1
00:00:00,120 --> 00:00:05,140
Start. Welcome, everyone, to the digital launch of the Encoding

2
00:00:05,140 --> 00:00:10,540
Heritage Network. Just to note that today's session will be recorded.

3
00:00:10,540 --> 00:00:15,700
My name is Leah Kostner and I'm a junior research fellow in the history of art at Merton

4
00:00:15,700 --> 00:00:20,950
College. To get it together with today's presenters and members from several

5
00:00:20,950 --> 00:00:26,110
departments of the university, we are launching the Encoding Heritage Network,

6
00:00:26,110 --> 00:00:31,480
which is kindly supported by TORCH, the Oxford University's Humanities Research

7
00:00:31,480 --> 00:00:37,240
Centre. So the aim of this network is to connect scholars from the humanities,

8
00:00:37,240 --> 00:00:42,550
social sciences and applied sciences who are interested in harnessing the power of 3-D

9
00:00:42,550 --> 00:00:47,920
mapping. Photogrammetry and virtual environments such as virtual reality,

10
00:00:47,920 --> 00:00:53,260
an argument and reality in their research. And we will be unveiling

11
00:00:53,260 --> 00:00:58,750
an exciting series of events over the summer and in the next academic year,

12
00:00:58,750 --> 00:01:04,120
which I will detail at the end of the presentation. Everyone is welcome to join. And

13
00:01:04,120 --> 00:01:09,280
although events are free of charge, of course. So just a word about the structure

14
00:01:09,280 --> 00:01:14,800
of the event today. We will be listening to two presentations from Matthew Nichols

15
00:01:14,800 --> 00:01:19,810
and from Richard Smith, each of which will last about 20 minutes each.

16
00:01:19,810 --> 00:01:25,210
At the end of these, we will open the floor up to questions. And we aim to end around

17
00:01:25,210 --> 00:01:30,520
four p.m. So you're welcome to pop your questions into the Q&A box,

18
00:01:30,520 --> 00:01:35,770
which you should see at the bottom of the screen throughout the presentation. And we will pick this up

19
00:01:35,770 --> 00:01:40,960
at the end. So without further ado, I have the pleasure of introducing today

20
00:01:40,960 --> 00:01:46,300
one of our network's founding members, Professor Matthew Nichols. He will be sharing today

21
00:01:46,300 --> 00:01:51,610
an innovative use of 3-D modelling in his research. So Professor Matthew

22
00:01:51,610 --> 00:01:56,740
Nichols is senior tutor at St. John's College in Oxford. He

23
00:01:56,740 --> 00:02:02,560
previously held the lectureship Ed Najarian Classics at the University of Redding.

24
00:02:02,560 --> 00:02:07,600
There, he developed a large scale 3-D model of ancient Rome, which he has used extensively in

25
00:02:07,600 --> 00:02:13,060
teaching, research, outreach and in commercial work, winning several national

26
00:02:13,060 --> 00:02:18,580
awards for teaching and innovation. And today, Matthew will be presenting

27
00:02:18,580 --> 00:02:24,560
to us this work. Welcome, Matthew. Thank you very much, Leah. And

28
00:02:24,560 --> 00:02:29,660
also and talk to everyone who supported this made it possible. And thank you very much,

29
00:02:29,660 --> 00:02:34,670
everybody who's come along. It's the first time I've given a talk to an entirely absent and disembodied

30
00:02:34,670 --> 00:02:40,220
audience. So I'm colour out there and I hope we have a very productive and enjoyable afternoon.

31
00:02:40,220 --> 00:02:45,560
I'm going to try and share my screen now with you to show you some pictures

32
00:02:45,560 --> 00:02:50,640
of the work that I've been doing. So there it goes.

33
00:02:50,640 --> 00:02:55,910
And I hope that you can all see that perhaps Lee or somebody could just give me a wave

34
00:02:55,910 --> 00:03:04,060
their thumbs up and cheque that the slide is coming through properly.

35
00:03:04,060 --> 00:03:09,200
And he won a thumbs up. Brilliant. Thank you very much indeed. Okay, so really,

36
00:03:09,200 --> 00:03:14,510
I said I have made a large scale digital model of ancient Rome. I'm a classicist and an ancient historian

37
00:03:14,510 --> 00:03:19,520
and not really an archaeologist. And my technical training information is all in classics

38
00:03:19,520 --> 00:03:24,710
in Latin and Greek, not in computer modelling. So I've taught myself as I've gone along, and although

39
00:03:24,710 --> 00:03:29,890
that makes me in some ways a rather bumbling amateur in this field. It also means that

40
00:03:29,890 --> 00:03:35,540
I have learnt as a non-specialist and therefore can teach other nonspecialist how to work with the software

41
00:03:35,540 --> 00:03:40,580
and to think from a disciplinary standpoint, the classic standpoint about what it can offer and how we can use

42
00:03:40,580 --> 00:03:45,710
it in various sorts of applications. So what I propose to talk about is how

43
00:03:45,710 --> 00:03:50,750
I've done this and what I've done it for and where I think it might go next. And I'd

44
00:03:50,750 --> 00:03:55,880
be very interested, as always, to hear people's questions or comments at the end. I'm going to

45
00:03:55,880 --> 00:04:01,190
run these slides in this window here. I find that makes the videos play little more smoothly.

46
00:04:01,190 --> 00:04:06,320
I'm sorry, I'm not getting a full screen, but hopefully you'll be able to see the slides that I want to show you.

47
00:04:06,320 --> 00:04:11,420
So this is the model of Rome that Leah mentioned to you in the introduction. It shows the ancient

48
00:04:11,420 --> 00:04:16,430
city, as it appeared or may have appeared in the early 4th century A.D. when Rome was at

49
00:04:16,430 --> 00:04:21,500
its height. It contained several tens of thousands of artefacts, including buildings and about

50
00:04:21,500 --> 00:04:26,990
35000 pine trees. And there we are flying into the city from the south.

51
00:04:26,990 --> 00:04:32,750
So that gives you a hope, an impression of what it is that I'm talking about. This is the large model of Rome.

52
00:04:32,750 --> 00:04:37,850
And what I'll proceed to talk about is how I made this and what I've used it for and some of the how and

53
00:04:37,850 --> 00:04:42,870
some of the why. The basic modelling tool that I've used throughout this

54
00:04:42,870 --> 00:04:48,510
project is called SketchUp, and this may be familiar to many of you. It's a very user friendly,

55
00:04:48,510 --> 00:04:53,620
very approachable, rather fun piece of software, I find. And you can see in the window here,

56
00:04:53,620 --> 00:04:58,920
it might be a bit jerky for you. But what you're looking at is a slightly speeded up screen grab

57
00:04:58,920 --> 00:05:04,860
with me making a simple Ramano British villa in SketchUp. So you can see I've stopped with a grand plan.

58
00:05:04,860 --> 00:05:09,930
I've drawn the outline of the building. I've Push-Pull pulled extruded up into three dimensions. I'm now adding

59
00:05:09,930 --> 00:05:15,120
rooms and this little building on the side is probably a bathhouse. So a series of fairly simple

60
00:05:15,120 --> 00:05:21,180
draw tools. Our circle here, a rectangle and then a Push-Pull to turn it into a cuboid.

61
00:05:21,180 --> 00:05:26,190
OK, push called turn it into a barrel vault. You can create pretty quickly

62
00:05:26,190 --> 00:05:31,380
at least a massing model, kind of volumetric model of this sort of building, telling it from a ground plan into

63
00:05:31,380 --> 00:05:36,480
a 3D entity. And as this video plays on, you'll see a little bit of detail added. I don't know how long I let

64
00:05:36,480 --> 00:05:41,700
it run for, but I'll start adding some colour and texture to it. Some windows and doors from a premade library of windows

65
00:05:41,700 --> 00:05:46,980
and doors so dark as the roof tiles. So this is this is what I do. This is the process. It's speeded up by about a factor

66
00:05:46,980 --> 00:05:52,140
of four. This is a two minute video. So it's an eight minute build. And you can see there for that will be

67
00:05:52,140 --> 00:05:57,330
a very simple, very basic model you can make really quickly and you can turn a grand plan that maybe

68
00:05:57,330 --> 00:06:02,430
not everybody can read very easily into something that's a bit more intuitive and a bit

69
00:06:02,430 --> 00:06:07,600
more user friendly for some sorts of audience. Oh, this is a here's one I made earlier, cheap. So I've got

70
00:06:07,600 --> 00:06:12,990
got a kind of library here of room and doors and windows. I'm pasting in to give a quick impression

71
00:06:12,990 --> 00:06:18,090
of fenestration and it wasn't so very good. So that's the tool that I'm using as a very

72
00:06:18,090 --> 00:06:23,310
simple model. You can apply it, though, to more complex models that take more make minutes to build.

73
00:06:23,310 --> 00:06:28,860
Here is the Batho Caracalla in Rome. This is the best surviving

74
00:06:28,860 --> 00:06:34,200
imperially or a Roman bathhouse. And like all of these mature bathhouse buildings, it's an extremely

75
00:06:34,200 --> 00:06:39,780
complicated series of intersecting geometric volumes with curvilinear, vaulting

76
00:06:39,780 --> 00:06:45,270
and big windows and also kind of occupation elements and columnar elements, marble decoration

77
00:06:45,270 --> 00:06:50,400
and complicated polygonal bolting on the on the ceilings.

78
00:06:50,400 --> 00:06:55,410
Really lovely building. And I set myself this is a deliberate challenge to kind of push my abilities,

79
00:06:55,410 --> 00:07:00,420
at least in the modelling software, to the limits. What I'm doing here, there is still what I was doing in that

80
00:07:00,420 --> 00:07:05,430
previous life. It's taking archaeological grand plans and a lot of flight photography and visits on

81
00:07:05,430 --> 00:07:10,500
my part to turn what you can see in the top left of that slide, a kind of bare brick and concrete set

82
00:07:10,500 --> 00:07:15,510
of ruins into what you can see at the bottom, which is a building with the ceilings restored

83
00:07:15,510 --> 00:07:20,610
and the decorative elements are coming back in, then the windows are coming back in. And then when that will cut it up

84
00:07:20,610 --> 00:07:26,640
and rendered, it will produce hopefully a very vivid impression of the bathhouse externally and internally.

85
00:07:26,640 --> 00:07:31,980
And here is that impression. So there's the building finished coloured in entourage elements

86
00:07:31,980 --> 00:07:37,020
like trees added. You can see that there's a nice kind of golden evening light playing on it,

87
00:07:37,020 --> 00:07:42,060
which gives some shadows, a cast there by the trees and by the building itself, which gives it a sort

88
00:07:42,060 --> 00:07:47,310
of 3D pop out of the page. And it's sitting not in isolation, but in a landscape

89
00:07:47,310 --> 00:07:52,440
that I've made surrounded by other buildings that I've made that are based on maps

90
00:07:52,440 --> 00:07:57,500
and control maps of ancient Rome. So it's the building in its urban context.

91
00:07:57,500 --> 00:08:02,730
And the idea is that you can view things in isolation or you can drop them into a landscape and see them talking

92
00:08:02,730 --> 00:08:07,800
to and corresponding with other buildings. And that's going to be important later. When we talk about how this building

93
00:08:07,800 --> 00:08:13,410
helps us understand the city of Rome as opposed to individual buildings within that city.

94
00:08:13,410 --> 00:08:18,690
So working from archaeology and from published site Clarens and some some other sources that I'll come to

95
00:08:18,690 --> 00:08:23,760
building by building, I constructed the city model over time. Why have I done

96
00:08:23,760 --> 00:08:28,770
this? Partly because it was fun. It's part of the honest answer. I played with Lego

97
00:08:28,770 --> 00:08:34,110
a lot as a child. It's just it's enjoyable. But a more serious answer,

98
00:08:34,110 --> 00:08:39,330
or at least a more kind of what we say focussed answer is that it corresponds, I think, to certain

99
00:08:39,330 --> 00:08:44,670
teaching needs and certain research potentials and to a sense of exploration within the discipline

100
00:08:44,670 --> 00:08:49,950
that's still unfolding. So the way that we conventionally document and teach

101
00:08:49,950 --> 00:08:55,020
these Belton's just from two dimensional black and white grand plans like the one you can see top left there. That's another bathhouse

102
00:08:55,020 --> 00:09:00,120
in red buzzer dilation, very similar building slightly later in date. And you can

103
00:09:00,120 --> 00:09:05,400
see around that plan on the slide three other media that have been used to

104
00:09:05,400 --> 00:09:10,680
try and give this more vivid impression of the building, because that ground plan is very, very information

105
00:09:10,680 --> 00:09:15,810
rich. It's a very good diagrammatic way of presenting information. If you can read it, it tells you a lot, but not everybody can

106
00:09:15,810 --> 00:09:21,150
read it. I find the undergraduate students, tourists when I'm doing this for

107
00:09:21,150 --> 00:09:26,250
public audiences, people in kind of museum talks and so on. If you say who feels happy reading that grand

108
00:09:26,250 --> 00:09:31,590
plan, I'm not. Half the hands will go up. It's not an intuitive

109
00:09:31,590 --> 00:09:36,720
form of information to turn that in the mind's eye into something like the bottom right picture, which is a

110
00:09:36,720 --> 00:09:42,170
19th century French watercolour. Bows are tradition, which shows that same building

111
00:09:42,170 --> 00:09:47,270
presented as an interior view with perspective and volume and height and colour and lots

112
00:09:47,270 --> 00:09:52,580
of little tastefully semi-nude Romans gambling around at the bottom in the bathhouse hall. And

113
00:09:52,580 --> 00:09:57,710
that fills in a lot of the stuff that the grand plan is missing. But it does so at a price, which

114
00:09:57,710 --> 00:10:02,840
is you can't see all the building currency part of it. The scale

115
00:10:02,840 --> 00:10:08,090
is now gone because for Shorten is perspectival so that the plane recedes into the plane of the picture.

116
00:10:08,090 --> 00:10:13,130
You can't make measurements from it. You might feel that it takes a degree of artistic licence.

117
00:10:13,130 --> 00:10:19,370
Well, we all do. But you know that that's something we can talk about methodologically. So you can out in

118
00:10:19,370 --> 00:10:24,920
black and white 3-D drawing like the one at the top. Right. You can add in physical models like go on bottom left

119
00:10:24,920 --> 00:10:30,200
part of a city scale physical model in the museum in Rome. It's now shot. And the fact

120
00:10:30,200 --> 00:10:35,450
that that museum models and accessible has been for some time shows the limitations of physical

121
00:10:35,450 --> 00:10:40,490
models. And they're beautiful things, wonderful artistic and scholarly creations. But you can't

122
00:10:40,490 --> 00:10:46,310
always get to them. And even if you can, you're going to make a trip to a museum. So into that mix of

123
00:10:46,310 --> 00:10:51,410
traditional tools, we can add digital modelling. And there is my model, the same

124
00:10:51,410 --> 00:10:56,630
bathhouse. And I wouldn't say this replaces a lot of other techniques. I say adds to them.

125
00:10:56,630 --> 00:11:01,640
You can do stuff with that. You can more easily do stuff with it than with

126
00:11:01,640 --> 00:11:06,650
other media. So here is that reconstruction. I made partially transparent overlaid on Google Earth.

127
00:11:06,650 --> 00:11:11,870
And if I were showing you the full slide that care, this kind of animates the fading animation. And as you can see,

128
00:11:11,870 --> 00:11:16,940
the bones of the bathhouse kind of giving fossilised expression in the modern city streets and that we

129
00:11:16,940 --> 00:11:22,010
tried that earlier and it started too much. I won't play the animation, but you can perhaps see

130
00:11:22,010 --> 00:11:27,160
just from the picture on the screen here. This sense of how the bathhouse sits within the modern city.

131
00:11:27,160 --> 00:11:32,240
There's traffic island up here. That kind of semicircle of modern shocks you can see actually follows very closely the

132
00:11:32,240 --> 00:11:37,340
semicircle in the outer wall bathhouse. And we can use that same model

133
00:11:37,340 --> 00:11:42,380
to transition now from a planned view, which I've already said is kind of limited in

134
00:11:42,380 --> 00:11:48,230
some ways. Deliver a useful same model gives us both the plan view and through animation. A perspectival

135
00:11:48,230 --> 00:11:53,270
view so we can now move down an imaginary camera track in the sky and

136
00:11:53,270 --> 00:11:58,970
go from an overhead view into something more 3-D. So you've got height and depth and perspective.

137
00:11:58,970 --> 00:12:04,280
Colour in this you can see maybe that the water is reflective so we can assign different properties to different sorts of surface

138
00:12:04,280 --> 00:12:09,410
so we can start to give now much more intuitive impression of the building that

139
00:12:09,410 --> 00:12:14,420
people find helpful in various contexts. And I think it's a good addition to that traditional suite of

140
00:12:14,420 --> 00:12:20,780
tools like painting or physical model making that archaeologists have been using for some centuries.

141
00:12:20,780 --> 00:12:25,790
You've seen there the idea of almost immersive 3-D flying into a building, we

142
00:12:25,790 --> 00:12:31,000
can take that right down to ground level. Here are some different bits of ancient Rome seen from a Raymonds.

143
00:12:31,000 --> 00:12:36,140
I have you or nearly. So we're now starting to approach this idea of my city, which we'll

144
00:12:36,140 --> 00:12:41,480
talk about later in virtual talk about a lot more about using the model to move away

145
00:12:41,480 --> 00:12:46,610
from the kind of traditional God's eye view that you see in textbooks or print articles where that kind

146
00:12:46,610 --> 00:12:51,800
of panoptic view over the whole city down to a much more ramen's eye view that shows

147
00:12:51,800 --> 00:12:57,560
what these structures look like from the ground, what you can see from where, what buildings masked or accentuated

148
00:12:57,560 --> 00:13:02,690
or pointed to other buildings or the sightlines are what the crowd experience is like.

149
00:13:02,690 --> 00:13:07,700
So we can start doing that sort of thing from within the model. And now we're still only

150
00:13:07,700 --> 00:13:12,710
talking at the moment about rended images. These ones are still you seen moving ones. We'll talk about

151
00:13:12,710 --> 00:13:17,780
true immersive interactive, a massive city towards the end of this. And Richard will pick up on that in his tool,

152
00:13:17,780 --> 00:13:23,060
his talk. Here is more of God's eye view. Sorry, I expanded

153
00:13:23,060 --> 00:13:28,250
the slides unthinkingly. Can you still see my slide deck? Is that still in the right frame

154
00:13:28,250 --> 00:13:33,270
for everybody? I've got a thumbs up,

155
00:13:33,270 --> 00:13:38,670
two thumbs up call. Okay. Thanks, guys. So this is the Roman forum.

156
00:13:38,670 --> 00:13:43,920
So where we're using the model here to fly slowly over a space and just see the buildings gently unfold beneath

157
00:13:43,920 --> 00:13:49,050
us so you can kind of put your gaze on different structures. You can see how they sort of open up

158
00:13:49,050 --> 00:13:54,210
as you move through them. The idea of motion through space is very interesting in classical scholarship now,

159
00:13:54,210 --> 00:13:59,400
and I think I'll show you some books on that in a minute. That idea of being able to move through

160
00:13:59,400 --> 00:14:04,470
a move over a space and her movement articulates the armature of the city and the building arrangement different. It

161
00:14:04,470 --> 00:14:09,930
is very valuable here, though. I'm doing what I think of as 4D modelling. So

162
00:14:09,930 --> 00:14:15,150
if we take the form buildings away and we look at Rome before the city of Rome was there, you can see these hilltop Iron

163
00:14:15,150 --> 00:14:20,370
Age villages with the roads between the meeting in this marshy lower.

164
00:14:20,370 --> 00:14:25,590
Graham, down here, I trust you can see my mouse pointer pointing at this some kind of deliberately between

165
00:14:25,590 --> 00:14:30,690
the Palatine and Capricorn Hills. And if y if you're looking at the proper slides, I would slowly fade

166
00:14:30,690 --> 00:14:35,760
in the modern city, modern 4th century city. Instead, it will just appear. But try and hold

167
00:14:35,760 --> 00:14:40,890
that landscape in your mind's eye. There you go. I'll do it again. There is

168
00:14:40,890 --> 00:14:45,930
the pre urban Rome with hilltops and marsh land and there is

169
00:14:45,930 --> 00:14:50,940
modern Rome. And you can maybe see under that forum piazza that we just flew over is down in that marshy land. That was

170
00:14:50,940 --> 00:14:56,490
once the meeting point between different separate hilltop villages. That's the aim of that slide. It's,

171
00:14:56,490 --> 00:15:01,890
as I said, four dimensional modelling. That is the idea of change over time within the 3D space. I find quite

172
00:15:01,890 --> 00:15:07,200
intriguing as a possibility. I'd like to do more of that. So that's

173
00:15:07,200 --> 00:15:12,390
some of what I've done. How have I done it? What sources have I used to rattle through this little

174
00:15:12,390 --> 00:15:17,560
little quickly? I could do and have done whole talks on this, as you might imagine. But I'll give you the

175
00:15:17,560 --> 00:15:22,620
plot. It highlights you saw before that we use archaeology fairly obviously where there are

176
00:15:22,620 --> 00:15:27,720
standing remains of a building. I go and look at them and photograph them and read people's

177
00:15:27,720 --> 00:15:32,940
books about them and incorporate them as best I can into the model. You will find

178
00:15:32,940 --> 00:15:38,250
if you do this that lots of published sources with maps and actually disagree with each other about where buildings are

179
00:15:38,250 --> 00:15:43,920
positioned or what they look like or exactly where they fit into the modern city. So there's an awful lot of

180
00:15:43,920 --> 00:15:48,990
choosing to do and guessing in some cases to do or at least kind of making educated estimates

181
00:15:48,990 --> 00:15:54,300
of how to reconstruct from ruins. But where you have good standing remains like this inside a building

182
00:15:54,300 --> 00:15:59,880
often left. That's a brick and concrete multi-storey Roman apartment block

183
00:15:59,880 --> 00:16:05,040
you could use there. Standing remains to make a pretty good approximation of what the building was like when it was

184
00:16:05,040 --> 00:16:10,170
new. There it is. No roof on it yet in that model. But you can see perhaps

185
00:16:10,170 --> 00:16:15,330
kind of how that kind of hunk of brick and concrete down there,

186
00:16:15,330 --> 00:16:20,430
which was preserved by being turned into a church as almost anything well-preserved in Rome, was, as you can

187
00:16:20,430 --> 00:16:25,440
still see the church frescoes and belltower in there. How when it was built, that was actually

188
00:16:25,440 --> 00:16:30,480
multistorey apartment block with shops on the ground floor, apartment living spaces

189
00:16:30,480 --> 00:16:35,580
on the top floors. Very few of those survive in Rome. Very, very few survived. Or at least

190
00:16:35,580 --> 00:16:40,680
if they do, they're kind of in globin and built into modern buildings. So you can go outside of Rome

191
00:16:40,680 --> 00:16:46,050
and look at comparable sites like Austere Rome's harbour town down the Tigris River.

192
00:16:46,050 --> 00:16:51,390
And Ostia survives much better. It was filled up with some drifts

193
00:16:51,390 --> 00:16:57,000
when the harbour silted up and was just abandoned for centuries. So it's very, very well preserved. And here you can see

194
00:16:57,000 --> 00:17:02,220
streets lined by those multi-storey brick apartment buildings and the paving stones are still there.

195
00:17:02,220 --> 00:17:07,410
The steps and the shops and the green mills are still there. So you can go to comparable sites outside

196
00:17:07,410 --> 00:17:12,420
of Rome if you want to. You can look at the evidence on things like coins. Here is

197
00:17:12,420 --> 00:17:17,550
a Roman Emperors coin showing the Temple of Concorde in the Roman forum. And that's what I used to make

198
00:17:17,550 --> 00:17:22,920
my model of the Temple of Concorde, including the statue placements. Coins are small and round

199
00:17:22,920 --> 00:17:27,930
and buildings are big and square. So they're an imperfect source visually. And the

200
00:17:27,930 --> 00:17:33,030
money I will distil water, emphasise certain elements to get a particular message across. But still,

201
00:17:33,030 --> 00:17:38,310
it's it's a very useful, iconographic source. My favourite source

202
00:17:38,310 --> 00:17:43,980
for this project is the digital divide and Marble Map mentioned Rome pre digital technology,

203
00:17:43,980 --> 00:17:49,200
carving a map into marble slabs which were fixed to a wall in a monument in Rome and then fell

204
00:17:49,200 --> 00:17:54,450
off in an earthquake and were smashed up into these jigsaw puzzle fragments.

205
00:17:54,450 --> 00:17:59,490
And sometimes we can take a fragment like this one or a series of fragments. And you can see the detail, I

206
00:17:59,490 --> 00:18:04,860
hope, of the buildings on there. The dots are maybe columns and you can see staircases. You can see a street

207
00:18:04,860 --> 00:18:10,020
running across left to right on the top of the slab, you see a staircase climbing a hillside on

208
00:18:10,020 --> 00:18:15,060
the left hand edge. Sometimes we know where on the map that there is these fragments fit into

209
00:18:15,060 --> 00:18:20,100
a street called Vicas Trickiest that runs up the side of the Mantle Hill. And we can locate

210
00:18:20,100 --> 00:18:25,260
that fragment. Pretty accurate, actually, as to where it should be in the city. And so I've made all those buildings

211
00:18:25,260 --> 00:18:30,300
that are shown on the map and put them into the model. And there they are kind of in the same orientation, if you

212
00:18:30,300 --> 00:18:35,700
can see that climbing that. Side with the big arterial road running along the bottom

213
00:18:35,700 --> 00:18:40,980
of the diagonal bottom of the picture here. And the buildings climbing up the hillside to this building with this triple hedge

214
00:18:40,980 --> 00:18:46,110
here. This big square structure here at the top of these slabs. And it's concentric rings

215
00:18:46,110 --> 00:18:51,390
of what I take to be flaunting elemental planting. So this map is a beautiful resource

216
00:18:51,390 --> 00:18:56,510
throating resource ready to use. And what I've done is take all the nine fragments of it, make the buildings on them in three

217
00:18:56,510 --> 00:19:01,680
days and put them into the map. I don't think that's been done before. So that is a nice thing

218
00:19:01,680 --> 00:19:07,020
to do. And a nice source to have gives us maybe 10 percent of the city. So obviously, a lot of the rest of the city

219
00:19:07,020 --> 00:19:12,330
is various forms of conjecture. But what it does give us is the kind of texture, as I think of it, in the city, the rhythms

220
00:19:12,330 --> 00:19:18,270
and density and building mix. So taking all those different evidence types together,

221
00:19:18,270 --> 00:19:23,280
this is several years work in about 30 seconds as I build in and Coleraine and think

222
00:19:23,280 --> 00:19:28,380
about the buildings, experiment with planting trees and background colours. And so there we go. So that's how the model

223
00:19:28,380 --> 00:19:33,480
came to fruition. Give you that again, filling in those gaps, using different sources, thinking about the role

224
00:19:33,480 --> 00:19:39,320
of colour, which is a whole other subject, and thought we could have thinking about the role of planting of

225
00:19:39,320 --> 00:19:45,390
kind of ground plate texture and then working so quickly at the end. Now,

226
00:19:45,390 --> 00:19:50,790
that's how some of the why, as I've said, this fits into trends and current scholarship that are about

227
00:19:50,790 --> 00:19:56,370
what we call the spatial turn or what is called the spatial term. Thinking about movement, about experience,

228
00:19:56,370 --> 00:20:01,470
space, stepping away from this, reading a monument like you'd read a text as a kind of set of

229
00:20:01,470 --> 00:20:06,510
aggregator of symbols and messages and starting to think about the lived experience of walking through it or under it

230
00:20:06,510 --> 00:20:11,610
or around it. And it seems to me that a digital model of this sort is a kind of laboratory

231
00:20:11,610 --> 00:20:16,710
for exploring the spatial term in real time within an urban environment, especially when we get into

232
00:20:16,710 --> 00:20:21,780
immersive tech, which Richard will talk about. We can do stuff like sightline

233
00:20:21,780 --> 00:20:26,790
studies or illumination studies with it. So this is a theatre in room and the little tiny text in the

234
00:20:26,790 --> 00:20:32,010
top of the slide is an extract from an inscription that sets out some imperial

235
00:20:32,010 --> 00:20:37,110
games that happened in this theatre, amongst other places, and actually give us the date and time at which the games have happen. So

236
00:20:37,110 --> 00:20:42,210
what I've done is animate that date and time in the model using the sun engine in the model, and you can see that

237
00:20:42,210 --> 00:20:47,220
it puts the sun right on the stage. This is a looping video. So at the beginning of the designated

238
00:20:47,220 --> 00:20:52,230
hour of games, you can see the sun plays onto the stage. The plays happen for an hour or so at the end of the

239
00:20:52,230 --> 00:20:57,480
hour that almost like the shadow, falls like a curtain across the stage, which I think is very neat and

240
00:20:57,480 --> 00:21:03,660
rather thrilling to find by just making a model and turning the sound on and seeing what happens. So we can use it for research

241
00:21:03,660 --> 00:21:08,940
and use it for teaching. I teach undergraduates to make their own models of Roman still trust us. So here is undergraduate

242
00:21:08,940 --> 00:21:13,980
work. This is people who had never done any digital work at all. About 10 weeks

243
00:21:13,980 --> 00:21:20,070
later, after the end of a term at Redding, they were making models like this. I think it's pretty teachable software.

244
00:21:20,070 --> 00:21:25,140
I think the methodology that I've been outlining quickly in this talk is it's also teachable and

245
00:21:25,140 --> 00:21:30,240
we can use it for outreach. And the biggest way I've done this is to make a free online course for Muc on the Future

246
00:21:30,240 --> 00:21:35,240
platform, which you're all very welcome to join. It runs again next month. About 40000 people

247
00:21:35,240 --> 00:21:40,350
are taking this now, and this course contains five weeks of video. We

248
00:21:40,350 --> 00:21:45,690
went and shot some films in Rhode Island and I made some digital model videos. We kind of blended them together.

249
00:21:45,690 --> 00:21:50,760
And it contains written articles and discussions and things like that about the ancient city.

250
00:21:50,760 --> 00:21:55,920
And for me, the best thing or the most innovative thing we did in this course was this, which is to make a series of buildings

251
00:21:55,920 --> 00:22:00,990
from the model available for people to explore within the course on their phones

252
00:22:00,990 --> 00:22:06,030
or tablets or desktops. This is a screen grab of me exploring that part of Caracalla that we started

253
00:22:06,030 --> 00:22:11,070
with in an article, Cuba to Go. I can turn the colour on and off. I can

254
00:22:11,070 --> 00:22:16,200
turn the sun around a little slider to play with the elimination, the shadows. And I can do a little Google

255
00:22:16,200 --> 00:22:21,300
walk mow today as my little man and I can drop him into the model and that puts me in and I can now

256
00:22:21,300 --> 00:22:26,400
tap to walk forwards. I can Massaro finger around on the screen to

257
00:22:26,400 --> 00:22:31,530
kind of explore the model. And this principle of impossibility is really, really crucial. It's something that Rich is going to pick

258
00:22:31,530 --> 00:22:36,780
up on that. It's all very well to look at the pictures as we've been doing right through the slide set.

259
00:22:36,780 --> 00:22:42,180
I think people gain an awful lot more as I did through the process of building these models. But being inside

260
00:22:42,180 --> 00:22:47,250
the 3D space and you choose where you want to look, you control that on the phone with your

261
00:22:47,250 --> 00:22:52,410
finger or if you're in a VR headsets, we'll see in a minute by physically looking around. And that

262
00:22:52,410 --> 00:22:57,570
addition of motion and choice and interactivity for MIJ enormously

263
00:22:57,570 --> 00:23:03,060
magnifies the potential of this technology to show you what a space is like, make you feel what a space is like.

264
00:23:03,060 --> 00:23:08,160
So I'm really excited by the steps that you're going to hear from Richard next about how we can do

265
00:23:08,160 --> 00:23:13,350
this. And the building that he'll be talking about a bit is this one the theatre of Pompeii, which

266
00:23:13,350 --> 00:23:18,360
feels to me like a really good building for testing this technology in because it's extremely big and

267
00:23:18,360 --> 00:23:23,370
grand. It was built in 55 B.C. from the proceeds of the general

268
00:23:23,370 --> 00:23:28,410
puppy's triumph as military victories came back to Rome and built Rome's first permanent

269
00:23:28,410 --> 00:23:33,630
stone theatre before them. That only been made of wood because. Entertainment architecture sort of frowned

270
00:23:33,630 --> 00:23:38,640
on his populist and rabble rousing and a bit unseemly. But here, promptly built for the first time this

271
00:23:38,640 --> 00:23:43,650
magnificent stone theatre. It doesn't survive well at all now, which makes it

272
00:23:43,650 --> 00:23:48,900
a great target for reconstruction, because we know a lot about it, but it's not there. So it's really nice to make a vivid 3-D

273
00:23:48,900 --> 00:23:54,180
model of it. What you can see perhaps in the map top right is this fossilised imprint of the theatre.

274
00:23:54,180 --> 00:23:59,220
If you look at this curve at the left of the map that there's a two city blocks there and that

275
00:23:59,220 --> 00:24:04,290
curve right there built on top of the curve of this theatre. This bowl of seating here. So

276
00:24:04,290 --> 00:24:09,840
the imprint of this building survives. And you can see it's absolutely enormous. And I found in my experiments

277
00:24:09,840 --> 00:24:15,140
with immersive technology and with VR that that sense of scale and enormousness

278
00:24:15,140 --> 00:24:20,190
is a little bit hard to capture on a two day monitor where you can just zoom in and out like a scroll wheel. It really

279
00:24:20,190 --> 00:24:25,290
comes alive when you're in something like a VR headset and you're moving around the building at walking pace. And

280
00:24:25,290 --> 00:24:30,600
look, you're telling your head to look around that suit. That building feels to me like a really tempting target

281
00:24:30,600 --> 00:24:35,700
to try and do something even more interactive and imaginative with using specialist technology.

282
00:24:35,700 --> 00:24:40,890
Or I have to rely on experts like Richard, which is a value of a network like this. So

283
00:24:40,890 --> 00:24:46,020
that's me. And I think Richard and I are going to tell you his end of the story and then maybe we can have a discussion

284
00:24:46,020 --> 00:24:54,040
afterwards. But thanks very much for your attention so far.

285
00:24:54,040 --> 00:24:59,100
Thank you so much, Matthew, for that wonderfully rich presentation. So now

286
00:24:59,100 --> 00:25:04,180
I have the pleasure of welcoming Richard Smith, who is technology support officer

287
00:25:04,180 --> 00:25:09,460
at the board, the ad library where he provides a technology support overseas

288
00:25:09,460 --> 00:25:14,860
3D printing and advises on 3D modelling and E.R. and VR projects.

289
00:25:14,860 --> 00:25:19,930
Richard is also the co-founder of the Oxford XBRL, the hub, which is

290
00:25:19,930 --> 00:25:25,120
Oxford Central Resource for Virtual an argument and reality. And today, Richel

291
00:25:25,120 --> 00:25:30,400
will describe to us how he has used the model, which was created by Matthew, to build a virtual

292
00:25:30,400 --> 00:25:35,590
reality application which allows users to experience and explore ancient

293
00:25:35,590 --> 00:25:40,890
historical sites firsthand. So I will now turn it over to Richard.

294
00:25:40,890 --> 00:25:46,060
Everyone saying, I mean, yes, he slides, OK? I

295
00:25:46,060 --> 00:25:51,870
run, see these slides. All right. I keep saying

296
00:25:51,870 --> 00:25:57,200
thanks for the introduction there. So you might.

297
00:25:57,200 --> 00:26:02,740
Be hidden with the 53 people, beady eyes on the right hand side, there's a they are headsets

298
00:26:02,740 --> 00:26:07,810
there, but a lot people ask, you know, why is this tech in the

299
00:26:07,810 --> 00:26:13,030
eye? Paul, the 14. And this is something we

300
00:26:13,030 --> 00:26:19,090
have a history of duty to doing where we bring in a new tech,

301
00:26:19,090 --> 00:26:24,730
whether it was a a eyepatch back, whether when they first came out or

302
00:26:24,730 --> 00:26:29,740
a 3D printer. And we made it easy to to

303
00:26:29,740 --> 00:26:34,870
use and easy to get access to as well. So

304
00:26:34,870 --> 00:26:40,300
students, staff. And if you're ever in Austin University,

305
00:26:40,300 --> 00:26:45,760
can I come in and try it out or take a time as well? So

306
00:26:45,760 --> 00:26:51,420
fixing on the PBB arse side of things. We we have

307
00:26:51,420 --> 00:26:56,670
a a a lending service, so we would count the the

308
00:26:56,670 --> 00:27:01,930
headsets for people to take back to their lab or they they could come in

309
00:27:01,930 --> 00:27:06,970
to the library and, you know, try it out, they can book it for

310
00:27:06,970 --> 00:27:13,570
a few days and work on a project there.

311
00:27:13,570 --> 00:27:18,760
And then the the help as well. This is something I started about three

312
00:27:18,760 --> 00:27:24,550
years ago. We with a group of people in a

313
00:27:24,550 --> 00:27:29,880
in the university who wanted to kind of create this this

314
00:27:29,880 --> 00:27:35,020
this space for people in the field to come together and talk about

315
00:27:35,020 --> 00:27:40,110
what they were doing, because that was

316
00:27:40,110 --> 00:27:45,130
local laws. Most people kind of doing small bits of our work, but we were

317
00:27:45,130 --> 00:27:50,200
kind of separated. So we stopped this to come together. And from

318
00:27:50,200 --> 00:27:55,360
those first kind of things like events we did, one of the first things people wanted

319
00:27:55,360 --> 00:28:00,700
to do was actually learn how to make these these apps. So we started

320
00:28:00,700 --> 00:28:06,160
a teaching course in the I.T. Learning Centre Success Centre.

321
00:28:06,160 --> 00:28:11,390
And this is a term, a term because we run. Oh,

322
00:28:11,390 --> 00:28:17,590
obviously now we we come to do that. So we're looking into lot all

323
00:28:17,590 --> 00:28:22,810
online version of this as well. Where why what what were you hoping to get us

324
00:28:22,810 --> 00:28:28,140
up and running soon from by those courses.

325
00:28:28,140 --> 00:28:33,490
A lot longer model. A lot of people wanted us to kind of advise on projects after

326
00:28:33,490 --> 00:28:38,650
the courses. So that's why when we started doing that, we did kind of

327
00:28:38,650 --> 00:28:43,900
come in and consult on the app throughout the process or

328
00:28:43,900 --> 00:28:49,140
we would build the app for four four four four four for them from scratch.

329
00:28:49,140 --> 00:28:54,550
And again, they this is all based around the feedback we had from everyone

330
00:28:54,550 --> 00:28:59,590
who comes to all like events and courses and things like

331
00:28:59,590 --> 00:29:04,840
that. And it's also worth mentioning this is something we do just in

332
00:29:04,840 --> 00:29:10,390
our my spare time as well. So if anyone likes the sound of this after

333
00:29:10,390 --> 00:29:16,480
the presentation, it wants to be involved and just let

334
00:29:16,480 --> 00:29:21,820
us know as well. So what is a massive tech?

335
00:29:21,820 --> 00:29:26,830
Most people kind of instinctively associate it with the middle picture, what you

336
00:29:26,830 --> 00:29:31,900
put on something on your face and it looks futuristic and

337
00:29:31,900 --> 00:29:36,950
wave your hands around. But there are lots of other types

338
00:29:36,950 --> 00:29:42,200
of tech which kind of fall in this as well. I'm the one people who tend to kind of forget about because

339
00:29:42,200 --> 00:29:47,260
it's so ingrained in my life. Is there a phone?

340
00:29:47,260 --> 00:29:52,360
So especially now that that that that that there are apps which will kind of augment

341
00:29:52,360 --> 00:29:57,700
your your life side. For example, on Zoom, I can change the background,

342
00:29:57,700 --> 00:30:02,770
but with these apps, you can get a virtual cypher in your

343
00:30:02,770 --> 00:30:07,810
house and see if it fits. Now, if the colour works and lots

344
00:30:07,810 --> 00:30:13,690
and lots of things like that, which she kind of kind of forgets about because it's so kind of ingrained

345
00:30:13,690 --> 00:30:19,270
in the way we live now. But I'm just going to focus in on

346
00:30:19,270 --> 00:30:25,420
the obvious side of things today. So if you haven't kind of used it before.

347
00:30:25,420 --> 00:30:30,560
This is where it gets a bit tricky for me because. No, because we normally like to just,

348
00:30:30,560 --> 00:30:36,060
you know, demo these because it's a lot easier just to show you. But I'm going to try my best to kind of explain.

349
00:30:36,060 --> 00:30:41,350
Well, what what's is. So the way it works is you put on

350
00:30:41,350 --> 00:30:46,780
a headset and a kind of fakes a a virtual

351
00:30:46,780 --> 00:30:52,060
world around you. And this is done with your sight. So you have

352
00:30:52,060 --> 00:30:57,520
a display where you're kind of projects light into your eyes. And you have

353
00:30:57,520 --> 00:31:02,650
a separate view for your left eye. I don't want your eyes, so then you get the full 3D

354
00:31:02,650 --> 00:31:08,170
view and then that gives you the sense of depth. So, as they say, can kind of understand the distance

355
00:31:08,170 --> 00:31:13,720
of the space you go in and then they kind of car out on this, which sounds

356
00:31:13,720 --> 00:31:19,360
on your hand. If you could control it so you can pick things up

357
00:31:19,360 --> 00:31:24,520
so that they're that would look at these like extra steps he can

358
00:31:24,520 --> 00:31:29,920
take to make it feel like you're out there. So

359
00:31:29,920 --> 00:31:34,960
I'm sure most people, if you the seen one of these or they've tried them up themselves. But I

360
00:31:34,960 --> 00:31:40,600
saw I would go over quickly what different headsets are and

361
00:31:40,600 --> 00:31:45,810
and what you know, because, you know, the kid did it in about about most of them. And so on.

362
00:31:45,810 --> 00:31:51,840
The kind of the cheaper side is a a a a cardboard

363
00:31:51,840 --> 00:31:56,860
set. So these are exactly what I call the piece of card with

364
00:31:56,860 --> 00:32:01,870
these, you know, cheap plastic lenses in there. And then all

365
00:32:01,870 --> 00:32:07,150
we do is slot in your phone in the front. And then you put it on and then you just kind of rotate

366
00:32:07,150 --> 00:32:12,250
around, but you can't really doing much else beyond that. But the good thing

367
00:32:12,250 --> 00:32:17,290
about these, are they any cost about five pounds. So they tend to give them out for free with kind of

368
00:32:17,290 --> 00:32:22,540
marketing things and stuff like that. That is a good way to kind of first test things

369
00:32:22,540 --> 00:32:27,940
out. And then if you kind of want to go to the next step, you have these kind of mid-range

370
00:32:27,940 --> 00:32:34,510
mobile ones. So there are some someone

371
00:32:34,510 --> 00:32:40,310
the way this works is it's kind of plastic, which is kind of like glass lenses there, but

372
00:32:40,310 --> 00:32:45,380
you still have to run it from a phone. But they will specify which version

373
00:32:45,380 --> 00:32:50,780
of phone you can use. So it tends to be the, like, flagship

374
00:32:50,780 --> 00:32:56,060
funds just to make sure everything runs smoothly. But again, you can't it kind of rotates

375
00:32:56,060 --> 00:33:01,460
around. And then the latest version of

376
00:33:01,460 --> 00:33:07,100
headsets which are coming out, not all of these kind of self-contained ones.

377
00:33:07,100 --> 00:33:12,200
So the way these work is, they have a lot chips built into them. So you don't have

378
00:33:12,200 --> 00:33:17,300
to put in your iPhone. And all you do is he puts on the headsets and then

379
00:33:17,300 --> 00:33:22,350
everything runs through that. So the good good thing about this is it also can track the way you are in your

380
00:33:22,350 --> 00:33:28,790
room so you can walk around. You've got hand controllers and interactive things as well.

381
00:33:28,790 --> 00:33:33,890
And then finally, the ah ha ha ha ha ha ha ha. High end is all run from

382
00:33:33,890 --> 00:33:39,170
a P.C. So the downside to this is mainly the cost.

383
00:33:39,170 --> 00:33:45,840
And you can't really carry this around with you. Like you can with the others

384
00:33:45,840 --> 00:33:50,840
cities. That's not only costs about five hundred pound to I

385
00:33:50,840 --> 00:33:55,910
can get over a thousand pound if you get all the, you know, the extra fee fee because different features

386
00:33:55,910 --> 00:34:01,370
with them. I mean the P.C. you need is normally about a thousand pound and that's kind of

387
00:34:01,370 --> 00:34:06,520
the in the biggest step that is the P.C. But the good

388
00:34:06,520 --> 00:34:13,130
good thing about this is the quality he you can get from these

389
00:34:13,130 --> 00:34:18,230
headsets. So like I was just say sexist and some I wanted to

390
00:34:18,230 --> 00:34:23,330
help, you know, visualise this because we can try this out. But the mobile ones, you can just

391
00:34:23,330 --> 00:34:28,600
kind of look around, but you're kind of stationary and still, whereas the

392
00:34:28,600 --> 00:34:34,430
P.C. wants you. You also have to be extra free. Freedom to walk around the. Of space.

393
00:34:34,430 --> 00:34:39,980
So what? Whoa, whoa, whoa, whoa, whoa, whoa. This would look like is you would kind of

394
00:34:39,980 --> 00:34:45,260
kind of corner office space in your room. Way you can freely walk around without bumping

395
00:34:45,260 --> 00:34:50,300
into things. And then the sensors will be able to track you in that space and then they

396
00:34:50,300 --> 00:34:55,550
will tell you if you get too close to the edge. So

397
00:34:55,550 --> 00:35:00,560
this gives you the freedom. It's kind of walk around the space. I'm not seeing the bigger ring have the

398
00:35:00,560 --> 00:35:05,750
best day. This is. And again, just kind of help

399
00:35:05,750 --> 00:35:11,140
me visualise. I thought I was just. Play this video.

400
00:35:11,140 --> 00:35:16,230
So this is just kind of a fun game, which you can buy with the

401
00:35:16,230 --> 00:35:22,170
headsets here. And if he move the video, you can see there's a guy in the bottom right corner that

402
00:35:22,170 --> 00:35:27,730
with with the chef headsets on and he's got to hand controllers. But you can see how quickly

403
00:35:27,730 --> 00:35:32,770
he's kind of interacting with things, which is something you can really do with non-traditional

404
00:35:32,770 --> 00:35:37,960
games. You have to figure out which, but no buttons to press if I'm allowed to actually

405
00:35:37,960 --> 00:35:43,180
pick this up. Whereas with the PR, you know, it's kind of a natural thing

406
00:35:43,180 --> 00:35:48,190
just to use your hands so you don't really have to think, oh, how does this well, you just kind of

407
00:35:48,190 --> 00:35:53,560
instinctively get used to it and you can see how, you know, precise.

408
00:35:53,560 --> 00:35:58,780
These men had me make me leave and saw how quickly he can kind of get lost in

409
00:35:58,780 --> 00:36:04,570
this space. Somalia appropriate, but on on

410
00:36:04,570 --> 00:36:10,560
media, get to the more practical pass things. So this is just a show.

411
00:36:10,560 --> 00:36:15,900
Fifita goes by all of a practical use in the medical

412
00:36:15,900 --> 00:36:21,310
parts so that there is a lap he will using

413
00:36:21,310 --> 00:36:27,340
and they are here to kind of help people with kind of extreme phobias of heights.

414
00:36:27,340 --> 00:36:32,440
So I might be a bit scared actually leave the house so you he

415
00:36:32,440 --> 00:36:37,570
can take these to take you through them to actually train with. This is probably

416
00:36:37,570 --> 00:36:42,700
the most at the last level, but you can certainly go

417
00:36:42,700 --> 00:36:48,170
through these steps of practising in your safe space time

418
00:36:48,170 --> 00:36:53,430
in vehicles, CPR. But if you your brain enough to kind of trigger those

419
00:36:53,430 --> 00:36:58,480
responses where you really feel like you're up at heights. And I'm sure if if

420
00:36:58,480 --> 00:37:04,210
anyone here has tried a real app, when you're standing up in excess of a high, you can really

421
00:37:04,210 --> 00:37:12,710
feel without, you know, the rush of standing on the edge of itself somewhere.

422
00:37:12,710 --> 00:37:17,720
So how is all of this made? So this kind of feed, main parts, so the

423
00:37:17,720 --> 00:37:23,150
engine. So this I will talk a little bit more

424
00:37:23,150 --> 00:37:28,730
in a second. But he admits he is kind of the one we use.

425
00:37:28,730 --> 00:37:33,860
It's like a software package. And then you need a way to actually create the

426
00:37:33,860 --> 00:37:39,410
assets which can go in there. So the you know, the buildings like Matthew has made

427
00:37:39,410 --> 00:37:44,480
you, you can bring them into the source software. But you also, you know,

428
00:37:44,480 --> 00:37:50,060
you have to make things like sound and art and that kind of thing. So there's

429
00:37:50,060 --> 00:37:55,160
no there'll be there's a whole page of nice software which you would be able to use to. And they

430
00:37:55,160 --> 00:38:00,680
bring in a model or sound or anything like that.

431
00:38:00,680 --> 00:38:05,990
And then if anyone codes, you can use a C shop and get

432
00:38:05,990 --> 00:38:11,060
to a source, control the project. If that means nothing to you. But that's

433
00:38:11,060 --> 00:38:16,080
fine as well. So this is just kind of a visual way to look at what

434
00:38:16,080 --> 00:38:21,530
I just said. Say you've got to think of unity

435
00:38:21,530 --> 00:38:27,030
is where, you know, you bring all of these parties together from unite, different tools.

436
00:38:27,030 --> 00:38:32,450
So I SketchUp, you can you bring this into it?

437
00:38:32,450 --> 00:38:38,630
So what is he, unity? So what is kind of most famously

438
00:38:38,630 --> 00:38:43,820
useful is no video games. I am

439
00:38:43,820 --> 00:38:49,580
the real reason people he he use it is because he can make one kind of project

440
00:38:49,580 --> 00:38:54,830
and then, you know, save this to, say, a PlayStation, a P.C., a mobile

441
00:38:54,830 --> 00:38:59,960
phone. No, they are headsets as well. So you can build them all in one

442
00:38:59,960 --> 00:39:04,970
place and then save it to, you know, different devices. But

443
00:39:04,970 --> 00:39:10,520
the thing I like most about it is just how quickly you can prototype things.

444
00:39:10,520 --> 00:39:15,650
So the best thing about unity is I don't have to say you understand how

445
00:39:15,650 --> 00:39:20,720
physics works. I don't have to programme in net gravity. I just turn turn

446
00:39:20,720 --> 00:39:25,940
it on with a checkbox. You don't have to know how light bounces around the scene. You just put

447
00:39:25,940 --> 00:39:31,070
it in the light so that there are a lot of these kind of complex things which it already does

448
00:39:31,070 --> 00:39:36,560
full, fully eye. And all you have to focus on is the content

449
00:39:36,560 --> 00:39:42,060
inside the. And with the off,

450
00:39:42,060 --> 00:39:47,400
the thing we want is kind of real time. We're rendering. So if if

451
00:39:47,400 --> 00:39:52,470
if you might imagine, you have the headsets on me, move your head really quickly. You want that to

452
00:39:52,470 --> 00:39:57,570
update as quickly as possible so it feels smooth and it doesn't throw

453
00:39:57,570 --> 00:40:02,820
you off. So that's why these game engines are really good, because

454
00:40:02,820 --> 00:40:07,820
they can really render things really, really quickly. So how

455
00:40:07,820 --> 00:40:13,270
would you kind of put this together for this Roman model? So

456
00:40:13,270 --> 00:40:18,310
Matthew sent me the mom, mom, mom model and hopefully the first thing I do is I

457
00:40:18,310 --> 00:40:23,710
bring in my own 3D package and just have a look at it. And I'll say the first thing you

458
00:40:23,710 --> 00:40:28,790
see from this kind of God-Fearing is this rich detail

459
00:40:28,790 --> 00:40:33,850
and just the scale of it. Now, the first thing I want to do is kind of feel like

460
00:40:33,850 --> 00:40:38,980
what it would be to send it back just because it I bet that there is so much going on

461
00:40:38,980 --> 00:40:43,980
here. So just going in a little bit closer. We still on.

462
00:40:43,980 --> 00:40:49,060
That's my human scale. This is still live. But looking at it like, you

463
00:40:49,060 --> 00:40:54,310
know, far away. But just from my own way of thinking with

464
00:40:54,310 --> 00:40:59,440
you. E unity. So one of the first things

465
00:40:59,440 --> 00:41:04,450
that came to my mind was, well, that, you know, that that there is all of these kind

466
00:41:04,450 --> 00:41:10,070
of basic lighting which happens, but it doesn't fit with, you know, every scene you

467
00:41:10,070 --> 00:41:15,490
get together. So if I was gonna walk around this space, someone's gotta see every corner

468
00:41:15,490 --> 00:41:20,590
of this model. So I would just have to fix the lighting

469
00:41:20,590 --> 00:41:25,690
in the background so they can see that better. That's the shade. And it's always just worth

470
00:41:25,690 --> 00:41:30,780
mentioning. If you're just throwing some something together, you can just skip most of

471
00:41:30,780 --> 00:41:36,910
this pop. But this is just the way we think when you're building a app.

472
00:41:36,910 --> 00:41:41,940
And then the next thing is, if I was kind of looking back

473
00:41:41,940 --> 00:41:47,110
later on the got you these kind of hedges look fine and they kind of e. He

474
00:41:47,110 --> 00:41:52,660
can make out the shapes well. But because you're not kind of facing them

475
00:41:52,660 --> 00:41:57,880
head on, they don't really matter no matter. But once you get down to ground

476
00:41:57,880 --> 00:42:03,070
level, these hedges are actually going to be one of the first things you

477
00:42:03,070 --> 00:42:08,380
see and they'll be quite met. I see. So I just wanted to increase

478
00:42:08,380 --> 00:42:13,780
the air quality here. And this is something we can do.

479
00:42:13,780 --> 00:42:18,820
And then finally, this is more of like a technical night is if your model

480
00:42:18,820 --> 00:42:24,220
or you 3-D data, you have works in a a different pieces sorts

481
00:42:24,220 --> 00:42:29,560
of social stuff. So SketchUp, you wouldn't actually be able to see through this part of the model,

482
00:42:29,560 --> 00:42:34,620
but just the way you see unity works. You can't

483
00:42:34,620 --> 00:42:39,700
be a model in a certain way. So there were

484
00:42:39,700 --> 00:42:44,980
just some, you know, technical problems which you would pick up on Straight's. So it's just worth noting.

485
00:42:44,980 --> 00:42:50,330
You have to kind of inspect things, you know, closely on the first time you bring

486
00:42:50,330 --> 00:42:55,360
in. So the asset still is something

487
00:42:55,360 --> 00:43:00,620
built into the software as well. So this is what I use to

488
00:43:00,620 --> 00:43:05,620
a prototype with. If I don't want to spend ages building everything from

489
00:43:05,620 --> 00:43:10,940
scratch. So what we can do is kind of search for things you wanted. So

490
00:43:10,940 --> 00:43:16,240
I wanted these hedges to kind of replace these

491
00:43:16,240 --> 00:43:21,460
the boxed all of them say you just go ahead and such fits. And this is

492
00:43:21,460 --> 00:43:26,920
really handy if you don't have the time or you don't have the skills to actually build

493
00:43:26,920 --> 00:43:32,020
a 3-D model. So these hands range from my

494
00:43:32,020 --> 00:43:37,060
free ones, which are kind of average quality to really high high

495
00:43:37,060 --> 00:43:42,250
quality assets, which they use in kind of high end games, which cost

496
00:43:42,250 --> 00:43:47,560
quite a lot. So you kind of pay for what it is you wanted, which is fine.

497
00:43:47,560 --> 00:43:53,020
But for a prototype, just using the free ones, I worked well.

498
00:43:53,020 --> 00:43:58,270
And all we do is click, click on them and bring them in. So this is what it looked like

499
00:43:58,270 --> 00:44:03,720
when I first bought it. And this is just what it looks like after kind of tweaking things around. But

500
00:44:03,720 --> 00:44:08,880
we will get a better look at this once I show you that video of me with the.

501
00:44:08,880 --> 00:44:14,320
There, that's one as well. But you can see the lighting there, especially

502
00:44:14,320 --> 00:44:19,510
if I can kind of see everything.

503
00:44:19,510 --> 00:44:24,690
And fun and funny, one of the things to mention is if you're interested in to do

504
00:44:24,690 --> 00:44:30,160
this yourself, the headset you use will tend to provide you with a soft way.

505
00:44:30,160 --> 00:44:35,320
You need to make the headset work in unity

506
00:44:35,320 --> 00:44:41,200
so you don't have to programme every bar button that there is some kind of.

507
00:44:41,200 --> 00:44:46,210
Linking things together to do, but you don't have to code anything. You just bring

508
00:44:46,210 --> 00:44:51,390
this in. They give you kind of sample scenes which you can take things from perfect

509
00:44:51,390 --> 00:44:56,410
into your project. So you can see. You can just kind

510
00:44:56,410 --> 00:45:01,570
of track things together quite quickly without having to spend lots

511
00:45:01,570 --> 00:45:06,860
of time building stuff from scratch or even knowing how the, you know, the

512
00:45:06,860 --> 00:45:13,690
the hand tracking works you didn't really need. So you just have to know where to get it from.

513
00:45:13,690 --> 00:45:19,820
Let me show you the video. So this was me the other day.

514
00:45:19,820 --> 00:45:24,900
Yes. So this puts me

515
00:45:24,900 --> 00:45:29,940
with the headsets on on the controllers as well in the

516
00:45:29,940 --> 00:45:34,950
demo model with the updated post, so you can see up.

517
00:45:34,950 --> 00:45:39,990
I have my hands and I other than this, a robot face, difficult to hopefully

518
00:45:39,990 --> 00:45:45,000
try to help with a sense of scale. But it would be nice if those people

519
00:45:45,000 --> 00:45:50,280
walking around as well. But you can really see the completely different perspective you have

520
00:45:50,280 --> 00:45:55,470
of the model here just from having the headsets

521
00:45:55,470 --> 00:46:00,540
on. And as always, was, you know, this is gone once you have the headset, when you

522
00:46:00,540 --> 00:46:05,610
have full 3D fish. And so you have the real sense of depth, which you don't

523
00:46:05,610 --> 00:46:10,850
get on a 2D screen. But you can see here, you know,

524
00:46:10,850 --> 00:46:15,970
the the Bushes look a lot nicer than nice. Way you can come see through

525
00:46:15,970 --> 00:46:21,920
them and peek through and see the fountain and things like that.

526
00:46:21,920 --> 00:46:27,010
And it just screams and. And the way you move around is you can

527
00:46:27,010 --> 00:46:32,890
see you have a side teleportation system. I mean, the reason for that is I have

528
00:46:32,890 --> 00:46:38,110
a average sized room. I don't have the size of this. No theatre in my house.

529
00:46:38,110 --> 00:46:43,150
So you need a way to be able to move beyond your physical bounds, which is why you

530
00:46:43,150 --> 00:46:48,220
have this system where you kind of point away getting where you want to go. I mean,

531
00:46:48,220 --> 00:46:53,620
the way you press the button. He then tacked together for that. So it enables

532
00:46:53,620 --> 00:46:58,690
you to move around vast spaces like this where you can really just see how big

533
00:46:58,690 --> 00:47:04,030
it is. And then you travel beyond your

534
00:47:04,030 --> 00:47:09,380
physical bounds. But oh, he'll say, let let's see, teleport somewhere. And then your

535
00:47:09,380 --> 00:47:15,010
you have your physical space, which he can walk around and feel wonderful for what it was like to walk in

536
00:47:15,010 --> 00:47:20,450
space.

537
00:47:20,450 --> 00:47:25,860
So just quickly, how do we know you get involved and learn this type of thing?

538
00:47:25,860 --> 00:47:30,890
Southsea is a lot harder now where we can't do the the attorney

539
00:47:30,890 --> 00:47:36,030
courses we run, but we are looking at doing a online version of

540
00:47:36,030 --> 00:47:41,050
this scene. So if you're interested to know what the

541
00:47:41,050 --> 00:47:46,460
Butterly and does the AVF, we just [INAUDIBLE] up like they are linking.

542
00:47:46,460 --> 00:47:51,530
There's a lot more information about the headset's we have how to

543
00:47:51,530 --> 00:47:57,110
use it and more about. Well, one or two, I spoke at the start

544
00:47:57,110 --> 00:48:02,540
and then if you have a project in mind which you want to use pretty awful

545
00:48:02,540 --> 00:48:07,590
and just contact the hub on the Web site there. Well, the address

546
00:48:07,590 --> 00:48:13,250
at the bottom end of my presentation. Thank you for

547
00:48:13,250 --> 00:48:22,140
listening. I think Leah will now take back control for our questions.

548
00:48:22,140 --> 00:48:27,210
Thank you so much, Richard Matthew, for sharing it with us, this exciting research.

549
00:48:27,210 --> 00:48:27,920
So we will.