All the clips are colour graded inside Davinci Resolve and the sound bed mixing are doing in Fairlight.
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Post Workflow
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Rendering Test
360 Camera V3 Plugin
4096 – 2048
8192 – 4096 （EXR）
Unreal Default Panoramic Capture Plugin
4096 – 2048
7680 – 3840
Result
Render Setting for Vison Pro
8192 – 4096
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Timeline (Draft 1)
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Points Cloud Scans
Beach (D:\Doc\London Scan Point Cloud\Beach)
Building (D:\Doc\London Scan Point Cloud\Building)
Bus Stop (D:\Doc\London Scan Point Cloud\Bus Stop)
Canal (D:\Doc\London Scan Point Cloud\Canal)
Garden (D:\Doc\London Scan Point Cloud\Garden)
Greenwich (D:\Doc\London Scan Point Cloud\Greenwich)
Hydepark (D:\Doc\London Scan Point Cloud\Hydepark)
Lake (D:\Doc\London Scan Point Cloud\Lake)
Market (D:\Doc\London Scan Point Cloud\Market)
Playground (D:\Doc\London Scan Point Cloud\Playground)
Thames River (D:\Doc\London Scan Point Cloud\Thamesriver)
Tree (D:\Doc\London Scan Point Cloud\Tree)
Tube (D:\Doc\London Scan Point Cloud\Tube)
Warmuseum (D:\Doc\London Scan Point Cloud\Warmuseum)
Forest Path (D:\Doc\London Scan Point Cloud)
Global Street (Global Street)
Night (D:\Doc\London Scan Point Cloud\Night)
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Notes From Ana (17.09.2025)
17.09.2025
The Research Statement: A new realism (plausibility)? Exploring the Authenticity of conflict representation in 360 VR and Photography
The research aim is to critique the medium and how the medium influences perception of conflict: photography vs 360 3D scans.
State of the art and lit review is in development and on time for the soft submission.
The piece is about the representation of conflict in Ukraine.
It starts with a walk by the Thames bank for about 2-3 minutes and then the user jumps into a scene that uses 3d scans of actual Ukrainian buildings that have been bombed.
The space works from a level design perspective, it allows users to be taken by the camera along peaceful places in London and then to be taken to a reconstructed scene of a Ukrainian city / town that has buildings from different bombed towns.
But how does that work narratively? What am I supposed to discover and what are the questions you’re asking?
To do:
- Focus on the comparison of visual representation across 3D models (in VR), photography (in the physical installation), video (in VR or in the physical space tbc);
- To discuss with Klaus:
- how to solve the narrative that drives us through these scenes.
- Does this read better as a short documentary rather than fiction
- Do you need viewers to know that the intro scenes are from London?
- What does the camera movements mean?
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Eassay Draft #1 (Part #1)
Draft #1 Edited
Eassay Draft #1
Quick Notest #1
This is a 360-degree panoramic photo of the scan location.
This is the first test i got from the location above, and the purpose for this instance is just to test the workflow and the equipments. Overall, this is a quite successful and I will apply this workflow for the rest locations.
The raw point cloud I got from the software was a great starting point, but it wasn’t perfect. For the final work, I will need to do some cleanup to remove any “noise” or stray data points that didn’t belong in the model.
Here are the views of physical location where the scans were conducted, showing the trees and the specific path used for data capture.
For this project, I followed the typical photogrammetry workflow, using a camera to capture a physical location and then turning those images into a point cloud. Here’s a look at the process I used, from start to finish.
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Ukraine Scans Search (SketchFab)
This post shares a personal email exchange between myself and Ukrainian artist Andriy Yermolenko. I reached out to request permission to use his digital scans of buildings in Ukraine that were destroyed by the Russian invasion—artworks that hold both beauty and unbearable loss. With his generous response, this conversation became more than a formal request; it became a quiet collaboration rooted in respect, memory, and the power of visual storytelling.
This is the Andriy Yermolenko’s personal website and it have all his scans restored.
With Andriy’s permission, I plan to create a series of 3D models based on his scans of buildings in Ukraine that were damaged or destroyed during the Russian invasion. These models aren’t meant to be pristine reconstructions—they’re meant to preserve the emotional and physical texture of loss, resistance, and memory.
For this initial phase, I aim to create 14 models. Each model will be carefully developed to retain the character of the original structure while translating it into a digital artifact for public sharing, education, and remembrance.
I’ll be embedding these models directly into this blog post as they are completed. Scroll below to explore them interactively.
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