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33
Masked photo blending: mapping dense photographic dataset on high-resolution sampled 3D models
- COMPUTER & GRAPHICS
, 2008
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Fully Automatic Registration of Image Sets on Approximate Geometry
"... The photorealistic acquisition of 3D objects often requires color information from digital photography to be mapped on the acquired geometry, in order to obtain a textured 3D model. This paper presents a novel fully automatic 2D/3D global registration pipeline consisting of several stages that sim ..."
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Cited by 8 (1 self)
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The photorealistic acquisition of 3D objects often requires color information from digital photography to be mapped on the acquired geometry, in order to obtain a textured 3D model. This paper presents a novel fully automatic 2D/3D global registration pipeline consisting of several stages that simultaneously register the input image set on the corresponding 3D object. The first stage exploits Structure From Motion (SFM) on the image set in order to generate a sparse point cloud. During the second stage, this point cloud is aligned to the 3D object using an extension of the 4 Point Congruent Set (4PCS) algorithm for the alignment of range maps. The extension accounts for models with different scales and unknown regions of overlap. In the last processing stage a global refinement algorithm based on mutual information optimizes the color projection of the aligned photos on the 3D object, in order to obtain high quality textures. The proposed registration pipeline is general, capable of dealing with small and big objects of any shape, and robust. We present results from six real cases, evaluating the quality of the final colors mapped onto the 3D object. A comparison with a ground truth dataset is also presented.
Sampled 3D Models for CH Applications: A Viable and Enabling New Medium or Just a Technological Exercise
- ACM Journal on Computing and Cultural Heritage
, 2008
"... Any application of three-dimensional computer graphics in the Cultural Heritage (CH) field requires availability of a digital model of the artifact(s) treated. Detailed and accurate digital 3D models can be produced with 3D scanning devices, which allow conversion of reality into digital form in a c ..."
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Cited by 7 (0 self)
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Any application of three-dimensional computer graphics in the Cultural Heritage (CH) field requires availability of a digital model of the artifact(s) treated. Detailed and accurate digital 3D models can be produced with 3D scanning devices, which allow conversion of reality into digital form in a cost and time-effective manner. We present the capabilities of this technology and the main issues which are preventing its wider use in contemporary applications, highlighting some open problems and a few promising new approaches for 3D model construction. We also briefly review some CH applications which could boost the diffusion and evolution of 3D scanning technology.
SCOPIGNO R.: Automatic texturing without illumination artifacts from inhand scanning data flow
- In Int. Workshop on Multimedia for Cultural Heritage (MM4CH) (April 2011
"... Abstract. This paper shows how to improve the results of a 3D scanning system to allow to better fit the requirements of the Multi-Media and Cultural Heritage domains. A real-time in-hand scanning system is enhanced by further processing its intermediate data, with the goal of producing a digital 3D ..."
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Cited by 4 (4 self)
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Abstract. This paper shows how to improve the results of a 3D scanning system to allow to better fit the requirements of the Multi-Media and Cultural Heritage domains. A real-time in-hand scanning system is enhanced by further processing its intermediate data, with the goal of producing a digital 3D model with a high quality color texture and an improved representation of the high-frequency shape detail. The proposed solution starts from the usual output of the scanner, a 3D model and a video sequence gathered by the scanner sensor, for which the rigid motion is known at each frame. The produced color texture is deprived of the typical artifacts that generally appear while creating textures from several pictures: ghosting, shadows and specular highlights. In the case of objects made of diffuse materials, the system is also able to compute a normal map, thus improving the geometry acquired by the scanner. Results demonstrate that our texturing procedure is quite fast (a few minutes to process more than a thousand images). Moreover, the method is highly automatic, since only a few intuitive parameters must be tuned by the user, and all required computations are particularly suited to GPU programming, making the method convenient and scalable to graphics hardware.
Automatic registration and calibration for efficient surface light field acquisition
- in 7th VAST International Symposium on Virtual Reality, Archeology and Cultural
, 2006
"... This paper presents a novel protocol for the acquisition of surface light fields which is designed to deal with del-icate objects that might not be touched or moved. This constraint is particularly important when art pieces are involved. Our protocol enables the automatic reconstruction of a model f ..."
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Cited by 3 (2 self)
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This paper presents a novel protocol for the acquisition of surface light fields which is designed to deal with del-icate objects that might not be touched or moved. This constraint is particularly important when art pieces are involved. Our protocol enables the automatic reconstruction of a model from many range images and the auto-matic registration of many pictures with the acquired geometry. A structured light pattern is first used to project a parameterization over the analyzed surface. Each surface point hit by this parameterization is uniquely identified, independently of the chosen viewpoint, and the problem of finding point-point and point-pixel correspondences is then immediately solved. These correspondences are finally used to perform the registrations and camera calibra-tions that provide the data to be used by a surface light field renderer. 1.
POLYNOMIAL TEXTURE MAPPING AND RELATED IMAGING TECHNOLOGIES FOR THE RECORDING, ANALYSIS AND PRESENTATION OF ARCHAEOLOGICAL MATERIALS
"... Polynomial Texture Mapping (Malzbender et al., 2000, 2001) uses multiple images to capture the reflectance properties of a given surface. Multiple captures may be combined in order to produce interactive, relit records of the material sampled. Cultural heritage examples of the technology include wor ..."
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Polynomial Texture Mapping (Malzbender et al., 2000, 2001) uses multiple images to capture the reflectance properties of a given surface. Multiple captures may be combined in order to produce interactive, relit records of the material sampled. Cultural heritage examples of the technology include work on cuneiform tablets, numismatic archives and lithic artefacts. This paper introduces the PTM data capture and processing technologies available for artefact recording, and the perceived archaeological potential of additional methods to supplement the standard PTM datasets. Case studies in the use of PTM include ongoing work on stylus writing tablets, medieval wood, excavated material from the site of Portus (www.portusproject.org) and medieval ceramics. Each of these presents particular challenge for recording, analysis and presentation. The paper also identifies the synergies between PTM, related imaging technologies, photogrammetry and non-contact digitisation through case studies on Libyan rock art and on a Roman polychrome statue. It identifies ongoing challenges and proposed future developments.
Mapping highly detailed color information on extremely dense 3D models: the case of David restoration
- Computer Graphics Forum
, 2008
"... The support of advanced Information Technology (IT) to preservation, restoration and documentation of Cultural Heritage is becoming a very important goal for the research community. Michelangelo’s David was one of the first applications of 3D scanning technology on a highly popular work of art. The ..."
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The support of advanced Information Technology (IT) to preservation, restoration and documentation of Cultural Heritage is becoming a very important goal for the research community. Michelangelo’s David was one of the first applications of 3D scanning technology on a highly popular work of art. The subsequent restoration cam-paign, started in 2002 and concluded in 2004, was also a milestone for the adoption of modern scientific analysis procedures and IT tools in the framework of a restoration process. One of the focuses in this restoration was also methodological, i.e. to plan and adopt innovative ways to document the restoration process. In this paper we present the results of an integration of different restoration data (2D and 3D datasets) which has been con-cluded recently. The recent evolution of HW and SW graphics technologies gave us the possibility to interactively visualize an extremely dense 3D model which incorporates the color information provided by two professional photographic campaigns, made before and after the restoration. Moreover, we present the results concerning the mapping, in this case on the 2D media, of the reliefs produced by restorers to assess and document the status of the marble surface before the restoration took place. This result could lead to new and fascinating applications of computer graphics for preservation, restoration and documentation of Cultural Heritage.
Image guided reconstruction of un-sampled data: a coherent filling for uncomplete cultural heritage models
- In IEEE Workshop on eHeritage and Digital Art Preservation
, 2009
"... Nowadays, 3D scanning is widely applied to Cultural Heritage applications. In this peculiar context, the fact that the 3D models obtained from scanning are usually uncomplete can be an issue, especially because automatic hole filling techniques can create inaccurate surfaces. In this paper, we prese ..."
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Nowadays, 3D scanning is widely applied to Cultural Heritage applications. In this peculiar context, the fact that the 3D models obtained from scanning are usually uncomplete can be an issue, especially because automatic hole filling techniques can create inaccurate surfaces. In this paper, we present a method to reconstruct unsampled portions of the 3D models by inferring information about the real shape of the missing part from an image. The needed data for surface creation are extracted from a predefined pattern which is projected on the real object, in the zone where the geometry of the 3D model is missing. The procedure, which is almost completely automatic, analyzes the image in order to extract the pattern and estimate the projector position. Then, the extracted information is used to obtain a hole filling which is coherent with the real shape of the object. A series of test on real objects proves that our method is able to recover geometrical features that cannot be reconstructed using state-of-the-art methods. Consequently, it can be used to obtain complete 3D models without creating false data. 1.
Reflection Transformation Imaging on Larger Objects: an Alternative Method for Virtual Representations.” Paper presented at
- the 2nd International Conference on Remote Sensing Archaeology
"... The term Reflection Transformation Imaging has been originally used by Tom Malzbender of the HP Laboratories to describe an image-based method to acquire the reflectance properties of objects ’ surface. This technique, ..."
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The term Reflection Transformation Imaging has been originally used by Tom Malzbender of the HP Laboratories to describe an image-based method to acquire the reflectance properties of objects ’ surface. This technique,
From the Digitization of Cultural Artifacts to the Web Publishing of Digital 3D Collections: an Automatic Pipeline for Knowledge Sharing
"... Abstract — In this paper, we introduce a novel approach intended to simplify the production of multimedia content from real objects for the purpose of knowledge sharing, which is particularly appropriate to the cultural heritage field. It consists in a pipeline that covers all steps from the digitiz ..."
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Abstract — In this paper, we introduce a novel approach intended to simplify the production of multimedia content from real objects for the purpose of knowledge sharing, which is particularly appropriate to the cultural heritage field. It consists in a pipeline that covers all steps from the digitization of the objects up to the Web publishing of the resulting digital copies. During a first stage, the digitization is performed by a high speed 3D scanner that recovers the object’s geometry. A second stage then extracts from the recovered data a color texture as well as a texture of details, in order to enrich the acquired geometry in a more realistic way. Finally, a third stage converts these data so that they are compatible with the recent WebGL paradigm, then providing 3D multimedia content directly exploitable by end-users by means of standard Internet browsers. The pipeline design is centered on automation and speed, so that it can be used by non expert users to produce multimedia content from potentially large object’s collections, like it may be the case in cultural heritage. The choice of a high speed scanner is particularly adapted for such a design, since this kind of devices has the advantage of being fast and intuitive. Processing stages that follow the digitization are both completely automatic and “seamless”, in the sense that it is not incumbent upon the user to perform tasks manually, nor to use external softwares that generally need additional operations to solve compatibility issues. I.
