Exploring the Photorealistic Art of Dušan Vukčevič

Dušan Vukčevič is known for his excellent work as a 3D artist with a background in architectural visualization and animation. Dušan's photorealistic artworks, whether stills or animations, showcase his mastery of Cinema 4D, ZBrush, and much more. In this interview we explore his creative process and the inspiration behind his latest project “The Lifer”.

Please tell us more about yourself and your current line of work.

Dušan Vukčevič: My name is Dušan Vukčevič, and I live in a small village in Slovenia. I am a self-taught 3D artist with over 20 years of experience in the computer graphics industry. I specialize in architectural visualization, product rendering, and animation, with a focus on photorealism. I also teach 3D part-time at several schools, conduct workshops and presentations, and create tutorials. Visit my Patreon for more information.

My passion for detail, design, and photorealism has driven me to create numerous personal projects, many of which were awarded and published in books and magazines.

How did you become an artist in this field?

Vukčevič: I studied economics and worked as an accountant. In my free time, I was designing websites. I started doing 2D animations and tried working in a 3D program and quickly became hooked. I decided to quit my job to follow my passion. I was working in a few studios while doing mostly motion design before going freelance.

I was always fascinated by the fact that you can replicate real-life environments using a computer program. Photorealism became my obsession. Most of the realistic renders I saw at the time were architecture-related, so I gave it a shot and quickly fell in love with architecture, interior design, and architectural visualization. Now I do a bit of everything. I work with a studio from Minneapolis, Minnesota, called Humdinger.

Talk about how you approach the projects you work on.

Vukčevič: Most of the time, I start personal projects without clear goals. I open Cinema 4D and start creating. There’s no storyboard and or mood board — I just move things around until I get an idea. At first, it's rough, but it often sparks another, so I just keep going. I spend a lot of time on details. Most people probably don’t even notice them, but I love adding them. Imperfections throughout the 3D scene really enhance the realism of the image.

Please walk us through your typical software workflow when creating a piece like "Letters"?

Vukčevič: My project “Letters” was inspired by Sean Dalton's photography. I loved one of his photos so much that I wanted to recreate it in 3D. Not an exact copy, but something similar. I mostly tried to capture the mood of the photograph. You can learn a lot by replicating real life.

I start by using primitive objects in Cinema 4D to block out a basic composition. Then I add lights, trying to find something interesting. When I’m happy with a rough test render, I start modeling details and start texturing. This process reminds me of traditional sculpting — you start with a rough shape and refine it gradually, adding more and more details. I do all my modeling in C4D, sculpting in ZBrush, shading and rendering using Redshift.

Talk about how the 2020 movie "The Night House" influenced your latest project "The Lifer."

Vukčevič: I love horror movies, movies with great cinematography, and I love finding great architecture and interior design in a movie. One of those movies is “The Night House”. After watching the movie, I got inspired to create. I wasn’t sure what exactly at the time.

Again, I simply sat at my computer and started working. Direct references to the movie include trees in the wind, large windows, and books. At some point, I replaced the books with records. The main thing I wanted to capture was the feeling I felt while watching the movie. I listened to its amazing soundtrack frequently while working; it helped set the right mood.

Which Red Giant tools do you use in your work?

Vukčevič: I love to use Red Giant Magic Bullet Looks. Sometimes I use it inside of Cinema 4D, but mostly in After Effects. I rely on it for basic color correction, such as color balance, curves, and contrast. I like to render out animations with a high number of samples, so they are noise-free. Later, I add the noise back using Renoiser. This tool produces a more even and natural noise, similar to the noise you find in images and videos taken with a camera. Again, all the small details count.

How does Cinema 4D enhance your workflow and artistic style?

Vukčevič: 3D programs are very complex; you can’t know how to use every feature and tool. You have to learn new things every day, even if you’ve been using it for many years, like me. Most of the time, I have to learn new things on the fly for certain projects, and C4D is great for that. It is very intuitive, and I can figure out how something works very quickly. The creative flow does not get interrupted with technical difficulties when I’m using Cinema 4D.

What are you working on at the moment?

Vukčevič: I’m always working on multiple personal projects, switching between them, depending on the mood I’m in. I try to get better at what I do, constantly expanding my knowledge, trying new tools and techniques to be ready for client projects. Recently, I’ve been sculpting more in ZBrush and practicing more complex animations and simulations.

Lewis McGregor is a filmmaker and freelance writer from Wales.