You’re very welcome, Alex.
For more information about “Instant Mesh” have a look here:
Yes, “roll out” was my target of the walls, but it is of course a little bit more difficult with such a complex mesh and the target to evaluate the camera mapping. However, any work-camera will give you the view you need, and as long as it is between “projectors” and not too close them, it will provide the most useful information. Those work-cameras can be set of course anywhere, preferably closer to the audience view than not. My suggestion, have one working or call it Spy camera, and set it every 10 frames to a new major problem point. Problem points would be seams and tangential projections for example. Render a preview and you get all problem areas, which can be flipped through frame by frame, or with the time slider for single area exploration.
The mesh, well, it always depends on your target. If it is only to explore the set up for a later on practical set up, all is good. If you want to use it for any image production, well, I have serious doubts that this is useful. It is really messy and not easy to fix, I invested a few hours to find maybe way that can be communicated in an easy way, but I don’t, it is just too much of a problem. The Instant mesh was done based on a polygon reduction I have had applied first. After that, I didn’t could get anything better. Even my exploration to harvest Splines (via XPresso aid) from it failed, as the spline had a lot of problems, inherited from the mesh. Again, as a analysis platform, this is fine, but it is not a production quality, not at all.
As a side note, sometimes things can be simply sorted out with the VAMP function, just by creating a simplified object with a clean UV information and transfer the UV information. It didn’t gave me good results here.
The separation was done with the Mesh>Conversions>Polygon Groups to Objects. For camera projection these new fragments can be placed under several nulls to more useable groups, no need to merge those for Camera projection. See example below
I saw in your scene lights attached to the Projectors, with Inverse square as set up. which can help to create a brightness map to counter the wide range of distances in your set up as well. A render from the projector, inverted, with an Exposure adjustment to the darkest point (lift to white) used in the Diffusion Channel will show the result. For practical purposes, this needs to be multiplied with the Footage 9the one that will be projected.
Another area that needs those lights, as Camera projection has no inverse square function, is given in the overlaps of two projections, where the two (or more) projectors have a different distance to that seam. With five projectors that is quite a puzzle otherwise. (A depth pass will not work, as long as it is set linearly. IF a depth pass is used (linear), one could multiply it with itself, but the start and end point would be critical. So, not advised.
My best wishes for your project and let me know if there is anything else.