 Good afternoon, Brenda Conference, I'm Luigi Verri. And I'm Daniela de Luca. And the work that we want to present today is the production of a video. This video is made in collaboration with the University of California of Santa Cruz. The subject of the video is Isabella Dezte and their studio. Isabella Dezte was the Marquis of Mantua, she was a great woman of Italian Renaissance. Prof. Deanna Šemek vseče Izabela's vrči in pričočila projekti Izabela Death Star's archive in zelo množno, letovi, dokumenti, artiči z ovaj življenj. Vsih objev, da se promočimo za povrstvenje z Universtij, St. Kruč, da se počutno, da se počutno vrči začnem vseh, kaj je zelo vseh, bilo tudi zelo vseh, in vseh komunikacijah. Asa je zelo, nekaj izgled je, da je izgleda Isabella Studio. In se v izgledo, v svoj tudi, nekaj izgleda, ali bila vseh, kaj je zelo vsičil in zelo vseh muzima. Učajte vseh. Svetljamo v dve kratke. Vse kratke, ki smo videli, je tudi kredit. Svetljamo tudi, ker v kratke vse kratke vse kratke potenšeljno vse kratke vse kratke vse kratke vse kratke vse kratke kratke vse kratke So posludejni, prejtso, ne občajovani njih priberi. Vse vse, bojo, izgledajte občaj, svoje vratov, doživajte za vse kratke, otrok, občajte Meat & Meat doživajte, Pa za nekaj prav. Vojda na večo, zrešam, kako bila美jaga se za dne in srečanjem. Neč del nekaj prav površt, da na prav površt nekaj prav površt nekaj prav nekaj prav prište v prište čeli, nači baram z 2D animatika, vzrednjamo v tem površtnjem. kdaj je človek, pokaz tudi. Proste, ki exceedimo, izv Cookš carefully in zelo, ki jezitelo, jezitelo, ki jezitelo, ki jezitelo, ki jezitelo, ki jezitelo, ki jezitelo, ki jezitelo, ki jezitelo, ki jezitelo. Vse. Dobre to, ki jezitelo, ga vse. Svar v. Zelo, ki BigG, človek, jezite. A do. občas imprisoned or showed needs the law of purmation. The conditions they need to provide for that not giving. So we will show how we made the making of a short breakdown of some of the things that we have seen starting from the letters. Tudi je stavlja, velika velika, velika, velika, velika, velika, velika, velika. Aleži jaz je, da je Izabela zelo všechno, 28.000 letarje, da ima Izabela vzpekveni sej želji. zelo se mene leonardo da Vinci, še je inoče kar prokredilo, in tudi zelo se pripovedujem, oč meme diaj delno konst compartilije.回來 tudi iznočiti povali leče, To dinamika lobila naša genereša z njega je občitva, da vsegače začne tukaj v početku, in vsegače nekaj tril, začnegače vsegače, tukaj letrč, da ink pa je pato. Moj nekaj je vsegača. Od letru, kjer izbijo, kako se stavila vs, kjer se je, kjer je izbila vsegač. Zato smo zelo, da se tudi začeli, da možemo izvukati z vrstav. To smo vzostat z vrstavnjah od vrstavneh, od večstavnjih, od večstavnjih. In možemo jevanjati tudi na kanale, za svoj tremeni, in povrstavno potreboj, in jezivno se vzijet na mene iz stranje. In po vseh, zelo smo se vseh vseh vseh vseh, vseh vseh vseh in začal kajim. Takje tri, in nekaj nekaj, kaj je načinje vseh in tudi vseh. In po vseh to vseh, nekaj mi je vseh, nekaj mi je vseh, nekaj mi je vseh, nekaj mi je vseh, bounce- heard it. We took more than 500 picture per room, because of two rooms in the studio and the grotto. Those two rooms, also Callerini in Italy, are small, but we have two really big photo scan models used ... more than ... 10,000,000 vertices per model. So, after that we are switching to blender and go with heavy optimization, mostly down in blender. This is achieved by manual decimation, automatic decimation, a combination of the two, but after that we've seen that also the texture are giant and not well optimized by the photogrammetric program. So we manually wrap some surfaces and re-optimize the texture space to zelo so zašličajne in nekajo šebe. The particularity in this case, as we seen, is that the models from the photogrammetry, not optimized, are well managed by cycle. Once you switch to cycle after the BBH stock of the vertices in the memory, zbah z model in do vsevstotnega tudi, nekaj dolej ne, in je to pravda. Za fotogrametljne občas, zapravljenim, da subeš vse glasbeno, da se je to prišeljeva vsak ještje, in nekaj vse je vsevstotno, da se vsevstotnega tudi možnega. Tako drugi, ki so smo videli, je vsevstotnega, te vsevstotnega, da je izgleda na stujiolo, in je tukaj izgleda in izgleda kronologičnja storitela izgleda in generacije tukaj izgleda in generacije tukaj izgleda. In zelo je štev nespečno pošlo, z barem nismo pošlo in so še več v proksi. Zelo je bolj prej zelo, se od starosti zela, zelo se vsega vskašlja, in zelo se vsega načo grava. Se je potojišlja vsega zelo, The floor tiles. For the floor tiles, we have these ceramic tiles originally found in fancy, I think, and then we want to generate it in a wavy style. But we are in a hurry, as always, with this kind of project. So we thought last year there is one guy who was presenting animation nodes, and then this thing looked like perfect for motion graphics and this kind of things. We started digging in animation nodes and we found the archimator, which is a pre-made preset of script that are inside animation nodes. And you can personalize it for your purposes. So we managed to do this easily and to generate the floor. So what about the archorlection? The archorlection's 3D models are philologically incorrect. An example for Majolika's plates in particular, we simulated the Renaissance creation method. The Renaissance workflow, starting with the little holes on the paper, then painting through the holes on the Majolika and finally coloring them before putting them in the oven. All the objects are lighted with HDR environment texture, made from the studio model. On the ceiling of the grotta, you can see there, Isabella wanted a stave. The stave is called Edil Silenzio, the silence in English. The same stave is on the Majolika's plates of Isabella collection. So we thought to a morph animation from the sealed plates. To do that, we unsculped the ceiling to match the painted plates. And we controlled the animation through some shape keys. One of the final part, the portrait. So this one is cool work because we integrated a model by using Make Human, which I didn't use before, but is quite straightforward. We took the female model of Make Human and matched it to resemble as much as possible with the current three available tools in Make Human. After that, we switched to blender and we rigified with fight and tune it, the position and the orientation. But after that, we needed even more resemblance. So we sculpted in the final phase and projected and painted. So the model will fit the actual portrait by Tiziano. And yeah, it's visible only from few perspective. If you are turning it a little bit off, it will be an Halloween mask, but it fits the needs that we have. After that, there is this request by the university to fold a letter in teeny tiny piece of paper with the other papers that are folding. And we are, yeah, okay. This is the simple scheme that they provided us. After you understand it, it's quite simple. And then we thought to resolve this by modeling another letter, identical to the first, but with another geometry that then we have rigged for this only purpose to make the folding correctly as they requested. The last thing that we want to share to you is the ceiling walks that came from actually, yeah, walks, parameters with physically correct viscosity from physics table you can search online. So the basis and exponent are correct and Blender will manage it easily. So there is this walks simulation with drops falling. Then we freeze this simulation to do some manual animation with sculpt and shape keys to continue slowly the modeling. And after that, stack of modifier, like subdivision surface, decimation and displacement, of course, impress the seal. This is the actual Isabella seal, even captured from the letter and recreated for this purpose. In the end, yeah, there are some numbers, some technical detail of our work. And as you can see, the whole pipeline is based on Blender. And for sure, we want to thank all the crew that work at this project. We hope that you guys enjoyed this fast forward making of. Thank you.