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1. Overview of the Dorothy Handover Package – Tier 01

Here we will look at the standard handover package from Clear Angle Studios for a Tier 01 Dorothy capture.

Dorothy Lighting Rig

Before we go into the details of the output data from Dorothy, here is some information on the cameras and the lighting used during the capture.

Dorothy Cameras

For our Dorothy system, we use a combination of high FPS mirrorless Sony cameras and Canon DSLRs. The output of data from these systems is to be used as follows:

  • Sony Images (ARW): Texturing, look development and geometry line-up
  • Canon Images (CR2): Texturing and geometry line-up.

Dorothy Lighting Sequence

Our systems are programmed to capture 19 different lighting states in under 1.3 seconds. Here is a breakdown of the fire sequences and additional information regarding the shoot timing:

  • The initial fire from our systems captures cross-polarised textures of the subject which are also used to generate the assets geometry.
  • The subsequent 18 shots after the initial fire of the system capture polarised, lookdev and unpolarised imagery of the subject in various forms. These particular images may not line up pixel perfectly with the initial geometry/texture alignment due to them being shot over 1.3 seconds and capturing any potential subject movement.

Dorothy Output

When you receive data from Clear Angle Studios for any Dorothy scan, the handover will include:

  • Dorothy Standard Handover – this includes all the data relevant to the asset(s).
  • Dorothy Reference Data* – this includes all the reference data for the shoot.
  • Live Tracker – a Google or Excel spreadsheet providing information about each scan and related reference material.

*Please note that you will only be provided with one set of reference data (Macbeth, grey, chrome, empty plates, light maps, etc.) per system calibration.

Live Tracker

All productions undertaken by Clear Angle Studios will be provided with a companion document for their project called a Live Tracker. This document will either be hosted on Google Sheets and updated in real time, or delivered in an offline Excel version weekly, depending on the requirements of the production.

The Live Tracker provides an overview of all capture to date across all applicable scan types (full body, props, lidar and/or Dorothy) and provides information about each and every scan. Critically it also includes a record of which reference set matches each scan, for every single scan. This information is essential to ensure that the correct reference set is matched to any scan being worked on.

For full body and Dorothy capture, reference sets are captured per rig setup and will be delivered in their entirety. For prop scans, a portion of the reference is captured per prop and delivered with each set of processed data (chrome ball, grey ball, Macbeth chart, empty slate) and the remainder is captured per setup and delivered as a separate package (HDRI, light maps, documentation, lidar scan of capture rig).

If any issues are encountered or any queries raised relating to reference data, Live Trackers, or anything related, please reach out to us directly via [email protected].

When doing so, please include the following information so that we can most quickly and effectively provide a solution:

  • Production being worked on
  • Name of vendor making query
  • Specific name (and take if available) of scan(s) in question
  • Outline/description of issue

Dorothy Standard Handover – Tier 01

This is the standard Dorothy handover package. Here you will find a directory for each of your selected scans.

Contained within each asset directory, you’ll find the geometry, cameras, textures, all the photography and related data relevant to the asset, and for a Tier01 shoot, you’ll also find high resolution images to support you in the creation of high resolution detail of and to act as look development reference. Please note, the reference data (Macbeth, grey, chrome, empty plates) will be provided as a separate set of data.


The ma directory contains a Maya scene file with all the projection cameras. The cameras are labeled to match the photography.

If the cameras are too large to work with, do not edit the Scale values. We recommend modifying the Locator Scale value (for example to 0.1).

Remapping the undistorted_jpeg Images

If you look through a camera, you’ll notice that the images are not attached. This is normal as the file path on our side will not match the paths on your end. To test things, we usually remap the images to the provided undistorted_jpeg files. Later on, you can switch these images out for your processed,  undistorted and graded TIFF files. For modelling, the jpegs will do the trick.

To re-direct the paths to the undistorted jpegs. go Windows > General > File Path Editor. Then set the following: Repath Files and set the New Path to the undistorted_jpeg directory. Once you’ve done so, hit Repath.

You should now see that all the images have been re-mapped to the cameras.

Switching  JPEG Images for TIFFS

If you are switching out the jpgs to tiffs or any other image format, you can do the following:

Go Windows > General > File Path Editor. Set the following:

  • Search String: .tiff
  • Replace String: .jpg

…and hit Replace. Then remap the files and you should be good to go.

Automagically Syncing the Cameras and the undistorted_jpeg Images

Here is another little trick to have the undistorted_jpeg images automagically sync up to the cameras.

  • Firstly, copy the .ma file and paste it into the undistorted_jpeg directory.

  • Then, from Maya, do a File > Open and load the .ma file from the undistorted_jpeg directory. You should now see that all the images are connected to the cameras.


maps (to tier01_secondaries)


This directory contains the tier01 secondary images that we generate. You can use these images to firther push your discplacement detail and as look development reference. You’ll find 3 folders withing this directory and below, we’ll break down each set of images.


Our normal maps are generated from photometric directions captured during the Tier 01 lighting sequence on Dorothy. These lighting directions are then combined to create 8K resolution in-camera normal maps from multiple angles around the system. These maps are steered into object space normals so they can be directly projected onto a basemesh and blended to create high resolution normal maps.


These displacement maps are generated from our normal maps and have different levels of displacements packed into each of the RGB channels of the image. A breakdown of the different iterations of displacement is:

  • R = Broad displacement
  • G = Medium displacement
  • B = micro displacement


Our specular maps are generated by subtracting cross_polarised images from the polarised images and then desaturating and normalising the resulting image.


The next directory in the pack contains the obj. For a Dorothy capture, the output is a 10million poly mesh, and when imported into Maya, the scan is scaled to 1/100th.

…and with the cameras imported, the undistorted jpegs attached, you should see the following:


The raw directory contains all the photography that you’ll need for modelling, texturing and look development.

You’ll want to process the images from raw (ARW and CR2) to TIFF or EXR. You should ONLY use software where the crop factor does not change. Internally at Clear Angle Studios, we use dcraw as dcraw does not crop the images. If the crop factor changes, the undistorted images will not line up with the provided st maps and the lens principal point may change. Tools such as Photoshop and Lightroom SHOULD BE AVOIDED for image conversion as they will crop your images.

Below we’ll take a deeper dive into the contents of each directory within raw. If you are looking to see which lights are being fired per shot, please refer to the _documentation, where you will find a PDF, an animated Maya scene file of the fire sequence and an accompanying video.


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