Although time has passed, we are filled with wonderful monuments and we can still enjoy the view of the works of architects from different eras. However, contemporary buildings are very different from those our ancestors witnessed. There is nothing unusual about it. It is simply that tastes change over the years, other materials from which buildings are made dominate, and in big cities we struggle with shrinking space.
In many cases, we are dealing with a wonderful renovation, and even though hundreds of years have passed, our eyes enjoy seeing buildings that seem to have just been completed. However, many of them are still waiting for their turn to return them to their former glory. Old buildings are temporarily brought to life thanks to the famous 3D animation displayed on their facades. But what if we want to completely change their functionality, while maintaining the original appearance? We have a lot of examples from our surroundings, and one of them is the Gdańsk Crane, which was once just a port crane, and is now a branch of the National Maritime Museum. The renovation and modernization of this unique structure has just begun, and it will last for two years.
Modern architects have long since replaced drawing boards with efficient computers. When designing apartments and public buildings, they usually have laptops in their bags instead of paper and pencil, which are used to create business and present it to clients. Using NVIDIA Studio and the hardware platform, creators from Poland, the Czech Republic and Romania were asked to let their imaginations run wild and show what they think iconic buildings could look like if they were built in the future.
Young Polish artist David Herda, who combines computer graphics and the real world in his works, presented his idea of what a crane could look like if it would serve future generations and respond to the needs of this society. Seeing joint orbital spacecraft and their cargo hauling doesn’t seem too far off, so who knows if these structures won’t be the everyday lives of our children or grandchildren. Dawid, better known as Graffit, introduced the futuristic dock using the free Blender software, the NVIDIA Omniverse platform, and a traditional home computer.
Similar projects have also been implemented by artists from the Czech Republic and Romania. Dalibor Cee digitally updated the 15th century Prague Astronomical Clock (Prague Urlog), located on the south wall of Prague’s Old Town Hall, and Robert Lazor (Eurosadboy) updated the 19th century building, now the seat of the Roman Association of Architects. We can admire the final effect of the works of the three artists in the film
NVIDIA Studio is the hardware and software it uses. They are techniques that facilitate and increase the efficiency of creative work and help creators achieve their unique visions. Its elements include Quadro RTX and GeForce RTX graphics cards in laptops and desktops that accelerate content creation, as well as dedicated Studio engines that ensure the highest performance and stability for creative applications.
David Herda tells about the Gdansk crane and his work in the film https://www.youtube.com/watch?v=2ckfy6Hz6oY. He also provided NVIDIA answers to questions about his creativity.
You have many interests, incl. Film industry, drawing and photography. Are any of them particularly close to you and do you consider them pioneering in your business, or do they complement each other?
Working in one area for an extended period of my experience causes me to stagnate and fall into patterns, so I regularly jump between interests, learning new techniques and weaving them together, giving an entirely new approach to a particular issue or project.
When did you get seriously interested in construction?
It has always been easier for me to communicate using the image and the metaphors contained in it, so this skill has gradually developed since the beginning of primary school, when I spend a lot of time drawing, manual composition and modeling.
Where do you get your inspiration?
For many years I have been touring and working with the camera in many places, surrounding myself with all kinds of people. All of these experiences left a whole host of memories and emotions that are my main inspiration.
What techniques do you use and where did you learn them?
Whenever possible, I choose each subsequent project in such a way that I can add new skills and challenge myself. I have always learned my own ways, starting with trial and error, and then supplementing knowledge from books and guides available on the Internet. In this way, I often came up with new and innovative ways to get a certain effect.
What hardware and software do you use the most?
In my studio, I use a desktop computer that is configured to efficiently create 3D animations. Best made for me in a moment of inspiration spree. The power that comes with it lasts for a limited time, so it’s very important for me to get my thoughts across to the digital board as smoothly as possible. Whenever I travel, I always have a camera and a laptop compatible with NVIDIA Studio that allows me to move anywhere. For example, 3D modeling in a nature setting, in a meadow or in a forest unleashes a completely different amount of creativity than in the studio in front of a desktop computer.
In the case of your business, can you say about someone whose creativity made you think that this is what you would like to do forever?
It’s hard to find a specific motive that convinced me that I would want to work in one field for the rest of my life. Instead, I try to try my hand at other disciplines and weave skills between different branches of creativity.
Could it be said that your hobbies have become your job, or do you still treat creativity as your passion?
In fact, since the beginning of my art career, I have tried to separate my work into a profitable part and a more personal part, shaped entirely by my experiences and feelings – without time limits and external guidelines.
What advice would you give to people who want to make movies with computers, but don’t know where to start? Is there a large entry threshold, or is any computer and free software sufficient?
At the moment, almost every phone has a performance that is several times greater than that of a computer with which I started learning 3D graphics and editing. The most important thing is patience and regular renewal of knowledge.
How long does it take to prepare the film and which stage is the longest?
The average time to create a 15-second movie with effects is 3-4 weeks, although there are projects I spend several months on. I start by recording materials with a camera, recreating the site in 3D space and creating models. Then I animate the individual elements and combine everything with the camera image, complementing the whole with sound effects. It takes the most time to fine-tune the whole thing so that both the sound and the picture are as consistent with the real environment as possible.
Are you particularly proud of any of your jobs?
A while ago, a friend wrote that the cartoon I posted sparked a series of happy memories from my youth – it’s hard to get a better reward. I would like my content to pause for a moment and experience something positive.
Your movies combine computer graphics and the real world. How do you imagine creating it, say in 10 years?
In my opinion, in the future we can expect both new ways of creating animation, but most importantly – better immersion in the world of digital art and augmented reality. Currently, the main carriers of this type of animation are phones. I have no doubt that in the coming years we will be able to wear glasses that will allow us to experience the creativity of artists in a way that is indistinguishable from the real thing.
Thank you for this interview.