I’ve been trying to raise my photogrammetry game in the past few weeks. This is what came out of it.
I decided to tackle some problem areas: Very dark (avocado), shiny (avocado, pomegranate), or very smooth (mango) assets, and objects with fine displacement that I’d been struggling to capture (melon).
What helped: Better lighting (cross-polarized, new ring flash…), better photos (shooting raw and converting to jpg in Lightroom, chase noise), better masking in Agisoft, and higher settings (ultra high for the dense cloud and the heaviest mesh possible).
It’s still not perfect. I’ve learnt that even cross-polarization doesn’t get rid of all reflections. There’s always a highlight here and there, sometimes from bouncing light, sometimes from the environment). But with a bit of smoothing in Agisoft and some ZBrush trickery, you can get very high-quality assets.
Generally though, the poor-man’s photogrammetry workflow remains valid, except the new approach has slightly better gear, the addition of the raw-processing step, and more time needed to process the higher-quality dense cloud.
All assets were retopologized and UVed in ZBrush and are relatively low poly, as you can see on the wire below, and use normal maps for the fine details except for the melon, which uses displacement.
For these elusive folds in the cloth (itself simulated in Marvelous Designer), I used Dabarti Capture to generate super high-quality normal maps from several sections of cloth, tiling this normal map in Affinity Photo, and generating a new depth map from it. If you don’t know this tool, it’s very well worth purchasing. It fills a big hole in photogrammetry when you want super-high displacement detail (much higher than Agisoft can capture) from a 2D surface rather than a 3D object. The latest version is great, with normal-map post-processing commands and the ability to process raw photos (works a charm with my Sony A7 raw files).
The wooden tray at the end of the series was a slightly different process. I used a quick-and-dirty 3D scan of the actual tray (which had a lot of noise in it) as a guide to remodel the tray using standard poly-modeliing techniques. The texture was then baked from the textured scanned object onto the Sub-D poly object directly in Max.
All shots here rendered with Octane and a little post-pro in ArionFX.
Enjoy and let me know what you think.