Photogrammetry Textures

13
polycounter lvl 4
Offline / Send Message
Sebvhe polycounter lvl 4
LATEST UPDATE :
Get my tutorial on Gumroad
My rock textures have been released on UE4 Marketplace
Marmoset viewer for each texture available on my Artstation









________________________________________________________________________________________________________________________________

Hello Polycounters !

It's been almost a year since I started playing with photogrammetry.
My endgoal was to be able to get fully tiling delighted PBR textures out of photogrammetry.
I experimented with quiet a few techniques over the months until I got a good workflow from shooting to low poly.
Now I'll just start building a library of textures out photogrammetry.
Here is the first batch, all the textures are 2048².

Feel free to give any feedback and/or ask questions about the workflow :smile:







On a side note, what would be the best way to display these textures ? I love the rounded cube, but it gives a rather noticable seam with tessellation on ...


Replies

  • Meloncov
    Offline / Send Message
    Meloncov polycounter lvl 6
    Those look really nice. How do you go about getting both normal map and albedo to tile in the same way? Getting a single map to tile is pretty easy with offset+clone stamp, but I'm not sure how you'd do that to two maps at once without creating inconsistencies.

    Also, what's your workflow for getting rid of lighting information? I saw the video on how Epic did it for the kite demo, but I don't think the software they used is publicly available.
  • John Baxter
    Offline / Send Message
    John Baxter polycounter lvl 7
    Meloncov said:
    Those look really nice. How do you go about getting both normal map and albedo to tile in the same way? Getting a single map to tile is pretty easy with offset+clone stamp, but I'm not sure how you'd do that to two maps at once without creating inconsistencies. 
    This, big time. It's been driving me crazy because I'd love to do photogrammetry materials, but I can't figure out a good way around this problem.
  • Sebvhe
    Offline / Send Message
    Sebvhe polycounter lvl 4
    Fixing the seam is actually not that complicated. I proceed as follows :
    1. Usually when I'm done processing my texture in Agisoft, I don't have an area with a perfect square that I can just bake. To get around this I just draw a low-poly surface (usually in 3D Coat) This surface doesn't have to be a square at alll, it's purpose is to get rid of the very low-freq height information and to get all the important bits of texture you want to keep. 
    2. I bake this in a very big (16k) texture (height and diffuse).
    3. Then in Photoshop I tile the diffuse and height out of the bake at the same time, applying the same transform and masks on each. It can be a bit difficult but so far it's the best way I found to make it tile. What I'd advice is to select the biggest square area you can out of the bake and make it tile with bits outside of that square. You might need to adjust a bit the heightmap brightness where you stamp. I usually focus on making the diffuse right while applying the same transforms/masks on the height, then when everything tiles I slightly adjust the height brightness/mask.
    4. Finally you just displace your tiling height map in Zbrush, sculpt if you want and bake the normal, AO, etc ...
    The whole process shouldn't take more than 30 minutes if your texture has no regular patterns, tiling bricks is much more time consuming with that method...
    What I really like about this is that you have all the bits of texture you wanted to keep even if they were outside of what you expected to be your texture.

    I realize it's not very easy to explain without pictures, I'll try do do an illustrated explanation during the week :smile: 

    As for the delighting, I tried a technique similar as what epic did : bake your HDR sky onto the High-poly, bake that down as a lightmap and invert it on Photoshop. It works even though it's definitely not as good as what Epic did. The issue is that it's quiet time consuming (both shooting and baking). I'd recommend it on object with complex geometry, with a lot of seams on which you cannot fix it by hand in Photoshop. On a flat plane like we don't have big variation in the lighting so it's way quicker to fix it by hand in Photoshop, especially since that means you don't have to tile the lightmap along the diffuse/height.
    All of my above texture have been de-lighted by hand.
    The most important tip I would give to avoid de-lighting for hours is to shoot under a cloudy sky, or shoot something that is in the shadows, to avoid any sharp direct lighting.

    Hope it helps !
  • karynatrychyk
    Offline / Send Message
    karynatrychyk polycounter lvl 4
    Nice results!
    I want to share a small tip about editing several maps the same way, that saves me a lot of time. When I start editing the first map I start recording an action in photoshop. When I'm done with editing I stop the action. Then I simply select the next layer, run recorded action and watch some magic :smile: 
  • John Baxter
    Offline / Send Message
    John Baxter polycounter lvl 7
    Thanks for the explanation, Sebvhe. I'll try it when I get the chance!

    Karynatrychyk, I've tried your method too, but the main problem I run into is that the clone and heal tools can't be recorded.
  • karynatrychyk
    Offline / Send Message
    karynatrychyk polycounter lvl 4
    Thanks for the explanation, Sebvhe. I'll try it when I get the chance!

    Karynatrychyk, I've tried your method too, but the main problem I run into is that the clone and heal tools can't be recorded.
    Well, it works just fine for me in Photoshop CC. You just need to tack "Sample all layers" for these tools because it will take samples from the recorded layer otherwise.
  • Sebvhe
    Offline / Send Message
    Sebvhe polycounter lvl 4
    Nice results!
    I want to share a small tip about editing several maps the same way, that saves me a lot of time. When I start editing the first map I start recording an action in photoshop. When I'm done with editing I stop the action. Then I simply select the next layer, run recorded action and watch some magic :smile: 
    This is a very good idea, I'll try it for my next texture, thanks !
    The only downside of this is that you have to assume everything will be fine while working on one of the two textures, and then apply everything on the second one.
    Even though I focus more on the diffuse during the tiling process, I like to toggle the height on and off, just to see if it will match with minor adjustments or if I need to use another bit of texture.
    It might not be an issue though, I'll have a try :smile: 

    Thanks for the explanation, Sebvhe. I'll try it when I get the chance!

    Karynatrychyk, I've tried your method too, but the main problem I run into is that the clone and heal tools can't be recorded.
    I tend not to use the clone and heal tool during the tiling process, because you simply cannot match the diffuse and height with it. You can fix everything just with layer masks.
  • Gazu
    Offline / Send Message
    Gazu polycounter lvl 5
    Hey Guys,
    maybe my Tutorial can help on how to create Tileable Textures from multiple non-tileable Maps at once:


    I used the Technique in the Tutorial for the Treebark Material on my Artstation.

    Question about your Textures:
    Are the Highpoly´s Noisy when you zoom in?

    Greetings,
    Gazu
  • Sebvhe
    Offline / Send Message
    Sebvhe polycounter lvl 4
    @Gazu : This is how I usually tile my texture, I didn't know there was a tuto about it, this is great.
    The only difference is that the input texture I tile is not a square but has the shape of my retopo plane. But the process is still pretty much the same the same
    Yes my highpoly is usually pretty noisy. But once baked down to a 2048² most of it goes away. Creating a hi-freq normal out of the diffuse also help quiet a lot. In the end, if you zoom in on my textures you won't notice any noise from the scan.

    I did 3 more this week end. Now that I processed all the scans I made, I'll need to wait for my camera to get repaired and I'll go back shooting some more !





    Cheers !
  • Gazu
    Offline / Send Message
    Gazu polycounter lvl 5
    And i selled my Nikon D7200 Q_Q ^^
  • n4uj
    Offline / Send Message
    n4uj vertex
    Looks awesome!
    If you can do 3 of those in a weekend, then I would love to know a little bit more of your workflow as well!! I find very relaxing going out and taking some photos, it is really nice to forget about the computer for a while!!

    Very good results ;D I love them!
  • John Baxter
    Offline / Send Message
    John Baxter polycounter lvl 7
    Wow, those look great! What's your method when taking the pictures? Do you walk in a circle around the area? In a zig-zag through it?
  • Sebvhe
    Offline / Send Message
    Sebvhe polycounter lvl 4
    n4uj said:
    Looks awesome!
    If you can do 3 of those in a weekend, then I would love to know a little bit more of your workflow as well!! I find very relaxing going out and taking some photos, it is really nice to forget about the computer for a while!!
    Thanks dude ! What I really like is about photogrammetry is that you're dealing with the actual material, not some references taken on Google, while you're shooting you have the opportunity to really see how the material behaves, how it reflects, what's it's actual roughness, you can't get that by only googling for references.

    I'm actually not doing them in one week end, well it depends on what you call "doing". I usually process the scans during the week, it takes about 6-10 hours per scan in Agisoft. I'd say it only takes 3-5 hours of "active" time for each texture.
    That's because there's actually nothing fancy going on in my workflow :smiley:

    What's your method when taking the pictures? Do you walk in a circle around the area? In a zig-zag through it?
    Tricky question, it really depends. For textures (meaning flat area) it's usually better to "translate" your camera while shooting top down. By doing so Agisoft will use the parallax between each shots to create the depth.
    A nice example is the gravel texture (5th in the 1st post). I wasn't planning on using photogrammetry for that one, I just shot a few (12 actually) top down pictures hoping to photomerge them in photoshop. Since it didn't worked I processed them in Agisoft and got one of my best results so far. With only 12 pictures instead of 50-100 !
    But in the end it's better to have too much pictures than not enough.

    Hope it helps !


  • Bletzkarn
    Offline / Send Message
    Bletzkarn triangle
    Dude this is amazing! I didn't think photo textures could look so good. Would you ever consider making a video on how you do it?
  • eirikm
    I get overly exited every time I see some rad photogrammetry. Major source of inspiration! Keep up the great work! :smiley: 
  • Sebvhe
    Offline / Send Message
    Sebvhe polycounter lvl 4
    Thanks guys !

    I might consider doing a tutorial while making my next texture, but it will take some time since my camera is broken.
  • purehilarity
    Offline / Send Message
    purehilarity polycounter lvl 4
    I tried to do this as well this week. Do you re-project the texture onto the re-topo? I was having a hard time coming up with a good way to transfer all the texture detail to a flat map.
  • Gazu
    Offline / Send Message
    Gazu polycounter lvl 5
    @purehilarity ;When you for example Scan a Treebark, you will get a Cylindrical HighPoly in AgiSoft. You can load this HighPoly in Max.
    Then you can create a LowPoly Cylinder which fits the HighPoly Agi Cylinder. Make your UVs so that the 0-1 Space is completely filled.
    When you now bake you will get Non-Tileable maps :)
  • Sebvhe
    Offline / Send Message
    Sebvhe polycounter lvl 4
    Gazu said:
     Make your UVs so that the 0-1 Space is completely filled.
    Most of the time I don't bother doing that, my retopo shape is usually pretty complex (I mean irregular) so I just bake everything I want to bake then start building the texture out of the bits I baked.
    I'll show you with my next texture :smile: 
  • Gazu
    Offline / Send Message
    Gazu polycounter lvl 5
    Ok im Curious :)
  • brum
    In case anyone wants to to give seamless tiling a try; i've posted a sample of one of the textures i've baked in a thread about this issue of not being able to tile multi-map textures: Seamless texture tiling of multiple layers? - polycount
  • John Baxter
    Offline / Send Message
    John Baxter polycounter lvl 7
    I tried to do this as well this week. Do you re-project the texture onto the re-topo? I was having a hard time coming up with a good way to transfer all the texture detail to a flat map.
    Are you asking about the best way to bake the diffuse map? I've actually run into problems there in the past. Seems the standard way is to import your lowpoly mesh into photoscan and build the textures there, but sometimes if your lowpoly is not similar enough to the hipoly, the newly built textures come out bad and blurry. If you export the original hipoly mesh with vertex colors, you can bake those in xnormal and they look a lot better. The only catch is you have to have a really high density hipoly for it to have enough vertex color information to look good as a baked diffuse map.
  • brum
    I tried to do this as well this week. Do you re-project the texture onto the re-topo? I was having a hard time coming up with a good way to transfer all the texture detail to a flat map.
    Are you asking about the best way to bake the diffuse map? I've actually run into problems there in the past. Seems the standard way is to import your lowpoly mesh into photoscan and build the textures there, but sometimes if your lowpoly is not similar enough to the hipoly, the newly built textures come out bad and blurry. If you export the original hipoly mesh with vertex colors, you can bake those in xnormal and they look a lot better. The only catch is you have to have a really high density hipoly for it to have enough vertex color information to look good as a baked diffuse map.
    You can export a texture map from photoscan which is much higher resolution than vertex colors.
    You just bake it in xnormal, using "bake base texture", just like you bake normals from highpoly to low poly. Your lowpoly needs to roughly match the highpoly either way.
  • Sebvhe
    Offline / Send Message
    Sebvhe polycounter lvl 4
    It's been a long time since I last posted but I haven't been idle. I started a tutorial about this last month but I just realized how difficult to explain the workflow was. But after a month I finally finished it :smiley:

    You can get it on Gumroad for free here
    I also included the texture I'm making in this tutorial ! Here is a screenshot of it

    Furthermore I added a marmoset viewer for each texture I previously made on my Artstation

    If you have any question regarding my tutorial please let me know !

  • brum
    Cool tutorial SEBVHE, although i think the process is not complete until a painting application gets a plugin that allows you to use the clone tool on multiple maps at the same time.

    My main criteria/question is.. Is there any reason you don't use the other > high pass filter for fixing contrast and tiling issues? It tends to work wonders on ordinary seamless textures after the initial tiling.
  • nickcomeau
    Offline / Send Message
    nickcomeau polycounter lvl 2
    Beautiful looking materials and very informational thread by everyone. Thanks for posting!
  • n4uj
    Offline / Send Message
    n4uj vertex
    Thank you very much, the tutorial looks awesome!
    I will definitelly have a look later today since I'm very interested on photogrametry :)
  • Sebvhe
    Offline / Send Message
    Sebvhe polycounter lvl 4
    Thanks a lot guys ! I hope I'm going to see some awesome photogrammetry soon :smile: 

    okornyal said:
    Cool tutorial SEBVHE, although i think the process is not complete until a painting application gets a plugin that allows you to use the clone tool on multiple maps at the same time.

    My main criteria/question is.. Is there any reason you don't use the other > high pass filter for fixing contrast and tiling issues? It tends to work wonders on ordinary seamless textures after the initial tiling.

     Yes I completely agree about the clone tool, would be awesome !
    And yes you could very well use a high pass filter to fix the contrast but, the reason I don't use it is because I really dislike the way it affects the texture's colors when I only want to fix the luminance.
  • n4uj
    Offline / Send Message
    n4uj vertex
    Hello SEBVHE,

    I have a doubt about the photogrammetry software. Does it arrange the position of the photos automatically or it is the user who has to input them? I'm guessing and hoping that it is the software who does it. If so, how the hell does he manage to do that? Do I have to activate some kind of metadata in the camera?
    I'm definitelly gona give it a try this weekend, if the weather is "nice"

    Thank you very muuch :D,

    n4uj
  • somedoggy
    Offline / Send Message
    somedoggy polycounter lvl 5
    n4uj said:
    Hello SEBVHE,

    I have a doubt about the photogrammetry software. Does it arrange the position of the photos automatically or it is the user who has to input them? I'm guessing and hoping that it is the software who does it. If so, how the hell does he manage to do that? Do I have to activate some kind of metadata in the camera?
    I'm definitelly gona give it a try this weekend, if the weather is "nice"

    Thank you very muuch :D,

    n4uj
    Photogrammetry software works by calculating the position of cameras for a series of images by understanding the relationships between each image. If it can detect that a feature in one image moved over 4 more images, it can start to build that understanding. By doing this process intensively and detecting as many features as possible in a ton of images it builds and refines both the camera positions and a point cloud. The point cloud is just points in space where the software detected features. The denser the cloud, the more detail you can get. Then there's the steps of converting that to a mesh and generating textures.

    You don't need anything other than an object to photograph with good trackable features and practically any camera. The software will do the rest. From there it's all up to the artist learning techniques to yield better results.

    Sorry for hijacking!
  • n4uj
    Offline / Send Message
    n4uj vertex
    somedoggy said:

    Photogrammetry software works by calculating the position of cameras for a series of images by understanding the relationships between each image. If it can detect that a feature in one image moved over 4 more images, it can start to build that understanding. By doing this process intensively and detecting as many features as possible in a ton of images it builds and refines both the camera positions and a point cloud. The point cloud is just points in space where the software detected features. The denser the cloud, the more detail you can get. Then there's the steps of converting that to a mesh and generating textures.

    You don't need anything other than an object to photograph with good trackable features and practically any camera. The software will do the rest. From there it's all up to the artist learning techniques to yield better results.

    Sorry for hijacking!
    Thank you very much, :) that was such a good answer!
  • Sebvhe
    Offline / Send Message
    Sebvhe polycounter lvl 4
    @somedoggy : perfect explanation :smile: 

    Furthermore everytime you take a picture EXIF metadata is stored. It contains all the needed information for Agisoft to calibrate the images (cancel the lens distortion for instance). Basically you don't need to worry about that, but if you edit your images before sending them to Agisoft you need to make sure the format you use support it (e.g. not PNG)
  • n4uj
    Offline / Send Message
    n4uj vertex
    New question:

    I have been playing with photogrammetry but I got awful results xD.
    When you are taking pictures, how do you go with the exposure change? If you are using a dslr in manual mode, and lets say you keep the same Iso and the same focal lenght, depending on the area you are shooting at and also depending on the weather, the exposure might change. Then what do you do? change the aperture? Because while I was taking pictures of an indoors banana I got this problem of getting different expositions depending on where I was positioned.
    Also, I'm guessing that it is not recommended to change the focal lenght right?
    Thank you very much :D I was going to take some pictures today to continue practising but the weather is awful (wet, cast shadows etc.)

    n4uj
  • brum
    n4uj it depends on how much different your exposures are.
    Generally you shouldn't be taking photos in such a long span of time that the sun/clouds would change, so your exposure should stay pretty much the same.
    Any tiny mistakes you get you could still correct in photoshop. In general for indoors photogrammetry you want to build a lightbox and a turntable to get perfect results.
    You said that the weather is awful, that it's wet and cast shadows.. that's kind of a contradiction, since awful weather in general doesn't have cast shadows due to the clouds that produce rain would diffuse direct shadows. So unless you went out and took photos directly after a rain as the clouds dissipated and the sun came out.. Well, you just made a wrong decision to go out at that time!
  • n4uj
    Offline / Send Message
    n4uj vertex
    okornyal said:
    n4uj it depends on how much different your exposures are.
    Generally you shouldn't be taking photos in such a long span of time that the sun/clouds would change, so your exposure should stay pretty much the same.
    Any tiny mistakes you get you could still correct in photoshop. In general for indoors photogrammetry you want to build a lightbox and a turntable to get perfect results.
    Thank you very much for you answer okornyaI ^^
    I have an old dslr, and the light meter display is a little bit crazy to be honest xD. So lets say I get a range of +-1 exposure in all my shoots, then I should tweak them in photoshop before chucking them into Agisoft? I was worried about tweaking stuff manually, since it is not very recommended... and tedious.
    Is there any way to make this automatically in photoshop? a plug in, action or script that takes the exposure of a group of pictures directly to a similar range?
    okornyal said:
    You said that the weather is awful, that it's wet and cast shadows.. that's kind of a contradiction, since awful weather in general doesn't have cast shadows due to the clouds that produce rain would diffuse direct shadows. So unless you went out and took photos directly after a rain as the clouds dissipated and the sun came out.. Well, you just made a wrong decision to go out at that time!
    What I meant is that it was raining all night and during the morning it was all wet and a bit cloudy, but yet there were also cast shadows, so I couldn't take any pictures... and now it is ultra shinny, so I will probably wait until twilight ^^
    What a crazy weather!! Last night was almost snowing!!
  • Sebvhe
    Offline / Send Message
    Sebvhe polycounter lvl 4
    n4uj said:

    Is there any way to make this automatically in photoshop? a plug in, action or script that takes the exposure of a group of pictures directly to a similar range?

    Well if you shoot your pictures in RAW you can always play with the Highlights/Shadows sliders of Camera Raw. As long as you make sure you're always applying the exact same settings to all of your pictures you should be fine

    n4uj said:
    What I meant is that it was raining all night and during the morning it was all wet and a bit cloudy, but yet there were also cast shadows, so I couldn't take any pictures... and now it is ultra shinny, so I will probably wait until twilight ^^
    What a crazy weather!! Last night was almost snowing!!
    Yeah, I went to Oxford today to do some photogrammetry, the weather was very very capricious, but it's also a good challenge, I'll see how I can save my shots :wink: 

  • n4uj
    Offline / Send Message
    n4uj vertex
    Sebvhe said:

    Well if you shoot your pictures in RAW you can always play with the Highlights/Shadows sliders of Camera Raw. As long as you make sure you're always applying the exact same settings to all of your pictures you should be fine

    But I mean when you have a range of +-1 exposure in your photos (because you know, the weather here changes pretty easy and pretty fast...), is it there a proper way to even the exposure automatically? what I have done so far is select all the shoots and autocorrect it in camera raw, but I don't really like the results since it also change some other values, not just the exposure.

    Also I want to say that unless you have 2 workstations, it is a pitty to make photogrammetry on weekends because it takes all the resources of your computers and rendering it useless... for quite a lot of hours.... it is the main problem I have now with my short experience on photogrammetry. However I will set it to do the stuff while I'm in the studio during working days.
    I'm waiting now for a dense mesh to finishhhh :D:D:D I'm eager to show you guys the results!!!  yayyyyy :D:D:D
  • mats effect
    Offline / Send Message
    mats effect Polycount Sponsor
    Interesting read and you have some awesome textures. Downloaded your tutorial too so looking forward to going though that, thanks!
  • Sebvhe
    Offline / Send Message
    Sebvhe polycounter lvl 4
    Hey again !

    It's been a long time since I last posted but I didn't stop photogrammetry at all !
    I've been to Oxford, Bradgate Park and Sicily to do these new textures.

    If you want to start or practise photogrammetry I would definitely recommand going to Bradgate Park, Leicester if you're in the UK, it's by far the best place for photogrammetry I've been to. You get dramatic rocks, forests, brick walls, cobblestone, gravel, dirt etc... at walkable distance.

    As always, Marmoset Viewer for each texture available at my Artstation



    More coming soon !
  • brum
    Hey, i was wondering...

    Since it's quick becoming summertime where direct sunlight is starting to be the default lighting condition... Has anyone tried taking photos with a flash?

    Say you can go to 1/2000 exposure in direct sunlight to get balanced photos, but of course there will be heavy shadows on one side of your objects, making it impossible do scan. What if you used a flash to light up that size? There may still be a difference between the 2 sides, but you could at least try and photograph it without changing your exposure settings.

    Alternatively, what if you had one of those big light blockers you could carry with you, in order to block the direct light? Just a sheet on a tripod basically. It may be enough for all less than human sized things you'd want to scan.
  • Ged
    Offline / Send Message
    Ged polycounter lvl 10
    I think a flash would probably have an obvious decay in brightness over the object, depending on the size of the object?
  • brum
    Ged said:
    I think a flash would probably have an obvious decay in brightness over the object, depending on the size of the object?
    I'm just thinking... Anything would be better than trying to scan 2 sides of an object in direct sunlight, since you have to have extreme exposure changes in your settings for that.
    I'm saying like, 1/200 - 1/100 (shaded side) VS 1/4000-1/2000 (lit side). That means that the lit side will be 10x as bright if it's visible, compared to the shaded side, i think trying to balance it out with a flash could be at least a bit better. The transition between the two sides would probably be still very bad.

    I think a portable shade could do wonders, that's why i'm wondering if anyone has tried it.
    It would be amazing to be able to photograph stuff when there is direct sunlight, if you are able to block that direct sunlight somehow, since all the light bounces will give you enough light to get good photos.
  • WileyArt
    Offline / Send Message
    WileyArt vertex
    Just got your tutorial, super excited to try it!  Thank you!
  • Sebvhe
    Offline / Send Message
    Sebvhe polycounter lvl 4
    Using a flash is indeed a very interesting idea. I'm not sure it would work very well though, I'd say give it a try and let us know ;) .
    My biggest concern with it is that it might really mess with all the specular reflections. Everything as specular reflection, photogrammetry only works when it's quiet faint (sand, ground, some not too shiny rocks ...)

    The portable shade is the perfect solution. Even though, direct sunlight is actually not too much of an issue, what I usually capture is what's in the shadows.
    Try to avoid noon and rather go in the morning/afternoon so the sun is not vertical. That way, you will always get a side, of a wall for instance, in the shadow, shadow that will be cast over the ground/rock you might want to scan. It sometimes gets frustrating but it's never impossible. I went to Sicily two months ago, and the sun never prevented me from taking photogrammetry, I just had to be a bit clever at times.

    The portable shade however would allow you to move the shadow with you !

    I'll take this opportunity to post a few new texture I've been making. As always, Marmoset viewer is available on my Artstation.





  • brum
    Nice scans.
    Are you using the record action (clone stamp) method for tiling your multi-image maps?

    Also, what maps do you export? Diffuse+normal+height?
  • Sebvhe
    Offline / Send Message
    Sebvhe polycounter lvl 4
    Thanks !  :)

    I'm indeed using the record action, however not with the clone stamp.
    I export both the diffuse and height. Then I tile both of them at the same time (with record action) and displace the height again to bake all other maps.
    The reason I'm not using the clone stamp is because it may create differences between the height and diffuse even though you use record action. It's the way it blends the result that causes this. To be honest it's probably not an issue, but I get perfect tiling by just using other bits of texture and transform/mask them anyway.  So I'm mostly recording transforms since they can get quiet complex (multiple wraps for instance)

    Everything is explained in details in my tutorial  ;)
  • Gazu
    Offline / Send Message
    Gazu polycounter lvl 5
    Hey cool Tutorial Sebvhe,

    but im really not sure about this here:

  • Sebvhe
    Offline / Send Message
    Sebvhe polycounter lvl 4
    Thanks Gazu !

    I can assure you this is correct. This image comes from Agisoft Photoscan documentation pdf.
    And from what I've tried it really works. It's because Agisoft gets most of the depth from the parallax between shots.
  • brum
    Gazu said:
    Hey cool Tutorial Sebvhe,

    but im really not sure about this here:

    Photogrammetry uses parallax effects to get it's information. Just pivoting your camera around does not create this effect, therefore it not only doesn't help, but it confuses the data gathering, as it tries to track those pixels. It's nothing process-breaking, but it produces worse results.

    Generally you should make a distinction between your type of surface; whether or not you are photographing something flat or something you want to walk around. Either way, standing still and rotating your camera is not something you want to do, and for a flat fall you don't want to rotate your camera even when you move. DO make sure that there is overlap between the photos whenever you move; a maximum of 50% and about a minimum of 25% of the images should overlap around their edges, because photogrammetry uses that overlap to track the pixels in the images.

    As for amount of photos, i generally try to make an orbit around my object at 3 levels, if it's roughly human sized. I take a ~20 photo circle around normal height, a ~15 photo circle around ground height, and another ~15 photo circle around head height or higher, if possible. I certainly have some ways to go though, here is what i managed to make so far: LINK
    All my models are optimized for games though, so they're not quite hyperdetailed.

  • brum
    Hey, Sebvhe.

    I tried to make a texture seamless with no luck, I'm trying to use recorded actions because they just seem like exactly what I'd need.
    I got your tutorial when it was released, but it only mentioned recorded actions, and i can't seem to get them to work right.
    The clone tool only seems to want to sample one layer, i can't apply it to another layer without a hack involving renaming the layer.

    Additionally the big problem is that it only seems to be recording the sample point of the clone stamp, but not the actual strokes.

    Any ideas?

13
Sign In or Register to comment.