We present a methodology, based on 3D scanned digital models, for measurement and monitoring wood deformations,
caused by weather changes, in the trees of the fossilized Dunarobba forest. The Dunarobba forest, located
in the central part of Italy, was discovered recently after some excavations to dig clay for bricks manufacturing.
The removal of the clay mass exposed the wood to the weather conditions, initiating a process of degradation.
Different conservation methodologies have been proposed and the choice of the best fitting one has to be validated
by means of an objective and measurable methodology. Monitoring the geometric variation of the wood trunks
trough comparison of periodic 3D scanning campaign will be used to evaluate the current degradation rate and
assess the effectiveness of the proposed conservation techniques.
A new prospective for the study, documentation and presentation of Cultural Heritage is opened by the joint usage of the tools for the automatic reconstruction of digital 3D models and the instruments for interactive 3D visualization. New techniques are available to perform high-resolution sampling of both the shape and the multi-band reflection properties of painted surfaces. The digital 3D models produced are extremely accurate and rich of information, as it has been proved in the experiments run on the Leonardo's Madonna of the
Yarnwinder. This paper presents an overview of the techniques needed to build high-quality 3D models from the raw data produced by the scanning devices and describes how to process those models to make them usable in interactive applications. A very critical point is how to integrate the reflection properties with 3D shape models; this integration (based on texture mapping) allows us to produce textured 3D models that allow a joint visualization of shape and color attributes. The interactive visualization tools developed by ISTI-CNR are described, presenting both their features and potential for the visual presentation and analysis of works of art. Examples of the results obtained on the Madonna of the Yarnwinder are presented.
Offine rendering techniques have nowadays reached an astonishing level of realism but paying the cost of a long computational time. The new generation of programmable graphic hardware, on the other hand, gives the possibility to implement in realtime some of the visual effects previously available only for cinematographic production. In a collaboration between the Visual Computing Lab (ISTI-CNR) with the Institute for Creative Technologies of the University of Southern California, has been developed a realtime demo that replicate a sequence from the short movie "The Parthenon" presented at Siggraph 2004. The application is designed to run on an immersive reality system, making possible for a user to perceive the virtual environment with a cinematographic visual quality. In this paper we present the principal ideas of the project, discussing design issues and technical solution used for the realtime demo.
Modern 3D scanning technologies allow to reconstruct 3D digital representations of Cultural Heritage artifacts in a semi-automatic way, characterized by very high accuracy and wealth of details. The availability of an accurate digital representation opens several possibilities of utilization to experts (restorers, archivists, museum curators), or to ordinary people (students, museum visitors). 3D scanned data are commonly used for the production of animations, interactive visualizations, or virtual reality applications. A much more exciting opportunity is to use these data in the restoration of Cultural Heritage artworks. The integration between 3D graphic and restoration represents an open research field where many new supporting tools are required; the David restoration project has given several starting points and guidelines to the definition and development of innovative solutions. Digital 3D models can be used in two different but not subsidiary modes: as an instrument for the execution of specific investigations and as a supporting media for the archival and integration of all the restoration-related information, gathered with the different studies and analysis performed on the artwork. In this paper we present some recent work done in the framework of the Michelangelo's David restoration project. A 3D model of the David was reconstructed by the Digital Michelangelo Project, using laser-based 3D scanning technology. We have developed some tools to make those data accessible and useful in the restoration. Preliminary results are reported here together with some directions for further research.