Lidar and Photogrammetry Create Realistic Surroundings
There are numerous advantages to using 3D scanning services, such as repairing and innovating some historic and attractive buildings. For example, the Ritzy in London was scanned using 3D laser scanning services.
Dimension Studios uses lidar and photogrammetry to explore the Ritzy in London as a case study for two 3D scanning approaches (part of the Virtual Production Innovation series). You don’t have to shoot on location, which is very helpful in a crowded area.
With a laser scan, you’ll be able to work in a realistic, finely detailed, and organic setting.
The Benefits of 3D Laser Scanning Services
Using a 3D scanning service like this is a huge benefit because it captures every last detail possible. If you’re an artist, you may not have thought to include these mini-stories in the scene. If you use traditional methods, you’ll notice patterns that repeat, but 3D laser scanning services provide you with realistic, organic surroundings.
Broadcast collaborated with Dimension, a virtual production and volumetric capture company, to produce a six-part series of short films about shooting in LED Volume stages.
The ‘Virtual Production Innovation Project‘ is the center of the show, which aims to investigate the state of virtual production by experimenting with various workflows and scenarios.
Dimension, DNEG, and Sky Studios developed and produced the production, which was shot at Arri’s Uxbridge studio with assistance from Creative Technology and NEP Group.
The goal is to help develop the next generation of creative talent by disseminating knowledge and experience to the wider creative community.
Broadcast will exclusively release six films detailing the project’s various takeaways for March and April.
Using an LED volume for in-camera VFX and final-pixel shots, the team talks and illustrates some of the advantages of virtual production.
Here is an exclusive interview with a member of the Virtual Production Innovation Project team, in which they discuss what they learned while working on these films and what they learned from them. The series will cover light, tracking, simulcam, in-camera effects, scanning, and 360-degree photospheres.
Paul Franklin of DNEG was in charge of the project. According to him, a more dramatic shot of the Ritzy setting would have been excellent. In a place like the Ritzy, preserving as much of the original lighting as possible is critical.
As a result, the lighting in the photograph is based solely on the weather conditions of that day, with only a small window of opportunity for capturing the edifice. In the end, we could reduce the amount of drama in the final asset since we had enough control over Unreal Engine.
