Utilizing 3D Visualisation And Greenscreen Technology in Marketing

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Over the last ten to fifteen yrs 3D visualisation and green-screen technology has become a demand in marketing. It has become so prevalent that it is rare to determine a commercial lately without the use of 3D visualisation or green-screen technology.

This technology gives several advantages, apart from the noticeable ‘visual eye-candy’ that green-screen and 3D provide, the technology also resolves many production difficulties, for instance, any logistical issues active in the shoot e.g. places come to be defunct as 3D and green-screen technology can put the actors in different location imaginable – digitally, On the moon, in a jungle, on a beach front and so on. The producer may be somewhere of the globe while the production team could be on another and the work may be discussed via ftp technology.

Green-screen technology entails shooting actors facing an uniformly lit green or blue wall or screen, this then enables digital software to get rid of the green or blue parts in the video and permits a designer to put (or composite) the actors in any circumstance conceivable. It’s unusual to find out a product commercial with no use of 3D visualisation, it’s employed so much due to the unique benefits it provides. The product may be lighted in a fashion that looks as good as real life, it could be animated in a lot of methods and have numerous digital effects integrated.

3D visualisation happens to be very popular in advertising, whether it is employed to create scenes and backgrounds or the entire ad. Several ad’s today require 3D characters instead of actors, which are produced in 3D visualisation software program like 3D’s Max, Cinema 4 D, or Maya. The method to create this sort of character work involves initially building the characters, then converting them to top, front and side view images. Then these drawings are used to model the characters in 3D software. Next the 3D models are textured and then boned and then skinned. The character requires bones which deform the ‘mesh’ in a realistic way, the bones are put within the character mesh and then the mesh is skinned, this implies when the bones move the mesh deforms with it suitably. As soon as this is done the character may be animated making use of the bones. After the scene is animated and all necessary elements are added, the scene is lit and the final scene is ‘rendered’, this means that each frame is created with the lighting and materials effecting the scene so it seems polished and realistic.


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