Bibliographies thématiques / 3D digitisation

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Articles de revues

Littérature scientifique sur le sujet « 3D digitisation »

Auteur : Grafiati

Publié le 11 janvier 2025

Mis à jour le 15 juin 2025

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Articles de revues sur le sujet "3D digitisation"

Mathys, A., J. Brecko, and P. Semal. "Cost Analyse of 3D Digitisation Techniques." Digital Presentation and Preservation of Cultural and Scientific Heritage 4 (September 30, 2014): 206–12. http://dx.doi.org/10.55630/dipp.2014.4.24.

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In the framework of the Belgian BELSPO AGORA 3D and DIGIT03 programs, we have evaluated 3D digitising technologies with regards to the quality of the acquisition, the capacities and limitations of each technique and also the direct cost of the different 3D digitisation processes. It is on this latest topic that the paper is focused. In order to evaluate the cost of 3D digitisation, we considered the time for the digitisation, cost of the equipment and cost of the staff. Our preliminary results show that the real cost by specimen depends on the amount of specimens to digitise. Techniques that appear to be low-cost can be the most expensive in the framework of massive digitization programs, whilst more expensive equipment can be more efficient in the long term. Therefore low-cost equipment is mainly recommended for occasional digitisation or small series of digitisations.

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Kempthorne, Daryl Matthew, Mark Barry, Jerzy A. Zabkiewicz, and Joseph Young. "3D digitisation of plant leaves." ANZIAM Journal 54 (May 23, 2014): 138. http://dx.doi.org/10.21914/anziamj.v55i0.7850.

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Argyridou, E., A. Karaoli, M. Hadjiathanasiou, et al. "THE FIRST ATTEMPT FOR STANDARDISATION IN 3D DIGITISATION. THE EU STUDY ON QUALITY IN 3D DIGITISATION OF TANGIBLE CULTURAL HERITAGE." International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLVIII-M-2-2023 (June 24, 2023): 103–9. http://dx.doi.org/10.5194/isprs-archives-xlviii-m-2-2023-103-2023.

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Abstract. This paper focuses on the exceptional results of the EU Study (Commission et al., 2022) to map the parameters, formats, standards, benchmarks and methodologies relating to the 3D digitisation of tangible cultural heritage (CH). The overall objective of our paper is to further the quality of the 3D digitisation process by enabling cultural heritage professionals, institutions, content developers, stakeholders and academics to define and produce high-quality digitisation standards and sustainable conservation models for the preservation, documentation, understanding, and accessibility of tangible cultural heritage assets. The aim is to achieve high quality results during the 2D and 3D recording process of CH tangible assets. This work identifies for the first time in this domain, key parameters of the digitisation process, estimated the relative complexity and how it is linked to technology, its impact on quality and its various factors. It also presents standards and formats used for 3D digitisation, including data types, data formats and metadata schemas for 3D structures within a holistic documentation approach. Finally, this work presents and describes all the features and parameters of the complexity and quality that influence the methodology and infrastructure to be used for high quality results regarding digital cultural heritage. These complexity and quality factors are illustrated in the form of radial charts with the corresponding relevant information at the end of the paper.

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Marshall, M. E., A. A. Johnson, S. J. Summerskill, Q. Baird, and E. Esteban. "AUTOMATING PHOTOGRAMMETRY FOR THE 3D DIGITISATION OF SMALL ARTEFACT COLLECTIONS." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W15 (August 23, 2019): 751–57. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w15-751-2019.

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<p><strong>Abstract.</strong> The 3D digitisation of precious or delicate cultural heritage artefacts via photogrammetry is highly important for historical preservation purposes. Doing so can help mitigate against events such as natural disasters, war, and tourism damage, whilst enabling access to 3D data for researchers around the globe. While the digitisation of such artefacts offer many significant societal and academic benefits, the process in which data is captured is resource intensive and often results in inaccurate outcomes. This paper presents a novel small object scanner which automates the photogrammetry image acquisition process for the highly detailed and efficient 3D digitisation of cultural heritage artefacts across large museum collections.</p>

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Mendricky, Radomir. "ASPECTS AFFECTING ACCURACY OF OPTICAL 3D DIGITISATION." MM Science Journal 2018, no. 01 (2018): 2267–75. http://dx.doi.org/10.17973/mmsj.2018_03_2017106.

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White, Suzanna, Cara Hirst, and Sian E. Smith. "The Suitability of 3D Data: 3D Digitisation of Human Remains." Archaeologies 14, no. 2 (2018): 250–71. http://dx.doi.org/10.1007/s11759-018-9347-9.

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Frank, Jiří, Josef Kortan, Miroslav Kukrál, et al. "Fotogrammetrie jako optimální technika pro 3D digitalizaci v muzejních institucích." Muzeum Muzejní a vlastivedná práce 59, no. 1 (2022): 3–18. http://dx.doi.org/10.37520/mmvp.2021.002.

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One of the challenges that museums often face is how to present their ‚treasures‘ in a form that is both comprehensive and relevant to today‘s audiences. Digital content alone is not enough in this context and 3D content is increasingly gaining importance. One of the most accessible and at the same time most effective 3D digitisation methods is photogrammetry. The result, if procedures are followed correctly, is not only high-quality content with a wide range of uses, but also potential stepping stones for effective business models. This can reduce acquisition costs quite significantly and make 3D digitisation accessible to a wider range of institutions.

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Lanzara, Emanuela, Simona Scandurra, Arianna Lo Pilato, Federica Itri, and Laura Simona Pappalardo. "3D digitisation and modelling of liturgical metal artefacts." International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLVIII-2/W8-2024 (December 14, 2024): 281–88. https://doi.org/10.5194/isprs-archives-xlviii-2-w8-2024-281-2024.

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Abstract. The present work is aimed at showing the results obtained by testing different operational solutions for single-camera photogrammetric acquisitions of numerous complex metal liturgical artefact preserved in the Church of Santa Maria di Costantinopoli in Naples (Italy). The digitisation activity is aimed at supporting documentation, restoration, valorisation and dissemination of a rich liturgical collection that is not accessible to the public for security reasons. The number and diversity of the pieces required an expeditious surveying activity conducted in situ with low-cost instrumentation and image-based techniques adopted and compared with reference to the geometric-formal complexity and state of conservation of the objects. According to the level of difficulty acquisition, this work shows the results of the digitalisation of three different types identified among the many different liturgical objects of the collection about their different geometric, compositional and technological configuration in terms of topology, shape, composition, materials and manufacturing technique. The adopted workflow produced results that allow qualitatively assess the examined objects and their materials, supporting architects, experts in the restoration of metal artefacts and art historians: the produced digital documentation represents a 3D digital support for restoration activities and, above all, to plane activities aimed at conservation and preventive maintenance, as well as for valorisation and dissemination activities through digital information systems.

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Kalasarinis, Ioannis, and Anestis Koutsoudis. "Assisting Pottery Restoration Procedures with Digital Technologies." International Journal of Computational Methods in Heritage Science 3, no. 1 (2019): 20–32. http://dx.doi.org/10.4018/ijcmhs.2019010102.

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The fragmentary nature of pottery is considered a common place. Conservators are requested to apply a proper restoration solution by taking under consideration a wide range of morphological features and physicochemical properties that derive from the artefact itself. In this work, the authors discuss on a low-cost pottery-oriented restoration pipeline that is based on the exploitation of technologies such as 3D digitisation, data analysis, processing and printing. The pipeline uses low-cost commercial and open source software tools and on the authors' previously published 3D pose normalisation algorithm that was initially designed for 3D vessel shape matching. The authors objectively evaluate the pipeline by applying it on two ancient Greek vessels of the Hellenistic period. The authors describe in detail the involved procedures such as the photogrammetric 3D digitisation, the 3D data analysis and processing, the 3D printing procedures and the synthetic shreds post processing. They quantify the pipeline's applicability and efficiency in terms of cost, knowledge overhead and other aspects related to restoration tasks.

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Polčák, Radim. "Digitisation, Cultural Institutions and Intellectual Property." Masaryk University Journal of Law and Technology 9, no. 2 (2015): 121–41. http://dx.doi.org/10.5817/mujlt2015-2-7.

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Digitisation of cultural content represents one of most challenging problems of contemporary IP law. Cultural artefacts, let it be books, paintings or 3D objects, are often very old, so there are no issues in copyright protection of their content. However, the public availability of such content is in these cases strongly limited namely due to physical conditions of the carriers and subsequent conservation demands.Digitisation might serve here as powerful enabler of re-use of these works that are frequently of enormous cultural value. On the other hand, getting useful (and re-usable) digital images of 2D or 3D cultural objects means to invest into advanced technologies that are able to capture the respective content while protecting its fragile carriers from physical damage or destruction. Consequently, there is a need for business models that can motivate investors by offering them valuable consideration for such efforts.Recently, such business models are based namely on exclusive agreements between digitisers and cultural institutions that, together with specific copyright protection of digitised images in some jurisdictions, create new form of legal barriers to re-use of even very old cultural content. The paper critically discusses these new restrictive legal instruments namely in the light of the revised PSI re-use directive.

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