![]() ![]() Here are some images of the carvings (from photoscan– not hi res) I also took acoustic measurements (but that is for another post). ![]() I took photogrammetry models of the carvings and made a texture set of natural materials around the cave. In June 2018, I went to Covesea with the Covesea Caves Project. The texture was lost due to a technical glitch during earlier field work, and one of my roles was to add the textures back. I have used this process to retexture a model of Sculptor’s Cave in Covesea, Scotland. Projects should budget sufficient time and resources to complete the task, and understanding the process can help project managers better plan their output. In my case, most of the models I have been working with are extremely detailed laser scans of highly irregular interiors. For example, older 3D models may have been optimized for smaller screen resolutions and will look blurry or gooey when used today. Simply having a 3D model does not necessarily mean that the model can be plopped into a game engine and look good. ![]() It is important to explain texturing because ignorance of the process has been a recurring issue when working with archaeological 3D models made for preservation, measurement, or even just for fun. Explain the entire texture process to archaeologists, beginners, and non-designers.For this series of ‘tutorials’ I will go through the processes that are needed to go from a complex mesh with millions of faces, mesh errors, and unusual topology, to a clean, detailed, and attractive mesh. This series of 3D modelling workflow posts outlines the steps that go into retopologizing and texturizing a mesh for use in a game engine. ![]()
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