The use of 3D Visualisation and Greenscreen Technology in Advertising

In the last ten to fifteen years 3D visualisation and green-screen technology has become a necessity in advertising and marketing. It is so prevalent that it is uncommon to see a commercial these days without the use of 3D visualisation or green-screen technology.

This technology offers many perks, apart from the evident 'visual eye-candy' that green-screen and 3D provide, the technology also eliminates a lot of processing troubles, for example, any logistical issues mixed up in shoot e.g. places become defunct as 3D and green-screen technology can place the actors in different area you can possibly imagine - digitally, On the moon, in a rainforest, on a seashore etc. The producer could be somewhere of the planet while the production team may be on another and the work could be distributed via ftp technology.

Green-screen technology requires capturing actors in front of an evenly lit green or blue wall or screen, this then permits digital software to get rid of the green or blue parts from the video and allows an artist to place (or composite) the actors in different circumstance imaginable. It is rare to see an item commercial with no use of 3D visualisation, it is employed a lot because of the distinct benefits it provides. The product can be lighted in a way that seems much better than real world, it could be animated in numerous ways and possess countless digital effects integrated.

3D visualisation happens to be extremely popular in advertising, whether it's accustomed to make scenes and backgrounds or the entire ad. Several ad's today entail 3D characters rather than actors, which are created in 3D visualisation software program such as 3D's Max, Cinema 4 D, or Maya. The method to produce this kind of character work requires to start with designing the characters, then changing them to top, front and side view images. Then these drawings are used to design the characters in 3D software. After that the 3D models are distinctive and then boned and then skinned. The character needs bones which deform the 'mesh' in a natural means, the bones are put within the character mesh and then the mesh is skinned, this means when the bones move the mesh deforms with it suitably. As soon as this is done the character could be animated using the bones. After the scene is animated and all necessary elements are added, the scene is lighted and the final scene is 'rendered', this means that each frame is made with the lighting and materials effecting the scene thus it looks polished and genuine.