have since you
will develop yourself and talking to
them so it's that's really good
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we're at the very start of the pipeline
so when the model is ordered by iOS an
article model the 3d coordinator and
there's a look at it the article and see
which materials are needed for this and
if we haven't made them already they
order new materials from us then we make
we make them oh the material pipeline it
goes like this we have a sample a
product that needs material so we study
it and see how it's made
if it's a fabric how many threads how
it's how the weave looks like and and
then we need to have the diffuse color
it needs to be perfectly correct so we
we print out and compare to the sample
and sometimes we we need to take a
photograph we have a black studio
downstairs so and we are trying to
create materials so we can use the
textures for other articles we are
creating all the different maps in
Photoshop and then we put everything
together in 3ds Max and we using v-ray
to to render and to all the nodes and
the values and we need to look for the
the reflections and the gloss and
everything needs to be really accurate
together the realistic look now I'm
working on a quilt cover it's mainly the
same color everywhere but when you look
at it it seems to be striped so it's
striped but it's the same color because
there's the difference between the
stripes
it's another weave and the effects is a
bit different I need to to mix a lot in
in the array in the shading to get the
result because it's all about the refer
Jennsen but lost interpersonal and so
that it's funny I get a brief from an
image producer and the image producer
has to contact with the people on Iowa's
I care Sweden so I get a brief with
hopefully a drawing and an article
number and what should I do in this
image and what kind of image is it is it
main product picture or quality picture
or is it a functional picture we have
three different pictures so yeah when I
know what you do I I start to do my job
and sometimes if it's a bigger room set
or yeah it's just we need propping for
example you know products that aren't
IKEA products it could be plants or
other things then I need an entire
interior designer and sometimes I can be
more creative and and then when I'm done
with my image I send it to a retoucher
and that's the final part in the chain
people often don't see the difference
between our photos and our 3d images and
that's the best way to feedback we can
get so
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I've been after for three years after
that I was a researcher and then I moved
over to as a trade artist so for me that
star artists every a retoucher didn't
really have that's really background I
could create good pictures pretty early
yes because I had image background but
not a technical background but it wasn't
it didn't stop me so I think we were
really helped with that I mean my
responsibility is the lighting and
Composition so basically what the
photographer has in the studio and
besides that I'm the extended arm for
the interior designers as well so we
decorate the scene and set alight and
set the cameras and of course in
collaboration with interior design and
art director I took the opportunity and
went down to the studio as soon as I
could
so I haven't worked in the studio as a
photographer as instant as well so I
kept doing it so I've almost I maybe had
two years of in the studio as
photographer in between working as a 3d
artist and so and then working with both
3d retouch and photography everything
fits together I mean what I learn in the
studio it makes me a better 3d artist
and what I learn in 3d it makes me
better retoucher so I think working with
all those parts I really made me grow
not only in one profession but in all of
them
I think is a very nice thing is that we
internally when we talk images we we are
very passionate and we try to make them
look really really really good from a
technical standpoint if I would have
seen the images we do today five years
ago I would never think that whatever
possible so I think we have a in many
images have will have an image quality
that I haven't seen anywhere else so I'm
really proud of the the whole team the
artists and everyone all the way the
pipeline to make this happen
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