For VFX matchmove assets and site survey models, perfect texture data might not be crucial, however for high-quality digital assets for use in video games and film, this would definitely not be an acceptable outcome.
This could not only confuse the software and hinder the point-cloud generation at later stages, but would also result in shadows baked into the textures of the asset itself. Direct sunlight creates harsh shadows that shift over time due to the lengthy scan process. Why is this a problem? When acquiring texture data through photogrammetry, one must really aim to get this done during overcast days and soft lighting conditions. Unfortunately, Murphey’s Law made its usual appearance, and we were greeted with the dreaded golden sunshine instead. They awoke the following day hoping for coveted cloudy skies that were forecast. After returning to the studio – trek two – the team reviewed the data and prepared their plan of action. As for the unforeseen challenge? The area was surprisingly home to large flocks of wild pigeons restless residents that would have definitely interfered with the capture process. Once there, the team calculated the minimal number of LiDAR scans that would be required, observed the orientation and path of the sun, and took note of any potentially unforeseen challenges. The process began with a site visit to survey the area – trek one. I devoured online resources from very talented individuals like Unreal Sensei, William Faucher, Epic’s treasure trove of educational material and more, and focused primarily on developing my knowledge of cinematography within a virtual environment. It was tough, but I knew that as a filmmaker I too had to evolve with the times.
I invested in my own high-powered workstation and dedicated my daily 10 PM to 1 AM (for a whole year) to learning Unreal Engine. Then, as progress in game engine technology and real-time rendering progressed to a certain point, the disciplines inevitably overlapped to a degree that I could no longer ignore. Although I grew up with equal enchantment towards video games and cinema, I always found myself gravitating towards the former for leisure and the latter as a career path. Yet, I always found myself spectating as the magic unfolded before me. I was lucky enough to work alongside very talented CG Artists on a number of my projects, constantly learning from them through the creative process. My journey into 3D art began in a directorial position.
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