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mark last won the day on March 16

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  1. Hi Thierry, Thanks for your interest in the DLN. We have made many changes to the DLN since the 2018 Beta release. Many of these changes were based on community suggestions. We are on track to release a new Beta of the expanded tool in the Spring. The full 1.0 DLN will be released by Summer this year. We would be happy to speak with you about your project ideas and send you the new Beta software when it becomes available. The current DLN release uses a standalone strategy. There are two reasons: The first is that this decision allowed us to concentrate on solving other fundamental issues; principally the solution of a broad range of technical problems and the simplification of the interface. The second reason is to encourage widespread DLN adoption by keeping the operational requirements simple, for individual scholars, small organizations, cultural communities, under-served people, and those operating in areas without robust bandwidth. CHI wants to encourage the decentralization of cultural heritage documentation. The DLN allows people all over the world to prove the quality of their documentary work (or lack thereof). This is key to the decentralization of the sources of cultural knowledge. The Postgres database allows some communication between databases on different computers using Backup/Restore functions. We understand this is awkward. The new DLN version supports XML import and export. This is convenient for exchanging database metadata. For example, if CHI joins another organization working on a project and we share equipment on a capture project, we can export our equipment kit in XML and the other organization can import it into their database for documenting the capture setups. This XML feature adds some additional ability to exchange information for small operations. There has always been an intention to produce a networked version, which is on the CHI list for future work. This “enterprise” tool would be redesigned for larger organizations with many, distributed digitization operations running at the same time. We have submitted a grant proposal to the National Endowment for the Humanities that includes planning funding for this enterprise version. The fate of the proposal will be known in August. We would like to hear ideas from larger organizations, like the Royal Library of Belgium, to make this effort responsive to the requirements of people working in our CH community. As always, we are happy to discuss collaborations. Here is a little more information about the new DLN: Among a new interface and many new features, the DLN now permits the metadata description of the processing operations applied to computational photography images that produce advanced work products, along with the description of the work products themselves. The new DLN also contains functions to automatically produce Submission Information Packets (SIPs) for archiving original images and / or work products (3D models, RTIs, Multispectral, documentary image sets, Orthomosaics…). The SIPs come in METS and Bagit wrapper formats. These formats contain manifests of the SIPs contents. The SIPs contain the archival images, work products derived from the images, the DLN metadata, relevant documents, etc. The DLN metadata comes in the form of XML and CIDOC/CRM mapped RDF. Other formats are under consideration. In addition, if all the OAIS compliant SIPs are sent to a Fedora 5 style repository, where RDF functions are available, significant self-organization of the contents will be enabled using the RDF metadata. The idea is to make the scientific imaging process as simple as possible, from the beginning all the way through the pipeline to the archival deposit. Now that this is possible, all of these functions can be adapted for a large-scale, networked organization. All that is needed are the financial resources and perhaps an expansion of our existing professional development team. But of course, this is true for all of our collective dreams for the future of cultural heritage. ––Mark
  2. Here is the reasoning behind CHI's recommendation that there be at least 250 pixels along the diameter of the reflective spheres in an RTI image. The RTIBuilder software finds the pixel in the exact center of the highlight produced by the illumination source. The more pixels there are across a reflective sphere, the more the incident illumination direction can be refined. If you look across a reflective black sphere (or any shiny sphere), the middle part of the sphere reflects the hemisphere of light in the direction of the camera. The outer part of the sphere reflects the hemisphere behind the reflective black sphere. This is how a sphere, often called a light probe, can capture the illumination information of an entire environment. When building an RTI we are only concerned with the central part of the reflective black sphere because the light positions used to illuminate the subject exist in the hemisphere facing the camera. The number of pixels in the diameter of this central region of the reflective black sphere determines the angular resolution of the incident light direction. If there are 180 pixels across this central region the angular resolution will be 1°. If there are 90 pixels across the central region the angular resolution will be 2° and so forth. CHI recommends 250 pixels across the entire reflective black sphere because that will ensure that there will be at least 180 pixels across the central region of the reflective black sphere that is used in calculating RTI incident light positions (which are stored as x.y.z coordinates in a light position file - which is calculated from the highlight data) For an explanation of how the light positions are calculated from the highlight data, see our paper with Tom Malzbender from VAST 2006. If your purpose is to use your RTI for visual interpretive purposes, there will likely be no perceptible differences between an angular resolution of 1° and 2°. If however your purpose was to refine or generate a three-dimensional surface, the angular resolution of the incident light source and the resulting surface normals contribute significantly to the accuracy of the 3-D surface. As we cannot foresee how the documentation we produce today will be re-purposed by others in the future, we suggest, when practical, to capture the highest quality data. --Mark
  3. Hey John, I have seen this problem frequently with varnished paintings. The solution is to restrict the maximum light sample inclination. Try not lighting above 45-50 degrees. Reduce the the maximum inclination until the sheen disappears from your photos. If only a few images have sheen, discard them. Best of luck.
  4. Taylor, I asked Tom Malzbender about this topic. Let me speak for a moment about the photographic methodology and then I'll give you Tom's answer about how to get the the variable focus point. If I mis-remember the process, it may act as bait to bring Tom into the discussion. In the simplest example, lets say you have a fixed camera pointing horizontally at the subject. The subject is on a translation stage, or its manual equivalent. A manual equivalent could be a square piece of plastic bounded on two sides by two horizontal rails so that the square plastic base could move closer or farther away from the camera. You would then determine the distance of the focal depth you require. For example, if your subject was half of a walnut shell and the distance between the bottom of the shell to the top of the shell facing the camera was 1 inch, your focal depth would be one inch. You would move the subject into the position where in the distant edge of the walnut shell would be in focus. You could then take 10 photographs with the subject translated away from the camera one 10th of an inch for each successive shot. as your subjects is translated backwards from the camera, different levels of the walnut shell will fall into the camera's depth of field “sweet spot”. Take care to align the the camera's optical axis, the direction passing through the center of the lens and striking the center of the sensor, with the axis of the subject's motion. Small shifts of the subject position due to minor misalignment can be eliminated using the forthcoming Alignment Tool from the CARE project with CHI and Princeton, written by Sema Berkiten. I'll now give you Tom's answer. You will need to open a text editor to build a new type of LP file. On the 1st line writes the number 10. This indicates the number of images. On the next line, enters the absolute pathname for the image, which was shot when the subject was farthest from the camera (with the focus on the top of the walnut shell). following the pathname, hit the space bar or tab key, then enter 0.0. On the the next line, enter the absolute pathname for the next photo in the sequence, followed by a space or tab and then enter the value 0.1. Continue to increment the numerical value following each photo's absolute pathname to 0.2. 0.3, 0.4 and so on. The photo taken of the edge of the walnut shell, which was taken closest to the camera, would have the numerical value 0.9. So now you have a new type of LP file which uses one of the 2 available dimensions of the PTM, in this case depth. Tom said that you could also use the 2nd available dimension, for example, to translate the light along the x-axis. This is all I remember from Tom. At this point, the rest of my answer is speculative because I have never actually built this kind of PTM. My best guess is that you would save your LP file Into the project's assembly files folder for RTIViewer or into the same directory as your images for the PTM fitter. I would then see what happens using this data in the RTIbuilder software and/or the command line HP PTM fitter. If either of these methods work, go ahead and try to view the PTM in RTIViewer or the PTMviewer. Taylor, if you try this, PLEASE let us know what happens!
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