Ed is a 3D visualisation artist at Archi-Vista, focused on their core business of architectural 3D projects. He helps property developers get on the market early by creating a virtual reality of the interior or exterior design.
A South West creative and digital hub
Ed first heard about Yellow Dog after a conversation with Jack. He used Rebus Render Farm which didn’t support one of the pieces of software he was using so needed to find an alternative. Between them, they worked it out and Ed decided to follow up with them. The decision was made easier by the fact YellowDog are from Bristol, so close to Archi-Vista, and Ed wanted to support them to help create this South West creative and digital hub.
“Another great thing about them is their fixed price quotes as I might have eight pieces of artwork and need to give pixel dimensions of each piece. With YellowDog you know exactly what it costs two weeks before rendering even takes place. I like that you know what to expect when quoting for a project, it makes it really easy and they are flexible with paying the remaining balance when you can so is offering a really competitive, personal service.”
Delivering the goods
YellowDog provide sheer computer power to generate and render big projects at a reasonable cost. This is great for Ed as it means projects are delivered on time, even when the integral part isn’t being done in-house. He goes on to explain how supportive YellowDog have been to their clients’ needs, putting the system to the test when they render, always on hand to work through any problems and always very happy to help and provide advice.
“A lot of online or cloud render farms can be impersonal, but Jack and Gareth are very much into picking up the phone. We met at the studio, and I like that approach. It’s just as important to build this kind of relationship as getting the renders done. YellowDog always deliver.”
The pair takes on Olympia
Since August, Ed has been working on an exhibition for Robe lighting, a Czech theatrical lighting company showing their lighting products (they spot light the likes of Adele and Gaga) as well as a Pro Light and Sound exhibition in London, Frankfurt and Vegas.
The exhibitions are huge open spaces where each wall space is 15-20 metres wide. The theme this year was London’s Portobello Road, with boutique shops making it look like the quirky street itself.
The project with YellowDog was shown in Olympia, where the pair worked on producing huge theatrical drapes which were printed corner to corner with artwork and then lit up with products promoting the brand. During the exhibition, the director from scenic company Lite Structures (who do sets for tours like Rolling Stones and The Killers) was so impressed with the work that he got in touch. Ed has now just finished large format printing for the set builders, where wrap renders around as it’s 3D building, instead of a flat surface build.
As a 3D artist, Ed has taken the more creative route. He creates low res samples that he can email to the client to view, and once they’ve approved it, he can approach YellowDog to set it all up to be rendered the same as the sample but 2000 bigger.
“These days we’re right up against deadlines the more creative the project is. And especially if the client is creative too, there are often last minute changes. It can take up to 24/48 hours to build those changes in when you get it back to do post production and then through Photoshop depending on the number of files. Huge files being uploaded to DropBox to share can take 36-48 hours so a 5-6 day process in total. The biggest challenge I’ve had was a main piece of artwork not uploading with 2 hours to go!”
Ed explains that this is why it’s important to manage the client’s expectations, and then nail down the flow as you go along. Using YellowDog makes sense for animators, as there can be a lot of still images, with 25 frames per second, this means big render times.
Predictions for the industry
Talking to Ed about what the future holds for the industry, he thinks it will all be about real time rendering with AR and VR GPU rendering by graphics card rather than by processor (so rendering at 30 frames per second in real time)
“The more computing power we have will move the rendering industry forward so it becomes massive. VR headsets will come into it too although the average person with a home computer isn’t going to have enough power to run it so that’s way off but I think the gap will be shortened in next few years. “
And finally, we asked Ed what is it that he runs on to get him through to deadline, and we love his response! For him, the sheer desire and passion for 3D keeps him going… “I eat and sleep it!” It’s a lifestyle choice he has chosen and lives by, using it to achieve his goals.