{"id":65446,"date":"2018-02-05T17:58:25","date_gmt":"2018-02-05T17:58:25","guid":{"rendered":"http:\/\/www.kriativ-tech.com\/?p=65446"},"modified":"2018-03-13T13:09:03","modified_gmt":"2018-03-13T13:09:03","slug":"article-02","status":"publish","type":"post","link":"https:\/\/www.kriativ-tech.com\/?p=65446","title":{"rendered":"Processos de otimiza\u00e7\u00e3o gr\u00e1 ca para recursos 3D no contexto de realidade virtual"},"content":{"rendered":"

[vc_row][vc_column width=”1\/2″][vc_custom_heading heading_semantic=”p” text_size=”h5″ text_height=”fontheight-843833″ text_font=”font-213936″]Kriativ-tech
\nVolume 1, Issue 1, March 2018, Pages: xxx
\nReceived: Nov. 28, 2017; \u00a0Accepted: Dec. 8, 2017; \u00a0Published: Feb. 24, 2018[\/vc_custom_heading][vc_custom_heading heading_semantic=”h3″ text_size=”h3″]Authors[\/vc_custom_heading][vc_custom_heading heading_semantic=”p” text_size=”h5″]<\/p>\n

Andr\u00e9 Cruz ,\u00a0<\/b>Professor Adjunto do ISTEC<\/div>\n
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[\/vc_custom_heading][\/vc_column][vc_column width=”1\/2″][vc_custom_heading]Media[\/vc_custom_heading][vc_button button_color=”accent” border_animation=”btn-ripple-out” border_width=”0″]PDF[\/vc_button][vc_custom_heading heading_semantic=”h4″ text_size=”h4″]To cite this article[\/vc_custom_heading][vc_custom_heading heading_semantic=”p” text_size=”h6″]Colocar doi[\/vc_custom_heading][\/vc_column][\/vc_row][vc_row row_height_percent=”0″ overlay_alpha=”50″ gutter_size=”1″ column_width_percent=”100″ shift_y=”0″ z_index=”0″][vc_column column_width_percent=”100″ override_padding=”yes” column_padding=”1″ overlay_alpha=”50″ gutter_size=”0″ medium_width=”0″ mobile_width=”0″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ width=”1\/1″][vc_custom_heading heading_semantic=”h3″ text_size=”h3″]Abstract[\/vc_custom_heading][vc_custom_heading heading_semantic=”p” text_size=”h5″ text_height=”fontheight-843833″ text_font=”font-213936″]<\/p>\n

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The purpose of the current article is to analyze the peculiarity of 3D asset visualization in virtual reality devices, as well as research the more adequate techniques in 3D production for this type of medium. Hav- ing into account that the demand of content for these systems could grow signi cantly in a near future, development pipelines more optimized for virtual reality could become gradually more relevant, particu- larly in the relation between graphic quality and performance. As regularly these contents are integrated in real-time engines, it might be important to establish a comparative approach about the production processes within the videogame industry. In the end of this study, we will try to set those comparative elements, present some conclusions about suitable work ows and help to de ne good practices through the development process.<\/p>\n<\/div>\n<\/div>\n<\/div>\n

[\/vc_custom_heading][vc_custom_heading heading_semantic=”h3″ text_size=”h3″]Keywords[\/vc_custom_heading][vc_custom_heading heading_semantic=”p” text_size=”h5″]<\/p>\n

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Virtual Reality; 3D Modeling; Digital Sculpting; Texturing; Maps; Materials; Shaders; Graphic Engines.<\/p>\n<\/div>\n<\/div>\n<\/div>\n

[\/vc_custom_heading][\/vc_column][\/vc_row][vc_row][vc_column column_width_percent=”100″ overlay_alpha=”50″ gutter_size=”0″ medium_width=”0″ mobile_width=”0″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ width=”1\/1″][vc_custom_heading heading_semantic=”h3″ text_size=”h3″]Introduction[\/vc_custom_heading][vc_custom_heading heading_semantic=”p” text_size=”h4″]<\/p>\n

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De nida como um meio que faculta experi\u00eancias de presen\u00e7a e telepresen\u00e7a em ambientes sintetiza- dos, a realidade virtual (RV) est\u00e1 muito associada \u00e0 utiliza\u00e7\u00e3o de hardware espec\u00ed co que estabelece a intera\u00e7\u00e3o entre o utilizador e o que este perceciona (Steuer, 1993). Exemplos disso s\u00e3o equipamentos como capacetes estereosc\u00f3picos (head mounted displays) e controladores manuais dedicados. Com uma base estimada de sete milh\u00f5es de dispositivos em 2016 e com uma previs\u00e3o de crescimento at\u00e9 aos trinta e sete milh\u00f5es at\u00e9 2020 (Statista, 2017), esta tem vindo a apresentar uma tend\u00eancia para se tornar mais acess\u00edvel aos consumidores em geral, o que por seu lado aponta para uma maior procura de conte\u00fados digitais dedicados a estes sistemas. Para al\u00e9m disso, tem-se tornado cada vez mais vi\u00e1vel a adapta\u00e7\u00e3o de smartphones para o uso de realidade virtual ao acoplar equipamentos espec\u00ed cos para o efeito (Lamkin, 2017).<\/p>\n

Este eventual crescimento poder\u00e1 signi car que a produ\u00e7\u00e3o de recursos 3D espec\u00ed cos para visual- iza\u00e7\u00e3o em headset seja mais requisitada, fazendo com que os artistas que desenvolvam conte\u00fados para este meio tenham de se adaptar \u00e0s suas car- acter\u00edsticas. Isto porque, e apesar de numa pri- meira inst\u00e2ncia dar a entender que as t\u00e9cnicas e os processos possam ser equivalentes \u00e0s aborda- gens mais tradicionais, existem particularidades do ponto de vista gr\u00e1 co que podem ter um impacto signi cativo na experi\u00eancia do utilizador (Dur\u00e3es, 2015). \u00c9 tamb\u00e9m importante salientar que de um ponto de vista tecnol\u00f3gico a realidade virtual pode ser utilizada em diversas \u00e1reas (Afonso, 2016). Para al\u00e9m da forte liga\u00e7\u00e3o \u00e0 vertente de entretenimento, pode ser tamb\u00e9m aplicada noutros contextos tais como: ensino, simula\u00e7\u00e3o, arquitetura, medicina, entre outros.<\/p>\n

Neste artigo, iremos primeiro determinar a rela\u00e7\u00e3o entre produzir objetos est\u00e1ticos 3D para sistemas mais estabelecidos e o seu paralelismo no contex- to de realidade virtual. Ao de nir as principais dif- eren\u00e7as entre estes meios de visualiza\u00e7\u00e3o e inter- a\u00e7\u00e3o, este trabalho tentar\u00e1 identi car processos alternativos que poder\u00e3o tornar-se ben\u00e9 cos no desenvolvimento de recursos 3D para RV.<\/p>\n<\/div>\n<\/div>\n<\/div>\n

[\/vc_custom_heading][\/vc_column][\/vc_row][vc_row][vc_column column_width_percent=”100″ overlay_alpha=”50″ gutter_size=”0″ medium_width=”0″ mobile_width=”0″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ width=”1\/1″][vc_custom_heading heading_semantic=”h3″ text_size=”h3″]References[\/vc_custom_heading][vc_custom_heading heading_semantic=”p” text_size=”h5″ text_height=”fontheight-843833″ text_font=”font-213936″]Afonso, L. (2016). Intera\u00e7\u00e3o em Realidade Virtual usando dispositivos m\u00f3veis, 3-16. Universidade de Aveiro.<\/p>\n

Castro, D. (2015). Estudo Focado no Utilizador de So ware Gratuito para Modela\u00e7\u00e3o e Visualiza\u00e7\u00e3o 3D Re- alista, 13-15 e 64-65. Instituto Superior de Engenharia do Porto.<\/p>\n

Dur\u00e3es, L. (2015). O Cinema de Anima\u00e7\u00e3o 3D em Sistemas de Realidade Virtual: Explora\u00e7\u00e3o dos Modos de Visualiza\u00e7\u00e3o e do Foco da Narrativa, 45-54. Universidade do Porto.<\/p>\n

Hales, M (2016). Medium \u2013 Keep it Canny – Asset Preparation for Virtual Reality. Retirado de https:\/\/medi- um.com\/@Hales\/keeping-it-canny-asset-preparation-for-virtual-reality-659d46001976<\/p>\n

Hayes, P. (2017). Em entrevista \u00e0 3D World Magazine – VR Game Modeling, no 219, 18-19. Future Publishing.<\/p>\n

Homer, S. (2017). Em entrevista \u00e0 3D World Magazine – VR Game Modeling, no 219, 22-23. Future Publishing.<\/p>\n

Kinney, J. (2016). The Game Artists Guide to VR \u2013 3D World Magazine, no 203, 41-49. Future Publishing.<\/p>\n

Lamkin, P (2017). Wareable \u2013 The best smartphone headsets for VR apps. Retirado de https:\/\/www.ware- able.com\/vr\/best-smartphone-headsets-mobile-vr-apps-1655<\/p>\n

McDermott, W. (2015a). The Comprehensive PBR Guide by Allegorithmic Vol. 1 \u2013 The theory of Physical- ly-Based Rendering and Shading. Retirado de https:\/\/www.allegorithmic.com\/system\/ les\/so ware\/ download\/build\/PBR_Guide_Vol.1.pdf<\/p>\n

McDermott, W. (2015b). The Comprehensive PBR Guide by Allegorithmic Vol. 2 \u2013 Light and Matter: Pratical guidelines for creating PBR texturing. Retirado de https:\/\/www.allegorithmic.com\/system\/ les\/so ware\/ download\/build\/PBR_volume_02_rev05.pdf<\/p>\n

Santos, S. (2016). Impress\u00e3o 3D \u2013 Perspetivas de Ado\u00e7\u00e3o na Ind\u00fastria Portuguesa, 19-29. Universidade Nova de Lisboa.<\/p>\n

Statista \u2013 The Statistics Portal (2017). Virtual Reality (VR) \u2013 Statistics & Facts. Retirado de https:\/\/www. statista.com\/topics\/2532\/virtual-reality-vr<\/p>\n

Steuer, J. (1993). De ning Virtual Reality: Dimensions Determining Telepresence. Stanford University.<\/p>\n

Tan, J. (2017). Sculpt a Total War game character with Zbrush \u2013 3D Artist Magazine, no 109, 48-53. Future Publishing Ltd.<\/p>\n

Usher, W. (2016). Cinema Blend – VR Games At E3 Were Making People Sick. Retirado de https:\/\/www.cin- emablend.com\/games\/1525170\/vr-games-at-e3-were-making-people-sick-get-the-details<\/p>\n

Vasconcelos J. B., & Ribeiro, N. (2013). Tecnologias de Programa\u00e7\u00e3o de Jogos, 60-72. FCA \u2013 Editora de In- form\u00e1tica, LDA[\/vc_custom_heading][\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"rendered":"

[vc_row][vc_column width=”1\/2″][vc_custom_heading heading_semantic=”p” text_size=”h5″ text_height=”fontheight-843833″ text_font=”font-213936″]Kriativ-tech Volume 1, Issue 1, March 2018, Pages: xxx Received: Nov. 28, 2017; \u00a0Accepted: Dec. […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[61],"tags":[],"_links":{"self":[{"href":"https:\/\/www.kriativ-tech.com\/index.php?rest_route=\/wp\/v2\/posts\/65446"}],"collection":[{"href":"https:\/\/www.kriativ-tech.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.kriativ-tech.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.kriativ-tech.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.kriativ-tech.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=65446"}],"version-history":[{"count":12,"href":"https:\/\/www.kriativ-tech.com\/index.php?rest_route=\/wp\/v2\/posts\/65446\/revisions"}],"predecessor-version":[{"id":65545,"href":"https:\/\/www.kriativ-tech.com\/index.php?rest_route=\/wp\/v2\/posts\/65446\/revisions\/65545"}],"wp:attachment":[{"href":"https:\/\/www.kriativ-tech.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=65446"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.kriativ-tech.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=65446"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.kriativ-tech.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=65446"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}