Categories
Augmented Reality

Part 3 Final AR Avatar

Based on my experience with the last test project, I became more comfortable with the final production, but I still encountered a lot of difficult problems.I won’t go into detail about the parts that have been described before, but here I will only describe the parts that are different from the previous part.

Because the patterns to be made this time is not just an even division of the face into four parts like in the test project, I I need to have the uv of the face to know exactly where my patterns are distributed on the face to help me draw the patterns more easily. So I went to the SparkAR website and downloaded this face uv.

I then put this uv image into Photoshop and drew the pattern on it according to the size of the face to get these masks.

The next steps are the same as in the test project, the only difference being that I have replaced the black NO.0 material with a texture.

I used Midjourney AI to create this texture, a portrait of Cyborg.

Midjourney

Then, again, I put this picture into Photoshop to make it the same size as the UV map.

Finally, the most exciting moment of all, I added these images to SparkAR and created the effect of a flipped face by moving and rotating the face meshes.

But before that, I ran into a few more tricky problems.

I found that when one face mesh was covered over another, the face mesh underneath would be blocked, and while I was thinking about how to make this face mesh only non-transparent part mode, a feature came to my rescue, the Alph test(A contril that discards pixels with opecity less than the cutoff threshold), which solved this problem very well.

After that when I turned to the back of the flipped face it became transparent, then I found that when I turned on double-sided rendering it copied the texture from the front to the back. This is a good solution to the problem of transparency on the back.

After solving these problems, here is the final result

Categories
Augmented Reality

Part 2 Test

Before making the final AR avatar, I made a test version. Because I wanted to try out the effect I envisaged first to see if it would work. With what I learned in class on how to make the 3d glasses model track to the face and some tutorials I learned on the YouTube I made the following test version of the split face.

First, I create a face tracker, then add five face meshes 01234 underneath them, at the same time create five materials 01234, then assign the materials to each face meshes by number, then set the material map for 1234 to face tracking and the material for 0 to black because I like to create a sense that the original face is missing.

After that I drew four png layers in photoshop that divided a canvas into four parts(The black parts are transparent layers)

Then I put each of the four png images into the alpha setting(a control that masks the alpha chennel of texture) of the 1234 material, so that the face is divided equally into four parts.

After that, I moved the four face meshes to the position I wanted, by moving and rotating them (the rotation in the SparkAR is very difficult to use I don’t know how to set the coordinate system to the position I want instead of the world or object coordinate,and in blender there is this very good function for moving cursors)

Final result

Categories
Augmented Reality Uncategorised

Part 1 Concept Design

When I was given the subject of this virtual world artefact, I associated it with my favourite genre of literature and film, cyberpunk. For example, the film Blade Runner series, the anime Ghost In The Shell series, and the game Cyberpunk 2077, so I chose to set my virtual world setting in a cyberpunk world.

Prostheses are an important element of the cyberpunk world, as they have been used since their inception as a tool to repair people’s disabilities. The first facial prostheses were used to help disfigured soldiers to repair their faces after World War I. Modern prosthesis technology is also used in the medical field, such as artificial hearts. In the future of the cyber world, people will choose to wear cyberwares for a variety of reasons: rigid needs, self-enhancement, entertainment, or fashion. Cyberwares are as much a part of modern culture as tattoos and mobile phones are in our time, but they are also a means of cultural expression, a symbol of fashion, and an efficient and convenient tool, such as the mantis blade in Cyberpunk 2077. At the same time, the cyberpunk world is an era in which the world is connected by a vast information network, so some people have modified parts of their bodies, people have kept only their brains and mechanised their entire bodies, and people who have turned themselves into a cyborg. Almost all human beings have been modified to varying degrees, and have a body with a port for connection to the network (at the back of the neck); for them, the body is simply a computer terminal, a container for the soul. I think it is highly likely that this will happen in our current world, where Elon Musk is working on his brain-computer interface, and I believe that this technology will be used in the near future.

In the Ghost In The Shell, the heroine, Suiko Kusanagi, is a full-blown cyborg, with a human appearance but a cold prosthetic body all over, even her brain is a machine that holds human souls and memories (similar to the concept of the relic chip set up in Cyberpunk 2077). So the question arises, is the cyberized me still ‘me’? As the name of the anime Ghost In The Shell suggests, which is the main body of me, GHOST or SHELL? And how can I prove the existence of ‘I’? So with this question in mind I created this AR avatar, when I use it, my facial skin will flip open like the geisha robot in the Ghost In The Shell, revealing the machine structure inside. I wanted to find the definition of the human through this process of transforming from a human exterior to a mechanical interior.

MOOD BOARD
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Uncategorised

Week 1 Introduction to Immersive Media and Mixed Reality

This is my first week of study at London College of Communication. This week we focus on the definition of VR, the historical development of VR, introduction to modern VR artworks, and the storytelling and narrative.

In the first session we introduced ourselves and then David gave us an overview of the term’s schedule and the final projects, which were

  • a short 360 film
  • a virtual world
  • an augmented reality avatar

Masaccio’s Holy Trinity is considered to be one of the first immersive works of art, using the perspective of close up, medium and Long distance to create an immersive experience for the viewer.

Here is an artwork on the same principle, Jardin des Tuileries, Paris 1830