Drive is celebrating 20 years since it was established in September 1997. To mark the event we had a Drive Design Studio at the Goodwood Revival.
The Goodwood Revival is a fantastic event caught in a nostalgic time warp encorporating the best of 1940s, 50s and 60s motor racing meetings.
A chance for visitors to take themselves out of their modern world and watch rare and classic cars racing flat out with no quarter given around the classic Goodwood circuit, as well as simply taking in all the surrounding period attractions.
For Drive it was an opportunity to celebrate our anniversary and acknowledge the support we have had from design and engineering colleagues, clients and suppliers.
Over the weekend we were pleased that everyone visiting Drive’s revival Design Studio, entered in to the spirit of the event, both in their vintage attire and the Designer activities.
Thanks and see you all soon.
A recent boom in new buzz phrases have hit the automotive world, one of which I would like to discuss is ‘VR’. Virtual reality is something of which I was quite sceptical of at first, and partly still am, however here at Drive we now have a fantastic HTC Vive set up to which we are all becoming accustomed to using in our day to day work.
So how have we facilitated the use of the VR set up within the studio? We are always finding new ways to use it, but within the realms of being a beneficial tool rather than being a slave to it. A good example is the recent Bugatti concept that you may have seen flying through the social media high ways, a personal project started by Adrian Biggins, one of our alias modellers.
Projects like this are an important to everyone at Drive, with our passion for automotive design and especially for anything that goes fast is in our DNA. With Adrian showing me what he was up to, I jumped on board his project, being unable to resist getting involved with something as extreme as this. We worked together to design, resolve and refine the concept simultaneously combining our work flows through Photoshop, Alias and via Unity – VR. A truly harmonious spectacle to behold!
The use of VR is a great tool to check the design through the modelling development process and helps both modeller and designer. An instant tool at our finger tips that allowed us to critique and rapidly develop the concept, producing a better result in a quicker time frame. As a tool VR makes you aware of the digital model issues you normally only realise when you are standing in front of a full scale clay. I am a firm believer in the development of a physical model, and VR is a benefit to allow any studio to start physical modelling stage from a more advanced point, speeding up the process and saving time.
As August approaches our creative team are beginning to get the usual requests to produce animations and visuals for the Monaco Yacht Show in September.
It is 10 years since we exhibited at Monaco, and ever since we have regularly supported companies with their marketing imagery and animations.
Drive have always shared the expertise and methodologies gained in automotive design with other product and transportation studios. Our aim is to provide a quality service, building our reputation of bringing real value to new clients. All knowledge gained from other industries is then incorporated into our work flows and brings benefit to all our clients across all sectors.
Working with yacht manufacturers’ marketing teams as well as supporting brokers, naval architects and yacht design consultancies, is an enjoyable experience allowing our creative team to work on projects without 4 wheels.
The race to produce the first production autonomous supercar is well and truely on, as many doomsayers mourn the passing of true driving – missed gearshifts and terrible lines around corners – Supercar manufacturers and their highly specialised engineers are more excited than ever. Why? ….
…. because they will at last see their cars perform at the maximum. Currently they resign themselves to the fact that the people who buy these ultimate performance vehicles are unable to exploit the full potential of the car.
Far from autonomous cars reducing us all to the lowest common denominator commuter speeds, the real benefit is for ‘B’ road experiences like never before.
With autonomous control, owners will choose their preferred setting, not suspension stiffness but style of driving, clicking the dial to their driver of choice. And it is here that McLaren and Mercedes have stolen a march on their competitors. Mercedes are now able to use the 2016 data of the current world champion Rosberg without giving away any advantage to their current F1 opposition, and McLaren have played a blinder, creating a scenario where they will have 2017 data from two world champions, Button racing in a one off at Monaco, and Alonso covering off the US market at Indy.
Moving to autonomy has relieved the need for a steering wheel, and this reduction in production costs for right and left hand drive, has allowed other manufacturers to contemplate entering the supercar market, and niche to compete on more even terms. With steering wheels, pedals and gear shifts now being additional cost options for those who wish to pretend to be driving, the commercial benefits are clear.
So with autonomous supercars using all the latest sophisticated positioning and sensoring technology, the passenger phrase “Slow down, you don’t know what’s around the corner” will at last be erased from the English language.
Imagine positioning a camera when you don’t know the exact position of the subject, you do know it won’t be there for several months and the client is demanding an image within 3 weeks. So you decide on the CGI route only to discover that there is no data available of Virgin Galactic’s Space Ship Two.
At that point, photographer Richard Seymour came to Drive CGI Studio to deliver a fast, cost effective and flexible process for producing the high quality images required whilst maintaining art direction freedom throughout.
As Richard flew out to the Spaceport America site in New Mexico to capture the back plates and HDR images for domes, Drive’s expert team of modellers got on with creating the 3d data Spacecraft from scratch using information gleaned from the web.
Richard’s photographs were transferred to the studio before he had said his farewells, and Drive’s creative team set about finalising the environment using early volume models in the scene to match camera angles ready for further creative input.
The digital 3d model was completed, textures and finishes applied and then dropped into the virtual environment. Once the creative direction and images were completed, the final retouching was applied.
No chance? On release, on time, on budget.
These CGI renders feature Virgin Galactic’s SpaceShip Two at Spaceport America in New Mexico.
Photography and art direction by Richard Seymour, CGI work by Drive CGI, Retouching by Nick Humphries.
These images are strictly not for reproduction without permission. Virgin and Virgin Galactic are registered trademarks.