VR for monuments and sites: how to make it work

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Presentation at the RadioPast final conference (Ghent, 17 Jan 2013)

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VR for monuments and sites: how to make it work

  1. 1. V-MUST is funded by the European Commission under the Communitys Seventh Framework Programme, contract no. GA 270404. Virtual reality formonuments and sites:How to make it work Daniel Pletinckx Visual Dimension bvba Belgium
  2. 2. V-MusT.net•  Virtual Museum Transnational Network•  European Network of Excellence on Digital and Virtual Museums (2011 - 2015) (http://www.v-must.net/ )•  In the domain of museum technology –  bring together museums, research and companies –  apply the available knowledge and technology to the cultural heritage (CH) domain –  improve the way ICT is used in the museum and CH domain•  Partners –  18 core partners –  50+ associated partners
  3. 3. V-MusT partners•  Research Centres –  CNR (National Research Council of Italy) –  APRE (Italy) –  CINECA (Italy) –  INRIA (National Research Institute on ICT, France) –  STARC (Cyprus Institute) –  Foundation of the Hellenic World (Athens) –  CultNat (Egypt) –  Fraunhofer IGD (Darmstadt, Germany) –  Societad Espanola de Arqueologia Virtual (Sevilla)
  4. 4. V-MusT partners•  Museums –  Allard Pierson Museum, Amsterdam –  Hellenic Cosmos, Athens –  Musea of the Imperial Fora, Rome•  Universities –  King’s College London, UK –  University of Sarajevo, Bosnia-Herzegovina –  University of Brighton, UK•  Companies –  VirtualWare –  Visual Dimension
  5. 5. V-MusT focus and scope•  V-MusT is about –  Fitness for use –  Affordable technology –  Sustainable implementation (maintenance, updating, robustness) –  Portability, re-use & exchange, re-purpose•  Not only about technology but also about –  Methodology & design guidelines –  Appropriate communication processes –  Trained experts•  And about INTEGRATION in the CH/museum domain –  Link research with public presentation –  Provide insight in the workflow to obtain QUALITY –  Support the domain => Competence Centre
  6. 6. The old museum Bologna archaeological museum
  7. 7. The old museum Bologna archaeological museum
  8. 8. 3D Virtual museums•  What does 3D offers to virtual museums? –  Digitise existing buildings and objects –  Recreate and visualise the past –  Digitally restore museum objects –  Explore virtual spaces –  See evolution in time until today•  Monuments & landscapes are essential part of virtual museums •  Provide context of museum objects •  Provide a visual reference framework for 2 people out of 3
  9. 9. Palazzo Pepoli, BolognaOpening of new city museum, Palazzo Pepoli, Bologna
  10. 10. Palazzo Pepoli, BolognaS3D theatre, Palazzo Pepoli, Bologna (with Apa movie by CINECA)
  11. 11. Palazzo Pepoli, BolognaS3D theatre, Palazzo Pepoli, Bologna (with Apa movie by CINECA)
  12. 12. Apa the EtruscanApa depicted on the Certosa situla, Bologna archaeological museum
  13. 13. Apa the EtruscanApa depicted on the Certosa situla, Bologna archaeological museum
  14. 14. Apa the EtruscanImage by CINECA from Apa film at Palazzo Pepoli (Bologna city museum)
  15. 15. Apa the Etruscan Images by CINECA from Apa film at Palazzo Pepoli (Bologna city museum)
  16. 16. Apa the EtruscanImage by CINECA from Apa film at Palazzo Pepoli (Bologna city museum)
  17. 17. Apa the Etruscan Fresco of medieval Bologna, Vatican
  18. 18. Palazzo Pepoli, BolognaEtruscan history of Bologna, Palazzo Pepoli, Bologna
  19. 19. Ename museumIvory object (real: left, 3D:right) from Ename museum, Belgium
  20. 20. Ename museumTimeLine room at Ename Museum,Belgium
  21. 21. Ename museumVIRTEX: Interactive replica of a museum object
  22. 22. Ename museumVIRTEX: Interactive replica of a museum object
  23. 23. Ename museumVirtex story: virtual reconstruction of the use of the object
  24. 24. Ename museumVirtex story: VR visualisation of the origin of the object (Ename abbey in 1065)
  25. 25. Ename TimeFrameEname TimeFrame (inaugurated in 1997, new version in 2013)
  26. 26. Ename TimeFrame4D visualisation of evolution of the Ename abbey site (1065)
  27. 27. Ename TimeFrame4D visualisation of evolution of the Ename abbey site (1085)
  28. 28. Ename TimeFrame4D visualisation of evolution of the Ename abbey site (1150)
  29. 29. Ename TimeFrame4D visualisation of evolution of the Ename abbey site (1500)
  30. 30. Ename TimeFrame4D visualisation of evolution of the Ename abbey site (1595)
  31. 31. Ename TimeFrame4D visualisation of evolution of the Ename abbey site (1665)
  32. 32. Sustainable historical reconstruction•  Reconstruction of •  Buildings and man-made structures •  Objects •  Animations •  Landscape•  Use of high-end software packages•  Independency of software packages •  Concatenation of different software packages •  Use of standards •  High-level documentation of process and data
  33. 33. Procedural modelling ArchiCAD model of buildings and terrain
  34. 34. Procedural modellingDepiction of the early Ename abbey (around 1100) in Viel Rentier (1275)
  35. 35. Object modellingBlender model of building crane
  36. 36. Object modellingBlender model of ferry boat
  37. 37. Object modellingPainting of Dutch ferry boat (Salomon van Ruysdael, 1649)
  38. 38. Object modelling and animation Animated Blender model of medieval chariot and horse
  39. 39. Object modelling and animation13th century depiction of medieval chariot and horse (Viel Rentier)
  40. 40. Landscape simulationProcedural landscape simulation in Vue (1085)
  41. 41. Landscape simulationProcedural landscape simulation in Vue (1085)
  42. 42. Landscape simulationProcedural landscape simulation in Vue (1085)
  43. 43. Landscape simulationProcedural landscape simulation in Vue (1085)
  44. 44. Workflow•  Analysis and interpretation of all sources•  Design of buildings and landscape features •  Procedural modelling (ArchiCAD) •  Geo-referenced •  Conceptual model of vegetation and man-made structures•  Conversion to Blender (through .obj) •  Adding free form modelling/animation/re-texturing•  Conversion to Vue (through Collada) •  Adding vegetation/man-made terrain features •  Rendering to still images/animations•  Interactive annotated 4D model/TimeFrame
  45. 45. WorkflowReconstructed buildings and terrain features in ArchiCAD
  46. 46. WorkflowImport in Blender through .obj format / retexturing
  47. 47. WorkflowTop view map in Photoshop
  48. 48. WorkflowSeparation of terrain types in layers in Photoshop
  49. 49. WorkflowCreation of height maps through painting in Photoshop
  50. 50. WorkflowScaled height maps in Photoshop (16 bit TIFF)
  51. 51. WorkflowTerrain types and applied height map (Vue)
  52. 52. WorkflowProcedural texture maps depending on terrain types (Vue)
  53. 53. WorkflowDefinition of vegetation per terrain type (Vue)
  54. 54. WorkflowTerrain without vegetation (Vue)
  55. 55. WorkflowTerrain with water and vegetation after population (Vue)
  56. 56. WorkflowTerrain with vegetation, buildings and (animated) objects (Collada)
  57. 57. Workflow with complex terrain•  Import of terrain model (LIDAR, maps, …)•  Creation of original terrain (Photoshop, …)•  Creation of the “virgin” 3D terrain model•  Design of buildings and features on terrain•  Creation of terrain changes through height maps•  Check if everything fits
  58. 58. Egmont castleAerial view of Egmont castle site in Zottegem, Belgium
  59. 59. Egmont castleProcedural landscape simulation in Vue of castle site in Zottegem, Belgium (1640)
  60. 60. Egmont castleProcedural landscape simulation in Vue of castle site in Zottegem, Belgium (1640)
  61. 61. How to make it work•  Commissioned •  Single project •  Output for visualisation •  No budget for multidisciplinary approach or re-use => Low quality, unaccessible 3D asset•  Integrated in research (archaeology, museums, …) •  3D is part of research process (for example through Blender) •  Recording of metadata/paradata •  Multidisciplinary data input •  Creation of 3D asset = investment => High quality, re-usable 3D asset
  62. 62. Re-purpose & re-use•  Re-purpose •  Transmedia approach (publication, website, app, museum setup, …) •  Maximise the value of digital museum assets •  Create different output (e.g. pre-rendered vs. real time visualisation) •  Example: Culturama system in Unity => recreating optimised landscape through Unity landscape module•  Re-use •  Use of the data in other ways by 3rd parties (e.g. games) •  Repository to offer data/metadata/paradata •  Crowd sourcing•  V-MusT NextGen Virtual Museum Exhibition •  Jun – Dec 2014, Amsterdam, Rome, Sarajevo, Alexandria
  63. 63. Culturama 3D systemReal-time interactive 3D visualisation on panoramic screen (CultNat)
  64. 64. Repository for digital heritage•  Maximise the use of museum assets•  Digital museum assets = investment•  Repository •  Metadata = documentation of the object •  Paradata = documentation of digitisation & interpretation processes •  Exchange with other museums •  Use outside cultural heritage (film, games, arts, …) •  IPR = fees for owner & repository owner•  Main target: temporary exhibitions
  65. 65. Conclusions•  Sustainable landscape reconstruction •  Use of widely used but focused software packages •  Concatenation by use of open, standardised formats •  Documentation of digitisation/creation process •  Documentation of interpretation process •  Documentation of procedural aspects •  Transmedia approach => maximise re-use/re-purpose •  Long term storage in digital heritage repository
  66. 66. Thank you!heritage@visualdimension.be exploitation@v-must.net skype: daniel.pletinckx

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