Practice 1: Developing Skills

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Trompe l'oeil 4 : Reflection and Evaluation

This workflow made it clear to me that trompe l’oeil is primarily about precision and consistency rather than complexity. The realism of the final image depends on whether perspective, scale, and lighting are matched convincingly, even when the 3D objects themselves are simple. The most challenging step was camera matching, because small perspective errors become obvious once an object is placed against real surfaces. Creating and using an HDRI also changed how I think about lighting, because it allowed my 3D objects to respond to real-world illumination rather than an artificial studio setup.

If I were to improve this project further, I would refine the contact shadows and add subtle imperfections such as slight surface roughness variations, micro-scratches, or dust, because real objects rarely appear perfectly clean. I would also consider a more detailed colour-matching pass in compositing to ensure the 3D objects share the same black levels and highlight roll-off as the photograph. Overall, this assignment helped me understand that trompe l’oeil is achieved through careful integration choices—camera, light, and material response—working together to support the illusion.

Bibilography:

Blender Foundation (2024) Blender Manual: Cameras, Rendering, and Compositing. https://docs.blender.org/manual/en/latest/

Add 3d Objects to Photos with Blender!. https://youtu.be/Cf8Ma5hy9hU?si=CGQyPsf9bRgTy2_D

Okun, J.A. and Zwerman, S. (eds.) (2020) The VES Handbook of Visual Effects: Industry Standard VFX Practices and Procedures.

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Trompe l'oeil 3 : Lighting and Rendering

Lighting the Scene with HDRI and Simple Additions :

Once the projection and object placement were stable, I applied the HDRI to the World shader in Blender to recreate the room lighting. I rotated the HDRI until the light direction matched the shadows and highlights visible in my reference photo. To support the HDRI, I used simple additional lighting only if needed, such as a subtle area light to replicate a desk lamp or monitor glow, but I was careful not to over-light the objects because that would make them stand out unnaturally.

During this stage, I paid close attention to reflections and shadow softness. A clock and pencil are objects that reveal lighting problems easily: the clock surface shows reflection behaviour clearly, and the pencil’s shadow and edge highlights can quickly expose mismatched light direction. The goal was not dramatic lighting, but consistency—making the inserted objects inherit the same visual logic as the photographed environment.

Rendering the Final Image :

For the final render, I used Blender’s render settings to produce a clean still image while preserving enough detail for the composite to remain convincing. I ensured that the render resolution matched the reference image so that the 3D elements did not appear sharper or softer than the background. I also checked that colour management stayed consistent, because differences in contrast or gamma between the render and the photo can reveal the composite immediately. After rendering, I evaluated the image at full resolution rather than only in the viewport, since artefacts and mismatches are easier to spot when viewed at the final output size.

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Trompe l'oeil 2 : Process

Camera Matching Using fSpy :

With the photo and HDRI prepared, I moved to camera matching using fSpy. I imported the PC setup image into fSpy and aligned the perspective lines to match the geometry visible in the photograph. I focused on long straight edges such as the desk surface, the monitor frame, and any wall or shelf lines that helped define the vanishing points. Once I was satisfied, I exported the camera data and imported it into Blender, which gave me a camera that matches the photograph’s perspective.

This step was one of the most important parts of the workflow because if the camera match is even slightly incorrect, the 3D clock and pencil will appear to float or sit at the wrong angle, immediately breaking the illusion. After importing into Blender, I validated the match by placing a simple cube and plane into the scene to see whether the geometry aligned with the desk and other surfaces in the photo. This helped me confirm whether my scale and horizon line felt correct before I committed to placing the final objects.

Camera Projection Setup with a Ground Plane:

After confirming the camera match, I created a plane to represent the desk surface and used camera projection to help anchor the 3D objects into the photograph. I projected the photo onto simple geometry so that Blender would display the background plate from the correct perspective. This approach made it easier to judge contact points, scale, and positioning because I could see the 3D objects against the photographed surface in real time.

At this point, I focused on making sure the clock and pencil had believable contact with the surface. I adjusted their placement so they sat naturally on the desk plane, and I refined their rotation so they followed the same perspective cues as the rest of the scene. This stage was less about creating perfect assets and more about ensuring that the objects felt physically grounded in the image.

Adding the 3D Clock and Pencil into the Scene :

After setting up the camera match and camera projection, I moved on to adding the 3D clock and pencil into the scene. I either modelled these objects myself or used simple existing 3D assets that I adjusted to suit the scale and style of the photograph. Before focusing on materials, I concentrated on placement. Using the fSpy-matched camera as my active camera, I positioned the clock and pencil directly on the projected desk plane so that they aligned naturally with the perspective of the PC setup image. I carefully adjusted their scale by comparing them to familiar real-world objects already present in the photo, such as the keyboard, monitor stand, or desk edges. This helped ensure the objects did not appear oversized or unrealistically small.

Once the basic placement felt correct, I refined the rotation of each object so they followed the same visual logic as the photographed environment. The clock was oriented so its face was readable but still believable within the desk layout, while the pencil was rotated slightly to avoid looking perfectly aligned or staged. I learned during this stage that perfect alignment often looks artificial, so introducing small, natural-looking angles helped the objects feel more casually placed. I also checked that the objects intersected the plane correctly, making sure there were no visible gaps or floating effects at the contact points.

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Assignment 3 : Trompe l’oeil 1 : Planning

In this assignment I plan to use a reference image of my PC setup and create a trompe l’oeil effect by integrating two 3D objects into the scene: a 3D clock and a 3D pencil. My aim is to make the final image read as a single believable photograph, where the viewer accepts the inserted 3D objects as if they were physically present on my desk. To achieve this illusion, I focused on matching the camera perspective, lighting, and colour response of the original photo, using HDRI capture for environment lighting and fSpy for camera matching before placing and rendering the objects in Blender.

Capturing the Reference Image (My PC Setup):

I began by taking a clean reference photo of my PC setup from a stable viewpoint. I was careful not to change the camera angle halfway through, because trompe l’oeil depends on a fixed perspective. I also made sure the image contained clear architectural lines—such as desk edges, monitor edges, or wall corners because these straight lines become essential when solving camera perspective later in fSpy.

Before moving into Blender, I checked the photo for exposure and focus, since a soft or noisy image can make the final composite less convincing even if the 3D work is accurate.

Creating an HDRI of My Room Using HDR Eye :

After capturing the reference image, I created an HDRI of my room to replicate the same lighting conditions inside Blender. I used HDR Eye to capture multiple exposures of the environment from a single point, aiming to record highlight and shadow detail that a normal photo cannot fully hold. What I learned immediately is that HDRI creation is not only about producing a bright environment map, but about capturing the full dynamic range of the room so that reflections and light falloff behave naturally on the inserted objects.

During this stage, I paid attention to keeping the camera position consistent while capturing the exposures, because movement between shots can cause stitching errors or ghosting. Once the HDRI was generated, I checked it for problems such as harsh seams, uneven brightness, or colour shifts, because those defects can transfer directly into the 3D object shading. Even though this step took time, it felt like a strong investment, because realistic lighting is one of the most critical elements in trompe l’oeil work, and HDRI provides an efficient way to reproduce real-world light behaviour.

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Memory Palace 3 :Evaluation and Reflection on Learning

Reflecting on this project, the most important lesson I learned was knowing when to change direction. My initial e-waste concept was not unsuccessful because it was a bad idea, but because I lacked a clear visual strategy to support it. Choosing a more structured topic allowed me to focus on execution and communication. I also learned that stylised visuals like holograms require just as much technical discipline as photoreal work. Small adjustments in glow, contrast, or layout can quickly shift an image from professional to amateur. The process of testing, failing, and refining helped me become more aware of how design systems function in practice.

If I were to develop this project further, I would strengthen the credibility of the data by clearly citing sources within the infographic itself. I would also like to enhance the hologram effect through subtle animation, such as scan lines or flicker, to give the interface more life while maintaining readability. Overall, this task helped me connect 3D design with visual communication, showing me that effective digital imagery is not only about aesthetics, but about clarity, intention, and structured thinking.

Bibliography :

Hologram Texture : https://youtu.be/_LV5kPVtlsg?si=7uuJuD-WISKXRAmQ

Blender Foundation (2024) Blender Manual: Materials, Rendering and Compositing. https://docs.blender.org/manual/en/latest/

Cairo, A. (2019) How Charts Lie: Getting Smarter about Visual Information. New York

Few, S. (2012) Show Me the Numbers: Designing Tables and Graphs to Enlighten.

Okun, J.A. and Zwerman, S. (eds.) (2020) The VES Handbook of Visual Effects: Industry Standard VFX Practices and Procedures. 2nd edn.

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Memory Palace 2 : Researching Data for the Memory Palace

With the visual style established, I turned my attention to the data itself. I researched average consumption values for different vehicle types and gathered information on fuel and electricity prices across selected years. While doing this, I realised how easy it is for an infographic to become cluttered with numbers. To avoid overwhelming the viewer, I made a conscious decision to simplify the data. Instead of including exhaustive statistics, I focused on key comparisons such as monthly versus yearly consumption and broad price trends over time. This shift helped me understand that infographic design is not about displaying all available information, but about selecting and structuring data so that the main message is immediately clear. The data became a supporting element rather than the focal point, working in harmony with the visual design.

Rendering and Compositing the Hologram Effect :

For the final stage, I focused on rendering and compositing to enhance the hologram aesthetic. I kept the environment intentionally dark so that the emissive elements became the primary light source. Using Blender’s compositor, I added glow and bloom effects to soften the edges and simulate light bleed. My initial attempts were overly strong, which made the image look blurry and reduced clarity. After adjusting the intensity and falloff of the glow, I found a balance where the hologram felt luminous without losing detail.

#render1

Once I was satisfied with the result, I reused the same layout and material system to create additional versions for other vehicle types, changing only the data and icons. This repetition helped me understand how professional infographic systems rely on consistency rather than reinventing the design for each variation.

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Assignment 4 : Memory Palace 1

Planning and Making a Hologram-Style Infographic in Blender :

When I first started planning this Memory Palace task, my initial idea was to create 3D infographics about e-waste. I liked that topic because it felt relevant and serious, but once I began sketching what the visuals might look like, I realised I was struggling to make the story clear in a single image. I could imagine the problem, but I could not quickly translate it into a visual layout that an audience would understand at a glance. Instead of forcing an idea that I wasn’t confident about, I decided to change direction and focus on something I could structure more clearly: comparing how different car types consume resources, including petrol, diesel, electric, and gas. At the same time, I wanted the presentation to feel futuristic rather than like a normal chart, so I chose a hologram interface style as the visual language, similar to medical HUD infographics and sci-fi dashboards. The reference I used helped me understand the key ingredients of that style, especially the glowing lines, clean typography, and the way information is organised around a central subject.

#reference

Modelling the Car: Choosing Low-Poly :

After settling on the concept, I moved into modelling the car asset in Blender. Instead of aiming for a highly detailed, photoreal vehicle, I intentionally chose a low-poly approach. Initially, this felt like a compromise, as I worried it might reduce visual quality. However, as I progressed, I realised this choice actually supported the hologram aesthetic. The simplified geometry allowed the form to read clearly as a technical scan rather than a physical object. I began by blocking out the main body shape using basic primitives, then refined the silhouette through simple extrusions and loop cuts. I paid close attention to proportions and recognisable features, such as the roofline and wheel placement, because these elements help the object remain legible even with minimal detail. Keeping the topology simple also made it easier to duplicate and adapt the model later when creating different versions for petrol, diesel, electric, and CNG vehicles.

Hologram texture in Shader editor :

Once the model was complete, I focused on creating the hologram material, which became a key learning stage for me. I started experimenting with emissive shaders in Blender to give the impression that the model was made of light rather than solid material. I combined emission with transparency to soften the form and avoid a plastic appearance. At first, my hologram looked flat and unconvincing because all parts of the model shared the same brightness.

Through trial and error, I learned that the hologram effect depends on contrast and hierarchy. I adjusted emission strength and introduced subtle variations so that edges and internal lines stood out more clearly. This helped restore a sense of depth and made the form easier to read. This process taught me that creating a convincing stylised effect still requires careful control of light and value, not just a single shader trick.

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Neutropia 3 : Reflection: What I Learned

This assignment taught me that believable futurism comes from both technical integration and conceptual consistency. Technically, I learned that camera matching is not a quick step that can be approximated; it is the foundation that controls scale, realism, and projection accuracy. I also learned that lighting is a major realism trigger, and that even small mismatches in exposure and shadow softness can break the illusion faster than low-detail modelling. Conceptually, I learned that “futuristic” is not a style it is a system. If I want Neutropia to feel real, I need to design the future with rules, reference real sustainable design developments, and build a coherent visual language before I open Blender.

How I Will Improve Neutropia:

To improve this project, I would begin by collecting targeted references for sustainable campus design, EV infrastructure, solar integration, and accessible public technology, then extract a design rule set from those references before modelling anything. I would redo the camera matching more carefully by validating the fSpy alignment using simple proxy geometry early, checking scale with real-world measurements, and ensuring the verticals and horizon line remain consistent. After that, I would plan the additions as a connected system rather than separate objects—for example, positioning solar elements where they logically receive light, designing mobility platforms around real circulation paths, and making the technology feel embedded into architecture. Finally, I would treat the composite as part of the design process by matching colour and exposure intentionally, using projection and material tweaks only once the camera and lighting fundamentals are secure. In short, my next version of Neutropia would be less about adding “future objects” and more about designing a future that feels inevitable, functional, and visually consistent.

Bibilography:

Kitbash Assets : https://kitbash3d.com/pages/cargo

Blender Foundation (2024) Blender Manual: Rendering, Compositing and Colour Management. https://docs.blender.org/manual/en/latest/

fSpy (n.d.) fSpy: Still Image Camera Matching. https://fspy.io/

Okun, J.A. and Zwerman, S. (eds.) (2020) The VES Handbook of Visual Effects: Industry Standard VFX Practices and Procedures.

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Trip to Soho London No.8 :

As a new artist and student, visiting No.8 in Soho was a really eye-opening experience for me. Until this trip, most of my understanding of the creative industry came from lectures, online tutorials, and personal practice. Being physically present in a professional studio environment and speaking directly with people working in the industry made everything feel far more real and achievable. It helped me understand how creative work actually functions outside an academic setting.

At No.8, we met Kate Gabriel, the Creative Director, along with other professionals who talked us through their work processes and the kinds of projects they handle. What stood out to me was how collaborative the workflow is. They explained that ideas rarely come from one person alone; instead, projects move through teams where designers, editors, VFX artists, and colourists all contribute at different stages. Seeing examples of their completed work helped me understand how high-end creative outputs are built through layers of decision-making, refinement, and communication.

One of the most interesting parts of the visit was going into the colour correction studio. This space felt very different from the rest of the studio because it was so controlled and precise. The team explained how colour grading plays a huge role in shaping mood, emotion, and narrative clarity. We talked specifically about DaVinci Resolve and how it is used for professional colour correction. Hearing them explain node-based workflows, colour pipelines, and consistency across shots made me realise how much technical and creative knowledge is involved in colour work. It also made me appreciate colour grading as more than just “making footage look nice”, but as a storytelling tool.

This trip really changed how I see my future as a creative practitioner. It showed me that the skills I’m learning now, such as 3D, VFX, editing, and colour awareness, all have a clear place in the professional world. Meeting industry professionals and seeing their workspaces made the industry feel less distant and intimidating. As a student, it motivated me to take my learning more seriously and think about how my current practice could grow into a professional workflow in the future.

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Learning Photogrammetry Using Polycam:

In this blog, I want to talk about how I learned to use photogrammetry through Polycam and how it helped me understand realism from a very practical point of view. Before trying photogrammetry myself, I saw it as something advanced or studio-level. Using Polycam made the process feel accessible while still teaching me how real-world objects can be translated into usable 3D assets for VFX and environment work.

The first step was choosing the right object to scan. I learned quickly that not everything works well for photogrammetry. Objects with too much shine, transparency, or movement can cause issues. I chose a static object with visible surface detail and walked around it slowly, capturing multiple images from different angles using the Polycam app. The most important thing here was coverage. I made sure to capture the object from all sides, including the top and lower angles, while keeping my distance consistent.

Once the images were captured, I uploaded them into Polycam for processing. The app automatically aligned the images and reconstructed the object into a 3D mesh. Watching this process helped me understand how photogrammetry relies on matching visual features across images to calculate depth and form. The initial result wasn’t perfect, but it was impressive to see a real object transformed into a digital model so quickly.

After reviewing the scan, I exported the model from Polycam as a glTF (.gltf) file. I chose this format because it preserves both the geometry and the textures efficiently, making it easy to bring straight into my 3D workflow. Importing the glTF file into my 3D software worked smoothly, and I didn’t have to manually reconnect textures, which saved a lot of time. Seeing the scanned object appear correctly lit and textured inside my scene helped me understand why glTF is commonly used for real-time workflows, games, and web-based 3D content.

learning photogrammetry using Polycam changed how I think about realism in 3D. Instead of building everything from scratch, I now see scanning as a powerful way to bring real-world detail into digital environments. It taught me that realism isn’t just about technical skill in modelling, but about observation, planning, and understanding how real objects exist in space. This process has encouraged me to experiment more with scanning environments and props to enhance the realism of my future projects.

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Study Trip to Territory Studio, London :

Visiting Territory Studio in London(Nov 12, 2025) was a really valuable experience for me as a student and emerging artist. It felt different from a typical studio visit because the conversation wasn’t only about finished work, but also about people’s personal journeys into the industry. Hearing professionals speak honestly about how they started, struggled, learned, and eventually found their place in creative roles made the industry feel far more human and accessible.

During the session, the team talked us through the kind of work they do, ranging from film and television to UI, motion graphics, and world-building. What stood out to me was how varied their career paths were. Some came from design backgrounds, others from animation, VFX, or self-taught routes. There wasn’t one “correct” way into the industry. This was reassuring, especially as a student still figuring out my own direction. It made me realise that adaptability and curiosity matter just as much as technical skill.

One of the most useful parts of the visit was the discussion around portfolios. The professionals shared practical advice about what studios actually look for. They stressed that portfolios don’t need to be perfect, but they should clearly show how you think, how you solve problems, and what kind of work you’re passionate about. They encouraged us to focus on fewer, stronger projects rather than filling a portfolio with unfinished or unfocused pieces. Hearing this directly from people who review portfolios regularly gave me a much clearer idea of how I should approach improving my own work.

I also appreciated how open they were about personal growth as artists. They talked about learning on the job, dealing with rejection, and constantly updating skills to keep up with new tools and workflows. This made me reflect on my own practice and how important it is to keep experimenting, asking questions, and staying curious rather than aiming for instant perfection. The visit motivated me to be more intentional with my learning and to think about how my current skills could evolve into a professional practice.

The trip to Territory Studio was inspiring not because it showed a polished version of the industry, but because it showed the reality behind it. Meeting professionals who were honest about their experiences helped me feel more confident about my own path as an artist. It reminded me that progress comes from consistency, reflection, and a willingness to learn, and that every artist’s journey is different.

[harshansai3dandvfx]

MCM London Comic Con 2025 :

Attending MCM London Comic Con 2025 was an overwhelming but exciting experience for me, especially as someone still finding their place within the creative and media industries. Walking into such a massive event filled with fans, creators, studios, and professionals made me realise how large and interconnected the world of film, games, animation, and visual effects really is. It didn’t feel like just a convention; it felt like a meeting point between fandom, creativity, and professional practice.

One of the highlights for me was attending the Predator: Badlands session. Being part of a discussion around a major franchise made me feel closer to the industry than ever before. Hearing creatives talk about world-building, character focus, and visual storytelling helped me understand how large-scale productions are shaped through collaboration and long-term creative vision. It also reinforced how much thought goes into projects that audiences often experience only as finished spectacle.

I also spent a lot of time at the career fair, which turned out to be one of the most valuable parts of the event. Professionals from different studios spoke openly about how they entered the industry, the mistakes they made early on, and what they look for in portfolios today. A recurring piece of advice was to focus on clarity and intention rather than trying to show everything at once. They encouraged us to highlight our strengths, explain our creative decisions, and show personal projects that reflect genuine interest. As a student, this made me rethink how I’m currently building my portfolio and how I can refine it to better represent my skills and goals.

Beyond the industry talks, Comic Con was also about community and experience. I tried different foods from stalls around the venue, took photos with cosplayers whose craftsmanship was genuinely inspiring, and felt part of a shared creative culture. Seeing how much effort fans put into costumes reminded me that creativity exists far beyond formal education or professional spaces. It was motivating to see people express storytelling, design, and character through passion alone. Another memorable moment was attending the premiere event featuring cast and crew members from The Boys. Being in the same space as people who actively work on a show of that scale was surreal. Listening to them talk about collaboration, performance, and production gave me a deeper appreciation of how many disciplines come together to create a final piece of media.

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Neutropia Process : 2

Lighting and HDRI (Trying to Match the Plate) :

Once the basic forms were in place, I began working on lighting, and this is where I felt the gap between “I know the steps” and “I can get the result.” I introduced an HDRI to create a natural base light, then adjusted the intensity and rotation to match the directionality of the original plate. My aim was to make the 3D additions inherit the same daylight logic as the photo soft shadows, consistent contrast, and a believable brightness range. However, my first lighting pass looked too clean and CG-like. The shadows did not feel embedded in the environment, and the highlights on objects felt slightly disconnected from the real-world exposure of the plate. This forced me to slow down and treat the lighting like a matching task rather than a “nice render” task. I began tweaking until the light direction and shadow softness felt closer, and I also learned that even minor mismatches in exposure make the composite immediately suspicious. This step was challenging, but it made me more aware that realism is often lost through lighting mismatch before anyone even notices modelling detail.

Adding Models Using Camera Projection :

After establishing a more stable camera and lighting direction, I explored camera projection to integrate textures and details more efficiently. I approached this as a practical VFX technique: instead of fully modelling and texturing every surface, camera projection lets me “borrow” the photographic realism of the plate and project it onto geometry that matches the scene. When I tested this, I understood why projection is considered powerful in production workflows. It allows fast, photoreal detail because the source is real-world information, and it can help sell complex surfaces without building everything from scratch. At the same time, I also noticed the limitation: projection is dependent on camera angle, and it can break if the geometry deviates from the plate perspective. This was another learning point—projection is not a shortcut that replaces fundamentals, but it is a method that rewards accurate camera matching and careful modelling. In my case, it helped certain elements sit more convincingly, but it also exposed where my perspective alignment still needed improvement.

After Image, What I Wanted, and Why I Still Felt I Failed:

When I brought the elements together into the “after” version, I could see progress but I still did not feel I achieved the Neutropia vision I had in my head. The additions were present, but the scene did not fully transform into a believable future. The main reason I consider it a partial failure is that the overall image still reads like a present-day building with a few futuristic props placed on top, rather than a campus designed around future systems. I also noticed my confidence dropped during this stage, because the more I tried to force the concept, the more it felt like I was losing creativity instead of gaining it. However, reflecting on it honestly, I think the issue was not “no creativity,” but a lack of structure in my concept development. I started building too soon, before I had a clear design language, references, and a consistent rule set for how this future would look and function.

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Assignment 2: Neutropia - Concepts and Ideas

For this assignment, I wanted to move beyond simply making something “look futuristic” and instead build a concept that felt believable and socially grounded. The core idea I started with was a world set roughly a hundred years from now where humans have deliberately reshaped everyday life to be genuinely eco-friendly rather than performatively sustainable. In my mind, Neutropia is not a dystopia; it is a future that tries to repair damage through practical design choices products built to last, transport systems shifting to EV infrastructure, public spaces supported by solar power, and technology integrated into the environment in a way that feels normal rather than flashy. Alongside this, I also wanted the world to feel futuristic in a way that still reads as possible, where the “future” comes from small systems and services that change how people move, access information, and live day-to-day. These two directions - eco-resolution and believable futurism—became my anchor when I started planning the image work.

Attempt and Failed (First Plan) :

I began with a real photographic plate of a university building exterior, because I wanted my final image to sit in that border between photography and VFX, where the audience might accept it as real if the integration is strong. My first step was to attempt camera matching using fSpy. I imported the photo into fSpy and tried to align the perspective lines to the building geometry, setting the vanishing points and exporting the camera data for Blender. After importing the fSpy file into Blender, I quickly realised my initial match was not as accurate as I thought. The camera alignment looked “close enough” in isolation, but when I started placing blockout geometry, the scale relationships didn’t sit properly and the verticals began to drift. This is where the first failure happened: I was pushing forward without validating the match, and the errors became more obvious the more I built on top of them. Even though it felt frustrating, it was useful because it showed me that believable realism starts with the camera, not the models.

Blocking Out in Blender :

Block-out

After the camera match attempt, I moved into a simple blockout stage in Blender to test whether my concept could sit naturally within the scene. I kept the geometry basic at first and focused on forms that communicate “future infrastructure” without overwhelming the plate. I experimented with adding ideas like an outdoor lift system, solar-powered elements, Wi-Fi or signal modules, and an automated moving platform concept, treating them like design interventions added to a current-day campus. While doing this, I noticed that my design choices were initially too random; they looked like disconnected props rather than part of a coherent future system. That was another small “failure” moment for me because I realised the concept needs rules. I started rethinking the objects as part of a single logic—energy capture, accessibility, and mobility—so they read like they belong to the same future city. Even at block out level, I could see that photoreal integration is not only about rendering; it is also about whether the design language makes sense inside the world.

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Learning How to Create an HDRI Using HdrEye

In this blog, I want to talk about how I learned to create my own HDRI using HdrEye, and why this process felt important for my development in 3D and VFX. Until now, I mostly relied on pre-made HDRIs from online libraries, but creating one myself helped me understand how lighting information is actually captured and used in 3D scenes. It made the idea of “realistic lighting” feel much more practical and less abstract.

The first step in the process was capturing the images needed for the HDRI. Using my phone/camera, I took multiple photos of the environment from the same position, making sure to capture different exposure levels. This included darker images to preserve highlight detail and brighter images to retain shadow information. The key thing I learned here was consistency: the camera position must not change, and the full 360-degree environment needs to be covered for the HDRI to work properly.

After capturing the images, I imported them into HdrEye. The software guided me through aligning and merging the photos into a single high-dynamic-range image. This step showed me how different exposure values are combined to create a lighting map that contains far more information than a standard image. HdrEye made it easier to visualise how highlights, midtones, and shadows are preserved in one file.

Once the HDRI was generated, I exported it in a format suitable for 3D software. I then tested the HDRI by placing it into my 3D scene as an environment light. Seeing my model react to lighting that I personally captured was a really satisfying moment. The reflections, shadows, and overall mood felt much more natural compared to generic HDRIs. This step helped me understand how HDRIs directly influence realism, especially in materials like metal, glass, and skin.

Learning to create an HDRI using HdrEye helped me connect real-world observation with digital lighting workflows. It showed me that realism in 3D isn’t just about high-quality models or textures, but about accurate lighting and environment data. This process encouraged me to experiment more with capturing real locations and using them in my work, making my renders feel more grounded and intentional.

Bibliography:

Custom HDRI's for Photorealism: FULL WORKFLOW. https://youtu.be/MASbLjQ9S_Y?si=aTl95lmOTzNFo3xv

HDReye App: Creating HDRI with you phone https://youtu.be/TbtQaInGMh0?si=lbC2NYUDRY-cDL0N

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Pixel Science : 4

Reflection and Evaluation:

Through this exercise, I learned that photorealism is not achieved through a single technical choice but through the careful balance of resolution, colour depth, file format, lighting, and post-processing. High-quality formats such as EXR and PNG preserve realism, but even these can be undermined by poor lighting or excessive processing. Conversely, heavy compression, low resolution, and reduced colour depth quickly reveal the digital structure of an image. This experiment reinforced the importance of understanding pixel science as a foundation for believable VFX work.

Bibliography :

Okun, J.A. and Zwerman, S. (2020) The VES Handbook of Visual Effects: Industry Standard VFX Practices and Procedures.

Blender Foundation (2024) Blender Documentation: Rendering and Compositing. https://docs.blender.org

Adobe (2024) Photoshop User Guide. https://helpx.adobe.com/photoshop

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Pixel Science : 3

6. JPEG, 1920 × 1080 p, 8-bit colour depth, RGB, Quality 60%, Pixelate Sampling 0.900

#image6

This render explores pixel degradation using Blender’s compositor. After rendering at full resolution, I used scale and pixelate nodes to reduce sampling quality before exporting as a JPEG.

Although the resolution remains high, the pixelation introduces visible softness and uneven pixel structure. This image demonstrates how post-processing alone can degrade realism, even when resolution and composition remain unchanged.

#image7

This screenshot documents the compositor node setup used to create #image6. It shows how scaling and pixelation nodes were applied to manipulate the image after rendering.

Including this process image helps demonstrate technical understanding and transparency in workflow, showing how pixel science can be explored non-destructively through node-based compositing.

7. JPEG, 1920 × 1080 p, 8-bit colour depth, RGB, Quality 60%, Pixelate Sampling 0.100.

#image8

In this render, I further reduced the pixel sampling value in the compositor. This extreme pixelation causes individual pixels to become clearly visible, removing fine detail and smooth transitions.

At this stage, the image is no longer photoreal. The pixel grid becomes dominant, and the scene reads as a digital abstraction rather than a physical space. This demonstrates the lower boundary of visual credibility.

#image9

This screenshot shows the compositor setup used to generate the posterisation and pixel manipulation effects in later renders. It documents the technical steps used to intentionally reduce realism.

8. PNG, 1920 × 1080 p, 16-bit colour depth, RGBA, Compression 15%, Overexposure.

#image10

This render explores how lighting alone can break realism. By overexposing the lights in Blender while maintaining a high-quality PNG output, highlight detail is lost and surfaces appear unnaturally bright.

Although the file format and resolution remain technically strong, incorrect lighting immediately reduces believability. This demonstrates that photorealism depends as much on lighting balance as on pixel fidelity.

9. PNG, 1920 × 1080 p, 16-bit colour depth, RGBA, Compression 30%, Posterize Effect.

#image11

In this render, I applied a posterize effect using Blender’s compositor. Posterisation reduces the number of tonal values, replacing smooth gradients with harsh colour steps.

This significantly impacts realism, as natural lighting relies on continuous tonal variation. The image begins to resemble a stylised illustration rather than a physically plausible render.

10. PNG, 1920 × 1080 p, 16-bit colour depth, RGBA, Greyscale Bitmap Effect

#image12

The final image was processed in Photoshop using a bitmap and greyscale conversion. This removes colour information entirely and reduces the image to stark tonal contrasts.

At this point, realism is completely lost. While the composition remains readable, the image no longer attempts to replicate real-world vision. This final render clearly exposes the digital nature of the image.