From automotive campaign photography to hyperrealistic CGI, Simon von Broich has built a unique creative path shaped by passion, adaptability, and technical precision. In this interview, he shares insights into his workflow and the story behind the viral BMW M3 Touring 24H project that evolved from an April Fools' concept into a real Nürburgring race car. Discover how Simon approaches photorealism, why community played such a major role in the project's success, and how powerful rendering workflows help bring ambitious automotive visuals to life.
Introduction.
Please start by shortly introducing yourself.
My name is Simon von Broich, and I've been working as a 3D artist since the end of 2021. Together with my team, I create CGI imagery for various automotive manufacturers. Before entering the world of 3D, I worked as a professional campaign photographer, also within the automotive industry.
My transition into 3D was largely driven by the changes brought on by the COVID-19 pandemic. Looking back, it wasn't exactly a shining or glamorous moment—it was more a necessity than anything else. With physical cars no longer available for photo shoots and productions coming to a halt, I had to find a way to continue working. CGI became that solution. What initially started as a response to difficult circumstances eventually opened up an entirely new creative world for me.
The Artist Behind the Scenes.
What does your creative workflow usually look like when starting a new project?
Most projects begin with a briefing outlining the key aspects of the campaign. Interestingly, while the client is still explaining the project, I often already start visualizing the final images in my head. From that point on, the challenge is mainly about translating those mental images into reality. This approach saves a lot of time during the concept phase because the direction becomes clear very early on.
Since my company and I focus strongly on hyperrealism, the creative process is less about inventing something completely abstract and more about refining the details that elevate an image to the highest possible level of realism. Our goal is to achieve more than 95% of the final image directly within the render engine. This allows post-production to remain minimal—usually around 5%—which provides tremendous flexibility for the client.
What keeps you motivated and creatively energized during long or demanding projects?
One of the greatest privileges of my work is the opportunity to collaborate on projects where I genuinely feel honored to be entrusted with them. Equally important are the people behind those projects. I feel incredibly fortunate to work alongside individuals who are deeply passionate about what they do—even within large corporate structures. That shared enthusiasm and dedication inspire me every single day and continue to drive my motivation.
Project Spotlight.
Let's delve into the BMW M3 TOURING 24H, which is such an interesting and unique project.
Can you tell our readers the story behind it, how it all started, and what the biggest challenges were during its development?
It all started with an April Fools' joke that we created for April 1st, 2025. We transformed an M4 GT3 into an M3 Touring GT3 and visualized it in 3D as realistically as possible. The challenge was that there was no existing 3D data for the vehicle, so we had to design and model everything ourselves from the B-pillar backwards. We also had to adapt the bodywork to match the characteristic M3 Touring rear lights.
That's where much of the complexity came in, as the body is very wide and required the integration of many different shapes and air intakes.
What started as a fun idea quickly turned into something much bigger. The reaction from the community was overwhelming. The original social media post reached more than one million users and generated over 1.6 million views. The response from fans and media was so strong that BMW M Motorsport decided to turn the concept into a real race car.
Within only eight months, the BMW M3 Touring 24H was developed and built based on the technical platform of the BMW M4 GT3 EVO. The car will compete at the Nürburgring 24 Hours in May 2026, with Schubert Motorsport, which is honestly surreal to see after the project initially began as a digital concept.
BMW M Motorsport even integrated selected fan comments from the original April Fools' post into the vehicle livery for the preparation races. That really shows how much this project was driven by the community from the very beginning.
For my team and me, this was truly a once-in-a-lifetime opportunity. We're incredibly proud to have brought the project to life and very grateful for the community's support—because from the very beginning, this was always a project for the community.
What software and tools did you use for this particular project?
For the production, we used Cinema 4D together with the Corona Renderer and Substance Painter.
How did rendering this project at the RebusFarm Render Service impact your workflow, and were there any specific features or aspects of the service that stood out to you?
Rendering the entire project through RebusFarm proved to be an absolute game-changer. I'm personally supported by AMD and work with a 96-core CPU, which is extremely beneficial when using Corona Renderer since it relies entirely on CPU-based rendering. However, when you're dealing with hundreds of frames, the real advantage comes from having access to hundreds of machines that can each render a single frame simultaneously. This drastically reduces rendering time and provides incredible flexibility. If adjustments are needed later in the process, there is still enough time to refine the results. Without RebusFarm, my workflow would look completely different and would be far less efficient.
Closing.
Looking back at your journey as a 3D artist, what aspect of your work do you value the most as a 3D artist?
If I had to look at what I value most in my work as a 3D artist, it would undoubtedly be my team and the people I have the privilege of working with. Every project is shaped by countless individuals and variables, and the collaborative aspect of the process is what truly makes the work special.
What advice would you give to aspiring 3D artists who are just starting their careers or looking to take their skills to the next level?
For young artists entering the field, my advice would be simple: don't overthink things. Creating is about doing, not just thinking. Set ambitious goals for yourself and work towards reaching them. Always remember that someone else has already managed to achieve what you aspire to—meaning there is always a path forward. Your task is simply to find your own path, no matter how unique it may be. In the end, determination and persistence are what make the real difference.
Finally, what's next on your artistic horizon? Are there any exciting projects or goals you're eager to pursue soon?
Looking ahead, 2026 still holds a lot of exciting opportunities. There is one particularly special project I'm already very excited about. Unfortunately, I can't reveal any details about it yet—but I can promise that it will be something truly fantastic.
Thank you for sharing your insights and expertise with us! We look forward to your upcoming projects and are ready to support you with our rendering power!
About the Artist
Simon von Broich is a German 3D artist and creative director specializing in hyperrealistic automotive CGI. After working for years as a professional automotive campaign photographer, he transitioned into the world of 3D in 2021, combining photographic expertise with cutting-edge visualization techniques. Together with his team, he creates high end CGI imagery for leading automotive manufacturers, with a strong focus on realism, technical precision, and cinematic storytelling.
