Author: Yi Zhang

Reality Capture Basic Workflow

This week we started learning how to use Reality Capture to create 3D models from photographs. The first step was to import a set of photos into the software. I learned that the photos need to have enough overlap, and the object should be captured from different angles so the software can understand its shape.

After importing the images, we used the Align Images function. This step calculates the camera positions and creates a sparse point cloud. If the alignment does not work well, it usually means there are not enough photos, the images are blurry, or the object does not have enough visible detail.

After the photos were aligned, we generated the model by using the reconstruction tools. Reality Capture then created a dense mesh based on the image data. I learned that the mesh can sometimes contain extra parts, noise, or holes, so it is important to check the result and clean the scan before exporting.

We also looked at the importance of lighting. Strong shadows, reflections, or blurry images can make the reconstruction less accurate. For better results, the object should be photographed with even lighting and from multiple directions.

Through this session, I understood the basic process of using Reality Capture: import photos, align images, build the model, check the mesh, and prepare it for export.

Model Collection

Anxiety Cube｜Concept & Idea

Anxiety Cube is an interactive Unreal Engine experience that explores invisible forms of anxiety in contemporary life.

The project takes the form of a cube divided into four connected rooms. Each room represents a different source of anxiety: time pressure, information overload, urban noise, and inner reflection. The player moves through these spaces in first-person view, experiencing how anxiety gradually builds through environmental storytelling, sound design, and interactive elements.

At first, each room appears calm and empty. As the player approaches the centre of the space, objects begin to float, sounds become louder, and the environment feels increasingly overwhelming. These reactions visualise the way anxiety can be triggered by everyday experiences and external pressures.

The final room contrasts the previous spaces by offering silence and stillness. It encourages the player to pause, breathe, and reconnect with their own thoughts. However, the ending hints that the cycle may begin again, reflecting how anxiety is often an ongoing part of modern life rather than something that can be completely removed.

The project aims to transform abstract emotions into an immersive spatial experience, allowing audiences to physically move through and reflect on different forms of anxiety.

This week focused on Virtual Production workflows in Unreal Engine, with an introduction to Live Link cameras and NDisplay. The session explored how Unreal Engine can be used to support real-time production pipelines and collaborative virtual environments.

We learned the basic setup process for NDisplay and how multiple screens or displays can be synchronized to create a larger virtual production environment. The session also introduced the use of Live Link cameras, which allow camera data to be streamed into Unreal Engine in real time for virtual cinematography and previs workflows.

Through this workshop, I gained a better understanding of how virtual production technologies are used in professional film and animation pipelines. The combination of Live Link and NDisplay demonstrates how Unreal Engine can support real-time visualization, camera tracking, and immersive production environments.

This week introduced the Unreal Engine Virtual Camera (VCam) workflow and the tools required for virtual production. We learned how to connect mobile devices to Unreal Engine and use them as virtual cameras for real-time cinematography and camera recording.

The session covered several important plugins, including Live Link, Remote Session, Take Recorder, Virtual Camera, Virtual Production Utilities, Apple ARKit, and Apple AR Face Support. We also installed the Unreal VCam application on our phones and explored how it can be used to control camera movement inside Unreal Engine.

Through this introduction, I gained a better understanding of how virtual production workflows can be used for camera animation, previs, and real-time filmmaking. The ability to record camera movements directly from a mobile device offers a more natural and intuitive approach to creating cinematic shots.

This week introduced the structure of the unit and the two project briefs available for the semester. The session focused on designing for the user and encouraged us to think about how audiences interact with animation and digital experiences.

Brief 1, Expanded Animation / Context and Practice, explores animation as a tool for constructing, simulating, and questioning worlds. The project encourages experimentation, critical thinking, and the use of different media, technologies, and workflows to create meaningful experiences.

Brief 2, Fragments of the Real / The Artificial, focuses on photogrammetry and digital storytelling. The brief investigates how fragments of real-world environments can be transformed into speculative digital spaces that explore social, cultural, and environmental issues.

After reviewing both briefs, I became particularly interested in creating an interactive experience that explores emotional and psychological themes. The emphasis on experimentation and user experience inspired me to begin thinking about how digital environments can communicate invisible emotions and personal experiences.