Descnpton Camera Data 1 Camera Oata 2 Categories Hstory PTC Contact IPTC Content IPTC Image IPTC Status Adobe Stock Photos Orgri


Descnpton Camera Data 1 Camera Oata 2 Categories Hstory PTC Contact IPTC Content IPTC Image IPTC Status Adobe Stock Photos Orgri

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O Step 3: Correct camera mapping O Step 4: Getting started

From the front, we see the errors flat (planar) mapping makes when The first task is to bring the photographs and model into the one file projecting onto a 3D surface. The front of the face does not have a lot of and do a rough (by hand) camera match for the photographs. The depth compared to the distance the photograph was taken from. However, more information you start with the better You should use un-cropped the distortion in the flat mapping is obvious. Compared with photographs photographs. This at least tells you where the camera was pointing_right and the correct projection on the left, the flat mapped projection looks at the middle of the image! Next are the camera optics. Fortunately quite different—rounded and fatter. In 3ds Max, projection mapping is not modern digital cameras save a lot of meta data with the file. Examining available with any of the UV Map modifiers. Instead, it is available with the this information (File > File Into in Photoshop) tells us what the lens

World Space, Camera Map modifier. settings are for every photograph—eliminating lots of guess work for us

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Perfect fit

Mooels and textures from photographs

Q Step 5: Shots, angles and color matching

I will be using just four shots tor the rest of this chapter. This is due to current limitations in DirectX 9. Whatever approach you use, you should select the complete set of images you are going to use and name them consistently. Most importantly, we need to make sure that the overall tone mapping is consistent among the photoset we are going to use. With the methods developed here, this will improve the per-pixel automatic tone-mapping methods. For the same reason, it is also important to select a set ot photographs that are roughly equally spaced around the head—which gives full coverage as well. Ideally, this is at least the basic set of 10 shots—eight shown here plus top front and under chin (not shown here). You can get a lot of camera information from the File > File Info utility in Photoshop Using this information the photos could be matched. Unfortunately, these settings (exposure, brightness, contrast, etc) were applied in-camera on the raw data before gamma correction. It's not straightforward to apply the back corrections plus Photoshop is weak at accurate tone-mapping. An acceptable compromise is to select the skin regions and use Photoshop's Match Color adjustment to match all the photos to one selected master. Here, we see the resultant set of images we will be using.

0 Step 6 Overview—a new DirectX Shader tool ^ ^ ^ eaf|y on jn the

1 am skipping ahead a bit here to give an overview of the tile s«toPuH#erf'sniQS,tr?his stage. Here, you see the four process I have just done an initial rough camera line-up for tour photograpw» it m ^ center 0n the right you photographs (2K resolution) and the model with the photographs " . |t js takmg in: eight images (4 x can see part of the interface for the DirectX shader tool that is doing an me wu ■ ^ locations); six UV map 2K photographs plus 4 x 2K smoothed photographs); four lights (used to moita ^ ^ ^ jR rea,.time and channels and the vertex color channel It s combining all of the incoming muji )om__they are joined with hard outputtmg a balanced and blended map There is no blending of mapsi wnere y ^ ^ ^^ ^ unwrapped 2D cuts—as you can see the match is already looking remarkably good, me sna data available.

maps in real-time The patch of green on top of the model is where there is

Monika Kubickova
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