2010 Issue

12 N OT TOO LONG AGO, VISUALIZATIONS were still being created using classical artistic methods by trained artist. Unlike our early predecessors who relied on pencil and paint, today’s visualization artists have a variety of tools at their disposal. The new tools have been rapidly developing over the last 15 years as a direct result of technology. Now visualization artists have several deliverables that are available for project use. The question now is which is the best for the project? Let’s take a brief look at what visualization options are available for your projects today. Photo Simulation Photo simulation has been the “bread and but- ter” for most visualization artists for the past two decades. It is also commonly referred to as a “before and after.” Photo simulations use a photograph of a selected location of the project and show what the project will look like when completed. The typical steps to creating a photo simula- tion start with several photographs of each desired location. A 3D model is often created and using a virtual camera is matched with the photo using key elements in the existing data. The resulting rendering from the 3D software package is overlaid in digital paint software (like Adobe Photoshop or Corel Photo Paint) and manipulated to blend in with the photograph. It’s a process that takes some skill and practice. Pros/uses: • Photo simulations typically require at most a couple weeks to create from start to finish and thus cost effective (with all projects, each comes with its own set of challenges so only use that as a rule of thumb as some may take longer or even less time). • These are great tools for design studies. Much of the prep work has been done for the first alternative, so adding other alternatives is only a matter of creating 3D models and rendering them out (with a little post work too). • The existing information does not have to be created! Much of the original photo will remain the same for the “proposed” version. There is usually anywhere from 30- 60% of the images that remains untouched. Design Visualization GLEN LOYD Lead Design Visualization Specialist, Parsons Brinckerhoff The use of design visualization is not new to the Architecture, Engineering and Construction industry. Even the Renaissance greats like Michelangelo and Di Vinci used visualization to communicate their designs of buildings and bridges. Even after 400 years, the main purpose remains the same; Visual communication of a design. Yet today’s industry has found other uses for visualization beyond “pretty pictures.” • Great for boards at public meetings or used in PowerPoint or the project website. Cons: • Sometimes realism can backfire if the project is still conceptual. Often people can expect to get what they saw at a meeting or in the news. • Not always the “wow” factor for large, high profile projects. Tips: • The quality of the photograph is highly important to a successful photo simulation. Use a professional photographer or someone who had taken a photography class or is familiar with the fundamentals of photography. If possible, try to plan for shots at mid morning or mid afternoon and in good weather and desirable season. Leaves can be added to an image, but it’s not easy or fast. • For large projects like interchanges or rail stations, aerial photographs will help show the project better than a ground shot. • Know the purpose (or story) of each site location before going out to the field. What would be the best angle to show this portion of the project? • Take a set of current plans with you and call ahead if you are going to be near or in any “sensitive” areas. Animated Photo Simulation The animated photo simulation takes the photo simulation a step further by adding animated ob- jects over it. This is a very similar process to what Hollywood studios often do in special effects. The photo simulation acts as a matte painting and “characters” are animated in a virtual 3D “set.” Typical characters in a civil project would be rail vehicles, cars, and pedestrians. There is some technical skill required for the animation and to create stand-in and mask objects from the existing environment that will cover and catch shadows in the scene from the animated objects. Certain elements need to be above, behind and even between other objects in 3D scene and in the photo Classic photo simulation before and after example of what the proposed grade change and lane configuration will look like when completed. Mountain View Corridor, Salt Lake City, Utah.