L I DAR SCANN I NG | FEATURE
LIGHTS CAMERA ASSIMILATE ACTION
D evelopments in VR and AR freedom, you need to capture the entire 360° environment when approaching a shoot, not just what lies in front of you. The key is to remember that content isn’t just about communicating in a direct, rational way. With the appropriate use of atmosphere, lighting, cinematography and technology, creatives can deliver a compelling message. Besides the wow-factor of creating a virtual replica of an entire environment, capturing useful data about the location affords more time for cinematic direction and experimentation. Filmmakers have a newfound flexibility to rebuild and optimise assets after a shoot, confident technology have pushed filmmaking outside of what’s immediately visible in-camera. To maximise creative
WORDS JAMES DIGBY JONES / PICTURES SADDI NGTON BAYNES SEE, NOW YOU HAVE TO SHOOT ALL THAT’S AVAILABLE TO SEE IN SOME PRODUCTIONS IT’S NOT ACCEPTABLE JUST TO SHOOT WHAT YOU
in the knowledge that the end results will marry up perfectly with the early stages of production. How do you do this? LIDAR and other 3D scanning techniques capture virtual surfaces to create a copy of real-life objects and spaces, enabling anything from full three-dimensional camera shifts around full digital environments to subtle 2.5D camera moves around a still scene. To better understand these emerging techniques and the visually disruptive impact of 3D scanning, look no further than the photo-real brand video that’s launching Gaggenau’s Vario cooling 400 series. The full creative production by Saddington Baynes included pre-visualisation, LIDAR scanning and the fusion of live-action shots with 3D renders. (bit.ly/def2019 provides a link to the promo.)
FEBRUARY 20 1 9 | DEF I N I T ION 67
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