Yes it is - in the sense that I strive to get materials to look real. Not as in ‘used and grimy’, but by making them accurately convey what it would be like to hold or look at the products in real life.
20+ years in the business has built me an extensive network full of good people who are experts at making objects move. I will call on the best, if the job requires it. Needless to say, if my work is for animation purposes, I always build and deliver my work in editable 3d formats that are easily transferred into an animation production environment.
If by ‘glitzy’ you mean the style that has one leg in the 1980’s and one in motion graphics, then the answer is mostly no. My specialty and raison d’être in 3d is hyper-realism where nothing is ever as glitzy as glitz.
My ink and I are not here to run pack shot photographers out of business. Sometimes the job is just better done with a camera and trying to do it with 3d will make everyone miserable. Sometimes the combination of photography and 3d is a great way to reach higher quality within budget, and sometimes the smartest move is just to do it all in 3d: Maybe the product is still being manufactured; there might be a need for hyper-real feedback during a design process - or marketing wants the product to look like it’s being pushed around by feathers even though it weighs in at 200 pounds.
I work from a small, gorgeous island in rural Denmark, and I absolutely love it here. This is where I source all the creative energy that goes into my products. I communicate via phone, email, Skype, and Slack, as well as via the project management and review tool Ftrack. It works incredibly well and I have happy customers all over the planet. But if you have alternative suggestions, I’m open to other ways of communicating, as long as they are digital.
The complex software and production pipeline I use, demand structure, steps, phases, tasks, timelines, milestones - and deadlines. So I tend to run a very tight ship on my professional deliveries. My more erratic and visionary sides go into my own projects and create a natural spillover into the work that is my actual livelihood. I demand the same focus on deadlines from my clients when it comes to invoices as they do from me when it comes to delivering at agreed times. That’s why I almost always demand partial payment when milestones are reached. Just so you know.
I work hard and sometimes way past office hours to make a deadline at a quality level good enough. And sometimes I work smart and get it all done before dinner time. Either way, I’m very focused on delivering high quality, within budget - on time. But this is also just work: It pays the bills and lets me travel with my family, buy an occasional bottle of nice Bordeaux for my wife and myself and support the lifestyle that I want. But I will not ruin my health pursuing it. In my many years of experience, no product has ever come to shine under the rule of a crazy timeline or deadline. If I spot an unrealistic deadline in a proposed project, my work ethics forces me to let you know with a No.
As my primary tools, I work in Cinema4D and 3ds Max. I model in Modo and Zbrush, paint and create textures in Substance. In order to render the images, I prefer using Arnold (or Corona if it’s architectural stuff). I am moving toward ditching my primary tools for Houdini, but that’ll take a year of intensive knowledge upgrading,