PROJECT

911 - A Love Letter

PROJECT

911 - A Love Letter

PROJECT

911 - A Love Letter

PROJECT

911 - A Love Letter

PROJECT

911 - A Love Letter

CATEGORY

+ Creative Direction
+ 3D Motion Design
+ Advertising Design

CATEGORY

+ Creative Direction
+ 3D Motion Design
+ Advertising Design

CATEGORY

+ Creative Direction
+ 3D Motion Design
+ Advertising Design

CATEGORY

+ Creative Direction
+ 3D Motion Design
+ Advertising Design

CATEGORY

+ Creative Direction
+ 3D Motion Design
+ Advertising Design

OVERVIEW

A love affair that began when I was 9, my first diecast set that included a dark metallic silver 911 turbo. Without knowing why, I just knew I had experienced love. I would spend countless hours studying it's every detail, while imagining it race under distant forest paths, across ancient dunes and through bustling metropolitan streets.

30 years on, the affection still remains, now expressed as a digital love letter to not only the latest 992 GT3, but to that carefree childhood which ignited so many creative adventures.

OVERVIEW

A love affair that began when I was 9, my first diecast set that included a dark metallic silver 911 turbo. Without knowing why, I just knew I had experienced love. I would spend countless hours studying it's every detail, while imagining it race under distanct forrest paths, across ancient dunes and through bustling metropolitan streets.

30 years on, the affection still remains, now expressed as a digital love letter to not only the latest 992 GT3, but to that carefree childhood which ignited so many creative adventures.

OVERVIEW

A love affair that began when I was 9, my first diecast set that included a dark metallic silver 911 turbo. Without knowing why, I just knew I had experienced love. I would spend countless hours studying it's every detail, while imagining it race under distanct forrest paths, across ancient dunes and through bustling metropolitan streets.

30 years on, the affection still remains, now expressed as a digital love letter to not only the latest 992 GT3, but to that carefree childhood which ignited so many creative adventures.

OVERVIEW

A love affair that began when I was 9, my first diecast set that included a dark metallic silver 911 turbo. Without knowing why, I just knew I had experienced love. I would spend countless hours studying it's every detail, while imagining it race under distanct forrest paths, across ancient dunes and through bustling metropolitan streets.

30 years on, the affection still remains, now expressed as a digital love letter to not only the latest 992 GT3, but to that carefree childhood which ignited so many creative adventures.

OVERVIEW

A love affair that began when I was 9, my first diecast set that included a dark metallic silver 911 turbo. Without knowing why, I just knew I had experienced love. I would spend countless hours studying it's every detail, while imagining it race under distanct forrest paths, across ancient dunes and through bustling metropolitan streets.

30 years on, the affection still remains, now expressed as a digital love letter to not only the latest 992 GT3, but to that carefree childhood which ignited so many creative adventures.

From memory to magic

From memory to magic

From memory to magic

From memory to magic

From memory to magic

I wanted to pay homage to that little diecast car using the '22 992 GT3. Unifying the visual aesthetic, I started by matching key trim elements to the silver flecked paint. Next up was finding a set of wide-track wheels that fit snug while allowing the 992 to have a grounded stance. Finally in the vein of reduction, removing and sealing the GT wing to allow that clean Porsche silhouette to shine through. And yes, front plates are omitted intentionally for maximum cleanliness.

I wanted to pay homage to that little diecast car using the '22 992 GT3. Unifying the visual aesthetic, I started by matching key trim elements to the silver flecked paint. Next up was finding a set of wide-track wheels that fit snug while allowing the 992 to have a grounded stance.

Finally in the vein of reduction, removing and sealing the GT wing to allow that clean Porsche silhouette to shine through. And yes, front plates are omitted intentionally for maximum cleanliness.

I wanted to pay homage to that little diecast car using the '22 992 GT3. Unifying the visual aesthetic, I started by matching key trim elements to the silver flecked paint. Next up was finding a set of wide-track wheels that fit snug while allowing the 992 to have a grounded stance.

Finally in the vein of reduction, removing and sealing the GT wing to allow that clean Porsche silhouette to shine through. And yes, front plates are omitted intentionally for maximum cleanliness.

I wanted to pay homage to that little diecast car using the '22 992 GT3. Unifying the visual aesthetic, I started by matching key trim elements to the silver flecked paint. Next up was finding a set of wide-track wheels that fit snug while allowing the 992 to have a grounded stance.

Finally in the vein of reduction, removing and sealing the GT wing to allow that clean Porsche silhouette to shine through. And yes, front plates are omitted intentionally for maximum cleanliness.

I wanted to pay homage to that little diecast car using the '22 992 GT3. Unifying the visual aesthetic, I started by matching key trim elements to the silver flecked paint. Next up was finding a set of wide-track wheels that fit snug while allowing the 992 to have a grounded stance.

Finally in the vein of reduction, removing and sealing the GT wing to allow that clean Porsche silhouette to shine through. And yes, front plates are omitted intentionally for maximum cleanliness.

Is that a hangar?

Is that a hangar?

Is that a hangar?

Is that a hangar?

Is that a hangar?

At first, it was just a way to create some elegant architecture that would encourage clean lines to focus the eye towards and through the 992. However the more I toyed with the natural lighting within the space, the more I started to remember themes from my childhood. Flights of fantasy powered by endless prosperity, jet setting and adventures to exotic destinations. The hangar quickly established itself and evolved into a sophisticated 3rd space that housed treasures and could function as a gateway to undiscovered adventures.

At first, it was just a way to create some elegant architecture that would encourage clean lines to focus the eye towards and through the 992. However the more I toyed with the natural lighting within the space, the more I started to remember themes from my childhood.

Flights of fantasy powered by endless prosperity, jetsetting and adventures to exotic destinations. The hangar quickly established itself and evolved into a sophisticated 3rd space that housed treasures and could function as a gateway to undiscovered adventures.

At first, it was just a way to create some elegant architecture that would encourage clean lines to focus the eye towards and through the 992. However the more I toyed with the natural lighting within the space, the more I started to remember themes from my childhood.

Flights of fantasy powered by endless prosperity, jetsetting and adventures to exotic destinations. The hangar quickly established itself and evolved into a sophisticated 3rd space that housed treasures and could function as a gateway to undiscovered adventures.

At first, it was just a way to create some elegant architecture that would encourage clean lines to focus the eye towards and through the 992. However the more I toyed with the natural lighting within the space, the more I started to remember themes from my childhood.

Flights of fantasy powered by endless prosperity, jetsetting and adventures to exotic destinations. The hangar quickly established itself and evolved into a sophisticated 3rd space that housed treasures and could function as a gateway to undiscovered adventures.

At first, it was just a way to create some elegant architecture that would encourage clean lines to focus the eye towards and through the 992. However the more I toyed with the natural lighting within the space, the more I started to remember themes from my childhood.

Flights of fantasy powered by endless prosperity, jetsetting and adventures to exotic destinations. The hangar quickly established itself and evolved into a sophisticated 3rd space that housed treasures and could function as a gateway to undiscovered adventures.

How to train your photons

How to train your photons

How to train your photons

How to train your photons

How to train your photons

The hangars interior design was no accident - each feature was thoughtfully sculpted to allow the perfect blend of natural and artificial lighting to coexist harmoniously. The 992 itself is strategically sandwiched between strong directional lighting from both the large skylight and ajar hangar doors. They not only create a dramatic natural lightbox on the walls and floor, but also project ample diffused illumination within the immediacy of the 992. Adding to all that delicious detail generated by bounced sunlight, overhead geometry light strips give the interior space and 992 a little extra sophistication and character.

Using the above approach I was able to create a photo-real and accurate lightscape without the need of any specific spotlights or softboxes. This paralleled perfectly my childhood play where cardboard sheets and books would be used to bounce sunbeams around the bedroom to exactly where my toys would find their adventure.

The hangars interior design was no accident - each feature was thoughtfully sculpted to allow the perfect blend of natural and artificial lighting to coexist harmoniously. The 992 itself is strategically sandwiched between strong directional lighting from both the large skylight and ajar hangar doors. They not only create a dramatic natural lightbox on the walls and floor, but also project ample diffused illumination within the immediacy of the 992. Adding to all that delicious detail generated by bounced sunlight, overhead geometry light strips give the interior space and 992 a little extra sophistication and character.

Using the above approach I was able to create a photo-real and accurate lightscape without the need of any specific spotlights or softboxes. This paralleled perfectly my childhood play where cardboard sheets and books would be used to bounce sunbeams around the bedroom to exactly where my toys would find their adventure.

The hangars interior design was no accident - each feature was thoughtfully sculpted to allow the perfect blend of natural and artificial lighting to coexist harmoniously. The 992 itself is strategically sandwiched between strong directional lighting from both the large skylight and ajar hangar doors. They not only create a dramatic natural lightbox on the walls and floor, but also project ample diffused illumination within the immediacy of the 992. Adding to all that delicious detail generated by bounced sunlight, overhead geometry light strips give the interior space and 992 a little extra sophistication and character.

Using the above approach I was able to create a photo-real and accurate lightscape without the need of any specific spotlights or softboxes. This paralleled perfectly my childhood play where cardboard sheets and books would be used to bounce sunbeams around the bedroom to exactly where my toys would find their adventure.

The hangars interior design was no accident - each feature was thoughtfully sculpted to allow the perfect blend of natural and artificial lighting to coexist harmoniously. The 992 itself is strategically sandwiched between strong directional lighting from both the large skylight and ajar hangar doors. They not only create a dramatic natural lightbox on the walls and floor, but also project ample diffused illumination within the immediacy of the 992. Adding to all that delicious detail generated by bounced sunlight, overhead geometry light strips give the interior space and 992 a little extra sophistication and character.

Using the above approach I was able to create a photo-real and accurate lightscape without the need of any specific spotlights or softboxes. This paralleled perfectly my childhood play where cardboard sheets and books would be used to bounce sunbeams around the bedroom to exactly where my toys would find their adventure.

The hangars interior design was no accident - each feature was thoughtfully sculpted to allow the perfect blend of natural and artificial lighting to coexist harmoniously. The 992 itself is strategically sandwiched between strong directional lighting from both the large skylight and ajar hangar doors. They not only create a dramatic natural lightbox on the walls and floor, but also project ample diffused illumination within the immediacy of the 992. Adding to all that delicious detail generated by bounced sunlight, overhead geometry light strips give the interior space and 992 a little extra sophistication and character.

Using the above approach I was able to create a photo-real and accurate lightscape without the need of any specific spotlights or softboxes. This paralleled perfectly my childhood play where cardboard sheets and books would be used to bounce sunbeams around the bedroom to exactly where my toys would find their adventure.

"I wanted the lighting to feel soft and nostalgic, reminiscent of early morning play, guiding sunbeams around my bedroom to illuminate where adventures would take flight."

"I wanted the lighting to feel soft and nostalgic, reminiscent of early morning play, guiding sunbeams around my bedroom to illuminate where adventures would take flight."

"I wanted the lighting to feel soft and nostalgic, reminiscent of early morning play, guiding sunbeams around my bedroom to illuminate where adventures would take flight."

"I wanted the lighting to feel soft and nostalgic, reminiscent of early morning play, guiding sunbeams around my bedroom to illuminate where adventures would take flight."

"I wanted the lighting to feel soft and nostalgic, reminiscent of early morning play, guiding sunbeams around my bedroom to illuminate where adventures would take flight."

Seeking talent

Seeking talent

Seeking talent

Seeking talent

Seeking talented, talent.

When I started this project, I had no intention of including people. However during the composition design phase, I kept feeling that something was missing. The absence of a human element would also not reflect accurately my childhood play, as all of it was shared with my younger sister.

As I started to include 3D scanned figures into the wider compositions, the space and overall aesthetic just felt right. Unfortunately as I was using free scan assets, the final renders were lacking a lot of detail in the hair, skin and clothing textures. Realising this might detract the quality of the final results, I opted to try something that till now, I have been a little hesitant to experiment with.

Keen minds will have decrypted the answer, but keep reading for a thorough breakdown below. 

When I started this project, I had no intention of including people. However during the composition design phase, I kept feeling that something was missing. The absense of a human element would also not reflect accurately my childhood play, as all of it was shared with my younger sister.

As I started to include 3D scanned figures into the wider compositions, the space and overall aesthetic just felt right. Unfortunately as I was using free scan assets, the final renders were lacking a lot of detail in the hair, skin and clothing textures. Realising this might detract the quality of the final results, I opted to try something that till now, I have been a little hestitant to experiment with.

Keen minds will have decrypted the answer, but keep reading for a thorough breakdown below. 

When I started this project, I had no intention of including people. However during the composition design phase, I kept feeling that something was missing. The absense of a human element would also not reflect accurately my childhood play, as all of it was shared with my younger sister.

As I started to include 3D scanned figures into the wider compositions, the space and overall aesthetic just felt right. Unfortunately as I was using free scan assets, the final renders were lacking a lot of detail in the hair, skin and clothing textures. Realising this might detract the quality of the final results, I opted to try something that till now, I have been a little hestitant to experiment with.

Keen minds will have decrypted the answer, but keep reading for a thorough breakdown below. 

When I started this project, I had no intention of including people. However during the composition design phase, I kept feeling that something was missing. The absense of a human element would also not reflect accurately my childhood play, as all of it was shared with my younger sister.

As I started to include 3D scanned figures into the wider compositions, the space and overall aesthetic just felt right. Unfortunately as I was using free scan assets, the final renders were lacking a lot of detail in the hair, skin and clothing textures. Realising this might detract the quality of the final results, I opted to try something that till now, I have been a little hestitant to experiment with.

Keen minds will have decrypted the answer, but keep reading for a thorough breakdown below. 

When I started this project, I had no intention of including people. However during the composition design phase, I kept feeling that something was missing. The absense of a human element would also not reflect accurately my childhood play, as all of it was shared with my younger sister.

As I started to include 3D scanned figures into the wider compositions, the space and overall aesthetic just felt right. Unfortunately as I was using free scan assets, the final renders were lacking a lot of detail in the hair, skin and clothing textures. Realising this might detract the quality of the final results, I opted to try something that till now, I have been a little hestitant to experiment with.

Keen minds will have decrypted the answer, but keep reading for a thorough breakdown below. 

The times, they are a-changin'

The times, they are a-changin'

The times, they are a-changin'

The times, they are a-changin'

The times, they are a-changin'

As I eluded to earlier, during the final stages of grading and retouching, I reluctantly opted to trial the new generative fill toolset in Photoshop 2024. Much to my surprise, it took almost half a day for me to get the results I wanted across 4 of the compositions with prompting, review and integration. It occured to me that this feels like the natural evolution of stock sourcing and implementation.

Each prompted result proved to be between 80-90% there, requiring at most some subtle cloning and patching to integrate seamlessly. As the human figures were a supplementary aspect to my compositions, I felt as thought this was an acceptable use of generative tools for now. This is of course a much larger conversation about ai tools as just that, tools that still require some if not significant human input and experience to master.

With each of the below comparisons, only faces and the blazer were changed/added. In attempting this, I learnt that achieving the same results are near impossible with the current toolset. This definitely left me with some questionable casting results, but as this was R&D, I did not mind the diversity in virtual talent. With future productions, I definitely want to push my knowledge and experimentation in this area further.

As I eluded to earlier, during the final stages of grading and retouching, I reluctantly opted to trial the new generative fill toolset in Photoshop 2024. Much to my surprise, it took almost half a day for me to get the results I wanted across 4 of the compositions with prompting, review and integration. It occured to me that this feels like the natural evolution of stock sourcing and implementation.

Each prompted result proved to be between 80-90% there, requiring at most some subtle cloning and patching to integrate seamlessly. As the human figures were a supplementary aspect to my compositions, I felt as thought this was an acceptable use of generative tools for now. This is of course a much larger converstaion about AI tools as just that, tools that still require some if not significant human input and experience to master.

With each of the below comparisons, only faces and the blazer were changed/added. In attempting this, I learnt that achieving the same results are near impossible with the current toolset. This definitely left me with some questionable casting results, but as this was R&D, I did not mind the diversity in virtual talent. With future productions, I definitely want to push my knowledge and experimentation in this area further.

As I eluded to earlier, during the final stages of grading and retouching, I reluctantly opted to trial the new generative fill toolset in Photoshop 2024. Much to my surprise, it took almost half a day for me to get the results I wanted across 4 of the compositions with prompting, review and integration. It occured to me that this feels like the natural evolution of stock sourcing and implementation.

Each prompted result proved to be between 80-90% there, requiring at most some subtle cloning and patching to integrate seamlessly. As the human figures were a supplementary aspect to my compositions, I felt as thought this was an acceptable use of generative tools for now. This is of course a much larger converstaion about AI tools as just that, tools that still require some if not significant human input and experience to master.

With each of the below comparisons, only faces and the blazer were changed/added. In attempting this, I learnt that achieving the same results are near impossible with the current toolset. This definitely left me with some questionable casting results, but as this was R&D, I did not mind the diversity in virtual talent. With future productions, I definitely want to push my knowledge and experimentation in this area further.

As I eluded to earlier, during the final stages of grading and retouching, I reluctantly opted to trial the new generative fill toolset in Photoshop 2024. Much to my surprise, it took almost half a day for me to get the results I wanted across 4 of the compositions with prompting, review and integration. It occured to me that this feels like the natural evolution of stock sourcing and implementation.

Each prompted result proved to be between 80-90% there, requiring at most some subtle cloning and patching to integrate seamlessly. As the human figures were a supplementary aspect to my compositions, I felt as thought this was an acceptable use of generative tools for now. This is of course a much larger converstaion about AI tools as just that, tools that still require some if not significant human input and experience to master.

With each of the below comparisons, only faces and the blazer were changed/added. In attempting this, I learnt that achieving the same results are near impossible with the current toolset. This definitely left me with some questionable casting results, but as this was R&D, I did not mind the diversity in virtual talent. With future productions, I definitely want to push my knowledge and experimentation in this area further.

As I eluded to earlier, during the final stages of grading and retouching, I reluctantly opted to trial the new generative fill toolset in Photoshop 2024. Much to my surprise, it took almost half a day for me to get the results I wanted across 4 of the compositions with prompting, review and integration. It occured to me that this feels like the natural evolution of stock sourcing and implementation.

Each prompted result proved to be between 80-90% there, requiring at most some subtle cloning and patching to integrate seamlessly. As the human figures were a supplementary aspect to my compositions, I felt as thought this was an acceptable use of generative tools for now. This is of course a much larger converstaion about AI tools as just that, tools that still require some if not significant human input and experience to master.

With each of the below comparisons, only faces and the blazer were changed/added. In attempting this, I learnt that achieving the same results are near impossible with the current toolset. This definitely left me with some questionable casting results, but as this was R&D, I did not mind the diversity in virtual talent. With future productions, I definitely want to push my knowledge and experimentation in this area further.

Base Render   vs   Grade / Retouched Composition

Base Render   vs   Grade / Retouched Composition

Base Render   vs   Grade / Retouched Composition

Base Render   vs   Grade / Retouched Composition

Base Render   vs   Grade / Retouched Composition

Viewport   vs   Graded Render

Viewport vs Graded Render

Viewport vs Graded Render

Viewport vs Graded Render

Viewport vs Graded Render

Info Pass Comparison

Info Pass Comparison

Info Pass Comparison

Info Pass Comparison

Info Pass Comparison

If you made it this far, I really appreciate you taking the time to check out this project. If you'd like to collaborate on an idea or campaign, I would love to hear from you. Hit the scrolling link below and let's chat soon.

If you made it this far, I really appreciate you taking the time to check out this project. If you'd like to collaborate on an idea or campaign, I would love to hear from you. Hit the scrolling link below and let's chat soon.

If you made it this far, I really appreciate you taking the time to check out this project.
If you'd like to collaborate on an idea or campaign, I would love to hear from you.
Hit the scrolling link below and let's chat soon.

If you made it this far, I really appreciate you taking the time to check out this project. If you'd like to collaborate on an idea or campaign, I would love to hear from you. Hit the scrolling link below and let's chat soon.

If you made it this far, I really appreciate you taking the time to check out this project. If you'd like to collaborate on an idea or campaign, I would love to hear from you. Hit the scrolling link below and let's chat soon.