Interview with Infinite-Realities
By Richard Tilbury
(24719 Views) | 0 Comments
Date Added: 8th August 2012
What has been the hardest part behind developing a successful stereo photogrammetry process?
Money. I started a business when I was in debt (which I have now paid off, finally!) so I could have been doing this two or three years ago, but it took time to build the system, save up, and research different solutions and software. First came 2 cameras, then 4, then 18, then 32. I'm now running 74 cameras. It involved a lot of trial and error, a lot of late nights, sacrificing my social life, a huge amount of patience, research, risk and careful, diligent bookkeeping!
How complicated is it to get the raw data into a useable format ready for 3D rendering and animation?
It's a good question; I see a lot of incorrect assumptions online and in forums about how to handle this kind of scan data. It's really quite trivial. Thanks to the amazing new tools in programs like ZBrush (Remesh, AutoUV) and other applications it's super-easy to retopologize a mesh or use an existing low poly frame (already UV mapped and grouped) to shape conform and re-project with, transferring over the details. This process can be handled with ease in less than 10-20 minutes. Luckily the data this system can now produce is 90% cleaner than it used to be, so very minimal clean up is needed.
What differentiates your company from ones offering a similar service?
It's just me and a few dedicated freelancers overseas, like a talented artist called Alexander Tomchuk
. My overheads are very low compared to other studios and all projects get my full attention. My company isn't technology-based, or founded on money. It was purely founded on the passion for creativity, art, and specifically the replication of digital humans, which is something I am extremely passionate about and continue to try and excel in every day. There are also other studios dabbling in similar forms of capture, like Ten24
, who are also getting interesting results. It's not just the big VFX studios and research institutes anymore. It's becoming more mainstream and anyone can do it.
Technology is constantly evolving, so after having developed your system how do you anticipate it changing in the future?
I'm already looking into grant funding and investment, so the next phase is to go 4D, capturing