{"id":488,"date":"2025-02-20T16:33:53","date_gmt":"2025-02-20T16:33:53","guid":{"rendered":"https:\/\/alevato.xyz\/?p=488"},"modified":"2026-06-19T17:17:03","modified_gmt":"2026-06-19T17:17:03","slug":"v-horus-a-virtual-reality-experience","status":"publish","type":"post","link":"https:\/\/alevato.xyz\/portugues\/v-horus-a-virtual-reality-experience\/","title":{"rendered":"V-Horus: uma experi\u00eancia em Realidade Virtual"},"content":{"rendered":"
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digital media<\/p>\n\n\n\n

V-Horus<\/h2>\n\n\n\n
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digital media<\/p>\n\n\n\n

V-Horus<\/h2>\n\n\n\n
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Em setembro de 2018 um grande inc\u00eandio atingiu o pr\u00e9dio principal do Museu Nacional na cidade do Rio de Janeiro, Brasil. A trag\u00e9dia causou forte impacto nos acervos cient\u00edficos da institui\u00e7\u00e3o, incluindo a cole\u00e7\u00e3o eg\u00edpcia, a mais numerosa e importante em terras sul-americanas. <\/p>\n\n\n\n

Durante os tempos que se seguiram \u00e0 trag\u00e9dia, a equipe de resgate de acervos do Museu Nacional, composta por funcion\u00e1rios e alunos da institui\u00e7\u00e3o, empenhou grandes esfor\u00e7os no resgate dos exemplares impactados e sua posterior recupera\u00e7\u00e3o para a reincorpora\u00e7\u00e3o \u00e0s cole\u00e7\u00f5es e exposi\u00e7\u00f5es do Museu. Nesse momento se tornou de vital import\u00e2ncia o trabalho pr\u00e9vio do Laborat\u00f3rio de Processamento de Imagem Digital (LAPID) do Museu Nacional, que nos anos anteriores vinha desenvolvendo extenso trabalho de digitaliza\u00e7\u00e3o tridimensional de exemplares de diversas cole\u00e7\u00f5es cient\u00edficas da Casa. Os arquivos digitais serviram como ferramentas de orienta\u00e7\u00e3o no processo de resgate e, seguramente, ser\u00e3o de grande relev\u00e2ncia nos trabalhos e recupera\u00e7\u00e3o dos acervos. <\/p>\n\n\n\n

Entre os exemplares perdidos no inc\u00eandio estavam algumas m\u00famias eg\u00edpcias de grande import\u00e2ncia hist\u00f3rica e arqueol\u00f3gica, material esse previamente digitalizado como parte das pesquisas do Dr. Ant\u00f4nio Brancaglion Jr., egipt\u00f3logo do Museu. <\/p>\n\n\n\n

Nesse momento, fruto da parceria de longa data do LAPID com o Laborat\u00f3rio de Biodesign da PUC-Rio e agora contando com a colabora\u00e7\u00e3o do Laborat\u00f3rio Visgraf do IMPA\/MCTI, surge a ideia de resgatar pe\u00e7as perdidas atrav\u00e9s de ferramentas de realidade virtual. <\/p>\n\n\n\n

Para isso, o exemplar selecionado foi a m\u00famia feminina (MN Inv. 65.575 - CR158) do per\u00edodo romano do Egito (cerca de 30 a.C.) (VANDENBEUSCH, 2019), assim, as tomografias e fotografias desse material foram ent\u00e3o repassadas para os colaboradores respons\u00e1veis pela execu\u00e7\u00e3o do projeto, ficando a coordena\u00e7\u00e3o cient\u00edfica sob responsabilidade do Dr. Bancaglion Jr. (Figura 1). <\/p>\n\n\n\n

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Figura 1: Dr. Ant\u00f4nio Brancaglion Jr. orienta equipe durante desenvolvimento do Projeto V-Horus\u201d.<\/figcaption><\/figure>\n\n\n\n

Todas as informa\u00e7\u00f5es dispon\u00edveis foram utilizadas para reconstruir um arquivo tridimensional que pudesse reproduzir o corpo humano mumificado, uma vez que o original havia sido perdido. A principal base para a reconstru\u00e7\u00e3o foram os arquivos tridimensionais provenientes de tomografias computadorizadas realizadas em pesquisas anteriores. Al\u00e9m disso, foram utilizadas fotografias, descri\u00e7\u00f5es e orienta\u00e7\u00f5es do curador da cole\u00e7\u00e3o eg\u00edpcia do Museu Nacional, Ant\u00f4nio Brancaglion Jr., e da bioarque\u00f3loga Sheila Mendon\u00e7a. <\/p>\n\n\n\n

O modelo 3D gerado a partir da tomografia computadorizada realizada antes do inc\u00eandio, que era denso em pol\u00edgonos, foi retocado com o software Maxon ZBrush. O objetivo desse retoque foi adicionar caracter\u00edsticas observadas nas fotos de refer\u00eancia e eliminar marcas do processo de captura. Em seguida, o modelo passou por um processo de otimiza\u00e7\u00e3o por meio de retopologia utilizando remesh, e os detalhes da superf\u00edcie foram transferidos para um mapa de textura normal, que simula o relevo da superf\u00edcie em rea\u00e7\u00e3o \u00e0 ilumina\u00e7\u00e3o. <\/p>\n\n\n\n

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Figura 2: Retoques efetuados no modelo. A reconstru\u00e7\u00e3o utilizou o scan e as fotos como refer\u00eancia.<\/figcaption><\/figure>\n\n\n\n

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Como a percep\u00e7\u00e3o de realismo era uma caracter\u00edstica desej\u00e1vel, foram investigadas solu\u00e7\u00f5es para aproximar as fotos de refer\u00eancia do modelo. Dessa forma, no processo de texturiza\u00e7\u00e3o, utilizamos o software Adobe Substance Painter, aplicando fotos de registro e refer\u00eancia sobre o modelo. Muitas estampas e detalhes foram planificados, recortados e retocados para aplica\u00e7\u00e3o, enquanto partes ausentes foram preenchidas manualmente por meio de um sistema de camadas e carimbo. O modelo foi, ent\u00e3o, exportado consolidado para o Blender, onde foram ajustados par\u00e2metros do material, utilizando, em geral, a montagem de texturas no sistema. <\/p>\n\n\n\n

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Figura 3: Imagem demonstrando os efeitos do mapa de normais sobre o relevo do modelo com a geometria j\u00e1 simplificada.<\/figcaption><\/figure>\n\n\n\n

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Para a cria\u00e7\u00e3o da m\u00e1scara que cobria o rosto do corpo mumificado \u2013 que havia sido perdida \u2013 foram analisadas imagens de uma m\u00famia do British Museum, a qual apresenta caracter\u00edsticas semelhantes em rela\u00e7\u00e3o ao per\u00edodo, materiais e m\u00e9todo de mumifica\u00e7\u00e3o. <\/p>\n\n\n\n

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Figura 4: Imagem final do processo de modelagem.<\/figcaption><\/figure>\n\n\n\n

Em paralelo aos processos de modelagem, foi produzido o roteiro por Andrea Lennhof e Luiz Velho, inspirado nos detalhes descritos pelos especialistas. A descri\u00e7\u00e3o elaborada por Ant\u00f4nio Brancaglion Jr. guiou a narrativa. Para real\u00e7ar os pontos citados, foi concebida uma ilumina\u00e7\u00e3o direcional que acompanha o texto. A narra\u00e7\u00e3o, gravada em off por Ant\u00f4nio, foi mixada com uma m\u00fasica que remete ao estilo musical da \u00e9poca.<\/p>\n\n\n\n

A experi\u00eancia foi implementada no motor de jogos Unity 3D, utilizando OpenVR e os \u00f3culos de realidade virtual Vive, em PC VR (ou seja, o programa opera no computador e na placa gr\u00e1fica, sendo visualizado por meio dos \u00f3culos conectados). O Unity possibilitou a integra\u00e7\u00e3o e sincroniza\u00e7\u00e3o das m\u00eddias \u2013 luz, modelo tridimensional, narra\u00e7\u00e3o e m\u00fasica \u2013 atrav\u00e9s de uma linha do tempo. A disposi\u00e7\u00e3o e a narrativa escolhidas privilegiam a visualiza\u00e7\u00e3o do modelo. Al\u00e9m disso, durante a montagem, foi experimentado um sistema f\u00edsico-virtual, com uma mesa que registrava a escala e a posi\u00e7\u00e3o da base da m\u00famia tridimensional. <\/p>\n\n\n\n

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Figura 5: Frames da sequ\u00eancia representativa da experi\u00eancia apresentada em VR.<\/figcaption><\/figure>\n\n\n\n

Em parceria com Andrea Malanski, Luiz Velho e Alice Velho, foi criado o material de divulga\u00e7\u00e3o, incluindo uma marca que pudesse ser utilizada dentro da experi\u00eancia, servindo como sinaliza\u00e7\u00e3o de in\u00edcio e fim. O pictograma \u00e9 um desenho simplificado do Olho de H\u00f3rus \u2013 um hier\u00f3glifo que representa vis\u00e3o, prote\u00e7\u00e3o ap\u00f3s a morte e que traz caracter\u00edsticas matem\u00e1ticas. A letra \u201cV\u201d foi adicionada ao nome H\u00f3rus, indicando o conceito de visualiza\u00e7\u00e3o, assim como o subt\u00edtulo \u201cVirtual Egyptology\u201d, para explicar o conceito apresentado. O tratamento gr\u00e1fico de ambos pretende representar o ambiente digital, tanto pelas formas arredondadas quanto pela continuidade dos tra\u00e7os. A marca integrou o material de divulga\u00e7\u00e3o do projeto, juntamente com a malha geom\u00e9trica originada da tomografia. <\/p>\n\n\n\n

Ap\u00f3s longos testes e adapta\u00e7\u00f5es, os arquivos digitais foram conclu\u00eddos e a experi\u00eancia, agora denominada \u201cV-Horus: Virtual Egyptology\u201d (Figura 6), passou a ser implementada. Para isso, foi criado um ambiente de visualiza\u00e7\u00e3o em \u00f3culos de realidade virtual. Na ocasi\u00e3o, o modelo utilizado foi o HTC Vive. <\/p>\n\n\n\n

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Figura 6: Logotipo do Projeto V-Horus<\/figcaption><\/figure>\n\n\n\n

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Em setembro de 2019 foi escolhida, para primeira apresenta\u00e7\u00e3o ao p\u00fablico, a \u201cVII Semana de Egiptologia do Museu Nacional\u201d, na expectativa do forte apelo que a experi\u00eancia poderia causar, tanto em fun\u00e7\u00e3o do p\u00fablico, intimamente ligado aos temas da egiptologia, como \u00e0 comunidade do museu, fortemente impactada pelas perdas recentes ocasionadas pelo inc\u00eandio do Museu. Para tanto foi utilizada uma sala paralela ao evento, no pr\u00e9dio da Biblioteca Central do Museu Nacional, onde as equipes do LAPID\/Museu Nacional\/UFRJ, Biodesign\/PUCRio e Visgraf\/IMPA\/MCTI disponibilizaram o ambiente VR para visualiza\u00e7\u00e3o do p\u00fablico. De modo a orientar o visitante durante a experi\u00eancia VR foi providenciada uma mesa vazia, com c\u00fapula de vidro, onde equipamento visual posicionava a imagem virtual da m\u00famia. <\/p>\n\n\n\n

Como esperado o impacto foi imenso, n\u00e3o apenas do ponto de vista cient\u00edfico, j\u00e1 que a visualiza\u00e7\u00e3o de pe\u00e7a perdida, resgatada em realidade virtual, possibilita o conhecimento da mesma, mas, principalmente emocional, uma vez que a comunidade do Museu Nacional pode assim rever o exemplar, muitas vezes antes observado na exposi\u00e7\u00e3o do Museu e perdido no inc\u00eandio de 2018 (Figura 7).<\/p>\n\n\n\n

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Figura 7: Funcion\u00e1rio do Museu Nacional\/UFRJ observa a m\u00famia em realidade virtual.<\/figcaption><\/figure>\n\n\n\n

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Posteriormente, ainda em 2019, a experi\u00eancia foi disponibilizada em outros locais ou vinculada a outros eventos tais como o II Semin\u00e1rio de Tecnologias Tridimensionais Aplicadas \u00e0 Pesquisa Cient\u00edfica (Figura 8), Semana de Design da PUC-Rio (Figura 9) e em edi\u00e7\u00f5es do Projeto Meninas Com Ci\u00eancia \u2013 Museu Nacional\/UFRJ (Figura 10), sempre tendo sido recebido pelo p\u00fablico com grande entusiasmo. <\/p>\n\n\n\n

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Figura 8: Experi\u00eancia V-Horus apresentada no II Semin\u00e1rio de Tecnologias Tridimensionais, Laborat\u00f3rio ALTA, 2019.<\/figcaption><\/figure>\n\n\n\n

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Figura 9: Experi\u00eancia V-Horus apresentada na Semana de Design, PUC-Rio.<\/figcaption><\/figure>\n\n\n\n

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Figura 10: Experi\u00eancia V-Horus apresentada paralelamente ao Projeto Meninas Com Ci\u00eancia, Museu Nacional, 2019.<\/figcaption><\/figure>\n\n\n\n

Al\u00e9m da grande receptividade alcan\u00e7ada pelo Projeto V-Horus em todas as suas aplica\u00e7\u00f5es p\u00fablicas, a experi\u00eancia acabou se tornando ponto de partida para consolida\u00e7\u00e3o do um grupo de trabalho composto por pesquisadores do Museu Nacional\/UFRJ, PUC-Rio e IMPA\/MCTI e para diversas outras experi\u00eancias em realidade virtual disponibilizadas em plataformas e m\u00eddias diversas.<\/p>\n\n\n\n

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Refer\u00eancias<\/h3>\n\n\n\n

Gillings R. J., 2003. Mathematics in the Time of the Pharaohs<\/strong>. Cambridge. MIT.<\/p>\n\n\n\n

Vandenbeusch, M., 2019. Encounter with two mummies from Roman Egypt<\/strong>. p. 34-41.In: Lopes, Azevedo, Werner Jr. & Bracaglion Jr., 2019. Seen\/Unseen: 3D Visualization. Rio Books, 248p.<\/p>","protected":false},"excerpt":{"rendered":"

In September 2018, a massive fire ravaged the main building of the National Museum in the city of Rio de Janeiro, Brazil. The tragedy had a significant impact on the institution’s scientific collections, including the Egyptian collection, the largest and most important in South America.  In the period following the tragedy, the National Museum’s Collections […]<\/p>\n","protected":false},"author":7,"featured_media":5022,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_gspb_post_css":":root{--swiper-theme-color:#007aff}.swiper,swiper-container{margin-left:auto;margin-right:auto;position:relative;overflow:hidden;list-style:none;padding:0;z-index:1;display:block}.swiper-vertical>.swiper-wrapper{flex-direction:column}.swiper-wrapper{position:relative;width:100%;height:100%;z-index:1;display:flex;transition-property:transform;box-sizing:content-box}.swiper-android .swiper-slide,.swiper-wrapper{transform:translate3d(0,0,0)}.swiper-horizontal{touch-action:pan-y}.swiper-vertical{touch-action:pan-x}.swiper 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