The production process for the digital restoration project involves many teams working together, just like it does for CG and VR projects. Game engines were the focus of groups like the modeling texture team, the rigging team, the animation team, and even the tech team. The workflow periodically requires overlapping confirmations by two linked teams. For instance, the modeling and texture teams should ask the rigging team for feedback to verify the quality of their models and textures. Before creating more vividly animated body and face gestures, the rigging team must first evaluate the quality of its rigging by requesting brief animation sample clips from the animation team.
Members of the Cultural Heritage Digital Restoration Lab team put forth a lot of effort over the last six months to develop such an internal pipeline. In order to verify the technical needs for animal asset projects, one of the master's students closely collaborates with the rigging and animation teams. She claimed that "building a decent and realistic animal asset requires mastery of the mechanics of movement and weight." It was about providing bird wings with a lively flying motion. As a result, references must always be sought out during the rigging and animation processes.
According to the modeling and texture team, "Good modeling could not be determined just by its appearance similarity to reference photos, but to examine its quality's compatibility with upstream and downstream of team's position in the pipeline." In its most recent efforts, our group has strongly emphasized academic philosophy while maintaining aesthetics and art to improve the digital world.
