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Final Outcome - https://www.facebook.com/EBAC-Project-Part-3-2208684322790687/?modal=suggested_action
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I highly recommend to visualize the web page on your mobile phone, so that the gyroscope on the phone will simulate the same movement that will be displayed on the VR Oculus.

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Finished the 360° port for the VR, with all the scene ready. It took a lot of time but it paied of really well. I tested with the Gear VR and it worked very good for the assesment I will be displaying a more portable solution to show the 360° environment scene, I will display on mobile with the same dinamics of the VR Oculus. You will be able to turn around and look around through the Mobile since its easier than putting a whole PC set to the assesment.
I used the Ansel plug-in on Unreal to create those shots and polished them using the Unreal Nodes, those were used to just max-out the resolution, texture settings and lights on the scene, so if anyone want to zoom-in to see the detail in something, they will be able to see in full-resolution.
Made 3 different shot positions that can be transfered. if someone wants to see from other place, it will simply reload everything in that position, making it easier to look everything around.

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360° Shot, 2nd position.

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360° Shot, 3rd position.

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"How does what I have achieved today compare with my daily target?"

"How can I adjust my planning before the deadline to be more effective?"

"What assessment criteria do I still need to securely evidence and how will I do this?"

With all the pieces being ready, it is just a matter of putting them together inside the Unreal Engine and going through the light specs on it. It can get very complex doing it since the main Nodes that I am using are somewhat basic, and if I want to put other weather details like, fog, mist or mixed sun beams through clouds, it can get very complex.
Since there is the public holidays, I will go and do 2 different interactions with the project, I will try to do a more basic lighting and render it for the VR Oculus, the second one will be trying to give some more complex lighting

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Refine Week.
The refinig I am doing is mostly composition and lighting. Since I made the environment modular it is really like playing with LEGO or like a puzzle with the pieces I made. They go very well together, and the biggest problem is the lighting itself, all the models are done and it is just a matter of positioning and atmosphere. Reseacrhed some color palettes that i am trying to achieve, and figure that they are definetely a approach to a more "warm" atmosphere, so I will need to adjust the lighting as such

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Color Palettes

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End of making Part 10th and 11th November

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End of making Part 10th and 11th November

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Some great tests resulting through the modular worflow of the project. Those are assets ready for movies, games, commercials and Virtual Reality projects. The modularity part really worked ouot great and I can finally see why it is so acclaimed on the industry, with less pieces it is possible to have a great environment. In the image below there is only 4 pieces. They are reapeted in a pattern to not have equals side-by-side. there are some exceptions for this, the concrete upper wall are very much possible to see that are the same, but those are fixed with some tileable materials, for exeple a rope or some moss, covering their details to look more different and not so much modular.

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Real hard day today. Went through the process of baking maps of each asset. This means that I processed each piece I have modeled and went through a lot of waiting and hoping. The baking process is a total hardware process, where it solely depends on the computer to recognizes the details and the polygons on the model and to transfer them into a 2D image with collor patterns that will represent volume and relief for other programs.
I needed 4 maps from each asset. Normal Map (image down below), Ambient Ocllusion Map (the longest one, and most full of details), Material ID and Diffuse Map. It was really frustating to go through it because I couldn't do much in my hands since it is a process that the computer itself is in charge of doing it, I could only change some specs about the baking process but that's it.
Throughout this process some materials were really full of details and took the longest time to render the maps just to in the end see that some specs are wrong for the map, or that it crashed mid through and I had to restart everything again. Being on the short end of an industry based workflow without having the same hardware power capability wasn't the best flexible arrangement I have done.

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Marmoset Toolbag, High poly (white one) and Low Poly side-by-side comparasion

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Gabriel helped me a lot today with the water material I am trying to build on engine. Of course it is not as difficult as his, that are particles that he tries to give some form and mathematical patterns for them to follow. My material consists of a lot of different textures that are connected almost seemly and are randomly animated by the engine. Basicly I just stitch a lot of different materials that I think ressemble water and the engine randomizes their places on it to read and display as an animation on the output. Giovanne and Gabriel gave me a pretty good idea on how to do it.
the engine itself can be really complex, because the "Nodes" system it uses is based of C++ programming and well, that is just a total different route to the project, since I mostly deal with visuals.
The hardest time with the nodes system on the engine is the vast lack of knowledge I have on it. For what Giovanne wxplained to me is that each Node has a function to exercise, but it feels like a whole different language, I lack the knowledge of all those nodes and how they are suppose to interact with themselves and with the project.
My solution for it was to ask key nodes for Giovanne that I know will be necessary for the project. So he gave me a little lecture on it, being the most important, Actor Nodes, Map Nodes, Arrow Nodes and Lighting Nodes.

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Doing the same grinding of the project still, getting all the pieces to Marmoset Toolbag, and then getting it into Substance Painter to texture it and give the project a harmonizing colour pallet.
Meeting with the FAD2 assistants. I can't really get technical help from my assistant but as we started talking about the project and my goals she gave me some real good backup (being material-wise, monitor and a small notebook) ideas if my proposal for the exhibition wasn't approved. So it was kinda of a good relief.
Micheal presented the display of the exhibition space on the Studio. i really liked mine because it will be the first one everyone will see when they get to the 4th floor, it will be good to raise some curiosity about it since i will be displaying it with a VR head piece.

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Doing a big project with a real challenage of following the stricts workflows of the industry itself. A big project with a not so familiar production pipeline can go wrong real quick, but with some internet and collegues help, it is paying off. I can see I grew a lot in knowledge being about the software and the requirements to suceed on the field I so much want to work in.

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Finishing all high poly models and re-arranging them into an only file dedicated to each of them with their high-poly version and low-poly as well. That is because to bake their maps together both models need to be "geographically" in the same place, that is occupying the same space.
Really hard to do it since the high-poly models take a lot of time to load into the scene and when turned into FBX file it gets a little easier since it cuts in half the memory space needed to load the asset.

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Grinding the time to finish all assests basedd on production actionplan.
Actually on schedule with the project, till now there is a lot I am doing and that can be done, the hardest part of all is to actually thing ahead of time. Meaning that since the environment is modular I don't have a full file with it actually set up yet. So some things are not very clear, like the color palette and composition. But the assets itself are going pretty good, and I am following the references I gathered, being historical and architectural.

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UV-mapping the rest of the assets, the pillar gave me most trouble to UV-map, it really shouldn't have, because its geometry and polygons are not complex and definetely from all of my other models the one that ressembles most a simple shape. The main problem was with one rectangle piece on its back that wasn't reading and loading correctly, so I cutted it and separeted from the original UV back piece, and it worked well, I applied this same technique to other models that were giving me trouble and worked out fine.

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Testing lightning in engine with the final blockout of the environment. It is going pretty good as I try to build the atmosphere to this harbor its story.
Speaking on story, the display is a real crucial part of it. The VR expirience would be the best option to display a 3D Environment story. To get the real feeling that it is "real" or that you are "really there". But for what I gathered through reaserch, it is not quite possible to do it because the VR technology is new and the engine that I am using hasn't quite adapted itself to render in real time the scenario and display on VR.
I asked to Giovanne and Edu from BA, and they told me that I have 2 options, being render a still 360 image of it, and then upload it to the VR head piece, or make a 360 video render of the project and then uploading it to the Oculus, but both of those options will be cutting the interactive positions on the final project.
It is still better than waiting for it to adapt, or me wasting time trying to program something that even the developers of the engine haven't done yet.
Plan B.

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Staying late at ebac, I asked Eduardo from BA course if he could give me some directions with how to approach UV-Maping of assets, he gave me alot of tips on it and helped me very much on how to start it and how it should be done for movies and games. The main tip he gave me was to always divide the model in 2 and to add a chess texture, so I can visualize the proportions of the maps instantly. It helped a lot and gave a lot more dinamic to this process of UV-Maping.
Gabriel was by my side for this whole time, and we were both taking doubts with Edu and with eachother. I was having trouble with a water material I was trying to create on Unreal Engine, with some textures that I browsed on the internet, and he helped me a lot on which one to choose since he studied how water actually behaved.

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Crit day.

Showed the most recent materials and how the detailing process was going.
I could not really get a grasp for the most of the class but Otavio and Cezar gave me some good feedback. Otavio helped me through showing the Quixel website, they are responsible for a texturing program called Quixel, and in it they show some good exemples of the models before the texturing process, so I could have a better idea of what details are important and which ones are not necessary. Cezar helped me with how the materials should look, having in mind that the environment is surrounded by water and a lot of traffic in it. he gave me a lot of geographical/historical references for me to go through and to have a realistic vision of how the environment affected those constructions.

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Mini-crit in preparation for monday.

A lot of various testing were done in relation to the environments assets.
Going through the detailing process. Getting all the low-poly assets to  Zbrush and adding basic materials, shades and worned them off a lot.
Did some tests in the engine, getting the low-poly assets from Maya to the Unreal Engine and seeing how the modularity would go. It actually want pretty decent, but it is hard to have a good idea of how well it works without the texutures and colors.

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Which were the improvements in your project since tuesday? Was the productivity good?

Finished detailing and putted some colors on top of the model, the colors itself are not final, but it is the main idea for material. Tried to make some texture tests with the more basic materials on Zbrush, the materials itself doesn't look bad, even though the software does not specializes in textures (More detailing through higher polygons) so I can make some more basic tests to have a better grasp at what I want to do when the texturing process comes.

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Did you have to make choices in your work yesterday? If yes, could you describe the process and how did you make the decisions?

Decided to keep detailing all the models instead of making a texture/color test on one of them, I figured it was more important to keep detailing while I have in my mind a fresh memory of how I want the general look of all of them be then the tests of texture right now. The process itself is going very well, researched a lot about harbor centered cities like Ceaserea Maritima (Israel nowdays) and its structure with the water and materials that would be better to it.

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Whats the difference between the expirement week and the making week first day?

Started to detail some props of the environment itself.
Getting to the look of damaged and old from the materials, tokk some time to learn which tools I would be mostly using thriugh the process of detailing materials, since time is very important I can't learn a software by whole. Made some research and saw that I would need a couple pack of Brushes and using only two folders of Zbrush would get me where I wanted with the detail process, so I can have the best of managing my time.

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Now that all the models are done I will start to detail them and with it create a High-poly version of the same model, since I will use Zbrush to do it, to have a great amount of details I will need to scale the poly-count a lot. Zbrush is the software I will use to create those details, it is a great software to organic modelling, i.e. rounder shapes that can have a hard surfaced twist to it, or being a character itself (Human model). I am not so knowledged in it, so I will have to take some time to get more familiar and used to it.

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Not all materials are displayed on those shots, but those represent the best a modular process.

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Finished all base materials in Maya, the most part went on research about it and the modelling part was the fastest part, it was just necessary to have the caution and the attention to the mesh because if a model get triangles or a vertex with 5+ edges connection to it the software itself wouldn't read it properly resulting in a bad read/load on any other file or future process I would want to put the model through.

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Went through some architectural references, and different composiotions exemples in the book The Director's Eye, in it a good technique is the addition of basic shapes and forms, they can enhance the composition a lot, even better if they can be totally different shapes like squares and circles, this addition produces the general feeling of contrast and asymmetry, that both are categorized as "eye catching". So with this in mind I went through some architectural research to see if it is possible to implement those techniques on the environment scene. I found some great exemples of arch ways/archs, they mostly suspend bridges but have a purpose on harbors as well, they serve to spare materials since it goes less materials in the creation of one, and they prevent some of the damages that the environmet causes, having a more firm and double protection on pillars that holds the arches.

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Started some variations on the main composition to make the shoot look and feel better.
Proportion-wise it is not the ideal yet, will have to make some changes probably to the stairs that are not very realistic to the size, there are too much steps in comparasion to both bodys on the bottom and top of them.
The variations of buildings and materials on base level started to look more interesting, it is still very empty, but it is a start.

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Split Studio visit

The visit itself was very enlightening. A lot of the discussion was around how the work and pipeline in a big studio goes on how to manage various works to different clients simultaneously,how a team must be composed and the work division dinamics

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Got to rent some books on the library to study a bit of composition since the blocked environment itself is feeling a little blank and empty. Rented 2 books: The Five C's of Cinematography and an educational book about proportions based on a human scale. Both of them really gave some good extra help to the building of the scene itself. The proportions itself really shed a light on everything, I got a lot of small mistakes that when together really contrast eachother and makes a weird proportion to all.

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Blocking out the environment, trying to define the main composition of the sceanery, proportions and main focus point.
Proportions are being very hard at it. there are not many things I can compare to it, but mostly trying to study comparasions and asking some of my colleagues when they look to it, to tell me what at first glance they think it is weird with it.

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Thinking about the environment I want to build, the main idea that is always recourring to me starts with contrast. I want to have a visually interesting contrast, I thought about making in 2 ways: A more aesthetical approach to this contrast, making it more visual and relying it all on the aesthetic approach to the scene, or a more historical approach, where I can have a silent clash between times, i.e. two kinds of environments sharing the same space, being the only difference between them is time.

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In time-wise related questions I am a little delayed with my project action plan, I mistook the time I would need to find a good concept or something that could be translated as achievable, on the part 3 Project, I broaden my references and tried to deepen my knowledge and references on different genres of environments and storytelling, i.e. tried to look at other approaches to my project.
The researches that I've been gathering are helping me to find a middle ground between achievable and a great concept with composition. I am going to adjust my action-plan on this weekend with an already started project.

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My references are divided in 2 groups, Technical/Theorical and Content.
In those they have a multiplicity of works that can help me through the project with the technical and theoretical that will help me with problem solving trough-out the duration of the project. The content part of my references is supposed to give more ideas of narratives that I can make and transform or simply understand better to translate to my project since it is a environment storytelling, it will give me more brooding ideas that can make into the project.

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Bienal.

At the 33 Bienal exposition, there were a couple of interesting works that caught my eye. One of those was a study of the same object everyday. An empty glass that was paiunted everyday, with different weathers and tons of colors of that day it was painted

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Vetor Zero Studio

In Vetor we were accompanied by Broki, one of the project directors at Vetor. We got to know about a lot of different projects they do, and a lot of people that were specialist in specific fields.
Broki showed the group how a client feedback can make a project take a turn on all the creative process that was done in order to showcase it to the client.
It was very interesting to see how a big studio organizes and manages all the files that need to be rendered, avaluated, archived, in one big place. How there were so much order in a relatively small space for so many projects that are being done.

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RISE Exposition

Today I went to RISE exposition, the exposition itself is a movie (a musical would be more specific) RISE (Reaching Intelligent Souls E.......) has the the theme more to the African descendents community and some of their lives are described throughout the song they are singing on the act.
It was very interesting to listen and to get to know how they could all relate to situations on the community and still have a lot of differences of personal values.
The cinematography was very well made, and I could really "check" some knowledge I've been learning about scenes composition and what kinds of shots can represent and what so not.

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Tomie Ohtake "AI-5 50 anos, ainda não acabou" exposition.
In this exposition it was being portrayed the completion of 50 years of the Brazilian dictatorship. The AI-5 is an institutional act that revoked the congress from acting in any political subject for undefined time and instituted censorship and persecution of government wanted people.
The exposition depend itself on artists and how this act affected them on their works and the movements they did about it.
There were some artist that caught my attention by doing different movements against the act and what happened with them after since they got censored and putted in jail.
Carlos Zìlio: He was a more activist artist, in which he interacted directly with most of the working class, that worked on big factories that had less information about what was happening with the act. He got arrested for that and began to (while in prison) draw and try to illustrate his feelings towards the act itself and the life in prison.
Claudio Tozzi: Appropriated photographs that came out from the journals and made illustrations and different methods to make the same image on a bigger scale, his work got censored from Bienal when he tried to make an exposition there.
It was very interesting to see how something

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First day of our research week, I decided to go to the RISE exposition on Fortes D'Aloia & Gabriel gallery, as Cezar suggested mostly because I am still looking for inspiration for the work I want to do. So I will try to look on other areas, and places for it, since i think I can be a little bit overwhelmed and maybe oversaturated of the same works I have been researching.