Xangle 3D - located in Montreal

deep 3d studio - Kiev

Some answers on the rough surface issue from the Agisoft Metshape forum: https://www.agisoft.com/forum/index.php?topic=1936.0

Source: https://3dscanexpert.com/beginners-guide-3d-scanning-photogrammetry/

Some depth sensor reviews: https://3dscanexpert.com/section/reviews-depth-sensors/

Maybe some inspiration for how to continue with the bodies..

Bake reflections in Blender and import such glass material as fbx?

I think if I want to animate the camera it camera most sense to animate it with timeline and in the end build an run it for viewing outside of steam VR because to be viewable its better to be compatible with the GO for example !
> Might check out Radiance VR if I find any experience with animated camera like this
but e.g. in Evelyn's work the camera was also flown around and moved through things

> keep street & body initially seperate
> use hdr images to zap through external realities
> use downloaded textures on simple shapes as flaoting elements
> use reflective spheres to distort the environment
> move viewer through & over swirling distorting heat and fog
> create a vast architecture of streets

> from more meshes!!

The spheres function as focal points and portals - when moving through the sphere that distorts the view a new setting is reached

" the edges to dry asphalt fade to circles"

JUXTAPOSITION OF THE 'REALISTIC STYLE' FROM STREET MESHES AND HDR IMAHES WITH COMPUTER STYLE

Camera approaches Blob in the landscape -
Blob represents 'the interior' - 'the inside reality' juxtaposed to the 'outside reality'
> go into Blob : inside Blob ground is all water , sky is almost white but sky

Use the 3D sound microphone to record
+ a 4Channel recorder

> Grab sound environment = more immersive through sound

place person on the street / outside reality =
cars on street
windy day
wind in trees

'The womb'

discuss:

reflective and shiny materials in Unity?

give fluidity/movement to a photogrammetry model? > how to get movement into body mesh * I've seen e.g. curtains in a game engine: how is this possible? Create an animation in 3D program and import as FBX?

how best to animate the camera ? timeline? cinemachine?

In the end it is also important to consider the physical aesthetics of presenting digital works:
Do these online things also have to 'live' offline to achieve heightened meaning? Do things only become fully real when materialised and embodied - so we can recognise something of ourselves in an embodied presence?

Idea to Imbed the VR Glasses in the ground e.g. force people into a certain position ( Jörg mentioned one experience where people had to kneel, I fondly remember the Glasses attached to the dirt like red-rock in Tel Aviv) or imbed the VR Glasses in a sphere like the ones in the VR space, with dirt or pebbles on the floor...

Thinking about the Space the Audience comes to as an Installation space..

A thought on critiquing art 'KIRAC' : it is interesting how if you are part of a Zeitgeist - within a Zeitgeist- that an artists in trying to capture or mirror you can think it is not good much more easily than from the alien outside perspective ( 'like Van Gough who wasn't popular in his time.!)

Artists like Jon Rafman 'Pseudo-Anthropologist walking through the Internet.'> plays with assumptions of stereotypes and in this is creating stereotypes)

For polished 3D models that have an uncanny character to them check out : DAZ3d shop :https://www.daz3d.com/shop/

Idea how to keep the 'morph' effect on the sphere : Not to build different scenes that need to load but instead create a big scene with DOUBLE SPHERE and create sphere inside sphere inverted texture and have the HDRI on it?
> Try this but it might interfere with the size of the mesh to have EVERYTHING be inside one big scene? 

> try it step by step - start with 1-2 orbs/spheres in the scene and see how it works

> however, problems can occur when loading a new scene
> generally I should definitely reduce the size of the mesh in Blender or Instant mesh or MESHLAB!!!! prior to loading it into the scene because if the texture on the mesh is good the mesh itself can be rather low poly.

WORKFLOW COULD BE : to render out the video with remote access to the lab computers and look at it on the GO.

In generell it is important to remember that Unity is an ENGINE that runs in real time, which means that it offers capabilities for INTERACTION in Real time! > this is both the beauty and the limit to Unity. Because ofcourse the visual will not be as high-res as when rendered out of a 3D software for days on a renderfarm... so it's important to either accept this -e.g. when it comes to quality of image - or also to embrace the interactive, game like qualities of it more...The VR computer has what they call '6 Dimensions of Freedom', walk, move, touch - For me the focus generally is world building and I like the 'real life' or 'game-like' quality of letting the user 'loose' in this environment. ( On the Oculus Go you can only look at 360° Film)

USE TIMELINE TO ANIMATE THE CAMERA:
Camera animieren indem ich sie durch den Raum ziehe > timeline> track > finetune
Idea to animate a sphere and attach the camera to it, then make the sphere invisible, that way it is easier to see the movement of the camera

When using Cinemachine its smoother and more cinematic with cuts of following objects/characters..

Create the 'blinking' effect of eyes shutting by having black frames in front of Camera briefly animated with Timeline / Plane in front of view.

Skybox problem with seam: might need to 'TURN OFF GENERATE MITMAPS'

For the cylinder : look up Tiling to Map it correctly ( Tutorial with the bricks on the house)

If you bake light there is no more movement

> Rather look into SHADERGRAPH : Tutorials : > MAGICAL PLASMA > REFLECTION ( BEST FOR CREATING MATERIALITY) > REFRECTIVE GLASS

Raum Installation mit narrativen Elementen

Display stregeien
Was ist das für ein device - wie hab ich ihn bei mir?
Den Raum 'mit denken' auch im digitalen/ digital Media art - räumlich denken sowohl im digitalen als auch realen Ausstellungsraum
und dabei an den Rezeptionskonzext denken

balance finden zwischen der Entfremdung im digitalen und der re-lokalisierung im Raum

Als Ausstellungdesigner : Arbeit an der Schnittstelle zwischen Graphik und Architektur (Ausstellungswesen, Entwurfspraxis)

Das Display selbst kann ein 'skurilles Objekt' sein

Feedback:

Die Wichtigkeit generell von sound für die Arbeit und somit auch ein sound für die transition durch die'orbs'

Oder die Überlegung das man das licht im Raum dimmt und mit den transitions im digitalen Raum koppelt, sodass die wartenden durch das Licht merken dass die Person wieder in einen neuen Raum getrettten/ durch den orb ist

weitere überlegung zusagen : man geht an den Ort zurück , man geht wieder auf die straße aber eigentlich scheint ein kontrollierter geschützter Ort der auch die Ruhe zum erleben gibt passender
Überlegung dem 'User' etwas greifbares zugeben, etwaswas er in manchn momenten anpassen kann, eine art 'Stehhilfe' die den Raum gestaltet > im allegmeinen war die Reaktion sehr positiv und er meinte ich solle mich melden wenn die Arbeit ausgestellt wird. ( Soll ihm eine email schicken : (https://schroederrauch.com/) Die Überlegung mit dem Orb in welchen mein den Kopf steck gebe 'ein starkes Bild' - das mit dem Kies oder stein auf dem Boden auch, das solle cih ausprobieren ob es funktioniert oder stört. & Überlegen pób ich etwas gebe damit man sich festhalten kann odre dich setzen kann.

Letze überlegung seiner seits: wenn man einen Runden Raum nimmt und runde bänke an allen seiten entlang und das lciht korresponierend zu den Orb dimmt und an und aus macht sodass sich die wartenden auch in der reflection des orb spiegeln und manchmal sehen und macnchmal nicht . Mein Einwand dazu war das dies vlt. eine Hemmung fpür viele Besucher aufmachen würde, da man nicht beocbachtet in dem sowieso schon unsicherheit provozierenden VR space eintretten will. Er gab mir recht > gute idee für die Zukunft wo VR mehr etabliert ist.