Image-based rendering of ancient Chinese artifacts for multi-view displays - a multi-camera approach

Image-based rendering (IBR) is an emerging and promising technology for photo-realistic rendering of scenes and objects from a collection of densely sampled images and videos. This paper proposes an image-based approach to the rendering and multi-view display of ancient Chinese artifacts for cultural heritage preservation. A multiple-camera circular array was constructed to record images of the artifacts. Novel techniques for segmenting and rendering new views of the artifacts from the sampled images are developed. The multiple views so synthesized enable the ancient artifacts to be displayed in modern multi-view displays and conventional stereo systems. Several collections from the University Museum and Art Gallery at the University of Hong Kong are captured and excellent rendering results are obtained. ©2010 IEEE.published_or_final_versionThe 2010 IEEE International Symposium on Circuits and Systems (ISCAS), Paris, France, 30 May-2 June 2010. In IEEE International Symposium on Circuits and Systems Proceedings, 2010, p. 3252-325

Higgins Armory Virtual Swords Exhibit

This project created an experimental online interactive for the purpose of creating virtual experiences for patrons of the Higgins Armory Museum of Worcester, Massachusetts. The interactive delivers web-based augmented reality experience by leveraging the ubiquity of web cameras to bring select artifacts from the Armory\u27s collection into households and classrooms across the world. The project team also compiled a research paper on the general history of swords. The backgrounds of the artifacts presented in the interactive are explored in depth

Volumetric cloud generation using a Chinese brush calligraphy style

Includes bibliographical references.Clouds are an important feature of any real or simulated environment in which the sky is visible. Their amorphous, ever-changing and illuminated features make the sky vivid and beautiful. However, these features increase both the complexity of real time rendering and modelling. It is difficult to design and build volumetric clouds in an easy and intuitive way, particularly if the interface is intended for artists rather than programmers. We propose a novel modelling system motivated by an ancient painting style, Chinese Landscape Painting, to address this problem. With the use of only one brush and one colour, an artist can paint a vivid and detailed landscape efficiently. In this research, we develop three emulations of a Chinese brush: a skeleton-based brush, a 2D texture footprint and a dynamic 3D footprint, all driven by the motion and pressure of a stylus pen. We propose a hybrid mapping to generate both the body and surface of volumetric clouds from the brush footprints. Our interface integrates these components along with 3D canvas control and GPU-based volumetric rendering into an interactive cloud modelling system. Our cloud modelling system is able to create various types of clouds occurring in nature. User tests indicate that our brush calligraphy approach is preferred to conventional volumetric cloud modelling and that it produces convincing 3D cloud formations in an intuitive and interactive fashion. While traditional modelling systems focus on surface generation of 3D objects, our brush calligraphy technique constructs the interior structure. This forms the basis of a new modelling style for objects with amorphous shape

RenderMe-360: A Large Digital Asset Library and Benchmarks Towards High-fidelity Head Avatars

Synthesizing high-fidelity head avatars is a central problem for computer vision and graphics. While head avatar synthesis algorithms have advanced rapidly, the best ones still face great obstacles in real-world scenarios. One of the vital causes is inadequate datasets -- 1) current public datasets can only support researchers to explore high-fidelity head avatars in one or two task directions; 2) these datasets usually contain digital head assets with limited data volume, and narrow distribution over different attributes. In this paper, we present RenderMe-360, a comprehensive 4D human head dataset to drive advance in head avatar research. It contains massive data assets, with 243+ million complete head frames, and over 800k video sequences from 500 different identities captured by synchronized multi-view cameras at 30 FPS. It is a large-scale digital library for head avatars with three key attributes: 1) High Fidelity: all subjects are captured by 60 synchronized, high-resolution 2K cameras in 360 degrees. 2) High Diversity: The collected subjects vary from different ages, eras, ethnicities, and cultures, providing abundant materials with distinctive styles in appearance and geometry. Moreover, each subject is asked to perform various motions, such as expressions and head rotations, which further extend the richness of assets. 3) Rich Annotations: we provide annotations with different granularities: cameras' parameters, matting, scan, 2D/3D facial landmarks, FLAME fitting, and text description. Based on the dataset, we build a comprehensive benchmark for head avatar research, with 16 state-of-the-art methods performed on five main tasks: novel view synthesis, novel expression synthesis, hair rendering, hair editing, and talking head generation. Our experiments uncover the strengths and weaknesses of current methods. RenderMe-360 opens the door for future exploration in head avatars.Comment: Technical Report; Project Page: 36; Github Link: https://github.com/RenderMe-360/RenderMe-36

3D Virtual Worlds and the Metaverse: Current Status and Future Possibilities

Moving from a set of independent virtual worlds to an integrated network of 3D virtual worlds or Metaverse rests on progress in four areas: immersive realism, ubiquity of access and identity, interoperability, and scalability. For each area, the current status and needed developments in order to achieve a functional Metaverse are described. Factors that support the formation of a viable Metaverse, such as institutional and popular interest and ongoing improvements in hardware performance, and factors that constrain the achievement of this goal, including limits in computational methods and unrealized collaboration among virtual world stakeholders and developers, are also considered

Assessment of plastics in the National Trust: a case study at Mr Straw's House

The National Trust is a charity that cares for over 300 publically accessible historic buildings and their contents across England, Wales and Northern Ireland. There have been few previous studies on preservation of plastics within National Trust collections, which form a significant part of the more modern collections of objects. This paper describes the design of an assessment system which was successfully trialled at Mr Straws House, a National Trust property in Worksop, UK. This system can now be used for future plastic surveys at other National Trust properties. In addition, the survey gave valuable information about the state of the collection, demonstrating that the plastics that are deteriorating are those that are known to be vulnerable, namely cellulose nitrate/acetate, PVC and rubber. Verifying this knowledge of the most vulnerable plastics enables us to recommend to properties across National Trust that these types should be seen as a priority for correct storage and in-depth recording

Crowd And Acoustical Modelling In Digital Cultural Heritage

The broad term of heritage refers to the study of human activity in the past and its cultural narratives and to virtualize heritage means to actualize the heritage content digitally. Istilah warisan secara meluas merujuk kepada kajian kegiatan manusia pada masa lampau dan pengkisahan budayanya dan memayakan warisan bermaksud merealisasikan kandungan warisan secara digital

Computer-Assisted Interactive Documentary and Performance Arts in Illimitable Space

This major component of the research described in this thesis is 3D computer graphics, specifically the realistic physics-based softbody simulation and haptic responsive environments. Minor components include advanced human-computer interaction environments, non-linear documentary storytelling, and theatre performance. The journey of this research has been unusual because it requires a researcher with solid knowledge and background in multiple disciplines; who also has to be creative and sensitive in order to combine the possible areas into a new research direction. [...] It focuses on the advanced computer graphics and emerges from experimental cinematic works and theatrical artistic practices. Some development content and installations are completed to prove and evaluate the described concepts and to be convincing. [...] To summarize, the resulting work involves not only artistic creativity, but solving or combining technological hurdles in motion tracking, pattern recognition, force feedback control, etc., with the available documentary footage on film, video, or images, and text via a variety of devices [....] and programming, and installing all the needed interfaces such that it all works in real-time. Thus, the contribution to the knowledge advancement is in solving these interfacing problems and the real-time aspects of the interaction that have uses in film industry, fashion industry, new age interactive theatre, computer games, and web-based technologies and services for entertainment and education. It also includes building up on this experience to integrate Kinect- and haptic-based interaction, artistic scenery rendering, and other forms of control. This research work connects all the research disciplines, seemingly disjoint fields of research, such as computer graphics, documentary film, interactive media, and theatre performance together.Comment: PhD thesis copy; 272 pages, 83 figures, 6 algorithm

Virtual Heritage: new technologies for edutainment

Cultural heritage represents an enormous amount of information and knowledge. Accessing this treasure chest allows not only to discover the legacy of physical and intangible attributes of the past but also to provide a better understanding of the present. Museums and cultural institutions have to face the problem of providing access to and communicating these cultural contents to a wide and assorted audience, meeting the expectations and interests of the reference end-users and relying on the most appropriate tools available. Given the large amount of existing tangible and intangible heritage, artistic, historical and cultural contents, what can be done to preserve and properly disseminate their heritage significance? How can these items be disseminated in the proper way to the public, taking into account their enormous heterogeneity? Answering this question requires to deal as well with another aspect of the problem: the evolution of culture, literacy and society during the last decades of 20th century. To reflect such transformations, this period witnessed a shift in the museum’s focus from the aesthetic value of museum artifacts to the historical and artistic information they encompass, and a change into the museums’ role from a mere "container" of cultural objects to a "narrative space" able to explain, describe, and revive the historical material in order to attract and entertain visitors. These developments require creating novel exhibits, able to tell stories about the objects and enabling visitors to construct semantic meanings around them. The objective that museums presently pursue is reflected by the concept of Edutainment, Education + Entertainment. Nowadays, visitors are not satisfied with ‘learning something’, but would rather engage in an ‘experience of learning’, or ‘learning for fun’, being active actors and players in their own cultural experience. As a result, institutions are faced with several new problems, like the need to communicate with people from different age groups and different cultural backgrounds, the change in people attitude due to the massive and unexpected diffusion of technology into everyday life, the need to design the visit by a personal point of view, leading to a high level of customization that allows visitors to shape their path according to their characteristics and interests. In order to cope with these issues, I investigated several approaches. In particular, I focused on Virtual Learning Environments (VLE): real-time interactive virtual environments where visitors can experience a journey through time and space, being immersed into the original historical, cultural and artistic context of the work of arts on display. VLE can strongly help archivists and exhibit designers, allowing to create new interesting and captivating ways to present cultural materials. In this dissertation I will tackle many of the different dimensions related to the creation of a cultural virtual experience. During my research project, the entire pipeline involved into the development and deployment of VLE has been investigated. The approach followed was to analyze in details the main sub-problems to face, in order to better focus on specific issues. Therefore, I first analyzed different approaches to an effective recreation of the historical and cultural context of heritage contents, which is ultimately aimed at an effective transfer of knowledge to the end-users. In particular, I identified the enhancement of the users’ sense of presence in VLE as one of the main tools to reach this objective. Presence is generally expressed as the perception of 'being there', i.e. the subjective belief of users that they are in a certain place, even if they know that the experience is mediated by the computer. Presence is related to the number of senses involved by the VLE and to the quality of the sensorial stimuli. But in a cultural scenario, this is not sufficient as the cultural presence plays a relevant role. Cultural presence is not just a feeling of 'being there' but of being - not only physically, but also socially, culturally - 'there and then'. In other words, the VLE must be able to transfer not only the appearance, but also all the significance and characteristics of the context that makes it a place and both the environment and the context become tools capable of transferring the cultural significance of a historic place. The attention that users pay to the mediated environment is another aspect that contributes to presence. Attention is related to users’ focalization and concentration and to their interests. Thus, in order to improve the involvement and capture the attention of users, I investigated in my work the adoption of narratives and storytelling experiences, which can help people making sense of history and culture, and of gamification approaches, which explore the use of game thinking and game mechanics in cultural contexts, thus engaging users while disseminating cultural contents and, why not?, letting them have fun during this process. Another dimension related to the effectiveness of any VLE is also the quality of the user experience (UX). User interaction, with both the virtual environment and its digital contents, is one of the main elements affecting UX. With respect to this I focused on one of the most recent and promising approaches: the natural interaction, which is based on the idea that persons need to interact with technology in the same way they are used to interact with the real world in everyday life. Then, I focused on the problem of presenting, displaying and communicating contents. VLE represent an ideal presentation layer, being multiplatform hypermedia applications where users are free to interact with the virtual reconstructions by choosing their own visiting path. Cultural items, embedded into the environment, can be accessed by users according to their own curiosity and interests, with the support of narrative structures, which can guide them through the exploration of the virtual spaces, and conceptual maps, which help building meaningful connections between cultural items. Thus, VLE environments can even be seen as visual interfaces to DBs of cultural contents. Users can navigate the VE as if they were browsing the DB contents, exploiting both text-based queries and visual-based queries, provided by the re-contextualization of the objects into their original spaces, whose virtual exploration can provide new insights on specific elements and improve the awareness of relationships between objects in the database. Finally, I have explored the mobile dimension, which became absolutely relevant in the last period. Nowadays, off-the-shelf consumer devices as smartphones and tablets guarantees amazing computing capabilities, support for rich multimedia contents, geo-localization and high network bandwidth. Thus, mobile devices can support users in mobility and detect the user context, thus allowing to develop a plethora of location-based services, from way-finding to the contextualized communication of cultural contents, aimed at providing a meaningful exploration of exhibits and cultural or tourist sites according to visitors’ personal interest and curiosity