These central elements, be it 2,5D or 3D, are based on either a series of photographs aligned with the virtual camera’s orientation or through a quick photogrammetry application using Kinect or Realsense cameras. The scenes were created in Unreal with Niagara particles for the petals and the visual effects with frame rates well above 60fps.

During this seemingly tame project, we gained a surprising amount of knowledge about standard and nonstandard .objs that store vertex colour information and also discovered how various applications cope with it; an emerging 3D file format (glTF) and its benefits; the best practices to create, stream, import and export 3D meshes and textures during runtime using Blueprints. We also delved into Touchdesigner integration with Unreal and 3D mesh building in TD for optimising the process.

We also worked out a very curious method of exporting scenes by using renders that were chroma keyed in z-depth sections.