Charles Chorein is a CG supervisor at Dneg London with 12 years of experience. He has worked on movies such as
4. For the last several years he has been working on TV shows and recently finished
for Netflix as well as more series coming out next year.
Class 1: Workflow
A review of the RealityCapture interface and an introduction to the photogrammetry workflow. It’s important to understand how RealityCapture works and the methodology of the photogrammetry.
Class 2: Capture
To build a mesh in RealityCapture without any issue, it’s important to understand how we have to take pictures or video on location. With the assistance of the Wiki/Help of RealityCapture, we analyze the best way to take photos in order to avoid any issues later when it’s time to process all the data.
Class 3: UVs
Now that we have a basic mesh, we move to the next stage: UVs and textures. RealityCapture provides the capability to create UVs or UDIMs and bake the texture on each vertices and/or UVs and then export all maps to disk.
Class 4: Boy and Dolphin Fountain
For our Boy and Dolphin Fountain statue (by Alexander Munro) example, we will try to create a mesh with a very small amount of pictures and see the issues faced when we don’t cover the subject enough during the shoot.
Class 5: Empire State Building, Part 1
A helicopter shot is always an excellent example to run through the photogrammetry process and see how a large number of images can be processed quickly in Reality Capture. In our New York City scene, we rebuild the Empire State Building and render in Maya/Arnold.
Class 6: Empire State Building, Part 2
With our Empire State Building imported into Maya with some basic UVs, we recreate some UVs inside Maya to have better control during the texturing process. We then re-import the new mesh into RealityCapture, re-bake all the texture based upon the new UVs, and finally re-export the mesh with the new textures.
Class 7: Boy and Dolphin Fountain with Control Points
In the previous class with the fountain, we noticed some issues due of the lack of photo coverage. Here is how we can fix it manually with additional control points.
Class 8: Church Drone Shot, Part 1
A drone shot has become common on-set in VFX. We use a shot of a church in the UK and work through the process from beginning to end in Reality Capture and Maya/Arnold.
Class 9: Church Drone Shot, Part 2
With the church completed, we turn to rebuilding the rest of the environment. The idea is to focus on different parts of the scene and rebuild piece by piece to maximize the result.
Class 10: Landscape Drone Shot
Our final drone shot is a huge landscape with lots of vegetation, forest, and a small river. We look at how RealityCapture solves the drone shot and examine the quality of the resulting mesh.