The digital asset creation industry finds itself at a crossroads. As our world increasingly becomes more digital, there has never been more demand for the services that digital asset creators offer. However, the competitive nature of the industry demands high output and turnaround on projects at a low cost – a difficult task considering their complexity. At Sony we recognise the importance of efficient workflows, and that is why we intend to demystify the technology that is photogrammetry.
Simply put, photogrammetry is the process whereby multiple images from various angles are taken of a single object, which then can be transferred and made into a high quality and in-depth 3D digital asset. Usually, photogrammetry is utilised in three different ways:
Single camera photogrammetry: Multiple images taken from different angles with the same camera. Typically, 100+ positions are needed for the photographer to get full coverage of the desired object.
Multi-camera photogrammetry: Multiple images taken from different angles but with one single rig, which typically has anything from 50 to 200 cameras installed within it. This method favours those who need to take images of objects or people that cannot stay still for long periods of time, or just when they need the 3D asset quickly.
Volumetric capture photogrammetry: Advanced type of multi-camera, in which an object is captured over a space of time rather than one single image. This in turn allows multi 3D objects to then be cascaded together to allow for an almost cinematic experience of the desired object digitally moving through each Individual image taken.
Three different modes; unlimited possibilities. The potential applications of photogrammetry are far reaching, and ever-growing. Photogrammetry predominantly has its roots in the gaming industry, a result of the rising expectation of players for the games they play to be narratively – almost cinematically – driven. This results in 3D assets of actors in games needing to be as realistic as possible, which by no means is a simple task. Before photogrammetry technology, game developers would require the expertise of multiple artists to build the 3D asset painstakingly by hand. Now, they can just simply capture an image of a real-life face within a photogrammetry rig and create a digital double, making smaller adjustments where needed.
Therefore, it is clear just how revolutionary photogrammetry technology can be, not only streamlining and drastically cutting workflow for digital asset creators but making the final product of a higher quality and realism. Naturally with these revelations being made, photogrammetry quickly made its way into industries outside of gaming. Sony partner Esper for example, builds photogrammetry rigs for an array of customers, from VFX studios working on state-of-the-art films, to academia and cultural heritage organisations. One of Esper’s offerings which has made it a successful rig builder across industries is its use of Sony’s Camera Remote Toolkit. The Camera Remote Toolkit is a software which allows users to control multiple Sony cameras remotely from a single PC. The result is a photogrammetry rig which operates at ultimate efficiency; every setting on each camera can easily be aligned, and with up to 200 cameras sometimes being used in a single rig, this a tremendous support.
Build or buy?
Clearly there is no doubt about the efficiencies and positives that come with the utilisation of photogrammetry technology when it comes to building assets. What is less clear is if building assets is worthwhile when you can simply buy them from online platforms with thousands of ready-made 3D assets. This has led to a debate relating to the value of photogrammetry and whether it is best to build or buy.
For VFX studios, building 3D models in-house offers substantial benefits. A common reason to build in the first place is that it allows for highly unique and detailed assets to be made. Buying assets drastically cuts the creation process, however it limits the creator to the assets available online. By building, creativity is the only limit. Therefore, the democratisation of photogrammetry gives some answers to the ‘build versus buy’ question. Building unlocks unlimited possibilities for asset creators, and in turn for the games and films they are playing a part in making. However, buying assets streamlines what used to be a tediously complex workflow. Add photogrammetry to the equation, and now building is becoming more accessible than ever before.
This article originally appeared in the April issue of TVBEurope, available for download here.
