This is a pretty close-in montage, so a fairly highly detailed model is needed here. The building and site
were modelled in AutoCAD, the people and building foliage were added in 3DS and the jet, birds and cars were added in Photoshop. I tend to do at least 90%
of my modelling in AutoCAD because a CAD package will always offer more accuracy than a rendering package like Max and Viz. When you're happy with your
model, export it as a .3DS and import it into Max.
First off in Max add a notional or fictitious camera (say 35mm) and omni light just to enable you to material
and texture up your model. Because this is a fairly close-up montage of the building, your texture maps will have to be as realistic as you can possibly
make them. In this example, an opacity mapped 'ivy wall' and parapet planting was added to the upper carpark levels (cast/receive shadows off), the main
atrium glass has a bitmap mapped to it to simulate reflections (this fools the eye better than a proper reflection map because there's basically nothing in
the scene to reflect) again cast/receive shadows off, shop signs and self-illuminated shop interiors have been added and i've also added some opacity mapped
people and models of cars for extra scale and realism.
As in case study no.1, copy and down-size the original photograph to bitmap fit the camera view (640x200 pixels
in this case). Again, all the same camera matching tricks apply. The difference with this scene is that the model integrates much more closely with the
photograph, eg - there's a new road-way system modelled up in the foreground, whereas in case study no.1, it's more or less a stand alone development on the
site. Therefore more effort is required in camera matching. Again, just try to get as close a match as possible, don't worry if you're slightly out as
this will be remedied in Photoshop later on. You will also notice that the MATTE/SHADOW material wasn't needed in these 2 examples.