Thank you for the video, it was helpful to see the real-time results of your setup. For anyone else who tried putting the linear film under the plastic diffuser, the results were poor for myself. I recommend taping the film over the light and any plastic covering, like in the video. My setup Canon 700D, 35MM prime (1.6x crop ~ 56mm), Hoya Circular Polarizer, Aputure AHL-HC100 Amaran Halo LED, , gaffers tape, and Linear Polarized film suggested from the video. Again thank you for another great, helpful video.
Thanks for the helpful information, Bruce! Yes, as long as the linear polarizing film is the last thing the light touches before it hits your subject, everything should work properly. Thankfully, this means we can use whatever sort of light modifiers we want, as long as we can attach the film to them.
Understanding Circular Polarizing Lens filters: Light reflected by water surface is horizontally polarized (water itself acts like opposite of polarize filter - instead of letting only one polarization through, it bounces it off). Using a vertical polarization filter filters out the horizontal polarized light reflection therefore you can finally see underwater in photo.
Understanding Circular Polarizing Lens filters: Light reflected by water surface is horizontally polarized (water itself acts like opposite of polarize filter - instead of letting only one polarization through, it bounces it off). Using a vertical polarization filter filters out the horizontal polarized light reflection therefore you can finally see underwater in photo.
Hey man! Can you make a tutorial like how to get a flat HD texture for heads? another question, DO i need a very high/expensive quality of camera to do this? Sad thing is that i only have an eos m3 camera. :(
Sorry for the delay in replying! I hardly ever log in to this account. But you don't need an expensive camera, I promise! I still use Canon Rebels cameras, and was even using my old T2i up until late last year when it started to malfunction. The most important thing is having good light and a decent lens, in my opinion. And I promise I'll include information on shooting heads in an upcoming video. I'll cover everything I can think of to get good results!
Thanks for the video. I managed to assemble my own version with LED lights and polarizing film sheets for 9" tablets. Now I'm wondering if I should take pictures both with and without polarizer to create a nice material, say human skin, or cross-polarized version is enough. Also, I'm thinking of a way to use a CPL filter with my Canon 600D kit lens (it turns when focusing so I have to immobilize my filter somehow)
I would say experiment with it and see what works best with shooting skin. Skin is one of the few things that sometimes turns out better (as far as mesh reconstruction goes) when not shot with CP. If the skin is very clean and doesn't have much variation in color, then the only thing your photogrammetry software can pick up on is the pores, which show up better without CP. But like I said, it depends on each person's skin. And I've had the same issue in the past with lenses that rotate the front lens element when focusing. My advice would be to either tape down your focus to keep it locked and just move the camera back and forth to get focus, or try to find a lens that doesn't focus in this way (although I know it can take time to get another lens).
Thank you, Florian! The ringlight I'm using here is called the r-300, it's made by F&V. I believe it was around $300 for the kit I bought (included AC adapter and battery/charger.
Hey - Thanks for this. I've heard tell of photogrammetry software struggling to detect spatial positioning with stationary camera, as in your setup - have you run into this problem? I'm going to be using Reality Capture
Hello dear classy I liked your video about the vfx it made me know new stuff. And my last thing I want to talk about is I was watching through your video I will not lie all the videos are very helpful. I will invite people and make sure they support your chanel
How do I instruct the photographer? I'm an artist. I create hyper-textured surface paintings. I ask a photographer to photograph my original artwork for me to sell as prints. I want to see the texture in my prints. Not flat. I want the photographer to capture the brush-marks texture in photos of my paintings. I want to reduce reflection and glare. I want to show the texture brush-marks. How should the photographer set-up and use cross-polarization to ensure the textured brush-marks appear on my prints?
Will this setup work for glossy (low roughness) surfaces??? Like varnished or lacquered wood? Ive experimented with x-pol using flash and find the angles and distances are critical for reflective glossy surfaces. Very curious. saw the mounting rig in the other video. Very clever! Solves a number of problems simultaneously.
Thanks! The light I'm using here is called the r-300, and it's made by F&V. The kit I bought for it (which included the battery and charger and an AC adapter) was about $300 USD.
Thank you! Yes, I really recommend trying it out, it's a lot of fun and makes your work much easier when it comes to getting a good color map for your scans. It can also be useful for shooting regular textures outside of scanning.
Sorry for the late reply! I have to admit, I don't know what you mean by percentage, but as far as linear polarizing film goes, I've been using the laminated stuff for the past year or so. It costs about twice a much, but it's much stiffer and more durable, so it lasts considerably longer even with constant use. It's worth a try if you plan to shoot often!
Hello, Ocram! Sorry for the delay! Yes, I believe you should be able to use the light at any angle relative to the camera. Though I've actually never tried it myself, I have seen many other people report that it works (and that it is even possible to do it with multiple lights somehow). I always use it with a ring light because of the ease of use when scanning. As for your other question, I prefer attaching the ring light to a 15mm rail system. I find this is much more secure than trying to attach the light directly to the camera, which can sometimes come loose while working. I'm using an F&V r-300 light in the video, which offers a rail mount option. If you have any questions about rail mount systems, let me know and I'll do my best to help. There are a lot of affordable options out there these days. Just be aware that a rail mount setup is going to be heavier, and so I wouldn't advise it if handheld shooting is your only option currently (though it can be done, it's just uncomfortable to shoot that way).
Mr Candy, you made that topic seem way to simple. I was expecting the two lamp method, that I have seen pictures of but don't understand. Thanks for the focused tip.
Thank you! And I don't understand the two lamp method either, haha! Though I have to admit, I've never even tried it, since the ring light is working well for my projects so far. Maybe one day, though!
Thank you! For now, I've just been faking roughness in programs like Substance, their Alchemist software makes that quite easy to do now, even if the results aren't as close as we would like. If you need more accurate spec maps, I would recommend checking out posts by Erik Christensen over on ArtStation, he's done a fair bit of testing in that area.
That's a good question! You know, I've never tried it with crystals before, so I don't know what would happen. Let us know if you try it, though! I'm curious to hear.
Sorry for the delay in replying, Florian! No, there should be no difference in the effectiveness of the cross-polarization. The only difference would of course be the other qualities of the lights (how soft it is, how bright, etc). As long as the linear polarizing film is the last thing to affect the light before it hits the subject, everything should work properly.
Thank you for the video , i have a soft box light , for the linear polarizing film , there are two types : 0 degree or 90 degree , which type of this linear polarizing film should i used in front of soft box for ?
I must admit, I have no idea which type of film I have! Can you share the link to the source you're buying it from? Perhaps I can find more information pertaining to this. The source I've been buying film from doesn't mention this, from what I recall.
@@ClassyDogStudios may be 0 degres is for filtering the light coming from camera as the circular one you have in your video which works great / so might be a 0degre filter,. i'd imagine that 90 degres is for lightning coming from the side(s) of the object your scanning so 90 degres angle between the angle of camera to the object and the object to light (light on the sides of the cam). My 2 cents i don't know either ! ;)
Hi great tutorial! i have a question, the cross polarization only works with a single light source? what happen if i use two lights with polarization films at the same time? Cheers!
If all your light is polarized the same direction, then it should work with multiple light sources, but it becomes increasingly difficult to control with more light sources.
Yep I can confirm what Zuriki mentioned, I tried cross polarization with two studio lights today. The two lights are angled 45 degrees from the camera, positioned on the left and right side of the camera. I used a linear polarized filter and taped it to my light. I made one mistake, I didn't pay attention to the rotation of the polarized filter on the second light. The filter on the second light blocked majority of the reflections but on heavy reflective/specular materials the reflection was still noticeable. I removed the linear polarization filter and rotated it 45 degrees in front of the light, while looking through the camera to check if rotating it would affect it and it did. To make it work you need to tweak the polarized filter on the second light just as you would tweak the CPL on your camera. This means that to create a clean setup I would need to build a filter that I can rotate for my secondary light source. In case my lights move around, I will need to have the control to tweak the angle of the filter. EDIT: Just slapping 2 Linear Polarized Filters on your lights is still better than nothing. My setup without tweaking the polarized filter on the second light still eliminates all the reflective/specular details. Things like shiny plastic works perfect. It is as soon as you try to remove reflectiveness from metal subjects that you will need to tweak the polarized filter on your second light.
Thank you! I used the Canon T2i up until late last year when it started to malfunction (only shoots one photo about every 2 seconds for some reason). Now I'm using a Canon T7i because it's got a much faster buffer.
Great video, as someone who's very much into cinematography, photography, and 3D work. BUT HOW DID NO ONE MENTION THE RANDOM RACOON @0:57 ??
"Stay classy"
*Eat the camera*
I love your videos man!
Thank you! I have a lot of fun making them.
Thank you for the video, it was helpful to see the real-time results of your setup. For anyone else who tried putting the linear film under the plastic diffuser, the results were poor for myself. I recommend taping the film over the light and any plastic covering, like in the video. My setup Canon 700D, 35MM prime (1.6x crop ~ 56mm), Hoya Circular Polarizer, Aputure AHL-HC100 Amaran Halo LED, , gaffers tape, and Linear Polarized film suggested from the video. Again thank you for another great, helpful video.
Thanks for the helpful information, Bruce! Yes, as long as the linear polarizing film is the last thing the light touches before it hits your subject, everything should work properly. Thankfully, this means we can use whatever sort of light modifiers we want, as long as we can attach the film to them.
Watching this literally just blew my mind... I never knew you could filter out reflections with this method. Thank you for sharing!
Thank you, I'm glad you liked it! Yes, it's pretty cool, amazing what you can do with some of the filters out there!
Understanding Circular Polarizing Lens filters: Light reflected by water surface is horizontally polarized (water itself acts like opposite of polarize filter - instead of letting only one polarization through, it bounces it off). Using a vertical polarization filter filters out the horizontal polarized light reflection therefore you can finally see underwater in photo.
you are the man
Thanks, Matt! Let me know if you try it out yourself!
@@ClassyDogStudios but how do i then get the reflection in the game asset if i dont shoot it in RL?
What lamp do you use bro?
It was not all live from your bed. Am disappointed. Kidding - great video and thanks for the info almost 2 and a half years later!
Understanding Circular Polarizing Lens filters: Light reflected by water surface is horizontally polarized (water itself acts like opposite of polarize filter - instead of letting only one polarization through, it bounces it off). Using a vertical polarization filter filters out the horizontal polarized light reflection therefore you can finally see underwater in photo.
Hey man! Can you make a tutorial like how to get a flat HD texture for heads? another question, DO i need a very high/expensive quality of camera to do this? Sad thing is that i only have an eos m3 camera. :(
Sorry for the delay in replying! I hardly ever log in to this account. But you don't need an expensive camera, I promise! I still use Canon Rebels cameras, and was even using my old T2i up until late last year when it started to malfunction. The most important thing is having good light and a decent lens, in my opinion. And I promise I'll include information on shooting heads in an upcoming video. I'll cover everything I can think of to get good results!
Thanks for the video. I managed to assemble my own version with LED lights and polarizing film sheets for 9" tablets. Now I'm wondering if I should take pictures both with and without polarizer to create a nice material, say human skin, or cross-polarized version is enough. Also, I'm thinking of a way to use a CPL filter with my Canon 600D kit lens (it turns when focusing so I have to immobilize my filter somehow)
I would say experiment with it and see what works best with shooting skin. Skin is one of the few things that sometimes turns out better (as far as mesh reconstruction goes) when not shot with CP. If the skin is very clean and doesn't have much variation in color, then the only thing your photogrammetry software can pick up on is the pores, which show up better without CP. But like I said, it depends on each person's skin.
And I've had the same issue in the past with lenses that rotate the front lens element when focusing. My advice would be to either tape down your focus to keep it locked and just move the camera back and forth to get focus, or try to find a lens that doesn't focus in this way (although I know it can take time to get another lens).
thanks for the great video. what ringlight do you use?
Thank you, Florian! The ringlight I'm using here is called the r-300, it's made by F&V. I believe it was around $300 for the kit I bought (included AC adapter and battery/charger.
your tutorials are amazing, keep em coming.
Thank you, I'm glad you enjoy them!
I love looking at beans while being saturated in nerd talk.
am I the only one that wants to talk about the racoon running around 0:58
how to fix color after cross polarization? to close to real color?
I'd love to see how a real human face looks like with this technique
Hey - Thanks for this. I've heard tell of photogrammetry software struggling to detect spatial positioning with stationary camera, as in your setup - have you run into this problem? I'm going to be using Reality Capture
Hello dear classy I liked your video about the vfx it made me know new stuff. And my last thing I want to talk about is I was watching through your video I will not lie all the videos are very helpful. I will invite people and make sure they support your chanel
How do I instruct the photographer? I'm an artist. I create hyper-textured surface paintings. I ask a photographer to photograph my original artwork for me to sell as prints. I want to see the texture in my prints. Not flat. I want the photographer to capture the brush-marks texture in photos of my paintings. I want to reduce reflection and glare. I want to show the texture brush-marks. How should the photographer set-up and use cross-polarization to ensure the textured brush-marks appear on my prints?
Will this setup work for glossy (low roughness) surfaces??? Like varnished or lacquered wood? Ive experimented with x-pol using flash and find the angles and distances are critical for reflective glossy surfaces. Very curious. saw the mounting rig in the other video. Very clever! Solves a number of problems simultaneously.
Hello! It is very cool! what is your circular light?
Thanks! The light I'm using here is called the r-300, and it's made by F&V. The kit I bought for it (which included the battery and charger and an AC adapter) was about $300 USD.
Thanks a lot for those Tips !
a client.
You're welcome! I'm glad you found the video helpful.
making one right now, does the linear pol need to go over as last step? and not between flash and diffuser?
Great freaking video! I cant wait to order some polarizing film and try this.
Thank you! Yes, I really recommend trying it out, it's a lot of fun and makes your work much easier when it comes to getting a good color map for your scans. It can also be useful for shooting regular textures outside of scanning.
omg. awesome
Hey... The led rig... What model is it? Thanks
I'm about to try this. Any recommended percentage of polarized paper?
Sorry for the late reply! I have to admit, I don't know what you mean by percentage, but as far as linear polarizing film goes, I've been using the laminated stuff for the past year or so. It costs about twice a much, but it's much stiffer and more durable, so it lasts considerably longer even with constant use. It's worth a try if you plan to shoot often!
Hello James !Do you think is the same with to spot at 45 degrees with polarizer film?In wich way your ring light is supported on the cam?Ciao.
Hello, Ocram! Sorry for the delay! Yes, I believe you should be able to use the light at any angle relative to the camera. Though I've actually never tried it myself, I have seen many other people report that it works (and that it is even possible to do it with multiple lights somehow). I always use it with a ring light because of the ease of use when scanning. As for your other question, I prefer attaching the ring light to a 15mm rail system. I find this is much more secure than trying to attach the light directly to the camera, which can sometimes come loose while working. I'm using an F&V r-300 light in the video, which offers a rail mount option. If you have any questions about rail mount systems, let me know and I'll do my best to help. There are a lot of affordable options out there these days. Just be aware that a rail mount setup is going to be heavier, and so I wouldn't advise it if handheld shooting is your only option currently (though it can be done, it's just uncomfortable to shoot that way).
Mr Candy, you made that topic seem way to simple. I was expecting the two lamp method, that I have seen pictures of but don't understand. Thanks for the focused tip.
Thank you! And I don't understand the two lamp method either, haha! Though I have to admit, I've never even tried it, since the ring light is working well for my projects so far. Maybe one day, though!
Great video, but could you tell us some more information about the textures and how you made them? Like specular & roughness usw...
Thank you! For now, I've just been faking roughness in programs like Substance, their Alchemist software makes that quite easy to do now, even if the results aren't as close as we would like. If you need more accurate spec maps, I would recommend checking out posts by Erik Christensen over on ArtStation, he's done a fair bit of testing in that area.
Thanks for sharing your knowledge!
Cool! Thank you!
Thank you, Sergey! Glad you enjoyed it!
Hi! Does it Works with cristals? like quartz... you know...
That's a good question! You know, I've never tried it with crystals before, so I don't know what would happen. Let us know if you try it, though! I'm curious to hear.
do you think it makes a difference if the linear filter is taped onto the ringlight directly vs taped on the difusor plate of the ringlight?
Sorry for the delay in replying, Florian! No, there should be no difference in the effectiveness of the cross-polarization. The only difference would of course be the other qualities of the lights (how soft it is, how bright, etc). As long as the linear polarizing film is the last thing to affect the light before it hits the subject, everything should work properly.
very nicely explained.
Thank you for the video , i have a soft box light , for the linear polarizing film , there are two types : 0 degree or 90 degree , which type of this linear polarizing film should i used in front of soft box for ?
I must admit, I have no idea which type of film I have! Can you share the link to the source you're buying it from? Perhaps I can find more information pertaining to this. The source I've been buying film from doesn't mention this, from what I recall.
@@ClassyDogStudios may be 0 degres is for filtering the light coming from camera as the circular one you have in your video which works great / so might be a 0degre filter,.
i'd imagine that 90 degres is for lightning coming from the side(s) of the object your scanning so 90 degres angle between the angle of camera to the object and the object to light (light on the sides of the cam). My 2 cents i don't know either ! ;)
Hi great tutorial! i have a question, the cross polarization only works with a single light source? what happen if i use two lights with polarization films at the same time? Cheers!
If all your light is polarized the same direction, then it should work with multiple light sources, but it becomes increasingly difficult to control with more light sources.
Yep I can confirm what Zuriki mentioned, I tried cross polarization with two studio lights today. The two lights are angled 45 degrees from the camera, positioned on the left and right side of the camera. I used a linear polarized filter and taped it to my light.
I made one mistake, I didn't pay attention to the rotation of the polarized filter on the second light. The filter on the second light blocked majority of the reflections but on heavy reflective/specular materials the reflection was still noticeable. I removed the linear polarization filter and rotated it 45 degrees in front of the light, while looking through the camera to check if rotating it would affect it and it did. To make it work you need to tweak the polarized filter on the second light just as you would tweak the CPL on your camera.
This means that to create a clean setup I would need to build a filter that I can rotate for my secondary light source. In case my lights move around, I will need to have the control to tweak the angle of the filter.
EDIT: Just slapping 2 Linear Polarized Filters on your lights is still better than nothing. My setup without tweaking the polarized filter on the second light still eliminates all the reflective/specular details. Things like shiny plastic works perfect. It is as soon as you try to remove reflectiveness from metal subjects that you will need to tweak the polarized filter on your second light.
This is a great tutorial. What camera are you using?
Thank you! I used the Canon T2i up until late last year when it started to malfunction (only shoots one photo about every 2 seconds for some reason). Now I'm using a Canon T7i because it's got a much faster buffer.
THANK YOU!
Thx you so much!
You're welcome, I'm glad you liked it!
Love u man!
Thank you, I'm glad you enjoy the videos!
Ъ
Yus!
So good!
Thank you, I'm glad you enjoyed it!