![]() ![]() This rules out reflective and partially transparent surfaces. The surface must not change it’s appearance (color/structure) based on the angle from which it is looked at.Plain/smooth wood is where photogrammetry hits its limits (at least for me right now) as the displacement changes are so subtle that they get lost in the noise during processing.With a high end camera, a macro lens and a lot of patience it is even possible to use photogrammetry for leaves and fabrics.Gravel and tiles with shallow seams are more difficult, but still doable.Paving stones, bricks and tree bark are pretty much always suitable, even with lower end cameras.What this means in concrete terms depends on your equipment. The surface must have a strong enough displacement for it to create a detectable difference in perspective when moving the camera.Photogrammetry can generally be used on surfaces which fulfill these criteria: Deciding whether photogrammetry is the right tool The details of the high-detail pass are then baked onto the low-detail pass, thus eliminating larger height changes and leaving only the smaller detail which creates uniform and easily tileable displacement maps at very high resolutions (theoretically up to ~32000px). ![]() ![]() The workflow shown in this guide works by creating a high-detail pass with the maximum amount of information possible and a smooth/flat pass. In other words: It’s an incredibly accurate way to capture displacement data for material creation. It works by taking pictures of an object from different angles and using them to create a representation of it’s geometry. Photogrammetry (sometimes called “photoscanning”) gives you significantly more accurate displacement maps than Bitmap approximation or Multi-angle techniques at the cost of being the most demanding way in terms of hardware, software and time. ![]()
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