Using 3D data for studying cultural heritage

1
Using 3D data for
Cultural Heritage and
Digital Humanities
Roberto Scopigno
Visual Computing Lab.
CNR-ISTI
Pisa, Italy
R. Scopigno, 3D & CH 1
Overview
o  Prologue: Enabling technologies
o  Which uses of digital 3D models in Cultural
Heritage applications? (Beyond visualization)
n  To study works of art
n  To document on-site archaeology research
n  To support restoration
o  What could/would we expect from future
research?

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Prologue: enabling technologies
3D
Scanning
Geometry
Processing
Rendering
(Semantic)
Repositories
Rendering
!! Computer graphics people love to produce
images, videos or computer animations…
!! Some issues in the case of 3D scanned models:
"! How to support the interactive visualization
of huge meshes
Usually, single object inspection at high resolution
"! Huge data access on web/internet ?

3
Beyond visualization:
3D models for
physical reproduction
R. Scopigno, 3D & CH
Using the data - Beyond Rendering
o  Support physical reproduction
from digital 3D models (avoiding
to cast endangered artifacts)
n  With no harm for the original (much
safer than “calco”)
n  In any reproduction scale (1:1,
reduced, magnified)
n  Using many different materials
(plastic, gypsum, stone, marble …)
n  Cost are becoming affordable
5

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Digital 3D for reproduction
o  Calco (mold)
n  Can reproduce only in
1:1 scale
n  Can be used only for a
small number of copies
n  Copies are only in
gypsum or resina
n  It may degrade the
original (removal of
patinas or small
detachable parts)
n  It is very precise (false
belief!)
o  Digital 3D model
n  Can reproduce in any
scale
n  Can be used forever
n  Copies are in many
materials (e.g. marble,
stone)
n  It is a not-contact, safe
technology
n  It is less precise (false
belief!)
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A recent reproduction experience
o  Goal: highly accurate
reproduction in marble of a
Roman head of Mecenate
(by German Ministry of
Research)
o  Work was supervised by Prof.
Bernard Andreae
o  Original plan: mold +
reproduction in resin with
marble powder
o  But: no more possible to cast
(recent Italian law!)
==> 3D scan + semi-automatic
reproduction
o  Prof. B. Andreae was
enthusiastic of the final
result!
7

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3D models for
studying artworks
Tools for scholars: CENOBIUM
•  Project started in 2006
•  Goal: provide an instrument for CH scholars to study
medieval sculpture (capitols in Romanic cloisters)
•  Partners: CNR-ISTI & Kunsthistorische Institute -
Max Plank
•  Plan:
•  Digitize (2D and 3D) carved capitols in main EU cloisters (so
far: Monreale, Aosta, Cefalù, Ongoing: Spain – Silos)
•  Design a web-based system for consultation and
visualization, provide access to all multimedia data (text,
images, 3D models)
•  Design it as an easy extendable repository
•  Access it at: http://cenobium.isti.cnr.it/
9R. Scopigno, 3D & CH

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Monreale cloister
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3D models:
-  Scanned 20 capitals
(Minolta VI910)
-  120-200 scan per capital
-  3D Models: 4-6 M triangles
-  With color images mapped
on the 3D model
Demo 3D…
Photos:
-  all capitals
-  8 shots (16M pixel)

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CENOBIUM - Video
"! Cenobium.vwm
R. Scopigno, 3D & CHR. Scopigno, 3D & CHR. Scopigno, 3D & CHR. Scopigno, 3D & CHR. Scopigno, 3D & CHR. Scopigno, 3D & CHR. Scopigno, 3D & CHR. Scopigno, 3D & CHR. Scopigno, 3D & CHR. Scopigno, 3D & CHR. Scopigno, 3D & CHR. Scopigno, 3D & CHR. Scopigno, 3D & CHR. Scopigno, 3D & CHR. Scopigno, 3D & CHR. Scopigno, 3D & CHR. Scopigno, 3D & CHR. Scopigno, 3D & CHR. Scopigno, 3D & CHR. Scopigno, 3D & CHR. Scopigno, 3D & CHR. Scopigno, 3D & CHR. Scopigno, 3D & CHR. Scopigno, 3D & CHR. Scopigno, 3D & CHR. Scopigno, 3D & CHR. Scopigno, 3D & CHR. Scopigno, 3D & CHR. Scopigno, 3D & CHR. Scopigno, 3D & CHR. Scopigno, 3D & CHR. Scopigno, 3D & CHR. Scopigno, 3D & CHR. Scopigno, 3D & CHR. Scopigno, 3D & CH 12121212
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CENOBIUM evolution
Recent Work: Improving compression of 3D
models
"! A new compression algorithm for the multi-resolution
representation (Nexus)
"! Better compression rate, faster decompression on GPU
"! Implemented but still unpublished
Future work: Eliminating the need of a plugin
for 3D data viz
"! Avoid installation at user side
"! We are designing a solution integrated with the new web
browsers (endorsing WebGL)
"! Based on SpiderGL ( http://www.spidergl.org/ )
"! Already working for low/medium-resolution models
"! Future work: extend it to support also multi-resolution
models (Nexus)

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Assessing an attribution hypothesis
A composite bronze artwork
(Archaeological Museum, Florence, Italy)
n  Rider: Roman bronzette
n  Horse:
o  Renaissance period, very high
quality
o  Attributed to Benvenuto
Cellini’s workshop
o  Major evidence cited in Eugene Plon’s
“Vita e opere di Cellini”(1883) book:
“… it exist a letter where Duke Cosimo
1st dei Medici asks to Cellini to provide
a horse for a newly discovered rider
bronzette…”
A second artwork
Leonardo da Vinci’s Silverpoint #12358 from the Royal
Library in Windsor Castle, UK (1480, 20 y before
Cellini’s birth)
o  A new hypothesis by
Marc Fondersmith:
o  It could be an optically
traced drawing of the
small bronze horse in
Florence è invalidating
the known attribution

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The attribution hypothesis
... that is ...
“Leonardo used a camera obscura (or some other optical
device) to create the Windsor metalpoint”
“The drawing was traced
in two stages: first,
he traced the body of
the horse, then he
rotated the bronze
and drew the head
from above”
Using 3D graphics to assess similarities
o  We worked on this on 2007,
after contacts with Mark
Fondersmith
o  The Archeological Museum
gave the permission to scan
o  We proceed with 3D scanning
and further analysis on the
digital model
n  Scan w. Konica Minolta VI910
n  Photographic sampling

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Finding a camera for a bronze-drawing matching
How to perform a shape comparison between the 3D model
and the drawing?
Try to project-back the drawing on the 3D model, as if it was an
image of the latter
We used TexAlign, an ISTI-CNR software created to align set of
photos onto a 3D model
Snapshot from
TexAlign:
1) Select a few
image-to-
geometry
correspondences
Finding a camera for a bronze-drawing matching
Snapshot from
TexAlign:
2) Calibration by an
error minimization
algorithm
3) Calculation of the
camera viewpoint
(camera intrinsic &
extrinsic param.)

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Results
TexAlign converges, returning correct camera specs!
Camera positions: are they compatible with the use of a
camera obscura?
Straight position
Rotated position
Results
Alignment results: is there a real correspondence
between the silohuettes?
Straight position

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Results - Video
"! Horse_Alignment.wmv
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""""""" Horse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmvHorse_Alignment.wmv
Study of chisel marks
!! Many artworks still present detail on
marks / residual traces of the carving
instruments
"! Study of the sculpting technique of an artist
"! Could be used for attribution purposes?
!! Study done manually by scholars (visual
inspection and measuring)
!! Some attempts in the past to adopt digital
3D models – digital measures and
visualization tools (non-photorealistic
rendering)
Image by Levoy et al, 2000 Image by Rusinkiewicz et al, 2006

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Study of chisel marks – our approach
!! Decouple high-frequency detail from basic shape
!! Move from 3D space to 2D domain –user driven &
interactive mapping, controlled distortion
!! Use standard 2D tools to characterize, measure and
compare the residual traces in 2D space
!! Paper presented at IEEE Viz 2011
Study of chisel marks - Video
!! videoVIZ2011_final.mov
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14
3D models for
documenting on-site
archaeology research
Documenting archeology excavations
o  Issues:
n  Working on-site requires easily deployable
technologies
o  Often remote locations, no electricity, not easy to reach
o  Budgets are small è prefer cheap technology
n  Time is important:
o  Should be able to document the progressive evolution in
time of the excavation with a small overhead cost
(manpower for acquisition and processing)
o  Should be possible to easily compare and visualize the
different status (comparative visualization)
o  A possible enabling technology: 3D from
streams of images

15
Documenting archeology excavations (2)
!! Arc3D (or similar technologies) have a great
potential:
"! Just a digital camera (no added costs), photo
acquisition is very fast and easy
"! Still not very fast to produce a 3D model from photos
(e.g. by MeshLab) due to the large number of photos/
range maps to process
"! Produce immediately 3D models with color data,
sufficient accuracy for monitoring and documenting
purposes
"! Some extensions planned on MeshLab to support
improved management of layered models (showing
changes over time)…
!! An example:
R. Scopigno, 3D & CHR. Scopigno, 3D & CHR. Scopigno, 3D & CHR. Scopigno, 3D & CHR. Scopigno, 3D & CHR. Scopigno, 3D & CHR. Scopigno, 3D & CHR. Scopigno, 3D & CHR. Scopigno, 3D & CHR. Scopigno, 3D & CHR. Scopigno, 3D & CHR. Scopigno, 3D & CHR. Scopigno, 3D & CHR. Scopigno, 3D & CHR. Scopigno, 3D & CHR. Scopigno, 3D & CHR. Scopigno, 3D & CHR. Scopigno, 3D & CHR. Scopigno, 3D & CH

16
!! Please note that we produce 3D model(s) and
large set of images (w. time stamps)
!! Might we use a different way to present those
data?
!! Replace interactive 3D (shape+color)
visualization with a navigation approach where
the two media (3D and images) are presented
in a coordinated manner
!! Our PhotoCloud tool…
Video: PhotoCloud-Cavalieri20110614.avi
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17
3D models for
restoring artworks
Supporting CH restoration
Digital 3D models can be used to aid CH restorers
in several ways:
n  Document the status of the artwork before, during
and after restoration
o  Examples on Michelangelo’s David, Minerva of Arezzo,
Ammannati’s Nettuno, …
n  Support the restoration of fragmented artifacts
o  Examples: Madonna of Pietranico
n  Support the design, presentation and assessment of the
virtual restoration of polychromes decorations
o  Examples: Madonna of Pietranico, Luni,

18
Madonna of Pietranico
o  A Renaissance terracotta statue
o  Severely damaged by the recent
Abruzzo earthquake
n  19 large pieces + many others of
smaller size
o  Restoration plan:
n  Recompose the puzzle (find
junctions between pieces)
n  Design a structure to hold the
pieces together
n  Reassemble the statue
n  Restore the surfaces
o  Investigate the original polychrome
decoration
Madonna – Digital 3D model construction
o  Scanned with a Konica Minolta
VI910 laser scanner
n  All 19 large pieces
n  580 single range maps
n  6.5 GB of raw data
n  Processed with MeshLab
o  Photographic campaign
n  Acquisition of color detail and
mapping on the 3D models
o  Final results
n  All fragments in accurate digital
3D encoding (shape + color)

19
Madonna – Digital reassembly
o  Few fragments (19, not
thousands)
n  Not really important to search
for matching surfaces (as in
works by Pottman et al., Brown
et al.)
n  Fragments present eroded
fracture surfaces (not clear
sharp matching surfaces)
n  Position of adjoining
fragments showed us by the
restorers
n  Matching position gathered in
digital form by a single range
map shot over the adjoining
fragments pair
n  This data was used to buildup a
global digital reassembly…
Madonna – Digital reassembly (2)
o  Some degrees of freedom in global reassembly
n  Statue composed by three elements: throne, legs and bust/
head
n  Already subject to other historical restorations (changed the
overall layout of the three elements)
n  Eroded surfaces of contact, missing portions
o  E.g. 80% of the neck was missing
è  Pressing need to study different recombination
options and to evaluate them visually
(quite impossible to do on the real artwork due to weight and
fragility)

20
Madonna – Digital reassembly (3)
o  The results after some iterations with the restorers
Reassembly – Future work
o  We are designing an interactive system to support the
reassembly of fragmented / incomplete artworks
n  Semi-automatic: include the expert in the loop!
n  Support the definition of user-defined constraints
that link the fragments:
o  Adiacency, distance, surface matching, decoration
matching, angle, …
n  Those define a graph of constraints over the
set of fragments
n  Find an optimal displacement of the pieces by
computing an optimal solution that satisfies all
defined constraints

21
Madonna – Real reassembly
o  The fragments cannot be simply glued together to
recompose the real artwork
n  Not sufficient contact surfaces to produce a stable
connection (e.g. head-bust) by glueing
n  Should be possible to decompose the reassembly (for
travelling purposes)
 Need of a structure to hold the pieces
n  Initial planning: a metallic structure (sort of internal
tree)
n  Innovative solution proposed:
o  Model the internal void space with CG tools
o  Reproduce via rapid prototyping
o  Use this filling element to put in the correct position all
the fragments
Madonna – Real reassembly (2)

22
Madonna – Real reassembly (3)
42R. Scopigno, 3D & CH
Madonna – Polychrome decoration
!! The artwork surface was decorated (painted)
!! Historical restorations affected severely the
conservation of the polychrome decoration
!! Initial plan:
"! Cleaning of the surfaces, removing previous restoration
additions
"! Study of the remains of the original decoration
"! Digital restoration of the original decoration on the 3D
model (using the mesh painting features of MeshLab)
"! Light physical restoration (cannot be a major retouching
or global repainting!)

23
Madonna – Polychrome decoration (2)
o  Problems encountered:
n  Cleaning of the surfaces revealed
a very scarce preservation of
the original decoration, due to
earthquake damages and previous
restorations
n  The polychrome decoration was
very complex:
o  Base layout of plaster to make the
surface smoother (later removed by
previous restorations)
o  Use of layers of silver and gold
leaf to increase lightness of the
overlaid multiple paint layers
o  Complex “dithering” of different
tints/colors to imitate complex
materials (tissue in the vest, etc.)
o  What we learned:
n  Not enough information to produce a scientifically
demonstrated reconstruction of the polychrome decoration
(CH experts do not like to “interpolate” knowledge as CG
people usually do, they are terribly scared)
n  The lack of the preparatory plaster layout made very
complex to paint color over the rough surface of the
terracotta
o  Extension needed to allow to change the surface
(deposition of a layer of preparatory material) è
painting material deposition?
n  The complexity of the polychrome layout was not easy to
reproduce with the basic color painting and rendering
features of MeshLab
o  Extensions needed to allow to manage layers of
colors /materials and to use those layered
representation at rendering time

24
!! Results
Conclusions
What could we expect from future research?
!! 3D scanning technology is now enough consolidated, we can
produce high quality digital models of objects of interest
!! The next wave is the design of interesting applications fulfilling
the needs of CH scholars and practitioners
!! There are still issues in visualization/rendering (web-based, high
quality, etc.) BUT we should go beyond pure visualization
!! Deeper integration of 3D models and of the related
knowledge – Repositories and MM presentation systems which
should allow a deeper integration of the different media and
metadata
!! Many applications open also interesting issues in terms of
geometry processing kernels – Space for further research on
GP finalized to / originated by clear CH needs

25
Questions?
Presentation based on:
o  R. Scopigno et al, “3D models for
CH: beyond plain visualization”,
IEEE Computer, July 2011
o  Contact:
Visual Computing Lab
of CNR-ISTI
http://vcg.isti.cnr.it
http://www.isti.cnr.it
r.scopigno@isti.cnr.it

Using 3D data for studying cultural heritage

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