Typology
operator:
and / or
Language
operator:
and / or
Date
operator:
and / or
Rights
operator:
and / or
2018
Doctoral thesis
Open Access
Exploring Effective Publishing in the Web3D World
Potenziani M.
Web3D is most certainly an intriguing world. Its story has changed suddenly with the advent of WebGL, evolving from a slow and stagnant past to a dynamic and rapidly-evolving present. 3D data is becoming one of the key digital media on the Web, with a wide number of solutions specifically designed for publishing and consuming three-dimensional content online. Unfortunately, this field experimented a quick and often chaotic growth, presenting nowadays a dichotomy between pure research-oriented and market-oriented approaches. This has somehow shaped the directions of Web3D development, creating de-facto standards and solutions tailored to specific fields, or only focused towards mainstream publishing actions and thus unable to cope with the needs of more specialized and technical 3D users. Under these premises, the aim of the thesis has been to investigate the shortcomings and missing features of Web3D technology, as well as to propose a solution aimed at filling these empty spots. We start by presenting an analysis of the state of the art of 3D Web publishing, surveying the features provided by the major current approaches, useful to categorize the existing solutions and to cross-map them with the requirements of the different application domains. Then, in what is the main contribution of the thesis, we exploit the result of our analysis of the Web3D and discuss the design and implementation of a flexible platform, aimed at providing an effective framework for the Web presentation of specialized 3D content. Our solution is tailored to cope with the needs of a challenging application context, Cultural Heritage. Therefore it exploits highly-efficient solutions for data transfer and rendering, intuitive interaction/manipulation paradigms, and features enabling trans-media elements connections. To validate the proposed framework, the thesis presents the results of two specific interactive visualization applications, addressing different Web3D presentation needs: a first one aimed at a museum dissemination initiative, and a second one developed to support scientific analysis. Finally, we also tested the capabilities of our platform for the implementation of service-oriented applications: a project aimed at providing a service for the easy publication of complex, technical media types; and a more structured scenario of multimedia Digital Libraries, proposing a pipeline useful to rationalize and speed-up the publication of heterogeneous 3D dataset on a multimedia repository.
Potenziani M.
Web3D is most certainly an intriguing world. Its story has changed suddenly with the advent of WebGL, evolving from a slow and stagnant past to a dynamic and rapidly-evolving present. 3D data is becoming one of the key digital media on the Web, with a wide number of solutions specifically designed for publishing and consuming three-dimensional content online. Unfortunately, this field experimented a quick and often chaotic growth, presenting nowadays a dichotomy between pure research-oriented and market-oriented approaches. This has somehow shaped the directions of Web3D development, creating de-facto standards and solutions tailored to specific fields, or only focused towards mainstream publishing actions and thus unable to cope with the needs of more specialized and technical 3D users. Under these premises, the aim of the thesis has been to investigate the shortcomings and missing features of Web3D technology, as well as to propose a solution aimed at filling these empty spots. We start by presenting an analysis of the state of the art of 3D Web publishing, surveying the features provided by the major current approaches, useful to categorize the existing solutions and to cross-map them with the requirements of the different application domains. Then, in what is the main contribution of the thesis, we exploit the result of our analysis of the Web3D and discuss the design and implementation of a flexible platform, aimed at providing an effective framework for the Web presentation of specialized 3D content. Our solution is tailored to cope with the needs of a challenging application context, Cultural Heritage. Therefore it exploits highly-efficient solutions for data transfer and rendering, intuitive interaction/manipulation paradigms, and features enabling trans-media elements connections. To validate the proposed framework, the thesis presents the results of two specific interactive visualization applications, addressing different Web3D presentation needs: a first one aimed at a museum dissemination initiative, and a second one developed to support scientific analysis. Finally, we also tested the capabilities of our platform for the implementation of service-oriented applications: a project aimed at providing a service for the easy publication of complex, technical media types; and a more structured scenario of multimedia Digital Libraries, proposing a pipeline useful to rationalize and speed-up the publication of heterogeneous 3D dataset on a multimedia repository.
See at:
etd.adm.unipi.it 
| ISTI Repository | CNR ExploRA
2022
Report
Open Access
ARIADNEplus D11.1 - Quantity of Access Offered - TA4
Bassett S., Potenziani M.
This deliverable describes the Trans National Access (TNA) activities carried out during the ARIADNEplus project within Work Package 11 (WP11) by CNR and describes the results achieved by this work package. CNR were responsible for the delivery of TNA entitled "Visual Media for the Documentation of Fieldwork and Artefacts" at their premises in Pisa, Italy. The first TNA call went out in 2019 and only three person were able to complete their in-house training before the pandemic restrictions stopped travel. No further activities could be undertaken until 2021 when it was decided to organise the TNA as four Summer Schools and all previously accepted applicants were offered (and took up) places on the week-long courses. All candidates had to send in application forms describing their projects and how these would benefit from the use of Visual Media. One of three independent reviewers each evaluated the applications and awarded a mark and recommendation to ensure the quality and relevance of the training for the applicants. The WP11 training was designed to support researchers who wish to use visual media for the management of activities in the field and/or for the study of objects for their specific project. Participants had access to equipment and facilities in the CNR-ISTI (VCL) laboratory with technical support from the tutors, which provided the opportunity to work with state-of-the-art cameras and scanners, post-processing packages and advanced viewing platforms. Each student had the possibility to learn about creating visual media datasets for the documentation of artefacts and archaeological finds, taking in account preservation and sharing of datasets, guidance and advice were tailored to each individual project. The training concluded with a review of the results achieved and further input from local experts on continuation of the work once back home. In total, all six applicants were offered places of which five were able to attend (one dropped out due to a serious family situation). Each student was asked to complete feedback forms after completing their TNA placements. The quality of the students and their projects as well as the training provided is reflected in the feedback. All the students were highly appreciative of the Summer School and what they had learned and from the comments, it is apparent that the Summer School catered very well to the individual requirements of each student. In terms of numbers, the attendance was lower than expected (six offers for 10 places) and if the Summer School had been able to run a year or two earlier as well, it is highly likely that the target would have been met. However, it is evident that the TNA was very well received, meeting the expectations and requirements of the students so that the lower numbers actually was a benefit for those who were able to attend.Source: ISTI Project report, ARIADNEplus, D11.1, 2022
Project(s): ARIADNEplus
Bassett S., Potenziani M.
This deliverable describes the Trans National Access (TNA) activities carried out during the ARIADNEplus project within Work Package 11 (WP11) by CNR and describes the results achieved by this work package. CNR were responsible for the delivery of TNA entitled "Visual Media for the Documentation of Fieldwork and Artefacts" at their premises in Pisa, Italy. The first TNA call went out in 2019 and only three person were able to complete their in-house training before the pandemic restrictions stopped travel. No further activities could be undertaken until 2021 when it was decided to organise the TNA as four Summer Schools and all previously accepted applicants were offered (and took up) places on the week-long courses. All candidates had to send in application forms describing their projects and how these would benefit from the use of Visual Media. One of three independent reviewers each evaluated the applications and awarded a mark and recommendation to ensure the quality and relevance of the training for the applicants. The WP11 training was designed to support researchers who wish to use visual media for the management of activities in the field and/or for the study of objects for their specific project. Participants had access to equipment and facilities in the CNR-ISTI (VCL) laboratory with technical support from the tutors, which provided the opportunity to work with state-of-the-art cameras and scanners, post-processing packages and advanced viewing platforms. Each student had the possibility to learn about creating visual media datasets for the documentation of artefacts and archaeological finds, taking in account preservation and sharing of datasets, guidance and advice were tailored to each individual project. The training concluded with a review of the results achieved and further input from local experts on continuation of the work once back home. In total, all six applicants were offered places of which five were able to attend (one dropped out due to a serious family situation). Each student was asked to complete feedback forms after completing their TNA placements. The quality of the students and their projects as well as the training provided is reflected in the feedback. All the students were highly appreciative of the Summer School and what they had learned and from the comments, it is apparent that the Summer School catered very well to the individual requirements of each student. In terms of numbers, the attendance was lower than expected (six offers for 10 places) and if the Summer School had been able to run a year or two earlier as well, it is highly likely that the target would have been met. However, it is evident that the TNA was very well received, meeting the expectations and requirements of the students so that the lower numbers actually was a benefit for those who were able to attend.Source: ISTI Project report, ARIADNEplus, D11.1, 2022
Project(s): ARIADNEplus
See at:
ISTI Repository | CNR ExploRA
2019
Report
Open Access
Share -- Publish -- Store -- Preserve. Methodologies, Tools and Challenges for 3D Use in Social Sciences and Humanities (White Paper)
Alaoui M'darhri A., Baillet V., Bourineau B., Calantropio A., Carpentiero G., Chayani Cnrs M., De Luca L., Dudek I., Dutailly Cnrs B., Gautier H., Grilli E., Grimaud V., Hoffmann C., Joffres A., Jon?i? N., Jordan M., Kimball J., Manuel A., Mcinerny P., Muñoz I., Neroulidis A., Nocerino E., Pamart A., Papadopoulos C., Potenziani M., Saubestre E., Scopigno R., Seillier D., Tournon-Valiente S., Trognitz M., Vallet J-M, Zuanni C.
Through this White Paper, which gathers contributions from experts of 3D data as well as professionals concerned with the interoperability and sustainability of 3D research data, the PARTHENOS project aims at highlighting some of the current issues they have to face, with possible specific points according to the discipline, and potential practices and methodologies to deal with these issues. During the workshop, several tools to deal with these issues have been introduced and confronted with the participants' experiences, this White Paper now intends to go further by also integrating participants feedbacks and suggestions of potential improvements. Therefore, even if the focus is put on specific tools, the main goal is to contribute to the development of standardized good practices related to the sharing, publication, storage and long-term preservation of 3D data.Source: ISTI Technical Reports, 2019
Project(s): PARTHENOS
Alaoui M'darhri A., Baillet V., Bourineau B., Calantropio A., Carpentiero G., Chayani Cnrs M., De Luca L., Dudek I., Dutailly Cnrs B., Gautier H., Grilli E., Grimaud V., Hoffmann C., Joffres A., Jon?i? N., Jordan M., Kimball J., Manuel A., Mcinerny P., Muñoz I., Neroulidis A., Nocerino E., Pamart A., Papadopoulos C., Potenziani M., Saubestre E., Scopigno R., Seillier D., Tournon-Valiente S., Trognitz M., Vallet J-M, Zuanni C.
Through this White Paper, which gathers contributions from experts of 3D data as well as professionals concerned with the interoperability and sustainability of 3D research data, the PARTHENOS project aims at highlighting some of the current issues they have to face, with possible specific points according to the discipline, and potential practices and methodologies to deal with these issues. During the workshop, several tools to deal with these issues have been introduced and confronted with the participants' experiences, this White Paper now intends to go further by also integrating participants feedbacks and suggestions of potential improvements. Therefore, even if the focus is put on specific tools, the main goal is to contribute to the development of standardized good practices related to the sharing, publication, storage and long-term preservation of 3D data.Source: ISTI Technical Reports, 2019
Project(s): PARTHENOS
See at:
hal.archives-ouvertes.fr | ISTI Repository | CNR ExploRA
2014
Journal article
Open Access
3DHOP: a novel technological solution for the development of online virtual museums
Potenziani M., Callieri M., Scopigno R.
The interactive visualization of 3D content on the Web has gained momentum in recent years, thanks to the release of ad-hoc technology as part of HTML5. However, so far, few products fully exploit this opportunity for the easy and quick embedding of high-resolution 3D models in a Web page. 3DHOP (3D Heritage Online Presenter) is an advanced solution for easy publishing of 3D content on the Web.Source: ERCIM news online edition 97 (2014): 52–53.
Potenziani M., Callieri M., Scopigno R.
The interactive visualization of 3D content on the Web has gained momentum in recent years, thanks to the release of ad-hoc technology as part of HTML5. However, so far, few products fully exploit this opportunity for the easy and quick embedding of high-resolution 3D models in a Web page. 3DHOP (3D Heritage Online Presenter) is an advanced solution for easy publishing of 3D content on the Web.Source: ERCIM news online edition 97 (2014): 52–53.
See at:
ercim-news.ercim.eu | CNR ExploRA
2015
Conference article
Restricted
Digital Study and Web-based Documentation of the Colour and Gilding on Ancient Marble Artworks
Siotto E., Palma G., Potenziani M., Scopigno R.
Greek and Roman marble artworks have been deeply studied from a typological and stylistic point of view, while there is still a limited knowledge on the pigments, dyes, binders and technical expedients used by Roman artists. In a renewed scientific interest towards the ancient polychromy (colour and gilding), a digital methodological and multidisciplinary approach can provide valuable information to better investigate and understand this fundamental aspect and to get a complete sense on Greek and Roman marble artworks. Following this research direction, the paper proposes a systematic methodological process defined to detect, document and visualize the preserved (and in some cases the digital reconstructed) original colour and gilding on Roman marble sarcophagi (II-IV century AD). The process defines a working pipeline that, starting from the selection of the artefact to study, proposes a set of investigation steps to improve our knowledge of its original painting. These steps include the direct virtual inspection, the archaeological and historical research, the on-site scientific investigation by multispectral imaging, spectroscopic and elemental analysis (eventually supported by micro-invasive techniques performed in laboratory), the accurate polychrome surface acquisition by colour calibrated 2D images. All the data produced are integrated with a high-resolution 3D model to support enhanced analysis and comparison and to create a digital 3D polychrome reconstruction by virtual painting. Finally, all those data are also made accessible on the web by using a cutting edge platform for visual media publication and interactive 3D visualization. This systematic and multidisciplinary process was tested on the so-called 'Annona sarcophagus' (Museo Nazionale Romano - Palazzo Massimo, inv. no. 40799).Source: Digital Heritage International Congress, pp. 239–246, Granada, 28/09/2015-02/10/2015
DOI: 10.1109/digitalheritage.2015.7413877
Project(s): ARIADNE
Metrics:
Siotto E., Palma G., Potenziani M., Scopigno R.
Greek and Roman marble artworks have been deeply studied from a typological and stylistic point of view, while there is still a limited knowledge on the pigments, dyes, binders and technical expedients used by Roman artists. In a renewed scientific interest towards the ancient polychromy (colour and gilding), a digital methodological and multidisciplinary approach can provide valuable information to better investigate and understand this fundamental aspect and to get a complete sense on Greek and Roman marble artworks. Following this research direction, the paper proposes a systematic methodological process defined to detect, document and visualize the preserved (and in some cases the digital reconstructed) original colour and gilding on Roman marble sarcophagi (II-IV century AD). The process defines a working pipeline that, starting from the selection of the artefact to study, proposes a set of investigation steps to improve our knowledge of its original painting. These steps include the direct virtual inspection, the archaeological and historical research, the on-site scientific investigation by multispectral imaging, spectroscopic and elemental analysis (eventually supported by micro-invasive techniques performed in laboratory), the accurate polychrome surface acquisition by colour calibrated 2D images. All the data produced are integrated with a high-resolution 3D model to support enhanced analysis and comparison and to create a digital 3D polychrome reconstruction by virtual painting. Finally, all those data are also made accessible on the web by using a cutting edge platform for visual media publication and interactive 3D visualization. This systematic and multidisciplinary process was tested on the so-called 'Annona sarcophagus' (Museo Nazionale Romano - Palazzo Massimo, inv. no. 40799).Source: Digital Heritage International Congress, pp. 239–246, Granada, 28/09/2015-02/10/2015
DOI: 10.1109/digitalheritage.2015.7413877
Project(s): ARIADNE
Metrics:
See at:
doi.org 
| ieeexplore.ieee.org | CNR ExploRA
2016
Conference article
Unknown
Automating large 3D dataset publication in a web-based multimedia repository
Potenziani M., Fritsch B., Dellepiane M., Scopigno R.
Online publishing of almost every type of 3D data has become a quasi-standard routine. Nevertheless, the integration in a web page of a single 3D model, or of a predefined restricted set of models, raises different issues compared to an efficient and effective integration of thousands of them in an online repository. In this case it is mandatory to have an automatized pipeline to prepare and homogenize the dataset. The pipeline should be able to automatically wrap 3D data in all conditions, and display every single model with the best scene setup without any (or with a minimal) interaction by the database maintainers. This paper, retracing the steps of a recent real application case, aims at showing all the faced issues (and the adopted solutions) to publish a large and heterogeneous three-dimensional dataset in a web specialized repository. We want to introduce a valid and reusable strategy, starting from the description of the pipeline adopted for data pre-processing and moving to the choices made in the 3D viewer implementation. The paper concludes with a discussion on the actual state of the integration of 3D data with the other multimedia informative layers.Source: Smart Tools and Apps in computer Graphics, Genova, Italy, 3-4 October 2016
Project(s): ARIADNE
Potenziani M., Fritsch B., Dellepiane M., Scopigno R.
Online publishing of almost every type of 3D data has become a quasi-standard routine. Nevertheless, the integration in a web page of a single 3D model, or of a predefined restricted set of models, raises different issues compared to an efficient and effective integration of thousands of them in an online repository. In this case it is mandatory to have an automatized pipeline to prepare and homogenize the dataset. The pipeline should be able to automatically wrap 3D data in all conditions, and display every single model with the best scene setup without any (or with a minimal) interaction by the database maintainers. This paper, retracing the steps of a recent real application case, aims at showing all the faced issues (and the adopted solutions) to publish a large and heterogeneous three-dimensional dataset in a web specialized repository. We want to introduce a valid and reusable strategy, starting from the description of the pipeline adopted for data pre-processing and moving to the choices made in the 3D viewer implementation. The paper concludes with a discussion on the actual state of the integration of 3D data with the other multimedia informative layers.Source: Smart Tools and Apps in computer Graphics, Genova, Italy, 3-4 October 2016
Project(s): ARIADNE
See at: CNR ExploRA
2018
Conference article
Open Access
Developing and maintaining a web 3D viewer for the CH community: an evaluation of the 3DHOP framework
Potenziani M., Callieri M., Scopigno R.
3DHOP (3D Heritage On-line Presenter) has been released 4 years ago, as an open-source framework for the creation of interactive visualization of 3D content on the web, aimed at the CH field. Transforming a research tool into a software "product" usable by the heterogeneous CH community is not a simple task and requires a significant amount of resources plus a specific design. This work presents the evolution of the 3DHOP system, and the complex relationship with its community of users, made of content creators, CH experts and general public. We will discuss the new features introduced, as well as the design and implementation strategy employed to maintain the software and make it usable by developers. We will evaluate the effectiveness of the platform by illustrating some of the applications built with 3DHOP either internally or by external users, as well as by presenting the results of a survey aimed at gathering the opinions and suggestions of the user community.Source: 16th Eurographics Workshop on Graphics and Cultural Heritage, Vien, Austria, 12-15 November 2018
Potenziani M., Callieri M., Scopigno R.
3DHOP (3D Heritage On-line Presenter) has been released 4 years ago, as an open-source framework for the creation of interactive visualization of 3D content on the web, aimed at the CH field. Transforming a research tool into a software "product" usable by the heterogeneous CH community is not a simple task and requires a significant amount of resources plus a specific design. This work presents the evolution of the 3DHOP system, and the complex relationship with its community of users, made of content creators, CH experts and general public. We will discuss the new features introduced, as well as the design and implementation strategy employed to maintain the software and make it usable by developers. We will evaluate the effectiveness of the platform by illustrating some of the applications built with 3DHOP either internally or by external users, as well as by presenting the results of a survey aimed at gathering the opinions and suggestions of the user community.Source: 16th Eurographics Workshop on Graphics and Cultural Heritage, Vien, Austria, 12-15 November 2018
See at:
ISTI Repository | www.chnt.at | CNR ExploRA
2018
Journal article
Open Access
Publishing and consuming 3D content on the Web. A survey
Potenziani M., Callieri M., Dellepiane M., Scopigno R.
Three-dimensional content is becoming an important component of the World Wide Web environment. From the advent of WebGL to the present, a wide number of solutions have been developed (including libraries, middleware, and applications), encouraging the establishment of 3D data as online media of practical use. The fast development of 3D technologies and related web-based resources makes it difficult to identify and properly understand the current trends and open issues. Starting from these premises, this survey analyzes the state of the art of 3D web publishing, reviews the possibilities provided by the major current approaches, proposes a categorization of the features supported by existing solutions, and cross-maps these with the requirements of a few main application domains. The results of this analysis should help in defining the technical characteristics needed to build efficient and effective 3D data presentation, taking into account the application contexts.Source: Foundations and trends in computer graphics and vision 10 (2018): 244–333. doi:10.1561/0600000083
DOI: 10.1561/0600000083
Metrics:
Potenziani M., Callieri M., Dellepiane M., Scopigno R.
Three-dimensional content is becoming an important component of the World Wide Web environment. From the advent of WebGL to the present, a wide number of solutions have been developed (including libraries, middleware, and applications), encouraging the establishment of 3D data as online media of practical use. The fast development of 3D technologies and related web-based resources makes it difficult to identify and properly understand the current trends and open issues. Starting from these premises, this survey analyzes the state of the art of 3D web publishing, reviews the possibilities provided by the major current approaches, proposes a categorization of the features supported by existing solutions, and cross-maps these with the requirements of a few main application domains. The results of this analysis should help in defining the technical characteristics needed to build efficient and effective 3D data presentation, taking into account the application contexts.Source: Foundations and trends in computer graphics and vision 10 (2018): 244–333. doi:10.1561/0600000083
DOI: 10.1561/0600000083
Metrics:
See at:
ISTI Repository | Foundations and Trends® in Computer Graphics and Vision | www.nowpublishers.com | CNR ExploRA
2021
Contribution to conference
Open Access
Proceedings - Web3D 2021: 26th ACM International Conference on 3D Web Technology
Ganovelli F., Mc Donald C., Banterle F., Potenziani M., Callieri M., Jung Y.
The annual ACM Web3D Conference is a major event which unites researchers, developers, entrepreneurs, experimenters, artists and content creators in a dynamic learning environment. Attendees share and explore methods of using, enhancing and creating new 3D Web and Multimedia technologies such as X3D, VRML, Collada, MPEG family, U3D, Java3D and other technologies. The conference also focuses on recent trends in interactive 3D graphics, information integration and usability in the wide range of Web3D applications from mobile devices to high-end immersive environments.Source: New York: ACM, Association for computing machinery, 2021
DOI: 10.1145/3485444
Metrics:
Ganovelli F., Mc Donald C., Banterle F., Potenziani M., Callieri M., Jung Y.
The annual ACM Web3D Conference is a major event which unites researchers, developers, entrepreneurs, experimenters, artists and content creators in a dynamic learning environment. Attendees share and explore methods of using, enhancing and creating new 3D Web and Multimedia technologies such as X3D, VRML, Collada, MPEG family, U3D, Java3D and other technologies. The conference also focuses on recent trends in interactive 3D graphics, information integration and usability in the wide range of Web3D applications from mobile devices to high-end immersive environments.Source: New York: ACM, Association for computing machinery, 2021
DOI: 10.1145/3485444
Metrics:
See at:
dl.acm.org | ISTI Repository | CNR ExploRA
2023
Contribution to book
Open Access
Digitalizzazione 3D dei frammenti della statua di Athena e del fregio monumentale dell'Athenaion di Castro
Callieri M., Potenziani M., Siotto E.
Nell'ottobre 2021, diversi frammenti della statua di Athena e del fregio monumentale dell'Athenaion di Castro sono stati digitalizzati in modelli 3D a cura del Visual Computing Lab dell'Istituto di Scienza e Tecnologie dell'Informazione (ISTI), CNR. Il personale del laboratorio di ricerca, che si occupa di grafica 3D e di tecnologie digitali applicate ai beni culturali, ha lavorato presso i locali del museo archeologico e dei depositi del comune di Castro nel contesto del Programma di Accesso Molab 2021 del progetto E-RHIS.it.Source: ATHENAION - Tarantini, Messapi e altri nel Santuario di Atena a Castro, edited by Francesco D'Andria, Eva Degl'Innocenti, Maria Piera Caggia, Tommaso Ismaelli, Lorenzo Mancini, pp. 189–192. Bari: EDIPUGLIA, 2023
Callieri M., Potenziani M., Siotto E.
Nell'ottobre 2021, diversi frammenti della statua di Athena e del fregio monumentale dell'Athenaion di Castro sono stati digitalizzati in modelli 3D a cura del Visual Computing Lab dell'Istituto di Scienza e Tecnologie dell'Informazione (ISTI), CNR. Il personale del laboratorio di ricerca, che si occupa di grafica 3D e di tecnologie digitali applicate ai beni culturali, ha lavorato presso i locali del museo archeologico e dei depositi del comune di Castro nel contesto del Programma di Accesso Molab 2021 del progetto E-RHIS.it.Source: ATHENAION - Tarantini, Messapi e altri nel Santuario di Atena a Castro, edited by Francesco D'Andria, Eva Degl'Innocenti, Maria Piera Caggia, Tommaso Ismaelli, Lorenzo Mancini, pp. 189–192. Bari: EDIPUGLIA, 2023
See at:
edipuglia.it | ISTI Repository | CNR ExploRA
2016
Conference article
Open Access
ARIADNE visual media service: easy Web publishing of advanced visual media
Ponchio F., Potenziani M., Dellepiane M., Callieri M., Scopigno R.
This paper describes the design and development of a service for 'visual media' files. In the first phase of the ARIADNE project we reviewed the status of visual media resources (2D, RTI, 3D) in the archaeology domain, but there was possibility of publishing visual media resources on the web. To fill this gap we have designed a service aimed at providing easy and unsupervised publication on the web. The service provides a very easy interface (a simple web form) that allows the user to upload the visual media file; the data is then transformed in a web-compliant format, supporting multi-resolution encoding, compression, and progressive transmission. At the end of the data-processing phase the user receives an email containing the URL of the published asset (or, in case he/she wants to store the file locally, a .zip file). Specific browsers for the three types of media have also been developed, based on 3DHOP technology.Source: CAA 2015 - 43rd Annual Conference on Computer Applications and Quantitative Methods in Archaeology, pp. 433–442, Siena, Italy, 31 March - 2 April 2015
Ponchio F., Potenziani M., Dellepiane M., Callieri M., Scopigno R.
This paper describes the design and development of a service for 'visual media' files. In the first phase of the ARIADNE project we reviewed the status of visual media resources (2D, RTI, 3D) in the archaeology domain, but there was possibility of publishing visual media resources on the web. To fill this gap we have designed a service aimed at providing easy and unsupervised publication on the web. The service provides a very easy interface (a simple web form) that allows the user to upload the visual media file; the data is then transformed in a web-compliant format, supporting multi-resolution encoding, compression, and progressive transmission. At the end of the data-processing phase the user receives an email containing the URL of the published asset (or, in case he/she wants to store the file locally, a .zip file). Specific browsers for the three types of media have also been developed, based on 3DHOP technology.Source: CAA 2015 - 43rd Annual Conference on Computer Applications and Quantitative Methods in Archaeology, pp. 433–442, Siena, Italy, 31 March - 2 April 2015
See at:
archaeopress.com | CNR ExploRA
2017
Journal article
Open Access
Delivering and using 3D models on the web: are we ready?
Scopigno R., Callieri M., Dellepiane M., Ponchio F., Potenziani M.
Digital technologies are now mature for producing high quality digital replicas of Cultural Heritage (CH) assets. The research results produced in the last decade ignited an impressive evolution and consolidation of the technologies for acquiring high-quality digital three-dimensional (3D) models, encompassing both geometry and color. What remains still an open problem is how to deliver those data and related knowledge to our society. The web is nowadays the main channel for the dissemination of knowledge. Emerging commercial solutions for web-publishing of 3D data are consolidating and becoming a de-facto standard for many applications (e-commerce, industrial products, education, etc.). In this framework, CH is a very specific domain, requiring highly flexible solutions. Some recent experiences are presented, aimed at providing a support to the archival of archaeological 3D data, supporting web-based publishing of very high-resolution digitization results and finally enabling the documentation of complex restoration actions. All those examples have been recently implemented on the open-source 3D Heritage Online Presenter (3DHOP) platform, developed at CNR-ISTI.Source: Virtual archaeology review 8 (2017): 1–9. doi:10.4995/var.2017.6405
DOI: 10.4995/var.2017.6405
Project(s): EMOTIVE, PARTHENOS
Metrics:
Scopigno R., Callieri M., Dellepiane M., Ponchio F., Potenziani M.
Digital technologies are now mature for producing high quality digital replicas of Cultural Heritage (CH) assets. The research results produced in the last decade ignited an impressive evolution and consolidation of the technologies for acquiring high-quality digital three-dimensional (3D) models, encompassing both geometry and color. What remains still an open problem is how to deliver those data and related knowledge to our society. The web is nowadays the main channel for the dissemination of knowledge. Emerging commercial solutions for web-publishing of 3D data are consolidating and becoming a de-facto standard for many applications (e-commerce, industrial products, education, etc.). In this framework, CH is a very specific domain, requiring highly flexible solutions. Some recent experiences are presented, aimed at providing a support to the archival of archaeological 3D data, supporting web-based publishing of very high-resolution digitization results and finally enabling the documentation of complex restoration actions. All those examples have been recently implemented on the open-source 3D Heritage Online Presenter (3DHOP) platform, developed at CNR-ISTI.Source: Virtual archaeology review 8 (2017): 1–9. doi:10.4995/var.2017.6405
DOI: 10.4995/var.2017.6405
Project(s): EMOTIVE
, PARTHENOS Metrics:
See at:
Virtual Archaeology Review | Recolector de Ciencia Abierta, RECOLECTA | ISTI Repository | Virtual Archaeology Review | Virtual Archaeology Review | CNR ExploRA
2019
Other
Unknown
Three Armenian Manuscripts from Tuscany
Callieri M., Pingi P., Potenziani M., Ponchio F., Scopigno R.
For the temporary exhibition "Three Armenian Manuscripts from Tuscany", taking palce at the Matenadaran Museum (Jerevan, Armenia) from June 9th 2019 to January 9 2020, The Visual Computing Lab of ISTI-CNR created a multimedia interactive kiosk presenting to the museum visitors the pages of the codices and the rooms of the libraries that preserved the books in their long life. The photographic campaign of the codices and buildings has also been used in the monographic volume "Three Armenian Manuscripts from Tuscany (13th - 14th century)", by Anna Rita Fantoni e Giovanna Rasario. Mandragora, Firenze. 2019. ISBN 978-88-7461-475-2 The Kiosk presents, commented by the texts edited by the experts Anna Rita Fantoni e Giovanna Rasario, high-res 360° panorama images of ther libraries (Biblioteca Medicea Laurenziana and Biblioteca di S. Matteo), high-res images of selected pages of the three codices displayed int he exhibition, and relightable RTI images of the decorated cover of one of the codices and of a parchment page illuminated in gold. The Kiosk is based on web technologies: this makes possible the installation on a stand-alone PC (like in the exhibition) but also a web publishing, linked just above. The generation of RTI, and the web visualization of RTI and multiresolution images is managed by the library Relight, developed by ISTI-CNR.
Callieri M., Pingi P., Potenziani M., Ponchio F., Scopigno R.
For the temporary exhibition "Three Armenian Manuscripts from Tuscany", taking palce at the Matenadaran Museum (Jerevan, Armenia) from June 9th 2019 to January 9 2020, The Visual Computing Lab of ISTI-CNR created a multimedia interactive kiosk presenting to the museum visitors the pages of the codices and the rooms of the libraries that preserved the books in their long life. The photographic campaign of the codices and buildings has also been used in the monographic volume "Three Armenian Manuscripts from Tuscany (13th - 14th century)", by Anna Rita Fantoni e Giovanna Rasario. Mandragora, Firenze. 2019. ISBN 978-88-7461-475-2 The Kiosk presents, commented by the texts edited by the experts Anna Rita Fantoni e Giovanna Rasario, high-res 360° panorama images of ther libraries (Biblioteca Medicea Laurenziana and Biblioteca di S. Matteo), high-res images of selected pages of the three codices displayed int he exhibition, and relightable RTI images of the decorated cover of one of the codices and of a parchment page illuminated in gold. The Kiosk is based on web technologies: this makes possible the installation on a stand-alone PC (like in the exhibition) but also a web publishing, linked just above. The generation of RTI, and the web visualization of RTI and multiresolution images is managed by the library Relight, developed by ISTI-CNR.
See at: CNR ExploRA | vcg.isti.cnr.it
2019
Contribution to book
Unknown
Rilievo 3D di Alchimia, ed uso dei modelli 3D per studio e divulgazione
Callieri M., Dellepiane M., Lureau A., Pavoni G., Pingi P., Potenziani M., Scopigno R.
Le tecniche di digitalizzazione 3D si sono fatte largo prepotentemente nel campo dei beni culturali. Dalle prime sperimentazioni dell'utilizzo di modelli 3D di due decenni fa, si è arrivati oggi ad una ampia diffusione e democratizzazione di queste tecnologie, fino a poter dire che la digitalizzazione 3D è uno strumento ormai essenziale nella maggior parte dei progetti di conservazione, restauro, documentazione e studio dei beni culturali. Nell'ultimo periodo, poi, anche le tecnologie di riproduzione fisica da modelli 3D (3D printing e la prototipazione rapida) stanno entrando nella routine di queste tipologie di azione. Un aspetto chiave dei modelli digitali 3D risiede nella loro "doppia natura": -i modelli 3D sono pura informazione numerica e geometrica, sono fatti, cioè, di numeri che rappresentano le misure e la forma di un oggetto fisico. Hanno dunque proprietà metriche, e le misure in essi contenute possono essere usate per calcoli tecnici, documentazione, simulazione e riproduzione fisica; -i modelli 3D però hanno anche un aspetto "visuale", cioè possono essere visualizzati e disegnati a schermo formando immagini che, visivamente, corrispondono alla percezione che noi avremmo davanti all'oggetto reale (specialmente quando il modello 3D geometrico è corredato anche di informazione di tessitura o colore). Questa doppia natura unisce una precisione, una scientificità del dato, alla possibilità di interagire con esso in maniera naturale, come faremmo con l'oggetto reale. Se è vero che nelle prime sperimentazioni, i modelli 3D sono stati utilizzati solamente come fonte di misure e di dati, oppure solo come "gadget visuale" per presentare al pubblico l'oggetto d'arte, possiamo dire che oggi, con il progredire delle tecnologie, e soprattutto con la definizione di protocolli di lavoro più completi, questi due aspetti riescono ad essere sfruttati appieno in maniera congiunta. In questo lavoro, per l'appunto, è stato possibile sfruttare appieno le potenzialità del media digitale 3D, sia dal punto di vista scientifico-documentale, che come strumento di disseminazione e di coinvolgimento del pubblico.Source: Alchimia di Jackson Pollock - Viaggio all'interno della materia, edited by Luciano Pensabene Buemi, Francesca Bettini, Roberto Bellucci, pp. 145–154. Firenze: Edifir - Edizioni Firenze s.r.l., 2019
Callieri M., Dellepiane M., Lureau A., Pavoni G., Pingi P., Potenziani M., Scopigno R.
Le tecniche di digitalizzazione 3D si sono fatte largo prepotentemente nel campo dei beni culturali. Dalle prime sperimentazioni dell'utilizzo di modelli 3D di due decenni fa, si è arrivati oggi ad una ampia diffusione e democratizzazione di queste tecnologie, fino a poter dire che la digitalizzazione 3D è uno strumento ormai essenziale nella maggior parte dei progetti di conservazione, restauro, documentazione e studio dei beni culturali. Nell'ultimo periodo, poi, anche le tecnologie di riproduzione fisica da modelli 3D (3D printing e la prototipazione rapida) stanno entrando nella routine di queste tipologie di azione. Un aspetto chiave dei modelli digitali 3D risiede nella loro "doppia natura": -i modelli 3D sono pura informazione numerica e geometrica, sono fatti, cioè, di numeri che rappresentano le misure e la forma di un oggetto fisico. Hanno dunque proprietà metriche, e le misure in essi contenute possono essere usate per calcoli tecnici, documentazione, simulazione e riproduzione fisica; -i modelli 3D però hanno anche un aspetto "visuale", cioè possono essere visualizzati e disegnati a schermo formando immagini che, visivamente, corrispondono alla percezione che noi avremmo davanti all'oggetto reale (specialmente quando il modello 3D geometrico è corredato anche di informazione di tessitura o colore). Questa doppia natura unisce una precisione, una scientificità del dato, alla possibilità di interagire con esso in maniera naturale, come faremmo con l'oggetto reale. Se è vero che nelle prime sperimentazioni, i modelli 3D sono stati utilizzati solamente come fonte di misure e di dati, oppure solo come "gadget visuale" per presentare al pubblico l'oggetto d'arte, possiamo dire che oggi, con il progredire delle tecnologie, e soprattutto con la definizione di protocolli di lavoro più completi, questi due aspetti riescono ad essere sfruttati appieno in maniera congiunta. In questo lavoro, per l'appunto, è stato possibile sfruttare appieno le potenzialità del media digitale 3D, sia dal punto di vista scientifico-documentale, che come strumento di disseminazione e di coinvolgimento del pubblico.Source: Alchimia di Jackson Pollock - Viaggio all'interno della materia, edited by Luciano Pensabene Buemi, Francesca Bettini, Roberto Bellucci, pp. 145–154. Firenze: Edifir - Edizioni Firenze s.r.l., 2019
See at: CNR ExploRA
2022
Conference article
Open Access
Cultural Heritage 3D data on the Web: issues and perspectives
Potenziani M., Ponchio F., Callieri M., Cignoni P., Scopigno R.
Les modèles numériques 3D sont unanimement considérés comme un atout inestimable pour l'étude, la gestion et la promotion du patrimoine culturel. L'urgence de COVID-19 a accéléré la tendance commune à travailler à distance et, pour le patrimoine culturel, la présentation, le partage et l'accès aux données 3D en ligne sont désormais perçus comme une nécessité. Malheureusement, l'absence de méthodologies, d'outils et d'infrastructures standard rend difficile le passage du stockage local à la gestion en ligne de données 3D complexes. Dans cette contribution, nous souhaitons évaluer l'état de l'art de l'utilisation avancée de la 3D sur le web, en soulignant les besoins actuels, en présentant quelques études de cas et en explorant les perspectives futures.Source: Heritage for the Future, Science for Heritage: A European Adventure for Research and Innovation, pp. 378–383, Paris, France, 15-16/03/2022
Potenziani M., Ponchio F., Callieri M., Cignoni P., Scopigno R.
Les modèles numériques 3D sont unanimement considérés comme un atout inestimable pour l'étude, la gestion et la promotion du patrimoine culturel. L'urgence de COVID-19 a accéléré la tendance commune à travailler à distance et, pour le patrimoine culturel, la présentation, le partage et l'accès aux données 3D en ligne sont désormais perçus comme une nécessité. Malheureusement, l'absence de méthodologies, d'outils et d'infrastructures standard rend difficile le passage du stockage local à la gestion en ligne de données 3D complexes. Dans cette contribution, nous souhaitons évaluer l'état de l'art de l'utilisation avancée de la 3D sur le web, en soulignant les besoins actuels, en présentant quelques études de cas et en explorant les perspectives futures.Source: Heritage for the Future, Science for Heritage: A European Adventure for Research and Innovation, pp. 378–383, Paris, France, 15-16/03/2022
See at:
ISTI Repository | www.heritageresearch-hub.eu | CNR ExploRA
2019
Other
Unknown
The EcceHomo project
Callieri M., Pingi P., Potenziani M., Siotto E., Scopigno R.
In the 2017 "Access Programme" call of the E-RIHS.it (European Research Infrastructure for Heritage Science) project, which makes the diagnostic tools and the technologies of a number of research institutes available to Italian conservation institutions, the project concerning the Ecce Homo by Antonello da Messina from the Collegio Alberoni di Piacenza collection was selected. The objective of the non-invasive diagnostic investigations carried out by CNR-ISTI (Pisa), CNR-IFAC (Florence), INFN-CHNet (Bologna) and INFN-CHNet (Florence), was to achieve greater knowledge of the work and create an objective digital support for evaluation and measurement that could assist the activities of conservators and restorers. The joint work of the multidisciplinary team of the Italian node of E-RIHS.it generated a three-dimensional graphic representation, digital twin of the painting, which varies over time and can be useful as a basis for comparison in the periodic control of the Ecce Homo of Piacenza. All the data gathered with the scientific investigations were integrated (by the Visual Computing Laboratory of the CNR-ISTI of Pisa), through their mapping on the 3D/2D space of the digital representation of the work, in a multimedia platform, with the aim of make possible easy consultation and visualization of all data on the web, both for scientific and educational purposes. The multimedia platform was presented as a kiosk in a public conference dedicated to the "ECCEHOMO" project, which had excellent feedback from the public. The kiosk was subsequently integrated into the museum visit itinerary of the Alberoni College of Piacenza. Developed with HTML/JavaScript technology, the kiosk is based on the HTML5 WebGL API, which makes 2D/3D rendering possible without plug-ins on all major web browsers. The use of web technologies allows installation on a stand-alone machine (as in the museum installation) but at the same time publication on the web. The web visualization of high resolution images is managed by the Relight library, developed by ISTI-CNR. The generation of multiresolution 3D models, and their web visualization, is managed by the Nexus, SpiderGL, and 3DHOP software, all developed by the Visual Computing Laboratory of the CNR-ISTI in Pisa. The contents of the kiosk were designed, discussed and validated with the collaboration of all the work teams involved in the project (CNR-ISTI, CNR-IFAC, INFN-CHNet Bologna and Florence) and by Francesca De Vita, restorer and conservator of the artwork.
Callieri M., Pingi P., Potenziani M., Siotto E., Scopigno R.
In the 2017 "Access Programme" call of the E-RIHS.it (European Research Infrastructure for Heritage Science) project, which makes the diagnostic tools and the technologies of a number of research institutes available to Italian conservation institutions, the project concerning the Ecce Homo by Antonello da Messina from the Collegio Alberoni di Piacenza collection was selected. The objective of the non-invasive diagnostic investigations carried out by CNR-ISTI (Pisa), CNR-IFAC (Florence), INFN-CHNet (Bologna) and INFN-CHNet (Florence), was to achieve greater knowledge of the work and create an objective digital support for evaluation and measurement that could assist the activities of conservators and restorers. The joint work of the multidisciplinary team of the Italian node of E-RIHS.it generated a three-dimensional graphic representation, digital twin of the painting, which varies over time and can be useful as a basis for comparison in the periodic control of the Ecce Homo of Piacenza. All the data gathered with the scientific investigations were integrated (by the Visual Computing Laboratory of the CNR-ISTI of Pisa), through their mapping on the 3D/2D space of the digital representation of the work, in a multimedia platform, with the aim of make possible easy consultation and visualization of all data on the web, both for scientific and educational purposes. The multimedia platform was presented as a kiosk in a public conference dedicated to the "ECCEHOMO" project, which had excellent feedback from the public. The kiosk was subsequently integrated into the museum visit itinerary of the Alberoni College of Piacenza. Developed with HTML/JavaScript technology, the kiosk is based on the HTML5 WebGL API, which makes 2D/3D rendering possible without plug-ins on all major web browsers. The use of web technologies allows installation on a stand-alone machine (as in the museum installation) but at the same time publication on the web. The web visualization of high resolution images is managed by the Relight library, developed by ISTI-CNR. The generation of multiresolution 3D models, and their web visualization, is managed by the Nexus, SpiderGL, and 3DHOP software, all developed by the Visual Computing Laboratory of the CNR-ISTI in Pisa. The contents of the kiosk were designed, discussed and validated with the collaboration of all the work teams involved in the project (CNR-ISTI, CNR-IFAC, INFN-CHNet Bologna and Florence) and by Francesca De Vita, restorer and conservator of the artwork.
See at: CNR ExploRA | vcg.isti.cnr.it
2015
Software
Unknown
Visual Media Service
Ponchio F., Callieri M., Potenziani M., Dellepiane M., Scopigno R.
The Visual Media Service provides easy publication and presentation on the web of complex visual media assets (3D, RTI, High Resolution 2D Images). It is an automatic service that allows to upload visual media files on an server and to transform them into an efficient web format, making them ready for web-based visualization. The Visual Media Service is an end-to-end solution able to support the entire publishing process, from data uploading to presentation customization. The service provides a very easy interface (a simple web form) that allows the user to upload the visual media file; the data is then transformed in a web-compliant format, supporting multi-resolution encoding, compression, and progressive transmission. At the end of the data-processing phase the user receives an email containing the URL of the published asset. Through this URL the user can access a web-based presentation that enables content creators, but also end users, to interactively explore the published media. Finally, the Visual Media Service provides a full set of interactive tools for customizing the resulting web-based presentation.Project(s): ARIADNEplus, ARIADNE , PARTHENOS , EOSCpilot
Ponchio F., Callieri M., Potenziani M., Dellepiane M., Scopigno R.
The Visual Media Service provides easy publication and presentation on the web of complex visual media assets (3D, RTI, High Resolution 2D Images). It is an automatic service that allows to upload visual media files on an server and to transform them into an efficient web format, making them ready for web-based visualization. The Visual Media Service is an end-to-end solution able to support the entire publishing process, from data uploading to presentation customization. The service provides a very easy interface (a simple web form) that allows the user to upload the visual media file; the data is then transformed in a web-compliant format, supporting multi-resolution encoding, compression, and progressive transmission. At the end of the data-processing phase the user receives an email containing the URL of the published asset. Through this URL the user can access a web-based presentation that enables content creators, but also end users, to interactively explore the published media. Finally, the Visual Media Service provides a full set of interactive tools for customizing the resulting web-based presentation.Project(s): ARIADNEplus
, ARIADNE , PARTHENOS , EOSCpilot See at: CNR ExploRA | visual.ariadne-infrastructure.eu
2014
Conference article
Unknown
An advanced solution for publishing 3D content on the Web
Potenziani M., Corsini M., Callieri M., Di Benedetto M., Ponchio F., Dellepiane M., Scopigno R.
The deployment of 3D content on the Web gained momentum in many contexts. The Cultural Heritage field is a good example, since 3D data need to be published on the Web for many different purposes (presenting museum collections, displaying virtual reconstruction of ancient sites, showing connections between artefacts of interest, etc.); moreover, 3D data are often paired by other multimedia information and, finally, solutions should be cheap and high-fidelity. The current approach for developing 3D graphics applications on the web is to employ WebGL, a graphics javascript API that is embedded in modern web browsers. WebGL was derived from the standard OpenGL graphics library and it has been recently adopted by all the major web browsers. Thanks to this, people that access a web site based on WebGL do not need to install any additional plugins or other applications to use the interactive 3D content of the web page. The main problem related with the use of WebGL is the substantial technical skills the developers should master (such as web design, Javascript programming and knowledge of Computer Graphics) in order to implement an application. We present 3DHop (3D Heritage Online Presenter), an advance technological solution that allows people without high/mid level programming skills to be able to publish 3D content on the Web in several forms. This technology consists in a set of components and templates for the online visualization that have in common the characteristics to be easily modifiable with a minimal effort to obtain the desired final effect. This technology has been developed in the context of a few EU projects and it has been already used in Virtual Museums projects. 3DHop is now reaching its maturity and becomes a solid tool open to the Cultural Heritage community, reducing the learning curve and speeding up the implementation of virtual museums and of on-line interactive presentations. From a technical point of view, 3DHop is based on SpiderGL, a support library built on top of WebGL and developed by CNR-ISTI. A brief overview of this library will also be given in the presentation.Source: MWF 2014 - Museums and the Web Florence 2014, Florence, Italy, 18-21 February 2014
Project(s): V-MUST.NET
Potenziani M., Corsini M., Callieri M., Di Benedetto M., Ponchio F., Dellepiane M., Scopigno R.
The deployment of 3D content on the Web gained momentum in many contexts. The Cultural Heritage field is a good example, since 3D data need to be published on the Web for many different purposes (presenting museum collections, displaying virtual reconstruction of ancient sites, showing connections between artefacts of interest, etc.); moreover, 3D data are often paired by other multimedia information and, finally, solutions should be cheap and high-fidelity. The current approach for developing 3D graphics applications on the web is to employ WebGL, a graphics javascript API that is embedded in modern web browsers. WebGL was derived from the standard OpenGL graphics library and it has been recently adopted by all the major web browsers. Thanks to this, people that access a web site based on WebGL do not need to install any additional plugins or other applications to use the interactive 3D content of the web page. The main problem related with the use of WebGL is the substantial technical skills the developers should master (such as web design, Javascript programming and knowledge of Computer Graphics) in order to implement an application. We present 3DHop (3D Heritage Online Presenter), an advance technological solution that allows people without high/mid level programming skills to be able to publish 3D content on the Web in several forms. This technology consists in a set of components and templates for the online visualization that have in common the characteristics to be easily modifiable with a minimal effort to obtain the desired final effect. This technology has been developed in the context of a few EU projects and it has been already used in Virtual Museums projects. 3DHop is now reaching its maturity and becomes a solid tool open to the Cultural Heritage community, reducing the learning curve and speeding up the implementation of virtual museums and of on-line interactive presentations. From a technical point of view, 3DHop is based on SpiderGL, a support library built on top of WebGL and developed by CNR-ISTI. A brief overview of this library will also be given in the presentation.Source: MWF 2014 - Museums and the Web Florence 2014, Florence, Italy, 18-21 February 2014
Project(s): V-MUST.NET
See at: CNR ExploRA
2015
Journal article
Open Access
3DHOP: 3D heritage online presenter
Potenziani M., Callieri M., Dellepiane M., Corsini M., Ponchio F., Scopigno R.
3D Heritage Online Presenter (3DHOP) is a framework for the creation of advanced web-based visual presentations of high-resolution 3D content 3DHOP has been designed to cope with the specific needs of the Cultural Heritage (CH) field. By using multiresolution encoding, it is able to efficiently stream high-resolution 3D models (such as the sampled models usually employed in CH applications); it provides a series of ready-to-use templates and examples tailored for the presentation of CH artifacts; it interconnects the 3D visualization with the rest of the webpage DOM, making it possible to create integrated presentations schemes (3D + multimedia). In its design and development, we paid particular attention to three factors: easiness of use, smooth learning curve and performances. Thanks to its modular nature and a declarative-like setup, it is easy to learn, configure, and customize at different levels, depending on the programming skills of the user. This allows people with different background to always obtain the required power and flexibility from the framework. 3DHOP is written in JavaScript and it is based on the SpiderGL library, which employs the WebGL subset of HTML5, implementing plugin-free 3D rendering on many web browsers. In this paper we present the capabilities and characteristics of the 3DHOP framework, using different examples based on concrete projects.Source: Computers & graphics 52 (2015): 129–141. doi:10.1016/j.cag.2015.07.001
DOI: 10.1016/j.cag.2015.07.001
Project(s): ARIADNE
Metrics:
Potenziani M., Callieri M., Dellepiane M., Corsini M., Ponchio F., Scopigno R.
3D Heritage Online Presenter (3DHOP) is a framework for the creation of advanced web-based visual presentations of high-resolution 3D content 3DHOP has been designed to cope with the specific needs of the Cultural Heritage (CH) field. By using multiresolution encoding, it is able to efficiently stream high-resolution 3D models (such as the sampled models usually employed in CH applications); it provides a series of ready-to-use templates and examples tailored for the presentation of CH artifacts; it interconnects the 3D visualization with the rest of the webpage DOM, making it possible to create integrated presentations schemes (3D + multimedia). In its design and development, we paid particular attention to three factors: easiness of use, smooth learning curve and performances. Thanks to its modular nature and a declarative-like setup, it is easy to learn, configure, and customize at different levels, depending on the programming skills of the user. This allows people with different background to always obtain the required power and flexibility from the framework. 3DHOP is written in JavaScript and it is based on the SpiderGL library, which employs the WebGL subset of HTML5, implementing plugin-free 3D rendering on many web browsers. In this paper we present the capabilities and characteristics of the 3DHOP framework, using different examples based on concrete projects.Source: Computers & graphics 52 (2015): 129–141. doi:10.1016/j.cag.2015.07.001
DOI: 10.1016/j.cag.2015.07.001
Project(s): ARIADNE
Metrics:
See at:
ISTI Repository | IRIS UNIMORE - Archivio istituzionale della ricerca - Università di Modena e Reggio Emilia | Computers & Graphics | www.sciencedirect.com | CNR ExploRA
2015
Software
Unknown
3D Heritage online presenter
Callieri M., Potenziani M., Dellepiane M., Corsini M., Ponchio F., Scopigno R.
3D Heritage Online Presenter (3DHOP) is a framework for the creation of advanced web-based visual presentations of high-resolution 3D content. 3DHOP has been designed to cope with the specific needs of the Cultural Heritage (CH) field. By using multiresolution encoding, it is able to efficiently stream high-resolution 3D models (such as the sampled models usually employed in CH applications); it provides a series of ready-to-use templates and examples tailored for the presentation of CH artifacts; it interconnects the 3D visualization with the rest of the webpage DOM, making it possible to create integrated presentations schemes (3D + multimedia). Thanks to its modular nature and a declarative-like setup, it is easy to learn, configure, and customize at different levels, depending on the programming skills of the user. This allows people with different background to always obtain the required power and flexibility from the framework. 3DHOP is written in JavaScript and it is based on the SpiderGL library, which employs the WebGL subset of HTML5, implementing plugin-free 3D rendering on many web browsers.Project(s): ARIADNE
Callieri M., Potenziani M., Dellepiane M., Corsini M., Ponchio F., Scopigno R.
3D Heritage Online Presenter (3DHOP) is a framework for the creation of advanced web-based visual presentations of high-resolution 3D content. 3DHOP has been designed to cope with the specific needs of the Cultural Heritage (CH) field. By using multiresolution encoding, it is able to efficiently stream high-resolution 3D models (such as the sampled models usually employed in CH applications); it provides a series of ready-to-use templates and examples tailored for the presentation of CH artifacts; it interconnects the 3D visualization with the rest of the webpage DOM, making it possible to create integrated presentations schemes (3D + multimedia). Thanks to its modular nature and a declarative-like setup, it is easy to learn, configure, and customize at different levels, depending on the programming skills of the user. This allows people with different background to always obtain the required power and flexibility from the framework. 3DHOP is written in JavaScript and it is based on the SpiderGL library, which employs the WebGL subset of HTML5, implementing plugin-free 3D rendering on many web browsers.Project(s): ARIADNE
See at: 3dhop.net | CNR ExploRA