Optimal Meshing Process-Meshroom experimentations 190610

WARNING. This is a workin progress article and sections are not completed.

@Decisions :

Using LSCM as Unwrapping

Draft are interestingly fast and acceptable for conceptualize


Generating 3 Texturing of two types. Draft and High-Res
(ref as : HMeshing and DMeshing)

The variant being evaluated is the Unwrapping method

DMesh Texturing – One LSCM was generated

DMesh Texturing Basic Unwrapping
DMeshing Basic generated two plus other unknown files

Generating ABF Unwrapping… Interesting

ABF Unwrapping
DMesh ABF Unacceptable – Closer though the result are a bit blurry, lets try generating for the HMesh
DMesh texturing ABF Unwrapping
TexturesOne Texture
MeshSimilar size than others

Generating the ABF for the HMesh
Start mesh atlasing (using Geogram ABF).
atlasing : Interesting term… can you clarify atlasing?

Canceled the ABF, way too long…

In realtime computer graphics, a texture atlas (also called a sprite sheet or an image sprite) is an image containing a collection of smaller images, usually packed together to reduce the atlas size. Atlases can consist of uniformly-sized sub-images, or they can consist of images of varying dimensions.


More experimentation on the tree were done.

Feature Matching

@q What is the optimal parametering for Feature matching?
In this experimentation, SIFT + AKAZE + Guided Matching was used


In conclusion. The Texturing LSCM is the best I have found to use.

16k Texture, EXR format, Unwrapping using method LSCM
Later, the 16k can be reduce to 8k, 4k according to desired resolution.


Lower the triangle reduce a bit the generated model
Keep only the largest Mesh, well should keep only the largest mesh and get rid of all junk around

SfM – Structure from Motion

minInputTrackLength set to 4 to keep only the most robust matches (ref)

Error Memory Exausted 🙁

It does not like High feature extraction for some of my models

VFX Texturing

Texturing in Maya

  • PSD Network

Texturing in Clarisse

Texturing in Mari

Scattering the forest using Clarisse

Why using Clarisse?

What is Scattering?

  • How did they do it on the Painting?
    1. Point cloud? “Geometry as a no point cloud area”
      1. Sounds it is a

How did the Scattering done for the Painting?
Instead of generating the Point cloud from geometry, use geometry as a no point cloud area.
What is “using geometry as a no point cloud area”?Geometry generates a texture image from an orthographic top view resulting in a black and white matte
The map will automatically update if the geometry changesThe matte image was connected to the input dissimation covering the ground.
Duplicated the Point cloudthe goal is controlling Density and variety
using the same mapShrink, blured
Small Vegetation on the Ground
One for exceptions such as big trees, dead trees
Another for grading between small and large vegetationwere middle trees
How do you convert a geometry into an image in Clarisse?

What is “using geometry as a no point cloud area“?

We Create Worlds – Raynault VFX

Really great source of inspirations and what is required to master to create Digital Painting.

Here is an Analysis of it:


  • Select References
  • A Quick paper drawing of lines, positionning, horizon line – LAYOUTING. Shows the composition, path of the trees
  • Desires: Linearity embedded in the forest, symmetry, something graphic
  • Roff layout in Softimage
  • Scattering the forest using Clarisse
    • Trees
    • Small vegetation
    • Irregularities and variety. (Dead tree, big tree)
    • Medium vegetation to merge between small and big

Softwares :

  • Softimage
  • SpeedTree
  • Clarisse
  • Photoshop
  • Internal Tooling

Technical and Artistic skills:

  • Creating Trees
  • Scattering
  • Volumic Shading

Digital Matte Painting

A digital matte artist, or digital matte painter (DMP), is today’s modern form of a traditional matte painter in the entertainment industry. He or she digitally paints photo-realistic interior and exterior environments that could not have been otherwise created or visited.