For the texturing I used 4k and even 8k UV maps knowing full well I would be positioning the camera very close to the meter. This level of detail has succeeded in creating a believable physical object made plausible by the simulations of a real film camera within Maxwell.

Instead of animating a digital lux meter in the film, I was keen to remain true to the dialogue between photography and CGI. The light meter is loosely based on an old General Electric model, connecting analogue functions to the digital present. I changed the logo to EV (exposure value) to keep in fitting with the photographic disposition of the film. When illuminating the scene I had to manually adjust the f-stop, ISO settings, shutter speed and exposure values of the Maxwell camera to simulate the photographic action. From these settings I animated the light meter’s needle for each sequential HDRI. It seemed quite strange that I was using a virtual camera to calculate the response of a light meter, an action that would normally be in reverse.




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