THE 'MAKING OF' BUVAR BOOK COVER: PRE PRODUCTION  
             
 
    A visual interpretation of the book title depicts a container ship heading towards a harmless looking piece of iceberg in the vast occean. The condition looks tranquil but what lies underneath the surface is an apocalyptic acenario awaiting.       Working with a professional photographer and a prop maker, a blueprint is drafted out as a precise guide during the model-making. The rather large size ensures enough details are visible in the final result.    
  THE 'MAKING OF' BUVAR BOOK COVER: PRODUCTION  
             
 
    Based on the blueprint, the prop maker starts sculpturing the iceberg.       The iceberg is taking shape.    
         
 
    The iceberg is sprayed with multiple layers of waterproofing and white paint.     The completed iceberg is approximately 42cm in height and 32cm in width.It weighs close to 8kg!  
     
    Next, creating the dreadful wreckage.

The team bought 5 units of model toy boats. 3 units "went down" to the bottom of the sea. Using cement and paint, the prop maker gives the wreckage a realistic touch, completed with a borken hull, rusts, corals and scattered debris.

The wreckage measures approx 50cm x 80cm.
 
  THE 'MAKING OF' BUVAR BOOK COVER: PHOTOGRAPHY  
     
 
  The team moves into the studio for the photography work. Here, each element will be photographed separately using a high resolution digital camera.

Using a huge glass tank, small tidal waves were created for the shots. Bubbles, light rays, water surface, wreckages, container ship, etc. were shot individually. On average, about a hundred shotsare needed for each element to obtain the best take.
  The raw footage of the wreckage. Various lighting techniques were employed to get the right look and feel, giving the wreckage the eerie feeling.  
     
 
  The model container ship is photographed using a wide-angle lens to give it a dramatic feel.   Right after each shot, the team constructs a rough composite of the elements into a layout to ensure that it gets the right angle, lighting and details and that it fits well in the final digital composite.  
  THE 'MAKING OF' BUVAR BOOK COVER: DIGITAL RETOUCHING  
     
 
  The shortlisted selections from the photography studio was brought to a Digital Retoucher for the final composition using Adobe Photoshop. All the elements were meticulously combined to get a realistic final image.   The wreckage, now lies deep beneath the ocean bed. The patchy lighting effect was all done "in camera" and was slightly enhanced digitally.  
     
 
  Bubbles were added overand behind the iceberg; as well as the bokeh effect of the foreground water particles. This is to stimulate the realistic effect of photographing the picture in an actual location.   It'a all in the details! Tiny bubbles were added around the ship's propeller. Again, bokeh effect was added to give a photographic feel to it.  
     
 
  To dramatized the concept even further, seagulls were added. This gives a sense of tranquility to what's above the ocean.   Finally, a touch of humor with the etching of the letter LEH on the ship's hull.  
  THE 'MAKING OF' BUVAR BOOK COVER: ACKNOWLEDGEMENT  
  The book cover design would not be possible without the help of Michael Wong, Kenny Chai and Liu DeBin.

Michael Wong (www.michaelwongcc.com) is an award winning Malaysian creative director (aka Creative Hitman) based in Beijing, China.

Kenny Chai (www.kenny-cmk.com) specialized in advertising photography, where he collaborates constantly with various imaging production teams in different cities of Asia. With frequent work stations setting up, Kenny's photography services can now be reached in Kuala Lumpur, Beijing and Shanghai.

Liu DeBin (www.liudebin.com) is one of the top digital retoucher in China. His skill is regarded as the 'hands of God' among the many international advertising agencies in China.