Hi everybody, I would like to thank Domeble for this opportunity. It is always a pleasure to have time to share experiences and ideas. I studied Architecture design at the University of Parma, in Italy, but my only real passion since I was a child was the automotive field. I’ve been lucky enough to grow up in Modena in the so-called “Motorvalley” where I had the chance to live a full immersion among the greatest automotive makers and draw inspiration from their amazing creations. I’ve always loved studying and improving my skills. Thanks to this approach, I learned a lot of new techniques and software, most of them self-taught. The same goes for CG which I approached for the very first time when I was in my early twenties moved by a huge curiosity and willingness to find a new way to communicate ideas and concepts. It’s a great tool and the more you push detailing the more you have a chance to see your vision closer to reality. I love the process behind it.

What was your route into the industry?

I started as a designer in a rendering studio switching really fast to one of the most renowned companies in Maranello, Carrozzeria Zanasi Ferrari, where I first stepped into the world of  CG car visualizations, customizing some of the best supercars in the world. As a new challenge, I then moved to a company specialized in professional racing simulators, F1 and GT – at the time Technical Partners of Ferrari Driver Academy – where I merged the CG product visualization with virtual simulation. All these experiences turned out to be extremely enriching for my professional journey and constitute the backbone of my designer career.

You are based in Italy, how is the CG scene there? where do you see the future of rendering and HDR development – do you think it will become a normal creative workflow?

I think that one of the strengths of CG is precisely its global dimension and universal language. When you approach CG you immediately feel the perception of being part of an international community. In Italy, as in the whole world, it is experiencing an ever greater diffusion and also the quality is constantly improving thanks to technological achievements. I feel that this trend will be confirmed in the future and rendering will not be simply an option but a “must” in the creative workflow.HDRIs save a lot of time compared to a full CG scene. Their best feature is the complex lighting data: you can make your product shine properly in a few steps. It is helpful in realtime viewport during the shading process too. To be in a wide range of different locations within seconds is like using time-travel. It’s magic. HDRIs are a solid standard nowadays.

What are your Favourite software platforms to work on and what’s a typical workflow for Serafinistile?

I learned and used a lot of software at previous companies which I worked for. From 3dsmax to Catia, from Vray to Corona, but now I must confess that I fell in love with Blender. My favourite tools for compositing and edit are Photoshop and Lightroom. My typical workflow is to learn, play, and try always to create something new.

Real-time configurators and real-time productions are emerging and developing quicker than any of us can keep track of, where do you see this in the marketplace over the next few years, and how does it slot into your production process if at all?

I have used real-time engines for some visualization and personal projects. Powerful tools but heavy to handle with big file sizes and assets. Exports and conversions sometimes slow down the workflow. I definitely prefer having it all in one environment with quick editing and modelling capabilities, mainly focusing on concept materials and shapes. As a concept designer, I prefer to use still images and close-ups because they give a deeper examination of the project, focusing on the individual details. Animations and real-time are for sure powerful tools but more appropriate and effective in the product marketing phase, adding value and hype to the product.

VR / AR – thoughts on where it’s at and future commercial integration – is this an area you’re exploring?

Today we face a flattened astonishment by the overwhelming social scrollable contents and this is why everyone is moving towards eye-catching and addictive technologies. That’s the reason why I truly believe that VR and AR will grow up exponentially. In automotive design, I found VR really interesting and helpful to evaluate proportions and dimensions on virtual style maquettes.

Let’s talk about traditional image quality and HDRI’s- how important is quality content and deep dynamic HDRI’s as a foundation to your CGI image pipeline?

High-quality HDRI images and backplates can ensure great compositing results and resolution output flexibility. Domeble offers professional image products that give me full control of every rendered pixel. The composting process is amazing and you can play with a wide range of adjustments without losing quality. Multiple backplate packages always available in raw format so you can tweak easily your subject mood integration.

How has the Pandemic changed the industry in the short term for you, and do you think it will change our working processes in the future.

CG works virtually and can be performed everywhere if you have a workstation and an internet connection so we cannot notice big changes. What has really and deeply been affected by the pandemic is the world of relationships, including those with the customers and collaborators. This is the part I miss the most. I wish better times for all. I hope there will be a new start with a balanced approach enhancing life and business at the same time.

It’s an ever-changing world, and an ever-changing industry we work in too, what do you think about the industry?

I really love it, because it is in constant evolution like the world of ideas. I live enjoying every single working day, always keeping myself updated and pushing forward but never forget to preserve my original identity and attitude and, most of all, trying always to have fun.

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