Next week, Autodesk will be releasing its free photo to 3D application Photofly. This video shows how it works. You’ll see they’re getting pretty respectable results without a sophisticated camera setup, so that it’s possible to take all the photographs for a building model by simply walking around the building, or of a head by moving around the person and taking pictures from a variety of angles without any kind of carousel for the subject or a fixed array of cameras.
The system uses a local Windows application called the Photo Scene Editor to assemble all the reference pictures and submit them to Autodesk’s servers for processing. Within the editor you can make some changes to your geometry based on entered measurements. Some amount of cleanup is also possible in the Editor. You can see more about the Editor’s features in the video below.
Any system for 3D digitizing gives you some crazy topology that has to be cleaned up. In earlier studio systems this was always combined with way too much geometry; here you can see that the triangular polygons, whose numbers are comparatively restrained, are still constructed with a bit of eccentricity.
The environmental models could probably be used as-is: the same goes for static props. But for character work you’d really need to retopologize the model so it’d animate well.
As I’ve watched these (and some other demos), I’ve been thinking about how well this might work for digitizing costume bits, clothing, and even plants – naturally draped and shaped objects that are difficult to create with polygon modeling. I think the possibilities for clothing and costume parts are especially interesting, given how many steampunk fans go completely mad with their costume work. Neat!
There’s recently been a lot of interest in adapting Microsoft’s Kinect into homebrewed 3D digitizing systems: but this, which is first of all free, and secondly requires only a digital camera, looks awfully promising. I guess we’ll find out in a week or so at the Photofly site.
I’ve had an admiring eye on Project:Messiah for several years now. It’s a sophisticated 3D animation system, though it’s gradually grown some nice rendering capabilities, too, like sub-surface scattering, global illumination, and a hair system.
The latest version is messiahStudio5. In one version or another, the program’s contributed to a lot of film productions including The Tripletes of Belleville, Hellboy, Jimmy Neutron, Ghost Rider, the Harry Potter films and, well, more.
So the basic version of messiahStudio5 – at the moment – could be yours for $10, while the Pro version is offered at $40. Their normal prices are $499 and $1195, so you can see what I mean by "practically nothing".
Because it is a promotion your purchase won’t be completed unless enough people respond. If the promotion fails your money will be refunded and, well, that’s that.
It’s easy enough to see that they’re relying on everyone who wants to get their software at these prices to go out and tempt as many other people as possible, in order to create a viral groundswell. Pretty clever, no?
Messiah’s strengths are in its rigging and skinning system. Since it also functions as a plug-in it’s possible to use its animation features inside another 3D application like 3DS Max or Maya. It’s well worth a close look, and you can bet that it’s not likely to be available at these prices for very long. How long? They don’t seem to say. But a graph on the sale page shows how close they are to the goal.
Guillermo M Leal Llaguno has released version 1.00 of a stand alone, post processing program called Glare.
The program’s loaded with options for specular blooms, rays, and other effects. From its demo video it looks like Glare offers all the fine tuning you could ask for: you can view and adjust which highlight levels should get the effect and view those selections and their effects either alone, or overlaid on the source image(s).
Using a stand alone application like this means that the effects can be tweaked and changed at any time after rendering – nice! – and because the program will work on image sequences you can add blooms to whole animations without having to re-render a thing.
I’m thinking about renderings here, but I guess it might not be obvious that this works equally well with video footage.
The final bits of the demo video show some of the possibilities for compositing Glare’s edited frames with the original frames of an animation.
At US $50 it looks like a great tool to add to the toolbox.
In spite of what I said yesterday about how much I hate skinning characters to their skeletons, every now and then I do get to smile. My latest trick is to skin the characters not only to bones, but to splines that are (sometimes) also skinned to some of the same bones.
So when Harry’s chest and waist were getting pulled back and forth between warring bones I extracted some splines from his model, skinned those splines to parts of his skeleton, and added the splines to the bones that control Harry himself.
Then I adjusted the influence of those splines to even out the skinning and lock down the chest and waist lines – which are structural parts of his clothing, among other things.
This is a lot like what I’ve lately been doing with faces. The 3DS Max UI does a lousy job of displaying the splines’ envelopes, but since I can see the results on the model that’s not a huge problem.
The biggest downside seems to be that if you intend to edit the splines, as I’m doing in my faces, it’s not a great technique for animation because it’s hard to keyframe the shapes of the splines*. I guess you could create morph targets for the splines, which is a thought, but I so rarely do animation that I’m not worrying about that for now.
One reason this might be nice for animation, though, is that you can use the splines to simulate the way surfaces like skin or cloth slide over the more rigid surfaces they cover. That’s sort of what’s happening here already.
*Oh, there might be a way, but I don’t seem to be clever enough to work it out.
My friend Glenn Price just showed me something he’s working on, and that reminded me of Andy Murdock‘s Lots of Robots. I hadn’t watched it in awhile, and before I knew it, well, that’s what I did. Now you should too.
Andy’s been pretty busy recently with his work for the National Geographic Channel but I hope he gets back to this one day.
Sadly it looks like you can’t buy the DVDs at the moment. You can’t have mine.