Analysing Key Steps of the Photogrammetric Pipeline for Museum Artefacts 3D Digitisation

Abstract

In recent years, massive digitisation of cultural heritage (CH) assets has become a focus of European programmes and initiatives. Among CH settings, attention is reserved to the immense and precious museum collections, whose digital 3D reproduction can support broader non-invasive analyses and stimulate the realisation of more attractive and interactive exhibitions. The reconstruction pipeline typically includes numerous processing steps when passive techniques are selected to deal with object digitisation. This article presents some insights on critical operations, which, based on our experience, can rule the quality of the final models and the reconstruction times for delivering 3D heritage results, while boosting the sustainability of digital cultural contents. The depth of field (DoF) problem is explored in the acquisition phase when surveying medium and small-sized objects. Techniques for deblurring images and masking object backgrounds are examined relative to the pre-processing stage. Some point cloud denoising and mesh simplification procedures are analysed in data post-processing. Hints on physically-based rendering (PBR) materials are also presented as closing operations of the reconstruction pipeline. This paper explores these processes mainly through experiments, providing a practical guide, tricks, and suggestions when tackling museum digitisation projects.

Historical-graphical analysis and digital preservation of cultural heritage: case study of the baptismal font of the church of Santiago Apóstol in Montilla (Córdoba, Spain)

“…Table 1 shows the number of processes around the font. In this case we take photographs in 5 stages with different ISOs, shutter speed and lens aperture, following a similar methodology to other studies carried out [40,41]. In this way we have obtained the same image with different lighting to be able to work with it in the photogrammetric software.…”

“…As Farella and Bisson-Larrivée have already shown in their studies [40,41], the correct planning and use of camera parameters and their post-processing allow element with small details to be analysed in depth, without the use of intrusive methods such as moulds or tracings.…”

3d Digitalization and Visualization of Archaeological Artifacts With the Use of Photogrammetry and Virtual Reality System

“…Although all studies agree that photogrammetry is a low-cost technique for this type of study, some issues were highlighted in different previous research. With regard to the acquisition phase, light conditions, the reflective material as metal, and the size of the object can greatly influence the final result (Farella et al, 2022). In this direction, a novel approach was proposed to support nonexperts working in museums with robust, easy-to-use workflows based on low-cost widespread devices, aimed at the study, classification, preservation, communication and restoration of cultural heritage artefacts combining the data acquisition using mobile equipment and visualization with a Real-Time Rendering (Apollonio et al, 2021).…”

“…In this direction, a novel approach was proposed to support nonexperts working in museums with robust, easy-to-use workflows based on low-cost widespread devices, aimed at the study, classification, preservation, communication and restoration of cultural heritage artefacts combining the data acquisition using mobile equipment and visualization with a Real-Time Rendering (Apollonio et al, 2021). Regarding the creation of 3D models, there are other issues such as the accuracy of artefact representation, texture quality and mesh simplification in order to optimize web visualization (Farella et al 2022). In order to obtain 3D models of high metric precision mesh and maximum colour fidelity textures macrophotography technique was proposed saving costs and processing time (Antinozzi et al, 2020;Marziali et al 2017;Clini et al, 2016).…”

Scan to Hbim for Complex Reflective Metal Artefacts. 3d Digitisation and Restoration

“…Regardless of the size and material, mobility and immobility of the elements, artworks preservation and restoration involve intervention and collaboration between different specialists, such as restorers, conservators, diagnosts, architects, surveyors, modelers, archaeologists and art historians. This multidisciplinary process requires a virtual container aimed at systematisation and sharing of digital products and data deriving from heterogeneous diagnostic and applicative activities (Farella et al 2022, Ferretti et al 2022, Fiamma 2019. According to these premises, this paper shows a low-cost Scan to HBIM process aimed at digitisation of a complex reflective metal artefact, an altar frontal composed of several pieces characterized by different metal materials, functions, sizes and topological complexity (level of decorative detail).…”