The brief was to extend the normal/traditional wine brand vocabulary both in terms of image content as well as color palette. The details may not be apparent on the above – enjoy a larger version here.
The product image above is also exclusively a CGI rendering. Hopefully it impresses with a degree of style and atmosphere one expects from the best photographic studio capture. For a technical observer, it is impressive enough to achieved a a base ‘photographic look’ with CGI, although the viewing public cares only how good an image looks – not at all how it was produced.
Whereas, making technically perfect wine bottle photos is far from the straightforward process many expect it to be, creating the same thing with CGI has it’s challenges too.
With photography, apart from having to compensate for physical imperfections on real production wine bottles, it is often necessary to expose wine product images multiple times, with lighting suited to different parts of the bottle – and then to laboriously combine them later in Photoshop. For example – lighting which makes the label look good will be terrible for the bottle.
With CGI on the other hand – the tendency is to construct too perfect a wire frame model and to texture it such that the final image lacks many of the subtle cues which give it a tactile presence. One needs to work with the right level of imperfection to make the object feel real.
CGI may be coaxed to produce many of the lighting and textural subtleties which one finds in real life but mostly it is at the cost of massive computation. Simply turning up every possible quality option in the software is not an option because the image would never complete. Extensive experimentation was needed to find which quality parameters actually make a difference and which don’t.
CGI permits one to cheat in some ways which are physically impossible with real life photography. While this is an advantage it also requires extensive testing to find out what ‘cheats’ actually are effective in producing a better image.