Despite having seen this image thousands of times, I never considered it might have originated from practical effects, even if it was composited. Very cool.
The composite sounds like no picnic, either:
>With over 3,000 photos captured from the shoot, the initial stage of the composite was an exercise in patience as Munko diligently went through all of the assets and picked the best ones suited for the final image. He then dusted off his old 40 year-old designer fingers and brought them into Photoshop where he tirelessly combined exposures at a blistering 9k resolution.
He first build up the base image, which was obviously the foundation for the hero still, flushing out the core logo design with a variety of laser-infused illuminations.. These core layers were varied, ranging from minimal rim-lighting to a multitude of laser lines fanning through the central portions of the logo, lighting up the volumetric haze in a variety of artful ways. Compositing all these layers together was an extremely iterative process and was done in collaboration with Daddy Bear Art Director Ryan Vulk and Creative Director Christopher Ashworth, the two senior Directors on the Windows Brand Team.
Once the lovelies at the Windows team and up the ladder at Microsoft were happy with the aesthetics of the logo foundation, Munko then composited in the environmental passes, which consisted of separately shot layers of smoke and haze to create a very moody palette and accentuated the qualities of the practical approach.
The final touches were the lens flares, which were again shot as separate passes but were flaring the lens with a light source positioned in the same place as the laser projector, so the flares lined up perfectly with all the other passes. The final grade was applied to bring everything into the signature ‘Microsoft Blue’ palette, but still leaving a tonal range that kept everyone happy. The final 9k file was then sent to the magicians at XYZ Creative Production Agency, who specialize in high-end photo retouching and did the final optimizations on the hero image.
This is basically how product photography works if you’re on a budget. You keep the camera fixed in place but adjust the lighting between shots. Then, in post, choose your favorite components of each image and composite them together in Photoshop. I like watching a YouTube channel called “workphlo” that does this. The core process is the same for all of the items, but it’s quite enjoyable to see him vary the techniques.
Compositing like this is a nearly inevitable part of almost all product photography, I think? Anything that has motion will lean towards compositing for all the surrounding elements. Except those incredible people who built motion rigs for burger drop ads.
Capture One (the kinda sorta still industry standard tethering/photography capture software in the marketing industry, for all the high-end kit) has a really nice tool to help with previsualising compositing live.
Agreed. My thought on this enabling a "budget" option is that you can get the look of an expensive, multi-light studio with just a single speedlight and a lot of compositing.
The composite sounds like no picnic, either:
>With over 3,000 photos captured from the shoot, the initial stage of the composite was an exercise in patience as Munko diligently went through all of the assets and picked the best ones suited for the final image. He then dusted off his old 40 year-old designer fingers and brought them into Photoshop where he tirelessly combined exposures at a blistering 9k resolution.
He first build up the base image, which was obviously the foundation for the hero still, flushing out the core logo design with a variety of laser-infused illuminations.. These core layers were varied, ranging from minimal rim-lighting to a multitude of laser lines fanning through the central portions of the logo, lighting up the volumetric haze in a variety of artful ways. Compositing all these layers together was an extremely iterative process and was done in collaboration with Daddy Bear Art Director Ryan Vulk and Creative Director Christopher Ashworth, the two senior Directors on the Windows Brand Team.
Once the lovelies at the Windows team and up the ladder at Microsoft were happy with the aesthetics of the logo foundation, Munko then composited in the environmental passes, which consisted of separately shot layers of smoke and haze to create a very moody palette and accentuated the qualities of the practical approach.
The final touches were the lens flares, which were again shot as separate passes but were flaring the lens with a light source positioned in the same place as the laser projector, so the flares lined up perfectly with all the other passes. The final grade was applied to bring everything into the signature ‘Microsoft Blue’ palette, but still leaving a tonal range that kept everyone happy. The final 9k file was then sent to the magicians at XYZ Creative Production Agency, who specialize in high-end photo retouching and did the final optimizations on the hero image.