Go-Anywhere 3D Capture
If you can get a person there, we can model There.
Accurate models are useful, but experiencing the unsurpassed photorealism in our work will drop your jaw. You’ll believe you’re there right
These “flatties” give you an idea, but contact us for a live 3D demo.
From a scanning perspective, this Gothic chair with its intricate carvings and many through holes poses a challenge to any scanning methodology. Only Photo2Topo makes possible this level of photorealism.
An American-made mining machine about 1000′ down the Uralkali potash mine near Berezniki, Russia. To catch the upper sections, this Mad Max-looking machine was captured in a space with higher ceilings, then later composited with a section of tunnel. Virtual cinematography developed for Ed Burtynsky’s film trilogy, Anthropocene: The Human Epoch.
This carved dining table features four types of wood, the grain unique to each brought to life with a pseudo form of scan-based specular maps, the shiny property. Full scan-based speculars are in the pipeline.
Purists will perceive this scene as surreal and unnatural. Note, natural underground = pitch black. Animated “stage lighting effects” point to the power of mutable lighting when working with Photo2Topo digital assets. This smaller room joins a much larger model produced for the Edwards Aquifer Authority, a 3D virtual cave tour used in public outreach.
Surrounded by psychedelic color and shapes, Russian miners break for bagels and coffee at this welded bench table. 8K texture maps allow you to read the Russian newspaper used as tablecloth, if you know Cyrillic. The many tools lying about, the dial telephone, an oasis of things human in an otherwise otherworldly environment.
Pushing the limits of resolution (geometry and color) with assets that render in realtime, there’s actually 200% and more info in the source data than being tapped here to resolve the tiny type on the spines of LPs and a CD collection. Fidelity = Realism. Photo2Topo can scale to most any need.
Ever rappelled down a pit? Nobody has ever been free to fly around a pit(virtually)to explore until now. Access to high-angle and otherwise highly inaccessible locations opens up a world of possibility to virtual tourism, engineering, education, you name it.
Two techs really pushed it seeing how much tunnel could be captured in a long day in what client, art photographer Ed Burtynsky, dubbed “The Good Tunnel”, as this section of Uralkali featured a stretch of amazing metamorphic carnalite. The new workflow invited a datagap or two, but productivity tripled and much was learned.
Hands down the most challenging space to bring into an accurate model was this large chamber featuring a steeply sloped mud bank beneath 35′ high cupolas and highly occluded stone shelves, alcoves, and jumble of alluvium washed in by the monstrous flooding that takes place here.
Judging by the powdery piles of mine tailings, our capture team planted the first footprints here, the first to really see it. Two miners locked inside a confined cabin in the mining machine can’t really see out, too much dust, they excavate and leave. With virtual lighting the user sees even more.
Turnkey or Stand Alone
Photo2Topo is here to revolutionize digitizing Place. It is to CG art today as the invention of the camera was to the 1830s, a time when likenesses of people and landscapes fell to (expensive) painters. Once again, art is on the move.
Our virtual environments serve a great variety of applications, each telling a different story. All stories begin with establishing the basic; Where are we? When are we? Who are we? Establishing the Where — no matter how inaccessible, historically sensitive, or dangerous — is now possible with Photo2Topo’s patented capture technology. Source data is pushed through a pipeline to produce textured, high-resolution models, then moved into 3D animation tools and gaming development software to flesh out content for film, video games, serious games, and virtual reality.
A wave of all things Reality Capture is in motion. Scans of objects and entire landscapes are old hat. Until now, the texture information provided by photogrammetry has been limited to what’s possible with ambient lighting, with advanced studio lighting, and with labor-intensive post-processing. Until now, there’s been no efficient means to deliver the delit photography required in offline renderers and real time game engines to unleash the power of dynamic CG lighting, much less to achieve this within the source data in a go-anywhere capture system.