tag:blogger.com,1999:blog-44588177582165947342024-03-21T10:01:35.540+01:00ATORATOR (Arc-Team Open Research).
The blog spreads tests, problems and results of Arc-Team research in archaeology, following the guidelines of the OpArc (Open Archaeology) project.Luca Bezzihttp://www.blogger.com/profile/01679160024950021679noreply@blogger.comBlogger381125tag:blogger.com,1999:blog-4458817758216594734.post-47909577539668870402024-01-29T13:56:00.005+01:002024-01-29T13:57:34.185+01:00Enhancement of Hidden Cultural Heritage: The Submerged Forest of Lake Tovel<p>Hello everyone,</p><div class="flex flex-grow flex-col max-w-full" style="text-align: justify;"><div class="min-h-[20px] text-message flex flex-col items-start gap-3 whitespace-pre-wrap break-words [.text-message+&]:mt-5 overflow-x-auto" data-message-author-role="assistant" data-message-id="681703e5-982b-4b57-ad4e-59af8c7eecde"><div class="markdown prose w-full break-words dark:prose-invert light"><p>I would have liked to write this post long ago, but I couldn't find the time. As many of you know, Arc-Team has been involved in the study of the submerged forest of <a href="https://en.wikipedia.org/wiki/Lago_di_Tovel" target="_blank">Lake Tovel</a> since 2005 (a project started by prof. Tiziano Camagna). For years, especially since we started using 360° cameras, I have been thinking about how to make this hidden cultural heritage accessible even to those who cannot dive (the lake is in a natural park and special permits are required for diving, usually issued for scientific research purposes). The main problem with 360° cameras for underwater shooting was the lack of custom waterproof housings. I had even reached the point of designing one, but fortunately, the company Isnta360 began producing underwater waterproof housings for its models. Finally, a couple of years ago, we had the opportunity to test this technology underwater, thanks to a commission received from <a href="https://www.visitvaldinon.it/en" target="_blank">APT Val di Non</a>. After some dives, we managed to obtain a good 360° video of the submerged forest. For this first step, the main difficulties were finding optimal conditions for diving. In fact, there are many variables that can influence visibility in mountain lakes. Firstly, there is the weather factor: recent precipitation, even of low intensity, can stir up the upper layer of silt deposited on the lake bottom, which thus goes into suspension and adds to the clay (practically always dissolved in the water), significantly lowering underwater visibility. Secondly, the seasonal aspect should also be considered: cold seasons generally guarantee better visibility, but obviously in winter the lake freezes and the access road is covered with a thick layer of snow. Finally, the diving route should be evaluated. Following some tests with our Insta360 One X 2, we saw that, at Lake Tovel (with good visibility conditions), we should not descend below 20 - 22 meters, otherwise the light in the shots tended excessively towards the blue-green hue and there were no underwater amber filters yet to correct this issue in this type of cameras.</p><p>However, in the end, we managed to obtain a good 360° underwater video, which, adjusted through the open-source software <a href="https://kdenlive.org/en/" target="_blank">KDEnlive</a>, was finally edited and uploaded to YouTube at <a href="https://www.youtube.com/watch?v=J7cfMlRRWwo" target="_blank">this address</a>.</p><p> </p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="407" src="https://www.youtube.com/embed/J7cfMlRRWwo" width="489" youtube-src-id="J7cfMlRRWwo"></iframe></div><br /><p></p><p>Generally, YouTube automatically recognizes this type of footage, but perhaps because it was edited in KDEnlive, this time it didn't work, so I had to inject the 360 metadata into the mp4 format. There are various options for doing this, including the open-source software <a href="https://github.com/google/spatial-media" target="_blank">spatial-media</a>. Once the issue was fixed, YouTube (and other video platforms) was able to "understand" that it was a 360 video and uploaded it accordingly (also activating the option of stereo viewing, in case you intend to enjoy the video through Virtual Reality headsets).</p><p>From the same footage, I was also able to extract some 360° panoramas of various Points Of Interest (POIs), in order to create, through the open-source software <a href="https://www.marzipano.net/" target="_blank">Marzipano</a>, a specific App, which was then uploaded to the APT Val di Non website at <a href="https://www.museidironzone.it/luca/virtual_tour/red_lake_underwater_vt/rlu_vt.html" target="_blank">this link</a>. Below, you can see a screenshot of the App.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguyLvQQN6-6p32zOhozCjULD0O7Aw-vAvOHTxBJwIqZsh4mvkz2_2bs4uxje9ARMGi1wW6-JqXdq702qv0cQ-UaaGBRgUWReHJ5fwqFFZ3cjy28SXKAyTAuBPwYvR5XyGktOfMVQVAxJAN_o7sLO_HpAyoEemevYLus2spPAK1EkqX_JxYABWQF23riSk/s1918/arc-team_tovel_app_360_luca.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="937" data-original-width="1918" height="234" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguyLvQQN6-6p32zOhozCjULD0O7Aw-vAvOHTxBJwIqZsh4mvkz2_2bs4uxje9ARMGi1wW6-JqXdq702qv0cQ-UaaGBRgUWReHJ5fwqFFZ3cjy28SXKAyTAuBPwYvR5XyGktOfMVQVAxJAN_o7sLO_HpAyoEemevYLus2spPAK1EkqX_JxYABWQF23riSk/w481-h234/arc-team_tovel_app_360_luca.png" width="481" /></a></div><br /><p></p><p>I hope the post is useful.
Have a nice day!</p></div></div></div>Luca Bezzihttp://www.blogger.com/profile/01679160024950021679noreply@blogger.com0tag:blogger.com,1999:blog-4458817758216594734.post-56987002851644799612024-01-22T15:56:00.003+01:002024-01-22T15:56:11.118+01:00ArcheoFOSS 2023, 17th edition: Torino 2023<p style="text-align: justify;">Hello everyone.</p><p style="text-align: justify;">As you may know, we at Arc-Team are particularly connected to the ArcheoFOSS workshop, a meeting on archaeology and open-source software that we helped found in 2006. Last December, the seventeenth edition took place in Turin (Piedmont, Italy) and, after a couple of years of absence, we were able to participate again. Our presentation was titled "Digital twins of archaeological finds. Open source technologies applied to 3D scanning. Methodologies, limits, and results" and dealt, among other things, with a topic that is very dear to me: how to carry out good 3D archaeological documentations (with open-source software) of artifacts with "difficult" surfaces, such as gold or fur.</p><p style="text-align: justify;">Today, I took the time to upload our presentation, of which you can see the initial slide below. You can find our presentation at <a href="http://www.museidironzone.it/ATOR/biblio/presentazioni/2023_12_13_torino_archeofoss_17/slide/20023_archeofoss_torino_arc-team.html">this address</a>.</p><p style="text-align: justify;"> </p><p style="text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh89zUlit0JpzvhpScuioxYG0TJvxn_jF4pXGbgAd8QU9unOEQ6Bd9lr3YhnoxAeO2AX7qVe5VIPIxy0_K-1p2cMmx1Ydo5wsX_cqTae4-nuB_0B7ZOkKkFvVymt3I51M21_IRS1P7Pbc7e5lt458NYi75OYa4mDX0wgF74kw9guDUogR_bscho_4N6nEc/s872/archeofoss_torino_202_pres_luca.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="830" data-original-width="872" height="417" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh89zUlit0JpzvhpScuioxYG0TJvxn_jF4pXGbgAd8QU9unOEQ6Bd9lr3YhnoxAeO2AX7qVe5VIPIxy0_K-1p2cMmx1Ydo5wsX_cqTae4-nuB_0B7ZOkKkFvVymt3I51M21_IRS1P7Pbc7e5lt458NYi75OYa4mDX0wgF74kw9guDUogR_bscho_4N6nEc/w437-h417/archeofoss_torino_202_pres_luca.png" width="437" /></a></div> <p></p><p style="text-align: justify;">Below is a brief summary of the topics covered slide by slide:</p><p style="text-align: justify;">SLIDE 1</p><p style="text-align: justify;">Simply the title.</p><p style="text-align: justify;">SLIDE 2</p><p style="text-align: justify;">The institutions involved in the presented projects: <a href="https://museotaranto.cultura.gov.it/it/">MArTA</a> (Museo Archeologico Nazionale di Taranto), <a href="https://www.iceman.it/">Südtiroler Archäologiemuseum - Museo Archeologico dell'Alto Adige</a>, UMST (Unità di Missione Strategica della Provincia Autonoma di Trento), and, of course, Arc-Team.</p><p style="text-align: justify;">SLIDE 3</p><p style="text-align: justify;">MArTA, perhaps the most important museum in Magna Graecia, famous for its collection of gold items.</p><p style="text-align: justify;">SLIDE 4</p><p style="text-align: justify;">Südtiroler Archäologiemuseum - Museo Archeologico dell'Alto Adige, famous for hosting the mummy of Ötzi (the Similaun Man).</p><p style="text-align: justify;">SLIDE 5</p><p style="text-align: justify;">The Autonomous Province of Trento, which, with its offices, is responsible for the conservation and enhancement of Cultural Heritage in Trentino (Italy).</p><p style="text-align: justify;">SLIDE 6</p><p style="text-align: justify;">Arc-Team: a company specialized in various archaeological sectors, including FFR (Forensic Facial Reconstruction), Field Archaeology, Digital Archaeology, Mission Abroad, Archaeorobotics, Extreme Archaeology, etc...<br /></p><p style="text-align: justify;">SLIDE 7</p><p style="text-align: justify;">An example of the wide range of artifacts stored at MArTA.</p><p style="text-align: justify;">SLIDE 8</p><p style="text-align: justify;">An example of the type of artifacts associated with the Similaun Man's mummy (mostly made of natural materials such as wood, leather, fur, etc.).</p><p style="text-align: justify;">SLIDE 9</p><p style="text-align: justify;">An example of the various types of archaeological projects carried out by Arc-Team in the Autonomous Province of Trentino - Alto Adige/Südtirol.</p><p style="text-align: justify;">SLIDE 10</p><p style="text-align: justify;">A gallery concerning issues related to 3D documentation of artifacts in the mentioned contexts. Main issues include the size (from very large to very small) of artifacts; logistics (with non-dismountable exhibits, non-detachable display cases, old museum contexts, crowded visitor rooms, etc.); the complexity of some objects (which may require documenting both the internal and external surfaces in 3D, even in the case of very small artifacts); the variability of the characteristics of different surfaces (including extremely reflective ones, such as gold, silver, and sometimes bronze; semi-transparent ones, such as glass; those that absorb light, such as skin and certain types of wood; and very particular ones, such as fur).</p><p>SLIDE 11</p><p style="text-align: justify;">The solution that Arc-Team prefers for 3D archaeological documentation: SfM (Structure from Motion). In the photo, Alessandro Bezzi, Luca Bezzi, and Kalus Kerkow in front of the TOPOI Excellence Cluster lion in Berlin (Germany), documented in 3D in 2009 with the open-source PPT (Python Photogrammetry Toolbox) software developed by the Frenchman Pierre Moulon.</p><p>SLIDE 12</p><p>The workflow PPT (now obsolete), which relied on the open-source Bundler and PMVS software.</p><p>SLIDE 13</p><p>The level of detail/accuracy achieved with PPT in 2009.</p><p>SLIDE 14</p><p style="text-align: justify;">The current situation in the panorama of open-source SfM software. Among the various options: OpenDroneMap (excellent for archaeological excavation and aerial documentation), openMVG, Regard3D, MicMac (excellent for aerial documentation), orthoBlender (excellent for FFR and any project involving a 3D modeling step), Colmap, openMVS, MeshRoom (excellent in creating and managing raster textures).</p><p>SLIDE 15</p><p style="text-align: justify;">A slide to show the versatility of a 3D approach based on SfM, capable of operating in extreme contexts (Underwater Archaeology, Aerial Archaeology, Glacial Archaeology, High Mountain Archaeology, Speleoarchaeology), as well as in logistically simpler contexts (Field Archaeology, museums), based on very simple equipment such as a camera, easily usable even during missions abroad.</p><p>SLIDE 16</p><p style="text-align: justify;">A video of the 3D documentation of a speleoarchaeological context: the Grotta del Teschio, investigated by Arc-Team at the end of 2023 on Monte Stivo (southern Trentino, Italy).</p><p>SLIDE 17</p><p>Issues of 3D documentation of artifacts related to light: problems due to ambient light and problems due to reflected light.</p><p>SLIDE 18</p><p style="text-align: justify;">A typical example of 3D documentation problems related to ambient light: underwater documentation (solvable with pre-processing photos through the open-source software ImageMagick). Specifically, the photo shows the example of the Barca dei Diavoli (which I have already talked about in various posts here on ATOR in the past).</p><p>SLIDE 19</p><p>The 3D reconstruction and vector drawing (from GIS) of the Barca dei Diavoli.</p><p>SLIDE 20</p><p style="text-align: justify;">Another example of problems arising from ambient light, this time inside a museum (MArta): presence of poorly lit areas; artificial light spots; ambient light (sun) divided into three different entry points from the windows of the wall; presence of large reflective surfaces.</p><p>SLIDE 21</p><p>Solutions to eliminate or mitigate problems due to ambient light inside museums: dark or reflective panels, special flashes (ring-type), etc.</p><p style="text-align: left;">SLIDE 22</p><p style="text-align: justify;">A video showing the example of 3D documentation of a marble head not removable from its museum location. Documentation is carried out through SfM with the help of a ring flash and two LED panels for uniform lighting.</p><p>SLIDE 23</p><p style="text-align: justify;">Another example of correcting ambient light in a museum (in cases where small objects removable from display locations are documented), through the use of simple photographic boxes.</p><p>SLIDE 24</p><p style="text-align: justify;">Problems with reflected light and the dynamics of light on reflective surfaces. The first image shows Blender's mascot (Suzanne) in gold, as it would appear in reality, with both diffuse and specular reflection light. The two derived images show, on the left, Suzanne with only diffuse light, and on the right, Suzanne with only specular reflection light. This slide serves to show the technique normally used to document objects with a very reflective surface through SfM: an attempt is made to obtain only photographs with diffuse light (without specular reflection light), from which 3D is then extracted.</p><p>SLIDE 25</p><p style="text-align: justify;">In some cases, such as bronze, to obtain reflection-free photos, it is sufficient to use a polarizing filter on the camera (and rotate it according to the direction of the reflection). In the example shown in the photo, a bronze helmet kept at MArTA.</p><p>SLIDE 26</p><p>The 3D result of the helmet from the previous slide.</p><p>SLIDE 27</p><p>Another example of a complex 3D from MArTA: a semitransparent glass cinerary urn with the amphora in which was housed.</p><p>SLIDE 28</p><p>An example of 3D with reflected light from organic materials (wood, leather strings): Ötzi's axe.</p><p>SLIDE 29</p><p style="text-align: justify;">The technique used by Arc-Team at MArTA for the most complex objects due to the high level of light reflection: gold items. The image reproduces the arrangement of a darkroom in the server room, with the polarization (via a film) of the only light source and the use of a second polarizing filter on the camera.</p><p>SLIDE 30</p><p>An image illustrating the removal of reflection from a gold crown.</p><p>SLIDE 31</p><p>A video showing the 3D model obtained from one of MArTA's most complex gold crowns (due to the complexity of the decoration).</p><p>SLIDE 32</p><p style="text-align: justify;">The concept of Archaeological Tolerance to be applied to the level of precision and accuracy intended to be achieved in 3D surveys (both of artifacts and excavation contexts).</p><p>SLIDE 33</p><p>An example of a special case: the 3D documentation (for FFR) of the face of the mummy of S. Caterina Fieschi Adorno (from Genoa).</p><p>SLIDE 34</p><p style="text-align: justify;">The difficulty was due to the fact that the crystal coffin in which the saint's body is preserved could not be opened. For this reason, Arc-Team documented the face by placing the camera directly on the glass slabs of the coffin. Obviously, with such forced shooting points and the low quality of the photos, due to the glass panels, a 3D was obtained that was not sufficient for the continuation of the work (the identification of restoration interventions, on the nose and mouth) carried out in the 1960s. Nevertheless, it was possible to increase the level of detail of the 3D documentation, thanks to Cicero Moraes (FFR expert at Arc-Team), who used a new technique in Blender (through the Map Displacement modifier), later integrated into orthoBlender.</p><p>SLIDE 35</p><p style="text-align: justify;">This technique is very useful for increasing the detail of the docuemntations of particular surfaces such as fabrics or skin. The example reported here concerns a detail of Ötzi's leggings.</p><p>SLIDE 36</p><p style="text-align: justify;">Another example of the Map Displacement Modifier, this time applied to Ötzi's bear fur hat. However, as seen, this modifier is unable to increase the detail of the docuemntation in areas where the fur has been preserved.</p><p>SLIDE 37</p><p style="text-align: justify;">At the moment, the best method for rendering fur (at least in 3D videos) is the use of the new technique NERF (Neural Radiance Field), through AI and open-source software like NERFstudio.</p><p>SLIDE 38</p><p>The result of the 3D of Ötzi's hat in NERFstudio.</p><p>SLIDE 39</p><p style="text-align: justify;">Of course, Archaeological Tolerance in 3D surveys of artifacts must also be calibrated based on the very purpose of digital twins. For example, Ötzi's artifacts were 3D documented for conservative purposes, while the skull of the Grotta del Teschio was documented as part of normal speleoarchaeological excavation operations (setting up a georeferenced coordinate system in the cave). The digital twins of MArTA's artifacts were created to be integrated into a webGIS, for scientific and educational purposes, developed by Arc-Team for the Taranto museum.</p><p>SLIDE 40</p><p style="text-align: justify;">Conclusions: the only technique that allowed obtaining 3D (digital twins), acceptable according to Archaeological Tolerance, in all these cases was SfM. Any technique set up on different hardware has failed in one or more cases.</p><p>SLIDE 41</p><p style="text-align: justify;">Among the most difficult objects to 3D document during the MArTA experience were the two monumental red-figure kraters (one attributed to the Painter of Carnea and the other to the Painter of the Birth of Dionysus). These artifacts, also due to their size, were not movable and were photographed through the glass of the display case, of course, taking care to eliminate ambient light as much as possible (also due to the large extremely reflective black varnish surfaces).</p><p>SLIDE 42</p><p>The 3D model shows the final result, while the photos on the right show the forced camera shots (green points).</p><p>SLIDE 43</p><p style="text-align: justify;">Another of the most complex objects to document at MArTA was a small (working!) ceramic nymphaeum. For reasons of Archaeological Tolerance, it was extremely important, in this case, to document both the exterior and interior of the object, despite its small size. Only in this way could the functioning of the artifact be shown, which, through a small external tank, filtered water internally to then spout it from a small internal lion protome.</p><p>SLIDE 44</p><p style="text-align: justify;">The internal documentation of the ceramic nymphaeum was possible only through SfM techniques, as no tool, outside of a small camera, could be inserted through the openings of the artifact (of very small dimensions). The image shown here is a 360-degree shot of the inside of the nymphaeum.</p><p>SLIDE 45</p><p>Thank you for your attention!</p><p>I hope that this presentation can be useful. Have a nice day! <br /></p>Luca Bezzihttp://www.blogger.com/profile/01679160024950021679noreply@blogger.com0tag:blogger.com,1999:blog-4458817758216594734.post-43478411690577952662024-01-19T12:23:00.008+01:002024-01-19T12:25:32.954+01:00 Open Source AI and Archaeology: OCR and HTR<p style="text-align: justify;">Hello everyone,<br />this is the first in a series of posts dedicated to Open Source AI (Artificial Intelligence) applied to archaeology. During my work, I have often found myself, lately, working with various AI tools.</p><p style="text-align: justify;">Yesterday, for example, I was engaged in the recovery of old typewritten documentation regarding Lake Antholz/Anterselva, where Alessandro Bezzi and I will soon be involved in some underwater archaeological explorations (as part of a research project on the lakes of South Tyrol, in Northern Italy, entrusted to Arc-Team). To expedite my work, I used Open Source software called <a href="https://github.com/transkribus/">Transkribus</a>, developed by the University of Innsbruck (Austria). In short, Transkribus is "an AI-powered platform for text recognition, transcription, and searching of historical documents – from any place, any time, and in any language."<br /><br />The image below is an example of how easy it is to use Transkribus, thanks to the web interface developed by the University of Innsbruck. As you can see, I just had to upload the scan of the document I had available (unfortunately of low quality and with strong distortions on the left margin) to obtain a fairly faithful transcription in just a few seconds. Transcription errors are mainly due to deformations in the document (unfortunately, I didn't have anything better available). Nonetheless, even with my limited knowledge of German, I managed to correct the text and obtain a good translation into Italian (my native language) thanks to other AI tools (which I will discuss in other posts).</p><p style="text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4Gl-sBDZ11W_tqiQyR8UeBdRTKUHkywf6SlQIWX00CLQ_ORA3YfjXe7Ud1Zwns3SYrq326Xxazw7hOD3VC-U1nuVWkc71Dyguz8gOHHiU6LJfcASJgj7q7Vd86oaZYi50w1YC-7vbb0YkaPaQOTLhlRl1qUoJDKeVuNYHDrHiGv1yBO3l9WMbkTriiSM/s1920/transkribus_trascrizione_arc-team_luca.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1034" data-original-width="1920" height="269" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4Gl-sBDZ11W_tqiQyR8UeBdRTKUHkywf6SlQIWX00CLQ_ORA3YfjXe7Ud1Zwns3SYrq326Xxazw7hOD3VC-U1nuVWkc71Dyguz8gOHHiU6LJfcASJgj7q7Vd86oaZYi50w1YC-7vbb0YkaPaQOTLhlRl1qUoJDKeVuNYHDrHiGv1yBO3l9WMbkTriiSM/w501-h269/transkribus_trascrizione_arc-team_luca.jpg" width="501" /></a></div><p style="text-align: justify;"><br />This post is primarily dedicated to OCR (Optical Character Recognition) and HTR (Handwritten Text Recognition), two branches of research that help us archaeologists (and obviously historians and archivists, more qualified in this) quickly read ancient documents. Transkribus can perform both OCR and HTR, and indeed I have often used it for reading cursive documents (for example, related to World War I or archaeological documentation from the late 19th to early 20th century, but these will be topics for other posts).<br /><br />What I want to convey here is that AI is forcefully entering (for some time now) the world of archaeology (I will soon provide more examples in other posts), even in areas where it seems unlikely to happen, and there are often many Open Source options to use these "new" tools. For instance, there is <a href="https://kraken.re/main/index.html">Kraken</a>, "a turn-key OCR system optimized for historical and non-Latin script material," released under the <a href="https://github.com/mittagessen/kraken/blob/main/LICENSE">Apache 2.0 license</a>, very useful, for example, for documents in Arabic or Greek (but not only). Kraken itself is linked to the "<a href="https://escriptorium.openiti.org/">eScriptorium</a>" platform, also developed with <a href="https://gitlab.com/scripta/escriptorium/-/blob/develop/LICENSE?ref_type=heads">open-source code</a> by various partners, including the University of Paris (France).<br /><br />If you are interested in Open Source tools for OCR and HTR, I recommend starting with eScriptorium and from <a href="https://transkribus.ai/">this page</a>, where you can upload your first documents to run tests.</p><p style="text-align: justify;">Have a nice day!<br /></p>Luca Bezzihttp://www.blogger.com/profile/01679160024950021679noreply@blogger.com0tag:blogger.com,1999:blog-4458817758216594734.post-74507842195887316782024-01-17T17:26:00.011+01:002024-01-18T11:13:54.031+01:00HumanOS, a French FLOSS for archaeoanthropology<p style="text-align: left;">Hello everyone.</p><p style="text-align: justify;">For several years, Arc-Team has been working at the ancient monastery of <a href="https://www.ufficiostampa.provincia.tn.it/Comunicati/A-Sant-Anna-di-Sopramonte-la-Summer-School-in-Antropologia-Fisica">S. Anna di Sopramonte</a> near Trento (Trentino, Italy). The project, initially started as an archaeological excavation, has evolved over the years into a physical anthropology summer school, as a collaboration between the University of Padua (Italy) and Appalachian State University in North Carolina (USA). Beyond the actual archaeological excavation, various activities and lessons related to archaeology take place during the summer school, covering topics from computational archaeology to archaeoanthropology and geoarchaeology. Typically, my colleagues and I at Arc-Team are involved in both the technical direction of the excavation and the training of students, especially regarding excavation techniques, 3D documentation, and project management through GIS.</p><p style="text-align: justify;">I must say that during the last campaign (July 2023), I realized how old I am and how much the new generations have improved in archaeological techniques: for the first time, more than teaching students, I learned from them. Specifically, I learned about the existence of <a href="https://www.humanos.cnrs.fr/">HumanOS</a>, the topic of this post. HumanOS is a French open-source software developed for the management of human remains during an archaeological excavation. Essentially, it is a DBMS for archaeoanthropology. Personally, I have only recently started using it (usually, I manage this data directly through GIS and WebGIS), and I must say that the software seems well-designed and well-developed, especially from an anthropological perspective. Probably, from an archaeological point of view, it might need some adjustments (at least to fit correctly into the workflow here in Italy), but at the moment, it appears to be an excellent option for managing anthropological excavation data, especially in projects that have reached the study of bones.</p><div style="text-align: justify;">Below, you can see an image of a tomb (number 5) from the S. Anna excavation where the preservation level of the bones is recorded (which is perhaps the best aspect of managing archaeoanthropologic analyses through this software). I hope to post more updates on HumanOS soon. In the meantime, have a nice day!</div><div style="text-align: justify;"> </div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRmim8iWchqwmReG3Vw7phbraLwUJd5z9rnIr-DvYDXxMnOZ5AgSmyFtFp54qJfvX0GcBDm0zRzzDgqm0f5LZtKTBkRzUCdelWh0gfVWVxsbxhfB2X-6Yk9w8W2EcfLqyl8bhjYRUDn-i0nV1vAkRjgLs6kTIgdyRIHgD_khz_dMkhaRYvzVi53WPUBhc/s1920/arc-team_humanos_s_anna_sopramonte_luca.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="933" data-original-width="1920" height="244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRmim8iWchqwmReG3Vw7phbraLwUJd5z9rnIr-DvYDXxMnOZ5AgSmyFtFp54qJfvX0GcBDm0zRzzDgqm0f5LZtKTBkRzUCdelWh0gfVWVxsbxhfB2X-6Yk9w8W2EcfLqyl8bhjYRUDn-i0nV1vAkRjgLs6kTIgdyRIHgD_khz_dMkhaRYvzVi53WPUBhc/w501-h244/arc-team_humanos_s_anna_sopramonte_luca.png" width="501" /></a></div><div style="text-align: justify;"> </div><div style="text-align: justify;">Acknowledgement:</div><div style="text-align: justify;"> </div><div style="text-align: justify;">Many thanks to Nicol Rossetti, Viola Polastri, Vanessa Marras for introducing me to HumanOS <br /></div><div style="text-align: justify;"> </div><div style="text-align: justify;"> </div>Luca Bezzihttp://www.blogger.com/profile/01679160024950021679noreply@blogger.com0tag:blogger.com,1999:blog-4458817758216594734.post-12623749734297095112023-10-31T16:11:00.008+01:002023-10-31T16:17:50.089+01:00Porte aperte al CNR: my experience at the open festival of the Italian National Research Council<p style="text-align: justify;">Hi everyone,</p><p style="text-align: justify;">It's been a long time since my last post, because, for personal reasons, I decided to suspend this experience...</p><p style="text-align: justify;">Today I decided to write in this blog again because I recently participated in an event that convinced me to reactivate the ATOR project (Arc-Team Open Research).</p><p style="text-align: justify;">Recently (October 11th and 12th) I was invited by some friends of the CNR (The <a href="Italian National Research Council">Italian National Research Council</a>) to participate in a round table on Open Science. This particular round table (officially called "Rainbow Encounter") was held by Emanuel Demetrescu and Simone Berto of <a href="https://www.ispc.cnr.it/en/">CNR-ISPC</a> and the title was "Exploring potential synergies between Open Data, Open Science and Cultural Heritage Sciences".</p><p style="text-align: center;"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6UXcaZWPy_80Atpb5P3RE3Pw_KYGjzZAWzlWcTyn7Kmi5I87mlOLyqQ2hqKJL2dlCMNRizXFA6e5NwhRQD5blgqoB6NIVoE9hl76odsNWNOIR3ebEi-lcIwf44AwfEwKKvy53MKIg7HUiaN5OiNwJBlrFBUn1dsLR21IpDfY_4TUEquHYzBLJLxhSDzg/s1920/firenze_2023_cnr_rainbow_encounter_round_table.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1080" data-original-width="1920" height="286" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6UXcaZWPy_80Atpb5P3RE3Pw_KYGjzZAWzlWcTyn7Kmi5I87mlOLyqQ2hqKJL2dlCMNRizXFA6e5NwhRQD5blgqoB6NIVoE9hl76odsNWNOIR3ebEi-lcIwf44AwfEwKKvy53MKIg7HUiaN5OiNwJBlrFBUn1dsLR21IpDfY_4TUEquHYzBLJLxhSDzg/w509-h286/firenze_2023_cnr_rainbow_encounter_round_table.png" width="509" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Rainbow Encounter about Open Science<br /></td></tr></tbody></table><p></p><p style="text-align: justify;">I will not go into details about the round-table... let's say that actually, in Italy, the situation seems to be confused, with two different Ministries, the one of Culture (<a href="https://www.beniculturali.it/">MiC</a>) and the one of University and Research (<a href="https://www.mur.gov.it/it">MUR</a>), which seem to give opposite indications, especially on the topic of Open Data. Summarizing, the MiC asks the Institutions to monetize the data, also with the use of copyright (e.g on picture and images), while the MUR ask the Institution to freely share the data (especially if obtained with public money). </p><p style="text-align: justify;">I think we will have to wait to see which idea will prevail, also because, if I understood correctly, no definitive implementing degrees have yet been released. Of course my personal vision embraces the philosophy of Open Data (within a more general Open Science), so that I prefer the MUR indications, but this is not the point. The point is that, for many years, I thought that most of the goals of the "Open Archaeology Movement", if we can call it so, were already achieved. After all it is a movement which, at least in Italy, took its first steps at the beginning of 2000s. Listening to some of the testimonies during the round table, I understood that things are not really like that and I decided to start writing posts in ATOR again, at least to still share the data, knowledge and, in general, the research that I am conducting during the my work for Arc-Team.</p><p style="text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieirIPPtBTFbq5XR7YauY2lsBMPntw-6LXaFzkPPvWAMogxnTEYChFYZ5RIxlS0IJfNRaFnNf6wVGBGrhmA2FJwYzrJRAuDT_HxbP04XLzy3l9pASdDumTRPdDWzCLVIOs5jlPYjv1cKAiMZCXU-9LRYj0YcPRrh70ricY5g2lNk7Ee2Wmf_6GW-I1iPw/s1920/firenze_2023_cnr_rainbow_encounter_group.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="281" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieirIPPtBTFbq5XR7YauY2lsBMPntw-6LXaFzkPPvWAMogxnTEYChFYZ5RIxlS0IJfNRaFnNf6wVGBGrhmA2FJwYzrJRAuDT_HxbP04XLzy3l9pASdDumTRPdDWzCLVIOs5jlPYjv1cKAiMZCXU-9LRYj0YcPRrh70ricY5g2lNk7Ee2Wmf_6GW-I1iPw/w500-h281/firenze_2023_cnr_rainbow_encounter_group.png" width="500" /></a></div><br /> <p></p><p style="text-align: justify;">That's all for now, but I hope to be able to write new posts soon. I wish you a good day!<br /></p><div style="text-align: justify;"><pre class="tw-data-text tw-text-large tw-ta" data-placeholder="Traduzione" data-ved="2ahUKEwi4h4y4vaCCAxXk_rsIHSwmDioQ3ewLegQIBhAP" id="tw-target-text"><span class="Y2IQFc" lang="en"> </span></pre></div><p></p><br />Luca Bezzihttp://www.blogger.com/profile/01679160024950021679noreply@blogger.com0tag:blogger.com,1999:blog-4458817758216594734.post-34227811923231220932021-02-26T11:49:00.001+01:002021-02-26T11:49:08.491+01:00Archaeological Tolerance<div style="text-align: justify;" trbidi="on">
Hello everybody,</div><div style="text-align: justify;" trbidi="on">this short post will focus on a topic which is very important in archaeology, at least in commercial (professional) archaeology: the <u>archaeological tolerance</u>.</div><div style="text-align: justify;" trbidi="on">This concept concern the level of <a href="https://en.wikipedia.org/wiki/Accuracy_and_precision">precision and accuracy</a> which an archaeological documentation should reach. Obviously it is not an absolute value, but is rather connected with other factors which should be evaluated by a specialist (the archaeologist) at the beginning of any project.</div><div style="text-align: justify;" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcXOvNIYHCF8tdTWpA-9I8S_W4GHvi_8CZF5F45HPuq5c-uqrb0paFDSLZDAWQeYFuJZpUeeDA36bc2V7u5eGFmnVdmixzqkHmuu1pSKO2EsRG2fKRxqfIVhACqjZTNe6TYEGmrXJ-vd4/s1210/ator_arc-team_archaeological_tolerance.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="838" data-original-width="1210" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcXOvNIYHCF8tdTWpA-9I8S_W4GHvi_8CZF5F45HPuq5c-uqrb0paFDSLZDAWQeYFuJZpUeeDA36bc2V7u5eGFmnVdmixzqkHmuu1pSKO2EsRG2fKRxqfIVhACqjZTNe6TYEGmrXJ-vd4/s320/ator_arc-team_archaeological_tolerance.png" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Archaeological Tolerance: precision VS accuracy</td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr></tbody></table><br /><div style="text-align: justify;" trbidi="on">In normal conditions, the factor that can influence the archaeological tolerance are related with the project's specifications, (time-table, budget, dimension of the AoI, the Area of Interest, etc...), with some environmental aspects (logistics, workplace safety, etc...) and, finally, with archaeology itself (chronology of the archaeological evidences, their information potential, etc...). This last aspect is the reason why the archaeological tolerance should be evaluated by an archaeologist and not by other technicians.</div><div style="text-align: justify;" trbidi="on">I wanted to write a post about this concept because it is very important in order to define the strategy during an archaeological project. In other words, basing of different values of archaeological tolerance, the working team could decide to use very precise and accurate, but time-expensive, 3D documentation methodologies (e.g. SfM-MVS) or choose faster, but less accurate, technologies (e.g. SLAM).</div><div style="text-align: justify;" trbidi="on">I hope this post will useful to understand the processes of decision making in archaeology. Have a nice day! <br /></div>
Luca Bezzihttp://www.blogger.com/profile/01679160024950021679noreply@blogger.com0tag:blogger.com,1999:blog-4458817758216594734.post-8460389333352185822020-12-11T15:07:00.001+01:002020-12-11T15:07:11.946+01:004D in archaeology: 3D documentation VS 3D reconstruction<p> Hi everybody,</p><p style="text-align: justify;">On 23 April 2020 I was asked by my friend Piergiovanna Grossi to give a lesson about 3D and archaeology at the <a href="https://en.wikipedia.org/wiki/University_of_Verona">University of Verona</a>. Unfortunately I cannot share here this lesson (at least not yet), due to some restrictions. Nevertheless I would like to write a fast post about one of the topics that seem to have surprised the students: the difference, in archaeology, between <u>3D documentation</u> and <u>3D reconstruction</u>.</p><p style="text-align: justify;">To keep it simple (<a href="https://en.wikipedia.org/wiki/KISS_principle">KISS principle</a>) we have to consider that we can define our reality (at least in a simple way) in 4D, through three <u>spatial dimensions</u> (x,y,z) and a <u>temporal dimension</u> (t). For this reason, when we work on an archaeological project (excavation, survey, etc...) and we want to document something, we have to pay attention that we are not simply registering the data in 3D, but we are doing a digital copy of the object of our investigation, during a specific time lapse, so that we are recording his physical aspect (morphology) as it is at the moment in which we are working on it. In other words, we are recording a 3D of the object as we see it now (but it would be more correct to say that we are recording it in 4D: x,y,z and t). This is what we call <u>archaeological documentation</u>, but we have to keep in mind that the object as we see it can be very different from the shape it had in the past (like the ruins of a castle are different from the castle itself). Moreover we have to consider that a single object may have had various shapes in the past (a castle could be the result of various architectural stages). This is lead us to the main difference between an the archaeological documentation (which record the object as we see it when we study it) and the archaeological reconstruction (which tries to rebuild the original shape of the object in the past).</p><p style="text-align: justify;">This difference is important also because, in Digital Archaeology, <u>3D documentations</u> and <u>3D reconstructions</u> are performed with different kind of software. In the first case we can use SfM-MVS techniques with FLOSS like <a href="https://alicevision.org/">MeshRoom</a>, <a href="https://github.com/openMVG/openMVG">OpenMVG</a>, etc..., while in the second we use 3D suite like <a href="https://www.blender.org/">Blender</a>, even if, recently, Cicero Moraes wrote an add-on able to join this two aspects into a single application: <a href="http://www.ciceromoraes.com.br/doc/it/OrtogOnBlender/OrtogOnBlender_Como_Funciona.html">OrtgogOnBlender</a>.</p><p style="text-align: justify;">Of course, working in Arc-team together with Cicero Moraes, it is obvious for me to mention him for this topic, but this is due not only to his effort in developing OrtogOnBlender, but also because, in order to explain the students this fundamental difference between archaeological documentation and reconstruction, I found out that the best way was to show the some example of our past projects related with Forensic Facial Reconstruction (FFR). In fact I started showing some example regarding the medieval of <a href="http://arc-team-open-research.blogspot.com/2013/12/caldonazzo-castle-from-ruins-to.html">Torre dei Sicconi</a> and the roman site of <a href="https://it.wikipedia.org/wiki/Villa_romana_di_Valdonega">Villa di Valdoneg</a><a href="https://it.wikipedia.org/wiki/Villa_romana_di_Valdonega">a</a>, like the image below...</p><p style="text-align: justify;"> </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEic5TpcXd0M738WCg398BEpLvjZswCULSxAzG36PZ63aOyaXkpK1aN5jao16qghyphenhyphenwM0BNZSzr_SWgKiZPV-jf-XjQQ9N8qPgXNbAHHIWMA_P8kmzH1C-B4RNNNYRVo6PVeyNO-wMj5JklQ/s549/arc-team_valdonega_docvsrec.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="549" data-original-width="500" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEic5TpcXd0M738WCg398BEpLvjZswCULSxAzG36PZ63aOyaXkpK1aN5jao16qghyphenhyphenwM0BNZSzr_SWgKiZPV-jf-XjQQ9N8qPgXNbAHHIWMA_P8kmzH1C-B4RNNNYRVo6PVeyNO-wMj5JklQ/s320/arc-team_valdonega_docvsrec.png" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Roman site of Villa di Valdonega: 3D documentation (up) and 3D reconstruction (down)<br /></td></tr></tbody></table><br /><p style="text-align: justify;">... but suddenly everything was more clear when I showed an example of FFR, like this one:</p><p style="text-align: justify;"> </p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj67SDCzz0VdUoI3DshLAGzB_SD0Y4s3GlVckhs-6dNc6pOzUDvJdnTGOLqQFrV6jY_P9Sc8Nwu1ma4WADuml0-FIGA8MH_S3Kt1R6wyBwMjqpvPJIUqsX0cyE_90E0fOnto0ub43uocmc/s802/arc-team_s_valentino_monselice.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="802" data-original-width="726" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj67SDCzz0VdUoI3DshLAGzB_SD0Y4s3GlVckhs-6dNc6pOzUDvJdnTGOLqQFrV6jY_P9Sc8Nwu1ma4WADuml0-FIGA8MH_S3Kt1R6wyBwMjqpvPJIUqsX0cyE_90E0fOnto0ub43uocmc/s320/arc-team_s_valentino_monselice.png" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The FFR of St. Valentine of Monselice: on the left side the reconstructive model, on the right side the documentation of the skull<br /></td></tr></tbody></table><p></p><p>Indeed, during an archaeological FFR project, it is pretty simple to understand that the 3D of the skull represent a 3D documentation, while the 3D of the face is a 3D reconstruction.</p><p>I hope this post was useful, Have a nice day!<br /></p><p style="text-align: justify;"><br /></p><p style="text-align: justify;"><br /></p>Luca Bezzihttp://www.blogger.com/profile/01679160024950021679noreply@blogger.com0tag:blogger.com,1999:blog-4458817758216594734.post-35189526540668733492020-08-04T21:13:00.002+02:002020-08-04T21:13:31.612+02:00S. Catherine of Genua FFR: technical report published<div style="text-align: justify;">Hello everybody,</div><div style="text-align: justify;">this summer <a href="https://www.arc-team.com/">we</a> are working very hard on some important tasks (an archaeological excavation on the UNESCO site of <a href="https://en.wikipedia.org/wiki/Oratorio_di_Santa_Maria_in_Valle">S. Maria in Valle</a> in <a href="https://en.wikipedia.org/wiki/Cividale_del_Friuli">Cividale del Firuli</a> and a cultural project with 3D scanning for the <a href="https://it.wikipedia.org/wiki/Museo_archeologico_nazionale_di_Taranto">National Archaeological Museum MaRTA</a> of <a href="https://en.wikipedia.org/wiki/Taranto">Taranto</a>), so I have very few time to write post on ATOR. BTW I do not want to give up, since I think ATOR has been (still is?) a good resource for Free and Open Archaeology on the web. For this reason I will try to keep it up to date with short post, as long as I can.</div><div style="text-align: justify;">This post regards the publication of the technical report of an old (2019) project of ours: the archaeological Forensic Facial Reconstruction of <a href="https://en.wikipedia.org/wiki/Catherine_of_Genoa">S. Catherine of Genua</a>. I already wrote about <a href="http://arc-team-open-research.blogspot.com/2019/10/forensic-facial-reconstruciotn-of-st.html">this project</a>, which, in short, presented some interesting aspects: the use of <a href="http://www.ciceromoraes.com.br/doc/pt_br/OrtogOnBlender/OrtogOnBlender_Como_Funciona.html">OrtogOnBlender</a> for 3D scanning, some reverse engineeing techniques and the free publication of the technical report.</div><div style="text-align: justify;">In this post I want to underline this last point. In fact, the <a href="https://www.researchgate.net/publication/336405904_Ricostruzione_Facciale_Forense_di_S_Caterina_Fieschi_Adorno">free disclosure of this document</a>, with open licenses and in a digital form, reached a wider public (not only among researchers, but also among normal people), so that the <a href="http://www.bccgenova.it/">Museo dei Cappuccini di Genova</a> decided to print a small brochure, basing on the technical report, enriched with some contributions of other authors. I think this a good example of free disclosure of scientific and cultural data through the digital publication of the so-called gray literature (technical reports, archaeological documentations and so on) which is widely produced by professionals who work in the field of Cultural Heritage, but it is very rarely disclose.</div><div style="text-align: justify;">I will try to translate in English this document as soon as I can. Here below you can see the printed version.</div><div style="text-align: justify;"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGkdhMGIZsxJYg7Dl6wp4xfHV4JqFmfwvDcAQ0TBzu7-DPffzmM0Nwcgha3poki04TTQWAjmgLIUBNQPrbBP9lx7uWKHuj779J1Kk2zbUWH74nZ6CbOGcijlBaNeTYkr-ZM-U_sZeHYgY/s1260/ffr_s_caterina_printed.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1260" data-original-width="1125" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGkdhMGIZsxJYg7Dl6wp4xfHV4JqFmfwvDcAQ0TBzu7-DPffzmM0Nwcgha3poki04TTQWAjmgLIUBNQPrbBP9lx7uWKHuj779J1Kk2zbUWH74nZ6CbOGcijlBaNeTYkr-ZM-U_sZeHYgY/s640/ffr_s_caterina_printed.jpeg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The printed version of the technical report about S. Catherine's FFR project.<br /></td></tr></tbody></table><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Have a nice day!<br /></div>Luca Bezzihttp://www.blogger.com/profile/01679160024950021679noreply@blogger.com0tag:blogger.com,1999:blog-4458817758216594734.post-88076880020213493452020-04-11T16:40:00.000+02:002020-04-11T16:40:11.883+02:00Single View Reconstruction from profile portraits<div dir="ltr" style="text-align: left;" trbidi="on">
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Hello everybody,</div>
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this fast post is to answer a question my friend and colleague Emanuel Demetrescu asked me. He wanted to know if <a href="http://arc-team-open-research.blogspot.com/2020/04/faces-3d-single-view-reconstruction.html">the software developed by A. Jackson and his equip</a> is working also with profile portraits.</div>
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It took me longer than I thought to answer, since it is true that the software has more difficulties in performing this kind of reconstructions and, for a while, my opinion was that it simply did not work. Finally, testing the software with random profile portraits from internet, I tried a picture of a famous actress (<a href="https://en.wikipedia.org/wiki/Jennifer_Lawrence">Jennifer Lawrence</a>; I hope she does not mind about it, but I am also pretty sure she will never read this post :)). This portrait was the only photo that worked since that moment and you can see the result here below.</div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-zbRi_IcjDcGv1F4euJWqsa43VHQrxRKiwqVRRv9-zVxbrK6ii1EDxTALizZ4jB6nl8QMM_xfQu3fLvpRm3FmmT6Zl3eqofBcKFXVJ7aJUNFTDTQgOHr62GFCNPRj5ZxMFCr0SFlKMUY/s1600/jennifer_lawrence.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1006" data-original-width="666" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-zbRi_IcjDcGv1F4euJWqsa43VHQrxRKiwqVRRv9-zVxbrK6ii1EDxTALizZ4jB6nl8QMM_xfQu3fLvpRm3FmmT6Zl3eqofBcKFXVJ7aJUNFTDTQgOHr62GFCNPRj5ZxMFCr0SFlKMUY/s320/jennifer_lawrence.jpg" width="211" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">3D reconstruction from a profile photo (Jennifer Lawrence)</td></tr>
</tbody></table>
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Despite some minimal errors in the reconstruction (you can see them in black in the 3D model), the software finally worked, at least with a picture. Now it was the time to test it with some paints. Again I did many test that ended with no result, but than I started to analyse the photo of Jennifer Lawrence to understand why that picture, among many others, was the only one that worked.</div>
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My opinion was that, for the software, it is difficult to recognise the face within a profile portrait, probably due to the fact that it has some parameters to check and probably it is looking for two eyes (and does not expect to find just one). So I figured out that the probability to succeed would be higher if the portrait would have some characteristics: profiles with features that makes an area of the face more recognizable; profiles which are not perfectly straight, so that, for instance, it is possible to glimpse the second eye; images with a background very different from the portrait (like in the picture of Jennifer Lawrence, in which the pale face is very visible against a dark background). </div>
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It took me a while to find profile portraits with the two first features in art history, but finally I found them. For the first test I used the face of an angel, painted by <a href="https://en.wikipedia.org/wiki/Giotto">Giotto</a> in the <a href="https://it.wikipedia.org/wiki/Dormitio_Virginis_(Giotto)">Dormitio Virginis</a>. In this paint the angel is blowing on an incense burner, so that his left cheek is very recognizable. In fact the software gave me a result, which you can see here below.</div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZfziJzHJgpXa2GiDLLeaCq4jDw6k7NYNS_jjvo0xE54mcB3w4xRKjXdF_EE3bVTgk8ORMN5shZP8U3oXF7PxjaAnh31Rs7K79DTIbWf1W4rdRqvHPtIcPhzQ6Er-rdXB9Kgu2U-qC5QA/s1600/Giotto_dormitio_virginis.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1050" data-original-width="1279" height="262" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZfziJzHJgpXa2GiDLLeaCq4jDw6k7NYNS_jjvo0xE54mcB3w4xRKjXdF_EE3bVTgk8ORMN5shZP8U3oXF7PxjaAnh31Rs7K79DTIbWf1W4rdRqvHPtIcPhzQ6Er-rdXB9Kgu2U-qC5QA/s320/Giotto_dormitio_virginis.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">3D profile reconstruction from the Dormition Virginis (Giotto)</td></tr>
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For the second test I used a Botticelli's paint and, more precisely, the Portrait of a Young Woman. In this case the profile is not perfectly straight, so I thought there were good chances to succeed. Also in this case the software worked well, giving me the result you can see here below.</div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8kEnS0Vgtt9I-oKwZKqoEfp5kA2fuiASGosd4bATjBn7c0KNhZ-ung4VEMcxzQDXD41iwmINc5Xf1YQF9_d_YRiqfX27vYF4c7OBjdrRyzrhl_TLd4XnVljVNJzvGnzRv3_UkiC-GumE/s1600/botticelli_giovane_donna.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1206" data-original-width="1348" height="286" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8kEnS0Vgtt9I-oKwZKqoEfp5kA2fuiASGosd4bATjBn7c0KNhZ-ung4VEMcxzQDXD41iwmINc5Xf1YQF9_d_YRiqfX27vYF4c7OBjdrRyzrhl_TLd4XnVljVNJzvGnzRv3_UkiC-GumE/s320/botticelli_giovane_donna.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">3D profile reconstruction from a paint of Sandro Botticelli</td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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After these two positive results with ancient paints, I wanted to do one more test with a picture and especially with one in which the background was very different form the face, so I looked up form other images and I checked directly for photographic portraits. Finally I found a picture of <a href="https://en.wikipedia.org/wiki/Natalie_Portman">Natalie Portman</a> by <a href="https://en.wikipedia.org/wiki/Dan_Winters">Dan Winters</a>. Also in this case the software worked well and here below is the result.</div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkYG6uKA4htrr2lKBoAqktqCLEHMVq5IN0Vr3YYCYgZqP5DHVr7RTTawQPh0cX0cno5ZETGklz7YrOzXVsbkorUPCfYs7nEocfZJrI-hvqS0tXgyiseS9kfHbFREitK4PtodMmFCft6n8/s1600/natalie_portmann.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="357" data-original-width="563" height="202" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkYG6uKA4htrr2lKBoAqktqCLEHMVq5IN0Vr3YYCYgZqP5DHVr7RTTawQPh0cX0cno5ZETGklz7YrOzXVsbkorUPCfYs7nEocfZJrI-hvqS0tXgyiseS9kfHbFREitK4PtodMmFCft6n8/s320/natalie_portmann.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">3D reconstruction from a profile portrait of Natalie Portman</td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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In conclusion, after all these test, my opinion is that it is still possible to automatically reconstruct faces from profiles, using the "Large Pose 3D Face Reconstruction from a Single Image via Direct Volumetric CNN Regression" methodology<i> </i>(and software) proposed by Jackman and colleagues, but the images have to be accurately selected and the success rate is very much lower than working with frontal or three-quarter portraits.</div>
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I hope that this post will be useful. Have a nice day!<br /><i></i></div>
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Luca Bezzihttp://www.blogger.com/profile/01679160024950021679noreply@blogger.com0tag:blogger.com,1999:blog-4458817758216594734.post-82494360771568515862020-04-10T11:56:00.000+02:002020-04-10T11:56:45.916+02:00Faces 3D Single View Reconstruction<div dir="ltr" style="text-align: left;" trbidi="on">
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Hello everybody,</div>
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as you probably know, if you are a regular reader of ATOR, we worked a lot, in the past, on the topic of human faces, getting involved in aFFR projects and organizing exhibitions. </div>
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Archaeological Foresnic Facial Reconstructions (aFFR) was the technique we used most, working with the protocol <a href="https://www.arc-team.com/">we</a> developed through the years, thanks to our specialist Cicero Moraes. For instance, we used this methodology for St. <a href="https://en.wikipedia.org/wiki/Anthony_of_Padua">Anthony of Padua</a> (<a href="https://www.researchgate.net/publication/281714197_Il_volto_del_Santo_La_ricostruzione_Facciale_Forense_di_Sant%27Antonio_di_Padova">CARRARA <i>et al.</i> 2014</a>), <a href="https://en.wikipedia.org/wiki/Catherine_of_Genoa">St. Catherine of Genua</a> (<a href="https://www.researchgate.net/publication/336405904_Ricostruzione_Facciale_Forense_di_S_Caterina_Fieschi_Adorno">BEZZI <i>et al. </i>2019</a>), for the father of pathological anathomy <a href="https://en.wikipedia.org/wiki/Giovanni_Battista_Morgagni">Giovanni Battista Morgagni</a> (<a href="https://www.researchgate.net/publication/321874989_New_technique_in_facial_reconstruction_the_case_of_Giovanni_Battista_Morgagni">ZANATTA et al. 2018</a>), for the medieval poet <a href="https://en.wikipedia.org/wiki/Petrarch">Petrarch</a> (<a href="https://www.researchgate.net/publication/324360528_Lo_strano_caso_del_cranio_di_Francesco_Petrarca">CARRARA and BEZZI 2018</a>), for the <a href="https://it.wikipedia.org/wiki/Mondeval">mesolithic man of Mondeval</a>, and for the Ptolemaic mummy of the first priest of Toth in <a href="https://en.wikipedia.org/wiki/Heliopolis_(ancient_Egypt)">Helipolis</a> (<a href="https://www.researchgate.net/publication/324013482_Imago_animi_Volti_dal_passato">CARRARA and SCATTOLIN 2018</a>). Despite this, aFFR is not the only techniques we used in this field: between 2012 and 2013 we developed a new paleoartistic methodology in order to reconstruct the faces of our ancestors. We called this new methodology "Coherent Anatomical Deformation" (<a href="https://www.researchgate.net/publication/309652672_FACCE_I_molti_volti_della_storia_umana">BEZZI 2016</a>) and it is based on a x-ray tomography of a <a href="https://www.researchgate.net/publication/324013482_Imago_animi_Volti_dal_passato"><i>Pan troglodytes</i></a> (Chimpanzee), adapted to the cranium of different hominess’s. Rarely we used also a third technique: an Iconographic Facial Reconstruction, based on a comparison of historical images of a subject. This is the case, for instance, of the <a href="https://en.wikipedia.org/wiki/Bernardo_Clesio">Cardinal Bernardo Clesio</a> (<a href="https://www.researchgate.net/publication/324013482_Imago_animi_Volti_dal_passato">NEBL 2018</a>), whose face was reconstructed on ancient paintings and sculptures, after analysing the common features all the portraits. </div>
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Today I will consider this third techniques, speaking about a software I fond yesterday. This software is pretty recent (2017) and, unfortunately, we did not know it when we were working on the exhibition "Imago animi" (BEZZI et al. 2018), because it would have been useful for the facial reconstruction of Bernardo Clesio. This program is referenced as "<i>Large Pose 3D Face Reconstruction from a Single Image via Direct Volumetric CNN Regression</i>", which is also the title of the related article (<a href="http://aaronsplace.co.uk/papers/jackson2017recon/jackson2017recon.pdf">JACKSON<i> et al.</i> 2017</a>). Of course the software is Open Source and <a href="https://github.com/AaronJackson/vrn">here</a> you can find the code.</div>
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Yesterday I played around with it and here below are some results. I started with some test concerning the new exhibition <a href="https://www.arc-team.com/">we</a> are working in these days, about the history of my hometown: <a href="https://en.wikipedia.org/wiki/Cles">Cles</a>. Our task for the exhibition is to prepare the archaeological session, so I started trying to automatically reconstruct the face of <a href="https://it.wikipedia.org/wiki/Luigi_de_Campi">Luigi Campi</a>, a famous archaeologist born in Cles. To do it I used an historical picture and here below is the result.</div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx6kjlDEN7mM19opv0O-ihh_tWt-vtQ17BPpKmJrg6oc3jPCM6mEi4lyVt2Mau8EV9alsAlQ8sPBDjKoAQ42co0WZjdE_CbVox5wf326YvF1CmLRR7wPpa9eZAOMdvSAiZFhow3OGIFjs/s1600/arc-team_luigi_campi.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="673" data-original-width="748" height="287" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx6kjlDEN7mM19opv0O-ihh_tWt-vtQ17BPpKmJrg6oc3jPCM6mEi4lyVt2Mau8EV9alsAlQ8sPBDjKoAQ42co0WZjdE_CbVox5wf326YvF1CmLRR7wPpa9eZAOMdvSAiZFhow3OGIFjs/s320/arc-team_luigi_campi.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Luigi Campi: on the left the original picture, on the right the reconstructed face in 3D.</td></tr>
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After this first positive test I wanted to try if the software was able to work also with other kind of historical iconographic sources, so I tried to find a good quality paint of someone related with Cles and finally I found the portrait of Giuseppina Cles, painted by <a href="https://en.wikipedia.org/wiki/Johann_Baptist_von_Lampi_the_Elder">Giovanni Battista Lampi</a> the Elder around 1780/1781. Also this image gave me positive results.</div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhh1Iog0enzExhoJEutEz5Bd8Qis2dSMh_64eiZur3Qi6Y_uHU81pet7YHzIA8BZr6EpW73-oBO2CMV873fry1lyEafLQBzwHJi9TkHdO2dqCuSQZ0xdChodtfMu9C0Lh9n-2S8Mf6pfMk/s1600/arc-team_giuseppina_cles.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="673" data-original-width="748" height="287" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhh1Iog0enzExhoJEutEz5Bd8Qis2dSMh_64eiZur3Qi6Y_uHU81pet7YHzIA8BZr6EpW73-oBO2CMV873fry1lyEafLQBzwHJi9TkHdO2dqCuSQZ0xdChodtfMu9C0Lh9n-2S8Mf6pfMk/s320/arc-team_giuseppina_cles.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The reconstruction of Giuseppina Cles from an ancient paint</td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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At this point I wanted to know if the software was also able to work with less realistic images, so I tried to reconstruct the face of the <a href="https://en.wikipedia.org/wiki/Christ_Pantocrator">Christ Panthocrator</a> of an ancient fresco in the <a href="https://it.wikipedia.org/wiki/Chiesa_di_San_Vigilio_(Pez)">church of St. Vigilio in Pez</a> and here below is the result.</div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgeWIfsXCo7-Ryik50szLxeptxLX52cWu8n0GDkLd15kMqmVcyWKCz51tyF3d4kiKWri0zU_gJBMVOSLG_iSD-_ucNHfrj0nqk1ZMvmv5RyKT-uItzIFa3nW-BOMRL6-gg0vFu-TADhmo/s1600/arc-team_cristo_pantocratore.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="803" data-original-width="748" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgeWIfsXCo7-Ryik50szLxeptxLX52cWu8n0GDkLd15kMqmVcyWKCz51tyF3d4kiKWri0zU_gJBMVOSLG_iSD-_ucNHfrj0nqk1ZMvmv5RyKT-uItzIFa3nW-BOMRL6-gg0vFu-TADhmo/s320/arc-team_cristo_pantocratore.jpg" width="298" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">3D facial reconstruciotn of the Christ Panthocrator fo S. Vigilio in Pez</td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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Befor to stop playing with this very interesting software, I wanted to do some more test with a couple of iconic images, so I tried out the portrait of the <a href="https://en.wikipedia.org/wiki/Portrait_of_the_Boy_Eutyches">Boy Eutyches</a> (from <a href="https://en.wikipedia.org/wiki/Fayum_mummy_portraits">Fayum</a>...</div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6l9e_NOsHGJltS7fJtxdBRqbYO6DNtq51sBWCOVF3vpQUwWl6PJcY9Kh447kwWfSNTNBpFC4gZIaQjFZC_veGau4MM9Beh4ASChCI-47pzYsIj0VctDdN-Usu1P0bQbyXHd6q36Xq9LU/s1600/arc-team_boy_eutyches.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="689" data-original-width="650" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6l9e_NOsHGJltS7fJtxdBRqbYO6DNtq51sBWCOVF3vpQUwWl6PJcY9Kh447kwWfSNTNBpFC4gZIaQjFZC_veGau4MM9Beh4ASChCI-47pzYsIj0VctDdN-Usu1P0bQbyXHd6q36Xq9LU/s320/arc-team_boy_eutyches.jpg" width="301" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">3D of Boy Eutyches</td></tr>
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... and the Monna Lisa.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgS3jchBBA67S-8jWWsyJ0F5O8XFLwocTjqCj_faznIuYxKZWYmtZOv6FUsD-sc4k1JSmirbx4LtFgIYlA3ddmyk2omrzFhGRQY4Jl1h-9I1PJTbKfQxBY8wXJFz1JxKnZ2Rdwqz8LY25g/s1600/arc-team_monnalisa.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="689" data-original-width="778" height="283" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgS3jchBBA67S-8jWWsyJ0F5O8XFLwocTjqCj_faznIuYxKZWYmtZOv6FUsD-sc4k1JSmirbx4LtFgIYlA3ddmyk2omrzFhGRQY4Jl1h-9I1PJTbKfQxBY8wXJFz1JxKnZ2Rdwqz8LY25g/s320/arc-team_monnalisa.jpg" width="320" /></a></div>
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After all these test, my opinion about the software is that this tool can be very useful for IFR (Iconographic Facial Reconstruction), in order to get fast 3D model of faces from different historical source to automatize the comparison stage between the different portrait and find the common features. This second stage could be done with a face recognition software, able to compare 3D models.</div>
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I hope this post will be useful. Have a nice day!</div>
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<b>Bibliografy</b></div>
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Bezzi L. (2016). "<a href="https://www.researchgate.net/publication/309652672_FACCE_I_molti_volti_della_storia_umana">FACCE. I molti volti della storia umana</a>".<br /><b></b></div>
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Bezzi L., Bezzi A., Moraes C. (2019). "<a href="https://www.researchgate.net/publication/336405904_Ricostruzione_Facciale_Forense_di_S_Caterina_Fieschi_Adorno">Ricostruzione Facciale Forense di S. Caterina Fieschi Adorno</a>".</div>
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Bezzi L., Carrara N, Nebl M. (2018). "<a href="https://www.researchgate.net/publication/324013482_Imago_animi_Volti_dal_passato">Imago animi. Volti dal passato</a>". </div>
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Carrara N., Bezzi L. (2018). "<a href="https://www.researchgate.net/publication/324360528_Lo_strano_caso_del_cranio_di_Francesco_Petrarca">Lo strano caso del cranio di Francesco Petrarca</a>".<br /><b></b></div>
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Carrara N., Bezzi L., Moraes C. (2014). "<a href="https://www.researchgate.net/publication/281714197_Il_volto_del_Santo_La_ricostruzione_Facciale_Forense_di_Sant%27Antonio_di_Padova">Il volto del Santo. La ricostruzione Facciale Forense di Sant'Antonio di Padova</a>".</div>
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Carrara N., Scattolin G. (2018). "<a href="https://www.researchgate.net/publication/324013482_Imago_animi_Volti_dal_passato">La mummia del primo sacerdote di Thot</a>" </div>
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Jackson A. S., Bulat A., Argyriou V., Tzimiropoulos G. (2017). "<a href="http://aaronsplace.co.uk/papers/jackson2017recon/jackson2017recon.pdf">Large Pose 3D Face Reconstruction from a Single Image via Direct Volumetric CNN Regression</a>".</div>
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Nebl M. (2018). "<a href="https://www.researchgate.net/publication/324013482_Imago_animi_Volti_dal_passato">Il volto di Bernardo Cles</a>".</div>
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Zanatta A., Bezzi L., Carrara N., Moraes C., Thiene G., Zampieri F. (2018). "<a href="https://www.researchgate.net/publication/321874989_New_technique_in_facial_reconstruction_the_case_of_Giovanni_Battista_Morgagni">New technique in facial reconstruction: the case of Giovanni Battista Morgagni</a>". </div>
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Luca Bezzihttp://www.blogger.com/profile/01679160024950021679noreply@blogger.com0tag:blogger.com,1999:blog-4458817758216594734.post-15687363950239605632020-03-27T17:22:00.000+01:002020-03-27T17:22:12.203+01:003DHOP for speleoarchaeology<div dir="ltr" style="text-align: left;" trbidi="on">
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Hello everybody,</div>
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today I go on writing about our speleoarchaeological project on the natural cave "<a href="http://arc-team-open-research.blogspot.com/2019/11/speleoarchaeological-exploration-of-bus.html">Bus dela Spia</a>". I prepared some material to share in later post, about the work-flow I followed in <a href="https://www.blender.org/">Blender</a>, <a href="http://www.meshlab.net/">MeshLab</a>, <a href="https://www.danielgm.net/cc/">CloudComaper</a> and <a href="https://grass.osgeo.org/">GRASS GIS</a>, but in the meantime I want to show the final result of my work in recovering old documentation (maps and sections), thanks to the <a href="https://en.wikipedia.org/wiki/Free/libre_and_open-source_software">FLOSS</a> <a href="http://vcg.isti.cnr.it/3dhop/">3DHOP</a>.</div>
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If you are a regular reader of ATOR, you know what I am speaking about. The software is developed by the Italian <a href="https://www.cnr.it/en">CNR</a> (<a href="https://www.isti.cnr.it/">ISTI</a>) and, more precisely, by the <a href="http://vcg.isti.cnr.it/">Visual Computin Lab</a> (the same programmers who write the code of MeshLab). I chose this software due to its nice "slicer" tool, which allow the user to virtually cut a 3D model along one of the axis, to see other models hidden below (of course this is very useful in archaeology). This in not the only interesting tool (especially considering the updates of the last release), but, by now, is the one I want to show, also because I use it very often in another archaeological field: the Forensic Facial Reconstruction (in order to cut the face and show the cranium). Here below is a short video about this tool. Within 3DHOP are loaded 2 object: the Digital Terrain Model of the landscape and the 3D reconstruction of the "Bus dela Spia", performed in Blender. I hope you will enjoy it. Have a nice day!</div>
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Luca Bezzihttp://www.blogger.com/profile/01679160024950021679noreply@blogger.com0tag:blogger.com,1999:blog-4458817758216594734.post-44293582855337795232020-03-25T17:40:00.000+01:002020-03-25T17:40:44.092+01:00Speleoarchaeology: recovering old maps in 3D<div dir="ltr" style="text-align: left;" trbidi="on">
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Hello everybody,</div>
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during these days I am working on a speleoarchaeological project regarding a cave called "<a href="https://it.wikipedia.org/wiki/Bus_dela_Spia">Bus dela Spia</a>" ("Spy's hole") in <a href="https://en.wikipedia.org/wiki/Trentino">Trentino</a>. I already wrote about <a href="http://arc-team-open-research.blogspot.com/2019/11/speleoarchaeological-exploration-of-bus.html">our first mission</a> in this environment, looking of archaeological evidences. The data I am working on now comes from a new exploration, performed in January 2020.</div>
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I will report soon more details about the second mission, but now I would like to share a short video showing the result of a test I did to try to recover some old maps and sections to use them as base cartography for our project, which was focused on the 3D documentation of some specific AOI (Area Of Interest).</div>
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Here below is an image showing the old documentation of the "Bus dela Spia", based on past speleological explorations (supported by underwater spelunking activities). As you can see, despite the same scale-bar, the map and the section report different values on the X axis. This is due to the fact that the section does not follow a linear path, since the cave, obviously, is not straight, but, while the 3D path of the of the map has been projected, as usual, on a bi-dimensional plane, the section has been "enrolled", reducing (avoiding?) any projection.</div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9XzCkBZ4r9vgRyUm0_CX3JhjreQL6uP7PBRJ0oX41FqvlTpT7oSON1jDdLbm3Lp6GaNct9SeUTlom6MIFfPVu9VUgo0BVm0M7aNz2LlHAJP4DsABwEJoqu0G-JRyag8-hSmZBpMkzvig/s1600/bus_de_la_spia_mappa_vertical_mod_references.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="954" data-original-width="1600" height="190" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9XzCkBZ4r9vgRyUm0_CX3JhjreQL6uP7PBRJ0oX41FqvlTpT7oSON1jDdLbm3Lp6GaNct9SeUTlom6MIFfPVu9VUgo0BVm0M7aNz2LlHAJP4DsABwEJoqu0G-JRyag8-hSmZBpMkzvig/s320/bus_de_la_spia_mappa_vertical_mod_references.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The old documentation (map and section) of the "Bus dela Spia"</td></tr>
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To manage this kind of data in an easier way I tried to restore in <a href="https://www.blender.org/">Blender</a> their original shape in 3D. I will describe this process in future post on ATOR, by now, as I said, I just show the result with the video below.</div>
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I will use this raw 3D model to position our 3D documentation of some archaeological evidences, performed via SfM -MVS, trying, in the meantime, to recover some old laserscan data (2009).</div>
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I hope this post will be useful, if you will ever have the same problem (in combining map and section of old documentation). I will try to publish more detail about the work-flow ASAP. Have a nice day! </div>
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Luca Bezzihttp://www.blogger.com/profile/01679160024950021679noreply@blogger.com0tag:blogger.com,1999:blog-4458817758216594734.post-49849031046628377142020-03-23T09:44:00.000+01:002020-03-23T09:44:29.545+01:00ATOR Project Manager: presentation online<div dir="ltr" style="text-align: left;" trbidi="on">
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Hello everybody,</div>
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despite the difficulties of these days (for <a href="https://en.wikipedia.org/wiki/Coronavirus_disease_2019">COVID-19</a>), we try to go on with normal life and trying to keep ATOR up to date is one of the few tasks we can accomplish from home.</div>
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This short post is to report the news that Stefano Campus (one of the organizer of the <a href="https://foss4g-it2020.gfoss.it/">Italian FOSS4G conference 2020</a>) just notified me: all the presentations have been released freely on internet, within the platform <a href="https://en.wikipedia.org/wiki/Zenodo">Zenodo</a>. The material is published with open licenses and has a specific <a href="https://en.wikipedia.org/wiki/Digital_object_identifier">DOI</a>.</div>
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<a href="https://zenodo.org/communities/foss4g-it2020?page=1&size=20">Here</a> you can see all the presentations of the Italian FOSS4G 2020 (which was held in <a href="https://en.wikipedia.org/wiki/Turin">Turin</a>) and <a href="https://zenodo.org/record/3723323#.Xnhz3q1JDeQ">here</a> is a direct link to our slides, about the prototype of Virtual Vocal Assistant for archaeology we are working on, thanks to our friend Andres Reyes.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinIQ0jp14wwhir1GdVuMpBLPDaM-hr6c09NmI7tM1_bKYaT7mzbDBjXrOMdHvQip7xYrBbGu5NNQCwkKrXJfFxwLNkx_msst225XZ5bLEF02KRIPeX1NeP4SL4ec85cVEozgLga4wREF0/s1600/foss4g_apm_zenodo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="587" data-original-width="1205" height="155" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinIQ0jp14wwhir1GdVuMpBLPDaM-hr6c09NmI7tM1_bKYaT7mzbDBjXrOMdHvQip7xYrBbGu5NNQCwkKrXJfFxwLNkx_msst225XZ5bLEF02KRIPeX1NeP4SL4ec85cVEozgLga4wREF0/s320/foss4g_apm_zenodo.jpg" width="320" /></a></div>
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Have a nice day ("It can't rain all the time")!<br />
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Luca Bezzihttp://www.blogger.com/profile/01679160024950021679noreply@blogger.com2tag:blogger.com,1999:blog-4458817758216594734.post-45939096430124848112020-02-19T06:00:00.000+01:002020-02-19T06:00:01.501+01:00ATOR Poject Manager<div dir="ltr" style="text-align: left;" trbidi="on">
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hello everybody,</div>
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this fast post is to let you know that <a href="https://www.arc-team.com/">we</a> are going on working on <a href="http://arc-team-open-research.blogspot.com/2020/01/archaeological-project-manager-code.html">our archaeological project manager</a>, based on a <a href="https://en.wikipedia.org/wiki/Voice_user_interface">VUI</a> (Voice User Interface).</div>
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Today we will present it on the <a href="https://foss4g-it2020.gfoss.it/">FOSS4G-it 2020</a>, the annual Italian meeting about Free and Open Source geographical data and software.</div>
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We will upload soon new code on our <a href="https://gitlab.com/arc-team1/ator-project-manager">GitLab repository</a>, in the meantime, if you are interested, I uploaded a short video of one of the test we did on the excavation.<br />
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Have a nice day!</div>
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Luca Bezzihttp://www.blogger.com/profile/01679160024950021679noreply@blogger.com0tag:blogger.com,1999:blog-4458817758216594734.post-3979604144635028952020-01-31T18:30:00.000+01:002020-01-31T18:30:37.228+01:003D printing of the Roman cadastral tablet of Corte Sgarzerie (Verona)<div dir="ltr" style="text-align: left;" trbidi="on">
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Hello everybody,</div>
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this short post is to share the presentation we did yesterday in the "<a href="https://it.wikipedia.org/wiki/Accademia_di_agricoltura_di_Verona">Accademia di Agricoltura, Scienze e Lettere</a>" of Verona. This presentation is part of a bigger project in which we were involved by the Cultural Association <a href="http://www.archeonaute.it/?lang=en">Archeonaute</a>.</div>
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Basically we have been hired to enhance two archaeological sites in <a href="https://en.wikipedia.org/wiki/Verona">Verona</a>: the <a href="https://it.wikipedia.org/wiki/Villa_romana_di_Valdonega">Roman Villa of Valdonega</a> and the ancient <a href="https://it.wikipedia.org/wiki/Capitolium_(Verona)">Capitolium</a>, which is now under the medieval <a href="https://it.wikipedia.org/wiki/Corte_Sgarzerie">Corte Sgarzerie</a>. I will write later about the whole project, since the presentation of yesterday was focused on a single phase of our work: the 3D reproduction of an unique archaeological find, the so-called "Catasto A" (a Roman cadastrial bronze tablet).</div>
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Here below is the video, I hope it can be useful for someone. Have a nice day!</div>
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PS</div>
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The video by now is just in Italian, but if someone want to help us in adding English subtitles, I let this possibility on YouTube.</div>
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Luca Bezzihttp://www.blogger.com/profile/01679160024950021679noreply@blogger.com1tag:blogger.com,1999:blog-4458817758216594734.post-52629695432172435852020-01-21T09:12:00.000+01:002020-01-21T09:12:33.935+01:00360-degree video for speleoarchaeological explorations<div dir="ltr" style="text-align: left;" trbidi="on">
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Hello everybody,</div>
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this fast post is to public a preliminary test we performed with a <a href="https://en.wikipedia.org/wiki/360-degree_video">360-degree video</a>, during the second speleoarchaeological exploration of the natural cave called "<a href="https://it.wikipedia.org/wiki/Bus_dela_Spia">Bus dela Spia</a>" (<a href="https://www.researchgate.net/publication/337284822_Prima_esplorazione_speleoarcheologica_del_Bus_de_la_Spia_Sporminore_-TN">here</a> the report of our first mission).</div>
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Personally I think that 360-degree photos and video have good potential to enhance the tourist fruition of "Hidden Cultural and Natural Heritage", granting an accessibility based on VR and WebVR applications to a wider public. </div>
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We will go on in performing new test with this technology (also with better resolution) in "extreme" archaeological contests. I hope we will write some feedback soon, in the meantime, here is the video:</div>
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Have a nice day!</div>
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Luca Bezzihttp://www.blogger.com/profile/01679160024950021679noreply@blogger.com0tag:blogger.com,1999:blog-4458817758216594734.post-66867322288444354382020-01-19T06:56:00.000+01:002020-01-19T06:56:55.286+01:00Archaeological Project Manager, code online<div dir="ltr" style="text-align: left;" trbidi="on">
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Hello everyone,</div>
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this fast post is to notify you that finally <a href="http://www.arc-team.com/">we</a> upload some code of the Archaeological Project Manager we are developing thanks to our friend Andres Reyes (expert in NLP and Virtual Assistants). The current prototype is build on top of Amazon Alexa and you can find more info in <a href="http://arc-team-open-research.blogspot.com/2019/12/archaeology-alexa-and-nlp.html">the post</a> I wrote some weeks ago. If you want to help us with the project or see the code, <a href="https://gitlab.com/arc-team1/ator-project-manager">here</a> is the direct link to GitLab.</div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWyoHvArJ3Ay8lpAumgH6sW8yRHEnoERW3e82sJw-4YwRmycshkVVTtmMkKVaZwkXAKcD1DHMK_SEedfz1thHxXrQZ0v-6gV6ff__p5jJOiZ4ZYZ25-sd6i7c-YVCKckp2LwQY3YnO0ck/s1600/arc-team_atm_gitlab.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="670" data-original-width="1366" height="156" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWyoHvArJ3Ay8lpAumgH6sW8yRHEnoERW3e82sJw-4YwRmycshkVVTtmMkKVaZwkXAKcD1DHMK_SEedfz1thHxXrQZ0v-6gV6ff__p5jJOiZ4ZYZ25-sd6i7c-YVCKckp2LwQY3YnO0ck/s320/arc-team_atm_gitlab.png" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The source code of APM (on GitLab)</td></tr>
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Sorry for the delay, but in these weeks we are all very busy. Hopefully we will upload soon some updates. Stay tuned and have a nice day!</div>
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Luca Bezzihttp://www.blogger.com/profile/01679160024950021679noreply@blogger.com0tag:blogger.com,1999:blog-4458817758216594734.post-90341346873645724942019-12-28T14:41:00.001+01:002019-12-28T14:41:46.691+01:00VirtualArch: a mobile App to valorize the medieval mines of Mt. Calisio<div dir="ltr" style="text-align: left;" trbidi="on">
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Hello everyone,</div>
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this post regards an European Project <a href="http://www.arc-team.com/">we</a> worked on this year: <a href="https://www.interreg-central.eu/Content.Node/VirtualArch.html">VirtualArch</a>. The aim of this project was the tourist enhancement of some European sites characterized by an hidden (not directly visible) Cultural Heritage.</div>
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Our task was to find a way to show the medieval mines of <a href="https://en.wikipedia.org/wiki/Monte_Calisio">Mt. Calisio</a>, near the city of <a href="https://en.wikipedia.org/wiki/Trento">Trento</a>. Most of these silver mines are not yet open to visitors and are hidden under some interesting cultural paths, created by the <a href="http://ecoargentario.it/">Ecomuseo Argentario</a> (the ancient name of Mt. Calisio). In order to allow tourists to understand this interesting hidden heritage, we developed a mobile app, which guides the visitors through three paths, showing information about the ancient mines and their cultural landscape.</div>
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The first problem to solve was the interoperability of the app, which had to run on different mobiles (with Android, IOS, Windows, etc...). Our solution has been the development of an open source App (<a href="https://github.com/ArcTeam/virtualArch.github.io">here</a> the code), based on internet language, in order to be visualized without problem on most of the mobile, regardless on the Operating System. We also had to produce most of the multimedia content and, as requested by our customer (The Archaeological Office of the <a href="http://www.provincia.tn.it/">Autonomous Province of Trento</a>), we rendered several 4D video regarding the life in the silver mines during Medieval age. We prepares this material with our 3D expert Cicero Moraes, thanks also to the technical advices of Dr. Nicoletta Pisu (Archaeological Office) and Dr. Lara Casagrande (Ecomuseo Argentario).</div>
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The App can be downloaded with a mobile device at <a href="https://arcteam.github.io/virtualArch.github.io/">this link</a>. Due to the fact that, currently, on Mt. Calisio there is no internet, the App should be completely downloaded on the device before to reach the site. For some tasks, the App will ask to use specific devices on mobile systems, like the GPS (to track the position on the paths) or the camera (to be used for Augmented Reality). Being based on an internet language (PHP, JS, etc...), the <a href="https://arcteam.github.io/virtualArch.github.io/">same link</a> will also show the App on normal computers, but without optimization for texts, images and videos.</div>
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If you want to have a preview of this App, you can simply watch the three videos here below, showing the three cultural paths and their Points Of Interest (POI).</div>
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SENTIERO DELLE GRAVE / GRAVE'S PATH</div>
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This cultural paths is called "Sentiero delle Grave" and crosses three POI (Points Of Interest) of a cultural landscape due to the unloading of silver mining waste, which made the surrounding woods more like a savannah.<br />
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POI 1: text and images about the animals living in this habitat<br />
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POI 2: text, images and video (a flight with a drone) about the anthropic landscape of the "Grave" <br />
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POI 3: text and images about the flora of the "Le Lore" peat bog <br />
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SENTIERO DEGLI GNOMI / GNOMES PATH<br />
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This paths is called
"Sentiero degli gnomi" and crosses five POI (Points Of Interest) of
natural and cultural landscape related with the figure of gnomes and
dwarfs, historically (locally) deriving from the "canopi", the ancient miners.<br />
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POI 1: text, images about the "Canopi" (medieval silver miners) and the derived figures of the folklore (gnomes and dwarfs), with a 360° panoramic view (the damages of the storm "Vaia" on the wood).<br />
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POI 2: text and images about the local lime kiln<br />
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POI 3: text and images about the "Montegpiano's peat bog" flora.<br />
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POI 4: text and images about the dress of the "Canopi" and about the local mine called "Canopa del Raita", with a video showing the exploration of its caves.<br />
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POI 5: text and images about the local mine of the "Dos del Cuz", with a slider showing the superimposition of an aerial orthophoto over the LIDAR 3D model and the map of the caves. A 3D video shows the old work outside the mines.<br />
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SENTIERO DELLE CANOPE / CANOPE'S PATH<br />
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This paths is called
"Sentiero delle Canope" and crosses eight POI (Points Of Interest) of a cultural landscape related with the ancient silver mines (called "Canope") of Mt. Calisio.<br />
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POI 1: text and images about the S. Colomba's lake and the surrounding area, characterized by many mine shafts, visible in the slider
showing the superimposition of an aerial orthophoto over the LIDAR 3D
model of the area.<br />
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POI 2: text and images about the ancient tools used by the miners ("Canopi"), visible within a gallery, with an interactive 3D model (in 3DHOP), showing the work under the surface.<br />
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POI 3: text and images about the local "Canopa delle Acque", with a video showing a virtual tour inside the mine.<br />
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POI 4: text and images with some technical information about the geology of the area, with a 3D video showing a section of the mountain with the "Canopa delle Acque"<br />
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POI 5: text and images about the local "Canopa dell'Uccello", with a gallery about the minerals of the area.<br />
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POI 6: text and images about the local "Canopa dei Bamponi"<br />
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POI 7: text and images about the panorama visible from the belvedere, with some information about the archaeological site of the "Redebus" (gallery) and about the historical Erdemolo's mines (Miniere di Erdemolo / Gruab va Hardimbl)<br />
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POI 8: text and images with technical information about the ancient excavation methods, with an Augmented Reality application to show 3D models of ancient tools.<br />
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<iframe width="320" height="266" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/Y2cAqE9c4ic/0.jpg" src="https://www.youtube.com/embed/Y2cAqE9c4ic?feature=player_embedded" frameborder="0" allowfullscreen></iframe></div>
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I hope this post was useful.<br />
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If you want to try the App (also without visiting the sites) and you are not an Italian speaker, there is an English translation done by Claudio Parisi (just download the App and choose the English option).<br />
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Have a nice day!</div>
</div>
Luca Bezzihttp://www.blogger.com/profile/01679160024950021679noreply@blogger.com0tag:blogger.com,1999:blog-4458817758216594734.post-48433260376167863202019-12-20T11:41:00.000+01:002019-12-20T11:41:05.130+01:00Archaeology, Alexa and NLP<div dir="ltr" style="text-align: left;" trbidi="on">
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Hello everyone,</div>
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this post regards some test we are doing in these weeks about the application of <a href="https://en.wikipedia.org/wiki/Natural_language_processing">NLP</a> (Natural Language Processing) to archaeology. This research is conducted by our friend Andres Reyes (<a href="http://www.arc-team.com/">Arc-Team</a>), an expert in this field. </div>
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Among the many possibilities of NLP in CH (Cultural Heritage), we decided to start with something particular and probably not so easy, but very useful for everyday work: a project manager for archaeology. The video below shows a preview of the system (how the system finds an old project).</div>
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<iframe width="320" height="266" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/qEWklythTiE/0.jpg" src="https://www.youtube.com/embed/qEWklythTiE?feature=player_embedded" frameborder="0" allowfullscreen></iframe></div>
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To understand what I mean, I have to explain very fast why this tool would be a great help in our field. In Professional Archaeology (or, if you prefer <a href="https://www.researchgate.net/publication/328815579_Commercial_Archaeology_and_3D_Web_Technologies">Commercial Archaeology</a>) projects can be divided in 4 main categories: excavations (probably the 70% of the work), surveys (and explorations in general), Cultural Heritage Enhancement (Valorization) and studies (mainly researches on specific archaeological and historical topics). From a logistical point of view, the most critical projects are the ones related with excavation and surveys, especially if performed in extreme conditions (Glacial Archaeology, High Mountain Archaeology, Underwater Archaeology, Speleoarchaeology, etc...), since in most cases the office (and all its comforts) is far away. Even if assisted by the strong computerization of the last 15 - 20 years, field operations can end up with errors, especially if many people work simultaneously to the same project from different area (for instance, a common mistake is giving the same code to different layers or artefacts).</div>
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A way to try to avoid errors is to use <a href="https://en.wikipedia.org/wiki/Database#Database_management_system">DBMSs</a> (DataBase Management Systems) and GIS directly on the field, but this solution has some weakness, mainly related with the devices on which these software runs and with the necessity to find a comfortable location to insert the data (even if temporary). Thanks to the wider and wider coverage of internet and the new generation's smart-phones it is now simpler and faster to insert data into a main server trough a DBMS with a well designed interface (for GIS it is still better to work with a rugged laptop). Nevertheless these operations are still time consuming and keeps the archaeologist busy for a while, with all the difficulties coming from the use of a small touch-screen (gloves, dirty hands, rain, etc...). For this reason a Project Manager based on vocal commands could improve the work on the field, avoiding the main errors deriving by some of the most common stress factors (short time-table, weather conditions, several people working simultaneously, etc...).</div>
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Despite our decision to work with FLOSS, for this first experiment with NLP we decided to start with <a href="https://en.wikipedia.org/wiki/Amazon_Alexa">Amazon Alexa</a> virtual assistant, for several reasons: the great effort of Amazon in developing the system, its strong diffusion among users and the good support in Italian (the language of our firts prototype). Nevertheless, as soon as we will have a first prototype, we plan to test and develop also open source solution, like <a href="https://mycroft.ai/">Microft</a>. BTW all our code will be released ASAP, with open source licenses, in <a href="https://gitlab.com/arc-team1/ator-project-manager">this</a> public repository on GitLab.</div>
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Currently our prototype is in a very early stage, but we already modified it a couple of time, with sensible changes in our strategy. For instance, in order to keep everything simple, at the beginning we based on shared google doc spreadsheets. This solution was more than enough to manage the list of codes related with US (Unità Stratigrafice, EN Stratigraphical Units), artefacts, samplings, documentations (in 3D and 2D), with also the possibility to keep controlled the budget and the working hours. soon we changed this strategy to have a more performing DBMS, based on the FLOSS <a href="https://www.postgresql.org/">PostgreSQL</a>. Currently we are developing more options, like the possibility to ask to the Project Manager in which project we worked during a specific month.</div>
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I hope this post will be useful. If you want to collaborate to the project, please contact us. Have a nice day! </div>
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Luca Bezzihttp://www.blogger.com/profile/01679160024950021679noreply@blogger.com0tag:blogger.com,1999:blog-4458817758216594734.post-68486226447938841682019-12-18T08:42:00.000+01:002019-12-18T08:42:02.642+01:00Archeorobotics. Open Robotic Applications in extreme archaeological conditions<div dir="ltr" style="text-align: left;" trbidi="on">
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Hi all,</div>
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as I promised yesterday, I uploaded an English version of our contribution to <a href="http://www.archeofoss.org/">ArcheoFOSS</a> 2018. The title is "Archeorobotics. Open Robotic Applications in extreme archaeological conditions" and this paper is more detailed, since it explains the development of <a href="http://www.arc-team.com/">our</a> archeorobotic equipment and the reason of several modifications, underlining at the same time the main benefits of using this kind of devices during extreme archaeology missions. <a href="https://www.researchgate.net/publication/338005847_Archeorobotics_Open_Robotic_Applications_in_extreme_archaeological_conditions">Here</a> is a direct link to this contribution on ResearchGate.</div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaUtZBLm00Pw_0QO3bjZ7TYWZiT5wtkK7Yus-O5e7SFGAorJXwEM9AS2-TZLbnVkqZnXEnfEkqIORHSzB25AqSYMCQlew5eGcamiXBcMS48nsuuueNmu2w1k4nvnvxiSm-hE_z9UQ1ghA/s1600/arceorov_archeoboat.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="416" data-original-width="640" height="208" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaUtZBLm00Pw_0QO3bjZ7TYWZiT5wtkK7Yus-O5e7SFGAorJXwEM9AS2-TZLbnVkqZnXEnfEkqIORHSzB25AqSYMCQlew5eGcamiXBcMS48nsuuueNmu2w1k4nvnvxiSm-hE_z9UQ1ghA/s320/arceorov_archeoboat.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The ArcheoROV (A) and the ArcheoBoat (B) prototype and some results of their use in professional archaeological missions.</td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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I hope this paper will be somehow useful in improving the discussion about the Archeorobotics and the use of Open Hardware in Archaeology.</div>
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Have a nice day!</div>
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Luca Bezzihttp://www.blogger.com/profile/01679160024950021679noreply@blogger.com0tag:blogger.com,1999:blog-4458817758216594734.post-10431497672380490052019-12-17T18:41:00.002+01:002019-12-17T18:41:57.547+01:00ArcheoFOSS 2018: conference proceedings now online!<div dir="ltr" style="text-align: left;" trbidi="on">
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Hi all,</div>
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this short post is to notify you that are finally online the conference proceedings of <a href="http://arc-team-open-research.blogspot.com/2012/12/the-flight-of-penguin-eight-years-of.html">ArcheoFOSS</a> 2018. As you probably know this conference is the Italian annual meeting of archaeologists who use and develop FLOSS (Free/Libre and Open Source Software). The proceedings of edition 2018 are published on the journal "Archeologia e Calcolatori" (EN: "Archaeology and Computers") and can be accessed <a href="http://www.archcalc.cnr.it/journal/idyear.php?IDyear=2019-01-01">here</a>.</div>
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<a href="http://www.arc-team.com/">Our</a> contribution, related with our experiences in archeorobotics, can be downloaded <a href="https://www.researchgate.net/publication/337974179_ARCHEOROBOTICS_APPLICAZIONI_ROBOTICHE_APERTE_E_ARCHEOLOGIA_ESTREMA">here</a> (on ResearchGate).</div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQdu-aNS2b7UswgrBUoRc4PuklVOoTNFqeO3R8DvhETR5kTsVeFHmNPftcMpQTKtO3r5l8LLoLDNCiMTs8nopPZcoLl2lrBfzvR9GgrCwKbBnQgKOmCgBiFkqjUhLZkzmK9qJw0WSMRy8/s1600/Arc-Team_proceedings_archeofoss_2018.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="311" data-original-width="854" height="116" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQdu-aNS2b7UswgrBUoRc4PuklVOoTNFqeO3R8DvhETR5kTsVeFHmNPftcMpQTKtO3r5l8LLoLDNCiMTs8nopPZcoLl2lrBfzvR9GgrCwKbBnQgKOmCgBiFkqjUhLZkzmK9qJw0WSMRy8/s320/Arc-Team_proceedings_archeofoss_2018.png" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span><span>Some photos of Arc-Team's archeorobotic devices in action</span></span></td></tr>
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I will try to upload ASAP, here on ATOR, a more detailed version of this paper in English.</div>
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Have a nice day!</div>
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Luca Bezzihttp://www.blogger.com/profile/01679160024950021679noreply@blogger.com0tag:blogger.com,1999:blog-4458817758216594734.post-77547876505677752322019-11-15T13:48:00.000+01:002019-11-15T13:48:15.917+01:00Speleoarchaeological exploration of the "Bus de la Spia"<div dir="ltr" style="text-align: left;" trbidi="on">
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Hi all,</div>
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this short post is a fast report of our speleoarchaeological exploration of the natural cave known as "<a href="https://it.wikipedia.org/wiki/Bus_dela_Spia">Bus de la Spia</a>" (EN "Spy's whole") near <a href="https://en.wikipedia.org/wiki/Sporminore">Sporminore</a> (TN - Italy). The mission was organized, thanks to the mayor of the town Mr. Giovanni Formolo, within a larger project regarding the Cultural Landscaper of <a href="https://en.wikipedia.org/wiki/Non_Valley">Non Valley</a>, promoted by the local APT (Tourist Office).</div>
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The mission was filmed by two different crew, composed by the technicians of Big River Film Co. (U.S.A.) and Damiano Clauser LandShot (Italy).</div>
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This exploration achieved positive results, certifying the presence some historical "graffiti" dating back to World War I and collecting a fragment of a wooden board. Despite its excellent conservation, this sample is probably connected with the first explorations of the cave at the beginning of XVIII century. In fact the wood has been preliminary analyzed by Dr. Mauro Bernabei of CNR-IVALSA (the institute of the Italian National Research Council specialized in wood sciences). It is a made from an European sprud (<i>Picea abies</i>) and it is composed by 41 rings (probably dating from 1680 to 1721). During the mission was also observed a particular <a href="https://en.wikipedia.org/wiki/Speleothem">speleothem</a> (a coumn), probably broken during an historical earthquake (maybe the <a href="https://en.wikipedia.org/wiki/1976_Friuli_earthquake">1976 Friuli earthquake</a>), very interesting for archaeological study of these phenomena.</div>
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For more details about this speleoarchaeological exploration, <a href="https://www.researchgate.net/publication/337284822_Prima_esplorazione_speleoarcheologica_del_Bus_de_la_Spia_Sporminore_-TN">here</a> is the direct link to the technical report (by now in Italian only). </div>
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Have a nice day!</div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpXHRTYosSulfhsm1n68tx3cn9JqZ5HctBjLhSlHbRHY647lwZlBZ_Jj5JfoXjkMNx7_77bOUH6brqEkz3gXUDsnGsgVIAcggKT_CNK3BZn1lV5IPS5iiahuCaR7drKt9jzic6RgkHcOg/s1600/sbdls19_missione_ottobre_img004.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpXHRTYosSulfhsm1n68tx3cn9JqZ5HctBjLhSlHbRHY647lwZlBZ_Jj5JfoXjkMNx7_77bOUH6brqEkz3gXUDsnGsgVIAcggKT_CNK3BZn1lV5IPS5iiahuCaR7drKt9jzic6RgkHcOg/s320/sbdls19_missione_ottobre_img004.jpg" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The broken column inside the Bus de la Spia cave</td></tr>
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Luca Bezzihttp://www.blogger.com/profile/01679160024950021679noreply@blogger.com0tag:blogger.com,1999:blog-4458817758216594734.post-9514155801989082262019-10-15T18:13:00.000+02:002019-10-15T18:13:36.805+02:00Forensic Facial Reconstruciotn of St. Catherine of Genua (technical report)<div dir="ltr" style="text-align: left;" trbidi="on">
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Hi all,</div>
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this year we worked on several Forensic Facial Reconstruction (FFR) with our expert Cicero Moraes. One of these projects regards <a href="https://en.wikipedia.org/wiki/Catherine_of_Genoa">St. Catherine of Genua</a>, whos mortal remains are preserved in the church of the "Santissima Annunziata di Portoria", in <a href="https://en.wikipedia.org/wiki/Genoa">Genua</a>, and are considered by the Roman Catholic Church, among the so-called "<a href="https://en.wikipedia.org/wiki/Incorruptibility">incorrupted bodies</a>".</div>
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The FFR project has been very interesting, since it needed some extraordinary procedures, due to three factors: the exceptional conditions of preservation of the body, the particular structure of the sarcophagus and the history of the different necroscopic reconnaissances of the relics of the Saint.</div>
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In order to perform the final FFR, <a href="http://www.arc-team.com/">we</a> had to adapt our protocol to this particular situation. The solution came from a 3D model produced with <a href="https://www.researchgate.net/publication/289460942_Computer_Vision_e_Structure_from_Motion_nuove_metodologie_per_la_documentazione_archeologica_tridimensionale_un_approccio_aperto">SfM-MV</a>S techniques, without opening the sarcophagus, and from some reverse engineering techniques related with the "<a href="https://www.researchgate.net/publication/309652672_FACCE_I_molti_volti_della_storia_umana">Coherent Anatomical Deformation</a>", developed in 2014.</div>
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Thanks to the kindness of padre Vittorio Casalino, we can now share not only the final result of our study (image below), but also the scientific report (by now, unfortunately, only in Italian), which you can read on <a href="https://www.researchgate.net/publication/336405904_Ricostruzione_Facciale_Forense_di_S_Caterina_Fieschi_Adorno">ResearchGate</a>, Academia or simply on the <a href="http://www.museidironzone.it/arc-team/biblioteca/articoli/ffr_s_caterina_fieschi_adorno/gscfa19_relazione_scientifica_v01.pdf">Arc-Team Digital Archive</a>.</div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7gnPCvsFmTuAYvwxQhzWtSWWV1pGkowWNZ-k8iZibDMI3xTR_u3aWPoBKfjCIvegK3jVkwwOVCGrSuVrw2k-M8i2r09Z6JHvsWcVbwIcajMC4V8NHoSGEzsuGL3QJvrUIm6WWnn0BVIo/s1600/ffr_volto.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1280" data-original-width="1280" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7gnPCvsFmTuAYvwxQhzWtSWWV1pGkowWNZ-k8iZibDMI3xTR_u3aWPoBKfjCIvegK3jVkwwOVCGrSuVrw2k-M8i2r09Z6JHvsWcVbwIcajMC4V8NHoSGEzsuGL3QJvrUIm6WWnn0BVIo/s320/ffr_volto.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The final model of St. Catherine of Genua developed by Arc-Team (FFR by Cicero Moraes, 3D data acquisition by Alessandro Bezzi, historical research by Luca Bezzi)</td></tr>
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I will try to translate the text in English ASAP (any help is greatly appreciated), but in the meantime I hope this version will be useful, also to go on with the scientific discussion about FFR (which is pretty animated in the last year).</div>
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Have a nice day!</div>
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Luca Bezzihttp://www.blogger.com/profile/01679160024950021679noreply@blogger.com0tag:blogger.com,1999:blog-4458817758216594734.post-79796542331947016632019-10-11T02:12:00.001+02:002019-10-11T02:37:51.610+02:00I made my own surgical guide using OrtogOnBlender!<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjci0FAyOggkDumLhA6WfH11LDymRE2K4tXYwAToEtKnNPGFE-gzqb3rIPjd_xBOIu70993aeLHWb_ZyO1khUKqsRiMa8ESFLDygU9s2iZgiOMU65iT3b15a8ihHro9_H5JSkn6M1L30RJ0/s1600/Blendernation.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="672" data-original-width="1456" height="182" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjci0FAyOggkDumLhA6WfH11LDymRE2K4tXYwAToEtKnNPGFE-gzqb3rIPjd_xBOIu70993aeLHWb_ZyO1khUKqsRiMa8ESFLDygU9s2iZgiOMU65iT3b15a8ihHro9_H5JSkn6M1L30RJ0/s400/Blendernation.jpg" width="400" /></a></div>
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Those who follow my work know that I develop an addon called <a href="https://bit.ly/35nweMC" target="_blank">OrtogOnBlender</a>, a learning tool for surgical planning.<br />
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I have had the honor of using it to teach many people and also develop surgical guides for the fields of <a href="https://www.blendernation.com/2016/12/21/low-cost-human-face-prosthesis-aid-blendern-3d-printing/" target="_blank">human</a> and <a href="https://www.youtube.com/watch?v=yIiXqyoxZEA" target="_blank">veterinary</a> health.<br />
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The fact is that these past few weeks, for the first time, I have been using this technology in my own body.<br />
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It all started when my dentist asked me to do a CT-scan of an injury that insisted on not completely healing.<br />
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Coincidentally, I was teaching a computer graphics course in my city, and my students included radiology and endodontic surgery specialists.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPJ_bytKsfcweUs1pvGWsJwFkVu6YIe-88h2Vfs_UCfieEAgim63tGaEhOtebmgfdCEZ3SLNo_KTcoToIjWo4i5TaBfJZ2NVUmnP751dhy9S-yVyCLacn_4KZpftMa7BC7LlXZG_llX3-B/s1600/image11.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="960" data-original-width="720" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPJ_bytKsfcweUs1pvGWsJwFkVu6YIe-88h2Vfs_UCfieEAgim63tGaEhOtebmgfdCEZ3SLNo_KTcoToIjWo4i5TaBfJZ2NVUmnP751dhy9S-yVyCLacn_4KZpftMa7BC7LlXZG_llX3-B/s400/image11.jpg" width="300" /></a></div>
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In commenting on my need, I was instructed to take the exam and took the opportunity to proceed with a broad approach. In addition to the tomography of the teeth, they also digitized them in 3D (intraoral digitization). I am very grateful to the staff of the <a href="https://www.facebook.com/pages/Clinica-Santa-Isabel-Sinop-Mt/551734411624302" target="_blank">Santa Izabel Clinic</a>, especially Dr. Carlos Augusto Abascal Shiguihara and Dr. Gabriela Zorron Cavalcanti, since I was extremely well attended there.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2va1vjEUVCi60neMosVyonomJNnkKWP6FRegAhcahUibgpAZaM6ruGf1MuzoYSWYJDaSEUlDJtuJO7RRf-l4LbZTEqrVaSehi4V8y5_U9Q3Af7pzNpEXczJ3TQduewXrc0ZLG2k7sfUHl/s1600/image13.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="908" data-original-width="1320" height="273" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2va1vjEUVCi60neMosVyonomJNnkKWP6FRegAhcahUibgpAZaM6ruGf1MuzoYSWYJDaSEUlDJtuJO7RRf-l4LbZTEqrVaSehi4V8y5_U9Q3Af7pzNpEXczJ3TQduewXrc0ZLG2k7sfUHl/s400/image13.png" width="400" /></a></div>
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The first thing we did when we received the CT-scan was to isolate the lesion and reconstruct it in 3D using the <a href="http://www.slicer.org/" target="_blank">Slicer 3D</a> semi-automatic segmentation option. It is evident that the work was followed from the beginning by the surgeon, Dr. Roosevelt Macedo of <a href="https://www.facebook.com/clinicastatto/" target="_blank">Statto Clinic</a>, also located in the city I currently live, Sinop-MT, more or less in central Brazil.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTnYCunbdjxbrElwMeBWnM2dqWD-3_yKwd_9SYKzKVNGLNZUBnV6Goxy6iT7iRTRR_Gv47ZDAwvHgKFwCFYfnNI1-WQgDrYoDAN6Dgy_UBYl-2Yz2AljnRsDGlRq3pDf8bdYQa6M4WExVK/s1600/image6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="560" data-original-width="576" height="388" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTnYCunbdjxbrElwMeBWnM2dqWD-3_yKwd_9SYKzKVNGLNZUBnV6Goxy6iT7iRTRR_Gv47ZDAwvHgKFwCFYfnNI1-WQgDrYoDAN6Dgy_UBYl-2Yz2AljnRsDGlRq3pDf8bdYQa6M4WExVK/s400/image6.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIH995Rz-4y5VvtkaohmJu7_Y1HT7vNxr1mLuEryeEcnF53rrbTM4dIGTBrpmdleialTMXFIK8vpBeqn3m-v9ln0j4gJx0k9ENuGPEUiSGF7ZJ0pBMKTdQuoTwmuRYY2HvElTIHyX-Hvq8/s1600/image8.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="744" data-original-width="838" height="355" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIH995Rz-4y5VvtkaohmJu7_Y1HT7vNxr1mLuEryeEcnF53rrbTM4dIGTBrpmdleialTMXFIK8vpBeqn3m-v9ln0j4gJx0k9ENuGPEUiSGF7ZJ0pBMKTdQuoTwmuRYY2HvElTIHyX-Hvq8/s400/image8.png" width="400" /></a></div>
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Once the lesion was isolated and positioned in a 3D space, I was then able to reconstruct the tomography directly by OrtogOnBlender and import the lesion (in red).</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDA6buFInak_zm-rgKiOMgwtBKjZW6UbQkHbT_PlVJKiDwraeqhVCsDQv3L0HrGR90cDSjww1EdqUSGBM_X5ZBdOEG_ZaMozEfrSwYSz7VL-kZUUxqTX1aPxbAyh3IjLiwESTyFMYWc7qE/s1600/image7.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="787" data-original-width="830" height="378" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDA6buFInak_zm-rgKiOMgwtBKjZW6UbQkHbT_PlVJKiDwraeqhVCsDQv3L0HrGR90cDSjww1EdqUSGBM_X5ZBdOEG_ZaMozEfrSwYSz7VL-kZUUxqTX1aPxbAyh3IjLiwESTyFMYWc7qE/s400/image7.png" width="400" /></a></div>
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To improve the fit of the future surgical guide, I aligned the teeth from intraoral scanning with those of tomography.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9lcop0aCrQ4GiKJhvvWFYM1DfXaWzprLdsVipDZpavp6s_FkEPkykeo-ALqWiEIBMw0XKuAtdrb2PjfZHjS3hti-vFpW4u9IxcE71lKw_P_6tpubeHFWl0axh0bK7ZSIUvSTU-qlLmK0X/s1600/image12.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="670" data-original-width="1006" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9lcop0aCrQ4GiKJhvvWFYM1DfXaWzprLdsVipDZpavp6s_FkEPkykeo-ALqWiEIBMw0XKuAtdrb2PjfZHjS3hti-vFpW4u9IxcE71lKw_P_6tpubeHFWl0axh0bK7ZSIUvSTU-qlLmK0X/s400/image12.png" width="400" /></a></div>
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Now we had the teeth, root and lesion very well positioned.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPl-9Tvd6TqJkJOEPRsHDTLHIOEP0ZU3Q3rIZAmjwmKKKbiYDWgv1fCys4oUadhxhdIdTOdK7BINWBNv_MYPyyZh6TMuqbSYBSE_TxeLUNvaxJtuxk8MPr4BbT9daVgChnVyh_oene2wFd/s1600/image3.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="705" data-original-width="693" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPl-9Tvd6TqJkJOEPRsHDTLHIOEP0ZU3Q3rIZAmjwmKKKbiYDWgv1fCys4oUadhxhdIdTOdK7BINWBNv_MYPyyZh6TMuqbSYBSE_TxeLUNvaxJtuxk8MPr4BbT9daVgChnVyh_oene2wFd/s400/image3.png" width="392" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhes4-TmhmtIvjlfBX67lsMLU1HgkqamOB9qFiKFaN6ZmlHvtWsLm2tKdKzmDTa3sv-ULihMDzfxnJt5XBwAkBBxSi1mDnByGrRaE5tr-P4X4PHRXLTD-yDIgFHQG40bytLfVTXYTuOvRsY/s1600/image5.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="719" data-original-width="648" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhes4-TmhmtIvjlfBX67lsMLU1HgkqamOB9qFiKFaN6ZmlHvtWsLm2tKdKzmDTa3sv-ULihMDzfxnJt5XBwAkBBxSi1mDnByGrRaE5tr-P4X4PHRXLTD-yDIgFHQG40bytLfVTXYTuOvRsY/s400/image5.png" width="360" /></a></div>
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Using OrtogOnBlender's guide creation tools, we designed a structure that fit the teeth while maintaining a safe distance from the gums.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoo5JkqVzhI98EPW1OeLsudSnjjc2LTp1ZVDau_5CpVpThPgqKbPtGkzEy3Tf2wO2YHDCLKfxN-2gDyd1eUt45ImioBwOkO3E87vDcvlMcZqS8yskAci28RaOQ4cHz0jPOcDcnQ1zbgmES/s1600/image9.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="647" data-original-width="860" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoo5JkqVzhI98EPW1OeLsudSnjjc2LTp1ZVDau_5CpVpThPgqKbPtGkzEy3Tf2wO2YHDCLKfxN-2gDyd1eUt45ImioBwOkO3E87vDcvlMcZqS8yskAci28RaOQ4cHz0jPOcDcnQ1zbgmES/s400/image9.png" width="400" /></a></div>
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The purpose of the guide was to inform the surgeon of the exact projection of the lesion so that he could access it laterally when drilling the bone.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgR0LKCjRC9AKGkQFeHC-PlrGhCI1SN80J47F-pQdb0v_5McVRUY_4WgWtu9i5IW8EDHA2Z6S93yfNY2YXRY5yfxaPIM2jBmIV0cJ271o_fdjFBtEvZEVyxAK_w0o_Pi9bxMLgpOI84Phdg/s1600/image4.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="738" data-original-width="839" height="351" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgR0LKCjRC9AKGkQFeHC-PlrGhCI1SN80J47F-pQdb0v_5McVRUY_4WgWtu9i5IW8EDHA2Z6S93yfNY2YXRY5yfxaPIM2jBmIV0cJ271o_fdjFBtEvZEVyxAK_w0o_Pi9bxMLgpOI84Phdg/s400/image4.png" width="400" /></a></div>
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Here we have a bottom view of the model where we see the tentacular aspect of the guide.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmI7ANmVyEuvSURxdyORgYPISXj7nz1TR4lSYPWEB4aPqqevo7i2FVPF7rllCv58tcdJH2MHwp3PGjUWbNYLt6Qa7hMJ6FJPtaTALaUXVfcyBqi1eDupSwyWUHPIzCFH7l0OPjiMOSM-YM/s1600/image10.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="960" data-original-width="1280" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmI7ANmVyEuvSURxdyORgYPISXj7nz1TR4lSYPWEB4aPqqevo7i2FVPF7rllCv58tcdJH2MHwp3PGjUWbNYLt6Qa7hMJ6FJPtaTALaUXVfcyBqi1eDupSwyWUHPIzCFH7l0OPjiMOSM-YM/s400/image10.jpg" width="400" /></a></div>
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We exported the model as STL and it was printed in high resolution 3D on the premises of Santa Izabel Clinic.</div>
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Fine print, but would the model fit properly?</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQzvPlFIlBX-olVfyBfv4x8uuIrXYC6wxs37PPMbwy4ieyqWNctSaEomU_qi__bLr4uAkKCJBCYNYKdyhyphenhyphenL10HFnR-GOAhjjgcDCdfg5ysTAZDc8g5QN0X-0oDdp-JXF-Mztv0hpZude6u/s1600/image14.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="960" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQzvPlFIlBX-olVfyBfv4x8uuIrXYC6wxs37PPMbwy4ieyqWNctSaEomU_qi__bLr4uAkKCJBCYNYKdyhyphenhyphenL10HFnR-GOAhjjgcDCdfg5ysTAZDc8g5QN0X-0oDdp-JXF-Mztv0hpZude6u/s400/image14.jpg" width="300" /></a></div>
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I went to Dr. Roosevelt Macedo's clinic for a test and the model fit perfectly!</div>
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We arranged the day of surgery and prepared myself for it.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjN8pEYnjvjSrXJcELjZNmewv80PcQ0Yut6hR4KL3NhZeD7589g9X0Ba8DUt9vGwU3dTfWvOh34na0lSkt5Ay4n_7WMFaefBSKPBinaAnQ44TYjStX89YosXsCL3umCv7KPwygJwRPKb4h0/s1600/image2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="960" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjN8pEYnjvjSrXJcELjZNmewv80PcQ0Yut6hR4KL3NhZeD7589g9X0Ba8DUt9vGwU3dTfWvOh34na0lSkt5Ay4n_7WMFaefBSKPBinaAnQ44TYjStX89YosXsCL3umCv7KPwygJwRPKb4h0/s400/image2.jpg" width="300" /></a></div>
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Snap test at surgery.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEEUrJOhxiYkojRHf7US-uBC51FV9s5enVfRHPAjkWX9vUDe_aY4wZvZ9F-DLbX-X2UohS5vzvJXRXWzff7Az3AMKnEz_u8eMLuLdUC4wJ5zQUBQb12LcY6gg93UzhcN_fE2OeiChr3KIk/s1600/image15.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1098" data-original-width="751" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEEUrJOhxiYkojRHf7US-uBC51FV9s5enVfRHPAjkWX9vUDe_aY4wZvZ9F-DLbX-X2UohS5vzvJXRXWzff7Az3AMKnEz_u8eMLuLdUC4wJ5zQUBQb12LcY6gg93UzhcN_fE2OeiChr3KIk/s400/image15.jpg" width="272" /></a></div>
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Lateral perforation. The image has been edited with grayscale and jagged to avoid shocking readers.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglsQzJHPr8-dTSqt2-GDAb__pzFoD7rWk0vK5TzpHox-TlFEq_Q4HGPfVXNwY216r1zp3vz_fY5DTWca3r2lkPlUfQbBGqu6Cb02pEfmVZzys4BcCzLccElHSLj4dwRA0fl0UcV4VHp3MC/s1600/image1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1100" data-original-width="960" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglsQzJHPr8-dTSqt2-GDAb__pzFoD7rWk0vK5TzpHox-TlFEq_Q4HGPfVXNwY216r1zp3vz_fY5DTWca3r2lkPlUfQbBGqu6Cb02pEfmVZzys4BcCzLccElHSLj4dwRA0fl0UcV4VHp3MC/s400/image1.jpg" width="348" /></a></div>
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As expected the guide worked very well and allowed the surgeon to find and remove the injury.</div>
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I greatly thank the staff of Statto Clinic for the excellent treatment offered.</div>
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More than thank the doctors and health experts, I also thank my friend and project partner, Adriano Barreto, who organized the course that kicked off this event.</div>
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I hope this is the beginning of a history of using 3D technology more effectively and presently, not only in major cities, but also in more inland cities like mine. It is a great honor and joy to participate in all this, and of course, thanks to you who have read this far.</div>
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If OrtogOnBlender interests you, be sure to read the official documentation and download the system that runs on Windows, Mac OS X and Linux:</div>
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<a href="https://bit.ly/35nweMC">https://bit.ly/35nweMC</a></div>
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A big hug!</div>
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cogitas3dhttp://www.blogger.com/profile/16930626141843410170noreply@blogger.com0tag:blogger.com,1999:blog-4458817758216594734.post-27691341331753958822019-09-09T10:23:00.002+02:002019-09-09T10:23:42.221+02:00ImageMagick: images to pdf<div dir="ltr" style="text-align: left;" trbidi="on">
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Hi all,</div>
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the time to write new post in ATOR is always less and less. This year <a href="http://www.arc-team.com/">we</a> were very busy on the field with several projects that I hope I will be able to report in this blog soon (no idea when...).</div>
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This short post is my personal attempt to reactivate the project ATOR (as well as the project ArcheOS), also writing very short texts like this one, inspired by the work we are doing everyday. In this sense I will go on writing also very simple tutorial, since I would like ATOR to remain a source also for newbies.</div>
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Today I start with a very simple operation, which can be useful when we have to study old (unpublished) historical sources from archives and libraries. As an example, in these days I am working for the official presentation of the Forensic Facial Reconstruction of <a href="https://en.wikipedia.org/wiki/Catherine_of_Genoa">St. Caterina Fieschi Adorno from Genua</a>, a project we accomplished thanks to our forensic expert Cicero Moraes. To prepare this reconstruction I had to study some historical sources from the "<a href="http://www.cappucciniliguri.it/archivio-storico-provinciale.html">Archivio Storico dei Cappuccini di Genova</a>" (EN "Historical Archive of the Capuchins of Genoa") and, thanks to the kind help of Dr. Simonetta Otta and fr. Vittorio Casalino I had access to the original scans of old technical reports, written by several specialists who studied the preserved body of St. Caterina during the years. These scans were, obviously, a series of raster images and, in order to simplify their consultation, I composed them into a pdf. To perform this operation I simply used one of ATOR open software: <a href="https://imagemagick.org/index.php">ImageMagick</a>. </div>
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In short, I simply start the terminal, browsed the image folder (cd PATH_TO_IMAGES) and give this command: covert *.IMAGES_EXTANSION OUTPUT_NAME.</div>
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This short videoturial is showing this simple process. I hope it will useful to someone. Have a nice day!</div>
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<iframe width="320" height="266" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/-1eCbLaSUYY/0.jpg" src="https://www.youtube.com/embed/-1eCbLaSUYY?feature=player_embedded" frameborder="0" allowfullscreen></iframe></div>
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Luca Bezzihttp://www.blogger.com/profile/01679160024950021679noreply@blogger.com0