The VFX Shoot for Texture Maps

Reference pictures are taken in Visual Effects to create texture maps. There are a number of outcomes to keep in mind. It has become a craft in its own right. It is more than getting your point-and-shoot out of your pocket – no matter how many megapixels it can shoot.

Great texture maps come from using the proper f-stops, apertures, camera lenses, lighting, etc. What is the effect you need? What is the outcome you’re looking for? Will you be requiring specular maps, displacement maps, normal maps, cavity maps, ambient occlusion maps, or some other type of map for your object or model?

The one we are constantly hearing about is for Cross-Polarization photography and specular maps.  This calls for a cross-polarizing lens and cross-polarizing Mylar to be used on your lights. By adjusting your lens on the camera back-and-forth, you can get the polarized look of no highlights on the talent and readjust the lens by 90 degrees to get the specular look.

specular cross-polarized

It is also very important to keep an even lighting on the subject as to prepare a flat lit model in production so that they can light the item or talent in their system with the proper conditions of the created environment.

This process gives our customers what they need.  We also shoot in raw as well as jpeg, to give us the ability to adjust the image if needed via white balance and other photographic manipulation.

As the saying goes, “The devil is in the details,”  however, the details are not always accessible. A professional photo shoot must be done with the 3D pipeline in regard, therefore you need to plan your shoot, and shoot your plan.


Where is your closest location?

tng vfx locations

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