Chivas Regal Composite CGI (Part 2)

Watch as CGI master Ethan Davis continues to collaborate with Karl on a stunning composite Chivas Regal whisky image. 

In Part 2, which follows on from Chivas Regal Composite CGI (Part 1), Ethan uses a cube that Karl has photographed to calculate the necessary axes in order to match up the perspective of the two images.

He also introduces the wooden surface from Karl’s shot to ensure the colour and texture of the wood matches his CGI barrel.

As Ethan begins lighting his image, he puts into practice many of the lighting techniques Karl teaches – for example, using his understanding of the Inverse Square Law to achieve the perfect lighting on the rim of the barrel.

He goes on to demonstrate render layers, denoising, the Cryptomatte node, and more.

In this class, Ethan works with various models and textures sourced online. If you’d like to follow along and create your own version of Ethan’s background image, you can download FREE models for the barn and barrel racks, as well as the paid-for worn wood plank texture he uses. You can also download the fSpy camera calibration app, along with its Blender add-on.

In this class:

  • Blender tools and techniques
  • Creating CGI backgrounds
  • Lighting techniques in Blender
  • Compositing photographs and CG images
  • Using render layers in Blender
  • How to denoise renders in Blender
  • Using the Cryptomatte node in Blender

To see Karl photograph the product itself, check out Chivas Regal Composite Photoshoot.

If you enjoy this class, be sure to watch Dior Fahrenheit CGI.

Questions? Please post them in the comments section below.

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© Karl Taylor and Ethan Davis



  1. amazing seeing how it was done i am sure it take a computer with a lot of raw and memory to handle all those settings thanks so much i enjoy it it was great frank garvan

  2. This is really quite cool. I’ve been wanting to try something like this but I wanted to see a walk through of the hoops you need to leap through to solve issues. It was good to see the colour matching of the materials and the depth of field matching. The window didn’t really work in the scene, but perhaps in a future example it would be good to revisit that issue with how you might solve that out. I’ve done some glass and liquid work and I go through many tweaks to find something acceptable so I would be interested to see how Ethan would solve that. I’m curious if you would have considered placing a 3D person in the background, out of focus of course. Would need to feel like supporting cast, but could be done I suppose. One question: If, for example, you had some still images of very specific people or brand items (in similar situations) that you would want to insert into the background.. would you prefer to composite them in afterward or integrate them in blender and render them with the scene? I suppose it depends on the item and its complexity.

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