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In further detail, how did you design Middle Age Paris?
I worked on the project for three years. I wanted to be able to restore the city’s vision and understand it as accurately as possible. The film, based on historical sources, allows us to visit all those places where History was made but on which we never had a whole realistic representation at yet. The walk/visit is led by an English or French commentary, which tells us the part those places and buildings played, as would naturally do a guide.
For the research, I collected a lot of reproductions and paintings I found in museums, libraries, and books. Then, the discovery of an archeological Paris map from 1550 made everything possible. I just had to modelize the buildings as they were depicted on the paintings. In order to be the more realistic as possible, I made all the textures from walls, buildings fronts and roofs photos. Building after building, street after street, and the medieval city appears… you can see some representations I used on this page. Then, for the unknown parts of the city, we completed them with historians’ researches, horse-sense and a bit of imagination. This is still an artistic version, but which was approved by a lot of specialists, because, I’m not making anything up at last. I use researches from scholars who worked on it before me but didn’t have 3D tools to make it real.
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What is magic is that in an immersion you can discover another view point which has never been depicted on a representation. If you combine a ground plane to a building front picture, you can have a possible idea of a building. For instance, Le Chatelet’s North Front is well known but we don’t have any idea of the South one. 3D reveals it.
What is your impression on the use of LightWave? What have you preferred for instance?
LightWave is a first-class tool to design computer generated images. Its first asset is reliability. During the three months required for Paris au Moyen-Age, the computers ran nonstop without any crash even on complicated scenes. That’s very significant.
I also liked the increase in rendering speed, and especially for radiosity. The 9 version is impressive for that. This is definitely a relief to know that we can count on NewTek’s team and it’s very exciting to know that they constantly improve LightWave’s potential.
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And also, I liked LightWave set-up which allows composing item’s hierarchies (pictures to textures, textures to surfaces, surfaces to objects, objects to scenes). It allows you to improve each part of your work anytime without “destroying” anything.
For Paris au Moyen-Age, I didn’t use the most impressive LightWave 9’s features, but it was only my choice, I didn’t feel restricted by the software. That’s such an important point in a production period.
What is your next project?
We’re preparing a new thematic documentary on art in which we’ll put 3D animations to explain some architectural aspects. I’m also thinking about a sequel for Paris au Moyen-Age, many other places of Paris deserve to be discovered, but this time I would like to go further with animated virtual actors to restore the Middle Age swarming streets… If you are a LightWave artist and want to contribute to our next project, you can contact us. |

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Before you go, do you have a little gift for our readers?
Here you’ll find a Norman-French house that appeared in the film, which you can download. It’s a very lightweight mesh as the others which allows you to work on very big scenes.
| Windows / Macintosh
(OS X) |
Zip  |
| 328 Ko |
| For non-commercial
use only |
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Thanks so much Eric and good luck for your next projects !
You can buy the DVD and visit Grez Prod's website here |
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Eric Zingraff |
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Copyright © 2009 NewTek Europe |
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